Palm - Ostrich Vacation (2015)

Hello Spacerock mountaineers,

Inspired by Antarktikos' recent post, I've decided to "get the lead out" and also thrust my fingers at the keyboard in a violent manner, hoping it'll make sense in the end.

Palm is a 4 piece, modern rock band who formed out of the Hudson Valley of upstate New York. They've since relocated to Philadelphia, lucky for me as I've moved from the young adult playground that is Portland, Oregon to the senior citizen waiting room that is Allentown, Pennsylvania. Palm seems to tour a lot so I hope to get a babysitter for whatever day that may be in the near future (check their bandcamp page for upcoming dates - European dates as well).

Ostrich Vacation is Palm's earliest release available on Bandcamp, and it's their only "pay what you want" offering... which I love because I'm both cheap and poor. It was originally released on cassette, still available here, as a part of a 6 part, 6 band series collectively called "Organechs".

This release finds the band in their primordial stage, where they were honing their skills more as instrumentalists than vocalists. The crux of Palm's early era is dissonant guitars wired into a series of dizzying yet tappable drum rhythms. If we're talking about genres and how this sound fits into some sort of lineage, you can hear elements of post-punk and post-rock, but Palm has taken those leftovers and elevated them into a unique dish, and as their later releases would display they truly walk a line
between accessible and inaccessible like, perhaps, no other band I've ever heard.

Fascinating and always offering something new with repeated listens, Ostrich Vacation is like an impressionist painting of a band on their way to becoming skilled pointillists.


Palm - Ostrich Vacation

Black Spring / The Engineer - Split Cassette (2015)

Here's something I nearly lost in the shuffle. A submission from England from a few months ago that I listened to and meant to write up speedily, but as you can witness I failed utterly at that. It is a split release, a no wave rock outfit called Black Spring and a project called The Engineer. The reason I am posting it here rather than in a Grab Bag despite it have only two tracks is that each of the tracks are over 19 minutes long, so it is a damn full-length so far as I am concerned. They're fucking weird, meandering and spooky experimentations of sound. Music that is disorientating strange, something that is worth taking the time to soak in occasionally. Noise, reverb and all manner of dissonance are the hallmarks of the track from Black Spring. On the other hand the Engineer is more structured, and while still very heavily low fidelity, it has eerily lovely singing and righteous organ playing. Also a loud clanging that reoccurs frequently, but I didn't mind that. Both of these artists are on a small English label run by a fella known as Milton Keyes, Monocreo.

To be had here:
Black Spring / The Engineer

C. M. Slenko - Royal Blue Days (2015)

The newest album from the folk/anti-folk musician C.M. Slenko, also called Charlie Slenko. Last year Slenko had a double release in September, issuing both a full length Rented Rooms and an EP Moonlight Veneration. The former being a wonderful example of melancholy contemporary folk music and the latter being a far noisier and psychedelic experimentation. These two modes he was simultaneously exploring then have now found a near equal expression in Royal Blue Days. Tracks such as "Pale Moon," "Short Circuit, Long Night...," and "Kings" are charming, emotional folk songs while others like "Somnambulant | Still" and "Clarion, Carillon / Carrion" are examples of droning anti-folk. Perhaps even more compelling are the songs that blend these two forms, having beautiful lyric and folksy guitar with noise erupting or droning seamlessly along side. Check "Not Just Angels" or "Shallow" to hear what I mean by this. A entertaining and lovely display of the power musical juxtaposition. Absolutely the sort of album that is most rewarding to hear from beginning to end with devoted attention. 

Royal Blue Days has been released by Slenko's own Sioux Trails label, which has issued some really notable music including previously featured albums by Galápagos Finches and Glass Men. There is a bunch more on there I've been meaning to get to as well that look super promising and I believe they're all free to download.

To be had here:
C. M. Slenko - Royal Blue Days

Lê Almeida - Paraleloplasmos (2015)

More Brazilian music, just can't get enough it if lately. This is another one I was turned onto by my Brazilian friend, Barbara. She knows all the good tunes and in many cases the musicians themselves. So here we are all lucky enough to benefit by getting hear this most amazing guitar rock from Rio de Janeiro.

