Descartes a Kant - After Destruction

The savvy sound fashioning of Mexico’s Descartes a Kant burst forth with bright magenta shades and imaginative art rock sounds on their brand-new album After Destruction. The timely themes of self-realization in the age of artificial intelligence in a push-button world that creates us as we create it, are artfully presented with tight, melodic musicianship and pleasantly processed guitars, drums, keyboards – and the waifish vocals of Sandrushka Petrova up front, narrating colorful existential tales.
A pleasant female computer voice narrates the album, between songs with a decidedly prog punk edge adding depth to the kitsch presentation. “Graceless” tells the tale of optimistic dreams thwarted by a reality, reluctantly faced. Downbeat, and with stylishly insinuating guitars by Petrova and Ana Cristina Moreno, ethereal synths by Memo Ibarra, and drums by Leo Padua, it’s a bittersweet reflection on idealism disappointed.
“The Mess We’ve Made” is a driving, mid-tempo tune about a secret rendezvous, while the new single “Raindrops Of Poison” poses existential questions about memory and trauma, in an imaginative presentation featuring ear-tricking key changes, and Petrova’s animated, dramatic vocal style. It starts off angular and jagged, only to become reflective and sweet.
“Woman Sobbing” evokes Frank Zappa, Captain Beefheart, Yeah Yeah Yeahs and Jefferson Airplane in a poignant narrative describing those rabbit holes that we often find ourselves in. Guitars on this track are as brilliant as Adrian Belew, while Leo Padua and Memo Ibarra are in perfect sync on drums and bass. Petrova’s vocals excite the imagination with perfect harmony.
The title track “After Destruction” has a driving beat, and a guitar sound that avoids the trap of being too thick or grungy, instead it’s perfectly gritty and melodic. The tune, like the album, has layers and thematic changes, that keep the listener guessing as the melodic narrative progresses. There’s shades of Radiohead here for sure, in the arrangements and also in the care taken to sculpt new guitar and keyboard sounds that have never been heard before.
The album After Destruction is a thematic exploration of a computer guided future, with just the right mix of electronics, visceral guitars and vocal passion. In the world of After Destruction, there’s always an opportunity to rebuild oneself, and for that reason, it’s a guardedly optimistic set from a band that I expect to hear many more amazing sounds from in the future.  From: https://www.punkrockbeat.com/descartes-a-kant-excite-with-artful-prog-punk-future-vision-of-after-destruction/

Toadies - Possum Kingdom

Hello again, fellow watchdogs of the music world. I’d like to thank everybody who has striven to uphold morality in our songs and sent in a horrifying lyric. Together, we’re going to beat this thing. I’ve already had several prominent musicians email me begging me to stop this feature, because they’re DEVILS and they know we’re going to SEND THEM BACK TO THE FLAMES. Okay, that last part isn’t true at all. But it’s amazing to see just how twisted some of these songs are. Today’s submission of “Possum Kingdom” by the Toadies comes from Samantha Smurawa. Thanks, Samantha! If YOU know a profoundly disturbing song that requires immediate analysis, send it in to mailbag@pastemagazine.com. And as always, check out previous installments at the bottom of this post. As per usual, I won’t be looking at any backstory until I’m finished analyzing. Toadies lyrics in bold, my commentary after.

TITLE: Possum Kingdom

Usually I don’t comment too much on the title, because bands are sneaky and call their songs things like “Art Lover” just before chasing little girls around a park. But I want to take a moment to give some credit to the Toadies, because that’s a real weird title. I want no part of a Possum Kingdom, at all. I don’t want to know the king, the queen, the jesters, the serfs or anyone. (Okay, fine, I am kinda curious about the possum jester.) It feels like the kind of place where human beings are brought in strapped to piece of plywood and gnawed to death. Count me out.

(Note: I’ll be saying “the Toadies” even though the band’s name is just “Toadies,” because without “the” it just sounds weird, and all you grammar people can go straight to hell.)

Make up your mind

I ALREADY DID, I DON’T WANT TO GO TO THE POSSUM KINGDOM. Oh wait, the song started…

Decide to walk with me
Around the lake tonight
Around the lake tonight
By my side
By my side

My previous experience has taught me to distrust innocuous beginnings, but hey, maybe I was wrong this time. Maybe it’s just about two lovers strolling around a lake. We need more of that in America. Lake strolls, I mean. When’s the last time you strolled around a lake? When’s the last time you’ve seen a lake? Do we even have lakes anymore? I think lakes have gone extinct. Thanks, Obama.

