Lubert Das

REVIEW: The Popular People’s Front – Klepto-Currency (2020)

Described in their Bandcamp bio as “a cut-n-paste endeavour chewing up the last 50 years of outsider club music,” Popular People’s Front are a UK DJ collective consisting of Bill Brewster, Leo Elstob and Christ Duckenfield.

Klepto-Currency is the avant disco beat tape you didn’t know you needed. The Popular People’s Front bring electronic dance music back to the days of Cold Cut and Bentley Rhythm Ace’s ambitious use of sampling.

This 5 song album lays on jam after jam, always lively enough to keep the party going while never stopping to question ‘should we be grooving this hard?’ Each track is packed to the brim with funk from its percussive layering to its thumping bass lines. Things stay just surreal enough to not quite sound like a live band, yet the album’s warmth and the organic nature to it’s structuring feel completely at home in a DJ set with Sly & The Family Stone and Trouble Funk.

Closing track Yard Werk breaks this faux live band feel with the digital sonic palette of Kraftwerk and Bentley Rhythm Ace. This electro send off of Klepto-Currency seems appropriate for an album so weird yet sonically consistent as to almost undermine it’s surrealist tendencies, just in case we get too comfortable with the preceding 20 minutes of tape.

Throw this on your wishlist, your playlist, your headphones or your PA. It’s time to get grooving.

For fans of: Dee-Lite, Cold Cut, Bentley Rhythm Ace

Like The Popular People’s Front? Give these a listen: Kinky, Strange U, Grassy Knoll

REVIEW: Arigarnon Friend’s – Muscle Memories (2021)

Arigarnon Friend’s pop sensibilities and mid-west emo stylings lend themselves to the emotional intensity expelled on each track. Delicate angular guitar sweeps and bubbling sappy melodies sit atop grumbling bass and agile musicianship. Every moment of this album is well utilized to push the emotions behind each song further and further. Arigarnon Friend’s Muscles Memories is the emotions of a good hard cry processed and packaged into a well-used 25 minutes 47 seconds.

Opening tracks Timing and ACCEL come bursting through the speakers; each instrument played with such passion as to feel as if the band could reach out and touch the listener. Use of minor chord eeriness and group backing vocals on track Wallow help expand Arigarnon Friend’s sound while keeping the more straight forward songs on the album still feeling fresh.

There aren’t any drastic stylistic changes on Muscle Memories. It’s mostly pop-punk and mid-western emo, but Arigarnon Friends treat the individual creation of each song with the artistic intent and tailoring needed to keep songs from becoming stale. By doing so, the album as a whole stays interesting and feeling emotionally sincere.

Closing track FRIENDS delivers sparse verses contrasted by wall of sound choruses. Its vocal melody delivering a distinct feeling somewhere near melancholy before the whole song burns up under the accelerating pace of a misty reverb guitar solo.

And as quickly as it burst through the speakers, it went.

For fans of: Hot Hot Heat, Frankie Cosmos, The Fastbacks

Like Arigarnon Friend’s? Give these a listen: Hazy Sour Cherry, Knola, Full of Fancy

REVIEW: Smoke – Smoke EP (2018)

Smoke is a doom jazz duo hailing from Toulouse, France. Their self-titled EP was released on November 19th, 2018 and as of now remains their only public release.

While the trappings of doom jazz are certainly there, the duo approach the emotional and cinematic palette of doom jazz from a very different angle. There is an almost industrial feel to Smoke’s use of synthesizers. Stripped of the doom metal elements of doom jazz, its mid-tempo swagger is fairly fast for the genre. Layers of droning organ and harmonica crawl out from under each other, gliding along side shuffling drums and musique concrète texture samplings.

At times, the album comes across as more triphop or post-rock. Cinematic mystique is achieved first and foremost with textural sampling; trickling rain, distant trains, and the creaking and squeaking of traffic all play parts as important as the meandering Moog synthesizers and haunting saxophones snippets.

While it might not be the crème de la crème of the doom jazz genre, I don’t believe it is trying to be. Smoke is a creature of its own nature, and in doing so they help expand the boundaries of the small circle we call doom jazz.

For fans of: Dale Cooper Quartet, Mogwai, Bohren & der Club of Gore

Enjoy Smoke? Give these a listen: Luna Honey, Lower Level Bureau, Côte Déserte

REVIEW: Riki – Riki (2020)

Riki is an electro pop album just shy of Italo disco. Long moody vocals and synth layering may remind you of Hounds of Love era Kate Bush, while heavy use of counter point melodies make Riki’s opening tracks shine with emotion (even if bordering on busy at times).

