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The Pheromoans - Open for Business

Yakisakana Records

2009

#The Pheromoans #Open for Business #Yakisakana Records #garage rock

The Pheromoans quietly released a new LP this past summer, and even though I’m On Nights topped my “Best of 2016″ list, my initial reaction was as tepid as the reception County Lines seemed to draw across the board. The first few listens left me a bit cold: the band ceased to provide a stark, electronics-heavy background for Russell Walker’s weary and wry delivery, as on I’m On Nights or Walker’s work with the Bomber Jackets. True to the cover art and the translucent orange wax, the sound on County Lines is warm, and even at the most stripped-down, the band sounds like the promise of a new dawn even while Walker’s lyrics remain dire. It eventually became apparent that County Lines was an amalgamation of the Pheromoan’s discography, combining rumbling guitar workouts on “The Hen” and “Ultra Skies” with the more vulnerable, pared-down synths of “Troll Attack” and “Sharia or Sheeran”’s dry, contemporary humor. Of course, this still means that newcomers will have to adjust to Walker’s vocals, which he occasionally stretches beyond his usual droll speak-singing (”Fogel 13″), and the thin, childlike chorus of “Happy happy happy/funeral” on “Roman Uncle” is apt to make some people immune to County Lines’ spell. Despite any perceived shortcomings in his vocal performance, Walker remains one of the most enigmatic lyricists going, his dark humor colored with Seinfeld-ian observations and humanity alike, all without becoming an arrogant or timorous voice. Besides, the rest of the band is firing on all cylinders here, providing the most varied and lush background for Walker yet: the waves cascading and building up on “Ultra Skies,” the bouncy drum machine patter of “Kitchen English,” and the dense bass line gliding atop of sheets of synth on “The Lister.” County Lines is probably the best Pheromoans record yet, and it’s definitely the best place for the uninitiated to start - every track hits home, and even as background music the record pulls you into its sphere. One of the best under-the-radar records from 2019, and one that will continue to reward well into 2020.

Alter put out the Pheromoans’ County Lines last year in an edition of 250 copies on translucent orange vinyl. The label is sold out, but Forced Exposure and Fusetron are still holding for those who missed out.

#The Pheromoans #Alter

"Twibbon Wife" by The Pheromoans https://ift.tt/0jNta31

#IFTTT #Spotify #The Pheromoans

The Pheromoans- I'm on Nights (2016)

Creativos, explosivos, salvajes, delirantes. Una fiesta, The Pheromoans es una autentica fiesta. Pero una extraña, donde cualquier ciudadano comun se sentiria incomodo. Subi:

Genero: Rock Alternativo, Indie Rock, Lo-Fi, Weird Rock, Avant-Rock, Pop Alternativo

Año: 2016

Pais: Inglaterra

Duracion: 38:21

Compresion: 320kbps

Tamaño: 86,9mb

Tracklist:

1- Wizard thing 2- In freefall 3- Depressed Wobble 4- Cones Hotline 5- Ion 6- Don't spread it round College 7- About to go 8- Rodent Costume 9- Brad's Crush 10- Rock & Pop Quarrel

DESCARGAR

#the pheromoans #i'm on nights #2016 #post-rock #punk #alternative punk #pop #alternativo #weird rock #united kingdom #reino unido #gran bretaña #inglaterra #avant-rock #avant-garde

Dust: Vol. 2, No. 12

(Tyondai Braxton)

Patrick Masterson, Ian Mathers, Bill Meyer, Doug Mosurock, and Derek Taylor take on: the latest of Four Tet’s career retrospectives, the lo-fi labor laments of The Pheromoans, and Tyondai Braxton’s pay-what-you-will EP against gun violence. There’s also a new synth object from M. Geddes Gengras, a guzheng-infused solo statement from Jessica Pavone, and an electro-acoustic set from Dafne Vicente-Sandoval and Pascal Battus. We wrap the week up with new Whities from Quirke, a mock singles collection from the resurrected Mark Wynn, and a Waxahatchee throwback for new and old listeners alike.

