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Except where noted, all original text & art copyright 2012 Eddie Flowers



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1976: The Rockabilly Yobs Session (Vulcher/Hate Records; Italy) $14

Krazee Ken Highland and Ready Eddie Flowers got the blooz in both their shoes. This contains the entire Yobs session from the Gizmos' Demos & Rehearsals CD, inside a new package, with the usual high-quality Hate vinyl pressing.
MEERCAZ (Tic Tac Totally Records) $12

SPECIAL NOTE: This LP was cut at the great Chicago Mastering Service, with a sound that is far clearer and superior to the Gulcher CD version--it was quite a surprise to hear just how much better it sounds than the digital version, even though cut from the same master. It also comes housed in an old school "tip-on" jacket with insert and liner notes by yours truly (see below). This is a very cool thang!

* * *


Meercaz is a band led by Muslim Delgado (vocals & guitar) a.k.a. Mozzley a.k.a. Muzz. Based in Portland, Oregon, the current line-up of the band also includes Clayton Silva (drums), Kyle Raquipiso (guitar & synthesizer), and Sarah Epstein (bass).. But this debut album is more like a solo project, with assistance from Jason Dollar, Matt, Jen Stefnick, Clay Silva, Jesse, Sarah Epstein, and Maura Arraj.

In 2007, Muzz released a vinyl single on his own Point Wrex label ("Unlust"/"Lovesick," included here). Before the various mutations of Meercaz, Muzz  played in a band called the Leaders. Born in '78, Muzz told me his first show was a Sun Ra college gig at age 12 (went with his mom)! "Changed my life," he sez. Muzz also digs early metal and glam, AC/DC with Bon, the Cleveland 70s underground, the Twinkeyz--and here's a good quote from Mr. Delgado himself: "There are a few albums that blew my mind that made me want to play in front of people, but one that stands out the most to me is the Stooges' Fun House. I heard it when I was 16 or 17. My friend's mom had the record and I always read about them and I asked if I could borrow it and I took it home and wow! Me and my friend would cruise around Washington in his Trans-Am rocking a tape we made of that." You betcha!

The Meercaz sound is hard to pin down, which is pretty bitchen considering the fact that it's shameless ROCK! The production is simple yet experimental. The approach is primitive but spacey, simultaneously "retro" and "futuristic" without batting an eye. It's aggressive guitar music that's "punk" in its DIY manic quality, but with an aesthetic that's much closer to the late 60s and early 70s. To my ears, Meercaz is one of the handful of things in recent years that matches what I think modern rock music SHOULD sound like (and rarely does).

[Ed's listening aids: bongloads of good bud w/ my roommate, couple St. Pauli Girl lagers from last night, couple of sleeping pills I shouldn't (should) take w/ the beer, and Quatermass & The Pit on VHS w/ sound off.]

1. "Legend": Clangin' feel-good neo-proto-punk (?!) that sounds like some long-rumored unreleased "pop" track from the first Stooges LP--or ? & the Mysterians? Plus the Dolls? Nah, it's all Meercaz! Dig them jingle bells.

2. "Lovesick": Big flyin' wedges of guitar-riff abandon. Testosterone power rush. "Portland New Wave Night 1972" (listed as one of Mozz's influences at Other influences: "Andy Warhol's Bad Hair [not the musical] 200 Motels Target and old school VCA video Old Britain" Huh?). MC5 + '68 Kim Fowley? Nope, just Muzz again. This was the flip side of the 2007 Meercaz single.

3. "Future News": Noisy strychnine-laced fuzzkill instrumental w/ freestyle lead stuff and synth stings hovering throughout. Too gnarl for '66 garage--'82 hardcore? Fuck all that. This is NOT retro--it's REGRESSIVE!

4. "Manic Mirror": Primitive (and yeah, I'll do the quotes again) "pop" that has a totally DESTROYED London '65/'66 vibe, even intelligible vocals unlike many Meercaz "tunes." (Perfect for the English horror movie I'm "not watching" now.)

5. "Fan Of A Daze": Extremely listenable instrumental that does "actually" (pardon my french) come on like Muzz's hairstyle predecessor, Mr. Hendrix. Of course it sounds more like a loop of a Jimi lick, beautifully repetitive and aggressive even in its casual lope. Perfect trance riffage for hypno toads and other deluded souls. Hot stuff!

6. "Unlust": THE hit single of 2007 in Slippy Town! Only 200 pressed, though, so you are welcome from Tic Tac Totally for its inclusion here. It's a frantic rocker so simple and brief that it leaves you instantly wanting MORE! Well, here it is surrounded by lots MORE!

7. "Nothing": Kinda sub-Hawkwind twiddlin' & riffin' in a way nice manner, while the "song" has all the brain power of David Peel or the early Stooges. GRUNT! "Gimme nothin', gimme nothin', gimme nothin'." [Ahh, the pills are kickin' in.]

8. "Troubled Hand": In some dimensions, this IS "Louie Louie": crazy, primitive, spacey . . . rock & also roll. Not to mention a funky bass line. And OH MAN THAT GUITAR! GOJOHNNYGONE! Don't you wish you were listening to "Louie Louie" in THAT dimension right now? Me gotta go! [fade on synth in mad-robot setting]

9. "She Piece": Chunky stew, man. How many modern heavy groups use tambourines? I can count to uno . . . meet Meercaz, suckers! Ooh, that guitar thing, like the Byrds on steroids! And then the long break-down/out. . . .

10. "Defeated At Home": And finally (WOW!) it's flower pop (no quotes!), albeit still surrounded by the trademark Meercaz mud. Sit on the floor 'n cross yr legs 'n pass that thang, brutha. Zonnnnnne. [transforms into theme song from the upcoming Meercaz TV series in which Muzz & the crew find themselves living in a beach pad & getting into hilarious situations -- Muzz quits the show when he's asked to NOT wear flared jeans on screen]

Got it yet?
Slink to Intensity (Hollow Wood World Records
) 12" EP w/ 7 tracks $11

Noise-rock, garage-jazz, and no-wave spasms from the gender-bent San Francisco duo of LuLu Gamma Ray (a.k.a. Pelvis) and Roxy Monoxide (a.k.a. Saphoid) playing multiple instruments (analog synth, guitar, drums, trombone, tenor sax, sampler, keyboards, bass). Check "Salley Meander" and especially "Gnu Groove" for deliciously odd (not-)pop moves. Or "You Make Me Scream" with its fall apart/come together spazz jazz rawk. The title track has a loosey-goosey vibe somewhere in the region of Art Bears crossed with a surrealist Euro nightmare circa 1920. The full-on "jazz" comes with the instrumental "Blood Moon"--swingin' harmolodica with sloppy drums. Then there's "Notes from the Future," moving from old-school electronica to space jass to angular rock and melancholy future-ballad, etc. The final "Maggot Dance" is a dense, spooky dirge of irresistible murk. Released 2010. Totally recommended!