The album is relatively minimalistic, though there's use of effects especially in the vocals and the introductory seconds of tracks that'll make it appear otherwise. Mainly, it is guitar and drums though, focusing heavily of the talented experimentations in the guitar playing. Lo-fi and fuzzy these songs very quickly won me over. They're hazy, quick, fairly simple without being dull (in fact they're rather riveting overall). The guitar playing is a combination of psychedelic, prog and surf. Flashy and impressive while not being rushed, able build a movement up, and very full of reverb. There are some absolutely outstanding tracks to be heard on Paraleloplasmos such as epic "Câncer dos Trópicos" and catchy "Ester" that it would be a shame for any pilgrim to miss.

Lê Almeida is both a music and the operator of a music label, as he runs Transfusão Records. If you've been following the blog you'll certainly recognize that name as I've posted Chapa Mamba who are on this label. Moreover, I plan to sprinkle more in, especially into upcoming Grab Bags.

To be had here:
Lê Almeida - Paraleloplasmos

Jura - None of This Was Ever Real (2015)

So I am a bit of a shitty friend. My pal Frank (aka Frankomyalgia) gave me this album to hear as soon as him and the other lads in Jura finished their years long mastering process. Then I put in the queue without special treatment. No reason why other than absentmindedness. However, I'll say that my personal fondness of Frank 'n' Beans aside, this album deserves to have been kicked up up in the line. Shit's fucking tight, professional-ass-tight. So with my apologies, Frankadoodle-do, I final am delivering my write-up.

None of This Was Ever Real is a largely instrumental and entirely enthralling album. The songs have a shimmery quality to them, along with a mild shoegaze droning in the background that lays an excellent bed of sound to build on. At the few moments when vocals appear, they are subtle, echoey and don't step on the music in any way. Rather the blend seamlessly into the tapestry. Moreover, there are no spoken word audio sample interludes, which can be used well but are often over-employed as the expense of good songcraft. It not only sounds Jura like the took their time meticulously picking over the audio of these tracks, I know they took their sweet time putting it out. A labor of love in every note and it is audible. Most impressive, Frankincense.

Finally, until most bands I write-up, I have gotten to see Jura play live. I haven't a clue if they're going anywhere to play any shows, once again I am not a great friend and should have asked Sprained Frankle about this.

To be had here:
Jura - None of This Was Ever Real

Brigitte Roussel - Amber Hole (2014)

The experimental music has been getting submitted frequently lately, and it isn't something I'm gonna complain about. The Italian musician Brigitte Roussel has been featured on SRM, but it was some time ago and with her band known as Nac/Hut Report. While they've put out releases since then it seems it is what must be many albums that've slips through the cracks in my highly imperfect system of arranging write-ups. So my bad on that, but at least I get the pleasure of sharing Brigitte Roussel's solo work on her new album Amber Hole.

It is difficult to place Amber Hole into a genre beyond experimental or avant-garde. It is a dark, strange series of tracks, with an eerie mood predominating. That said, it is tastefully done, like watching a good horror film, it is capable of unnerving and entertaining the consumer in equal measure. Not that Brigitte Roussel is scary, but she certainly isn't aiming to be comforting. Amber Hole can seem like a lost recording, distorted and tracks layered upon on another with static bursts, faint vocals and humming electronic noises. Basically, it is the sort of album one can imagine being played at a contemporary art museum with a projection of grainy black and white footage on a wall playing in a loop. Sure, it is a wee bit pretentious, but all art is if you're not into it. Personally, I am into it and thought it was a fine thing to experience.

To be had here:
Brigitte Roussel - Amber Hole

Lucas Brode & Bubba Crumrine - 'doggone' // Shedding Those 11ft Wings (2014)

A spilt LP by two fellas hailing from the state of New York. Both can easily be considered experimental, though of differing varieties. Lucas Brode makes use of a guitar as his certain instrument, indeed at times the only instrument to be heard, with gesticulating, angular playing to which the best comparison I can summon is Ecstatic Sunshine, but toned down and with one guitar. Doesn't need accompaniment, he does just fine at producing remarkably stark, subtle and evocative tunes all on his own with his "mostly tapped guitar lines." I don't know tapped guitar lines are because I'm a fool, but he said it and I liked it.

Bubba Crumrine seems to a man to know in Ithaca, NY and is in the mathy post-rock band Mouth to Mouth to Mouth. His solo work beings rather towards ambient but quickly jumps headlong into noisy avant-garde experimentation.  Even delves into creepy, effected spoken word over strange instrumentation on the track, "Iridescent & Gold," to move to intense noise during "Acme" just thereafter. Both of the musicians are out of a limb in the way I really appricate, totally worth hearing if you're in the mood for something unusual, gloomy and loud.

To be had here:
Lucas Brode & Bubba Crumrine -  'doggone' // Shedding Those 11ft Wings

Uma Totoro - Energía Solar Para Tortugas Gigantes (2014)

Getting the international submissions is one of the best parts of writing up this blog, as I get to hear all sorts of musicians that I would have missed out on completely in the days before easy email communication and hyperlinks. Giving up some of my freedom to choose what I'd like to hear at any particular moment is balanced by my curiosity. However, the what I am listening to because I wanna share at some point doesn't always line up with the sort of tunes I'm in the mood for. As you may imagine I am not ready to just jump into post-rock, garage rock, avant-garde art pop at any time. Yet sometimes things line up excellently, giving me just the sort of sound I was hoping for, sometimes one that I'm liking better than what I would have heard otherwise. The chill instrumental songs of Uma Totoro were exactly what I desired to hear on this rainy, autumn morning to enjoy with coffee and a Japanese novel.

Uma Totoro are from Buenos Aires, and in what might be a weird coincidence is one of teh two submissions from the Argentine capital I received in the same day, the other being the garage rockers Kill West from the last Grab Bag. Just found that neat, for musically they're very distinct from one another. Energía Solar Para Tortugas Gigantes as I earlier mentioned is instrumental, though there are spoken word audio clips used sparingly. The appeal of this album lies in the intriguing balance of various influential styles into a seamless genre-bending experience. Undoubtedly the noisy, bass-heavy electronic dance music influence is most immediately apparent in the first few tracks, yet as one continues to listen there's subtle shifts toward krauty post-rock. The songs are solid, and that bass is a fine thing. A good instrumental album is always I thing I could use more of in my life, so I think I might even good check out the early albums by Uma Totoro.

To be had here:
Uma Totoro - Energía Solar Para Tortugas Gigantes

Luna Moth - Celestial Shades (2014)

Found this in the inbox the other day, sadly overlooked for a few months. My bad on that, guys, but you'll have to trust that a little late is not a huge deal for us on the receiving end as this digital replayable songs still sound fine. I do feel bad I didn't jump right on Celestial Shades when it came out in March however as the music is deserving of some good old fashion praise from a stranger on the internet, which I'm sadly late in bringing. Nonetheless, we'll see what is salvageable for both the band and my reputation as a music blogger. Shouldn't my parents be proud?

Luna Moth is a psychedelic band from Norman, Oklahoma that brings it on heavy with the distortion, wall-of-sound and general noisiness. They've done a superb job at incorporating influences from 60s psychedelia to the shoegaze of 90s into a shimmering and ethereal sound. Then you get to hear that sonic bliss strip apart into droning noise, something that I always find to be a welcome development in a track. They put it better on the little descriptor blurb on their bandcamp page, "Entheogenic love mantras/surfing into dissonance." Not sure what the anthropological theory of ethnogensis has to do with it, and the term does bring back some haunting memories of papers I wrote in college on the subject, but a poetic and otherwise accurate way to explain what Luna Moth seems to be all about. It sounding fucking great is a shorter way to say it. With any luck they'll sit keep SRM in mind for the next release they may put out and I can truly redeem myself then.

To be had here:
Luna Moth - Celestial Shades

Florida=Death - Post Information (2013)

Besides having a very awesome name, Florida=Death is a experimental music project from New Haven, Connecticut. The general feeling I got from the album was something between an existential crisis and watching art films while on sedatives, which really could be the same thing. The songs are a combination of electronically created effects and rhythms (or un-rhythmic sounds), spoken word and music samples, and ambient noise. How chaotic this comes off varies throughout the album, with it getting pretty bizarre at times. However, there are some calmer and more conventional sorts of tracks with even some having singing in the usual sense. Together this provides the album with a fine balancing act of tension and release but basically demands that it be heard in entirety or at least several songs in a row to begin to understand what Florida=Death is really like. I took the plunge, in fact I have taken several times over, listening to the whole album and each time it seems to show a bit more and get more interesting from it. Finally, they're put out by the very nifty Connecticut-based label Obscure Me Records, the same folks that released J. Chance and, with Double Pony Records, Spectral Fangs.

