RADIATOR REVIEWS: The Free Mansons - Their Satanic Majesties Third Request

The third installment in Their Satanic Majesties trilogy, is more an homage to the Brian Jonestown Massacre "Thank God For Mental Illness" as opposed to a continuation of the beatles-rippin' sixties-trippin side of the Rolling Stones (who ironically sounded their best when they essentially copied the Beatles). Thick globby synth lines glue down the opening track, which has a pop-friendly hook. "Doom Cloud" is more classic Free Manson's sounding, kraut-influenced with hints of 60's folk-rock as well as the fat, big-muff bass lines of 90's era seattle grunge. "Blue Neptune", in all its glory, is the track in which the dynamic paradigm is set.. beginning slow and quiet while building up to a massive, roof-raising, fist-bumping ode to the king himself, crashing slowly like the tide and rocking headfirst into "Heat of this Gun".

"I feel the heat of this gun. I love love love love you my love, i'd kill just about anyone for you"_("Heat Of This Gun", Track 4)

The Free Mansons are not afraid to say it, whatever it may be. This track was born out of an idea we had as a band that we could use a "band gun" to rob other bands of their gear while on tour (albiet a great idea, we never did follow through on that one).

One thing i really like about this album is the shameless lack of filler or "non-songs". "Green Queen" contains a simple and yet profoundly snare-free drum set as well as a most curiously distorted and replayable anti-solo on guitar. "Soft Soft Sea" continues the aquatic theme via grunge guitar, big muff base and apoxy glue synth lines. "Golden Hair" breaks up this consistent theme as Franc Lopes channels Anton Newcombe and Skip Spense, while "Ten Swords Of Light" appears to draw inspiration from the mystical stylings of Athen's own Elf Power. Third Request treads in witch house territory, as well as experimental and avant-folk. Capped off by a re-invention of scribbler's "Clouds Like Knives". Listening to this album I feel like I should be reading up on some Aleister Crowley or drinking beer in the heat. The Free Mansons rarely dissapoint, it's no surprise that they continue to innovate the DIY in subtle ways whilst flying under-the-radar. 7.8

The Free Mansons - Golden Hair

The Free Mansons - Ten Swords Of Light

reviewed by Mohamed El-Darwish RADIATOR COLLECTIVE 2012

RADIATOR REVIEWS: Main Character - Universe(s)

Universe(s) starts off with some mixed feelings. Double Delay guitar fades into a loud overbearing cry from lead singer Joe Aidonidis, "Come on over, Let's see those hands". It seems like a reference to obscurity. Like a completely random statement taken out of context from ordinary life. It makes me imagine a little kid being asked by their mom to show their hands after washing them with soap. Universe(s) folk-centric approach seems in line with this idea. The singer appears to be dealing with chaos in his life, trying to make sense of the many conflicting emotions. Eventually finding relief in the piano drop in "Florence". "Life's always staring at you, stare back" says Aidonidis on "the (great) heart". The universes he is referring to are most likely are the ones within. "Nightmare of the Wales" which i assume is actually about Welsh nightmares, breaks up the more accessible pop in which Main Character displays the inner cacophony. "I touched the river" is more of light swing in to a more pleasant state. Manic depressive or emotionally well-rounded, it all depends on how you look at it. I feel a little mixed about this album as well. It has some shaky spots, some pitchy vocals, some programmed drums take too much attention in the overall mix on How do you sleep. However, I also think this album has something that many people will relate to. The idea that our own lives, while important to us, are cyclical and fairly innocuous. It will definitely not be everyone's cup of tea. For one thing Indie-folk/pop/rock is becoming increasingly common. That is to say, many will feel that they heard these ideas already. Another thing is that it noticeably lacks the aesthetic of "cool". That filter many put on their albums straining the flaws and putting on a mask. What it does have is something that reminds me of Italian-Neorealism. I guess you could call it "unfiltered" 7.2

Main Character - The (Great) Heart

reviewed by Mohamed El-Darwish RADIATOR COLLECTIVE 2012

Radiator Reviews: Ipomoea - Species

Ipomoea (/ˌɪpɵˈmiːə/) is a fuzzfolk duo consisting of the consistently legendary drummer/singer/guitarist Thom "moon" Lopes as well as obvious J Mascis fan and lead guitarist Mike "Mick" Williams. Both former full time members of Dandy Zander, a band which recently tore through massachussetts venues and, seemingly had enough, went into hibernation. On Species, Thom Lopes takes a look back at his own body of work, giving a fresh new interpretation to several previously recorded songs such as the tormented dirge "Eastern Stars" being re-realized as audible space exploration. "Figure Ate", once completely acoustic (much like eastern stars) gets ipo-ized as well. The album has a very consistent and interesting sound. The drums sound small and far away, the bass is non existent and the mids are full and alive with plenty of rhythmic delay patterns and enough reverb to nuke a whale (sorry, couldn't think of a good metaphor). Its a very light and crispy sort of record, the clear benefit being that it is not tiresome to listen to, yet retains the intensity of a live show.

