Doors open at 8pm, 21 and over welcome, $6 cover.
Come on out! It’s going to be a very cerebral show.Read More
2017 was a weird year for music for me. I worked from home primarily so my active listening to music wained a bit, since I spend a lot less time in the car and my day job is not always conducive to listening to new music. I’ve also been focusing a bit more on my own releases, hence the low output for album reviews this year. I’m hoping to change that in the coming year.
This being said I still bought a great deal of music. Outside of the Secret 13 mixes I’ve grabbed this year, the following are a list of the notable records I bought in reverse order of purchase:
Ambit – Corrupt-*Data_4
KK Null – Ghostscapes
John Vorus – Foot of the Crow
Chelsea Wolfe – Hiss Spun
Panda House – Ursa Astem
Dale Crover – The Fickle Finger Of Fate
Aaron Dilloway – The Gag File
Cooper Raines – Tonight We Sink in This Canoe
Gallery Six – under the sun
Spaace – 1
Thomas Andrew Doyle – Incineration Ceremony
Wraiths – Music for Aging
P.O.S – Chill, dummy
Author & Punisher – Drone Machines
Super Unison – Auto
Thelema – Eye of the Inner Universe
I’m willing to bet I’ve missed a few. I also purposely left off multiple purchases for a single artist. I further left out albums I purchased that were not released this year.
Some were really good. John Vorus’s record in particular is easily the best purchase this year. A couple were a complete letdown, such as Dale Crover’s solo effort. A couple were unexpected gems that came out of no where. Thomas Andrew Doyle (of Seattle’s Tad fame) released the impressive Incineration Ceremony, a collection of compositions more suitable to soundtrack work than his regular stoner metal fare. Spaace’s self titled two track ambient release was a very unexpected diamond in the rough that I’ve quite enjoyed.
I leave these here for you all to peruse and listen to for yourselves rather than try to do a mini review of each album. I’m not a fan of doing “best of this year” lists anyway.
Sessions 12 through 17 are now available from their BandCamp page with links from our Store page. Shown here is Session 14. As always, all Session EP’s are priced at $1 a track and contain anywhere from 1 to 4 tracks per Session. Recorded live in our multi-track studio direct to our board then mixed and mastered in house, these EP’s are perfectly suited to be heard in headphones while out enjoying the fall evenings. Available in all digital formats.
On July 29th, 2017 EnD played their first live performance in front of a captivated audience at the Heartbreak Hotel with CigButts, Mellified Man, and Corridors. As with all live experimentation this was recorded, although due to technical difficulties with a stereo mic the audience reaction was not captured. The album is available for FREE from their Bandcamp page!
Also in EnD news, the boys will be special guests of the North Coast Modular Collective at the Dreamland Theater on Saturday, October 14th! The listed performers for the event are: Bill Van Loo , verzerren, Jason Engling, XiNNiW, and ambit with music between sets hosted by DJ Klickbox. As with the last live performance projected film will be supplied by Remains! Don’t miss it!
EnD has been recording at a furious rate. As of today there are six Sessions released via Bandcamp with a seventh being released soon. Three further sessions have been recorded and are forth coming. All can be found on the bands Bandcamp site as well as the Store page of this site.
Also look for possible live shows this summer. We are in the early stages of planning, but there may be a chance to see EnD live in here in Ann Arbor/Ypsilanti area. Stay tuned and like their page on Facebook for Event info.Read More
EnD is a dark ambient noise group consisting of Eddie Jackson (PorkFist, Edweird, SubCortical) and Damon Palyka (The Jealous Type). Eddie, primarily using his mixed collection of stomp-box’s and synths otherwise know as The Soundlab (now in it’s 7th configuration) and Damon, playing his heavily modified guitar, his bass, keyboard, or pedal steel running thru a massive effects chain, have created a sonic onslaught that must truly be experienced in headphones. Preferably in the dark. With maybe one candle. And someone to hold on to. Ferrets optional.
Five sessions have been recorded and released as of today. Please check out these and future recordings available from Bandcamp. Keep abreast of new developments including live shows and new releases by liking their Facebook page.Read More
I received an email this morning from the folks in Thelema. I for one am looking forward to hearing some new music from them. Here is the text from the press release:
I’m very proud to announce the re-release of Porkfist’s lone studio album “Plastic” in all its newly re-mixed and mastered digital glory! It’s taken almost a year from start to finish but like a good brandy, these things take time. Please enjoy responsibly.
Porkfist was the last live band I have played in to date. It feels like eons ago that I bought a brand new Ibanez Iceman and began writing what was to become Porkfist’s Plastic. At the time, I’d been trying to form a band with Geoff Dailey for a few years and nothing seemed to come together. The closest we got was with a band called The Let Downs, with Ryan Crane, that had a serious singer problem. We eventually did one gig but the last singer we had (in a long line of singers) was so hopped up on meth he couldn’t shut up between songs. I have video of the show somewhere, proof of how bad it was. Don’t ask me to digitize and upload it.
Regardless, we finally killed that band and Geoff and Ryan formed the mighty Shi-nei with Damian and Kohei. While they were beginning to gig around town I presented Geoff with the songs I’d started on the Iceman. He was ecstatic about the new direction and we started working on them immediately.
