Sad Horse "Purple On Purple Makes Purple" on Water Wing Records

If there’s one genre that rises above all others, it’s the sharp, brutish minimal punk that Sad Horse has put together on Purple on Purple Makes Purple from Water Wing Records. I love when a group, especially a duo, get together telepathically like this and are forced to improvise and experiment, willingly putting themselves in this vulnerable position. The two of them deliberately stripped of effects are forced to rely on discordant rhythm over melody.
Sad Horse’s Geoff Soule and Elizabeth Venable have been together since at least 2008 with their first release that year on the renowned Mississippi Records. I first tracked them down after learning Geoff was a member of one of my favorite late ‘90s bands, (and the impossible to google) Fuck. From the matchbook style CD packaging I knew Baby Loves a Funny Bunny was a masterpiece, right up there with Rex and Papa M’s releases I listened to religiously.

“Take It” sets the tone of the attack with Elizabeth yelling and half screaming vocals over a stomping rhythm and naked electric jangle that sounds like the tone from Big Lizard in My Backyard. It’s raw, even the guitar starts out unsure of what exact rhythm these drums are going to come in with. These fragile uneven starts and stops hint at that unrehearsed style of another beloved duo, The Yips. “You Are Idiots” has the greatest enthusiastic yelling sarcasm, literally with screams of joy: ‘Congratulations! / You made the grade! / You’re fucking amazing!’ a manic response to an entire generation that feel entitled to being rich and famous.
We hear from Geoff on “Sure You Do” in a barely audible spoken lyric ‘I got stuff’. Elizabeth quickly challenges this notion as they raise each other in who’s got more stuff, getting into Gang of Four territory with this jangle post punk idea of consumerism and proving that those late ‘70s concerns haven’t really changed so much. The track also reminds me of Fuck’s weird sense of humor and melody when a synth actually chimes in with a bit of lightness alongside Geoff and Elizabeth’s floating, airy harmony chorus. “Harmony” comes back on twice as strong with chunky riffs and fragmented percussion. Their both yelling in the back of this room, stopping to hint at revisiting that shimmery pop sound of last tracks, “Sure You Do” between these punk hardcore blasts. “Grass Roots” attempts to combine disparate rhythms of a rolling snare and distorted precise strums and noodling single note melodies from Geoff like the Feelies, but a peculiar instrumental that starts to break down and devolve before it’s completely cut off.

B-Side’s “No Go” takes off in frantic car chase guitar line, Elizabeth is barely forming words more intent on interjecting a vocalization of some kind in an unleashed snarl of banshee wailing over a repetitive no wave sound. Don’t forget about Elizabeth’s perfection on drums in “Check’s in the Mail” matching her equally pounding vocal style. Geoff plays with an almost winding blues riff between stuttery lines as jagged and sharp as The Embarrassment with a looser punk feel, more volume but the same cultural concerns. On “Dentist” Geoff creates a hasty math equation, a line running up the guitar frets while Elizabeth goes from barely speaking to completely mental, her question ‘You want to get it out?’ turning from anger to frustration. This quickly escalates into the tension that’s always simmering with these guys…and their dentist?
They play with those expectations on “Something That Sucks” in its experimental guitar, slightly out of tune sounding, being wrestled to create these haphazard tones. It’s the awkwardness of the whole thing that works directly against this head banging thick indie fuzz that isn’t garage, but it throbs and ebbs with a real crunch and thick power. It’s a brief moment like everything on this record without a chance to exaggerate and that’s’ their strength. They can get this traditional at the drop of a hat combining a power punk with abstract guitar delivery.
“Alex’s Blues” expands on the free jazz style, always hinting that they could pounce any time. Working their way though time signatures, there’s no limits to the rhythms they carry out. It takes a unique duo to execute this contemplative improvisation that doesn’t land near each other but still works as one entity. Great twanging notes in the middle of a rehearsal room with shuffling percussion and fingerpicking from the other side of a cavernous space. Like Fat History Month they can easily switch gears at any time and I love this kind of intimate conversation that could have come in a moment of perfect morning clarity or at the end of a long alcohol fueled marathon.
“Ain’t That Something” finished the record with Geoff on vocals in a faster tempo Velvet Underground jangle repetition even sounding a bit like a young Lou Reed riding this calmer pop sound. A nod to Fuck or the source itself or just another facet of Sad Horse’s evolution of that slow, astute pop into a harder, irregular punk, the same progression I’ve been following as a listener. They’re distilling this conceptual punk down to its essential elements and deliver post haiku’s to an A.D.D. culture.

