 |
|||
|
Terminal Lovers CD w/folded full color insert in plastic slipcase. "Retrieved and re-edited from various recording sessions/jams, “Basement Tapes Volume 2” recently released by Terminal Lovers, contains just one long piece (split into two parts), The music spending the first ten minutes as a spacey drone before the band take over, a rolling wall of guitar riffery, fired up by the solid rhythm section behind. With some fiery guitar work to be had “Sodden Wheels in a Supper Club pt1 “is a lot of fun at high volume, with part 2 becoming seriously psychedelic as it moves through time, echo boxes set to kill, with some free drumming and a mean guitar giving everything a chaotic edge. Volume is everything for this one, well worth irritating the neighbours for.
" "Great to see Dave Cintron’s Terminal Lovers are back at last after over half a decade away. His all-new incarnation of the band is featured here on two huge grooves that both clock in at well over a quarter-of-an-hour each. And despite my yearning for the absent riffology and anguished larynx of earlier Cintron times, I truly believe that we must totally accept an artist’s shifting metaphor rather than pine for the good old times. Those Head Heritage freaks who go way back will remember Herr Cintron’s scored a pair of HH Albums of the Month, with the Lovers’ DRAMA PIT & LOAN (Review #44 back in January 2004CE) and with his earlier band The Downside Special (Review #50 in June 2004CE). Well, he’s back and his new ramalama is real guitar-informed head trauma." |
||
|
Scarcity Of Tanks "SCARCITY OF TANKS, this Cleveland combo, led by Matthew Wascovich, has sounded a little random to my ears previously. But this effort, NO ENDOWMENTS, featuring Clevelanders Dave Cintron (Terminal Lovers, Downside Special), Ted Flynn (Theodore Vril), Andrew Klimek (X-Blank-X, Johnny & The Dicks, Death On A Stick, Ugly Beauty), Scott Pickering (Pufftube, Prisonshake, My Dad Is Dead, Spike In Vein, Happy Flowers), Nate Scheible (Self Destruct Button), Dan Wenninger (Oblique Orchestra) and Oakland, California's Weasel Walter (Flying Luttenbachers, XBXRX, Lake Of Dracula) is freeform skronk, but other parts are great rolling-CLE-word-spews in the Laughner/Kryss tradition, with instrumental moves jacked from Death of Samantha and Rocket From The Tombs, then updated like crazy. Crazy." - Byron Coley, Archivist. The group met and recorded tracks during 2007-2008 in Cleveland and Oakland. This vinyl version of NO ENDOWMENTS was released through TOTAL LIFE SOCIETY RECORDS (2008) while the CD version will be released through TEXTILE RECORDS (2009). The album was mastered by Weasel Walter. The cover art is by Devendra Banhart. |
||
|
Funambulist
Funambulist is Dave Cintron - guitar, bass, Jay Harrington - production, John Howit - basst, Matt Lindsay-guitar, bass, Dan McGuire -words, Scott Pickering - drums, Neil Sherhag - drums, Bill Weita - guitar "This arrived in the post the day before the Barman made his call for “best-of” submissions and while it’s not been released yet, I had to include it. McGuire is, of course, the “poetry-rock” guy from Ohio who’s released two albums with the Unknown Instructors (ex-Minutemen and Saccharine Trust musos; third one’s in the can) and two “collaborative compilations” of his verse over heavy psych tracks from everywhere. This time, he got together in the studio with friends from the Ohio experimental outfits Fuzzhead and Terminal Lovers and cut a record that, to these feedback-scorched ears, is even more immediate and alive than any of his others. Wait for it." |
||
|
Terminal Lovers |
||
|
Terminal Lovers 3 track e.p. recorded during the last 2 weeks of '06. Just under 30 minutes of spontaneous outer grooves. |
||
|
Terminal Lovers DRAMA PIT AND LOAN BR-01 CD “Immediately this motherfucker dropped on to the stereo, I knew I was in the presence of True Heads with One Eye fixed on the lunations of the heavens. That the album etched its way directly into my brain on first hearing is startling, for I listen to shitloads of new stuff and mainly wait for their turgid meandering self-obsessions to struggle to locate any dignified conclusion. And after the deep art-rock invention of Terminal Lovers, most of the so-called stoner rock gathering in their masses is just so much novelty compost. Dammit, this record is the goods – usable, crushing, cremating, resurrecting and the ROCK!!! ......dragged around by their collective hooter by one helluva talented snot-nosed longhair called Dave Cintron, a Cleveland guitarist/artist/McJagger-esque howler, Terminal Lovers reach it often and in spades, motherfuckers!....Did