Lead single Napoleon sounds straight out of Italo disco icons Glass Candy’s playbook. Swelling pads and blippy high melodies complement upbeat drums and driving bass synth. Nearly everyone has a playlist this is a must for. But we begin see more artistic risks being taken with Know, an ethereal psychedelic track full of reversed snares and notable panning. Slow throbbing momentum is built up slowly, leaving a trail of fading reverb in its path.

Unfortunately, the second half of Riki is very true to most 80s pop albums: forgettable.

Earth Song’s excessively processed (auto tune?) vocal layering not only feels out of place with the song’s production, but also with the album’s overarching pastiche. There is something about Earth Song that doesn’t feel as thought out as much as the other songs. Neither fun or well crafted, the listener is left unable to escape from Earth Song’s cheesy lackluster lyrics (okay, what’s more 80s than that?).

Second to closing track Come Inside redeems some interest in the album. Wobbling synth kicks things off before a steady disco beat comes driving in. Riki’s short Ladytron-esque vocals are a rewarding departure from previous tracks. In a way, Come Inside would make a better Gorillaz track than any of the songs on Gorillaz – Humanz (2017). What can be learned from this? I’m uncertain.

Even when rolling on the rear wheels, Closing track Monumental is able to get us across the finish line. An ethereal vocal intro brings us to one of the album’s greatest dance-floor potential tracks. A processed break beat fill and its choice of synths divert from the album’s rigid 80s retro A-side but, at this point, that was long abandoned.

B-side filler or a lack in care of crafting each song have stained the album’s high marks. A shame, as there is great work on this album. The craft behind songs Napoleon, Böse Lügen (Body Mix), and Come Inside just aren’t shown on most other tracks. Aside from its lead single hit potential, Riki is a lukewarm electro pop album unable to reap the seeds it has sown.

But “don’t panic” if you like Riki. We have some recommendations we really believe in.

For fans of: Kate Bush, Glass Candy, David Borden

Like Riki? Give these a listen: e•motion, Knitted Abyss, Peter Zimmermann

REVIEW: KAPUTT – Carnage Hall (2019)

Part of the new wave of new wave, or of the Mark E Smith-speaking ‘post-punk’ vein coming out of the UK right now, KAPUTT is perhaps the most overlooked and under appreciated group out of this new batch of bands. Carnage Hall explores the sweet and aggravating with a surrealist bent.

KAPUTT builds off the sound of its saxophone fueled dance-punk predecessor James Chance, while ditching the self-important disdain (and racism) for short melodic motifs interlaced in a roller coaster of walking disjointed riffs. Carnage Hall features punched up versions of all the songs on KAPUTT’s 2017 demo while new angles are explored with tracks like Accordion. Using the band’s standard countering angular motifs, Accordion manages to pull off the beach side relaxation we could all use in a time like this. Think About Your Face explores a level of funky festivities not seen previously by group, while Suspectette’s sweet and caring nature could work the right listener into a good cry.

Carnage Hall demands a level of focus, each note (and there are many of them) only as rewarding as the attention you give them. This is why a song like Hightlight! is not only great fun, but also necessary to Carnage Hall’s vibrancy. Highlight!’s emotions are accessible and needed. Falling saxophones lead organically into a stomping chorus, backing and lead vocals come together before the chorus turns to its anthemic instrumental b-part.

KAPUTT wastes no time jumping back into the fray with following Hi! I’m The Wasp. Updated since its debut on Demo 2017, The Wasp is still its slow, creepy self, though now with filled out backing vocals and light reverb.

The whole album is more or less this way. Far from over produced, but no longer the dry bare-bones tracks presented on the demo. The songs are all strong to start with, but with just the right amount of production they really shine in their full potential.

Their face-value goofiness is reminiscent of prog-punk legends The Cardiacs. But like The Cardiacs, under any face-value goofiness is an emotionally intelligent current of decision making. Surely, KAPUTT is the thinking-man’s Shame.*

There are far too many ‘standout’ tracks (Parsonage Square in particular) to point to a handful and say ‘try these’! If you’re a seasoned new wave/punk fan searching for refreshing energy, or simply looking for something offering a slight challenge, Carnage Hall can’t be beat.

*Not to knock Shame. Songs of Praise is a great album and given the chance you ought to see them live.

For fans of: Crack Cloud, James Chance & The Contortions, Devo

Like KAPUTT? Give these a listen: The Cardiacs, Polyrock, Clinic

REVIEW: Wun Two – The Fat EP (2012)

If you’re approaching the album for the first time, The Fat EP may not seem as fresh as it did in 2012. Since then, Wun Two’s previously signature lofi style has been copied ad nauseum. The hip-hop meets ambient sound of ‘lofi beats’ has become synonymous with low effort imposters and white guys shopping at Muji, but maybe that’s unfair.