Get this from Water Wing Records ($10!!!) who put out the only other Sad Horse release on vinyl besides that Mississippi Records single (mine is wrapped in a spray painted pink bandana).

La Luz on Water Wing Records

The least likely sound to make any kind of come back in the past few years would have to be the lush wall of sound girl-group surf reverb from bands back from The Vivian Girls and Grass Widow to Best Coast straight through to more recently with Shannon and the Clams. Thank Water Wing records for adding another incredible early single from Seattle’s La Luz to the list of bands mining this Phil Spector-ish thick and hazy layers which couldn’t be more perfect for the steadily creeping temperatures in Brooklyn. You can hardly move over to the turntable to flip this over in fear of the vinyl itself bending like jello under the heat lamp happening all around you.

A-Side’s "Call Me In The Day" makes you immediately realize that even if you could aspire to this kind of rhythm and instrumentation, La Luz got something so indefininably perfect here with a real soothing echo daydream of grassy field psych surf. It’s got nothing to do with effects or any gimmick you can put a finger on. Maybe its this fantastic bass line, that recalls The Ronettes, or Shangri-la’s? It’s spot on in the way The Vivian Girls were such a touchstone. They’ve instead chosen the clear as day path and really stick to the chorus big space sounds here. Maybe more like the late '60s in paying homage to those girl groups and spinning it their particular way, which isn’t about today making it truly great. You can’t place this anywhere except it hasn't been heard as pure as this with a real style and slow soul. (Except for Shannon Shaw of course) Where’s the hiss and static? It doesn't belong here. It sounds like the calculated, cool time of those girls on The Life Pursuit. They know what you've been up to, stop messing around and GET REAL.

On B-Side’s "Easy Baby" this watery, back-of-the-room, haunting reverb sound had better be trademarked…they will make a killing on that pedal. The same way Shannon Shaw has that vocal that ignores the year she ended up in, this track would find a home in any number of decades because it’s just timeless, plain and simple. There’s a determination or destiny that this will be a classic track no matter what. It’s heartbreaking and full of real emotion, even in the drums. Like a '90s Rose Melberg Softies track if she was friends with Mikal Cronin or Mac Demarco - well before they got jittery. There’s a relaxed perfection around this. You can see the vaseline lens and shaky 8mm film spinning now. That would be too easy guys don't do it. There’s creepier things at work here, I don't know what. I just listen to records, but this single is sheer beauty. Fantastic.

Still available from Water Wing Records, can't possibly be for long.

Both sides originally from their Damp Face cassette EP:

Brute Heart on Water Wing Records

You guys know Water Wing Records by now right? Alex used to co-own the great Mississippi Records and has gone on to start this offshoot label out there in Portland and that's as far as you need to get in his resume to know this release is coming from a guy who takes his releases pretty damn seriously. He sent me a copy of their latest single from Brute Heart a Minneapolis based three piece who have already put out a few things on M'ladys Records and now get the Water Wing stamp of approval as well with these two versions of "Wildfire".