I’m not gonna lie
I’ll not be a gentleman

There are two ways to take this. One, he’s going to behave like a damnable sexy rogue, which can be exciting and novel. Some people go for that. Some ladies like a bad boy. Two, he’s going to throw her in a possum pit to be chewed to death.

Behind the boathouse
I’ll show you my dark secret

The temperature is warm here in my house, but I just shivered. What is your dark secret, Toadie man? It’s the possum kingdom, isn’t it? Also, a hint: If you want to lure an unsuspecting lady to your boathouse lair, it’s probably better not to lay out your plans in song form beforehand. In real life, I imagine a woman would start to get a little suspicious at the “gentleman” line, and then start running away at “dark secret.” Nobody wants to see anyone’s dark secret. Unless that dark secret is a lake, because WHERE THE FUCK HAVE ALL THE LAKES GONE, OBAMA?!

I’m not gonna lie

And we appreciate that. Again, not great serial killer strategy, necessarily, but it’s refreshing to be warned ahead of time that a bevy of possums is about to consume us bit by bit. Okay, I just looked up the collective name for possums, and it turns out it’s “passel.” A passel of possums. Also, the animal is technically called an “opossum,” but since I already told all the grammar people to go to hell, I can’t really call the Toadies out on this one.

I want you for mine
My blushing bride

Oh good, a weird marriage fetish scenario. No good serial killing is complete without one. I’m no expert, and I’ve never killed anyone, but I strongly believe that if your victim isn’t wearing a bridal gown, you’re not doing it correctly. Either that, or dress her up like your mother. Maybe I’m old-fashioned, but to me, those are the best ways to decorate a victim before setting the passel of opossums loose.

My lover, be my lover, yeah…

I know he says “be my lover,” but I get the feeling there’s no actual sex involved here. The whole situation is a little too bizarre. Wedding dress? Yes. Possums? Definitely. A boathouse filled with screams and terror? You bet. But I’m not seeing sex entering into the equation. And you know what? That’s sort of refreshing. Week after week, we’ve seen songs about dudes being really creepy and secretive and perverse around women (along with one woman taking revenge for her entire gender). It makes you lose faith in humanity. But the Toadies? They’ve got something deeper going on. Mere sexual power dynamics don’t interest them. This is psychological horror on a brand new plane, and THIS WRITER finds it refreshing! (No, I don’t. This is awful. Somebody help me.)

Don’t be afraid
I didn’t mean to scare you

I am finding that difficult to believe, sir! On a positive note, at least there’s no disturbing religious element to this fantasy. That’s the last serial killer trope we’re missing. When you bring God into the mix, it adds that awful ritualistic feeling that really makes me panic. But we’re so far along in the song that surely we’re safe.

So help me, Jesus

Dammit.

I can promise you
You’ll stay as beautiful
With dark hair
And soft skin…forever
Forever

The one thing that always makes me laugh about serial killers is how they think they’re doing you a favor. “You’ll be perfectly preserved to the end of eternity! You should be thanking me!” Nope. I’ll just take a normal life and death without being embalmed in a wedding dress and stuffed into the wall of a boathouse, thanks. I’m not saying I don’t appreciate your aesthetic, but I really feel like this should be my choice to make.

Make up your mind
Make up your mind

Are we still talking about deciding to go for a walk around the lake? I don’t want to speak for all women, but I think that was a flat no like ten lines ago.

And I’ll promise you
I will treat you well
My sweet angel
So help me, Jesus

“Awwww…I don’t know, maybe this guy’s alright. God knows there are some awful men out there, and I can’t seem to keep a boyfriend beyond three dates. Plus, I’d get to see a lake, which God knows is rare in Obama’s America. On the other hand, the possums…”

Give it up to me
Give it up to me
Do you wanna be
My angel?
So help me!