#dust #dustedmagazine #still single #the pheromoans #mark wynn #pascal battus #dafne vicente-sandoval #m. geddes gengras #jessica pavone #four tet #waxahatchee #quirke #tyondai braxton #patrick masterson #doug mosurock #bill meyer #ian mathers #derek taylor

The Pheromoans - Dried Out Dreams

#the pheromoans #2014 #dried out dreams #olright

Ship/Shape/Sunday #5 -- A Mix Made on 22 June 2014 --

-- 1. Parquet Courts, "What Color Is Blood?," Sunbathing Animal 2. The Pheromoans, "Laurie's Case," Hearts of Gold 3. Life Without Buildings, "New Town," Any Other City 4. Archie Bronson Outfit, "In White Relief," Wild Crush 5. Amen Dunes, "I Can't Dig It," Love 6. Black Pus, "Blood Will Run," Black Pus / Oozing Wound Split LP 7. Fujiya & Miyagi, "Acid to My Alkaline," Artificial Sweeteners 8. Liars, "Can't Hear Well," Mess 9. Parquet Courts, "Instant Dissassembly," Sunbathing Animal 10. Chad VanGaalen, "Evil," Shrink Dust 11. The Pheromoans, "Chung Said," Hearts of Gold 12. Archie Bronson Outfit, "Lori from the Outer Reaches," Wild Crush 13. The American Analog Set, "Computerizing (June 2000 Demo)," Know by Heart (reissue) 14. Fujiya & Miyagi, "Little Stabs at Happiness," Artificial Sweeteners 15. Liars, "Left Speaker Blown," Mess -- Bernie Brooks is Ship's editor-at-large and SE Michigan correspondent. Send him records, tapes, zines, and prints: bernie [at] shipinthewoods [dot] com -- Image by Bernie Brooks.

With Christopher Tipton of Way Through & Upset The Rhythm--Part II: Upset The Rhythm -- None for the weary, nor the Upsetters. In the past few weeks alone: two outstanding new LPs by The Pheromoans and Ed Schrader's Music Beat (Hearts of Gold and Party Jail, respectively), plus an EP of No Babies' hardcore skronk. So many shows: The Pheromoans album launch, POW! and Gary War, Daniel Bachman and Ryley Walker, Shannon & The Clams, Chain & The Gang with Comet Gain and Actual Crimes, The Julie Ruin, R. Stevie Moore and Alex Cameron, and Future Islands with Ed Schrader's Music Beat. Again, that's just May 'til June. The elusive Brendan Fowler--aka BARR--does his thing this Sunday, too. Look again, there's no filler up there. For people who are into interesting, experimental "pop" music, those artists matter, and that, for me, is what makes the London collective Upset The Rhythm the gold standard for DIY labels / promoters. They never let the momentum slow. Seemingly, they don't rest. And none of it is shit. Really, that's the most important thing. UTR's shows and releases have been stylistically omnivorous and impeccably curated for as long as I've been following their work, which, by the way, bares none of the negative signifiers that are often associated with DIY collective undertakings--shoddiness, small thinking, impracticality, an unwillingness to grow, etc. I mean, Future Islands at Shepard's Bush Empire in November--that's huge. And they've done it all holding fast to their core values of presenting fun, intelligent programming while treating both artist and audience "with respect--paying musicians well, keeping ticket prices comparatively low, and ensuring profits from individual shows or records are used to fund future ventures."

Founded in 2003 by Christopher Tipton, Claire Titley, and a handful of others eager to provide London with a thoughtful, well-curated live music experience that was all but nonexistent at the time, by 2005 Upset The Rhythm had grown from putting on shows into putting out records. As of late 2013--the tenth anniversary of their first gig--Upset had released over 60 recordings, put on several hundred shows, and become a full-time endeavor for Tipton. As a music obsessive in the States, it's their label output that has had the most impact on my life, bits and pieces playing like the soundtrack to my mid-to-late-twenties--from BARR to No Age to Future Islands. Into my mid-thirties it's been Way Through, The Pheromoans, Ed Schrader, and, still, Future Islands. This may read like so much smoke, but every word of it's been earned by Upset The Rhythm through the sort of massive effort that's only possible when there's a real love for the work being done. The end result is a history of indelible shows and seminal records--with many, many more on the way, I'm sure. Back in March, I contacted Christopher, who with Claire makes up the duo Way Through, about doing a two-part interview. In April, we ran part one, an in-depth exploration of Way Through and their most recent LP, Clapper Is Still. Now, after innumerable delays, I am proud to present part two, in which Christopher and I explore the history (and future) of Upset The Rhythm.