At times the inspiration feels specific, like an influential character ("Many Mansions"), a location ("Haymarket") or a past experience ("Ought Damn"). At other times the feeling is abstract, something so mundane it is overlooked, such as a cat running out of a house ("Cat Whisker"). "One minute you're running down the street with your dog, the next minute you're lifting off the ground," describes Lopes, he continues "Songs are fleeting. Flowers are like that, too. What causes a daisy to push through the cracks of a sidewalk? I don't know." I don't know either. But we might as well examine it. There is no limit to what the universe can teach us both inward and outwards, it just keeps going. Process and context aside, Species stands comfortably on two legs of songwriting and compositional merit, as for worlds shifting in to new worlds, ill let you decide. 8.9

Ipoa Moea - Many Mansions

reviewed by Mohamed El-Darwish RADIATOR COLLECTIVE 2012

Radiator Reviews: Thickly Painted Walls - Napkin III

Im totally biased. For some reason when I hear an album that makes me immediately consider turning down the volume I have to feel like its holding a giant middle finger right in the nose of popular culture. Such is the feeling with TPW's Napkin III. This random glob of sound sound sounds like rock and roll to me. Its nostalgic in the way it brings me back to only a few short years ago when all i wanted to do with my music was to have fun and offend people. I've said this before about scribbler, but Thickly painted walls is the kind of thing that will make all the wrong people run to cover their ears, while leaving all the right people left listening closely for what comes next. And lo-fi will always have a special place in my heart. Not to say the production doesn't pay keen attention to detail. Its a production that you wouldn't hardly notice as it is refreshingly ingenuitive (listen to the track "Video"). Odd loops, broken samples, crazy stereo traveling, jumping from disjuncted idea to idea. Canadian musicians like Thickly Painted's Stephen Fredrick Walz have a knack for re-inventing instruments whose traditional roles have been etched into the very nature of their usage by the sheer force of time. I guess another way to explain it would be "perfectly-out-of-tune". Just wait until the intro of "Sweater superficial and Unnofficial" makes you shit your pants. although "sweater" is also the first track that leaves a little more to be desired in terms of melody. I love the completely random pirate radio breaks that are sprinkled throughout with some traditional noise tracks ("Nosie") mixed in.

I first heard of Thickly painted walls through the track Metal as well as their many distinctively confusing videos and sounds. I didn't really know how to feel about them at the time. Which is probably why I enjoy this album so much right now, I had no idea that this band, which I believed to be primarily a noise band, was capable of such charmingly organic tunes as "pulling out my hair". I guess the last thing I would ask about this album is "does it have replayability?" to which the short answer is yes. The long answer is that this album can make you feel any range of dissastifaction or enjoyment. You don't have to be deep to enjoy it, but I feel this album has more appeal to people who particularly love sounds in general as opposed to merely music. 7.3



reviewed by Mohamed El-Darwish RADIATOR COLLECTIVE 2012

RADIATOR REVIEWS: Brain Mountain - Galactic Rotation

Where to even start a review; on an album that takes a full 90 minutes to listen to/ which has 53 tracks each one a surprisingly different, inventive, short burst of imaginative songwriting? Songs typically around 1:30, with a few exceptions. The fact that the title track "Galactic Rotation" (clocking in at around 3mins) is one of the most epic tracks here, speaks volumes about this record. Make no mistake, this is Brain Mountain's Opus. A Sprawling Double LP on one CD. A Full CD length of Data and minutes. Where have you been all my life Golactic Rotation? Your like the Pink Floyd Album I really wanted to hear when i was listening to Animals, on Vinyl.... sounded sweet. Would you actually believe that in 90 mins Brain Mountain has invented 50 (or so) different genres, or is it all just one weird mega-song thats separated by each dramatic shift in Mountain's process? He's an alternate persona in his music, but he admits to it and often times breaks this with almost uncomfortable intimacy, and lyrics so simple they transcend ordinary symbolism and reach for raw thought. I feel something quite universal about this sound as it cuts to the core of human emotion, and jumps all over the place in a sonic sense as well as in the emotions Brain Mountain explores. Not to mention the level of creative control apparent in Brain Mountain's production, which makes a home studio sound come eerily close to sounding like a pro studio. Yes, yes, yes. Track after Track after Track of the some of the best material Brain Mountain has recorded. His voice is unmistakable, and the transitions are mind-blowing and sporatic. Double entendres, hidden messages abound, each track is embedded with replayability, but with the sheer volume of tracks and ideas on this album theres no need to rush, there are plenty of tracks to go around now and plenty leftover for later. One song will sound like The Eagles then the next, Will Smith... At other points in Galactic Rotation are classic folk style guitar with creepy slightly auto-tune vocals. Brain sings about everything from "Is their a meaning to our lives, or just a scientific reason?", and "some call it god, but I say sun, Some people think the universe is one, I can tell you, thats the truth" to completely silly non sequiters like

"go down to your town hall and put yourself on the steps and take out your big ol bag of weed and smoke it to your face. And If the fuzz shall come and say 'you'll have to come with us' just say 'man i'm just trying to live, and offer them a puff.'"

Sometimes its walls of superfuzz electric guitar, sometimes its "World News" which, better than any experimental track i have ever heard, characterizes the world news media as an incoherent and spiritually vacant clusterfuck. Once again in terms of musical exploration and general genre-defyment Brain Mountain Delivers an Incredible 90 minute Masterpiece, to the point where this is no longer music this is someone's soul. ∞.∞

Brain Mountain - Galactic Rotation

Brain Mountain - Something Else We Can Work On

Brain Mountain - Flat Ground

Brain Mountain - Enlightenment

Brain Mountain - The Operator

Brain Mountain - Transmissions Get Lost

reviewed by Mohamed El-Darwish RADIATOR COLLECTIVE 2012

RADIATOR REVIEWS : Kid Mountian - Visitor Center EP

Kid Mountain's Visitor Center EP definitely has a lot going for it. It sounds GOOD. Its a Good sounding album, very upbeat as well. There is a certain something missing from the album in terms of lyrical substance however. Its pretty hard to sing along to, and the lyricist doesn't quite bring the performance to the microphone. But this is a young band. In both a literal sense and in their particular style of folk rock. Youthful, joyous, trouble-free, "hey, u look like u could use a vacation" kinda sound. The band sounds its best well produced and instrumental. The drums are significantly interesting piece of the overall sound which is based on acoustic guitar. One of my issues with the record is that the constant open chord guitar strumming can get kind of campy. But then again, perhaps Kid Mountain want me to feel like a kid at camp.

