| Influences |
From listening to this album I'd suppose that the band members are big fans of BORIS, SUNN O))), THE MELVINS and the like.
It seems that 'Pissing Prisms' was recorded live in the studio (KXLU, LA, as it says) and all songs are in fact part of one long session that floats along pretty well. Strongly recommended to fans of the aforementioned bands and fans of experimental heavy guitar playing in general. homemade-lofi-psychedelic.blogspot.com
With a lo-fi, free form, somewhat “action music” approach, they offer titillating drone-jazz-metal on tracks like “Crown All Around,” full of caterwauling ghost calls, like stoner music for math rockers. This might prepare you for the hellbending “Soft Hands,” more akin to bands like Ruins and the Boredoms, though stripped down to skeletal haiku forms: sonic barrages for the attention deficit crowd. The ambient, scattered “Don’t Trust Yourself” is eerie, and the guitars sound like aluminum streaks and the cymbals a wash of metallic foam until they settle into a sepulchral mantra groove, mesmerizing and impromptu, despite sounding like it was recorded on a 1978 Sears Roebuck handheld recorder. They songs are cut-off suddenly, almost at odds with each each other: expect no gentle transitions and fade-outs. Clipped and startling, they are slow grenades. The feedback noise-poem “Complicated Situation” sounds like the Velvet Underground attacking a cheap distorted Casio with hammers. Unexpectedly, “We Are Lions” comes out soft and seductive. Nothing but a whisper in the acoustic serenaded wind. “Casket Problems” resembles layered, stolen artifacts from the 1990’s era Swans — voices weave in and out with trembling uncertainty, cloudy obliqueness filters throughout, and hollow-eyed beauty beckons, backed by an insistent strumming that begs to form some poetry from the disparate elements. The big drum zoo of “Kindness Kills,” all power hungry tom tom fuss and bluster, combines with arty guitar charades, not unlike bleary and begotten Sonic Youth daydreams underscored with old school prog metal. Meanwhile, the bird-bleep beseeched, psych-out fuzz jam “Mesh Nerve Vein” is an echoey onslaught that seals the fate of the entire album. Curt and curtailed, it still feels somehow perfect: singular in its riffage and throbbing dustbin glory. All the years of muddled murk become compressed into two minutes. For those of you raised on Chrome and Swell Maps, this might be a welcomed purchase. LEFT OF THE DIAL
Exactly one year ago today, we posted a quick theme song for the 4th of July holiday before heading out for the festivities (pubs). This year, however, we've decided to throw you directly into the fire with a completely raw, unpolished new offering from a previously featured artist. We originally featured the music of Brooklyn, New York based duo Boy/Girl during Feburary 2007 with a follow up in early July 2007. Since that time, guitarist/vocalist Eric Stiner seems to have relocated to Los Angeles and is now exploring experimental guitar tones with a handful of new friends. Kill Kill Kill is the new project of Mr. Stiner, and the goal explicitly stated on the Kill Kill Kill MySpace page is to release 12 albums during the next 12 months. Eric's progress can be followed and all of the new music can be heard/downloaded by visiting the frequently updated Kill Kill Kill blog. If you are looking for any type of traditional song structure here, a mild amount of heartburn might accompany your first exposure, but if you can sit back, close your eyes and listen at ear-bleed levels, as we have been doing repeatedly, you will more than likely thank us for the introduction. Milk Milk Lemonade
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