Album Reviews: Three from Hyperspace Communicaitons

I first encountered David Javelosa while working on my second book, Disturbing the Peace: 415 Records and the Rise of New Wave. Javelosa had been a prime mover of Baby Buddha, a project that released a rare single on 415, and of Los Microwaves, a groundbreaking San Francisco-based group that was as playful as it was forward-looking. But then as now, those projects weren’t nearly enough to contain Javelosa’s creative musical impulses. These days, he (among other activities) curates rleeases on his own Hyperspace Communications label. Some of the titles are new-wavey in character; others lean in a decidedly more avant-garde and abstract directions. The label is prolific; new albums seem to pup up with alacrity. On my desk this moment are no less than three titles, each of which features multiple artists. Here’s a quick look at each.

Metro Subterranean
Describing itself on the hype sticker as representing music form the “West Coast urban underground,” this collection showcases the work of four groups. Bastidasi delivers anarchic punk with speedy drumming, disembodied deadpan vocals and squalling guitars. They also serve up complex arrangements withing that framework. UVC make use of primitive sequencers for a sort of DEVO-meets-Flying Lizards feel. The truly engaging Pink Stiletto sounds right outta 1981, suggesting what Human League might have sounded like if they had guitars and funk-poppin’ bass along with the PPG Wave. Nervous Gender Reloaded is as out-there as its name, angular, abrasive and atonal (but worthwhile).

Next World Sound Series Volume Two
This collection is a double LP, affording one side each to each artist. LX Rudis has been recording since at least 2002. The six tracks on Rudis’ side explore ambient textures, showcasing a character that’s a kind of cross between wind chimes and one of those early, keyboard-less Buchla synthesizers. The music develops into something a bit closer to mid-period Tangerine dream, but with a character all its own. GataTECH is decidedly darker and more challenging, the sort of thing one might encounter if Trent Reznor only had a synth and sequencer to hand. The side-long Krispy Kat Whack track is a live excursion that’s wholly lacking in melody, but then that’s the point. Another side-long work is Jack Curtis Dubowsky’s “Bolsa Chica Surf,” a lovely and entrancing mediation piece that runs in excess of a half hour. Fascinating stuff, all with its own unique character.

Next World Sound Series Volume Three
The third volume in the series is a single LP. Side One features three tracks by Frank Eaton and Kevin Fullen. Their lush soundscapes make use of both conventional instrumentation (i.e. guitar) and more electronic devices. The music leans toward new age, but it’s more interesting than the label would imply. Side Two features a single work by Brian Kehew, best known as part of Moog Cookbook and for his work with The Who and producing all manner of artists. “Machinations” is fully realized on a Moog 900; veering close to musique concrète, the tune could well serve as a demo of that primitive beat’s awesome capabilities. Not for the faint of heart, though.