The Name Kid Mountain itself brings me to a place that feels more like adolescence. With a name that definitely reps the greater New England and a sound equally distinctive. I would probably be smoking grass with my pals by a crackling fire with beers on hand, listening to this band called Kid Mountain between some early Decemberists and late modest mouse. But Still i feel like something is missing. Each time i want to let the album take hold it seems to fall short. Context matters, and anyone who pretends to be objective is lying to themselves as well as everyone else. This album to me feels like another band from my hometown i knew of in high school with tons of ambition, but a sound that doesn't take the necessary risks to be compelling. At the same time i enjoy it. Especially the track "Ghost Ghost". That song, as well as other moments on the totally free EP make me believe they are on the verge of something. I'd keep an eye on these guys. 6.7



reviewed by Mohamed El-Darwish RADIATOR COLLECTIVE 2011

RADIATOR REVIEWS: Blonde Wig - Wigging Out

When you listen to the first 30 seconds of the opening track of Blonde Wig's Wigging Out you know your in store for a good ol' fashion LO-FI album. The principal instrument being a warm tape hiss broken up with mechanical clicks and pops and deadening silence. Its nice to see Blonde Wig truly use the medium, not simply having it be Lo-Fi because its convenient to be that way, but because that is the way this album is meant to be heard. The crunch and hiss and distortion and noise stands beside the instrumentation and songwriting as of equal importance, and I always appreciate a good motivated stylistic decision. And this is Folk music. The music of the people. Not much is here in terms of fancy instrumentation or production that will blow your mind. But in "Wigging Out's" limitations one can actually find a wide range of emotion. Blonde Wig makes the most out of the setup. Parts of the album remind me of Chief Thunderclouds early work (covering you are my sunshine, using pitch bent vocals, as well as having abrupt and massive dynamic transitions. Other moments allude to a stripped down earnest style similar to Appleman & the Tapdeck. Its not an album to listen to on your ipod and "get pumped" to. This is the kind of album you would pop in the cassette player by a hammock and just relax to. Its Kind of refreshing.6.5

reviewed by Mohamed El-Darwish RADIATOR COLLECTIVE 2011

RADIATOR REVIEWS: Meat Curtains - Eden Disorder

Eden Disorder is meant to shock, offend even sicken those who people who believe obscenity has no place in art. A Myth that has been thoroughly debunked a long time ago yet is still clung to by conservative ideology and the like. This album is trying to destroy everything that quiet townspeople, kindergarden schoolteachers and your own grandmother hold dear: normalcy, decency and pleasantry. The grand illusion of suburban normalcy is nowhere to be found on this album, instead it leaves you feeling filthy and raw. The band takes the aggression associated with male-dominated hardcore punk and convert it into a strictly sexual testament to female POWER. A Powerfully screamed reminder that you were born out your mothers vagina covered in afterbirth. The stage personas of the band, affectionately named after luncheon meats, are women who eat men for breakfast, castrate them and give them genital herpes and they are not apologizing for anything. "I Hate Rock and Roll", the album opener, is a reflexive look at the apathetic nature of power chords in rock that has affected the music in such a deep way. "I'm so bored of these three-chords, i'd rather just sit at home". While Eden Disorder is by all means and definitions an album meant to shock you it also contains a lot of poignant messages about punk rock, sex role stereotypes and even has a track defending Yoko Ono saying "she was hanging out with [John] Cage, When the Beatles were all the rage, so don't diss Yoko, Ono Oh No." A statement which I find both true and utterly fucking hilarious. The sound got an upgrade as well as it sounds like Meat Curtains moved out of the basement and into the studio for this record and someone actually engineered the tracks. MC cover Delta 5 with a noteworthy sexy funky bass line, making the final moments on the album some of the most rewarding. It is very cohesive; Meat Curtains definitely have a style, incredibly passionate vocals, slow floor tom heavy drum beats, dirty power chord inflected guitar riffs and big muff pussy bass lines. Admittedly repetitive, but the band always uses that repetition to say something, something real, and something that many people will not like to hear and for that they deserve some real respect. 9.0

