Volcanic Tongue Catalogue

Rainbow Conez
Live At Shibuya Echo

Black Petal #39


More supremely disobedient a-formal destructo rock from the sainted Breakdance The Dawn cabal, this time it's Antipan minus one member, hence the name-change. Here we have Matt Earle (Breakdance/Muura/Craft Bandits/you name it) on guitar, Anthony Guerra (Black Petal et al) on drums and Nick Dan on bass and vocals. Recorded live at Echo in Shibuya, Tokyo in 2010 by Earle, this may be the wildest side of Antipan music to date with a bass that sounds like a huge electrified rubber band, a guitar that combines crude single-note Blues stomps with cranky Rudolph Grey-isms and drums that mix the detonating style of Rashied Ali with the caveman ugh of yr favourite pluke. Tracks are held together with the flimsiest of refusenik logic, with Guerra keeping it martial even when the strings are expiring in gasps of tortuous feedback. Think early Royal Trux via The Shaggs via Kito Mizukumi Rouber and spin it next to your favourite 'punk' 7 for an eye-opening lesson in total musical freedom. Impossibly great, with the usual beautiful packaging from Black Petal. 


X Wave
Cities On Flame

Little Big Chief Records LBCR-003


Massive two-header that upgrades a pair of killer sides from Australia’s sainted Breakdance The Dawn cabal, finally making vinyl editions available of some of the most supremely out rock/roll cut anywhere on the planet circa now: Girls Girls Girls is the amazing Brisbane based trio of Matt Earle of Craft Bandits/xNoBBQx etc on drums and electronics, Adam Park of Sprot on bass and Rohan Holiday of Kitten Party/Teen Sex on guitar. Together they play a radically dilated form of avant garage with creepy, minimal guitar lines over questing, brokedown bass and staggered rhythms. Some massively crankled motorik almost-grooves on this one, if you can imagine the Corwood recording that never came out on Flying Nun then you’re at least close but even more distressed, with single notes creeping along the fretboard like a narcoleptic Magic Band or early Royal Trux while the bass blows feedback at the drums and Earle falls down the stairs in slow motion. This is fractured avant blues at some kind of non-musicianly apex. As Matt Earle puts it: “together we are great like the gentlemen of Brisbane underground rock 'n' roll... there’s all these girl bands here at the moment and they’re all great but they won’t let us jam with them so we started our own.” Edition of only 250 copies in silkscreened sleeves, highly recommended!
X Wave take a more martial approach to punk/rock, coming over like The Afflicted Man playing Spacemen 3’s “Losing Touch With My Mind” while making with massively thuggish/F/X drenched jams that give the nod to Japan’s Minor scene (Rotting Telepathies/Gasaneta et al) while they attempt to rip “Teenage Kicks” from the hands of The Undertones with nothing but a buncha wrong notes. Indeed, this feels closer to the original breakout rock/roll urge than any generic pretender, freaking with it in an intuitive high-energy style that has few parallels. If your idea of ‘the canon’ has more to do with Harry Pussy, Arthur Doyle, The Shaggs and Mars than some longhair weeping into his soundhole then this is where you plug in. Breakdance The Dawn has been the secret underground rock label of the past goddamn decade and it’s only now that the rest of the world is catching up. So don’t be a goddamn dweeb: this is rock ‘n’ roll. Edition of only 250 copies in silkscreened sleeves, highly recommended!

Club Sound Witches

Breakdance The Dawn BDTD-155


New primitive ‘techno’ outfit from Matt Earle (Breakdance/Craft Bandits/xNoBBQx et al) and Nicola Morton (Wardenburger): minimalist throbbing electro-threat in the tradition of Vanity Records, Two Daughters, John Fothergill’s United Dairies of-shoot etc with automatic/modulated female vocals over druggy keyboard feedback and waves of lapping electricity: “our synth and drum machines were under water for three days in the Brisbane floods, they were given to us to prevent us from self harming. It gave them a unique sound. Wet, dirty and about to set the building on fire.” – Matt Earle. Another singular Breakdance release. 

