6forty project

Sleep Lady  ::  So Long Lonely Ghost

michael hayden – guitar
mario quintero – guitar / vocals
kristy hayden – keyboard / vocals
sarah quintero – bass / vocals
anthony (pork chop) dixon – drums

released 13 November 2012

produced by mario quintero / aaron harris / michael hayden
engineered by mario quintero at black box studios / san diego
mixed by aaron harris at vista sound / los angeles
mastered by james plotkin
album art by kristy hayden
photography by michael klayman / san diego

“Alice was beginning to get very tired of sitting by her sister on the bank, and of having nothing to do: once or twice she had peeped into the book her sister was reading, but it had no pictures or conversations in it, ‘and what is the use of a book,’ thought Alice, ‘without pictures or conversation?’

So she was considering in her own mind (as well as she could, for the hot day made her feel very sleepy and stupid), whether the pleasure of making a daisy-chain would be worth the trouble of getting up and picking the daisies, when suddenly a White Rabbit with pink eyes ran close by her.

There was nothing so very remarkable in that; nor did Alice think it so very much out of the way to hear the Rabbit say to itself, ‘Oh dear! Oh dear! I shall be late!’ (when she thought it over afterwards, it occurred to her that she ought to have wondered at this, but at the time it all seemed quite natural); but when the Rabbit actually took a watch out of its waistcoat-pocket, and looked at it, and then hurried on, Alice started to her feet, for it flashed across her mind that she had never before seen a rabbit with either a waistcoat-pocket, or a watch to take out of it, and burning with curiosity, she ran across the field after it, and fortunately was just in time to see it pop down a large rabbit-hole under the hedge.

In another moment down went Alice after it, never once considering how in the world she was to get out again.”

Alice’s Adventures in Wonderland, Lewis Carroll, 1865

With the release of ‘So Long Lonely Ghost,’ San Diego’s Sleep Lady takes us on a wondrous adventure down the rabbit hole, delivering eight magically delicious tracks that are heavy and dense one minute, delicate and quiet the next. At its core, this is a heavy rock record that sounds best when spewing from your speakers at blazing volume. Your first taste of its strength comes at the 2 minute 40 second mark of the opening song ‘Billions and Billions’ when the drums kick in and confidently anchor the thickly-layered guitars and electronics. I really love how deep and rich this song sounds – it’s obvious that the band spent a lot of time working to get the perfect balance from the recording (expertly engineered by Sleep Lady guitarist, Mario Quintero, at AudioMQ).

‘There Are No Happy Accidents’ begins with a reach back to the rural psychedelia of the early Amp records, hazy and mellow. But then a music-box transition soon leads the song into a trudging Sleep Lady sonic assault, setting the stage for the nine minute epic, ‘Drugged by the Sun.’ I’m not sure why (maybe it’s because I’m writing this while in-flight, jet-lagged and exhausted, having just finished reading Clive Barker’s short novel ‘The Adventures of Mr. Maximillian Bacchus and His Travelling Circus’ before this current roadtrip), but this song reminds me of the circus that would pull in to town late at night in the summer of our youth, and set up in the parking lot of the local fire department. Of course, the site of this spectacle excites the children, but the grown-ups look at the rickety construction with reserved concern. Ride at your own risk; the smart folks stick with the games and the fun house. The quiet moments of ‘Drugged’ still have an underlying edge and sweet creepiness, and the heaviness cuts through you like the metallic squeals of the racing coaster.

‘Weak Chin’ is the record’s meat grinder – slow motion sawing guitars over layered electronics and a churning rhythm. A dark, psychedelic, sludge-metal theme to a 70’s biker/slasher film. I really enjoy this song.

And then we get ‘Someone’s Gotta Win’ – a homage to the great indie-rock roadtrip songs of the mid-90s. I hear the best of Sonic Youth, Lilies, Stereolab, Underground Lovers, Kinski, Tsunami – summer songs, perfect for afternoons spent throwing the Frisbee, drinking beer, record shopping, and hanging out with friends. This one is definitely different than the first four songs on the record, but that’s one of the things I like most about Sleep Lady – they’re not afraid to keep the listener engaged with dramatic changes in style. Always interesting, and always something new to discover in each song.

