like these matter...
Born Into It CD (Digitalis)
Born Into It follows on from last year's Not Not Fun release,
Concussion Summer, stretching out into the farthest corners of modern
psychedelia. This six-part sortie into the unknown starts from a
rhythmic bedrock, laid down by the processed lo-fi stomp of 'It Just
Isn't The Same', whose teeth-rattling percussion and suspenseful synth
exchanges continually feel as though they're building up to something,
but instead its disheveled motorik soundscape continues to shape-shift
and mutate via tape loop effects and brief subplots that keep arising
from the fug. Next comes 'Those Final Seconds', verging on free-jazz in
its unhinged drumming and horn squeals, but the more esoteric
constituents of the mix (various electronic effects and cackling,
wordless vocals) ensure a restless ambiguity presides. Soon a wave of
drones fires up with 'Grief', whose slow electronic oscillations are
mirrored by softly blown sax tones and submerged percussive loops.
Before long the band are in full stride, pouring soft noise over your
speakers for the quarter-hour trance-out of 'Born Into It', leaving the
caustic static of 'Behind A Wall' to segue into the unexpectedly
beautiful parting shot 'Someone Upstairs', whose creaking percussive
dissections massage the ear into submission.-Boomkat
Social Junk's sound cannot be pigeon holed. Unlike the typical noise
bands out there (that too often rely on the same set of gear for
years), each Social Junk record sounds different, blending unique
sounds, and rarely relying on tried and true methods to get there. For
this reason, they are one of the few in the genre who are genuinely
experimental. (If anymore proof of the point is needed, look into
Random Gear Fest). Born Into It is a great example of this
experimentation. Not only is it highly listenable for the layman's ear,
much in the same way as Dirty Cloud was, it still manages to accomplish
a highly imaginative and improvisational presence, while breaking with
the straight-forwardness of Dirty Cloud. Comparisons to Concussion
Summer (Not Not Fun LP), are almost impossible to make, as the rhythms
throughout Born Into It are much more relaxed, and the noise seems to
be much more clean, giving this CD more of a tribal or religious feel.
The opener (It Just Isn't The Same) especially hits me this way.
While it comes on strong with delay fuzz, it eventually settles into a
calming groove of tribal rhythm and low chanting. The second track
(Those Final Seconds) takes advantage of the momentum of the first, and
delves into a more free-form rhythm, with drone and cut up vocals
escalating throughout. The free-form drums tease a climax, but restrain
themselves, as the sax echoes in a steady (yet very free-form) calm
towards the middle of the track, until finally rewarding the listener
with a miniature freakout at the end. Grief takes the intensity back
down, with a slow electric organ riff, which resonates like funeral
music. Heather's voice, like a choir adds a mournful sadness, that
gives the track a certain restfulness, though the sax noise in the
background seems to emulate the millions of distracting thoughts
surrounding grief. The title track (Born Into It), is perhaps the
noisiest, using tape loops and guitar noise to build into a cacophonous
flood of rhythmic sound collage. Around the mid-point it levels off
into drones and floating spaced out vocals, before melting into fuzzed
out electronics and pounding rhythms. Behind a wall is a drenched in
static noise track that is almost reminiscent of Wolf Eyes. The track
sounds like an airplane going down, with electric sirens humming and
oscillating, and a pounding bass, plunging into the descent. It ends
abruptly, leading right into the last track (Someone Upstairs). Someone
Upstairs, sounds just like somebody upstairs, shuffling around, blowing
their nose, brushing their teeth, dragging their feet on the floor,
opening things, shutting them, all while listening to very faint music.
