TOMAHAWK - MIT GAS [2003]

"Tomahawk combines the rockist tendencies of Faith No More with the weirdo prog freakout of Mr. Bungle, two of Tomahawk vocalist Mike Patton's more popularly received projects. The band is actually the project of former Jesus Lizard guitarist Duane Denison, and on Mit Gas, the band's second album, he drops his prior fight for melodic lead, letting Patton growl, sustain, babble, stutter, croon, and yowl through each precision-stopped, layered track. Maybe all those nights of getting booed off the stage while touring with Tool (after the 2001 self-titled release) taught them a thing or two about indulging star power. With John Stanier (formerly of Helmet) and Kevin Rutmanis (the Cows, the Melvins) also on board, though, it's hard to decide who isn't a star. "You Can't Win," a track akin to Mr. Bungle in its circus/lounge mood and cracked chanting, is an outstanding example of Tomahawk's metal kid to avantist maturity -- everything from strings to wood blocks informs a centrally pop song with indiscernibly sinister lyrics reminiscent of Brainiac. The track ends with a hazy ambient moan. It floats into "Mayday," a pretty straightforward metal song. Then there's a dreamy ballad in Spanish, a surf-rock one called "Harelip," and the excellent, slightly Foo Fighters-sounding "Rape This Day." You probably won't find this album at Wal-Mart. It's worth searching out, though, as Patton et al. expand the borders of guitar rock with intelligence and humor more absurd and egalitarian than the band's obvious predecessor -- Frank Zappa. " AMG
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LIARS - SISTERWORLD [2010]

"Liars is a three-piece band formed in 2000 consisting of Australian-born Angus Andrew (vocals/guitar), Aaron Hemphill (percussion, guitar, synth), and Julian Gross (drums). Although initially lumped into the New York dance-punk scene of the early 21st century, they have come to be categorized by their dramatic stylistic shifts between albums, while retaining a consistent interest in rhythm and sound texture. Liars are one of the many contemporary bands to draw from the late 1970’s British post-punk movement. Their first album, 2002’s They Threw Us All in a Trench and Stuck a Monument on Top, bore some resemblance to the work of Delta 5 and Gang of Four, accenting their angular, acerbic punk with modern synths and drum machines. Liar’s second album, 2004’s They Were Wrong, So We Drowned, eschewed their debut’s trendy post-punk aesthetic in favor of dissonant atmospherics and electronic soundscapes. That album stratified fans and critics alike, especially chafing with those who took to They Threw Us All for the clear dance/punk leanings of a number of that album’s tracks (e.g. “We Live Northeast of Compton”). 2006 saw the release of Drum’s Not Dead., which continued the direction they had taken with They Were Wrong but was met with a much more favorable critical reaction." LAST.FM
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XIU XIU - DEAR GOD, I HATE MYSELF [2010]

"Xiu Xiu (pronounced “shew shew”) is an experimental band originally from San Jose, California and currently based in Durham, NC and Brooklyn The band is named after the main character of the 1998 Chinese film Tian yu (a.k.a. Xiu Xiu: The Sent-Down Girl).
Xiu Xiu was first formed in 2000 and is the main project of singer-songwriter Jamie Stewart, who records with friends on his home computer. Past members include Cory McCulloch, Lauren Andrews and Yvonne Chen. Stewart’s cousin, Caralee McElroy joined the band in 2003 and was the only other permanent member of the band until her departure in early 2009. Some, including McCulloch, have played in previous bands with Stewart such as Ten in the Swear Jar and IBOPA." LAST.FM
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THE FLAMING LIPS - THE DARK SIDE OF THE MOON [2009]

"According to an L.A. Times report, the Flaming Lips are set to follow-up their life- (and death)-affirming LP Embryonic with a full-album redo of Pink Floyd's gazillion-selling 1973 psych-rock classic Dark Side of the Moon.
The Lips version of Dark Side is a collaboration with the band Stardeath and White Dwarfs (which includes Wayne Coyne's nephew Dennis Coyne as a member), and features guest spots from Henry Rollins and Peaches. It will most probably be an iTunes-only release.
The announcement was made last night during a Q&A session with fans at a MySpace show last night at L.A.'s Nike/Ricardo Montalbán Theater.
Other tidbits revealed: While Embryonic was the final album of the Flaming Lips' current contract with Warner Bros., they plan on sticking with the label for future releases.
Also, the video for "Watching the Planets" features a nude Wayne Coyne (as well as a bunch of nude bikers). The internet's not ready." PITCHFORK
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SWANS - THE GREAT ANNIHILATOR [1995]

