Pumice - Puny

(Soft Abuse, 2012)

1) Pum-ice [puhm-is] noun, verb, -iced, -ic-ing.

noun

1. also called pumice stone; a porous or spongy form of volcanic glass, used as an abrasive.
2. also called Stefan Neville; native New Zealander with a penchant for volcanic, glassy, often abrasive pop, amongst other sounds.  Distinguished by idiosyncratic charm and weirdness, languorously arranged wonderment, and a distinctive sonic palate happily hampered by a casual variety of miscued and failing audio equipment.

verb (used with object)

1. to rub, smooth , clean, etc., with pumice.
2. to listen to any given song recorded with Stefan Neville fingers; to be enraptured. 

2) Pu-ny [pyoo-nee] adjective, noun, -i-er, -i-est.

adjective

1. of less than normal size and strength; weak.
2. unimportant; insignificant; petty or minor:  a puny excuse.

noun

1. all-important 2012 album written and recorded by Pumice, aka Stefan Neville; characterized by signature Pumice-heavy sonority and album-length lean towards the pastoral.  Noted for (1) co-opting abrasive weakness for purposes of volcanic artistry and punitive strength, for (2) morose pumice-esque meanderings devolving into a paradoxically happy-gloominess, and for (3) attending to salvation-heavy methods of quasi-devotionalism with regard to "saving music" and "proving godlike artistry can still be accomplished"; magnum opus.

See also: Pumice "Hey Crap Crab"

43.

Pumice
Pebbles
(Soft Abuse, 2007)

Stefan Neville, the man behind Pumice, is undoubtedly one of my very favourite individuals recording sounds in this decade. I am always ecstatic to hear his most recent concoctions. However, it was on Pebbles that I really knew that Stefan Neville was more than just a crafty clutterbugged noise-pop maestro. On Pebbles, Neville proved himself a rare genius with an album that spanned a multitude of genres while maintaining a singular and utterly blissful persona that I will cherish to my grave. Pumice has taught me that bedroom pop is best when it is chaotic with noise and earnest enthusiasm.

-Thistle

Blackout Beach - Skin of Evil

Blackout Beach
Skin of Evil
(01.2009, Soft Abuse)
RIYL = Frog Eyes, Sunset Rubdown, nervous breakdowns

If you are not familiar with Carey Mercer’s frantic, maniacal vocal delivery yet, you’re missing out. Something about the urgency of his street preacher poetry reminds me of the lunatics recorded off the street on old Godspeed You Black Emperor albums. True; Mercer may not be as overtly interested in the destructive wake of capitalism, but he can in no way be accused of being any less impassioned about his subject matter. On Skin of Evil, Mercer’s second solo album under the pseudonym Blackout Beach, the subject matter is a ‘Donna.’ Yeah, the whole album is about this one girl and her relationships. It’s always kind of great to see an artist put out such a focused statement, a piece that stays on track with what it sets out to do and Mercer accomplishes it wonderfully. Sonically, Skin of Evil feels oddly hollow and ominous. The frantic pace of his main gig with Frog Eyes is gone, replaced by an odd mix of electronic beats, walking guitars and vocals on top of vocals backed by additional vocals. It is a little disorienting at first (especially if you have already fallen head over heels for Mercer’s previous works), but on repeated listens Skin of Evil burrows deep under your skin (of Evil!!! Ahem - sorry) propelling you through the record again and again. The thing I am most worried about is that the austerity of Mercer’s theatrics will prove too impenetrable on a listener’s first spin leaving them wandering off to other more easily digestible stables. Please young listener, don’t go! I promise with the weight of all that I have in musical taste as is here documented on this blog that this, Skin of Evil, is not something you would want to handle so lightly. For those willing to go deeper into the woods, to get lost and intentionally disoriented, Skin of Evil will prove an enduring masterpiece. I was only introduced to Mercer through the first Swan Lake’s album (ooh, the new one is so amazing!), then Tears of the Valedictorian, after which I backpedaled into older Frog Eyes territory and I have become a thorough believer of Mercer’s deathly urgent pop sensibilities. Skin of Evil is the last glorious tract in that conversion – So good.