It is a very interesting track conceptually, and closes out the CD
nicely.-Glenn
Concussion Summer LP (Not Not Fun)
Personal, at times confusing statements offered forth from a young,
drifting band that I believe originated in West Virginia. I’m less into
their hectic, digitally chopped side and way more into their torchy,
alienated singer-songwriter slide, sounding like they’re about to slip
into a narcotic coma on “House Fire (He’s Still Dead),” buzzing, warped
landscapes like “Depleted,” or “Tunnels,” which splits the diff. Draw
comparisons to any number of free-rock blasters, from the Dead C. to
fucking Pocahaunted, and these three folks will rest comfortably in
between. Originally released as a CD-R, and recorded over the past
three years.-Dusted Magazine
Here's an album I'd abstain from purchasing if left to my own devices. One of the guys from Hair Police produced it and a guy from Yellow Swans mastered it. Not that either band deserves scorn but I really want to stray from them. I thought the record would contain some bland electronics tweaking and a lot of moaning. Well, it contains a fair amount of moaning but the odd hums add to the spooky, fractured atmosphere. Social Junk transcends its peers by delving into a wholly different musical language. They share none of the electronic freak outs, zoned drones or bile with the Yellow Swans and Hair Police. The band crafts riffs from percussion and uses fragments of sound to solidify their frightening atmospherics. Each tune splinters into snippets of electronics, choppy vocals and cymbal smacks. These monsters exhibit the disjointed, robotic nihilism of early industrial with the impreciseness of no wave. To balance out the album, a few chill-out tunes drift through the vinyl like benzo dream. "House Fire (He's Still Dead)" takes two layers of narcotic female vocals and surrounds them with sparse guitar, building to a blistering scream of an electronic buzz. A fascinating guitar riff appears within the laid-back "Depleted," possibly the most Yellow Swans-esque tune on the album. The riff—a few bubbling finger taps and dragged-out tones—sounds almost Satanic in its threatening nature, with an added dose of futurism to balance out the hellfire. Can't judge an album by its back cover, I guess. -Apples and Heroin
"New Year's Man"
This is total narcotic drip, white sheets drenched in suburban hood and smoke stacks with primary school boiler room silt and literal back yard toy salvage, dirty Nikes that keep it GHETTO
with the paper cups, slow burning, and it does burn, down the side, dusty winged and tasting like that summer where you lost yr house keys so threw some pebbles at yr flatmates window and when he still didn't hear you sat outside on the concrete steps next to the tree and tried to read yr book but the only light on there was that coming through the leaves from the streetlight, barely enough to make out the sentences, it still smelling like partially melted asphalt and some faded humanist residue, sardonic but kept real. -Rose Quartz
Husk Records Compilation 4 tape (Husk Records):
for the b side's opener,
social junk
will take us out of the basement and into the medicine cabinet with
their headache inducing screamy dissonance. the first half of this
seven minuter is shrill squealing and electronic vomit and just equals
something no normal person would want to subject themselves to. their
loss. chaotic as fuck, but there's a rhythmic pattern which will begin
to make itself known. after a distorted free-for-all, the track calms
down quite a bit with sparse guitar and eventual vocal fuckery in the
left channel, rhythmic noise in the right, and a combination of nearly
everything in both. easily one of #4's best offerings.-smooth assailing
Rough-and-tumble C40 by these two Southern death cult units that
free-ranges from robotic lurch passages to banshee shriek electronics
to cold computer numbness. Like a lot of Southern noise crews/projects
of late, SJ and KF are both way too rambling and vibe-gambling to get
pegged to any particular genre, and that’s obviously for the best.
Social Junk’s side, in particular, is a totally puke-soaked rubik’s
cube of outsider modes, morphing and brawling through radically
different labyrinths of overdriven impulses, abused machines, and weird
feelings. Aggressively unique with an intensity that’s either painful
or the exact reason why they rule. Flip a coin. Kraken Fury I’ve never
heard before, but their untitled piece of this puzzle is a pleasant
enough practice space meditation with slow-walking bass lines, stutter
drumming, guitar noodling, and some backwards-looping mist in the
corners. Doesn’t seem too hell-bent on accomplishing anything, but
that’s no crime. Kinda jazzy with a relaxed, “killing time” chill-out
mood. Definitely no fury here, whether Kraken-esque or otherwise.
