John Maus, We Must Become The Pitiless censors Of Ourselves, 2011

   

FREE mp3 available NOW for "Quantum Leap":
http://bit.ly/quantumleapmp3

John Maus - Quantum Leap (Upset The Rhythm / Ribbon Music)

We Must Become The Pitiless Censors Of Ourselves track listing:

01. Streetlight

02. Quantum Leap

03. ...And The Rain

04. Hey Moon

05. Keep Pushing On

06. The Crucifix

07. Head for the Country

08. Cop Killer

09. Matter of Fact

10. We Can Breakthrough

11. Believer

Love is Real by John Maus was an understated gem from 2007, which reflected his love for gloomy lo-fi pop with a distinctly melancholy hue to it. It’s taken four years, but Maus finally has a follow-up record ready bearing the excellent title We Must Become The Pitiless Censors Of Ourselves.

The album will be released on the Ribbon Music label, which is a subsidiary of Domino, on June 28, and it’s being previewed by the track “Quantum Leap,” which you can hear in the Sound cloud clip below. Check out the full track listing below the audio file—can’t wait to hear the song “Cop Killer.” 

JOHN MAUS lives in his birthplace of Austin, Minnesota. Whilst working towards his PhD in Political Science he also composes music that taps into melancholic fantasy and affirms that we are all truly alive. Questing synthesisers, tensely strung bass lines and chasing drum machines providing the perfect backdrop for John's deeply resonant reverb-drenched vocal. Born in the decade of synth pop and sharing his birthday with George Frideric Handel, John started making music when Nirvana posters went up on every teenager’s wall. It’s this curious conflux of influences that partially helps to describe John’s music. It’s a world where the Germs jam with Jerry Goldsmith, Cabaret Voltaire relocate to Eternia and Josquin des Prez writes a new score for RoboCop. The confrontation of punk, the fleeting poignancy of 80’s movie soundtracks, the insistent pulse of Moroder and the spirituality of Medieval and Baroque music all find salvation in John Maus.

John Maus’ debut album proper entitled ‘Songs’ was released in 2006. It was a record permeated with aching memories; a perfect testimony to lost romance and longing. It’s awe-inspired follow-up ‘Love Is Real’ (released on UTR, 2007) proved a more cohesive listen in terms of focus and emotional depth. Maus finally returned last year to the heavy snows of the Midwest to finish album number three, ‘We Must Become The Pitiless Censors Of Ourselves’, set for release this June.

This is the artwork for free track Quantum Leap which also appears on iTunes.

‘We Must Become The Pitiless Censors Of Ourselves’ breaks new ground for Maus. The shirt pulling and air punching of his impassioned live performance is finally captured in all its frenzied appeal alongside a tender inner space. ‘Pitiless Censors’ looks towards the future in all its absurdity. It’s a record where promise takes the lead for the first time, providing a counterpoint to John’s default existential calling. This is perhaps best shown with new track ‘Quantum Leap’ available through the link above and via iTunes as of now. ‘Quantum Leap’, a song full of dead zones, glancing slaps and oscillating solos. “Heart to heart, mind to mind, we are the ones who seem to travel through time,” intones Maus resolutely through the mist. John’s lyrics are as likely to touch upon themes of Cronenberg gore just as much as the musings of Jacques Rancière. It’s this no-brow approach that makes things interesting, casting Maus as a savant and allowing his music to startle us in ways whereby we open up to the unimaginable.

If that's wet your interest here's a list of John's impending live performances too at SXSW and throughout darkest Europe.

Check out info on this album and John Maus' LIVE Schedule:http://upsettherhythm.blogspot.com/2011/03/john-maus-we-must-become-pitiless.html
 

The Areola Treat fan video

I had once blogged about the Areola Treat ep. This is one female-fronted band I do like. Not simply because it is indeed female-fronted but because they come across as genuinely honest, not pretentious or trying too hard to replicate other 'in' artists you hear of nowadays, and have a genuine sensibility and technique I can relate to with respect to other types of music I have in my collection. And surprisingly underground! Sure hope they plan on keeping it that way. They're what I would call a no-fancy-nonsense, no-lacy-polish act, just meaningful, yet playful.

I am posting a live gig video that was taken by a fan, presumably. Whoever took it should really have got them from the front though, however,but no complaints seeing this is a better quality video of theirs I could find. On first listening,  the vocals on the Areola Treat ep reminded me a hell of a lot of Siousxie and the Banshees, Patti Smith, Malaria, Hagen, Nico, sometimes hints of  karen O, (although not really a fan) as well as some other interesting female artists I'd heard and loved. A band to watch out for and see live.