It was during my time there that I saw that a fair amount of bands coming over to Europe were swerving the UK altogether. When I followed this up, it turned out that a UK leg was often not worth the hassle. Shows in the UK and particularly in London were seen by many booking agents (most are from mainland Europe) as paying badly (barely covering the ferry tickets), lacking much imagination, and resulting in the whole band sleeping on a cramped floor after each show (if they were lucky). There was a stigma attached and a reputation growing. It was around September 2003 that my partner Claire noticed that Deerhoof were coming to Europe, but that they were following the trend I’d started to notice by just playing mainland shows. Deerhoof were one of our favourite bands at the time, and so the scenario was mentioned to my different pockets of friends until the penny dropped, and I decided to bring everyone together with the aim of us setting up a special show for Deerhoof, so that we could (rather selfishly) all get to see our favourite band. We went about making it so worthwhile that the band / agent couldn’t refuse. So, with our limited ideas of what was involved in promoting a show, we put together an offer, sent it over to their agent (a legend of a man called Keith who took a risk on a bunch of overly enthusiastic kids), and, to our total surprise, he agreed to give it a go. From this green light, we held our first meeting as a collective, named ourselves Upset The Rhythm, and brainstormed all the things we wanted to achieve and avoid with the show on a continuous parchment of baking paper, known fondly as the sacred scroll. I’m aware that this all sounds pedantic, but those gathered at the table with pens were mainly schooled in science, and all felt an ad hoc manifesto of sorts would be a good way of discussing how the impending Deerhoof show would turn out. We didn’t want to mess up the opportunity, and our complete lack of experience meant a lot of those early shows were ruled by trial and error (emphasis on the error and trial!). Amongst the things discussed was our emphatic desire for the event to be fun and thoughtful. So many of the shows we’d been to in London hadn’t any curatorial heft, with random support bands added to the lineup to appease the bar staff’s brother or the pet project of the sound engineer. They were mainly hosted in hopelessly depressing, expensive venues and boasted an eclectic mix CD of inoffensive techno played inbetween the acts. It all felt very clumsy, and so to our uninitiated brains it seemed like if we did anything to improve things even slightly it would’ve been worth it. So, we set about booking a venue, a rather curious place called Needles in the shadow of the BT Tower off Great Portland Street. By day an Italian wine bar, by night an Italian wine bar with a crude PA system and flashing lights! The venue had plastic vines that twisted around the light fixtures, a good square dance floor, no stage, a mono PA (essentially a glorified bass amp), and, best of all, a series of odd caves hollowed out of one wall where you could descend to drink in your own private grotto. It had a lot of charm, wasn’t perfect, but seemed rather like an antidote then to the usual dull black-box venues we’d grown tired of in the capital. As our Deerhoof show drew closer, we made posters to decorate all of London’s record shops (something we still do to this day) and handed out flyers at every gig we went to. I clearly remember that the show fell in the early stages of the Xmas party season, and so the owner of the club made a variety of threats about the event having to be exceeding busy, or he’d never work with us again. That really didn’t matter so much, though, as we’d only come together to make this one show fly, ideas of “What next?” hadn’t entered into our imaginations. When the day of the show arrived, we were all feeling nervous. We hadn’t thought to sell tickets in advance, so it was total guesswork if anyone would turn up. We soundchecked Deerhoof hilariously early in the day, 1 PM I think, and then took them for dinner upstairs in an Italian restaurant. The band and the ten of us making up UTR nibbling on breadsticks throughout the afternoon before we noticed a queue forming outside the window, even though the restaurant remained largely deserted. Eventually, it became apparent that queue forming was made up of people who had come early to make sure they’d get a ticket for the show! By the time doors opened we had about 300 people waiting to squeeze into the decidedly half-the-size club, but somehow we made it work. The event was an utter success, Deerhoof were incredible, the best band we’d ever seen play live. Our show had captured the same fun and vaguely wild atmosphere I’d experienced earlier that year when I’d gone on holiday to San Francisco and caught some of my favourite bands playing more DIY setups, acts like XBXRX, Arab On Radar, and Hella, with everything bouncing off the walls and ears almost bleeding.