"After a three-year break occasioned in part by wrangles with the Sky label, Swans returned in 1995 with a vengeance, as always pursuing their unique muse of dramatic, ever-more textured music. Gira and Jarboe work with a fantastic core band this time out, including returning veteran Westberg, who trades off guitar duties with Steele, at points playing together with him, a magnificent combination. Other returning musicians include Kizys and Parsons, while newer players like drummer Bill Rieflin from the Chicago Wax Trax! circle join as well. As is par for the course by now, Swans seem incapable of producing a bad album, Annihilator being crammed full of astonishing songs to prove it. Everything's a little more stripped-down here, possibly due to having a central band, but it's still all very lushly arranged and created, perfectly balancing force and restraint. Leadoff single "Celebrity Lifestyle" is one of the catchiest things the band has ever done, but it's still uniquely Swans -- a minimal, throbbing song matched with a sharp lyric on starlust and what it might mean. "I Am the Sun" pounds as hard as any early Swans track, but the use of careful space between blasts, Gira's heavily echoed, out-of-nowhere vocal (accentuated by equally vivid background vocals from Jarboe), and tempo shifts clearly demonstrates the constantly evolving nature of Swans music; the band is never content to simply repeat the past. Jarboe's own standout tracks include "Mother/Father," a brawling number showcasing both her and the band at their full-on best, and "My Buried Child," with her softly husked take on a terrifying Gira lyric, which is carried by a roiling rhythm. This is followed immediately by the sweeping, cinematic "Warm," where she contributes wordless vocals. Once again, Swans have created an epic, incredible work of art." AMG

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U.S. MAPLE - LONG HAIR IN THREE STAGES [1995]

"U.S. Maple's debut album is nothing short of stunning, combining angular guitar attacks, odd skronks, jazzy tones, and a generally deconstructive approach to music into a sound of unparalleled idiosyncrasy. The record's finest moments come when the slanted attack and fractured composition converge to simulate something approaching a conventional song ("Letter to ZZ Top," with lyrics like "Give my bones to Billy Gibbons," pretty much rules out any notion of normality). Between these off-kilter constructions and the group's even more off-kilter deconstructions, a truly amazing record is created, one that combines hard-edged, "whiskey, no chaser" rock with exceptionally intelligent slants and fractures." AMG

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FLY PAN AM - N'ECOUTEZ PAS [2004]

"Fly Pan Am, or Le Fly Pan Am, is a Canadian experimental rock band formed in Montreal in 1996. They released their albums through the Montreal-based Constellation Records, producing and collaborating on works with the likes of Godspeed You! Black Emperor and Shalabi Effect.
The band was formed in 1996 by guitarists Jonathan Parant and Roger Tellier-Craig, drummer Felix Morel, and bassist Jean-Sebastian Truchy. Eric Gingras would later on join the band in 2002, contributing guitar and percussion.
They shared personnel with Godspeed You! Black Emperor until guitarist Roger Tellier-Craig left Godspeed You! Black Emperor in 2003 to concentrate full time on Fly Pan Am. In 2005, Roger Tellier-Craig and Eric Gingras began the french psychedelic kraut-pop outfit known as Pas Chic Chic along with other members of Montreal’s illustrious music scene.
The band is noticeably influenced by the French Canadian culture of Quebec, as well as the burgeoning avant-garde musical scene in Montreal. French is the predominant language used in producing albums and writing lyrics, with English peppered throughout. The track titles on past records, as stated by Roger Tellier-Craig, were written in a way to interpret the song, which Tellier-Craig concedes was “lost on most listeners” due to the French used. Unorthodox electronic sounds, occasionally provided by Alexandre St-Onge, intersect the music and often serve to confuse the listener." LAST.FM