reviewed by Mohamed El-Darwish RADIATOR COLLECTIVE 2011

RADIATOR REVIEWS: Fuck Montreal/Appleman - Explore A Spooky Swamp

A beautiful tiny organ begins Fuck Montreal's side of this journey into the spooky swamp, "gypsy love song" is as honest a tune as warm as the organ hum. The further down the swamp you travel the murkier the territory. "People Say I'm No Good" somehow manages to sound as crazy sadistic and batshit insane as the manson version. Fuck Montreal cover Roy Orbison with the future-cool modern dissonance and the kind of crazy handcrafted feel only a cult can deliver. Bizzare and twisted as it is, it uses its sounds in ways that always seem to be exploring something new. It a place your unfamiliar with, but you've always wanted to go to, then you go and find out it is both creepy and awesome and you return with some haunted treasure chest. Inside is Applemans side. "Colours", is pure 8-track gold. Appleman simply cannot contain himself in these recordings as he seems so happy to be singing for you. "Oh What A Beautiful Day" immediately follows with the infectious, joyous well built, well written songs Appleman seems to have no shortage of. With elements of folk guitar rock of CSNY and slight R&B vocals that are distinctly toned to the applehead mythos, its so warm and subtle. This album is delicious because it uses delicious ingredients. "Silly Dreamer" and "Whatever" are no less beautiful and both deserve being mentioned as they are fantastic as the latter evokes a sunset on a desert plain. The album comes to an epic conclusion with the two bands collaborating for the song "doppleganger". I don't know what everyone looks for in an album, everyone is different, but whatever that thing is for you, this album probably has it. Fuck Montreal's side gets deeper every listen, and the Appleman side almost surprisingly doesn't wear thin for all its sweetness and simplicity. Its one of those tapes. 9.6

reviewed by Mohamed El-Darwish RADIATOR COLLECTIVE 2011

RADIATOR REVIEWS: Micro Organs - And Her Ugly Aura

With their first track "Gentle Little Shakes", blasting power chords along with some much needed cowbell opens the album very well and "Ne'er Do Well" has this kind of quiet slow drum beat that slowly picks up a bit, breaks down and then speeds up again that gives it this real grunge sound to it. My favorite song would have to be "Crooked Hairs", with Gillespie humming in the background reminds me of some snake charmer playing a flute, hypnotizing the chorus. "Tincture" gives this intermission like transition where the Flipper influenced feedback almost sounds like their just tuning or getting ready to get the audience pumped up and then it totally goes in another direction with "Microbes" making the singers voice clearer and then when the chorus comes in with the singer saying "you still wont admit you know what I mean", the guitar really goes distorted like Slint or the Pixies giving that system of quiet;loud;quiet. The end of "Tincture" with the singer going "nothing" made me think of what the song title actually meant. You start to hear an audience in the background almost as if it's live or almost to say their leaving the show and going back to reality. This meaning of the word tincture is actually an alcoholic extract so to say that their the leaving the party and going back to albums title or reality, makes some sense to at least this writer. Either that or her saying nothing at the end meaning this whole thing to her means nothing. Just a few perspectives you may get from listening to this album. The song "Microbes" lyrics go into great depth about how small we are on this earth. "do you remember when were microbes? floating up from a brine we rose to breathe in the air and start rooting hair", whenever I hear this lyric I think of amoebas evolving with those little hairs they have. Each song really does connect very well because after "Microbes" or as if the beginning of earth, "God's Song" comes next, a slow jam where the singer speaks to god who supposedly came as a ghost in the form of man and asked her to sing his song. The singer acts throughout this whole album as a person who should not be in these situations and doesn't know how she got here, and then what follows are very amusing lyrics "so i went down to the valley asked lucifer to heal my incantation my indignation and he said, no". When lucifer says there's only one way to go, I suppose that was referring to the creation of the album itself, but to ask lucifer to heal the spell god put on her is just ludicrous and to ask him to relieve her of this duty of singing gods song is very bold to say the least. The lyrics in this song definitely show the singer trapped between both worlds. "Grass Bed" reminds me of a My Bloody Valentine song mixed in with either a bit of whistling or a theremin (can't pinpoint which it is), definitely the perfect song to be lying in a field of grass while listening to. This song signifies death, or the end of the album, with god rejecting her and the lucifer unwilling to help her, she lies in her grass bed and sings the song god asked her to sing. Grass bed could be a reference to a grave where we all to end up when we die. So If you wanted to create a design for a generic post punk band then the micro organs certainly nailed it. Although its a bit repetitive, its something so catchy that anyone can enjoy. This album can be a bit bare boned and a little simple, but sometimes simple ideas are the ones that resonate with the most clarity. This would be called your bread and butter album, something to get the average rock and roller up out of their chair. The band name Micro Organs may be referring to the whole world as little micro organisms just bouncing around with no path or destination but on And Her Ugly Aura could it mean the own vocalist's feeling of being out of touch with these micro organisms, or does she have an ugly feeling about the whole world? 7.6