If I have one criticism of this killer, it’s that he seems super unfocused. Is it a religious thing, where he wants to make the woman into an angel for Jesus? Does he want to preserve her eternally so she remains perfect? Does he want to dress her like a bride? And what’s up with the possums? After the title, the possums have never been mentioned again. This is what I mean by keeping it simple. So many serial killers want to complicate things today. And if you do it right, it’s great, but let’s not forget some of the old classics, like Jack the Ripper stabbing prostitutes, or Son of Sam just shooting people with a .44. We need to get back to basics. But I guess that’s not the way things work in the Obamanation, am I right?

Be my angel
Be my angel
Do you wanna die?

Also, there’s never been a serial killer who was so solicitous. “Look, I want to take a walk around a lake with you and then kill you, but hear me out while I tell you the exact plan. In the end, this has to be your choice, and I want you to be as comfortable as possible. On a different note, how do you feel about possums?”

I promise you
I will treat you well
My sweet angel
So help me, Jesus

If you play this song backward, you can hear the bass player whispering “A Passel of Opossums” over and over.

And there it is! Looking at the Wikipedia entry, it turns out that “Possum Kingdom” is the name of a lake in Texas. So all that talk of possums eating people was just a false alarm, unfortunately. I mean fortunately. Whatever. Stop looking at me. An interesting wrinkle is that footage from the music video was found by a local resident, which led to Dallas police questioning video director Thomas Mignone because they thought it was a snuff film. Finally, someone taken to task for their horrifying lyrics!

From: https://www.pastemagazine.com/music/profoundly-horrifying-song-lyrics-possum-kingdom-b

Grandma's Ashes - Cassandra

Grandma’s Ashes are a three piece Stoner Prog band from Paris, France. Their music is a blend of heavy face melting riffs, dark melodies and complex rhythms. Last month they released their debut EP ‘The Fates’ and we were able to have a chat with them about the EP, the band and their influences.

Let’s start with the basics! Tell us about the formation of the band, how did it all come together?

We met four years ago on the internet. Myriam and Eva knew each other for a year or so and were looking for a drummer so Edith came along and Grandma’s Ashes started this way. When we first met we jammed and it felt obvious that we had to play together.

Your sound is colourful and eclectic, you can hear the math rock influences with your use of odd time signatures, along with the filthy desert/stoner rock riffs mixed with some psychedelia. What are your individual influences and musical backgrounds?

Myriam: I began the guitar when I was 13, playing in different rock bands. We were mostly influenced by classic 70s rock such as Led Zeppelin, Sabbath, The Beatles, Bowie etc. I discovered the desert rock scene when I arrived in Paris, by mixing live local bands in underground venues. I was totally fascinated by the heaviness of their sound. Since I grew up in Morocco, I’ve also listened a lot to traditional african music which made me more open to odd time signatures, and I studied jazz for a year at school.

Edith: I’m really influenced by math-rock bands such as Toe, Don Caballero, and Battles for their structures and creativity. Also modern progressive metal bands like Leprous, Night Verses, and Cult of Luna for their massive sound and crazy technique. I’ve been a drummer for 11 years in different bands and I’ve attended different schools including the same jazz school as Myriam.

Eva: I discovered stoner rock with Queens of the Stone Age and Kyuss at the age of 15. It totally blew my mind as I was mostly influenced at the time by 70’s english punk bands (The Strangers, The Damned) with rich, high sound and sharp bass lines. This discovery was a revolution in my way to play bass, more encompassing, more massive (Then, late, I heard about black sabbath and type O negative and I totally loved it!) Later I discovered progressive bands such as Yes, and I switched again for more complex bass lines, keeping the heaviness I learned from stoner rock! This prog band also taught me the way to sing some psychedelic voices while keeping complex rhythms in the background. I was amazed it was possible to do both at the same time, and create such a strange, and poetic universe with dark tones!

I read somewhere that you recorded ‘The Fates’ EP live, which is super refreshing to hear and it gives a real human feel to the way it sounds. Tell us about your experience recording with this approach?

Thank you! It was quite impressive to record live in the beautiful Ferber’s A studio, we felt honored. Playing live together is what we prefer to do, we’re used to working this way, feeling each other's energy in order to create and give the best of ourselves. We tried to do what we do best except that we had amazing gear and a crazy crew guiding us toward the best results. It was a bit stressful but very exciting above all.

The guitar and bass tones are one of the defining characteristics of your music, talk us through your rigs and how you achieve such a massive sound?

