You are currently browsing the monthly archive for June 2009.

u guys wanna get high and listen to a sick tribal drumming group from baltimore? this is a recent question i find hard to say no to… i’ve been hooked on these guys for a ‘go-to’, trance-out, herbally-enhanced jamband ever since i saw them open for dan deacon… i was determined to crack into this bands’ genius, and knew it would be equally heady/psychedelic/revolutionary since they were dan deacons’ supporting ensemble/tourmates… anyways, it rules and has infinite replay value… they remind me of yeasayer -vocals, +drone… sort of eastern swirly psych-grooves that shake and shift and mutate to the collective’s improvisational whims… it has the power to mesmerize/sedate/hypnotize… perfect for reading/dreaming/beinghi/replacingsilence/…

” You’ve heard this one before: A group of young (and more than likely college-educated) white people get together, pile instruments in a heap, and share a one-track mind to home, sweet, Om. Teeth Mountain’s mixed-bag lineup doesn’t re-invent the drum circle, but its members–listed as Andrew Burt, Andrew Bernstein, Greg Fox, Greg St. Pierre, Max Eisenberg, Max Eilbacher, Kate Levitt, Grace Bedwell, and Owen Gardner here, not all of whom played on the recording–do it with a sincere appreciation for the woollier end of late-’60s radicalism. Think long-robed cults coming for your children…

…this LP bristles with the meandering abandon of fretful discovery… Teeth Mountain navigates a rhythmic journey through steady-pounding floor toms, space-travel cello drones, and some cosmic-dust dashes of guitars or woodwinds or noisemakers or some other hand-powered sound source. “Black Jerusalem” and “Keinsein” vibrate with reeds ghosts and goblins floating through the background, while “Soft Beast” sounds inspired from any moment off that levitating Velvet Underground bootleg 1966, the one that’s nothing but two side-long instrumental slabs…

…the ‘doing it because it feels good right now’ vibe may be what makes Teeth Mountain such a woozy intoxicant. This is the sort of music that makes people reach for words such as “tribal,” “primitive,” and whatever so-called “exotic” world music is in fashion that hour, but Teeth Mountain couldn’t be more urban and Western if it was making hip-hop. Amorphous, wordless instrumental stew is the basic stock for group disquietude. And while the Baltimore zeitgeist right now may have not formally organized Ausser-Parlamentarische Opposition arm just yet– something about Teeth Mountain’s out-of-body aspirations reek of shared disillusionment, and once the many brains camping out on this mountain begin to see where they want to take their mettle, once they decide to trade the skinny jeans for the leather jacket and start designing guerrilla insignias, watch out. ” -BaltimoreCityPaper


“Plying 1960s Nuggets that belie their age, the Strange Boys quickly inserted themselves in Austin’s garage rock and pop revival…” / “slurred, slacker vocals texturing their classic riffs and rhythms”

“Strange Boys vocalist Ryan Sambol looks and sounds like a little boy. The slurred squeak of his voice bleats unique and quite frankly endearing, and its seeming innocence, along with the local quartet’s youthful looks and thin, noisy sound, invites comparison to another young garage rock band, Black Lips. The Strange Boys don’t possess the Lips’ anarchic punk energy, substituting instead an unconcerned ennui that seems rooted in lazy front-porch blues.” – Austin Chronicle

“The Strange Boys supply the perfect slacker-soul grooves for long nights of awkward shuffling, excessive drinking and desperate sidelong glances at the object of one’s affection.” –

“Their New Album is Quite Possibly The Best Album To Come Out Of Texas in the past decade.
It also may be The Best Album To Come out in 2009. These Guys Have an amazing vision. And Whats Impressive is that they have such command over their sound and they’re still so young. The Lyrics are an amazing breed between Lou Reed and Bob Dylan. The Strange Boys Are Where It’s At. Period” – comment on rollingstone.coms’ “New Favorite Band” (possibly too many Caps?)

house / progressive / electro / psychedelic trance

“Fast Forward to the Future. Psychedelic trance takes a big leap Forward with this stunning release from oCeLoT. 9 lives, 9 tracks, 1 crazy cat…this stuff is hypnotic to the max. Follow each twist and turn as you probe deeper into the unconscious psyche than ever before. Sophisticated and sexy grooves suck you into a world of shimmering surreal textures, alien melodies, with a compelling drive that won’t let go. The clarity of sound quality will delight your ears. The sheer intensity and depth of this music will shock and stimulate your brain. This is music to awaken the mind. Your neurons will leap to attention. This is the ultimate antidote for the retro malaise. Screw the 80’s! This is the next generation of trance music.” –

harlem free drugs
hometown: covered in bbq sauce in austin texas / influences: the only band we like is nirvana. the only album we like is nevermind. the only song we like is smells like teen spirit.

some of Austins’ finest homegrown, catchy-as-fuck garage rock / lofi indie rocknroll… in the future everyone will enjoy Free Drugs…

“…iiiii think you’re beautiful and very smart.”

animal collective in Dallas

here’s some animal collective-curated mixtapes for summer… they were put up on the deerhunter blog last year, and figured they’d get downloaded if i put em up again…


Progressive House / trance-flavored techno / 90’s German Rave / 8-bit


“Batmanglij (Vampire Weekend) and Miles (Ra Ra Riot) have combined their talents to create a R&B/synth-pop album that relies heavily on vocoder vocals, synths, and jittery beats. I dare you not to nod your head along as blips and bleeps mix perfectly with a surge of synths on “Osaka Loop Line,” or to try and ignore the excellent remix of Ra Ra Riot’s song “Can You Tell” retitled as “Can You Discover.” As is the case with most collaborative bands, Batmanglij and Miles had some help from their friends on LP, including a guest appearance by Dirty Projectors singer Angel Deradoorian on “I Wanna Be Your Boyfriend” and Vampire Weekend frontman Ezra Koenig on “Carby”. Other highlights include a great cover of The Jackson 5’s “I Want You Back” and Hot Chip-esque repetitive vocals and twinkling beats on “It’s Not My Fault (It’s My Fault).”

– reminds me of Passion Pit v2.0 mixed w/ some hardhouse electro + kanye autotuned vocals + lots of sweet tempo chops and synth breakdowns… i heard it called a new Postal Service, but i dunno if its that epic…