LETTER FROM A FRIEND: Jeff Tobias (We vs The Shark, Sunwatchers, et al) may have left the Classic City many years ago for Queens, NY, but his influence is still felt, and his music still appreciated. This week, on Oct. 17, he’ll release his latest full-length album One Hundredfold Now in This Age. The album arrives courtesy of Portland, ME label Repeating Cloud. It’s a markedly mature album with at least one Easter egg (find it yourself in “Gimme Coherence”). You can slot this very loosely on your jazz shelf, but that’s an oversimplification of Tobias’ current music, which is among the most well-realized material he’s ever produced. Indeed, he nails his own description by referring to this collection as “pop composition maximalism.” Find this at jefftobias.bandcamp.com, and for more information, please see jefftobias.net.
CHIN UP: I rarely do this, but I want to talk to y’all directly. There’s been a handful of times this year when I’ve seen folks I know refer to themselves as “failed musicians” or artists or writers, etc. Look, did you form a band and make a record? Did you figure out home recording and start releasing demos? Did you paint that picture or make that sculpture? Did you write that book, take that photo, start a blog, etc. and follow your creative instinct? Then you categorically did not fail because you did the thing. Sure, it may have been ignored, sat unlistened to, been left unread, unseen or otherwise. All that really means is you failed as a salesman and, really, who gives a shit about that? Keep on keepin’ on.
EASTER EVERYWHERE: The thus-far consistently pleasing label Hard Tack released the debut six-song self-titled EP by The Skippers last month. This is a sweaty, joyful, charging rock-and-roll record of the likes cemented in popular imagination by The Sonics, The Seeds, Mitch Ryder, Lenny Kaye’s Nuggets series and select moments of MC5. The emotional element, as well as its slower pace and more modern indie-rock styling of “Martian Specter,” was a nice surprise. Other specific highlights here are “The Answer Is Yes,” “Too Hot” and “Repeat Me.” Find this at hardtackk.bandcamp.com.
BOO: Those punks in Peter and The Skeeters just put out a split cassette/digital release with Tampa, FL’s Gnats for Halloween, so it’s appropriately titled Halloween ‘25. It arrives courtesy of the self-same label mentioned in the paragraph above. Each band contributes three songs, and The Skeeters’ tracks are first up. Just past its Halloween-y intro comes the classic Los Angeles punk blast of “Shagged at the Graveyard.” Next up is the half-deconstructed “The Creature,” which essentially crawls out of its own warbly slime before launching itself headlong into another rocker for its final 40 seconds or so. The Skeeters’ section ends with the catchy and circle pit worthy “Norman’s Last Chance.” Go dig on this at hardtackk.bandcamp.com.
SUNNY SIDE DOWN: Blacking out your whole calendar this week is the next single by electronic destroyers Obscurity, which the band is releasing in advance of its upcoming new full-length album. This second single is named “Sheath,” and it’s as if the sound hole the band has been digging deep into the dark ground is starting to collapse around it. This new single is more than claustrophobic; it’s oppressively dark, repetitive to the point of numbness, and delivered with a sense of utter hopelessness. This comes out officially on Oct. 21 so set a reminder or whatever you do. Bookmark obscurityy.bandcamp.com to find this when the time is right.
KEEPING IT REAL: The next occurrence of Sonic Space at ATHICA happens Wednesday, Oct. 22. On board for this night is New York vocalist Charmaine Lee. This is show No. 46 in her current 60-show tour of the U.S. Lee is known for her improvisational style that uses electronic manipulations of live vocal—to be read as distinct from singing—explorations. Think of all the noises you can make with your throat and mouth—that’s what she processes in an atmosphere of live manipulation. Also on the bill are Marcell Sletten (Organically Programmed, Chairs, Primordial Void) and Ohmu (Winston Parker), each of whom have been covered repeatedly in this column, so go look up some archives. The suggested donation is $12, so please take some cash money with you. For more information, please see athica.org.
FINDS FROM THE FLOORBOARD: Chunklet Industries/The Chunklet Music Preservation Project has now released the third and final edition of old Athens compilation/zine series Samizdat. The first was reissued back in May, the second in August and now this one titled Battered Bleeding Grim. Originally released in 1989, this most recent one features many of the usual suspects, including Bar-B-Q Killers, Danny Cottar (Time Toy), Mercyland, Porn Orchard and Damage Report. A couple of tracks are credited to “unknown” as time has faded the memory of both the producers (Dru Wilber, Haynes Collins and Gene Lyons) and subsequent listeners. As Chunklet head honcho Henry Owings writes in the release notes, “The provenance of these recordings, even at the time, was of little importance to those involved.” It remains to be seen if these details will be of any importance to you, too, but give this a spin and see what you think. Head to chunklet.bandcamp.com to get onboard.
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