This first Upset The Rhythm show was done, we felt we’d pulled off a miracle, and as we tidied up and helped the bands pack away a real sense of achievement washed over us all. It was only then, whilst the audience was filing out and thanking us all for our efforts, that we thought about doing it again somehow. Too many people seemed to feel the same as ourselves, and it started to feel like a duty to keep going. So, that Deerhoof show led to another, and that in turn another, and the ball began to roll. We’d invest any profits from each show into supporting the next project. A year-and-a-half later, we decided to take on being a record label. That led into booking tours, and swiftly into me doing Upset The Rhythm as a full time job. At present, we have organised approximately 600 shows and have almost 70 releases under our belt, which feels like the least likely thing ever still to me. I’m very lucky to do something that I love, but it still surprises me that this is where it’s all ended up, everything could have turned out so differently. There’s a lot to be said for following your heart, if you trust in something being worth doing, it becomes a call to arms, and before you know it you’re ten years deep. In terms of Upset The Rhythm as a floating collective of people, at our heart remains a strong self-belief, the need to challenge ourselves, and most crucially a love of music, something I had no idea back in 2003 was a rare attribute in the music industry. Our priorities have subtly changed from our beginnings, I remember we almost had a militant approach to wanting people to dance and to be exposed to new music in the most juxtaposed manner back in the early scheme of things, and I suppose that’s toned down into approaching each show / release with a blank slate, open eyes, and a desire to make it the best. With UTR, we’ve always been about tailoring each event or record to make it the best it can be, we don’t make do, we always try and transcend if we can, whilst remaining sincere. Another thing we’ve kept up continuously since the first show is our archive of photographs and video. Everyone who’s ever played at Upset The Rhythm (and that must number 2000 bands plus now) has been documented and committed to the digital vault. When we began, this was a mere souvenir, but over time I think it’s become such a valuable resource that we try and share as much of it online [as possible]. More important to us today are our aims to elevate the quality of the sound at gigs, as it helps to make a genuine connection, a powerful reaction. It’s so key to invest in decent PA systems, not only for the audience’s enjoyment, but for the well-being of the band too. We want to make everyone as satisfied as possible within the realms of a DIY show, to attempt a level of professionalism that’s not at odds with the spirit of the event. It’s also become more vital to us to keep the concept as neat as possible too, we most enjoy the concerts that we endeavor to host in increasingly offbeat places such as medieval towers, a capella chapels, disused offices, car showrooms, places like the art deco Rudolf Steiner House--where we most recently hosted The Space Lady when she landed in London for the first time. There’s a lot of extra leg work that goes in in terms of hunting out unusual places (pavement pounding), hiring in gear, and dealing with sceptics, but it makes for a more memorable experience in the end, and I think the best way to enjoy live music is to be taken out of your comfort zone. Another boon of working as Upset The Rhythm has always been our ability to act as a platform for new, local, and underrated bands. We could as easily take on a 50 capacity show as a 2000 cap one, so we’re not blasé about the opportunities that come our way to support a lot of artists who deserve that recognition.

III. On the visual aesthetic of Upset The Rhythm C: I definitely think the visual aesthetic of Upset The Rhythm is significant. It’s something most people don’t pick up on, but right from show one we had this in place, hand-colouring A3 posters with paints and crayons to set us aside from the glossy, impersonal, and unimaginative. The same responsibility exists to offer artists opportunities to work on projects as it does for musicians. This really comes into its own with the shows and tours aspect of UTR, as most bands choose the artwork for their records themselves. Over the years we’ve worked with a vast number of artists, illustrators, and designers on poster art, sometimes we go to them, sometimes they come to us, sometimes we even have three different designs for a single event, but then who said you should only have one! We’ve had silk-screened posters, riso-prints, collages, torn photocopies, paintings, inked t-shirts, all sorts really. The only unchanging characteristic being our felt-tipped sheet stage banner and the long, orange upcoming programme posters, which evolved to escape the avalanche of club posters that wipe out humanity weekly on a Friday afternoon--such is life! Being ever practical, I think the visual aesthetic of Upset The Rhythm comes into its own when it gets the poster / record noticed firstly, and then, secondly, to intrigue or entertain, but I must admit I’m constantly surprised by the extent with how people constantly rethink and rework the concept of the show poster. It really is it’s own art form, and alongside our vast digital archive we have a plan chest full of posters from every event. I’d love to exhibit them all alongside each other one day, if only there was a big enough record shop and a time machine made available. To linger on the subject of posters for a short coda, I’ve always been a great supporter of making our events and records as inclusive as possible. Personally, I can’t stomach cliquey scenes and willful obscurity trading as a badge of honour, so the Upset The Rhythm posters stuck up in records shops and street corners are the really the vanguard in opposition to that. Also, it’s important to remember that a cool poster doesn’t make an event. Getting the right atmosphere, ticket price, venue, DJ, running order, and soundsystem are all equally important as the right poster and bands. DIY shouldn’t equate to amateur hour, it’s hard to shake off that assumption. For UTR, it’s the whole story that matters, and the visual has to live up to what everything else is bringing to the table, and I must admit I’m pleased it so often does!

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