At least lofi beat making had a lot to offer. It’s been accessible, easy listening in our modern age of anxiety. The Fat EP acts less as an album of songs and more as one larger ambient whole. Songs fade in and out, neatly cropping the vocal tracks being accompanied.

It’s 24 minutes of jazzy boom bap hip-hop, drenched in the fuzzy warmth of an old 45. Relatively subdued and nonabrasive in its sonic qualities, The Fat EP‘s hyper-repetitive beats lure the listener into a relaxed state. With nearly all focus on atmosphere and sonic aesthetics (tonal qualities), lofi beats stretch from their hip-hop roots towards ambient meditation.

So why Biggie? While his delivery is notoriously smooth, his lyrics may be the furthest thing from soothing. Biggie Smalls is front and center for the whole ride, yet The Fat EP couldn’t be less about him. We can run through the accreditation of Biggie Smalls, but that would be missing the point. The Fat EP is a delivery system for the sonic aesthetics and emotions Wun Two wishes to get across.

Most tracks on the album work as short interludes or sketches of sonic ideas. Remixes of Machine Gun Funk, Big Poppa, and Dead Wrong are all under 2 minutes. The vocal tracks of Big Poppa, Suicidal Thoughts, and Dead Wrong all appear twice with different backing tracks, yet feel fresh on their second run through.

Suicidal Thoughts is perhaps at its most emotionally potent in its first incarnation on the album, ‘suicidal.thoughts’. Losing all credibility with the hip-hop heads of my youth, I’ll go ahead and say this is my favorite version of Suicidal Thoughts to ever appear. Same goes for Party And Bullshit (party.n.bullshit), which would have made for a more emotionally potent closer than the weaker second incarnation of Suicidal Thoughts.

It’s everything you need from the lofi beat scene in one convenient package, sans boredom.

For fans of: People Under The Stairs, Madvillain, DJ Shadow

Like Wun Two? Give these a listen: Funky DL, Amerigo Gazaway, Jehst

REVIEW: Marginal Man – Identity (1984)

Let me break it to you. They’re better than Fugazi, they’re better than Black Flag, and they’re absolutely better than anything coming out of the NYC hardcore scene at the time. They’re Marginal Man, the 5 piece hardcore punk band from DC.

Rising from the ashes of Artificial Peace’s breakup, former members Steve Polcari (vocalist), Mike Manos (drummer), and Pete Murray (guitar) teamed with bassist Andrew Lee and guitarist Kenny Inouye culminating in one of the best punk records of all time: Identity.

Identity is perhaps one of the most under appreciated records in American punk history. With the raw energy of Minor Threat and varying artistic influences of Dead Kennedys, Identity’s unwillingness to stagnate would be refreshing even if it was released in the past 30 years.

Identity precedes the slow grinding emotional struggle of Black Flag’s My War while simultaneously birthing the start of what eventually lead to emo. Songs Fallen Pieces and Torn Apart’s slow grueling rhythm is complemented by Pandora’s Box’s wiry agility, the fast flying punk you might expect from Dead Kennedys or Crucifix. The whole album a patchwork of distinct guitar licks and tricks, drummer Mike Manos and bassist Andre Lee are tuned in and driving, created the perfect rhythmic bed for Marginal Man’s fierce guitar and vocal work.

You can check out an interview with Kenny Inouye from 2012 on This Is Albatross.

For fans of: Minor Threat, Black Flag, Rites of Spring

Like Marginal Man? Give these a listen: Beefeater, Red C, Geisha Girls

REVIEW: Susumu Yokota – Symbol (2005)

Upon pressing play, the listener is immediately plunged in a current of ethereal introspection. A wide range of classical samples are seamlessly interlocked, sleight of hand shifting to synth melodies and back again. Symbol is beautiful, to put easily. It frames clearly what ills us, like a mirror reflecting back to us our shadow selves.

Only a few songs into the album, stabbing strings on Traveler In The Wonderland emphasize the song’s looping nature while countering samples fade in and out in a haze of reverb. Even as things grow more festive, an air of mystique is always at hand on Symbol. Following track Song of The Sleeping Forest is no exception. A 60s prom dance clashing with electronic personified exotica, melancholic tenderness carry the listener on a cloud of air before fading into the night.

Many songs, Flaming Love And Destiny for example, are far too bold to simply be considered ambient (as this album usually is). Even songs 3 or 4 minutes long seem to fly by in seconds. Still, the album is incredibly meditative, introspective, and begging to draw out the wonderment (however enlightening or horrifying) we carry deep within ourselves.

Symbol is a masterwork in musique concrète and contemporary classical composition. Each song on the album is intricately crafted, vocal samples obscured or altered resembling only the fading memory of human life. Maybe none more so than I Close The Door Upon Myself, a sonic interpretation of painter Fernand Khnopff’s 1891 symbolist work I Lock The Door Upon Myself, or perhaps of other work inspired by it. Either way, Symbol‘s introspective element is made abundantly clear in a statement such as this.