Our first idea to sound massive was to tune ourselves a whole tone down and use the heaviest strings gauge we could find. It really adds texture because our strings aren’t flexible at all! Then, Myriam began to play on two Orange amps in a sort of stereo or dry/wet setup which opens up the sound and lets more room for the bass. We are still trying to sound heavier by combining Fuzz pedals and splitting signals on amps, but the main idea is to play loud and low. 

The lyrics to your single ‘Daddy Issues’ casts an interesting narrative and complements the theatrics of the heavy and menacing instrumental. What is the meaning behind the song?

This song is about the separation of Eva’s parents. It was a dark theme she wanted to keep powerful. There’s a lot of musical references in it for her, such as a famous baroque bass line during the bridge (“Music for a while” by Henry Purcell) sang by her parents a few month before their separation. It’s all emotional and we decided to name it by a ridiculous title to decrease the pathetic side of the song, and minimise what was a traumatic event to a reductive expression, to stay prude and make fun of it instead of making everyone cry *laugh*

The cover for the EP is distinctive and has a mythological quality to it, what inspired the artwork?

The artwork was inspired by a guy who came talk to us after a gig in Montreal a few years ago. He compared us to the Parcae, the female personifications of destiny who directed the lives and death of humans and gods. He said that each other had a role on stage: Eva spun the thread with her melody and rhythm foundation, Myriam unwind it with her riff and atmospheric effect, at last Edith cut it with convoluted rhythms. We liked this metaphor a lot because we were already inspired by classical art but suddenly it took a musical dimension and it felt interesting to include it in our visual universe.

Are there any bands in the local Parisian scene that you would recommend?

We would definitely recommend to listen to The Psychotic Monks, Cosse and Liquid Bear! 

Finally, what have you got planned next for Grandma’s Ashes?

We’re focusing on our first album since we don’t have gigs coming, but we hope to play live this summer or at least at the end of 2021. We plan to shoot a new videoclip and a new live session also.

From: https://www.smrgoth.com/post/interview-grandma-s-ashes

Teke-Teke - Garakuta

In order to understand the music of TEKE::TEKE, I first need to explain Eleki. Eleki is a type of Japanese surf rock that, whilst similar to Western surf rock, uses traditional instruments and the pentatonic scale. It popped up in the 1960s and has become a niche over the decades. It wasn’t something I’d come across until I discovered TEKE::TEKE and now I want to discover more.
It’s worth noting that TEKE::TEKE are not strictly an Eleki-only band. They also weave Brazilian surf rock and plenty of psychedelia into their sound. There isn’t anything quite like them out there though. On their new album ‘Hagata’, very much my starting point with the band, I was immediately blown away but the visceral explosion of sounds, cultures and rock symphonies the septet create. Opening with ‘Garakuta’ we have a kabuki dance of flutes, brass, guitars and water-filtered vocals. The guitar and bass sound like a throwback to shamisen riffs, or on tracks like ‘Gotoku Lemon’, like a Bollywood riff. It gives a sly and sensual feel to the music. The woodwind and brass are often playing melodies in unison which give a quirky comedic and secretive spin on things too. Add in some Brazilian-inspired percussion and you have a true melting pot of ideas. Am I in Turkey? Am I in Japan? Am I in India or Brazil? Nope, TEKE::TEKE is based in Montreal.
With such a buffet of sounds to choose from, the band refuses to sit still. ‘Hoppe’ eschews the traditional for a punk rock crunch. The brass arrangement really ups the ante in the bridge and choruses but the rock edge reminds me of Shiina Ringo at times. ‘Onaji Heya’ leans into that comparison more with lots of electronic and baroque elements to the track. Then we break into striving, dramatic guitar solos to break the song into segments like a classic rock tune. The palette-cleansing ethereal harp and flute interlude of ‘Me No Haya’ couldn’t feel or sound a million miles away. Yet as it spins itself into a frenzy, more of TEKE::TEKE’s rock members join in for a whirlpool of ghostly rock nods to something darker.
Taking us fully back to 1960s psychedelic folk is the superb ‘Doppelganger’. Between the sassy brass, the timeless electro-acoustic band sound and some of the cleanest vocals on the album, it is a great place to start if you are new to this style of music. The track is more of TEKE::TEKE’s hippy side rather than the rock side but if the band’s charm is ever going to win you over, it is with this song. Fast forwarding to 70s cop shows, ‘Setagaya Koya’ has guitar whammies that come with giant sideburns. It then switches to a rock interpretation of bossa nova and Latin beats, leaning into the Brazilian side of their sound. Sassy, seductive, dramatic and dangerous sounding, I feel like I’m performing espionage in 1972 Brazil.
‘Kakijyu’ is the longest and perhaps most experimental track. It is a taut and rhythmic drum pattern crammed full of whispered vocals that slowly build and build until the entire band joins in with a euphoric outro. It sounds ceremonial but may be a hard sell to start with. Drums lead the way with the chaotic kraut-rock of ‘Yurei Zanmai’. The track barrels along at huge speed and the vocals literally shatter as the guitars pile in. Hedonistic in it’s setup, this feels tribal and primal as all the instruments zipline between two chords like a ripcord. That leaves the haunting closer ‘Jinzou Maria’ to provide a Brazilian farewell. The South American flavoured ballad starts off like a Latin cowboy theme of vocal and guitar before the rest of the band join to give a psyche-folk outro.
There is a certain diaspora around TEKE::TEKE that I find fascinating. I’m sure I’ve called out incorrect cultures and influences throughout this review but it is such a magical blend of ideas, I’m sure I’ve missed about 25 countries out of the mix too. Sometimes it sounds Mexican, Turkish, Indian, Japanese, Brazilian, American and sometimes all of the above and none at the same time. TEKE::TEKE has a genuinely unique sound and I adore it. This album is a triumph in melting pot sound design that works. Sounds don’t feel isolated or fractured – everything has its place and merges superbly with the other elements. ‘Hagata’ will feature highly on my best of 2023 list.  From: https://higherplainmusic.com/2023/07/17/teketeke-hagata-review/

