Austin Chronicle Review New Crack Pipes Album

The Crack Pipes

Fake Eyelashes (Super Secret Records)

REVIEWED BY TIM STEGALL, FRI., NOV. 9, 2018

Much has changed since the Crack Pipes’ previous release, 2005’s Beauty School. First and foremost, extraordinary guitarist Billysteve Korpi beat cancer, but at the same time, recording home Sweatbox Studios ceased. And if a 2005 rocked by the Iraq War, Hurricane Katrina, and the American political pendulum swinging hard right doesn’t seem chaotic enough, 2018 feels suitably PTSD-riddled for all.

With Beauty School, vinylized last year by Super Secret Records’ reissue subsidiary Sonic Surgery, singer Ray Colgan, Korpi, drummer Mike Corwin, bass plucker Nick Moulos, and keyboardist Coby Cardosa proved that the locals possessed a huge, wide-ranging musical scholarship and they were gonna use it. The resultant art-garage squall took in a broad stylistic sweep. As Colgan says, “Yes, I love Captain Beefheart, but I also love Louis Armstrong.” Songwriting became the focus, and the album showed the Crack Pipes to be the true sons of the Lord High Fixers, Austin’s previous garage rock kings.

Thirteen years later – and 23 into their career – the group retains the same quintet that crafted its four previous studio full-lengths. Songs begun in 2007 remained, joined by fresh material from Estuary Recording Facility, and now Fake Eyelashes picks up where its predecessor left off – highlighting both song craft and genre hopping. Special guests aid the sonic expansion: Enduro/the Damn Times/Transgressors guitarist Chad Nichols drops in on the opening jangle-pop title track, the überfunky “Sha-Zam” features Riley Osbourne’s thick Hammond organ, a Funkadelic-tinged “Giraffe” boasts remarkable free jazz sax skronk from Gospel Truth/Art Acevedo’s Mark Tonucci, and the Fifties-flavored “Sea of Beverly” lilts behind Ro-Tel & the Hot Tomatoes’ Milaka Falk’s oohs and aahs.

The remaining seven titles veer all over the art-garage firmament. Frat rock riffer “Lil’ Cheetah,” soul clapper “Bang Bang Bangs,” and statement of purpose “My Underground” all move and groove. Yet it’s that interplay between the core Crack Pipes instrumentalist – especially Korpi’s articulate, inventive six-stringing – and Colgan’s sanctified church vocalising that remains the front-and-center of Fake Eyelashes.

Alongside fellow Aughties garage-punk heroes the White Stripes, the Crack Pipes continue to prove this music needn’t stay stuck in 1965. Fake Eyelashes continues pouring and mixing new and exciting hues on garage punk’s palette. We’re the better for it.

Austin Chronicle Review of Nervous Exits ‘Get Out’ Reissue

Nervous Exits

Get Out (Sonic Surgery)

REVIEWED BY TIM STEGALL, FRI., AUG. 24, 2018

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Nervous Exits burned long and hot enough to squeeze out this 2006 CD finally seeing vinylization, then flamed out, casting ashes amongst local music scenesters the Golden Boys and Gospel Truth (guitarist Patrick Travis), the Ripe (drummer Nick Yaklin), Adam & the Figurines (bassist Adam Amparan), and the Dresses (singer John Yaklin). With second guitarist A.J. Sandoval (the Dazzling King Solomon Band), the Austin fivepiece fused MC5 garage power-drive and Gang of Four-like post-punk. Get Out thus sustains a relentless spasm that begins on opener “It’s a Flash,” the instrument-wrecking intro cohering into a rampaging riff rocker. Eight further furors range from dirty R&B (“Sidewalk Blues”) and avant jazz freak-out (“Two-Headed Monster”) to the second side’s extended rave-up of the Del-Vetts’ Sixties fuzzbox killer “Last Time Around.” John Yaklin’s larynx-busting vocals never lose melodic sense, and the band plays with all the abandon of kids just discovering the joy of playing rock & roll. Bet they were awesome live.

ST 37 Album Review At Austin Chronicle

ST 37

ST 37 (Super Secret)

REVIEWED BY MICHAEL TOLAND, FRI., AUG. 10, 2018

Austin space/psych institution ST 37 celebrated its 30th anniversary last year and follows it up with a double-length state of the union address. Longtime leaders Joel Crutcher (guitar), Lisa Cameron (drums), and Scott Telles (bass/vox), joined by axe wielders Bobby Baker and Matt Turner and electronics gremlin Bob Bechtol, reach a new peak. “KBDP” and a remake of “Grey Area” from Telles’ pre-ST band Elegant Doormats dive into a psychedelic sea, riding waves of pedal-damaged guitars and oscillator atmosphere into the deepest trench. The snarling “Boss” and blasting “Hollywood Cemetery,” plucked from the obscure catalog of Telles’ old Houston hardcore band Vast Majority, hit an opposite note, rocking hard enough to dispel Mary Jane’s thickest clouds. “Shadesty” and redos of old standards “Snootle y Choobs,” featuring harmonicat Walter Daniel, and “Rooster Feather Paycheck” find the median, balancing black-light tripping with brute force. From wide-eyed chemical pilgrimages to balls-out punk pound, the album sums up ST 37’s strengths.

Skeleton Premiere “Dystroy” at Austin Chronicle

Skeleton Dystroys

New EP precedes transformation into… metal

BY KEVIN CURTIN, 11:30AM, MON. JUN. 18, 2018

Following a pair of ferocious flexi discs, Skeleton returns with its third self-titled release in as many years: a pummeling, four-song 7-inch that arc welds menacing hardcore punk with D-beat, sludge, and metal influences.