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OXBOW - LET ME BE A WOMAN [1995]

"The provocative San Francisco-based quartet Oxbow formed in the late '80s around vocalist Eugene Robinson, guitarist Niko Wenner, bassist Dan Adams, and drummer Greg Davis. Combining the squall of bands like the Birthday Party with elements of free jazz and musique concrète, the group debuted in 1990 with Fuckfest, followed in 1992 by King of the Jews. The menacing The Balls in the Great Meat Grinder Collection also appeared in 1992, and after 1995's Steve Albini-produced Let Me Be a Woman Oxbow signed to the SST label for 1997's Serenade in Red, which featured guest vocals from Marianne Faithfull. They released a split EP with the Italian band White Tornado in 1999, followed by An Evil Heat in 2002. The compilation Love That's Last: A Wholly Hypnographic and Disturbing Work Regarding Oxbow arrived in 2006. Wenner has also played with God and Swell. "

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不失者 (FUSHITSUSHA) - LIVE I PSF 3-4 [1989]

"Japanese guitarist, multi-instrumentalist, and vocalist Keiji Haino had been a prominent figure in the Tokyo underground since the mid-'70s before forming this incredible group that stands as one of Japan's most inventive and extraordinary and powerful groups of the era. Their work draws on noise,rock, free improvisation, and psychedelia, yet they sculpt their group sound in a fashion that their music is relative to few forms. In fact, the sound of Fushitsusha could best be described as contemporary Japanese music as some of their modalities and vigorous improvisational manner reflects the Japanese folk and traditional formulas. On the other hand, the electricity and refined indulgence of their feedback drenched albums and live concerts bares similarities to early Sonic Youth and the Swans, yet is as challenging as avant-garde improvisation. Sonny Sharrock's Black Woman and Peter Brötzmann's Machine Gun are good points of reference, as are Captain Beefheart, Guru Guru, or even Can..." AMG

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SUPERSILENT - 9 [2009]

"Supersilent is a Norwegian avant-garde/electroacoustic group signed on Rune Grammofon. The band reportedly never rehearse together or communicate about their music outside of live sets and studio sessions, and uses improvisation as a tool to create spontaneous compositions.

Members of the group are Arve Henriksen, an accomplished trumpet player, Helge Sten (also known as Deathprod) who handles live electronics, synthesizers and guitar, Ståle Storløkken on keyboards and Jarle Vespestad on drums. In 2009 Vespestad left the band and they are continuing as a trio." LAST.FM

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CHROME - HALF MACHINE LIP MOVES [1979]

"With Lambdin out and Spain barely there at all, everything rapidly became a Edge/Creed show in the realm of Chrome by the time of Half Machine Lip Moves. The basic tropes having been established -- aggressive but cryptic performance and production, jump cuts between and in songs, judicious use of sampling and production craziness and an overall air of looming science fiction apocalypse and doom -- all Edge and Creed had to do was perfect it. Starting with the fragmented assault of "TV as Eyes," which rapidly descends into heavily treated conversational snippets from TV and deep, droning keyboards, Half Machine sounds like a weird broadcast from thousand of miles away where rock is treated as an exotic musical form. Creed fully gets to shine here, his pitched-up/pitched-down guitars as good an example of psychedelic assault as anything. Sprawled all over the beeps and murmurs of the songs, not to mention Edge's still self-created drumming and Iggyish vocal interjections, it makes everything sound utterly disturbed. If not as obsessed with tempo shifts and full oddity as, say, Faust, Half Machine is still pretty close to that band's level of Krautrock playfulness and explosion. Two of the relative saner numbers are practically power-pop, at least in Chrome terms. "March of the Chrome Police (A Cold Clamey Bombing)" has Edge sneering an actual vocal hook over a brisk beat, even while Creed gets progressively more fried on the guitar and rumbling echoed laughter and barks erupt in the mix. "You've Been Duplicated," meanwhile, also has something of a vocal hook, only buried under so many levels of distortion that it might as well be a malfunctioning keyboard being played among the clattering percussion and other sounds. A suitably strange cover shot of a fully head-bandaged mannequin seemingly floating in space completes the package." AMG

