Chalk Teeth : "s/t"

 On the experimental side of where post-punk meets darkwave, the Los Angeles-based band dances to their hypnotic drone in the shadows of obscurity. The depressive reverb-plucked guitar bolsters the musical backbone of hte opneing track as their vocalist, Karolina, utters the lyrics in her native Polish tongue. This is fitting as what they do might wink in the direction of New York bands like Swans, but holds little common ground with their current base of operations, leaving you to imagine they came from the smoky clubs of Eastern Europe. 

The second song carries less drone and more groove, with some No Wave tendencies. So if you are looking for darkwave that could be mixed in behind Clan of Xymox at your local goth night, this might not be the band for that. They did, however, align themselves with the indie scene who play vintage synths and tries to replicate the sound of dark electronic music coming from the late 70s. There is a darker pulse to the more foreboding "Oscillopsia. They return to more of the lo-fi beats and retro synths for "Floor It". Based on the name, I am surprised it shuffles along rather than busts into a dance floor banger, but I respect them more for the slow build of layers assembled here. 

"Casket Casino" is a bit of an oddity. A large part of this is due to the mix. The drum machine sits in the background rather than creating a groove; they amble along with a haunting accompaniment of the dissonant gathering of guitar parts. Not as melodramatic in their downtrodden expression, they hold some similar ground with a band like Xiu Xiu in this regard.'Old Mill' might be the album's best song because it is also the darkest. They bust out some interesting sounds on the last song. The vocals take on a more expressive quirk that recalls 80s post-punk. They can jam a groove which makes them seem like they would be fun live. I will give it an 8.5

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Pop 1280 : " Paradise"

Things are getting darker and weirder on the new one from Brooklyn's Pop 1280. The opening song "Pyramids on Mars" is synth driven drone, that evolves into a more surreal melody. Then they drop things down for a more lo-fi take on new wave with "Phantom Freighter" with the vocals returning to a more familiar ranting. Not as David Yow as Singer Chris Bug went on " Imp of Perversion" there is a little more Jello Biafra mix in with almost Mike Patton like vocal spasms. Not quite industrial the more upbeat "In Silico" sounds like it could have come from a Lard re-mix of "Pretty Hate Machine". The song writing finds the band in a tightly coiled chaos with the guitars going nuts on the edges of the songs. Three minutes into this one I begin to wonder how long that can maintain this kind of crazy. Bug declares that he dreams in infra-red, which is just a sane of a thought as any the drummer might be having as he assaults his kit as the song's punches have a punk anger to them.

The bass holds together "Chromidia" together with it's persevering pound. Bug chants that " pain and pleasure won't last forever"  The song swells into a heavier pulse, that might not be industrial , but it has a similar sonic slap. I finally place the twang in Bug's voice  and realize it reminds me of Gibby Haynes from the Butthole Surfers, who must be one of this band's influences as like the Surfers they maintain their identity while shifting like a bi-polar bull-dog in need of meds and ready to snap at you with no provocation. They get heavier in mood, but not in metal on "USS ISS". The synths are more aggressive than even the burliest dark wave with the cleaner tones of the guitar carrying more post-punk desperation. They dive down into an even darker place on the title track creating something that can only be described as kraut rock for a horror movie. It feels more like an interlude than an actual song.

"Rain Song" is not a Led Zeppelin, but a drunken minimalist excursion that finds Bug ranting in a bath room stall somewhere, before atmospheric effects come in to give the feel of two separate songs colliding. It's easy to call a band that deviates from their normal formula as experimental until you have heard something as crazy as this. While it might not be a song that I would ever feel compelled to revisit the fact they are creative enough to attempt creating this kind of performance art is worth something. They smooth things out for the chilly synth groove of "the Last Undertaker" .  The drums keep them from taking off in what would be the most obvious direction. When they finally give you a Bonham like beat it's all the more rewarding, before it's pulled back out from under you. They close out the album with another more conventional song in the pulsing "Kingdom Come". It hammers relentlessly reluctant to give you the powerful groove you sense they might be leading you on toward, but the tension is all in their tease. This album is likely to be unlike anything else you will hear this year. It's dark enough for me and takes enough risks to keep me happy so I'll give this one a 9.

South By South Orange Festival

Our friend Tomas Doncker is launching the South By South Orange Festival on the weekend of June 26th  at the Sopac Theater in South Orange New Jersey.The concert is being curated by bassist Mike Griot. As with all of Doncker's work this seeks to connect music to listeners on a deeper level than today's candy coated radio world. The mission statement of the South by South Orange Festival is to show how art, science and creativity collide to bring forth innovation.  and while Doncker's band will act as the house band the weekend will also feature appearances  by Living Colour drummer Will Calhoun, The Wailers front man Josh David and violinist Alan Grubner. Doncker will also be performing his "Big Apple Blues" album that he wrote in collaboration with Pulitzer Prize winner Yusef Komunyakaa.

From his Howlin Wolf album here is a taste of Doncker's take on the Willie Dixon song...yes, the Doors did not originally write the song. The Dixon penned tune was recorded by Wolf seven years before Jim Morrison and friends touched it. Doncker also released the gripping soul ballad "New Day" that was also recorded during his performance at the Iridium in New York City. This track is worth checking out as Doncker rips the solo a new one.



Doncker also released the gripping soul ballad "New Day" that was also recorded during his performance at the Iridium in New York City. This track is worth checking out as Doncker rips the solo a new one. While a much mellower groove that comes close to gospel, if you have like any of the other stuff I have covered from True Groove Global soul, then hearing how immaculate this comes across live is sure to blow you away.