-Lil' Thistle

Blackout Beach - "Cloud of Evil"

Donovan Quinn & The 13th Month - S/T

Donovan Quinn & The 13th Month
S/T
(09.2008, Soft Abuse)
Verdict = An unassuming gem

Donovan Quinn, one half of The Skygreen Leopards, has spent a long time with bandmate Glenn Donaldson developing a sound that feels perfectly underdeveloped. So, it is no surprise that Quinn’s solo outing (with 'The 13th Month') finds him conjuring the same loose feel. Everything is headed by Mr. Quinn himself, but, as the title suggests, he’s got some friends in tow. Marketing material seemed fairly eager to announce contributing hands Karl Bauer (Axolotl *!*) and Jason Quever (Papercuts), however, all of the musical traits that make these two musicians unique are nowhere to be found on the record. This isn’t really a detractor, but I couldn’t help salivating at the idea of some Axolotl noise entering into the mix. In reality, Quinn’s backing band could be just about anyone with a general instrumental knowledge and slow reaction time to rhythm. Quinn’s Dylan-esque voice floats through the record in sepia tones amidst the shifty Americana tinged folk. If these descriptors tend to feel like they could just as easily describe The Skygreen Leopards, you’re not far off – Donovan Quinn & The 13th Month is pretty much a version of Disciples of California with a little bit more twang. As such, the album is a sure fire grower that burns like a late night fire, crackling a popping with a comforting, homey warmth. It’s a beautiful collection of bitter sweet songs and a surefire companion with which to brave anything.

-Mr. Thistle

Donovan Quinn & The 13th Month - "Holy Agent"

Pumice - Quo

Pumice
Quo
(06.2008, Soft Abuse)
Verdict = Rambling, crumbled bliss

One man rock deconstructionist Pumice follows up Pebbles, his much loved 2007 opus, with another slice of off-kilter New Zealander heaven from the Soft Abuse stable. Stefan Neville, the man behind the porous rock (pun intended!), never fails to impress. I mean, once you start to backtrack and uncover the guy’s staggering back catalog that has been created in just a few short years and then realize that there isn’t a blemish among the whole bunch you start to gain some perspective. The thing is, even with so much awesome work behind him, each new release feels as personal and humble an affair as the last making Neville that perfect kind of artist that feels both like an eclectic genius and an grinningly awkward friend. Quo follows along these lines perfectly dishing out eleven unassuming bedroom jam. In fact, Quo seems a lot more laid back than Pebbles. With tracks mostly brewing around the two to three minute mark, Neville has a fair, though loose grip on the reigns for this one. Where Pebbles found Neville dipping his toes liberally into every aspect of the muse he’s mastered, Quo finds Neville simply grabbing an inner tube and floating down a lazy river to submerge his feet. Don’t let this new more-off-the-cuff-than-before suit catch you off guard though because the feel and flow of Neville’s latest Pumice outing is beyond superb. Things are still identifiably Pumice, meaning the guitars are mangy, song structures are fractured and vocals swarming with a lo fidelity hum. Yep, Neville hasn’t lost his lovable signatures; he’s just allowed them a new kind freedom that bowls you over with a subtle, surprising impact, kinda like true love. Quo is that album. I’m trying to quit my tendency of prematurely exclaiming “best of 2008” nowadays, but rest assured, a years worth of new records won’t be context enough to show the glistening beauty of this album. Quo is a personal reminder of why I fell in love music in the first place.