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MOONSHAKE - EVA LUNA [1992]

"The only full-length album recorded by Moonshake's original lineup, Eva Luna is bursting with ideas and tension; dissonant instrumental lines careen off of both noisy samples and spacey dream pop textures, resting on a bed of hypnotic dub bass grooves and deliberate, deeply funky percussion. Just as exciting as the seemingly alien soundscapes is the precarious coalition between singers and songwriters Dave Callahan and Margaret Fiedler, who weave their divergent songwriting and performance approaches into something of a double-sided personality. Callahan delivers his tales of despairing cynicism and rage over modern urban life with theatrical growls and nasal wails, while Fiedler's hushed murmurs and understated purr belie the aggression lurking under her songs' often nightmarish psycho-sexual dramas. Above all, Eva Luna's sound collages are dark and edgy, regardless of whether their overall tone is mellow or furious; the album's dense layers of sonic detail and the ebb and flow between Callahan and Fiedler's contrasting songwriting styles make it a richly inventive, endlessly fascinating listen -- and unfortunately the only full-length album of its kind in the group's oeuvre. Matador's American reissue appends the three tracks from the "Secondhand Clothes" single." AMG

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CREEDLE - SILENT WEAPONS FOR QUIET WARS [1995]

"Creedle was an avant-jazz-punk-art-damaged band based in San Diego, California which released three full length albums on Cargo Music/Headhunter Records in the 1990s along with numerous 7” singles. The band was primarily composed of Devon E. Levins a.k.a. Devon Goldberg (guitar/vocals), PieBoy a.k.a. Tim Blankenship (bass/vocals), Dr. Gein a.k.a. Dion Thurman (drums), Stretch a.k.a. Robert Walter (keyboards and samples) and Cheme a.k.a. Cochemea Gastelum (saxophone). Creedle was formed after the nearly simultaneous break ups of San Diego bands The Pull Toys, Daddy Long Legs, Holy Love Snakes and If Tomorrow.

Half Man Half Pie, Creedle’s first album, was recorded and mixed by Donnell Cameron at Westbeach Recorders in Hollywood, California. The artwork was created by Fip Buchanan. The second album, Silent Weapons for Quiet Wars, was a concept album pertaining to freemasonry, the Knights Templar and related conspiracy theories which was also recorded and mixed at Westbeach Recorders but instead by Bill Jackson, who had worked with Prince, Danny Elfman and Elvis Costello. The album features the Skinbus Horns comprised of Pete Kellers on alto saxophone and Pierre de Gaillande on trumpet. The final album entitled When The Wind Blows added alto saxophonist Cochemea Gastelum. The album was recorded and mixed by Mark Trombino at Big Fish Studios in Encinitas, California and included the vocals of Rob Crow and Pierre de Gaillande on various tracks.

Members of the band continue to record and perform with The Greyboy Allstars, The DaoSon For, Morricone youth, Pretendo, Fluf, Robert Walter’s 20th Congress, End of Power and Sharon Jones and The Dap-Kings." LAST.FM

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BUTTHOLE SURFERS - LOCUST ABORTION TECHNICIAN [1987]

"The aural equivalent of a nightmarish acid trip and arguably the band's best album (or worst, depending on your point of view), Locust Abortion Technician tops the psychedelic, artsy sonic experimentation of Rembrandt Pussyhorse while keeping one foot planted firmly in the gutter. The record veers from heavy Sabbath sludge (even parodying that band on "Sweat Loaf") to grungy noise rock to progressive guitar and tape effects to almost folky numbers in one big, gloriously schizophrenic mess. Gibby Haynes debuts his "Gibbytronix" vocal effects unit here as well. " AMG

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THIS HEAT - DECEIT [1981]

