Bradipos IV - Lost Waves • album review

The Bradipos IV

Lost Waves

LP on  Area Pirata Records

Download from Bandcamp

From the first needle drop, Lost Waves goes vein deep into the rock. It’s surf music, done by guys who love rock’n'roll. The beat is steady and insistent throughout, the bass heavy on the quarter notes, and this is clearly a “live in the studio” recording. The instrument set up doesn’t waver from song to song, with guttural, deep guitars leading, while the reverb sustain drifts on and on. You can hear the air moving between the instruments as the mix is hugged in a thickness of warm compression. The Bradipos IV guys have been together so long, they have a musical telepathy; they don’t step on each other’s toes and out of that ego free relationship comes plenty of space for each guy to support their brothers, and display their own abilities.

There are three covers and nine originals. The cover songs are perfect choices, and, perhaps, create moods that the originals don’t. “Siboney" is the most familiar, and it’s easy to compare to so many other band’s versions. What makes this version exceptional is the lazy, in the pocket phrasing of the lead and the Mexi-Cali groove that brings some western heat. The obscure opener, “Ghost Hop” is kind of an instant party and sets the tone for the album. Chris Barfield’s “Heart Full of Nothing” mashes up riffs from “The Good, The Bad and The Ugly” with a little bit of Jeff Beck’s lick from the similarly titled Yardbird song.

I am greatly intrigued by the originals. The songwriting of the Bradipos IV has become so identifiable and trademark. The songs are credited to the whole band, so I don’t know who wrote what, or whether Francesco or Massimiliano is playing lead. In fact, the band members don't even take a credit for what instruments they play.

“Lost Waves” is a compelling and lyrical song, fully fleshed out with an intro and bridge, and lifting modulation. It’s motivating, but with a hint of sadness. “Night Creeper”is mis-named, it doesn’t creep and it’s not dark. It’s a classic up-tempo song descended a few generations from Podolar’s “Midnight Run," the snare and tom rolls propelling towards the finish line. “Deep Mojave” at 3:55, feels like the epic here. Opening with a fanfare and working through melodic verses and staccato turnarounds, a breakdown bridge and peaking with a guitar solo that completely cuts loose and speaks of freedom and release. “Deep Mojave” is the kind of song where I get the feeling the author is working out some personal shit, in the healthiest way. “Hangover Serenade” explores the dynamics of surf guitar, moving through open string pull-offs, arpeggios, double stops, and palm muted drip. Underneath the masterful guitar playing is a beautiful song in the Astronauts style, with a snakey melody and mood changing passages. The slowest song on the album is "The Steel Valentine", but it’s no ballad. The brush rolls on the snare hint at a spaghetti western lamento, and the dark melody set against lightly picked chords or chunky wallops recalls the Bambi Molesters. 

Side two (yeah it’s LP only!) opens with "Big Sur Nightmare," another song title inspired, it seems, by the Bradipos’ 2016 California tour. Another well put together song, with a satisfying bridge. I love it when the guitars play octaves with each other for the last verse. “Tumbleweed Stomp” comes on strong, but settles into slightly lax groove, allowing the guitars to push. The upper register melody in the second verse lifts the song to a cerebral place, clearing the mind so the body can move with the beat. “PJ Run” (named for Paul Johnson?) has a familiar feel, the drums once again push in the Astronauts style, and the Fender Rhodes bell tones give the mix a quiet vibe, even though the song is really moving. Finishing  the album, and our journey around California, we end in the refinery city that is “El Segundo.” It’s gritty, tom heavy and dark, but a little sunlight peeks through when we get a little Chuck Berry action, and then a tumultuous coda and a long reverb and amp buzz trail.

Lost Waves is honest surf music played without pretension. The songs are original and have a style honed to individuality through the vision of four collaborators who clearly value each other’s abilities. My only real beef with the sound is that the drums are too dry for my taste, and stick out of the atmosphere created by the swirling reverbs. Great album, and highly recommended!

Les Agamemnonz- a love letter

I just got back from the Surf Guitar 101 Convention in Los Angeles. There were so many great and impressive bands-- Surfer Joe, The Black Flamingos, King Pelican, Urban Surf Kings, Fascinating Creatures of the Deep, The Kaisers of Kalifornia, and the tributes to Paul Johnson and The Sentinels.