Micro Organs - Ne'er Do Well

reviewed by Michael Clark RADIATOR COLLECTIVE 2011

RADIATOR REVIEWS: Fuck Montreal - Winter Mange

Winter Mange is The Radiator Collective's 3rd actual vinyl issue printed by Stumparumper Records in NYC, previous 7" include Scribbler's My Old Lady and ECT split with Reclusive Mute. Winter Mange is one of those records that for some reason was named after its absolute worst track. Tracks like "Alarm Clock" and "France 1954" have a certain lo-fi edge, featuring harsh yet melodic arrangements and their aggressively buzzy brand of punk rock in which the band bring that energy to the wax, but The actual track "Winter Mange" is just total cacaphony, a country blues stomp that breaks apart as dumpy atonal guitar chords crash with Heavy Metal type growls from lead singer Jenna Empey. The track almost brings side A to a screeching halt as it just doesn't help the album flow. They could have named the record "France 1954" or "I Pour Bees on Myself" but they went with Winter Mange, it baffles me. Pluto is a bit more mystical and ominous than the razor sharp metal and punk influences in the previous tracks and signifies a shift for the album into the folky and downright pleasant tune "The Rabbits". Beachglass is another place where the record stops a bit simply because of the shift in tone from creepy and ominous, dark and violent, to somewhat cheesy and nostalgic pop music. Not to mention the shift in vocals which sound like a cross between Fozzie bear and Kermit the frog. But It's this very strange approach to the vocals that give Fuck Montreal a more memorable personality than most other bands. "I Pour Bees On Myself" is an eastern European sounding nightmare, completely bizarre and eclectic with guitars getting switched out in favor of organs and ending side B in face-savingly strong fashion. So what we have here is a handful of very good songs with 2 really big misses, one per side. But when your putting out a 7" you cant allow there to be a track on each side that take the listener out of that albums experience and decreases the record's playability. Because of those 2 tracks (and lesser extent "Alarm Clock") Winter Mange could be accurately described as "annoying", but if you switch out the title track and "Beachglass" with just about any other FM tracks this would be a whoppingly strong album as tracks like "France 1954" as well as "I Pour Bees on Myself" and "Pluto" are among some of Fuck Montreal's best work. 5.6

reviewed by Mohamed El-Darwish RADIATOR COLLECTIVE 2011

RADIATOR REVIEWS: Micro Organs - And Her Ugly Aura [Alt Review]

And Her Ugly Aura is the debut EP of Halifax art-pop project Micro Organs. Fronted by former Meat Curtains lead Guitarist Jenny Gillespie, the songs evoke a sort of backyard black magic mysticism, anti-religious fervor and post-geometric symbolism. The first couple of tracks sound like they were recorded live off the floor with no overdubs, highlighting the energetic and lean in-studio performances. The guitars in these tracks are fairly constant crunchy power chords, The dynamism lies more in Matthieu Blanchard's drums, which are constantly changing and shifting yet always on point. As i said before these are lean recordings, there isn't a single bass track on this album. But in a way quite similar to The White Stripes, the lack of bass isn't really that big a deal. The tracks for the most part don't feel like they are missing the bass. The noise interlude 'Tincture' breaks up the EP at the middle. Whereas the first half has a live sound quality to it, the second half features a much more produced quality. There is some bold panning on "Microbes" and the track "Grass Bed" sounds more sculpted sonically, more full, more interesting from a production standpoint than the more straightforward recordings of "Crooked Hairs" and "Ne'er Do Well". "God's Song" got reworked into a guitar song having been originally a hauntingly satanic track with dark chanting and heavy organ drones as track off the Radiator Comp Vol. 2. The new direction helps to keep the album cohesive but it lacks same directness and personality of the original. In And Her Ugly Aura, Gillespie forgoes extra instruments and instrumentation making it lean almost to a fault as i feel it would have benefited greatly from more instruments, particularly more guitar. The songs here feel like they have a lot of room for the band to explore by layering different instruments and melodies over the frameworks of the songs. The lack of instrumentation leave some tracks feeling a bit spacious. The songs here are well written, the vocals are very interesting, the drums feel punchy despite having a softer, less compressed kick and snare in favor of prominent cymbals and the album itself is cohesive statement, intriguing in its own way leaving with it much room for the band to grow in any number of possible sonic directions. 7.6

reviewed by Mohamed El-Darwish RADIATOR COLLECTIVE 2011

RADIATOR REVIEWS: Grimes/D'eon - Darkbloom

Darkbloom is a split LP between Grimes and friend of the collective D'eon, Put out by the two at the moment Labels which seems to have all the blogs right now suckling at their teats for some sweet milky content: Hippos In Tanks/Arabutus. Now Grimes has been getting a lot of buzz as a new artist for her work on 2010 LP Halfaxa and D'eon career seems to have exploded recently after releasing his Debut on Hippos Palinopsia. Both these artists share a lot in common, so it makes sense for them to collaborate. First off, they're both based in Montreal, a veritable mecca of musicians. Their voices share a breathy, ethereal and childlike quality. Both artists use their nasal tones often and unashamedly and there is a keen similarity between the way these two layer and sequence their arrangements. Listening to Darkbloom i can hear synth riffs on Grimes side that sound like they were probably composed by D'eon as well as ghosty additions on D'eon's side that scream Grimes. This album does come with a few gripes however so let me get right into them. It seems like there is a pretty clear distinction between the "hits" on this record and the rest of the tracks which boil down to filler. While tracks like "Vanessa" and "Crystal Ball" are pop music masterpieces in their own right, the intro and outro tracks to Grimes side play more like padding; cool-sounding enjoyable padding, but padding nonetheless. Then again a track like "Vanessa" deserves its own introduction, and Grimes side is particularly strong at its core. D'eon's side is where I feel most of the unrealized potential lies. The intro track to D'eon's side "Telepathy" would have been a fine intro if it hadn't been ruined by some choppy cellphone interference, which noisily clamours over the entire duration. I not exactly sure what the reason or meaning behind it was, maybe a comment on seperation created by mass media and culture, but from a sonic standpoint it adds nothing to the sound. "Thousand Mile Trench" Starts off jittery and unsure of itself. Midi clicks rapid-fire over D'eon's signature new age keyboard compositions and Gangsta rap inspired drum machines a la "To Kill a Man With A Joystick In Your Hand". "Transparency" may be the the de facto hit off D'eon's side but my personal favorite track and the one that stuck with me the most is "Tongues" where the theme from "Transparency" is first introduced. D'eon plays with variations of this theme in a way that I can only applaud. "Tongues" and "Transperency" are the only tracks on the side that play strong from beginning to end. Likewise, Darkbloom may be one of those not-so-rare records that is a victim of its own tracklist, in which the heavy hitters on this album unfortunately bring the various flaws on the other tracks to the surface. 8.2

