Upset The Rhythm Presents |
DAVID NANCE, Omaha veteran of warble and hiss, returns with ‘Negative Boogie’ (Ba Da Bing Records), his new concoction of chug, throb and greasy swagger. For ‘Boogie’, Nance trades in his beaten up Tascam 488 for the bullet-proof, glass walls of A.R.C. Studios. Where else can you brew the negative boogie? It’s a bit like Canned Heat but with Pere Ubu’s queasy rhythms and someone playing five finger fillet with Swell Maps. Ensconced in his ivory tower and soundproof rooms, Nance reached for unlikely weapons to tear down his own lofty experiment. He had his pick of rare guitars, cowbells, steel drums, vintage amps, Crazy Horse microphones, mellotron, and the restless but indefatigable rhythm section of Kevin Donahue and Tom May. They started at sunrise and recorded 15 songs by midnight. Maybe it’s his Midwestern work ethic, maybe he’s a sonic cheapskate. Maybe it’s just the sound of negative boogie. These songs stab and flow into one other like a perfectly orchestrated classic. They’re drenched with Nance’s most biting and comic lyrics to date, peaking on “D.L.A.T.U.M.F. Blues”. And ripping through the entire thing is the cracked power he yanks out of the guitar, a veritable The Good, The Bad and the Ugly of riffage. This is a departure for Nance. It’s bigger and grander but it’s far from easy music. It’s his Plastic Ono Band, his For Your Pleasure, his fever dream of Rocket from the Tombs. Shredders sit with jangling rockers, manic energy spills into depressive torpor, providing the ultimate record experience: one of power, nuance and emotion.
NEGATIVE SPACE play mysterious gay hardcore. Negative Space released their debut album ‘Gestalt’ through new London-based queer label Always Restrictions and Drunken Sailor late last year. The record focuses almost exclusively on the miasma of larger inner-city living and the effects of gender dysphoria on the self, ‘Gestalt’ pushes an overbearing aural disquiet that expands on the band’s established tense minimalism while upping the ire, recalling post-punk forefathers like Wire or a peppier Gang of Four while simultaneously feeling wonderfully, urgently now.
MIDNIGHT MINES are a self-styled ‘spontaneous music ensemble’ eschewing formal song-writing for laying down improvised bursts of music during their recording sessions. The resulting live jams are subsequently chopped, screwed and assembled into tracks, filtered through their love of obscure 60s garage no-hopers, outsider folk, The Fall, fried dub, early industrial and other esoteric concerns. Baron Saturday and Private Sorrow swap instruments and splice together tracks built out of old drum machines, feedback, 2-note riffs, atonal harmonies, transistor organs and repetitive mantras. Check out their recent LP on Mystery Plane and the duo’s ‘We Are The Primitives of a New Era’ cassette.