But, the band that put it through the roof for me were Les Agamemnonz from France. Coming out barefoot and in togas, they've got synchronized moves, some young guys with really long hair, so they really stood out. Their music is just fantastic. I love their CDs (available from Green Cookie Records). If you haven't heard them, just check out this one song:

Some really new and fresh ideas here, but still well within the friendly confines of surf music. I don't really think of them as pushing boundaries like, say, the Mermen do. It's just that they have found so much unexplored acreage that we didn't know existed. The ingredients are the same, but the recipe is new. Too many food metaphors?

For their USA tour, Hi-Tide Recordings has released a digital single with two new songs. It's available from Bandcamp, where you can listen to the complete songs before you buy. It's the best $2 I've spent in a long time. Here's my review: 

Les Agamemnonz

Diana b/w Lacrymos

digital single on Hi-Tide Recordings

“Diana” has a very unusual structure, starting with a stately guitar line over an unstructured drum solo, slowly accelerating up to tempo. This is about as risky as anything I’ve ever heard within the confines of trad surf. As the band falls in, the guitar line permutates to become the main, and very catchy, melody. The song continues to stir and build as the production becomes fuller, augmented by acoustic guitar and keys. It’s quite a passionate and emotional experience. I guarantee you’ve never heard anything like this before, but will want to listen to it over and over. This is bold, innovative, but sounds like a lost gem from the early 60s.

The B-side, “Lachrymos” is a slow, forlorn stroll, with a familiar 50s structure. The raw guitar tones have an honesty of heartbreak. There are elements that hint at redemption, but I get the feeling that the author is looking back with regret, more than optimism. Another spacious production, with natural room and analog instrument sounds.

Tikiyaki 5-O "Tone Control" EP review

Tone Control is the second EP from Tikiyaki 5-O, the rock unit and more portable version of the Tikiyaki Orchestra. It’s all instrumental, and the guitar tones are clean and wet so it should appeal to fans of surf music, but this is not a surf album. The vibraphone and tropical percussion of the Orchestra are missing, but the juicy flavors in the chord progressions and atmospherics take the songs far beyond the pale. The EP has six songs and starts off with three originals. 
I’ve probably listened to El Atacor a few hundred times at this point, and I’m still not sick of it. It’s the heaviest hitter here with a compact arrangement and a severe twang on the guitar. The verse alternates between staccato picking and legato vibrato dips. I can’t help but think about Jim Bacchi’s metal past as I listen to this one, though I know he’s really holding back from where he could have gone. He’s a “taste" guy now.
Sidewinder was written by Brian Kassan, the keyboard player, and starts with menace but the verse is singable and then the chorus turns round with a series of major 7th chords to lighten the mood. The bridge floats through an intricate dual guitar harmony and then rides the major 7ths through the outro.
Leave the Gun is the second Jim Bacchi original and as the name suggests, carries the intrigue of a spy on spy romantic interlude. There’s the moody set up, a hopeful turnaround, and then the ticking bomb throughout the breakdown reveals that the affair will be short lived. The ambivalence of the last chord leaves the story line hanging.The last three songs are covers. 
John Barry’s theme for The Ipcress File is ripe for a Tikiyaki recipe, the spy sound owned by the harmonic minor scale which plays Jim’s chorused guitar melody against tense, modulation wheel heavy keyboards and chilling harpsichord backing. Laika & the Cosmonauts did a similar version, but T5O’s version is more focused.
Then they drop the bomb with a cover of McCartney’s “Eleanor Rigby” though it’s retitled and significantly reworked as Elenor Bigsby here. Vamping on the riff and groove to Pipeline, when the familiar and iconic melody comes in, it’s a jarring and perfect juxtaposition. Don’t most early surf bands site the emergence of the Beatles as the reason surf music died? Why not reclaim it, and add a little “Penetration” into the mix as well. 
A taste of Exotica returns in the straight forward cover of Podolar’s “The Quiet Surf”. They’ve slowed it to a gentle crawl augmented with bongos, bird calls, crashing tides and cymbal swells for atmosphere. I keep thinking I’m having a reverie in an opium den, with an occasional lucid thought that I know I’ll never act on. If you loop this song, be prepared to spend afternoon doing nothing.
Jonpaul Balak and Pablo Baza are a tight and educated rhythm section. Brian Kassan's keyboard palette is varied and appropriate for each song (he also plays guitar.) Jim Bacchi is a fearless producer and this album is a satisfying diversion that will continue to surprise with repeated listenings.