"Out of all the boundary breaking that occurred during the fertile era of post-punk, This Heat's Deceit is one of the most expansive, imaginative, and remarkably wild records to have been produced during the time -- and very possibly the last three decades. It's an impressive procession of tangential shards that encompass tape collages, Middle Eastern motifs, barbaric vocal clamoring, and occasional pointy-jagged-atonal guitar passages that alternate between hypnotizing and shooting clean through your spine. The typical structures of jazz, world music, and rock & roll are heaved into a blender, cooking up a post-punk paella that's about as relaxing as a crosstown walk through a hail storm. It ends up hardly resembling anything it takes cues from. As with a good number of the album's ten tracks, random peeks into "Paper Hats" at the minute markers will hardly sound like the same song. And that song hardly resembles any of the others on the record; yet, it encapsulates what makes the whole thing so exciting. The song in question trots along arrhythmically with some bass, drum, and spindly guitar interplay until sputtering into a wreck of those instruments and who knows what else -- this 20-second interruption, which resembles the Junkyard Gang's idea of warming up, abruptly gives way to a march down a Twilight Zone-themed corridor of snaky guitar, pulsing high hats, and creeped-out atmospherics. If you can make out any of the lyrics (the ones in "Independence" should ring a bell, though), you'll realize the mushroom clouds and political figures depicted in the sleeve aren't the only evidence that the record is about war and nukes. Know this -- if you really want to be thrown around a room, there's hardly a better source. No greater record has been made in an abandoned meat locker." AMG

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GLENN BRANCA - THE ASCENSION [1981]

"I'll sell out anytime anybody wants me to" Glenn Branca once mused, "[but] there are no buyers." This accords with Branca's perennial position on that fringe between the edgier end of art music and the artsier end of rock. An admirer of Young, Glass, and Reich, and a mentor to members of Sonic Youth, Helmet, and the Swans, Branca helped pollinate the downtown New York scene in the 1980s and '90s and infused experimental rock with minimalist ideas. While he earned his reputation with a series of high-volume, microtonal works for multiple electric guitars, his oeuvre also includes works for traditional orchestral forces. In the face of Branca's eclectic output and rather ambiguous aesthetic, the label "crossover" is at once convenient and clumsy.

Branca was born in 1948 in Harrisburg, PA. He studied theater at Emerson College, and briefly tried playwriting before turning to more musically oriented projects. Upon moving to New York in 1976 he co-founded, with Jeffrey Lohn, the no wave band Theoretical Girls. Branca's subsequent band, the Static, incubated Branca's signature obsession: turning minimalism's hyperattentive ear for microacoustic detail toward the harmonically complex sounds of electric guitars. In 1979 Branca established his namesake ensemble, the varying roster of which included Thurston Moore, Lee Renaldo, Page Hamilton, Ned Sublette, and Branca's wife, Regina Bloor. The works for this group were characterized by intense sound fields shimmering with upper overtones (drawn out through alternative tunings). John Cage famously complained, after attending a performance of Indeterminate Activity of Resultant Masses (1981), that "I found in myself a willingness to connect the music with evil and with power...If it were something political, it would resemble fascism." What Cage heard as oppressive Branca meant as celebratory -- an unapologetic indulgence in sustained musical climax; this idea informed works throughout the '80s, including several multi-movement guitar symphonies. In 1989 Branca composed his Symphony No. 7, one of several works for traditional orchestra; this marked a change in aesthetic as well as instrumentation, as Branca embraced it as "the most beautiful instrument yet conceived by any orchestra." Rather than renounce his early post-minimalist focus, however, he sensed a complimentarity between these two sounds, and continued composing for both orchestra and guitar ensemble. In June 2001 he presented his most sonically ambitious project of all -- at, of all places, the base of the World Trade Center: his Symphony No. 13, for 100 electric guitars." AMG

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KAYO DOT - CHOIRS OF THE EYE [2003]

"Epic washes of crunchy guitar and sophisticated modern chamber music combine in the world of Kayo Dot. After the progressive metal-oriented Maudlin of the Well disbanded in late 2002, some of the group's members were lost, and a change of direction was needed. Toby Driver (vocals, guitar, electronics), Greg Massi (guitar, vocals), Nicholas Kyte (bass, vocals), Sam Gutterman (drums, vocals), and Terran Olson (keyboards, flute, clarinet, saxophone) carried on and formed Kayo Dot in early 2003. While Maudlin of the Well lived in the metal arena, Kayo Dot approached music with a more modern classical attitude. Composition was strict and the band showed interest in playing concerts the way orchestras do, more formal and in more traditional venues. Guitars and vocals still drew from the world of rock and metal, but to stress this was a new band and direction, concerts contained no Maudlin of the Well material. John Zorn's avant-garde- and experimental-leaning label, Tzadik, issued the band's debut, Choirs of the Eye, in late 2003. In 2006 the group released Dowsing Anemone with Copper Tongue, followed by Blue Lambency Downward in 2008. " AMG

