Album Review: John Frusciante - PBX Funicular Intaglio Zone

PBX Funicular Intaglio Zone. The words are emblazoned on the album cover in crudely painted scrawl as a warning sign, as if to say “beyond here there be some weird shit”. We have learned not to be fooled by his long residency with The Red Hot Chili Peppers: guitarist/singer/songwriter John Frusciante is one trippy cat. If you have mistakenly wandered into this album expecting to hear an 'Under The Bridge' or 'Scar Tissue' turn away and run. This time around he is indulging his electro freak persona and the strange is turned up to 11 rather than the guitars. It is a crash course in experimental electronics and it yields some amusing results that are bound to draw in some as it turns others away.

Guitars are certainly present but they rarely take center stage. Instead we are treated to an assortment of booming bass synths, buzzing keyboards, drum machines, and banks upon banks of effects peddles. Here and there, among all of this, nuggets of his sharp pop mind surface. Behold the gorgeous mumbled harmonies of 'Ratiug' (hint: read it backwards) and the tasteful use of Wu-Tang affiliate Kinetic 9 to punch up the finale. The funky beat that slides into the last 30 seconds of closing track 'Sum' is a genius stroke that teases before shutting up completely. Some of these concepts are simply too unwieldy to execute; others are all the more endearing for existing in spite of that. On the surface 'Uprane' is just a jumble of acid-damaged trip hop, but there is actually a coherent song buried under all that noise. 'Bike' collapses into mountains of avant jazz and break beats and becomes entirely incomprehensible. These compositions are volatile but Frusciante's knack both for the abstract and the beautiful make it work far more often than it falters.

I don't usually write about bonus tracks on albums unless I consider them of particular importance to said album. That is the case here with an A Capella version of 'Ratiug' and 'Walls & Doors'. The former will honestly make some people leap for the fast forward button. It is exactly what it says it is: one of the album's best track stripped of its guitars and inherent funkiness but you cannot deny that he has a heavenly voice. The latter was released to the public a few weeks before the album dropped. It really has no need to exist outside of the main album tracks as it would fit in seamlessly. It turns out he found a way to fuse prog rock with drum and bass.

If nothing else, PBX Funicular Intaglio Zone serves as a reminder of the power of unbridled creativity. John Frusciante has not held back an ounce in the creation of this album and that alone would be worthy of our attention. The fact that it has some moments of absolute brilliance in it is just a bonus to the listener.

Rating: B+

Recommended tracks: Ratiug, Sum

From the Professor's Page: The end of 2012

The beginning of September heralds many things. One is the beginning of Spring (or Autumn / Fall if you're in the Northern hemisphere) but it also marks the beginning of the end for the current year. Everything gets busier and ramps up as the months slip by and, before you know it, its goddamned Christmas already. With this in mind I have set about highlighting five albums that should make this final third of 2012 a more joyous and awesome (or perhaps bearable) time to be a music fan.

1. Down – Down IV Part 1: The Purple EP (September)

As a metal fan it is practically mandatory to be a Pantera fan. Although I can't count the number of times I have had a raucous party that involved giving The Great Southern Trendkill a spin they were never my favourite of the metal pantheon. When I first heard Down in 2002 I fell in love with their downbeat metallic stylings. Their long awaited new album Down IV is being released as series of four EPs. These are the first recording with new bass player Pat Bruders (Crowbar) and promise to be every bit as captivating and ruthless as the previous records. Parts two, three, and four will all apparently be released next year which gives us even more to look forward to.

2. John Frusciante – PBX Funicular Intaglio Zone (September)

Is it a coincidence that Frusciante's more conventional solo albums (To Record Only Water For Ten Days, Will To Death, The Empyrean) came while he was in the thick of his “day job” with the Chilis? It is time to put that theory to the test. Since stepping away from you-know-who he has been keeping a very low profile and keeping his cards close to his chest. Who knows what it is going to contain other than a particular cryptic quote about being “progressive synth pop” and the bizarre Letur Lefr EP released earlier this year . The title PBX Funicular Intaglio Zone … first off, what the hell? … is apparently made up of words that Frusciante feels describe his creative process. Godspeed you strange, strange man.