To be had here:
Florida=Death - Post Information

Leafes - Seedland (2008)

Now I know I talk about shit that I overlooked all the fucking time, and this is another one of those days. However this time it is way more overdue than most. Leafes is, or rather likely was, a Swedish folk act that played a mixture tracks that can be called lo-fi psych-folk and Scandinavian experimental whatever. I was aware of and wrote up the EP that preceded this, In the Mountain's Belly, which was a fucking righteous EP with songs that I still re-listen to with incredible fondness. Nevertheless, this full-length evaded my detection for until a few weeks ago. Seedland is proportionally an album that could be considered avant-garde more than folk, filled with all sorts of cacophonous sounds and droning effects. Should you be fans of the Finnish noise that I used to posted commonly like Kemialliset Ystävät, Kuupuu, or Paavoharju would will likely find this desirable. Finally, I'd like to take a chance to shout out to a blog I have long followed and I was able to poach the link to this album from, Dying for Bad Music, one of the longer running music blogs that I recall from when I got into the game and they've kept at it and improved over time in excellent ways. 

To be had here:
Leafes - Seedland

La Piramide di Sangue - Tebe (2012)

Here's a belated treat. Belated because I missed it's submission in the pre-organization days where my inbox was truly the wild west, but a treat as in this avant-garde album is incredibly exciting no matter when you first get to hear it. As many could have guessed, La Piramide di Sangue is an Italian band, and they play a bizarre sort of psychedelia that combines a melody with dissonance to create a maze for the mind become increasingly lost in. It is jazzy, noisy and tribal somehow all at the same time. The album gets rather close to noise, as in the genre, but will loop back around with reframes to more melodic music. Overall it's trippy as hell and an album I regret not getting to sooner, but that'll be the case for everyone older I post on here I suppose.

To be had here:
La Piramide di Sangue - Tebe

EP Grab Bag vol. 25

So here's some of all those EPs that I've been sent which surely the musicians must've thought had disappeared into a black hole within my gmail account. All wonderful naturally and thanks very much for sending them in even if it takes me forever to get to them. Also even more thanks to Elvis Dracula for taking it upon himself to keep this blog more lively than I could manage alone. Do check out his awesome band the Drunken Draculas. Perfect for your desire to hear horror-themed garage rock on Halloween.

To be had here:

Unmade Beds - Unmade Beds EP (2012)

A group from Boston that makes some post-punk with elements of noise and goth. Don't be fooled by the trippy introduction on the first track, which is good but unrepresentative, as these guys do get pretty fast and loud. "Caipiras U.S.A." is an especially solid lo-fi song that immediately won me over.





Trashy - Power Shower EP (2012)

Even more noisy yet, Trashy is a New Orleans punk band that has some real fucking lo-fi production. I mean the lyrics are basically incomprehensible  but ain't nothing wrong with that. As rough and raw as you'd like from something with a heavily bound, half-naked person on the cover. The EP is quite short, but the gem is "Slut Song" if you want my opinion.

Autism - Falling Motion (2012)

An instrumental Lithuanian post-rock/post-metal band, so now you know that's a thing. A good thing at that, for these songs are hypnotic. Definitely a talented display that I recommend to all the post-metal-heads out there (is that what they're called?). Link goes to the bandcamp page but there's a link from there that'll let you get it for free on mediafire.

Shark Week - EP (2012)

This three song EP from Washington, D.C.-based Shark Week blew my goddamned man with it's finely done garage rock. Just enough surf and soul in there to really get me all kinds of worked up. Can't put my finger on it but the singer reminds me of someone else so incredibly intensely it is uncanny, but takes not a thing away from the brilliance of the tracks. Make sure you get this one, trust.

Painted Faces - Tangleweird (2012) & New Jams (2012)

It seems that mail that isn't a bill or junk is rather hard to come by, and in my neighborhood even harder to insure it'll be there at all if it doesn't fit in my tiny mailbox. Yet the best scenario is to find a package containing cassettes tapes, and I've been lucky enough to have this happen for the second time this month, this time with three tapes. From the Brooklyn-based label Cookies N' Creme Records there were two tapes of experimental music by Painted Faces and one by Michael Amason and DENSITY (which I'll go into more detail about in the next Grab Bag).