22 Brides - Visions of You

Libby Johnson is an American singer-songwriter. She co-founded the indie folk band 22 Brides in 1992, and released her debut solo album, Annabella, in 2006. Johnson was born on an army base in Germany. She moved around on the East Coast of the United States and moved to Nairobi, Kenya, when she was 13. She started playing piano at age 7. She and her younger sister, Carrie Johnson, started singing together when they were children. They performed in Kenya, before returning to the United States while in high school. They went to the Berklee College of Music in Boston before moving to New York City in 1983.
In 1992, the sisters formed the indie folk duo 22 Brides, and in 1993 they put out the self-released eight-song CD Selling Fruit in Cairo. The band name 22 Brides comes from an Indian folk tale they heard when they were younger. After being spotted during one of their monthly gigs at CBGB's Gallery in New York, the duo signed with indie label Zero Hour Records in 1994. On June 22, 1994, they released their self-titled debut, consisting of remixed songs from their self-released effort plus four new songs. The album was produced by Daniel Wise, with additional production from Godfrey Diamond, and features Jonathan Mover on drums and Mark Bosch on guitar.
On the year-long tour for 22 Brides, and in advance of their second album, Beaker, 22 Brides expanded into a four-member band with John Skehan (guitar, bass) and Ned Stroh (drums) joining Libby Johnson (bass, keyboards, vocals) and Carrie Johnson (guitar, vocals). Produced by Adam Lasus, the album had a more highly produced feel than the folk influences of the band's debut. Following a Zero Hour distribution deal with Universal Records, Beaker was released on Zero Hour / Universal. On September 9, 1997, Zero Hour released the 22 Brides EP Blazes of Light, which was a sampler of sorts, with songs from their first two albums, "Purified" from their upcoming third album, and a cover of Leonard Cohen's "Hallelujah".
The band's third LP, Demolition Day, was released in 1998, with a return to the more intimate sound of 22 Brides. In an effort to get back to their folk-pop harmonizing roots, the band worked again with Daniel Wise and recorded their vocal tracks live and switched to a trio formation, with Libby Johnson on bass and vocals, Carrie Johnson on guitar and vocals, and Bill Dobrow on drums. The first single from the album "Another Distant Light" debuted on WNNX out of Atlanta.
In October 1995, 22 Brides toured with Dick Dale. 22 Brides played at the 1998 Lilith Fair, and also opened for Ani DiFranco and Freedy Johnston. In 1996, Joe Quesada and Jimmy Palmiotti introduced characters based on Libby and Carrie Johnson in their comic book series Ash. They then created a four-book miniseries, 22 Brides, published by Event Comics, revolving around the characters based on the sisters. Palmiotti later created a spinoff series, Painkiller Jane.  From: https://en.wikipedia.org/wiki/Libby_Johnson