you ever wish The Tubes had taken their tongues out of their cheeks long enough to reach once more for that truly Death & Resurrection moment on ‘White Punks on Dope’ when you glimpse the despair of that sad fucking Hollywood Heights teen wanker? Dit-fucking-toe for the answer! Did youever catch Bobby Liebling’s vocal on ‘Last Night Here’ when you was at a particklier low ebb and genuinely wonder if it was your last night on Planet Oyth? Me three, motherfuckers. And obviously the big Ja for Herr Cintron aussi!!! This guy might wipe his nose and be your well-mannered boy for Auntie Martha and Uncle Joe’s Thanksgiving meal, but believe me this is one druid whose entire being is giving the whole world the Inner Finger right up against yer fucking face, yoze’n’mine brudder! Buy his music now because he ain’t getting any more alive than this. ...a delightful amalgam of LAST-period Agitation Free and ZOSO-period Zeppelin that transcends both the heavy rock and Krautrock that informed it, to smear sparkles of light over every corner of the world... ...approaches the kind of erotic chordal landscape you get only when you foist Gorgio Moroder’s ‘I Feel Love’ on to BEGGARS’ BANQUET-period Keef and call up Shrat and the whole Amon Duul (1&2)... ...to reach this level of incongruity, you gots to imagine Skunk Baxter-period-Steely Dan duetting with Glenn Phillips from the Hampton Grease Band... That the Rock will continue to inform all of us whose physicality hath not yet deserted us is once more proven by the ardent use of electricity on this 21st century record. Hail the Ancestors and praise the Gods – for they’ze still amongst us!” Head Heritage “Album of the Month” Jan 04 - Julian Cope “Another band from Cleveland that gets it...If
only we had more bands like this in New York – interested
in the art of rock, rather than rock fashion.” “.......guitar genius Dave Cintron’s mini-supergroup
acid rocks squarely in the chaotic Cuyahoga axe-drone
tradition, though now and then you might hear Funhouse
filtered through the Birthday Party and/or Get Your
Wings.....” “ This is so strange it changes the synapses
in your brain with repeated listens. The vocals sound
like Dr. John on peyote and the subject material and
lyrical twists and turns would confound and confuse
Roky Erickson. This is rock music creativity at its
bravest. Rock music played at the furthest outposts
of the musical twilight zone.”
|
||
|
Terminal Lovers DRAMA PIT AND LOAN STATIC-01 LP + 7" Limited Edition of 500 |
||
|
The Downside Special s/t re-issue numbered edition of 100 BR-02 CD Downside Special Live action kickass in the time of Kultural Kaos, summa the best musical soul food you'll ever eat. No band working the straight rock thing has bowled me over the same way. Much like the absolutely aces kick-ass Motorhead/Dead Boys/Kiss-based attack of Electric Frankenstein or the Oblivions' power-hog retooling of the garage/punk fuzz/rock continuum, Downside take a firm footing within a form and move it up. Downside Special is working a tough terrain, besides the water-proof 4 minute rockers they pull off long jamming ascents That-Never-Lose-That-Energy-The-Song-Has-Built and tight blues based crackling fuzz attacks - a full-on mix of Iggy "Kill City" and hardnut Brit-styled blues-rock like those early Groundhogs recs. The thing that makes it stick is its utterly contemporary editing and punch, all riding on roughly held potent slabs of rhythm bash that demands attention like the best Cleveland rock. The reason I mention that isn't just geography, although these guys are rollin' down the same streets Laughner started to pave 20 years ago. I hope they have it in' em to rework the music into the contemporary world and step up to their place in the Laughner, Easter Monkeys, Death Of Samantha line. The kicker is someone in the band (or the band synergy, or a couple of 'em, or whateverthefuck), can write songs, and if the tunes keep coming this'll be the bar rock of heaven. The Downside Special has a lot more to do with rock and roll than the more currently lauded who tart up their pop with "industrial" treatments or raid Mom's Beatles/Simon and Garfunkel/America records for inspiration to $pell $ucce$$. Look, the current crop of "bands" should be ashamed to rip off the Pixies as any kind of "inspiration". Jesus, bring back the stockades so we can throw worn-out Hawkwind, Frost and Motor Boys Motor eight trax at 'em, OK? And let's not even mention those who play the genre game: "We're a (fill in the blank) band", i.e. please buy into our marketing-scheme-as-music scam. These guys are truly progressive as Rock And Roll. It's and