I can’t really say that I have a favorite track on the record. Each song is so uniquely different that one day I prefer the heaviness of ‘Weak Chin,’ and the next day, I’m dancing around the room with my daughters while ‘Someone’s Gotta Win’ is cranking. But there’s something about ‘I Wanted To Be A Penguin Forever’ that really hits home for me. Maybe it’s the fact that the song perfectly blends post-rock, Bristol UK psych/space/rock, and 90s shoegaze – the three styles that have consumed me for the last 20+ years. Everything works on this track – dreamy vocals, heavy swirling guitars, and wonderfully melodic keyboards. The essence of the Sleep Lady sound.

As a prelude to the final song on the record, the band treats us to a fantastic acoustic composition that is clean, light, and so nice. ‘Night Moves’ gives the listener a chance to take a break from the complexity and heaviness of the other tracks. Looping and layered acoustics are the highlight here – a lovely melody that allows the guitar work to shine.

The final track, ‘These Fucking Worms,’ is a beast. Anchored by the now-familiar Sleep Lady rhythms, the guitars chime and weave, and slowly build to a churning climax. It’s heavy and tight, right up to the end, taking you to the cliff’s edge and leaving you there to catch your breath.

I’ve enjoyed Sleep Lady’s music since first hearing 2010’s ‘Fighting For The Year’. Their sound is unique and always interesting – intelligent music that will appeal to listeners who have an appreciation for the music that seeded this scene, and who are looking for a perfectly dynamic post-rock record that sounds great both on quiet nights and rowdy days. This one is definitely high on my 2012 favorite releases list.

” ‘Oh, I’ve had such a curious dream!’ said Alice, and she told her sister, as well as she could remember them, all these strange Adventures of hers that you have just been reading about; and when she had finished, her sister kissed her, and said, ‘It was a curious dream, dear, certainly: but now run in to your tea; it’s getting late.’ So Alice got up and ran off, thinking while she ran, as well she might, what a wonderful dream it had been.”

Bleaklow – The Sunless Country

The guys from Bleaklow did this one right – they knew that the final mix was going to be 20+ minutes long, so they leaked teasers, a few minutes at a time, over a period of weeks leading up to the release date, wetting our appetites for the final product. And the wait was definitely worth it – the full version clocks in at a massive 23 minutes and 58 seconds and is truly an epic rock beast. It’s textbook Bleaklow – relentless, pummeling, and absolutely perfect. If you’re already a fan of the band’s music, you’ll be pleased with this EP (especially if you managed to get one of the 25 hand-stitched CDs). If you’re not familiar with Bleaklow, here’s what I think…

I really enjoy being consumed by the books that I’m reading, and I often try to find music that “fits” with the intensity of the story (for 6forty playlists, of course). Lately, I’ve been enjoying The Arthur Series by Bernard Cornwell. In the books, the combined forces of the British kingdoms repeatedly face the invading Saxons in a battle formation know as the shield wall. A shield wall was a “wall of shields” formed by soldiers standing in formation shoulder to shoulder, holding their shields so that they overlap. Each man benefits from the protection of his neighbor’s shield, usually the man to his right, as well as his own. The soldiers in front have small swords for thrusting (no room for swinging large weapons), while the ranks behind use spears to reach the enemy. It’s brutal, slow, close combat. Described here by Derfel Cadarn (the main character) in book three, ‘Excalibur,’ during the battle of Mynydd Baddon:

“Aelle’s forces had pulled back a half-mile from Aquae Sulis before forming their line and now they waited for Arthur’s attack. Tewdric’s men marched under the Christian God, and at last, after straightening their shield wall, they closed on the enemy. I expected to see a conference between the lines as the leaders of the armies exchanged their ritual insults and while the two shield walls judged each other. I have known shield walls to stare at each other for hours while men summoned the courage to charge, but those Christians of Gwent did not check their pace. There were no meeting of opposite leaders and no time for the Saxon wizards to cast their spells, for the Christians simply lowered their spears, hefted their oblong shields that were painted with the cross, and marched straight through the roman graves and into the enemy’s shields. We heard the shields clash on the hill. It was a dull grinding sound, like thunder from under the earth, and it was the sound of hundreds of shields and spears striking as two great armies smashed head to head. The men of Gwent were stopped, held by the weight of the Saxons who heaved against them, and I knew men were dying down there. They were being speared, being chopped by axes, being trampled underfoot. Men were spitting and snarling over their shield rims, and the press of men would be so great that a sword could hardly be lifted in the crush.” (Excalibur, Bernard Cornwell, copyright 1997)

This EP is like a shield wall, solid, heavy guitar riffs on top of a trudging/driving rhythm section. It’s an excellent match for Pendragon legends – the kingdoms loyal to Arthur (500 AD) were fighting to rid England of the Saxon advance and life was a constant struggle. Bleaklow provides the perfect soundtrack to this desperate and dark story. No post- labels necessary for this record. ‘The Sunless Country’ is simply 24 minutes of perfect rock music. Or to describe it using Cornwell’s words, it’s “thunder from under the earth.”

The band has generously offered The Sunless Country as a ‘name your price’ download via their Bandcamp page. And definitely be sure to check out their other releases – all are great.

Back in the mid-80s, a friend introduced me to Independent Project Records, a small DIY label/art studio based in Los Angeles. Founder/creative director/artist/musician Bruce Licher built the label as the vehicle to release his own band’s material, as well as that of like-minded musicians from the LA area. The IPR ‘sound’ was unlike anything else happening in the independent music scene at the time. Stark, desert-soundscapes; post-punk angular tribal/rock rhythms; and extended electro/acoustic improvisations, delivered in stunning hand-letterpressed sleeves – artwork and music both highly influenced by the natural beauty of the Western United States. I was (and still am) completely consumed by the IPR releases; records from Savage Republic, 17 Pygmies, Scenic, Lanterna and others were constantly spinning on my turntable.

Independent Project Records’ output continued throughout the 90s, and much to my delight, they were joined in the scene by new labels whose rosters included bands that were releasing music that seemed to be heavily influenced (whether intentional or not) by the foundation built by the IPR family. Kranky, Alien8, Quarterstick, and of course, the mighty Constellation Records, all offered listeners access to music that integrated field recordings, extended improvisational guitar soundscapes, strings, horns, alternative percussion, and a strong emphasis on the visual element. Videographers and photographers were invited to integrate their work into these compositions, both on the physical releases (record sleeves and inserts), and on stage, using the music as a soundtrack to further enhance the impact of the visual display. Three bands that come to mind during this period – Rachels, Hovercraft, Godspeed You! Black Emperor – perfected the integration of film with their live performances. The visual aspect, in my opinion, was just as important as the instrumentation – the bands offering it as a core component of their package, both in their releases, and in the live setting.

This marriage of art and sound continues today, and has been embraced by more bands than ever before. A perfect example of this integration can be seen (and heard) in the work of French experimentalists, Oiseaux-Tempête. My first exposure to the sights and sounds of Oiseaux-Tempête was via their release teaser on their website, and a few shorts on youtube. I was hooked immediately by their their dark, organic soundscapes, wrapped around a montage of stunning visuals. So I went looking for more, and I found these two brilliant long-players: Temps Zero Toulouse : live impro + fotoprojektions [link] and Ouroboros (featuring Gareth Davis), Live at Eglise Saint-Merry, Les Rendez-Vous Contemporains, 26.04.2013 [link], along with their self-titled debut, out on Sub Rosa Records [link].