Yokota died, 54 years old, on March 27th, 2015 after a “long period of illness.” His exact cause of death is undisclosed. While Mr Yokota released many records since the early 1990s, one could spend their whole life exploring each sound, technique, and the myriad of emotional interpretations that saturate Symbol.

Susumu Yokota is a genius, a master of his craft gone too soon. Symbol is perhaps the most beautiful album released so far in the 21st century. Quoting Youtube user Ed Barret on an upload of Blue Sky and Yellow Sunflower from Symbol, “If I were to leave a piece of art this stunningly beautiful when I die, I wouldn’t need an epitaph.”

For fans of: Tortoise, Steve Reich, Tim Hecker

Like Susumu Yokota? Give these a listen: Brian J Davis, Adam Weikart, Slow Blink

REVIEW: Sophia Chablau e Uma Enorme Perda De Tempo – Sophia Chablau e Uma Enorme Perda De Tempo (2021)

Sophia Chablau e Uma Enorme Perda De Tempo is an indie rock band from São Paulo, Brazil. Formed in 2019, the band recently released their self-titled debut album in 2021.

Sophia Chablau e Uma Enorme Perda De Tempo opens with Pop Cabecinha, a burst of jazzy indie rock punctuated by the band’s lo-fi punk energy. Vocalist and guitarist Sophia Chablau’s fragile but versatile vocal style holds its own even as the album shifts between rougher lo-fi and more delicate indie songs.

The soft intimacy of Se Você is covered in a trailing fog of reverb. The song slowly swells and swells, crashing down upon the listener like a giant wave taking us out to sea, awash in melancholia. Drummer Theo Ceccato’s delicate cymbal work guides us through further melancholy on the following track Fora do Meu Quarto.

Over the next few tracks a more distorted and lo-fi quality takes over. Blown out bass and guitar feature prominently on Deus Lindo, yet don’t distract from the music at hand.

Jazz influence throughout the album comes across more directly on song Hello, another intimate guitar and vocal track with a distinct warmth behind it. This light jazz quality across the album can draw similarities to the French pop genre yé-yé.

Similar to yé-yé artists is the band’s willingness to incorporate just about any influence. Starting with the indie rock, the band proceeds to branch out through intimacy, lo-fi and jazz before eventually embracing a healthy level of funk trappings on song Debaixo do Pano. Returning to a more straight laced indie sound on Moças e Aeromoças, Chablau and company branch out one last time, closing on the indie disco track Delícia/Luxúria.

Overall, Sophia Chablau e Uma Enorme Perda De Tempo is an accessible and fulfilling work that rewards the highs and lows of our emotional palettes. We recommend you go give this a listen.

For fans of: Interpol, Frankie Cosmos, April March

Like Sophia Chablau? Give these a listen: Hospitality, Jack Hardy, Klarcnova

REVIEW: Peter Zimmermann – VAPORDISCO (2019)

Playing with the same 80s synth aesthetics nearly dragged to death by Stranger Things and the synthwave craze, Peter Zimmermann’s budget disco sound and cover art aesthetics are still exciting for Italo disco fans both dedicated and casual (such as myself).

VAPORDISCO gives itself to its namesake. Smooth sample chopping weaves behind the scenes of slow grinding rhythms complemented by arpeggio synth lines while 80s pop samples are pitched down to create the muddied effect of vaporwave classics.

Warm low kicks and reverb-hazy snares teeter back and forth, complemented by nearly inconsequential hi-hat patterns. Only on the 4th track E X H A L E does VAPORDISCO’s rigid 1s and 3s drum machine pattern face any kind of shake-up (which even then is minimal). Unfortunately, tracks like I NEED YOU fail to enhance or create anew from its sample usage. While the songs aren’t bad by any means, it can leave someone familiar with the source material feeling fairly underwhelmed.

The album’s energy does pick-up midway through with THE NIGHT; a pumping ethereal rollerskating jam sounding like Depeche Mode producing Michael Jackson’s Thriller. From here the album is more artistically ambitious, energized and ready to roll. It’s-, well, thrilling. The overarching theme of the album proceeds to pay off almost entirely from the midway point.

Now energized, VAPORDISCO’s hedonic approach lends itself to the fun and levity one needs to appreciate the non-political escapism that vaporwave has to offer. Once sold on the album’s fun side, VAPORDISCO allows itself to go slightly moodier with VAPORBOI before setting like the sun with hazy closing track YOUR BODY.

Time to hit the rink.

For fans of: Glass Candy, Night Tempo, Naked Eyes

Like Peter Zimmermann? Give these a listen: e•motion, Jaguardini, Niveum