The A-Side straight up version of the track is a weird combination of elements and influences all under the umbrella of this hypnotizing reggae dub sound. Imagine if Grass Widow's complex off kilter rhythms and harmony patterns went in a Clash direction and embraced some of that King Tubby doubled reverb sound? On paper it couldn't possibly make any sense. Oh yea and add a viola in place of an electric guitar, which I wouldn't have possibly known if I didn't check out these liner notes, completely haunting, innovative substitution. Crystal Myslajek, on bass, is after those slow reggae influenced dub lines, and that viola goes under serious overdriven reverb for that groove to take this into a completely unexpected place. She and Jackie trade off layering vocals in completely different registers for a swirling dream psych opposite of anything resembling Grass Widow in final product actually. Then Crystal Brinkman (that's right two Crystal's) pulls out this completely off base percussion pattern that had me questioning if there wasn't some sort of manipulation after the fact with her live performance. It's impossibly halting, without a natural sort of pattern. It's really impressive, until you starting listening to the rest of the pieces, which are constantly raising that bar. This entire track is playing with some interesting directions that at first seem obvious, then completely baffling...and that's where I'm at. Still figuring out where they ended up with this complex, unique sound.
The B-Side (don't call it a remix) is a reconstructed version by Alex Yusimov and Jason Powers who sound like they might be pushing the reverb a little bit further, but still highlighting their own weird brand of dub. Emphasizing the vocal, a heavier delay, real bottom of the canyon viola shrieking and bouncing off the walls. Feeling a bit darker as well under these heavier blankets of psych and opting for the straight bass and drum stutter strum ragga sound. Emphasize the core elements for the dancehall mix. 12" DJ cut coming soon.

They also did a live performance where they scored The Cabinet of Dr. Caligari? Please tell me this could be some kind of release that you could play at home along with the movie? That could be a whole new era of silent theater. Different bands interpreting maybe that same particular film? How many singles would that be? I'm going insane.

Pick this up over at Water Wing Records, on black vinyl in center hole cut heavy card stock tropical sleeve...which in hindsight makes perfect sense.

Brute Heart is Jackie Beckey, Crystal Brinkman, & Crystal Myslajek, from Minneapolis. The bass, drum viola trio has been effectively blowing minds since 2007. BRUTE HEART has unleashed two LP's, as well as a killer 7" on M'LADYS. Now they have reached down into a deep reverb tank and pulled out "Wildfire", the A side to their new WATER WING 45rpm. Dub rhythms and pulsating bass lines collide with their usual layers of underwater vocals. Like their SOFT ABUSE LP, "Lonely Hunter", "Wildfire" was recorded by Minneapolis engineer, Mike Wisti (Mother Of Fire, Skoal Kodiak). In true dub fashion, on the flip is a re-mix of "Wildfire" deconstructed and rebuilt by the recording studio team of Alex Yusimov (Mirah, Grass Widow) and Jason Powers (Grails, Scout Niblett). Digital Download Included.

Witch Gardens R.I.P. on Water Wing Records

Water Wing Records contacted me about their new label a few weeks back. They put out a couple of singles like that Psychic Feline psych burner. (Which you can win a copy by emailing me an entry...for 4 more days! Thanks to everyone who entered by the way, appreciate it, I should have some runner up singles as well.) They also let me know about this single from Witch Gardens a four piece based in Seattle calmly winning over hearts and minds with their unassuming charm and twee melodies.

A-Side's "Aunt Shae/Mean Colleen" starts with an intro of shimmering chimes and slow reverb strum.... you're getting sleepy for the huge chorus of voices to lull this one out. It's a Weird/freak folk style rhythm in thier own tempo reminding me a lot of Who Could Kill a Rabbit with it's odd, staggering anti-lock strumming beat. This dreamy intro gives way to a solid pounding tom rhythm once that dust settles, and the vocal is completely the defining element in these tracks, with all band members singing chorus style, back and forth with a little bit of twee, pushing the delivery as fast as possible, ignoring the usual rhyme structure...it's an outpouring of a diary entry a rapid fire, breathy note passed in class. They break into this for a moment to slow things down again back into that beginning feel, a sort of a cloudy psych moment that goes super tropical, taking a page from Blueberry Boat in it's specific slightly operatic direction, this chorus is the Langley School Music Project, completely disarming. You can hear all kinds of musical training here, in fits and starts of orchestral arrangements, a kind of Polyphonic Spree Sufjan folk that's completely catchy, almosty embarassingly so...for everyone else forced to listen to you unknowingly singing along.

