Imelda Marcos – Tatlo

Already Dead
Already Dead Tapes & Records

Many good things come in pairs. Imelda Marcos, a drum and guitar two-piece, is a great one. Billing themselves as a noise-rock band, this duo brings a myriad of sounds and shapes to bear on ‘Tatlo,’ their latest record. While the first track is an overall uncharacteristic tone poem of sorts, the music soon settles into a series of angular, wonderfully rhythmic pieces that explode over and over again like an internal combustion engine that is running ever so rich.

‘Tatlo’ marks Imelda Marcos’ first release with Already Dead, and their third studio record overall. With the glut of sound being created by a guitar and drum kit, it is often a wonder that some of these textures are being coerced from such humble places.  Even as the sounds of this record are wild, they are hyper-focused beyond reasonable belief.

Through the majority of these tracks, the guitar roars, bursts, screams, and trills in a hundred unknowable voices, while the drums pound on relentlessly, carrying the only world we could ever remember knowing closer and closer to oblivion. Yet even as we march towards nothingness, the absoluteness of these rhythmic, instrumental incantations lend some level of relatable comfort.

In even turn, Imelda Marcos brings out micron-thin, ultra-precise cutting tools and take them to their own sonic tapestries, cutting with perfect exactness as they fabricate every shred and tear, engineer every tatter and snag, and produce a work of sonic artistry, the caliber of which has only appeared sporadically throughout human history, and often only on frozen moonless nights. These are works for being up too late, or waking up too early, in a cosmic sense.


Old Time Relijun – See Now And Know


K Records

“I am a Spellcaster, master of Incantations.”

Thus it is spake on the fourth track of Old Time Relijun’s latest work, and as ‘See Now and Know’ unfolds there is left little doubt of the validity of that statement. This EP goes by quick at just under 23 minutes, and it takes perfect advantage of that time to lay down a treatise on an older idea of what humanity could be, if only we could conjure it forth.

The first five tunes are centered around an ever-moving core of fat, slippery bass lines and bombastically primitive drums that serve to drive the music forward in a way that feels perfectly stable and ready to collapse in on itself simultaneously. Sprinkled in are saxophones, bass clarinets, keyboards, guitars and other less-familiar sounds, accenting points that are never made and referencing things that are never known.

Atop the writhing mass of sorcerous sound perches the vocals; half-sung half-chanted half-shouted invocations that leap about with significant weight, like a jetliner that’s too heavy to fly but does anyway. The words are words of Power that tell the story of existence while inviting it to end, only so it can begin again.

Danau Lindu’ brings us to an instrumental break from the unceasing movement of the first 5 tracks. It is a thoughtful and meditative tune that gives a reprieve from the unstopping movement of what came before. The respite lasts but a moment, however, before ‘In This World‘ plays the finale. At least until you start the record over again.

At times this record feels like a nod to every *-splotation soundtrack ever, if those soundtracks were ancient scrolls in dead languages being interpreted by wizard-priests from from the future. ‘See Now and Know’ pulls no punches as it ushers us forcefully in every direction at once.


Jake Simmons & the Little Ghosts – Shake So Easy

Spiderhouse Records

Kalamazoo Rock

Let us make no bones about it; Jake Simmons & the Little Ghosts love rock n’ roll.

This record is informed by the relatively short history of that loudest and most raucous of American musics, and it is not ashamed.  On the contrary, the love that this band has for these sounds is down right unabashed. The performances on Shake So Easy – the group’s third full-length – are as a rule tight and lean, while the arrangements are concise without lacking depth. The boys are playing loud, and you just know they are having fun. The grooves are deep, the hooks are sharp, and once they are in they do not come out.

From a songwriting perspective, Jake delivers passages that vary in obfuscation, balancing between a pool of metaphors and a river of truisms while dipping his toe in each. His voice goes from high and sweet to a weather-worn growl that can only be described as Real. He sings about hardship in the Midwest in a way that makes the uninitiated understand, while sparking the expatriated to remember.

The pacing of Shake So Easy is interesting. Overall it moves well enough, save for the back-to-back monoliths of No One Can Sleep and Black Wind in the center of the album. This pair of longer, slower tunes can seem a bit unpassable if you’re in a certain mood, but for those that push beyond there are moments of sweetness and serenity to be found – most notably on Movies, though there the title track offers some short reprieve as well.

Overall, this music is a genuine, well-executed example of what it means to be alive right now in Michigan. These songs are the band’s finest works to date, and presented as they are make up one of my favorite albums of 2018.


Paddy Hanna – Frankly, I Mutate

Strange Brew

Ireland Rock N’ Soul

Fade in to a folk-rock jam session. The drummer has had one too many. The man on the clarinet has had just the right amount. It is near enough the end of the evening that someone got a synthesizer out and nobody is upset about it. The tune marches to a halt with just enough flourish to show that they meant it. Thus is track one, and it is not representative of anything else on the record.

That is the charm, of course, with Paddy Hanna’s second album. Each track moves through sounds that are fresh while at the same time familiar, never resting too long on a particular style or motif. Here is Bad Boys, a fast-moving lounge tune that would have a place on any French romance soundtrack of the ’60s, were it not for the Irish-English whispered over-top. Skip ahead to Mario Lanza, a blue-eyed soul cut with a near-perfect hook. Later we hear Spanish Smoke, a track that invokes the psych-surf spirits of yore. Even the titular Frankly, I Mutate stands out from the crowd of stand-outs, embracing gallop and schmaltz in a way that still manages to be sincere.

These varied works should be as disparate as anything, but instead they are threaded together by lush, well-played instrumentation and an expressive, far-reaching vocal performance. The arrangement swells at times with horns and strings while contracting at others to the rock-essentials, but the production is quite nice on this record and never keeps you wanting for sound, no matter the genetics of a given track.

These are songs about living and love and living without love. Taken one by one, each tune has its own luster. The whole, though, is lovely in both pacing and presentation, and very easy to listen to on repeat in the background or foreground.


Gitis Baggs – The Gitis Baggs Game

Double Phelix

Kalamazoo Ambient Country/Folk

Confession time: I have had a love affair with the music of Gitis Baggs for quite some time.

Gitis lives in the traditional melancholy of midwest folk, psyche folk, alternative country, and so on. Whatever genre you ascribe to it, The Gitis Baggs Game oozes a type of comforting cerebral take on the world reminiscent of acts like Red Red Meat, Holopaw, Built to Spill, or Olivia Tremor control. Not that Gitis’ music is derivative of those acts or even sounds like them necessarily, but if you were to throw The Gitis Baggs Game on shuffle with various The Elephant 6 Collective acts it would fit right in. Added with a country twang.

I balked originally at using the word traditional, but I am writing this review in 2017. It seems fitting now to call psyche-folk, alt-country, and other midwest bastard genres falling under that banner, a tradition.

The bandcamp page has this album also tagged as ambient, and I think that is also a great way to look at this work.

It is calm in its uncomfortable clarity. The music is relaxed, at times organically washing upwards into large ornamentation.

Maybe I have been listening to too much Trap lately, or overtly electronic productions, so I may be biased here. But there is even a nicely lo-fi country track in the middle of the album. It sticks out because it has a different singer, but is just really solid and succinct.

For a majority of this thing, Gitis waxes poetic on top of these airy jams. Ruminating on various human conditions and applying a kind of optimistic nihilism in every verse.

I am not sure if this is a concept album, or maybe every Gitis album is a concept album, but I enjoy applying my own mythos to the tracks and what they mean.

Listen to this one on a rainy day. Or for a walk in the fall when the leaves are falling. Or if something terrible has happened and you want a sympathetic voice.

– JK

Last Gasp Collective – Agape

Last Gasp

Kalamazoo Soul

Last Gasp Collective is a fluid musical outfit of Kalamazoo musicians centered around the creative drive of Jay Jackson. Agape is their second and latest release. It was produced almost completely in Jackson’s home recording studio, and features crisp and clean production for a home-engineering endeavor – surely a product of extreme attention-to-detail and a great deal of skill. This record sounds polished, modern, and lively.

The musicans in Last Gasp Collective center around a core of bass/drums/guitar/keyboards, with a who’s who of Kalamazoo players complimenting various tracks by lending cello, saxophone lines, as well as additional guitars and vocals. The music moves in style from modern and smooth R&B to subtle funk tracks, but it never fails to just feel good. Vocal harmonies, solo leads and rap verses all play prominent parts on this record, and all are delivered to excellent effect on each track, always complimentary and never distracting.

The pacing and structure of this record is wonderful, and is just as easy to listen to and love actively as it is to run in the backrground and nod your head to while you work on writing your master’s thesis, out-of-office group work email, or record review.



Jeremy Ruggles – The Pyramid is Circular

Already Dead Tapes & Records

Kalamazoo Psychadelia

Jeremy Ruggles has been writing songs since he was but a boy playing in rock bands with his friends. He has been recording these songs for the past six years, and finally they have been released to the world. The chosen vessel for delivery: a cassette published by Already Dead Tapes & Records.

These songs are dark. These songs are bleak. They are hopeless at times, and apologetic other times, all the while holding all of humanity accountable for the crimes it has committed against not just the planet it inhabits, but against itself.

Stylistically this album leaps from ’80s-eque power ballads to faux-swing tunes to rock and roll tours-de-force. The production is crisp and clear and crazy at times. Effected vocals and wild synthesizers are part and parcel of the experience, which is an exercise in understanding that, as Jeremy puts it, ‘. . . It’s hard to care, it’s a surplus affair. They sell bullets everywhere.’



Forget the Times – Plays Out

Already Dead Tapes & Records

Kalamazoo Experimental

Somewhere hidden deep within the sounds on this record are references to genres like free-jazz, noise-rock, drone, and sludge or stoner metal.

Forget the Times ‘Plays Out’ is like intense edging session. They present you with walls of sound, vomiting this build that tries and tries to resolve itself yet, conflicted by self-awareness and the bleakness of reality, it never quite gets there.

This record is unsettling and complicated. Like eating a vanilla ice cream cone under suicide watch.

Like any good album, though, and much like literature, the story may be macabre but what matters is that you turn to the next page. I can tell you this album might turn you on to edging. You get off on waiting for something that you just can’t have.

I imagine this album is about praying to an ambivalent God. I imagine it’s about trashing your room looking for a baggie of the drugs that are ruining your life. As a listener, you can visit this territory with Forget the Times, thankfully without actually being there.

There is a type of mastery to what seems random, sporadic on this album. If the drummer hits the side of the snare on accident it adds to the story. If the guitar plucks a note that is out of tune, the plot thickens. The artistry is in the method.

Don’t cry when the music goes away. Don’t yell when it comes back. You can float in a bubble through this cacophony and come out whole on the other end.

A good one for perspective, and meditation.

– JK

The Reptilian – End Paths

Skeletal Lightening, Community Records, iCorrupt

Kalamazoo Post/Progressive Hardcore

The Reptilian have been around for closing on a decade. With a start rooted firmly in the hardcore and post-hardcore world of the late aughts, you expect certain things when you queue up one of their albums. Their newest record End Paths delivers those things.

With the technical prowess of this group never being up for debate, End Paths offers up an example of a band that only gets tighter and more refined as they grow and play together. The composition of music is robust and mature, and serves the offered lyricism near-perfectly. Couple that with a wonderful production quality, and you have yourself a haunting, hard-hitting, and beautiful piece of art.

This record is technical, heavy, and best played on a loud stereo system to be enjoyed by you and your neighbors.



Kal Marks – Life is Alright, Everybody Dies

Exploding In Sound, Midnight Wearwolf

Heavy Boston Angst

Kal Marks are from Boston, MA. Life is Alright, Everybody Dies is the 6th release listed on their bandcamp, which is where I listened to this album.

I actually saw Kal Marks at Louie’s Trophy House in Kalamazoo, MI. I really liked listening to them live so I thought I would cover them first, here.

Kal, if I can call them that, self-described as heavy, and rightly so, are meant to be listened to loudly. If you start the album at a low volume, you will soon realize your mistake. Their instruments scream at you throughout and the singer drives along, crying into the loudness.

This album carries a lot of angst with it. It a misanthropic love letter to nihilism.

They are all fresh songs. It’s not as if Kal Marks is rehashing. reinventing, or overdoing some old trope. It is a unique take on the loud, droning, sometimes caustic genre of “Heavy Rock & Roll”, fit well with plodding and sincere vocals.

This album is like the really pissed off sadness that you enjoy. Also, it has a great title.

– JK