Minutes in to first track ‘Opening Theme (Ablaze in the Distance),’ while the repeating wail of the guitar slowly builds like a stark siren in the desert, I’m reminded of the extended instrumentals created by mid-period Savage Republic, as well as on later releases from Godspeed. And since I’m a huge fan of both bands, I knew that this record was going to be a special one for me. You’ll notice as you work through the 9+ minutes of ‘Opening Theme,’ that the band doesn’t rush the compositions – each song has a strong sense of paced completeness, whether it’s a 2 minute interlude such as ‘Sophia’s Shadow,’ or the 17+ minute epic ‘Ouroboros.’ Field recordings, found sounds/experiments, and an occasional voice, integrate perfectly with traditional instrumentation to further develop each song’s story, and to provide added depth and interest to the longer tracks. Recently, I’ve been streaming the fotoprojektions video with no sound while the album plays. Although the images aren’t in sync, I feel that this allows me to experience the record as it was truly meant to be – blending a strong visual element to accompany the music.

‘Buy Gold (Beat Song)’ picks up the pace a bit, delivering a structured looping melody that builds to a much heavier guitar distortion, reminiscent of Crispy Ambulance, other early Factory releases, and first wave Constellation. It’s a confident, strong track that compliments the longer more experimental segments of the record. And it’s a perfect introduction to ‘la traversée’ and ‘Nuage Noir’ – the transition tracks – a collage of sounds and texture, acoustic/ambience, somber, yet ethereal – lovely songs.

The second half of the record begins with the dark post-punk sounds of ‘Kyrie Eleison’ – bass-heavy, industrial rhythms, sampled recordings, driving percussion. I really like the fact that the band chose to include this song. Although stylistically different than everything else up to this point, it still fits well with the movement of record, and contrasts nicely with the delicate sections of ‘Silencer,’ the second interlude that follows. Images of silent films, weathervanes, falling leaves.

A barking dog introduces ‘Ouroboros,’ the 17+ minute epic that anchors this release and firmly places it at the top of my favorites list for 2013. The first half moves at a leisurely pace – repeating guitar explorations, occasional feedback, and stark rhythms. The heaviness begins at the 10-minute mark – a slow build that crescendos into a wall of wailing guitars, riding on a churning low-end. If you enjoy the extended sonics of Fourteen Nights at Sea, ‘I Could Live In Hope’-era Low, Godspeed, and Swans, you’ll enjoy this one. I highly recommend watching the ‘Ouroboros’ Vimeo link that I mentioned above. Gareth Davis on bass clarinet is an outstanding addition.

‘Call John Carcone’ is a rock song. And one that is so perfectly reminiscent of the early IPR releases (specifically, Savage Republic and Deception Bay) that I can almost picture in my head what Bruce’s design would look like on the letterpressed sleeves. Searing monotone guitars, staccato snare, waves of controlled feedback, and driving bass. The only bad thing about this song is the abrupt ending after only 6 minutes – I wouldn’t mind if they extended this beast another 4-5 minutes.

The album wraps up with two subdued soundscapes. ‘l’île’ oozes with throbbing electronics for several minutes, and then transitions to a wash of bass clarinet, vocal-effects, and synth/drones. ‘Outro (for the following)’ is a brief experiment, and goes out in silence.

Oiseaux-Tempête is visual music; rich in texture, depth, and color. A peaceful, yet subtly challenging release, offered to listeners as an escape from a chaotic world. My only disappointment is a selfish one (since I live in the US) – I’ve not had the opportunity to see them in a live setting, to experience the band as they explore and improvise through their set, consumed by the music and accompanying imagery. For now, I’ll have to settle for headphones, volume, and pictures on a screen. Unless of course, you’re a wealthy patron interested in sponsoring a 6forty project post-rock festival here in the States, and are willing to fund travel expenses for a few select bands. Now that would be a grand adventure…

Please take the time to explore the world of Oiseaux-Tempête. Turn off your phone, lower the lights, relax in a comfortable chair, turn up the volume and start with ‘Ouroboros’ [link]. Your eyes and ears will thank you…