-Cassette Gods
kraken fury & social junk
split c40
[2008, husk]sj's side, girl in the front,
wants you to believe that it's just a twenty minute long behemoth, but
that's not quite the case. while it is uninterrupted, it's also made up
of several smaller movements which all transition into each other
seamlessly. social junk waste
no time getting to work as they'll establish multiple rhythmic layers
(one via repetitious guitar loop, the other with a steady, bassy,
underlying throb) right from the beginning. both are set to an
electronic squall that's tantamount to a mechanical meltdown. part of
me is slowly bobbing my head, the other part is holding my ears from
the sustained high-pitched squealing. as girl
progresses they'll ditch the brain damaging tones for dynamic,
manipulated vocal noise, buried lower than everything else in the mix,
as they'll focus your attention on the catchiness of the other aspects.
after a few minutes, they'll, now, lose the guitar, but retain the low
rumble, though it's allowed to roam more freely now. on top of that we
get more shrill tones, and then a new rhythmic layer of noise (briefly)
presents itself. pushed underneath the dissonance are pleasant bell
tones as the noise continues to build, becoming more and more dense and
squealing, though there's a great series of piercing tones dead center
in all the commotion that makes everything easier to deal with. the
juxtaposition of the harsh with the soothing is awesome, too. social junk
will drop everything but a loop of distorted crunching and random
background guitar experimentation, and, eventually, what sounds like
all of your cassettes being eaten by a tape deck. after all of this
turns into a continual pattern, we get noah's
affected vocals, which weave in and out via ghostly disconnected
transmissions, and sporadic guitar. the last few minutes will add to
the formula with terrific tonal screeching, random (but memorable)
chords and a low, rhythmic foundation of affected guitar. ear ringingly
awesome.-smooth assailing
that ain't all i got to say c30
[2008, ranky tanky]goddamn. it seems like you really don't know what the hell you're going to get from one social junk album to the next. well, let me back up a bit, they're going to be good, but stylistically, they've shown me quite a bit, though i've merely checked out a few releases and seen them live once.
that ain't all i got to say is just two long ass sides. the first of which opens up with heather young's
playful synth tonalities and rad chirping feedback. while those
elements will mix together rather wonderfully, it's even nicer with heather's gorgeous airily cooing vocals over the top of it and a formless repetitious vocal loop from noah anthony,
providing a brief base. shortly thereafter, the track will get a bit
more sparse, removing the vocals and synth while highlighting the
background explosions of percussion and chime-like noise. the
percussion swaps out for minimal, though, repetitious, guitar and the
rest of the noise is in an appropriately subdued state as well.
underneath the skipping sounds and occasional rises in amplitude, the
guitars will provide a great foundation. super simplistic in sound, it
nevertheless supplies ample grounding. catchy, blown-out, vocal noise
will work in tandem with the guitar, making for a great memorable base,
and then social junk will come
to pile some noise over the top of it. it really does sound like
(metallic) junk that's being banged on and amplified, but the drive of
it sounds killer in combination with everything else. the final few
minutes trim most of the excess away save for good guitar drones, which
will cut in and out, affected, complimentary vocals, and noah's drumming. the percussion and the guitar sound fantastic together right here, making for an ideal point of exit.
side
b starts off with a phone recording of a white-trashy sounding lady
saying that some seedy pictures need to be taken off of the internet
and "that ain't all i've got to say"...
and then something about shooting someone with a b.b. gun. fucking
kentucky. then they'll build off of synthesizer hums as well as an
awesome loop of distorted guitar. that will, rather quickly, transform
into a beautiful pairing of guitar and rhythmic loop of noise, set to heather's
faint vocals. they'll take their time mutating out of that, which is
held together by sputtery noise, which, after dying down, will again,
enthusiastically, take the helm. then, fade to silence. cue high
pitched squirrely noise in the background, an ever increasing distorted
rumble and a shimmery line of buzz saw grinding. next thing you know,
it sounds like a gargantuan is sloshing through a forest. the crunching
of downed trees is complimented by tremolo'd tones and young's
enchanting vocals. the three-pronged approach of destructive sounding
noise, catchy tone-work and serene singing is terrific. i'd be shouting
the praises of the noise alone, but everything else manages to top
that. dope.