Skeleton: (l-r) David Ziolkowski, Victor Ziolkowski, and Alex Recide (Photo by Daniel Di Domenico)

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The Austin trio, whose medieval imagery signifies a blunt force approach to music, cut the EP with homegrown DIY visionary Orville Bateman Neeley III (OBN IIIs, Bad Sports) at the controls.

“About eight years ago, a friend took me to see A Giant Dog play at the old Emo’s,” says Skeleton singer/drummer Victor Ziolkowski(Plax, Nosferatu, Enemy One), who plays alongside his brother, guitarist David Ziolkowski (Army, Residual Kid), and bassist Alex Recide (Nosferatu, Recide). “I looked at Orville as being one of the only drummers I enjoyed watching in that whole realm of music. He hit hard and he was so solid. He recorded our first flexi, as well as an Impalers record I like, and I like the sound he got, so it made sense to go back.”

Ziolkowski confirms that after this, Skeleton will make an about-face and become a metal band.

“We want to stair-step into metal,” he says. “We’re already recording an LP that isn’t going to have a punk sound at all.”

Thus, enjoy their bulldozer punk in the short term. Today’s song premiere, “Dystroy,” blasts forth a breakneck beat, roaring vocals, and a prominent two-note, string-bending guitar riff that serves as the song’s hook. Skeleton’s first circular effort (the flexis are square) arrives via Super Secret Records June 30. You can pre-order it here and see Skeleton in action on that same date at Barracuda with Webbb, Enemy One, and Filthy.

Austin Chronicle Review of En Las Montanas de Excesos

Chris Cogburn/Ingebrigt Håker Flaten/Bob Hoffnar/Henry Kaiser

En las Montañas de Excesos (Self Sabotage)

REVIEWED BY MICHAEL TOLAND, FRI., MAY 11, 2018

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Contrary to popular belief, imaginative and virtuosic musicians elevate ad-libbed music beyond “jams.” Thus thrives En las Montañas de Excesos (In the Mountains of Excess), an improvisational collaboration between Austinites Ingebrigt Håker Flaten (the Thing, Young Mothers), Bob Hoffnar (Mood Illusion), and Chris Cogburn (No Idea Festival), and San Francisco great Henry Kaiser (Yo Miles!, French Frith Kaiser Thompson). Each player boasts extensive improvisational experience, with clear ability to follow another player’s nuances and nudge them in unexpected directions. Bassist Flaten and percussionist Cogburn keep the rhythms propulsive, remaining in the pocket without disrupting timekeeping. Guitarist Kaiser and steel guitarist Hoffnar mix and match a wide variety of textures, allowing melody to duel with dissonance sans violence. Noisy riff-mongering meets painterly ambience teeth-grinding pick scrapes cuddling with lush lyricism and everyone leaves as much space as they fill. A sense of humor provides the last piece of the puzzle, not only as a sudden twist that makes colleagues smile, but as a conceptual vision, like the nods to author H.P. Lovecraft in the titles (In the Mountains of Excess, “The Dream Quest of the Unknown Plethora”). These guys are having a ball, and it shows in the strength of the performances, the unity of purpose, and the sheer delight in spontaneous composition.

Austin Chronicle Exclusive Stream of “The Shadow Over Overkill”

Kaiser, Cogburn, Hoffnar & Håker Flaten Rock Free and Lovecraftian

A track premiere from the Mountains of Excess

BY KEVIN CURTIN, 12:35PM, MON. MAR. 26, 2018

Henry Kaiser / Chris Cogburn / Ingebrigt Håker Flaten / Bob Hoffnar: En Las Montañas de Excesos

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Henry Kaiser lays out his artistic credo: “I’m a die-hard improviser and I’m a die-hard experimentalist. I always want to try things I haven’t done before and see what happens.”

The premise behind the veteran Bay Area guitar wizard’s next release pivots on collaborating with new musicians. That scenario came to fruition on a 2015 session that found him interfacing with a trio of A-list Austin improvisers: bassist Ingebrigt Håker Flaten, drummer Chris Cogburn, and pedal steel expert Bob Hoffnar.

“There was no plan,” admits Kaiser. “There was no discussion. We hadn’t met. We came to the studio, set up, and we played without talking much at all.”

The resulting En Las Montañas de Excesos (In the Mountains of Excess) cuts loose an expressionistic, free-form fusion alternating between aggressive musical pile-ons and anti-gravitational space sections. Cogburn’s malleable meters and Håker Flaten’s muscular electric bass serve as the quartet’s rhythmic tail fin. Meanwhile, Kaiser and Hoffnar beam prisms of squirrely melodies that challenge electric guitar and pedal steel conventions.

While it’s tempting to deem such unrestrained movements as free jazz or avant-garde, Kaiser characterizes it as something more familiar.

“It’s just rock & roll,” he chuckled over the weekend. “It’s improvised rock & roll and I grew up with a lot of that in the Bay Area where it went to a lot of crazier extremes than it did on the albums by San Francisco bands like the Grateful Dead, Moby Grape, and Quicksilver Messenger Service.

“You’ve got little fringe things with improvisation in what passes for rock & roll nowadays,” he continues, “but the way pop music has become so conservative and mainstream, most of what sells a lot isn’t Jimi Hendrix playing ‘Purple Haze.’ It’s indie rock that’s about as experimental as Perry Como.”

En Las Montañas de Excesos arrives April 6 on Austin’s Self Sabotage Records. The collection subdivides into two continuous vinyl sides as well as four longer digital tracks. Each is titled with the self-effacing corruption of an H.P. Lovecraft story. Lead cut, “The Shadow Over Overkill,” streams here for the first time: