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#love child #alan licht #rebecca odes #brendam o'malley #will baum #never meant to be #12XU #homestead #odes #run on #sammy

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https://swimintothesound.com/blog/2024/4/25/water-damage-in-e-album-

#12xu #water damage

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#water damage

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#water damage #sun 13

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#water damage #aquarium drunkard

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#water damage #in e #12XU

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Water Damage,

Hotel Vegas 4/18/24

#water damage

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Water Damage — In E (12XU)

Anyone who plays guitar or bass is familiar with the key of E. It’s the lowest string in standard tuning, so if you’re planning on jamming, E is a pretty safe bet to get the blood racing and the air waves humming. On their new 80-minute, four-sided album In E, Texas instrumental noise-rock collective Water Damage explore various grinding permutations of the key of E, recorded live to tape. The result is a seething, sense-obliterating squall, to which the listener must willingly submit.

With the Velvet Underground’s seminal White Light / White Heat as an obvious precursor, opener “Reel E” features violin as the main texture of variance, sawing and screaming over the churn of electric guitar, bass and drums, all throbbing in the red. There are several minutes of respite at the start of “Reel EE” as the bass and drums slam out a minimalist groove before a wave of guitar feedback sweeps up the remainder of the track’s frequency range. There’s more breathing room again on “Reel EEE,” with some almost-pretty dulcimer glimmering in the mix at points. And finale “Ladybird” is a cover of a song by Shit & Shine, featuring indecipherable vocals that sound like they’re being emitted by a broken radio.

Though it’s difficult to discern the individual contributions of the 11 listed players — including Thor Harris (Swans) and Jonathan Horne (Jana Horn) —  that’s beside the point. What matters here is the collective maelstrom, the saturated tape, the surrender to the void. If you’re in the mood to lose yourself in the sound of a jam-room burning to the ground under the intense pile-driving weight of volume and distortion, look no further.

Tim Clarke

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#water damage

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#love child #rebecca odes #odes #sammy #alan licht #will baum #brendan o'malley #chickfactor #12XU

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12XUrecs.bandcamp.com art by Angela Betancourt

#12XU #bandcamp #bandcamp friday #weak signal #winged wheel #dark blue #john sharkey III #spray paint #voice imitator #chris brokaw #lewsberg #the dead space #borzoi #xetas #usa/mexico #water damage #florry #lupo citta #gerycz/powers/rolin #rocket 808 #the gospel truth #obn iii's

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The second Winged Wheel album, ‘Big Hotel’ is out May 3. Preorder the LP today (links below)

Winged Wheel :

Whitney Johnson

Cory Plump

Matthew J Rolin

Steve Shelley

Lonnie “Palmtree” Slack

Fred Thomas

Recorded in Kingston NY by Chris Turco

Mixed by Fred Thomas

Mastered by Carl Saff

Art by William Schmiechen

Vinyl pressed at Smashed Plastic, Chicago IL

Fig 2 📷 : Chris Turco

(Preorder : https://wingedwheel.bandcamp.com/album/big-hotel

http://12xu.bigcartel.com/product/winged-wheel-big-hotel-lp-12xu-160-1)

‘Big Hotel’, the sophomore effort of Winged Wheel, is an evolutionary document. Core members Cory Plump (Spray Paint, Rider/Horse, Expensive Shit), Fred Thomas (Tyvek, Idle Ray), Whitney Johnson (Matchess, Damiana), and Matthew J Rolin (Powers/Rolin Duo, solo) expand their lineup to include Lonnie Slack (Water Damage) and Steve Shelley (Sonic Youth), and instead of the entirely remote method utilized to create their 2022 debut No Island, the far-flung party convened in person in Kingston, NY for a long weekend of live studio recording.

The results are undeniably compelling. The band’s signature cyclonic energy is simultaneously augmented and refined with the approach of real-time collaboration. After tracking three days’ worth of group improvisations, weirdly-born songs, and other spontaneous creations, the hours of material were edited with a similar intensity. Half-hour jams became three-minute ragers and fragments were looped into infinity, calling on the same spliced aesthetic as some of the most adventurous material by Can, Faust, or more recently the experimental production of the International Anthem camp. The stereo field has been torn apart and sewn together again, rerouted with strange and mesmerizing left turns. Vignettes of ambiguous construction, both tightly coiled and exploding, revolve around themselves, gathering intensity and mass, coalescing into something greater than the sum of its parts.

“Demonstrably False” swells into existence like a motorik tidepool, tossing fauna onto the shoreline where it sprouts legs with a steady gait lying readily in wait within them. The controlled frenzy of “Sleeptraining” marks a determined dash to a patch of reeds that are given form by the propulsive and minimal “Clean Blue Shelf,” where lush terror and the balm of shelter seem equally likely to dwell. “Grief in the Garden” describes itself like the eventual, fleeting triumph of eyeing the sun as it rises to declare the end of a starless night.

“Smudged Textile” seems another gesture from the sun, where it begins its work of burning swaths of cloud away to uncover the stark and perfect sky; it is around here that the sensation of flight becomes all but irresistible. The aerial coolness of “Aren’t They All” maintains a reassuring pace much more like a heartbeat than a flapping of wings, which flows naturally into “Soft Hands,” a piece that widens and ultimately splits the perception, somehow evoking an even, landbound march even as it continues to narrate that endless, gliding flight. “Short Acting” is blissfully ambiguous in its suggestion, managing to hint at the vault of heaven before descending unhurriedly but inevitably back to earth. “From Here on Out Nothing Changes” completes the vast arc, teeming as it is with the wild and singular energy of conscious life.