Insect Surfers "Red Mesa" new video

Just finished this video for Insect Surfers, a song from their new album Datura Moon, this is "Red Mesa." This is part of an ongoing series, all shot in my garage. Who will be next? Who knows...

Insect Surfers "Red Mesa"

And here are the first two videos in the series.

Tikiyaki 5-O - "El Atacor"

The Kilaueas "The Men From M.E.N.S.C.H"

Upcoming shows for 2018

Frankie and the Pool Boys upcoming shows: 

Sat July 21 - Rio Nido Roadhouse, Guernville

Sun July 29 - The Ritz, San Jose

Fri Aug 3 - Purple Orchid, El Segundo

Sat Aug 4 - Surf Guitar 101 Con, Torrance

Sun Aug 5 - Surf Dogs, Huntington Beach

Th Aug 16 - Kung Fu Necktie, Philadelphia PA

Fri Aug 17 - 10th Avenue BBQ, Belmar, NJ

Sat Aug 18 - Asbury Park Surf Music Festival, NJ

Thur Sept 27 - Cornerstone, Berkeley w/ The Ventures

Th Oct 25 - Forbidden Island, Alameda
Fr Oct 26 - Art Boutiki, San  Jose

Fri Nov 30 - Alberta Street Pub, Portland OR

Sat Dec 1 - Daryl's Tavern, Seattle WA

Album Review: Fascinating Creatures of the Deep

Fascinating Creatures of the Deep

Float on Forever EP

This five song EP was recorded and prepared in time for Fascinating Creatures of the Deep’s spellbinding performance at Surfer Joe Festival, where they gripped the crowd’s attention. Their set seemed essentially different in pace from every other band, and they played the only true ballad of any band I heard there.

The group is led by Adrian Cavlan, lead guitar and songwriter, Gary Boodt on rhythm, and Paul Zimmerman on bass. The drums were played by Bay Area surf music scenester “Stretch” Riddle, whose cred and chops are unchallenged.

Adrian’s songs, in general, are non linear and veer from the verse/chorus/repeat cycle in interesting ways. Which is to say that it’s not trad, although the instrumentation is, except for the use of an acoustic guitar for the rhythm. Adrian is a bitchin’ guitarist!

This EP does not disappoint, and like their live set is patient and well paced. The first three songs are uptempo rockers. The first song, “The Coldwater Kid” is distinctly non linear, using a variation on the James Bond theme as an intro anchor, a solid verse riff, then a nod to “Diamondhead” here, some jazzy spikes there, and dramatic stops to finish, all in 3:02.

“Rail Grabber” is locked down with a steady surf beat and rolls, while the throaty leads tells a gripping story of one surfer’s long ride through repeated peaks and valleys. I love when the guitar goes for double reverb in the bridge.

“Panic at the Point” is even more cutting with a standard 2+4 snare and big pounder opening riff. The rising, diminished, bridge chills like ice water pouring down the neck hole of your wet suit. (This has never happened to me, but I can imagine).

And then, the EP takes another dramatic turn with two cinematic slow songs, which is somewhat surprising if you know of Adrian’s background in the Bay Area punk scene.

The first, “Float on Forever,” strikes me as being deeply introspective. Slow, moody and clean minor key surf guitar noodles over sub-bass. It’s a full two minutes before a slow stuttering drum beat joins, at which point the song reveals a bit of light in the melody. This is thoughtful, quiet surf at it’s best. You may not know what’s on the composer’s mind, but it’s sure to bring out big thoughts in yours.

“Push On Long Strider” was inspired by the onstage heart attack suffered by Stretch, and his recovery. Thinking about losing a talented friend is surely inspirational, although not the kind of inspiration anyone wants to have. It starts out with slow wave rolls and an ominous string bend, suggesting a transition to a darker world. The rhythm guitar begins a steady Bolero beat and the lead comes in on top with Spanish musings. The tempo remains steady but builds in intensity quickly, and you know you’re in for an epic ride. Even at nearly four minutes, this song is much too short.

In fact, with just five songs I feel the whole EP is too short, and hope and wish that Fascinating Creatures of the Deep continue to write and record, with a steadier output. Can you tell I loved this record? Great work guys, this EP is outstanding!