-Mr. Thistle

Pumice - Pebbles

The Child Readers - Music Heard Far Off

The Child Readers
Music Heard Far Off
(04.2008, Soft Abuse)
Verdict = Music made of items found around the house

The Child Readers are doing the current wave of low fidelity recording one better by not only recording crappily, but in those recordings using instruments that are falling apart, and when they do fall apart, finding the best aural equivalent among the cluttersome toys and appliances around the house to finish the job. At least that is what it sounds like. There are, at the least, two different kinds of music listeners in the world of independent music nowadays; those that get excited about a description of purposefully terrible production and those who groan about it. I guess now is the time to assure both camps that Music Heard Far Off isn't going to send either type into the other camp. Those hating on the "noise trend" can feel free to keep on hating while those indulging can add another worthy title to their vaults. However, The Child Readers don't fall easily in line with the fuzzy Siltbreeze rock of Times New Viking and Psychedelic Horses Hit :), but more in line with label mate Pumice. In this way The Child Readers manage to even make forays into folk gritty and obtuse. I can't say that the vocals here are my favourite, but I don't hate them either. In fact, they have been steadily growing on me. However, it is the shambling instrumentation that's grin inducing here. Oddly pastoral, Music Heard Far Off is filled with enough ear crunchy candy to feed an elephant - Gets better with every listen!

-Mr. Thistle

The Child Readers - Fortune (Incl. The Morningnight / A Hated Art)

Giant Skyflower Band - Blood Of The Sunworm

Giant Skyflower Band
Blood Of The Sunworm
(03.2007, Soft Abuse)
Verdict: Welcome back hippy

Last year Glenn Donaldson of Skygreen Leopards set out with friend Shayde Sartin, a bunch of good weed and a sitar, destined to birth the most hypnotic hippie revival stoner album of the year. Blood of The Sumworm ended up on both mine and Mr. Thistle's year end list but somehow got skipped over throughout the year in album highlights. So now, to do it some justice, I am highlighting one of the more exotic albums to land in our lists. Blood of the Sunworm's analog recordings are labeled as progressive psych rock, but digressive psych rock may be a better term. Each track feels like you just discovered an incredible gem in your crazy uncle's record collection. It's slightly depressed, weary, hazy strummers are also somehow fun. It's mellow air will have you meditatively floating, high or not.

-Sassigrass

Giant Skyflower Band - "Oh Mary Green"

Pumice - Pebbles

Pumice
Pebbles
(2007, Soft Abuse)
10.0/10

You know those times when you listen to an artist for the first time only to completely surprised with a work of absolute creative perfection? It probably only happens once or twice a year, tops! Pumice has done it this year. Not only is this album in that field of genius but Pumice’s Pebbles is also in my "album of decade" category and onward beyond that. It's unabashedly spectacular beyond all reason. This is the kind of music that inspires cults. In my personal field of musical revelations this is up there with the first time I listened to Microphones’ The Glow Pt 2, Kallikak Family’s May 23rd 2007, Animal Collective’s Sung Tongs or The Books’ Lemon of Pink. And even still, Pumice is trying to prove himself as better than the former and almost anyone else I can think of. I could list the insanely influential and inarguably essential list of albums that Pumice seems to effortlessly and humbly belittle. I am sure that much of my mushy adorations come from personal preference (how can they not) but Pumice’s Pebbles is absolutely everything I want in an album. So what is this record, and who is this Pumice? New Zealander, Stefan Neville, is the one man wrecking machine responsible for the entire creation and Pebbles is his 3rd or so proper release amongst scores of recordings scattered everywhere. Once you hear this record you are going to think that this next statement is hilarious: Pebbles is Neville’s most refined production effort to date. The reason this is funny is because his recordings are soaked in a tub of TV static. In fact the whole DIY aesthetic makes it feel like the album is being held together by rolls of Scotch tape. Moving from the generally somber productions of his past recordings, Neville has actually recorded some fuzzed out booty shakers here on instrumental tracks like opener “Eyebath” and “Northland.” Pebbles reels from skuzzy instrumental rockabilly to damaged 60’s pop, to blissed-out, racket-filled drones to lo-fi folkish balladry that is all tied together in the most perfectly sequenced package that I have heard in a long while. It would take an absolute miracle of an album to remove this from my number 1 slot at the top of my year end list. I welcome any attempts…

-Mr. Thistle

Pumice - Northland