Lovely Little Girls - Shadow Of Bees

Chicago's Lovely Little Girls focus on the details; that bit of flab hanging over a waistband, those ill-fitting shoes that carve deeper with each step and that slight underbite - teetering between the lovely and the repugnant.  Led by visual artist/vocalist Gregory Jacobsen and bassist Alex Perkolup (Cheer-Accident, Flying Luttenabachers, Bobby Conn), Lovely Little Girls is a nine-piece art-prog band that features the cream of the crop of Chicago's avant-rock scene. "Glistening Vivid Splash", the band's second full-length for SKiN GRAFT Records propels the ensemble's darkly humorous vision of absurd sexuality, abject failure, and unceremonious death to new heights by utilizing more space, and employing a strange sense of harmony that will strike a chord with fans of Magma, Cardiacs, Arrigo Barnabe, and early Residents. Produced by Greg Norman and mastered by Todd Rittmann (Dead Rider, US Maple), the music of Lovely Little Girls is permeated by an ominous urgency, ripening and decaying before the ears. 

The drawings and paintings of Chicago artist Gregory Jacobsen aren't exactly easy to look at: his favorite subject is body horror, and he loves to combine bright, kid-friendly colors with beautifully rendered deformities and mutilations and revolting masses of flesh and hair and membrane. Since 2001 Jacobsen has also had a band, Lovely Little Girls, and it's a total package: challenging, dissonant, ever-changing experimental rock, conceptually linked songs, and ambitious themed stage productions that often involve makeup, prosthetics, partial nudity, and large casts of players. His longtime collaborator, bassist Alex Perkolup (also of Cheer-Accident), writes most of the songs; Jacobsen animates their lyrics with his abject, frenzied singing and grotesque, even violent stage presence. - Monica Kendrick, Chicago Reader

The music of the Chicago avant-rock oddballs Lovely Little Girls is inspired by the paintings and drawings of artist/vocalist Gregory Jacobsen. It's the sort of artwork that can inspire lyrics like "Inflammation of the harelip," candy-colored grotesques that seem like carnival art intended to scare children with the threat of STDs. These characters are depicted in the band's Frith/Residents-inspired anarchic outbursts, sideshow skronk in [Henry Darger] Vivian Girls colors. The songs come mostly from the pen of Cheer-Accident bassist Alex Perkolup, who translates Jacobsen's deformed portraiture into an equally deranged sonic palette, a no-wave juggling act by turns horrifying and horrified. - Shaun Brady, Philadelphia City Paper

From: https://skingraftrecords.com/bandhtmlpages/llg.html

Polecat Creek - Midway Road

Polecat Creek features Laurelyn Dossett and Kari Sickenberger, two singer-songwriters from North Carolina who have pooled their talents, ostensibly because their wonderful harmonies bring out more in their songs than each of their own individual voices could. Although the women straddle the fence between bluegrass and old-time (leaning more toward the latter), there are also occasional echoes of Cajun music, honky-tonk, and blues. Their second album was recorded in Louisiana with Dirk Powell producing and Riley Baugus as the main accompanist (mostly on banjo and fiddle). Kevin Wimmer (fiddle), Terry Huval (lap steel and resophonic guitar), Mike Burch (drums) and Powell (a mutli-instrumentalist) make up the rest of the backing crew. The songs, written individually by either Dossett or Sickenberger, are memorable and lyrically sophisticated. “Mama”, has nothing in common with the sappy tributes to motherhood that are prevalent in some country music circles. “The Past Ain’t Over Yet”, the story of a prisoner who is haunted by a murder committed while under the influence, is a jaunty blues that includes some classic lines: “Now I can’t look ahead and I can’t forget / My future’s behind me and the past ain’t over yet.” The title track is a touching song about the collapse of a small-town industry and the inhabitants’ struggle to survive. Strong vocals, tight harmonies, compelling arrangements, and impeccable musicianship all help to bring out the best in the duo’s songs.  From: https://www.nodepression.com/album-reviews/polecat-creek-leaving-eden/