Tan Line Fever-- the end of the road, the end of the tour

Sunday July 1, Cecina 

We had an early call on Sunday morning, another long road day. We got out of Scauri without incident and to the A1. After yesterday, the wide and smooth black top lanes are more than welcoming, and the Fiat can top at out at 130 mph for much of the trip. For some reason it seems like a long, uphill grade the entire way to Rome, and then a slight downslope all the way north to Firenze. 

Our only stop is at a mega Autogrill, the kind with the restaurant spanning over the 6 lane autostrade. While I wish I didn’t have to drive the whole time, it is a great way to see the country. In general, the driving etiquette has been pleasant. One law I really like is that you are not allowed to pass on the right, so slower cars are forced to stay in the right lanes.

At Firenze, we turn southwest towards Livorno on the FiLiPi highway. One of the coolest roadside sights I’ve seen is a shuttered Autogrill. It looks like it’s been abandoned since the 80s. It’s humble in size compared to the one we just stopped at, and sits alone in a field with knee high weeds pushing through the cracks of the parking lot. I’d love to shoot a commando style video there.

We pass through Livorno and down the coast, driving by the cliff side club where Jono and I played for Surfer Joe 2009 with Pollo Del Mar. Both sides of the narrow coast road are packed with scooters and tiny cars, making it single lane in places. The beaches, clubs, and rocky spaces under bridges are packed with sun worshippers. 

Cecina is about 45 minutes south of Livorno, where we turn left towards the coast. As we get closer to the coast, we drive through a huge forested area for camping, which dumps us out on the dirt beach road. The Spot 1 surfing school is at the very end, and I slowly make my way, trying not to run over teenagers playing cards in the middle of the road, dogs, wandering children and elders, lovers only paying attention to their others, and cars wedged sideways into too tight parking spots. And finally, an impenetrable wall of scooters.

Jono and Abe go to assess the situation, the club owner advice is "Deal with it." While we’re waiting we meeting a parking lot attendant named Pazouki from Ghana, and I ask for his story-- he’s been in Italy as a refugee for 18 months, and it still struggling with the language, but likes the people and is happy to be here. He doesn’t have much pull with the parking situation, but seems like a really nice guy. Luca Valdambrini pulls up in his PT Cruiser, bringing us an amp to use. He knows exactly what to do, and he and Jono start moving the scooters manually to the sides. With a wide enough path cleared, I can get the van passed.

The Spot 1 is a place where you can rent sailboats and water gear, surfboards, SUPs. There’s a piece of plywood to put the drums on, the amps sit on top of driftwood, and the rest of us will have our toes in the sand. We look straight out on the water, and as for the ladies bathing suit style, I can only say, more buns than a bakery! The snack bar has rolled out huge tatami mats and groups have their happy-hour cocktails and eats on the beach in front of us. We start playing around 7, two sets until 9, and are the soundtrack for a mellow beach party. 

This is a perfect last gig, a completely unique and memorable experience. But, I promise I won’t get philosophical, even though I’m really tempted. 

The drive back up to Livorno on the coast road was easier, slightly less traffic. The biggest difference is that the beach wear has been swapped for dance clothes as the kids return from their campgrounds for the nightlife. We stopped by the Navy Hotel to drop off our gear, and then went to the hub, the Surfer Joe Diner to return all the gear. There’s another huge event happening at the diner, and Monday night in Livorno is no less lively a week after the Festival. Jon and Abe had some mediocre pizza experiences so they went out to find the perfect slice as a proper send off. Us older three hung with Luca for a snack, and then walked back to the Navy.

The Pool Boys, July 1, 2018 Italy. The end of the road, the end of the tour.

Monday July 2. Goodbye

The first message I read this morning at 8:15 was from Jono, saying that Abraham and Jonathan were through security at Florence International and on their way. Jono is staying with his wife and daughter for another 5 weeks of travel around Europe.

Karen and I went with Lorenzo to return the van, then finished business with him at the diner, and talked about the future world domination of all things surf music. At 2, Lorenzo dropped Karen and I at the Livorno train station. We are headed south to Caserta to visit the Bradipos and then to Naples where we will fly home on Friday.

So ends the rock’n’roll portion of the trip. Thank you dear readers for following along!

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