Black Flamingos "Play Speedway and Other Hits" album review

Black Flamingos

“Play Speedway and Other Hits”

Hi-Tide Recordings 

Listen and download Speedway at Bandcamp

The Black Flamingos new album further explores their surf-noir sound, warmly filling the tracks with a bare bones rhythm section that places Robbie Butkowski’s lush guitar in the spotlight. There are some minimal, and always very tasteful side accompanists, padding a production that sounds period specific to the late fifties. The tracks have a natural ambience, and I don’t detect a shred of digital embellishment or trickery. Just some talented session cats sitting in a room together, making music.

“Play Speedway and Other Hits” is not an album that relies on gimmicks, shock or bluster. It has a tonal minimalism that focuses on the prowess of the lead voice. The arrangements are uncluttered, so you can really hear the reverb fall-off and the cymbal sizzle. I think every song is augmented by some kind of 4th instrument- an acoustic guitar or percussion- but they rarely repeat, and the trio remains the focus.

The first song, “Speedway" is the lone epic in the set, a slow burner starting with legato chords, then a two-step groove picks it up as the dragster engines alight The chorus shakes with additional tambourine, then featured breaks for the rhythm section and a crunchy lead guitar solo to kick it into high gear. 

After ”Speedway” the songs tend to be more focused in their scope. "Chicken Wire" makes me think of what a proto-Slacktone, with it's jazzy inversions and swinging beat, might sound like. “Rendezvous" picks up the tempo a little more, with Bukowski soloing over some crackling, reverb damped chords. Baritone sax introduces, then adds beef to “Haunted Hall” with it’s dramatic syncopations. "Malibu Run" is a stripped down take on the Richie Allan and the Pacific Surfers tune, revealing a possible source of inspiration for the Black Flamingo’s overall sound and melodic direction. "Kali Ma" is full-on exotica, with vibraphone as the second lead, over gently rolling jungle toms. This is one sophisticated composition!

The Black Flamingos "Okinawa"

As the needle drops on side two, the Flamingos downshift and the rpms peak as Butkowski’s tone thickens to feedback level on “Okinawa", which seems like it could have been a mid 60’s hit for the Ventures in Japan. Black Swan (not your pappy’s "Saturday Night at the Duck Pond”) is a new re-working of the Tchaikovsky theme, with guest fuzz guitarist Chris Barfield laying down the Davie Allanisms while Bukowski cleanly double picks around the elegant and iconic melody. Another cover follows, Mancini’s “Experiment in Terror” is downbeat but smile inducing, so different from the frantic Laika and the Cosmonauts version. “Shark Repellent” comes on strong with a trad surf vibe, again with a proto-Slacktone thickness to the chord inversions. Finally, “Eviler” twists the mind with a circular and confusion inducing melody, perfect as a cinematic coda to a strong set of material.

I must mention the sequencing of this album as being clearly well thought out as the tempos and intensity build then release, a brilliant flow on par with The Car’s’ debut album.

Declan O’Connell’s bass is always in the pocket; while he does take an occasional turnaround to shine, he keeps it busy, but in the background. In a trio format, he has a lot of room to move around without intrusion. I don’t know if he recorded with the short-scale Mustang bass he uses live, but he has a nice hollow tone here, passing for an upright in vibe. Drummer Vincent Minervino remains subtle and supportive, a model of restraint. I think there’s an old saying about the hardest thing to do is make it look easy, but that’s these guys in a nutshell, so very good.

Overall, The Black Flamingos’ “Play Speedway and Other Hits” is a pretty chill set. I keep thinking about the warm jazz albums on Blue Note– of course this isn’t jazz, but it has that honest, live approach where the musicians are hearing and playing off each other’s subtleties. It’s a great set.

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!