Grimes - Vanessa

D'eon - Transparency

reviewed by Mohamed El-Darwish RADIATOR COLLECTIVE 2011

RADIATOR REVIEWS: Lord Jeff - The Lord Jeff

I met the Lord Jeff at show in 2009 at a show at the Elevens in Northampton with Many Mansions and RAinSUn. Had a chance to get to know them a little better at their crib in Amherst where i tripped balls and watched MTV JAMS. I know some bloggers out there will say: "THE LORD JEFF ARE THE MOST CHILLWAVE BAND EVER" but im here to say in all seriousness that those guys are total indie douche bags. It's not hard to tell Lord Jeff influences include 60's and 70's Soul Music, Soulful rock bands like The Jimi Hendrix Experience & the Mothers of Invention, 13th Floor Elevators even Michael Jackson. I can see a J Mascis approach in the guitar leads which lean towards the distorted, overdriven, sloppy and expressive side of the spectrum. Sean Goggins voice reminds me a bit of George Harrison crossed with the voice of Tunde Adebimpe from TV On The Radio. I even could go as far as to compare the vocals to Alien Ant Farm. This self titled LP is the band's major debut on Thurston Moore's Record Label Ecstatic Peace. I got to say I'm really diggin' a lot of songs on here, not too many weak moments. The Drums here are recorded really well, got some nice panning on those drum fills. The Guitar work is excellent as well, some of those solos win more than Charlie Sheen. Style wise this is pretty familiar stuff, The Lord Jeff doesn't seem to reach too far out out of the blues scale on this LP aside from some jazzier moments and at the end when what sounds like an in studio drum solo fades into a live psychedelic-rock jam. I feel there could have been more instruments besides just guitars, drums, bass and vocals, even some more vocal harmonies, maybe some brass to add to the sexy funkiness. Others may disagree with me and enjoy the stripped down style in which the Lord Jeff seem to do a lot with a little. 8.7

reviewed by Mohamed El-Darwish RADIATOR COLLECTIVE 2011

RADIATOR REVIEWS: Scribbler - Prussia

Prussia is Scribbler's first album, er... well it's the first album which contains mostly songs and not highly experimental noise music [See Scannopapia]. This album owes quite a bit to a lot of noise rock bands from the 1990's, but what makes Scribbler unique lies in the dreadful shriek of Lead Singer Craig Currie. A sound that will instantly divide listeners into love-hate sub-divisions. On Prussia, Scribbler appear to be a young band still searching for their sound, one they would soon find in their next release, the quintessential Backitus. Likewise, Currie is still finding his voice and while its obviously got the volume and a unique timbre, its also pitchy, harsh and at times quite uncomfortable. On the other hand it does convey certain emotions rather well; most often panic and nostalgia. The softer moments are what really shine on this LP ("Follicle", "Rhinestone Nipples", "Abscond North" as well as a heavenly rendition of Lord Byron's "Stanzas For Music"). Tracks like "Burn Styrofoam", "Croscarmellose" and "Dramamine" reveal that while the band are still finding their chops in some areas they are seasoned pros at creating atmospheric and ambient noise music. A few louder moments on this LP really stand out on their own as well. The noisy rocking finale of "Fountain of Youth" and "Larry" reveal the true potential behind Scribbler's scrappy debut. But the Record itself feels more like a stepping stone in the bands career than the main event. 6.0

reviewed by Mohamed El-Darwish RADIATOR COLLECTIVE 2011

RADIATOR REVIEWS: Scribbler - Backitus

Backitus was my introduction to the band known as Scribbler, in 2008 I grabbed the album's 14 tracks off Brain Mountain's home computer and upon listening to the opening track "Aributus" i was a fan. Power grunge guitar chords give this album a real consistent and satisfying crunch. By the sound of it, Scribbler have taken the lessons of 90's independent rock to heart. Instead of focusing on any one particular aspect of the music, Scribbler put everything they had into covering all the bases here. Indeed the opening punch of Aributus reveal a full band, in full force, songwriting, instrumentation, attitude and imagery combine all at once to create a damn good opening punch and throughout Backitus the band reiterate this intesity by remaining consistent. As apposed to their earlier releases [see Scannopapia], which only has 1 full song and treads in some very difficult listening and avant-noise territory, Backitus is a true rock & roll record. Recorded in a blanket "fjort", and with just enough distortion and slop to rock out to while not overusing the lo-fi aesthetic as a stylistic wall for shitty songs to hide behind. Taken away from the songs themselves are several moments of beautifully and minimally composed rock music (Sixth Side Road, A Liar's Cadence). These interludes as recorded are warm to the ears and help to break things up a bit between the more straightforward build-and-release song structures. At 2:15 "Gravel Tastes like Rust Smells" achieves Post-Rock status without getting boring, a slight against a genre that often over-indulges itself with track-length and repetition. The title track fakes it like a song a first but quickly delves into a screaming competition between several Craig Currie's. "Prussian National Anthem" sounds like some wordless Neutral Milk Hotel Stomp, a trippy parade through moscow complete with elephants, gallantry and blind nationalism. Scribbler attempt to describe their own genre with the track "Spook House", maybe not fully achieving the sound they set out to, but laying down a solid framework nonetheless. But it's the track "Second Piss" where scribbler go for history. Epic doesn't even begin to describe the clusterfucking-synth ending of that track, and Currie's vocal delivery has matured for it as well. Drummer Franc Lopes takes the role of frontman for the punk sneering "Negative Band Fund", where he proudly proclaims the bands ethos "Back stage we're stealing your shit" and in reality they were, probably from the bands that nobody will remember and nobody cares about. Hey when your this poor and good at music simultaneously you gotta do some grimey things, probably while intoxicated. By the track "Cyan", a hilarious swing at the 12 bar blues, Currie's voice is breaking and coarse from the sheer volume of his delivery throughout the entire album. The final track "Clouds" is one last epic push over the top of into Rock Music History (it's the freaking Saxophone solo that does it). Even if no one besides myself ever acknowledges these guys, they have cemented their place in the pantheon of bands as an important if not innovative rock band. Something way too many bands frequently played on the radio have tried so hard and failed at. 2011 saw this album get the remaster treatment it so rightfully deserves (courtesy of engineer and radiate Sir Thomas Lopes). Next thing this puppy deserves is a complete vinyl reissue. You think i am exaggerating? oh you haven't heard the remastered album. 9