Soon we had five to six songs mostly fleshed out enough to go looking for other players. We put together a flyer and posted it at my friend Matt’s record store Underground Sounds. I honestly can’t remember who we got first, Santi or Glenn, but they ended up knowing each other from working at a local grocery store. The pieces fell into place and for a time it was awesome.
Santi’s vocals and writing perfectly matched the fury of those riffs. Glenn’s embellishments to my writing blossomed into a full on collaboration. It was magical and I really miss those days in Geoff’s basement hammering out songs. It was either Santi or Glenn who got us our first gig. It was at Nokamura, a cooperative house on U of M’s campus. We killed it that night.
Eventually all good things have to come to an end. Glenn was getting married to his long time girlfriend and she found a job in Seattle. They moved there, had two beautiful little girls, and made a life together. Santi wanted to explore his acoustic blues and folk side and moved to Portland, where he is now a freelance writer. He released two records on Bandcamp you should go get. They’re really good.
Fast forward to 2015. For those of you who’ve been paying attention you’ll know that we had a complete studio redesign here at Soiled Utilities Productions. To shake out some of the bugs I asked Randy Williams, (whose Tascam board the new studio is based around) to remix Plastic. With access to much better technology and far more patience and skill than I had at the time it was recorded, he took this meager recording and hammered in into the record it was meant to be all along. I personally remastered it (again, better tools, older/wiser, what have you). I believe the end result is much better than the original. I hope you all agree.
So with out further delay:Read More
This past weekend I spent a great deal of time working on a few of the amps we have in the studio. Three of them have issues severe enough that I thought I’d have to take them in to Al’s Diner for proper repair, but after doing some reading I decided to at least attempt to simply clean them up. To do so, I purchased a can of DeoxIT and a can of compressed air.
The first amp on the bench was a Gallien-Krueger 800RB that has been in the basement for several years. It was essentially abandoned by it’s owner and has been sitting unused since the last repair I had done. It worked for about a week before becoming a noisy inconsistent wreck. Taking the top off was a breeze. Getting the front panel off and pulling the preamp, which had all the pots and jacks on it, was less fun.
Once I got it apart I blew out as much dust as I could including blowing out each pot individually. I then sprayed the DeoxIT into each pot and switch. I was afraid that three of the pots would need to be replaced because they were a bit loose, although none of the solder joints were cracked. I worked each pot and switch for a bit then left it over night to dry out.
The next morning I put it back together and plugged it in. The difference was amazing! No glitching, no static, no sudden bursts of volume; just gloriously even sounding solid state tone. With this first amp working I was emboldened to start on the next two: a Fender Deluxe 85 and a Peavey TKP 65.
The Fender was another amp that was given to me by Steve Toth. He told me at the time that it didn’t work and if I could fix it I could have it. I left it alone for quite awhile but got curious one day and plugged it in. The reverb pot was broken and it was somewhat scratchy sounding on about half the other pots, but it worked. Anthea has used it occasionally, but never really liked fussing with it tonally because of the static bursts from the EQ pots.
I ripped into this amp and cleaned it up in the same manner. This was much easier to work on. I found that the speaker was not secured in place. There were only two screws, both on the same side of the speaker from and they were about an 1/8 of an inch unscrewed. I moved one of the screws to the opposite side of the other screw and tightened them both down. Issue number one solved.
Cleaning this amp up took quite some time. Steve’s a smoker and I had to scrape a bit of cigarette tar off the knobs and face plate. I also sprayed the pots three separate times to loosen them up. I found a spider nest under two of the input jacks as well.
I was going to put it back together and plug it on, but decided to look for the replacement pot for the reverb. It had been sheared off prior to my receiving it. I was able to find the parts list for the amp and ordered the pot and knob from Darren Riley’s Guitar & Amp Shop. Darren Riley was a blind Google search find, but was super awesome to work with and had exactly what I needed in stock. He even emailed me to let me know they shipped. On a Sunday. He was awesome and I highly recommend using him.
Since the parts were on order for the Fender I turned to the Peavey. I bought this from Eric Brown sometime in the 90’s and used it on stage a couple times, but mostly used it for occasional band practice since it was much smaller than my stage rig, which consists of a the second Fender Bassman 135 (Blackface) on top of a Fender Spectrum two 10″ by one 18″ cabinet that I bought in 1989 for my first Bassman head (Silverface). It’s been pretty good in the studio as well both direct and mic’d, but over the years it’s gotten more and more nasty sounding.
I’ve pulled this amp apart a few times so no surprises here. I followed suit with the pots and jacks as I did before, but on this amp the attached power cable needed to be replaced. It was frayed at the plug and the amp. This was more difficult than I had wished for. There is a protective clip that surrounds the power cable so the metal backing doesn’t cut into it. I ended up having to cut the cable off to figure out how to get it out. It’s a squeeze clip that cute into the cable a bit. This proved more difficult to get back in later than it was almost worth, but I got it on the end.
The parts for the Fender arrived on Thursday. I pulled the preamp board out with little difficulty and propped it up. Since I had no solder sucker I had to use braid to pull the old solder out. Not ideal but after some time and with a little patience I got the broken pot off. Putting the new one in wasn’t that difficult, but my soldering skills are a bit rusty. I’m hoping I didn’t do any damage.
Once together the amp sounds much better but the reverb is still not working. I banged on the reverb pan and got it to make some sound but nothing being driven from the amp. It seems to need more work. For now I’ll leave it alone.Read More