Malaria!, Compiled, 1981-1984

 

More Malaria! For lovers of true Berlin Post - Punk. 

In the depths of January 1981, BETTINA KÖSTER and GUDRUN GUT stepped from the smoldering ashes of their previous band MANIA D shouldering the yoke of a feverish new project they called MALARIA!. And with the release of the maxi EP "Malaria!" in April that year, the fever spread.The band filled out to include MANON P. DUURSMA, NL ("O.U.T." an early Nina Hagen project), CHRISTINE HAHN, USA (Static, Glen Branca) and SUSANNE KUHNKE, BRD (Die Haut) absorbing their diverse backgrounds and personalities and grew. A first European tour followed during which they appeared on a John Peel session for the BBC and later recorded the single "How do you like my new dog?" for the Belgium label Les Disques du Crepuscule.

Malaria toured the US next appearing with The Birthday Party, John Cale, and one unforgettable gig together with Nina Hagen in New York`s infamous Studio 54 night club. This tour was the first that promoted New German Music in the United States. Meanwhile Malaria recorded the 12" "New York Passage (Your turn to run)" for Cachalot records which went on to reach the independent top 10 in the U.S. as well as in Europe.During another tour of Europe the band gave birth to "White Water" a 12" long player including "Kaltes Klares Wasser" which went on to become an Indi-classic.

In 1982 Malaria released to critical acclaim their first album, "Emotion". It was licensed to Nippon Columbia in Japan and the video "Geld/Money" (directed by B.Bühler and D.Hormel) won prizes for its innovative editing style. Tours of England, France, Benelux, Italy and Scandinavia followed.

In 1983 three new titles were released, produced by M. Hönig at the Hansa Studio in the shadow of the Berlin Wall. Another US tour brought with it the Live Edition "...Revisited" (ROIR) as well as a U.S. recording of "You You". A video clip of the song was directed by Anne Carlisle.

A year later "Beat the Distance" was released by Rebel Records. Then inevitably the group, like petals of a flower that had blossomed and matured giving not only its scent, but too, pollinating gardens of creativity across oceans with the spoors necessary to the eternal cycle of crossbreeding, fell from the slender stem as in a wind twisting each in their own directions: Bettina and Christine to the United States; Gudrun, Manon and Susanne to new vistas in Germany, and so with this end began a 7 year sleep, seeds lying dormant to be culled to life perhaps in some future age.It was summer now, in the hot, sweltering gulf air of New Orleans that breeds tornadoes across the heartlands of america, Malaria awoke as Bettina, Gudrun and Manon melted a reunion of friendship into a reincarnation of music. This came on the heels of "Compiled" a collection of old Malaria songs released in summer on Moabit Records. On the banks of the Mississippi they recorded "Old Man River" (produced by Jim Thirlwell of Foetus fame, released on "Elation" EP). And while they recorded they explored the surrounding swamps and inner corners of New Orleans culture loosely plotting a return to Berlin to search the trail left so long ago. The results are captured forever, on "Cheerio", a compilation of love songs on Moabit Records, mature, floating, transcending, mellowed, having lived, living and moving like a river, power not to be measured by speed or the keeness of the eye. [Source: M-ENTERPRISE]

Tracklisting:

1. How Do You Like My New Dog 2:45
2. Kaltes Klares Wasser 3:45
3.Geh Duschen 4:14
4. Zarah 3:20
5. Your Turn to Run 4:11
6. Thrash Me 4:05
7. You You 4:25
8. Dabo 2:15
9. Geld/Money 4:00
10. Leidenschaft/Passion 3:55
11. Eifersucht/Jealousy 3:09
12. Einsam/Lonesome 2:55
13. Macht/Power 3:30
14. Tod/Death 3:55
15. Mensch 2:40
16. Gewissen 3:10

Listen:

http://www.mediafire.com/file/wmrdxmumxw1/Compiled.rar

Malaria!, Emotion , 1982

Tracklisting: A1. Geld - Money (4:00) A2. Leidenschaft - Passion (3:55) A3. Eifersucht - Jealousy (3:09) A4. Einsam - Lonesome (2:55) A5. Macht - Power (3:30) B1. Tod - Death (3:55) B2. Mensch (2:40) B3. Slave (3:33) B4. Traum - Dream (3:55) B5. Gewissen (3:10) Listen: http://www.mediafire.com/?mufmjyxxwym