Where ‘No Island’ was born out of distance and murk, these songs breathe and erupt in close quarters. Though the band isn't necessarily concerned with finding new levels of clarity, there’s a newfound power in the steady drive of Shelley’s unmistakable rhythmic style, and the unexpected interplay that builds on this foundation. Big Hotel is the sound of what happens in the rare and intriguing moments when Winged Wheel are all in the same room.

-Jen Powers, March 2024

#winged wheel #12xu #spray paint #tyvek #sonic youth #rider/horse #water damage #idle ray #matchess #powers / rolin duo #gerycz/powers/rolin #expensive shit #when dinosaurs ruled the earth #ECOATM #crucifucks

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Love Child — Never Meant To Be (1988-1993) (12XU)

Love Child brings the detuned roar of Dinosaur, the nervy agitation of the Feelies, the arch literacy of Pavement, the barbed sugar of the Throwing Muses, shifting sound and style from song to song. This compilation spans the brief career of the New York City noise-punk-lofi outfit, with cuts from a debut 7”, both early 1990s full-lengths and unreleased and radio tracks. It’s an absolute riot from start to finish, even if it’s hard to get a grip on what Love Child was at its core.

The band came together in the late 1980s, when Will Baum, Rebecca Odes and Alan Licht were still students at Vassar. Licht, of course, later made a name as a critic and noise-minimalist. His work with Love Child overlapped with Blue Humans and slightly preceded turns with Run On and the Pacific Ocean. His collaborations with Jandek and Loren Connors took place later, in the second half of the 1990s.

The earliest cuts here come from a 1990 single, the brash, ragged-bassed “Sofa” (memorialized here in Love Child’s only video) and the vaguely “Summertime Blues”-ish “Crocus” (with its indelible line, “My mom threw me out until I get some pants that fit/She just don’t approve of my strange kind of wit.” ) Both balance garage-rock minimalism with a bursts of noise. “Sofa” intersperses catchy, kicky girl-boy choruses with blasts of unfettered guitar squall.

The first full-length, Okay, came on Homestead in 1991. Its tracks take up a large portion of this compilation, which is fine because they bang pretty hard, especially the multi-voiced “Diane” and “Fortune Cookie” which blends the pure blasting amp noise of J. Mascis , the yelping angst of Television and the clanking post-punk bass sounds of, say, Gods Gift. But other cuts run towards jangle pop, notably “He’s So Sensitive” a lofi girl group garage rocker featuring Odes on lead vocal. The other album, Witchcraft, followed a year later, also on Homestead. It’s a bit smoother, a bit more melodic, a bit more reliant on Odes’ buzzy, dreamy vocals. “AAA/XXX” is almost dream pop, though sharp guitar slashes prop up the verse, while “Something Cruel” jangles lyrically for a seconds before cranking up to pogo speed.

Additional, previously unreleased material bookends the album. “Asking for It,” from a 1992 Peel Session comes first, layering bratty, confrontational punk on wild eruptions of near rockabilly guitar; an oozing, sludgy noise interval bisects the cut. “Greedy,” another song from the same session exults in feedback and loose harmonies, tough and vulnerable at the same time. There are also a couple of cuts from a KSPC show, including the dreaming, droning, guitar-led “All Is Loneliness” with its shades of VU. That track was recorded in 1993, near the end of this evanescent outfit’s run, and it hints at other directions that they might have taken if they had persisted. Still no use mourning what never happened. There’s plenty to celebrate here without it.

Jennifer Kelly

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Borzoi,

The Parlor 3/16/24

#borzoi

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Love Child- Never Meant To Be  1988-1993 (12XU)

Love Child, the NYC trio of Will Baum, Rebecca Odes, and Alan Licht (later joined by Brenda O’Malley after Baum left) could’ve just been a footnote in history but thanks to the 12XU label fans old and new will be turned onto the band’s great grit rock that was all over the indie world in the late ’80s/early ’90s. Though it was basically Licht on guitar, Odes on bass, and Baum/O’Malley on drums there was some musical chairs instrument switching going on and on the vocals, too that always made for an interesting stew.

Ken Katkin’s Trash Flow label released the band’s debut single back in ’90 and sang the band's praises to anyone within earshot. When he took over Homestead Records (from Gerard Cosloy, who ironically runs the 12XU label that is releasing this collection), he continued on, releasing the band's two terrific LPs, Okay? and Witchcraft and another single. In addition to select cuts from those records, there are also songs from a Peel Session, a KSPC radio session, and more for 26 songs in all.

The charm of these recordings is Licht’s 6-string wizardry, a possibly self-taught genius who plays what he feels like when he wants to while the rhythm section hammers it all home with real hammers. Many of the songs don’t even hit the two-minute mark and those that do barely go over it though a few songs even go over the 5-minute mark and the album closer is the genre-defying “All is Loneliness” close in over eight minutes (I think they invented the word raga for cuts like this).

Cuts like “Wait and See, “He’s So Sensitive,” “Cigarette Ash,” “Crocus Says” and “Fortune Cookie” are just a few wired/wiry cuts that any band would be proud to call their own (“Willpower’ too).  In other words, it’s not too late to ride the fiery breeze of Love Child!

www.12xu.bandcamp.com

www.lovechild12xu.bandcamp.com

#love child

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https://www.ravensingstheblues.com/love-child-never-meant-to-be-1988-1993/

"This comp stands as an excellent document of the band’s tenure — a living being that was constantly in motion, evolving rapidly and extinguishing far too soon."

#love child #raven sings the blues

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#love child