3. Tame Impala – Lonerism (October)

Australia's Tame Impala really took me by surprise with their full length debut Innerspeaker in 2010. All of a sudden Aussie rock was about more than daft haircuts, spilled lager, and black wifebeaters. This young trio embraced the might of 70s psychedelic rock and came off like the golden bastard child of The Beatles and The Flaming Lips. To say I'm eagerly anticipating Lonerism is a severe understatement. Hopefully these talented cats can sidestep the dreaded sophomore album slump but the two songs released from the record so far ('Apocalypse Dreams' and 'Elephant') all seem to be pointing in a positive direction.

4. Deftones – Koi No Yokan (November)

The last Deftones album, 2010's Diamond Eyes, was a triumph and an emphatic return to form in the face of tragedy. While bass player Chi Cheng's future remains uncertain after the terrible accident in 2008 the band are forging ahead and striking while the iron is hot with Koi No Yokan. Vocalist Chino Moreno has stated in interviews the similarities between this new album and genre classic White Pony. Since I'm pretty sure he says that about every album of his before it comes out perhaps the wisest move is to wait until the November 12 release date and see for ourselves.

5. Soundgarden – King Animal (November … or whenever)

Forgive a little skepticism on my part but the release date for this is anyone's guess really. Soundgarden were also met with skepticism by some when they announced that their reunion tour was not a nostalgia trip but a full-blown return. I for one am intrigued at what the veterans will come out with. I maintain my position on this despite their only new song ('Live To Rise' from The Avengers soundtrack) being lukewarm at best. If nothing else they have earned our patience though and I am happy to wait for as long as it takes.

It has been a great year so far and if these five examples are anything to go by then the good times are nowhere near over yet.

- Professor Ricardo K 

Album Review: That Handsome Devil - The Jungle Book

“We all just wanna be kids again / but you can't buy back your innocence”.

These are world-weary words from a world-weary band. They come from That Handsome Devil's song 'Buyer's Remorse' and they lament the woeful transition from wide-eyed children to the drudgery of adulthood that we all must undertake sooner or later. That Handsome Devil's latest release is called The Jungle Book and it is, indeed, based on the classic 1967 Disney film of the same name. Each of it's six songs is a cover of a song featured in the movie as sung by apes, crows, elephants, bears, and people. Is this a last ditch attempt at buying back that innocence? Not by a long shot.

The cold introduction introduces us into this new, frightening world before diving into the swooning doo-wop of 'Friends'. The lyrics might expound friendship on the surface but they leave a bad taste in your mouth, turning a once heart-warming sentiment into bitter irony – all driven with a Sergeant Pepper's marching beat. 'March', all militaristic beats and squelching guitars, has become a dehumanizing doctrine about the loss of individuality. 'Fire' revels in its own self-destructiveness even if the sour horns drag you slowly down to hell. 'Bare' – formerly the sing-along favourite 'The Bare Necessities' – has lost all of its joy, now merely a whimpered plea for survival. THD find the evil at the heart of these tunes and exposes it for all to see. I dare to say that it will be hard for me to ever hear the original versions of these songs the same way ever again should I attempt to revisit my childhood. Only Godforbid and crew could turn the music of a celebrated kid's cartoon into a morose meditation on (sur)reality and the dark side of the human soul.

The sole moment of tranquility in all of this is the final track, 'Home'. It acts as the voice of compassion that pierces through the gloom; soothing the savage beast with female vocals and gentle string arrangements. That Handsome Devil move in leaps and bounds never satisfied with their current lot in life. For a band with only two full-length albums (and three EPs) to their name, their sound has a maturity that is hard to match. For years now I have been calling THD one of the best, most overlooked bands on Earth. The Jungle Book is just more ammunition for me to do so.

Rating: A

Recommended tracks: March, Fire, Home

Do you know what the BEST part of this album is? It is 100% FREE! You can download it here.