listen here

reviewed by Mohamed El-Darwish RADIATOR COLLECTIVE 2011

RADIATOR REVIEWS: Chief Thundercloud - June Street

Chief Thundercloud is the 6 year and running solo project of Craig Currie. Chief has built his musical legacy on ear-blistering walls of noise, broken and out of tune guitar chords, malfunctioning equipment, prescient tape hiss and delicately fragile vocal melodies that reach beyond the highest Thom Yorke castrato falsetto. There is a inescapable "weirdo" sensibility to Currie music and that label will most likely follow him for better or worse. Especially when the track that has you tearing up from the fragile beauty of the vocals can be the same track to have you desperately reaching for the volume knob to turn it down in the matter of seconds. With June Street, Chief Thundercloud has made a concerted effort to be more listenable and accessible to those outside of the noise music spectrum. Don't get me wrong it is still noisy as hell. The heavy use of dissonance gives the album an underlying tension, which is released periodically to great effect. There is still and an epic disparity between the quiet parts of the music, which are nearly inaudible besides the tape hiss, to the unlimited walls of noise pouring like tropical showers from broken electronic circuits, but this time around, you can hear it better, Its much easier to separate the instruments and most importantly is the way this dynamic is used thoughtfully. Side A is dedicated to original songs and Side B is 30 or so minutes of covers. The original material here ranks among the best of Curries Career. Well written songs interweave and overlap with some of the more interesting soundscapes and noise experiments in Curries arsenal. "Fall Asleep Underwater" treads in freak folk territory. The Album is pretty cohesive as well. It all sounds very watery, like the recordings were done underwater or in some cases (particular on "swimming") while gargling or whilst dreaming. Its thick, muddy, loaded with wet reverb, and its definitely got viscosity. Percussive additions pop like bubbles, guitar lines drip out of strings into dirty puddles and noise textures sop like sponges in sudsy bathwater. Certain songs like "Focus on The Pain" and "Not Underwater" have such a distinctly audible texture it evokes a sort of synesthesia in my brain where i want to reach out and feel the tracks. Flanged-out guitar noise ripples and washes its way to shore where you gasp for breath from underneath a salty wave blanket with seaweed behind your ears and dirt in your skin crevices. Side B in my opinion is just cake. Sort of a bonus side to the full album contained on Side A which by itself is more expansive than any other Chief album. At 60 minutes this plays like a double LP. Its also more cohesive than any Chief album to date, more of a complete concept and more musical to top it off. Surely some people will not be able to get past the "terrible" quality and harsh, gritty lo-fi exterior that June Street seems caked in, but if you are able to you will find there is a lot there to enjoy underneath the surface. 9.2



reviewed by Mohamed El-Darwish RADIATOR COLLECTIVE 2011

RADIATOR REVIEWS: GIGAS - Tied Down To The Ones You Love

GIGAS The Blondes (tape version)

When i first heard GIGAS i was stoned in a car watching the Canadian landscape pass by in Nova Scotia. What came through the car speakers was bass driven hypnotic tones and colors [The Blondes]. The tones and colors took me somewhere else, with little to no treble at all it sounded like how the yellow submarine movie looked. Someone referenced me to Weird Canada's review of the album, and i was shocked. The songs they have there are flat out annoying. It turns out the tape we got was poorly dubbed. When i was able to hear the vocals, what i heard was trying too hard to be some cheesy p4k pop. Instead of adding to the beautiful low drones, now were just like any other animal collective rip-off. Another addition of the treble was endless and headache inducing synthesizer riffs. The poor dub hides these imperfections well and the result is some fantastic music. If you weren't fortunate enough to get a poorly dubbed tape, check out the soundcloud examples above and below_Brandon William

GIGAS - Heat Wave

Above is an example of what GIGAS track actually sounds like, Though I'm not really feeling the mids and highs, they kinda ruin it for me. It may be muddier, but the Poor Dub is especially good to the vocals, which are not impressive but at least feel like they add more than they detract from the songs. Vocals certainly aren't the the band's strongest feature, Not to mention the bands over use of speeding up and slowing down their sequences. What Gigas is good at on the other hand is creating downtempto hooks, keeping the basslines interesting, droning, and this album does make a nice listen cruising stoned down Peggy's Cove. Though it left an impression on me for it's dump-wave via new wave aesthetic, this very chilly album, at times quite relaxing with its really bassy groves, wallows in a veritable grey area. Whereas Dump-wave outfit's like Milksnake whose individual sounds each add a splash of color and combine to a sort of rainbow-based sound collage, Gigas take dump-wave to a place that feels a bit more depressed and well dumpy. Not a completely bad place to be but i feel like it would have benefit from a little more black a white. Just something to contrast with the sludge._Mohamed El-Darwish