odd modernist thought anyway that "art" or "music" should or even can "progress". What it can do is rework the language to match contemporary reality, the fluid realistic personal feelings of today. Although completely familiar, The Downside Special are not retro in impulse or intent. I see no genre they are specifically trying to revive or herald. Evolution musically is a slow haul, it is not a conceptual retooling of the pop game of what is "relevant or not", It's all in a finite number of notes and chords from stringed instruments, the beat of the drums, and how they relate melodically/a-melodically within the set rhythmic structure, vocal line phrasing, and various tempos. It's a bonus that the words hew to the traditon of the common place and visceral realities of the day to day and the attempt to cope/transcend the mundane. You want some schoolin' cheap? Track down CLE #4, (I trust you're holding your own copy of the ample proof contained in No5), and hope their other tunes turn up somewhere. Better yet go see 'em rock the joint. The Downside Special have the energy, power, restraint, and chops to rejuvenate the basic bar rock stance (from Chuck and Bo) to those weaned on rock and roll's bastard children (punk, boogie, garage) and come home ready to stand and fight, reintegrating those common rock tangents into one big, solid suckerpunch. When they do a ballad it's a blues, like a we didn't give up, we did'nt give in update of "Eighteen". Fer instance, one of their newest tracks, "Mercury Millie": it's rolling mid-tempo build busts a knuckle with smooth even pressure, a perfect understated bass-loaded stroll with enough maraca-accented voodoo to bleed off your worst fears, the soundtrack of dealing with the murder in your heart after it goes cold. Yeah, this stuff's not for everyone. The density and bristling reality of it may be a "bit much". But, if you're not a sissy or post modern sniffler, give these guys a shot. - Craig Regala, founder of Datapanik Records, Cle Magazine “More stylised ravings from that formulaic and highly-codified
songwriter Dave Cintron, this time from a coupla years back in
his proto-Terminal Lovers guise, in which he wuz joined by second
guitarist Frank Vazzano and sisters Barb and Caroline Eckles, an
all-female rhythm-section’ed ensemble that makes
up The Downside Special......The sound is an expansively-stereo’d
heavyweight rock’n’roll ensemble - a BEGGAR’S BANQUET
Jagger fronting a LUST FOR LIFE-period two car garage band......These records
were retrieved from Dave Cintron’s flooded basement and sat around
for years until I hecked him to design me a new sleeve and get some over
here for our merchandiser. So these are real full production CDs with a
specially-designed new sleeve from a songwriter whose art and design is
central to his entire trip. |
||
|
Dimbulb TRIP HAMMERS AM-19 CD Dimbulb were three guys from Cleveland, Ohio who bludgeoned audiences from 1993 to 1997 with some of the most ferocious, yet strangely melodic, music the Midwest had ever seen. Gone too quickly, they left an indelible mark on those who had a chance to witness the spectacle. Think of the Cherubs meets Hawkwind and you might be getting warm, yet Dimbulb's sound was all their own. Front man and bassist, Dave Cintron, put his signature on everything Dimbulb produced. He played his bass as if possessed, manipulating it like a lead guitar. His vocals were schizophrenically menacing, switching from frothing anger to angular melodies. Chuck Coffey's guitar sliced through the murk with the cleanest riffs that almost made his on-stage enthusiasm seem secondary. Drummer, Ken Knish, ardently held the pocket, giving a foundation to the din. These guys were the real deal. Rocking, weird, and heavy as all get out. After putting out a slew of great 7"s, Dimbulb, sadly, broke-up on the heals of the release of their only full-length CD, Trip Hammers. Dave Cintron has gone on to form The Terminal Lovers ("Rock music played at the furthest outposts of the musical twilight zone"). The Terminal Lovers line-up consists of members of Keelhaul, Pere Ubu, Cobra Verde, and Guided By Voices. “Dimbulb are a difficult beast to describe on paper -they
need to be heard- but I have to try anyway: they're like Black
Sabbath with a much higher pummel factor and a dense, twisted psychedelia
buried beneath the sludge. See what I mean? I'd bet the farm
that right now you're imagining you've heard it before and assuming
you've heard it done better. Well you are wrong, stepchild...VERY
wrong.” |
||
CD-R Price ea. CD Price ea. LP Price ea. Payment
by money order or bank check (U.S. currency),
|
|||