Review Wrap-Up: August 2012

#1 Kendra Morris - Banshee

Kendra Morris has been setting the internet alight before Banshee, her debut album, had even released with a series of covers that ranged from Jennifer Lopez to Metallica to Pink Floyd. This is a lady who knows how to set the bar high. Banshee is filled with slinky, sultry tunes that show off Morris' sparkling voice. She has the instrument she needs to stand out from partically any other female R&B performer you care to name. Production duties are handled by Jeremy Page, one of the musical geniuses behind That Handsome Devil (AKA the world's greatest band). His sound is all over this record; skittering hip-hop beats, wonky organ vamps, and knowing just when to bring in those menacing guitars. All of these things come to a head on 'Concrete Waves', a track that sets the tone for the entire album. Fans of Janelle Monae and Alice Russell should apply here.

Rating: A-

Recommended tracks: The Plunge, Concrete Waves, Today

#2: Chris Robinson Brotherhood - Bad Moon Ritual

When it comes to Chris Robinson, the name of the band might change but the modus operandi stays the same. Whether it's with the Black Crowes or his new band, Chris Robinson Brotherhood, the singer remains enamored with rock music of yesteryear. The southern-fried opening track 'Tulsa Yesterday' blends Led Zeppelin, Allman Brothers, and the Grateful Dead into an unstoppable eleven minute jam session. Robinson is a country boy at heart with songs like 'Star Or Stone' transporting the listener to the dusty vistas of the American south. No song sits under the seven minute mark which makes the weaker tracks marathons of endurance at times. Ultimately, if you've heard much of the Black Crowes then not much here is likely to surprise you. But with all of its charm and warmth Bad Moon Ritual – warts and all - is a very hard album to dislike.

Rating: B-

Recommended tracks: Tulsa Yesterday, Star Or Stone

#3: Easy Star All Stars – Easy Star's Thrillah

Having already tried their hands at Pink Floyd, Radiohead, and The Beatles Easy Star All Stars' next covers album tackles one of pop music's most revered records: Michael Jackson's Thriller (aka Thrillah). The choice of album is inspired as many of these songs are already ingrained into our collective musical consciousness. The group of musicians involved are clearly fans of the original and their enthusiasm for the source material is obvious. “Wanna Be Startin' Somethin'” is reinvented as a funky seven-minute soul revue and the smooth dubby bassline on “Thriller” will bring a smile to any Jacko fan. As fun as Thrillah is it does lack the stroke of genius of pairing up reggae with prog rock that made Dub Side Of The Moon a cult classic. All the same this is the perfect summer party record for all you beach bums out there.

Rating: B

Recommended tracks: Thriller, Wanna Be Startin' Somethin'

#4: Jackson Firebird – Cock Rockin'

If the name of this band conjures up images of muscle cars, stereos blaring, filled with long haired dudes then it has done its job. This Aussie duo are all about greasy rock and roll - beer soaked , petrol breathed, and ready for mayhem. Part early Kings of Leon and part early Black Keys, Jackson Firebird check all the right boxes to make a kickass party record. In defiance of modern rock trends Cock Rockin is roughly produced and dangerously raw which is of course a part of their sweaty charm. At the end of the raucous title track you can practically hear the mixing board catch fire and the guitar leads on 'Rock Solid' are the kind of ballsy blues that had been putting Aussie rock on the map since the 70s. This is bare bones rock, for better or for worse. This album is a no-brainer for fans of The Datsuns or Eagles Of Death Metal.

Rating: C+

Recommended track: Cock Rockin'

#5: Katatonia – Dead End Kings

Swedish stalwarts Katatonia have slowly been blurring the lines between melodic death metal and hard rock for over 20 years now. Dead End Kings is their ninth album and easily their most accessible to the outsider so far. Singer Jonas Renke has a voice that is sweet, supple, and instantly recognizable which helps to set Katatonia apart from the crowded European metal scene. At this point in their career Katatonia have nothing to prove which affords them the room to experiment with their core sound. While keyboards and electronics have always been prominent in their albums Dead End Kings takes the occasional detour into trip-hop (as on the excellent 'Leech') that is bound to turn heads. An excellent example of a band that is maturing without pandering to the expectations of the masses – they seem to be happier following their demented muse than following trends. Their mellowest album yet and truly gorgeous.