GIGAS - All Of My Friends

“The Blondes” is my first impression on the GIGAS, and just like the track I don’t have much to say, it wasn’t awe-inspiring, and reminds me of just another muddily recorded post psychedelic rock song. The bass is popping and the synth work is alright. The second track “Weird Phase” just sounds like muffled Pink Floyd vocs over the track “The Blondes”. I’m into “minimalist” not repetitiveness. These two tracks are not aesthetically pleasing, however, I’m still going to leave my ears open to other tracks by GIGAS, and not judge them solely on these two awful tracks._ Glenn La Race Jr.

GIGAS Weird Phase (tape version)

unfortunately, I've listened to the whole album and its more of the same. The appeal of a record like Tied Down To The Ones You Love is purely stylistic, but its not enough to make up weak content and bad vocals. 4.8

reviewed by Brandon William, Mohamed El-Darwish & Glenn La Race Jr. RADIATOR COLLECTIVE 2011

Radiator Reviews: James Van Wart - Embryonic Journey [Alternate Review]

Embryonic Stage.

I have to tell you the truth, it was so hard to write this review, and not just sit down and listen to the flowing grooves of Embryonic Stage by James Van Wart,. Such a good album for a rainy day and enjoying the soulful sounds cloud your eardrums, in a sedative way. It was very hard to just write about it. So here you go:

Muy Bueno Introduct-o suy gato de bien, !fiesta!. “I don’t want to go to school” begins an ecstatic, cool, and brilliant journey into a chic groove on a MSPAINT art covered album, Embryonic Stage, By James Van Wart III. A hilarious and honest approach or pathway into the great detail composed in the album’s entirety relaying society and your individual dreams.
Western ‘Espaniolish guitar and chilling symbols splashing off scorning dialogue in the distance “lets go, your going to be late’’, transiting into the track “Trainstop”, soo0oo smooth, melodious, YouTube birds tweeting on the branches and street signs as you bounce and stroll along with James’, and restrain yourself from turning back. Waiting at the stop you can’t help but wish you were home making the music on this album. The track ends, fades into the train arriving to a halt.
While sitting on the train, “no Print!”, must be the instrumental psychedelic kraut jam responsible for forgetting his homework, too laid back to let anything in the world bother you, as you just wonder off into to a dream along the strings plucking off into a cadence uncoiling into a spiraling staircase up to the clouds. Not much more to say about the 4th tracks surf-y staccato chugging, soulfully performed organ circulating and tossing your viscera into mumbo jumbo, “Going downtown to spend all my money” puzzles you back up, then like a hurricane storms you with more kraut staccato tossing your stomach upside down and inside out.
Del Raton, YOU HAVE TO JUST LISTEN TO IT.



Rhythmic build up with toms and snare rolls, ”Late” navigates you on the trail to a sloppy scattered guitar solo coated in gold and silver. Lucrative you, gathers and shoves up all the epinephrine being released by the adrenal gland to the drumming into any pore, crevice, wound, and pocket, and X marks the spot! You get “Hit by a train”! Hopping melody and rhythm, pop-like vocals about watching someone so young they use to be alive, but the train took him for a ride out with mouth-trumpets, la-da-dawes, and slurring yawns.
Animal appearance howled by Gato the dog, James’ trusty sidekick. Then into the real song about not taking care of money, sardonically speaking about himself, then about the U.S.’s economy, we all can share some kind of … brokenness… so just take time to listen to the music.
Like the end of the album 11 and 11b I just don’t have motivation to sum this album up as a whole, so Monkey see, Monkey do, I hand summing up the album to you. 8.1

Download this album and have a listen:
http://www.megaupload.com/?d=KWED3DZR

reviewed by Glenn La Race Jr RADIATOR COLLECTIVE 2011

RADIATOR REVIEWS: James Van Wart - Embryonic Stage

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James Van Wart doesn't so much play his instruments as much as speak through them. He tells this elaborate story all without saying more than two sentences in the first 7 tracks which express a desire to skip school and record music all day, which along with track names such as "Trainstop" and "Going Downtown To Spend All My Money" are enough to give significant meaning to the weaving melodies and rock interplay James Van Wart's instrumental compositions comprise of. No lyrics are necessary to convey the message of heart pounding anxiety in "Late", but Van Wart brings the best elements of classic rock to the recordings, no one is trying to show off and everything sounds really great for it. The Guitars have a really great tone, the drums sound really tight and well tuned, Great Cymbals, Great Snare. Not to mention Embryonic Stage begins with a stone cold perfect beatles impersonation of the song "Sun King". What I really find impressive though, is how James Van Wart makes the setup seem fairly new still oddly nostalgic of some faded out Grateful Dead jam. Embryonic Stage is the kinda thing that only happens when you find the middle ground between rigid pop structure and full on jam band, in this case a semi-structured and cohesive concept album about the love of recording. 8.1

reviewed by Mohamed El-Darwish RADIATOR COLLECTIVE 2011

James Van Wart - Keep On Keepin' On