Jason Kahn
Open Space

Editions 002

Art Edition 2xLP

Stunning, sprawling minimalist masterpiece in a gorgeous hand-painted private press edition of only 250 copies from composer/percussionist/improviser Jason Kahn: Kahn has worked with key NZ underground figures like Bruce Russell (The Dead C) and Richard Francis and here he draws on an amazing big band ensemble that includes many of the prime movers in the contemporary Australian underground, centred around the Breakdance The Dawn cabal, including Matt Earle (Craft Bandits/Muura/xNoBBQx et al) and Adam Sussmann (Emotional About The Rainbow/The Sha/RASheed/Orara et al) on electronics as well as Kahn himself on electronics, Chris Abrahams on piano, Laura Altman on clarinet, Monika Brooks on accordion, Rishin Singh on trombone, Aemon Webb on guitar and John Wilton on percussion. Across four sides of vinyl the ensemble moves through a series of distinct sound environments. The first side is mostly long, sustained tones rising from a fog of silence, with a feel of Ingram Marshall’s fog horn tropes or Af Ursin’s slow motion symphonies. The second side is busier, with a feel of sustained ecstatic sound maintained by constantly levitating percussion over arcs of stately electronics and shortwave codes. The third side is simply gorgeous, with great celestial harp-like sweeps of piano that are straight from the Alice Coltrane songbook devolving to weirdo low-key string work somewhere between Heather Leigh’s cuatro recordings or shamisen song accompanied by weird brass owl calls that come on like a hushed Steve Lacy. The final side is really amazing, with again fractured piano giving away to gentle wisps of electronic feedback, somehow reconciling Richard Youngs’ Advent with Tristano’s Descent Into The Maelstrom before melting into the most gorgeous forlorn children’s nursery rhyme scored for tentative single string plucks, high, ghostly reeds and elegiac wraiths of feedback.
Kahn put the piece together by listening to the music of the individual participants and then creating a graphic score with this in mind and it is perfectly realised, balancing the intuitive ‘non musician’ approach of Earle, Sussmann et al with classical avant garde aesthetics and extended technique to create a music that is somehow both tentative and assured, implied and stated, austere and incredibly moving. A modern minimalist masterpiece pressed on heavy 180 g vinyl, hand-number and in individually hand painted sleeves with inserts. Very highly recommended!

Love Chants

RIP Society RIP-038

12” EP

Amazing set of blasted downer folk/rock bliss from three masters of the form; Michael Zulicki of Mad Nanna et al, Matt Earle of Breakdance The Dawn etc and Anthony Guerra Of Black Petal and so on in an edition of 300 copies: Love Chants use guitar, drums and vocals to generate somnambulant slow-motion garage moves that take nod-out re-thinks of the third Velvet Underground album and dilate it with almost-Loren Connors-style single chord poetry and the kinda free-floating garage psych of Japan’s Suishou No Fune. As a vocalist Guerra exhales more than sings, adding blushes of luminous tone to the tracks in a way that comes over like a post-coital take on the barely-there tradition pioneered by Reiko Kudo, Ai Aso et al. The playing somehow manages to be simultaneously restrained and tightrope-walking, constantly teetering on total collapse while navigating the kind of instant universal music of a Babi or A Little Treatise On Morals shot through with great gobs of silent white light. Heartbreaking idiot avant at some kind of a-formal peak. Very highly recommended!

Club Sound Witches

Breakdance The Dawn BDTD-185


New jams from this ‘primitive techno’ unit featuring Matt Earle of Craft Bandits and Nicola Morton of Bad Intentions et al: wild, low-level electro tectonics that combine the spluttering hands-on appeal of the more tape-damaged end of the Blood Stereo/Prick Decay axis combined with homemade experiments in dub using wonky circuitry and soldering irons. Imagine a chopped and screwed series of early Atari game soundtracks manhandled with alla the shortwave violence of a Voice Crack w/occasional FM Ferarro-isms and you are some of the way there. More profoundly out haunted drone/percussion hypnotics from two of the deepest thinking ton scientists on the Australian underground. Recommended.  

Your Intestines

Breakdance The Dawn BDTD-193


Wild live set, recorded late last year, from this long-running Australian underground outfit that features Matt Earle and Anthony Guerra on guitars, Adam Sussmann on bass and Peter Blamey on drums: this is an hysterically brutal set, coming over like a no-technique thug-punk take on the opening seconds of Whitehouse’s “Wriggle Like A Fucking Eel” transposed for hands-on avant garage assault, with pummelling percussion, pugilistic bass blats and amplifier-destroying feedback violence. From there we’re into the kind of obsessively cranked non-stop energy constructs that would reconcile the live Taurpis Tula sound circa their Spykes collaboration and the sound of Vermonster plays the Silence back catalogue. A monster, highly recommended. 


Breakdance The Dawn BDTD-194


“Cool sidestep militant boogie jams” the label sez, and they ain’t wrong: Rasheed play what sounds like The Velvet Underground’s “Guess I’m Fallin’ In Love” as stomping monochord boogie, dredging Hooker N Heat style scorch for maximum power chord friction and positing the eternal riff as the keys to the goddamn kingdom. Think the whole Numbers Band/Sweet Kelley/Jessie Mae Hemphill continuum re-thunk w/post-BDTD aesthetics and set the controls for the heart of the jam.