Rowland S. Howard 1959-2009

Legendary Boys Next Door & Birthday Party guitarist Rowland S. Howard, also widely-known for his work with These Immortal Souls, Crime & The City Solution, Lydia Lunch, and solo, has passed away today at the age of 50 from liver cancer.

Howard's unusual swampy-blues-noise guitar work defined the Birthday Party as much as Nick Cave's histrionic wails did, and his loose, cutthroat style and trademark junkie-chic swagger was influential on a burgeoning generation of post-punk bands, yesterday and today.

He had recently released a well-received solo album, "Pop Crimes", on Australia's Liberation label, which featured the participation of former Birthday Party bandmate Mick Harvey.

Rowland was a one-of-a-kind guitarist who made a tremendous contribution to the world of original rock music, and his presence will be missed but never forgotten.

Rowland's space

Nitzer Ebb - "Industrial Complex" CD

In the roughly 15 years since the last new Ebb material, Nitzer Ebb's instrumentalist Bon Harris has spent time programming for bands like Smashing Pumpkins and Marilyn Manson, while vocalist Douglas McCarthy has worked with Ebb-inspired dance producer Terrence Fixmer, as well as Alan Wilder's electro-blues project, Recoil. But these influential English electro-dance-punks reunite with the impressively strong "Industrial Complex", and they do a right good job reclaiming the harsh sequencer-driven sound of their earliest work (a la "That Total Age"), especially on the energetic opener, "Promises" (which made it's debut on the "NCIS" soundtrack). The sloganeering and authoritarian ranting of their old days is gone, though, replaced by more developed songwriting and production. There are also softer electro ballads like "Going Away", which reminds of (old friends, tourmates, and collaborators) Depeche Mode. No coincidence that Depeche's Martin Gore himself guests on "Once You Say", which bears a similarity to Mode's "I Feel You" a wee bit. But that's not to say this is a mope-fest by any means. Cuts like "Hit You Back" are more rock-oriented, echoing their later work on albums like "Ebbhead". And the thunderous "Payroll", originally heard on the "Saw IV" soundtrack, is a welcomed injection of aggressive electronics and McCarthy's half-rap-shouted vocals. "I Don't Know You" is a retro-edged bit of synth-driven hypnoticism that shows Ebb's DAF-meets-Die Krupps roots more than amicably. "My Door Is Open" continues this trend, and is easily among the duo's more intense offerings since 1991's "Godhead". "Kiss Kiss Bang Bang" is another stomper that could be wicked on a dancefloor, but probably rocks too hard for most club-goers. It all ends on a lighter note with "Traveling", which is a more song-based piece that's as close to a pop song as this lot goes. Surprisingly good, sturdy, and potent work from a group that has successfully resurrected itself from the ashes. (Alfa Matrix)

Nitzer Ebb web

Mark Nugent 1961-2009

The world lost a groundbreaking and inspiring filmmaker and visual artist the month. Mark Nugent, who was known for his short films that accompanied his friends in musical groups like Download, Dead Voices On Air, Coil, and Beehatch, as well as for his still images (some done in recent times in collaboration with our mutual friend Aaron Campbell), passed away unexpectedly this month. Here is a series of links to bring Mark's strange and often otherworldly visuals to you. Image facing: "Granular Rust", by Mark Nugent and Aaron Campbell, from their "Liquid Atmospheres" page (link below).

Mark Nugent tribute page (with many links to videos, music, etc.)

Liquid Atmospheres site (Nugent/Campbell collaborative images)

Mark Nugent's main site

Nugentspace

Walken - "Walken" CD

Yes, as in Christopher Walken, these not-necessarily-serious Bay Area madmen readily admit. But that doesn't mean they aren't serious about making a supremely heavy and sometimes schizophrenic metal racket on this, their self-released debut album. This monster comes out of the box screaming and punching, with a hybrid metal/thrash/hardcore attack that, by the third track ("Running Out Of Time") manages to rattles the house's foundation nicely. The bass is immensely thick, metallic, and grinding, while the drums are all over the place, pummeling at every chance. The dual guitarists exhibit elements of classic metal as well as other metallic subgenres that often differ from track to track. They clearly know their stuff, and it shows. "Thunder Paws" is earth-plowing Sabbath-meets-thrash with a little bit of bluesy vibe seeping in. Effective and monolithic. "Bitter Red" is a weird amalgamation of punk with weird almost jazz affectations. "The Bridge" approaches a solemn doom metal motif, and does so most convincingly. Pretty rad stuff, with a nicely odd and schizophrenic genre-mashing that's refreshing and always surprising. These guys kick massively, and have something to offer for fans of any heavy and metallic style. (Walken)

Merry Beer-mas 2009!