B-Side's "Standard Poodle", is close to that Besties loose K records sound, maybe in an attempt to temper the complex instrumentation side of this. It still sounds half rehearsed but they smartly want to keep the spontaneity of the overall weirdo arrangement. They're saying, "It's ok guys we're just like you". Cut up pieces of other songs that would stick to this chorus the entire time. A twinkly, high, barely sung, waifish quality to this track...which take more than a few listens to get through the dense lyric.

all you are is a standard poodle...

that can't be a compliment.
"Bakers Dozen" features that Sunday morning angelic chorus backed with the ooooos, and a jangly guitar is being positively strung up here, plucked with force. A bass rhythm comes in opposite that high vibrating melody... Seriously unique rhythms of super pop like Ski Lodge or Lizard Kisses. Not too precious about this, that's what I appreciate, there's a loose raw feel to how complex this actually is. The note isn't perfect, the rolling beat is one take, there's no editing, it would break the illusion of the collective good time.

Get this one from Water Wing, off to a fantastic start.

Witch Gardens are the Seattle-based project of Beth Corry, Sara Beabout, Karolyn Kukoski and Casey Catherwood. After a handful of cassettes and seven inches on a variety of labels, R-I-P is the newest chapter in the Witch Gardens narrative. Each of the EP’s three songs of love, friendship and identity are articulated through their trademark dreamy melodies, buoyant rhythms, resonant guitar/autoharp, and endlessly infectious charm. Recorded at The Pool with Alex Yusimov and mastered by Tim Stollenwerk, R-I-P showcases these young pop savants’ best songwriting to date. Featuring gorgeous cover art by the Witches’ own Sara Beabout & Casey Catherwood. Get on the broom! Digital Download Included

Psychic Feline on Water Wing Records

Alex contacted me about this single from his relatively new label, Water Wing Records out of Portland...what other landmark label is in Portland? That's right Mississippi Records...and guess what else? Alex used to co-own Mississippi and helped put out the Chin Chin record and Mirah among others. That should be enough to convince you to head over there and check out their releases, but especially if you count The Fresh and Onlys or Psychocandy among your collection Psychic Feline are pushing that layered fuzz sound to the limits

"White Walls" on the A-Side is just a huge psyche sound, they immediately build this fuzzy wall, like the Crystal Stilts...right into a massive release of energy. Just humming with the buzz of layered guitars, a sort of tinny high tone, the treble hanging in the air...or it's just plain hot here in the city. Gritty guitar banging out melodies over top of this thick freakness going on under the surface. The slurry piles on and the vocal is banging on down that road with a little bit of echo. Tim Cohen has this on his playlist and approves of the see saw bounce.
I dream / WHITE WALLS!
It's got a mysterious quality, the way this instrumentation is murky and dense, lyrically they leave you searching for meaning. I'm almost getting a more rock heavy pop Art Museums sort of sound from these guys, minus the eclectic machinery. Stops on a dime.

B-Side, "Non Dot" is another heavy groove bassline caught in the back, the main melody is taking over, hardly any vocals with the heavy 1, 2 beat stomping out the kick snare. This kind of bouncy psych has to be from San Francisco (nope, Portland - ed). Surfy and really thick, repeating the tension building single note melody while another guitar is laying out a fuzzy crunch. Or that's the bass? Recorded with the perfect amount of texture to this thing, just out of focus but that just makes the center even sharper. Like that hipstamatic filter.

Thanks to Water Wing Records, I have one of these to give away. Email me at jdean99 at gmail and I'll pick a winner and send it to you. Completely free. With some 7inches stickers even. Ends July 31st.

$7 PPD
Psychic Feline consists of Bob Desaulniers, Sydney Roth and Curtis Muenze. Arising from the ashes of The Caldonias, Psychic Feline is quickly rising to the top of Portland Oregon's prolific music scene. Words like psychedelic don't even scratch the surface in this bass-less trio. With Sydney's primal percussive stomp as the platform for the guitars of Bob and Curtis, the trio create knock-out hooks, savage fuzz and soul-vibrating feedback Vocals are a tasteful additive in this 50% instrumental outfit. So it's appropriate that their newest offering and first for Water Wing contains a blistering fuzzed out rocker on the A side,"White Walls" and an instrumental on the flip,"Non Dot". Recorded by Alex Yusimov, mastered by Tim Stollenwerk and artwork by Nucular Animals' Wiley Hickson. Digital Download Included.
For mailorder, please contact us at waterwingrecords(at)gmail(dot)com