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SUPERSILENT - 8 [2007]

"Norwegian death-free jazz-electronic band Supersilent began as an impromptu jam at the 1997 Bergen Jazz Festival between master trumpeter Arve Henriksen, tape experimenter Helge Sten (who also goes as Deathprod for solo material), Jarle Vespestad on drums, and Stale Storløkken on keyboards. The group decided to continue to play together in Helge Sten's studio and recorded endless hours of tape, eventually spliced into 1998's 1-3, a three-CD collection of wild, percussive free jazz with flourishes of Aphex Twin-like electronics. Integral to the band from this time on was their desire to only exist as a performing group -- they never "write" songs, practice, and barely even speak to one another outside of gigs. This release, like all others, is without overdubs and with minimal production.

On 4, the group incorporated the influence of fellow Rune Grammofon labelmate Arne Nordheim, an electro-acoustic composer whose dark-tinged experiments are a studio controlled kin to Supersilent. The uncreatively named 5 was compiled from over 30 hours of live recordings at live performances in Oslo, London, and Bologna in 2001. Here, Henriksen's strong skills come to the fore while more traditional jazz elements take hold in the din of noise. " AMG

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THE PSYCHIC PARAMOUNT - GAMELAN INTO THE MINK SUPERNATURAL [2005]

"With the demise of Laddio Bolocko, guitarist Drew St. Ivany and bassist Ben Armstrong felt the need to pursue further musical endeavors, and in 2002 formed the avant-garde, post-rock psych outfit the Psychic Paramount. Based in New York, the pair began work on acoustic recordings before taking the plunge on a quickly put together European tour shortly after forming. A drummer -- Tatsuya Nakatani -- was roped in for the gigs, and off they went. The tour was a success, not just in helping the outfit hone its skills, but -- mainly -- in that the Psychic Paramount came back with a live CD ready to go. The live debut, Live 2002: The Franco-Italian Tour, was released on Bewilderment and Illumination, and was paired with a handful of Super 8 footage, and would see release in 2005. While the live record wasn't technically the first official release for the Psychic Paramount -- they had already put out Origins and Primitives, Vol. 1 -- the live offering would be their first real statement of intent. Unfortunately, Nakatani left the group soon after returning from the European jaunt, and was replaced by Sabers drummer Jeff Conaway. With the new roster in place, the Paramount entered the studio to work on 2005's Gamelan into the Mink Supernatural, which would eventually see release on No Quarter. In 2006, that same label reissued the band's Origins and Primitives release, adding on a volume 2, and putting it out on vinyl and CD. In 2007, the Psychic Paramount was found touring the United States with fellow avant-rockers Trans Am. " AMG

SIMILAR/RELATED: LADDIO BOLOCKO, HIGH RISE, BLUES CONTROL, RACCOO-OO-OON, NOXAGT, PSYCHIC ILLS, FUSHITSUSHA

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BOREDOMS - SUPER AE [1998]

"Of all the artists in Japan's thriving noise-music community, the Boredoms undoubtedly had the most fun. Although their maniacally extreme cacophony was by no means accessible listening, it was underpinned by a gleeful sense of humor that helped them find a limited (but still surprisingly wide) audience among alternative rockers. A typical Boredoms track might feature massively distorted guitars, squealing synths, any number of odd found-object noisemakers, or studio-manipulation effects; conventional song structures are thrown out the window in favor of abrupt, whiplash-inducing changes of direction. With Sonic Youth and Nirvana counting themselves among the Boredoms' fans, the group actually signed major-label deals during the early '90s, both in Japan and the U.S..." AMG

SIMILAR/RELATED: OOIOO, RUINS, MELT-BANANA, HANATARASH, BLACK DICE, AFRIFAMPO

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