As mentioned Painted Faces (really the solo project of a dude called David Drucker) makes experimental music, of a pretty fantastical and outlandish sort. I listened to Tangleweird first so I'll start with noting the intense use of noise and disordering feeling it lays on like mole sauce on a wet burrito. Dissonance is the game and they've got a cacophonous strategy. In contrast, New Jams seems much more subtle; coming closer to ambient for long stretches than any part of Tangleweird. In fact a whole range of experimental music appears, from slow droning to avant-garde art-rock complete with guitar riffs and crazy vocals. I've found the variety and the uniqueness to be quite endearing, especially if repeated listening is undertaken. Thanks for the tapes, keep on freaking me out just a bit and see a promising future for us all. Final note, each of these is $3 to  download via bandcamp, but obviously streamable and like 90% of the tracks are downloadable for free individually.

To be had here:

Tangleweird

New Jams

The Golden Growth - October 12 2011

This is a cassette I recieved from the same fella in Arizona who submitted the Dual Mausoleums (now called People's Temple, I believe) album last year. I think, not with complete confidence, that they're labelmates rather than the same person behind this project. Either way, this is a related sort of sound, namely dissonance. The whole thing appears as a half-jest regarding the rejection of rock and roll, which is in fact played out avant-garde noise contained on the cassette, and more obiviously pointed out by the label's site: I Sold My Soul To Destroy Rock and Roll. Also found the note on the tape stating, "In October of 2011 the mentally ill joined forces and cut a hit record," to be rather enjoyable. However, it doesn't really matter all that much how you feel about their stances being a joke or honestly held, the fact is they've given you some noise music to consume if that's your thing. Goddamn fit perfectly with the latest extentialist novel I've decided to torture myself with this month.

To be had here:
The Golden Growth - October 12 2011

derT A N Z - White Party Demo

Not much time to post up on this Father's Day weekend but I spirited away my little brother's computer to say something about this demo EP from Budapest. They play some real noisy, lo-fi rock and roll that's filled with fuzzed guitar and hollering vocals. Just a short set of five tracks that are comparable in intensity with Mindflayer, Lake of Dracula and Neon Hunk (sorry for the dated references but I'm doing this from memory without my hard drive to supplement my memory). Basically, a good way to describe it is experimental punk, kinda free form/improvised rock that's got a hard sound that can take it rather close to heavy metal at moments. Pretty neat stuff and worth ignoring family for a few minutes for.

To be had here:
derT A N Z - White Party Demo

Brainiac - Bonsai Superstar (1994)

Brainiac were a band from Dayton, OH that made some of the most innovative synthpunk that has ever been created. Tragedy forced the band to break up in 1997 after their charismatic lead singer, Tim Taylor, died at the age of 29 when his car crashed and burst into flames(thought to be a mechanical malfunction). Their influence was surprisingly far reaching, as everyone from Death Cab For Cutie to Trent Reznor site them as having inspired certain elements of their own music making. There's even a story on the internet claiming that, 3 days after the car accident and 3 days prior to his own accidental death, Jeff Buckley, during what would be his last performance, lamented on stage about the passing of Tim Taylor... seemingly foreshadowing his own death by asking, "Is that how you like your rock heroes - dead?"


Brainiac were a force to be reckoned and were on their way to big things. They'd gone on tour as an opener for both The Breeders and Beck and were being groomed by major labels. This is their second record, released in 1994, the first to feature John Schmersal who would later go on to form Enon and act as touring musician for Caribou. Bonsai Superstar was where their sound started to take on a more definable shape, one that some liken to Devo on amphetamines. The band walks confidently, with swagger, on the lines between accessible and inaccessible("Transmissions After Zero"), ugly and sexy("Flypaper"), dangerous and nerdy("Hot Metal Dobermans"). From here on in, synthpunk experimentation would remain at their core. Moog synthesizers chirp and buzz along with the band. Guitar lines hint at melodies, while each chord seems to include one note that makes it intentionally and unapologetically dissonant. Singer Tim Taylor is an extension of that same formula, veering in and out of key as he growls and screams, at times through heavily effected processors. What's most remarkable about his voice, however, is his searing falsetto, which brings to mind Ian Svenonius of The Make-Up.


This record is, unfortunately, out of print. Hard copies can be found at crazy prices, so until someone is able to rerelease it, I feel it's important to get it out there. For anybody who's already a fan (and anybody else) make sure to check out this full Brainiac show that some saint recently posted to youtube.

Brainiac - Bonsai Superstar

EP Grab Bag vol. 18

Here's what I've got to offer out of the old submissions box. I think it is a pretty fair crowd of EPs to be heard and none of them the garage rock or lo-fi whatnots I preach about. Good to get around with music even if it is discouraged in other facets of life.

To be had here:

Marble Lion - Foliage EP (2011)

A four song EP from a Montreal based band. They've got a pop/noise sound going on incorporates spoken word and ambient sounds to provide the songs with a cinematic vibe. They've got a sweet middling tone that's between cheerful and gloomy. Lends the EP that profoundness normally the realm of post-rock epics but in shorter doses.
 

Tres Face Von Dingo/Goat Lightning - C.D.D 1-5-3 (2011)

A split album with 5:1 ratio of songs between Tres Face Von Dingo and Goat Lightning. How these cats decided to make a split is unknown to me, as one's tagged from Missoula and Boston for the other. Fuzzed out, jangly sort of numbers from the former with a singer that's vaguely reminiscence on Coner Oberst. The latter's offering is a psychedelic electronic tracks that imaginatively loops about (note: they linked me to something else orginally, but it's all good). Purchasable at the label's site.


Johnny Newman - Late Summer, Red River (2012)

This fella's a folk musician whose reference to nature in his lyrics are picturesque. Does remind me of acts like the Tallest Man On Earth, Josephine Foster or even Pete Seeger, yet his vocals are more plain-spoken and clear than either of them. His poetic use of words makes for as fine traditional folk as I've heard lately. Streaming via bandcamp and to be bought for $6.




 Tuber - Tuber EP 12" (2012)

This is a real fresh one for a change. Tuber is an instrumental post-rock from Greece with the membership consisting of three brothers. They play on the heavier side of post-rock so many would likely aver to classify it as stoner rock. Whatever terminology makes you more comfortable is fine but the music shouldn't be underestimated. Epic is something these boys have got down to an art, makes me wanna go back and listen to Maserati and Tracer AMC.

WET PAINT DMM - DMM (2009)

Wet Paint DMM are a now defunct Seattle 3-piece who are too good to not share with you, though I'm having difficulty describing their sound in a non-convoluted way. I keep wanting to say "deconstructionist post-punk performance art" but then I immediately want to punch myself in the mouth.

Their sound is minimal - one drummer, one guitarist, and one singer - but what they achieve is quite dynamic.

The drums provide a brutal, dark and tribal canvas over which the guitarist paints strange and dissonant colors. At times, like on "IT IS THERAPEUTIC"  and "LION TAMER", the guitar sounds like it's being played through circuit-bent effects processors. The most striking element of Wet Paint, however, is their powerful vocalist. Her dramatic delivery is just that: part poetry, part performance. At times she sings, but mostly it's a very animated and urgent one-sided conversation that sometimes devolves into moaning or animal noises ... like she's either having an orgasm or killing someone. Maybe she's doing both. Her contribution alone would put Wet Paint's non-existant record into the "Kabuki theater performed in an insane asylum" section of the record store.

Long and short of it is... Wet Paint's sound is dichotomous and treads lines between art and rock; sex and nightmares; blood/soil and extraterrestrial mechanics. It's intellectual meets visceral, the line between which lies the heart. It's postmodern, I suppose, but without pretension because what they achieve is very authentic and full of heart.

This is aortic music ...bubbling up from a prehistoric stew.

Wet Paint DMM - DMM

Jagwar Pirates - Full Total Complete Bronzage (2012)

Couldn't have asked for something better to come back with after a break in posting. Jagwar Pirates are a very noisy French surf rock band that the label Cocktail Pueblo sent me. Largely instrumental, as surf rock frequently goes, these guys really make the most of heavily distorted and distorted guitars. They've got a darker tone that makes them a bit harder than most surf I've heard lately, and I find I greatly enjoyed the mildly haunting style (hard to imagine with that kid and his pup as the album art). Intensely fun to hear regardless of how heavy it may be relatively. Found myself remembering that wonderful film Six-String Samurai with the post-apocalyptic setting and the Red Elvises. Also the only track to have vocals, "planet claire," echoes the "Peter Gunn Theme" from The Blues Brothers (commenter pointed out it's a B-52's cover which may be why I felt I knew it). If a surf rock album, especially one that is so noisy and lo-fi as this, can summon pleasant memories and all sorts reactions from me then I most certainly think its done a good job.

To be had here:
Jagwar Pirates - Full Total Complete Bronzage [320 kbps]