Ah, we are at the end of the year, and that can only mean one thing - it's Beer-mas! Here are some selections of some brews I've sampled, and hereby report to you my findings. Remember that the "score", being from 1 to 5, gives higher marks to beers I find to be complex and deliciously unique. A "1"-rated beer would be sewage swill, a "3" would be a drinkable, if unremarkable beer, and a "5" would be a godly nectar worthy of praise and worship. And a-here we go!

GOOSE ISLAND - NUT BROWN ALE (Chicago, IL) 3.5
This brown ale gives the appearance of being almost a stout, with it's
rich and deep, almost black appearance. The initial taste heralds a
malty chocolate note, with a pleasant sweetness that's not overbearing nor artifical-tasting. Tasty and enjoyable stuff.

PYRAMID - SNOW CAP WINTER WARMER (Seattle, WA) 4.0
This dark, opaque amber ale hits the palate with a zingy citrus punch
at first, followed by a hoppy bitterness and burnt nuttiness. Quite a
unique and flavorful taste experience, this winter warmer is 7% but
the alcohol presence is fairly obscured by what I call a profound
"flavor roll", whereas different taste elements evolve on the tongue.
An invigorating and impressive beer.

MENDOCINO - IMPERIAL IPA (Saratoga Springs, NY) 3.5
An intensely floral hoppiness emanates from the bottle at once,
certainly a good opening scent. This one's a nicely amber-red in
appearance. It's "only" 7.5% ABV, but this hop-monster packs a bitter
wallop -- certainly not for beginners. Actually this is a pretty
traditional IPA, and not too fanciful or unique. Solid, but not
outstanding.


AMSTEL LIGHT (Amsterdam, Holland) 2.5
Pouring a clear pale gold (with little lacing), this unassuming and
simple lager is crisp, light, and malty. It's well-balanced and not in
the least bit challenging. A perfect example of a light lager, this
one's more on the watery side. Likeable for what it is, though not one
I'd seek out or stock at the house.

Pocket - "5 Single EPs"

As part of a continuing series of EPs available digitally, this is only a smattering of what's in store this and next year from Pocket (aka producer/remixer Richard Jankovich, who's remixed Radiohead, Beck, Antony & The Johnsons, and Cat Power, among many others). This original work by Pocket sees a stellar set of vocalists providing words/voices for Jankovich's electro-synthpop stylings.

"Surround Him With Love" features the inimitable Robyn Hitchcock, and proves to be a catchy and slightly off-kilter pop song with an undeniable dance beat pulsing underneath the layers of guitars and vocals. "Sampo", featuring Yuki Chikudate of Asobi Seksu, is another sweet, lightweight pop gem with Yuki's ethereal vocals. Steve Kilbey of the Church fronts the glorious "Hear In Noiseville", which brings a mystical, introspectiveness as only he can. Former Dag Nasty pop-punker Dave Smalley brings a slightly heavier vibe to "Beautiful Grey", while Craig Wedren (of Shudder To Think) shows his world-class pipes on the bright and sunny "Someone To Run Away From".

Most of the added remixes don't fare as well, though the Justus Kohncke Remix of "Hear In Noiseville" adds a gauzy, drifty synthpop vibe, appropriately. And Spoolwork's remix of "Someone.." maintains the original song structure and succeeds, as well. The others? Perhaps these would go down better in a retro club atmosphere, but here they just add filler to what would be a really solid EP. Get the main songs, not the remixes, and you'll be quite pleased with these sparkly electro-pop confections. (24 Hour Service Station)

24 Hour Servicespace

Pocket website

Pocketmixspace

Temple Of Baal - "Lightslaying Rituals" CD

This French act considers themselves "black metal", but their third album shows echoes of speed, death, and thrash metal (and some other fringe elements) in their considerable arsenal. Indeed, "Triumph Of Heretic Fire" is a solid collision of these sounds, and, for once, the vocals are (sometimes) intelligible! It's lightning-fast, with superior drumming, crisp dual guitars with both high and low end, and a deep production by Andrew Guillotin. I like the band's diversity and adeptness at different tempos and styles. "Black Sun Of The Damned" slows things down to a crunchy classic grind sound in spots, while "Angstgeist" is a cruise missile of death metal. And this is just the first 4 tracks! Further on, the disc kicks out all kinds of blasting metal bruisers, culminating in the progressive "Blessings Of Blackfire", that brings a classic and doomy melodic angle to nuzzle itself near the blastbeats. A fine release, with something to please nearly any metal-oriented listener. (Agonia Records)

Temple Of Baalspace