Rating: B+

Recommended tracks: Leech, Undo You

Idle Worship: Tomahawk (2000 - Present)

The Players

Duane Denison (Jesus Lizard) - Guitar

Trevor Dunn (Mr Bungle, Fantomas, Melvins) - Bass

Mike Patton (Faith No More, Mr Bungle, Fantomas – co-founder of Ipecac Records) – Vocals, keyboards

John Stanier (Helmet, Battles) – Drums

Former:

Kevin Rutmanis (Melvins) - Bass

The Albums:

Tomahawk – 2001 (Ipecac)

Mit Gas – 2004 (Ipecac)

Anonymous – 2007 (Ipecac)

Oddfellows - TBC

A number of years back a good friend of mine coined the expression “Tomahawk is God's gift to music” and ever since I have found no reason at all to disagree with him. They are dark, violent, and visceral but also humorous, ridiculous, and mightily unpredictable. What more could you want from you local pack of weirdos?

The term “supergroup” aside, Tomahawk is comprised of men with a lot of talent, prestige, and an endless capacity for sick genius. Each are memorable players in their individual projects and are well regarded by those in the know. Since their formation the only change in personnel is when Rutmanis exited with the band under mysterious circumstances. He performed on the first two albums, but left to be replaced by Patton's running buddy Trevor Dunn (they also worked in Fantomas and Mr Bungle together) to commence work on Oddfellows earlier this year. Each member brings their unique voice to the collective sound - and that sound is a menacing one – but any band that features Mike Patton is going to create some serious buzz.

Vocally, Tomahawk is the closest to Faith No More that Patton has come since they stopped making albums after 1996. Tomahawk generally seems to be following a structure of some sort which separates it from the manic experimentalism of Fantomas, or the freakshow spectacle of Mr Bungle. This both a blessing and a curse: a blessing as it makes for an easy point of reference to draw in new fans, but a curse in that some will accuse the project of running on fumes. Mike Patton, let alone the other 2-3 members, doesn't half-ass anything and any fears that this was a limp FNM retread were quickly put to rest. The major difference is that this is not friendly stuff – more like some sort of musical psychodrama blaring out of amplifiers. 

Even when Tomahawk leaned the furthest into mainstream recognition it was still pretty freaking out there. Each of they're three existing albums bear only one single each. The first 'God Hates A Coward' is performed live using a mic-rigged respirator just so it sounds creepy enough. The second, 'Rape This Day' has a name only a mother could love and, for obvious reasons, received very little airplay. Finally 'Sun Dance' is mostly made of wordless chanting, and a slice of hardcore wedges into a cut-throat tribal jam. No 'Epic' or 'Ashes To Ashes' are likely to be found in here.

Tomahawk is a willful exercise in psychosis, you can feel it seeping through the tales of murder and misanthropy. It might be a carjacking ('101 North') or the ramblings of a musical outsider pushed too far ('Pop 1'). Mit Gas just pours gasoline on that fire, closing the record out with a truly demented coda. 'Harlem Clown' samples the same phrase on loop as it decays into clicks and record skips. Top that with the positively acidic 'Aktion FM1413' as it dictates the basic principles of hand-to-hand combat in a soulless robot voice. The album's final breakdown is punishing, glorious noise rock at its finest. As unusual as those first two albums are nothing adequately prepared people for their third album, Anonymous. Tomahawk had decided to infuse their scowling rock with Native American rhythms and pay homage to a practically-extinct musical style. It turned out not to be as bizarre of a combination as it initially sounds. Which brings us to Oddfellows. Apart from a 40 second teaser clip nothing has been heard from the album and even an exact release is hard to pin down. You could always spend the time that you have to wait twitching in anticipation. If you are in / can get yourself to Australia next year you might well have a chance to catch Tomahawk at Soundwave Festival 2013. They join the likes of Metallica, A Perfect Circle, Garbage, and Kyuss (Lives) in what is sure to be a hearty good time.

Are you behind the ball when it comes to Tomahawk? Ipecac records has kindly re-released all three of their albums in a boxed set titled Eponymous To Anonymous. You officially have no excuse now.