i dunno, maybe since this seemed like something low-key that sj
put out themselves, i was a little hesitant towards this release, but
holy fuck, this shit rules pretty hard. again, totally different than
what i've checked out by them thus far, which recording-wise, only
includes the jk tapes release, but i'm blown away. that ain't all had
something catchy about it damn near the whole time. the noise was
auxiliary on this cassette, but shined when it had to, most notably on
the second half of side b. very rad tape. i'm especially stoked that it
featured heather pretty prominently since i'm still all about her solo ranky tanky cassette.-smooth assailing
untitled c60
[2007, jk tapes]noise
fun fact: the term social junk applies to that portion of the social
order which is comprised of the elderly as well as the physically and
mentally handicapped. the name, unfortunately, is not about heroin's
ability to bring people together.
for a group that's been around
since 2002, and has amassed a respectable discography, i hadn't heard
of them until last year when some higher profile labels (to me) started
putting out their albums. earlier in the group's history it seems like
there were more people involved in the project, but currently social junk consists of heather (who has her own solo project, hny) and noah (his solo work is released under his own name). for this tape though, a third party, jon, took care of some of the percussion duties.
social junk's sixty minute
exploration into psychedelic noise starts off on a great note. the
interesting and pounding percussion, which sounds like it was recorded
from the opposite side of an amphitheater, establishes an excellent
mood. in addition to random, disconnected vocals (which are also lower
in the mix), there's two fantastic elements which will play off of each
other to glorious affect. one has a low tone and sounds a bit like
moaning vocals while the other is higher, but musically, i can't quite
place it (accordion?). these two loops, which take turns back and forth
for a majority of the opening track's six minutes, are mesmerizing.
the second, and last track on side a, begins with nice, psychedelic
guitar and vaguely rhythmic synth tones. the droning, along with short,
pendulum-like feedback is a lovely combination, with those intrusive
hums being my personal focal point while everything else swirls around
it. affected vocals will again account for some of that "everything else",
but they can barely make an impact over the constantly building wall of
droning noise. after a few minutes, the noisier aspects change shape
into a locked groove sort of whirling sound, with another loop of
stunted guitar playing underneath it. once they break out of their
loop-based structure, we're greeted by some nice squeals from a brass
instrument along with softer background ambiance. they won't go too far
before more catchy (repetitive) elements are used, along with alluring
female vocal wails, which will perfectly blend with the (now) warmer
atmosphere.
the b side begins in a darker, minimal vein with slow, brassy baritone moans, piercing feedback, sinister sounding vocals from noah
and a bare pounding noise off in the distance. the vocals will get
looped, the banging more sporadic and they'll add an electric guitar to
those moans. that pairing makes for a rad doom-y sound which they
could've just used for the remaining twenty-five minutes and i would've
been stoked, but, no, they won't overuse it. i just love the huge,
crushing sound of it, despite how relatively stripped-down the track
really is.
after spending a third of the second side playing around with an
ominous mood, they give us a minute of pleasing accordion to serve as a
segue into the tape's return to psychedelic drones for the final
seventeen minutes. the howling ambient layer in the background won't do
much to warm your spirits after the previous segment's gloomy feel, but
what they might lack in warmth here, they'll make up for with great
loops. the most striking of which is one of a sustained tone with its
pitch being tweaked. it gives the track the solid foundation that it
needed, allowing the additional layers to play off of and enhance it.
the second half diverts the focus to slow atmospheric noise from the
saxophone. the concluding minute which highlights those held sax notes
was the perfect ending.
jk tapes... so far, i've either loved or hated what i've heard from this label, but social junk's cassette definitely makes my loved list. expect a 12" on not not fun by these guys in the near future.
Ashland, KY's pride/joy are gearing up for a MASSIVE US tour and a
relocation to KALI-FORNIA, so now is the time to recognize and give
praise to Heather & Noah's years-running electronics miscellany
mission under the Social Junk flag, and I recently dug out this old-ish
C60 on JK Tapes and it's flooring me all over again. Such a broad
planet of moods, instruments, tempos, intensities, layers, levels, etc.
A genuinely perplexing band to pinhole or even explain, the breadth of
terrain they cover is stunning. Subtle low-end loops rumble on
concrete, distant sax blasts explode in the corners, hypnotic voices
chant, ritual drumming marches into the foreground with a parade of
emotive distortion, vibes transition from miserable to majestic in an
instant, you get lost in the current of their ideas and tidal pulls and
then look up and it's an hour later, the tape's over. This is another
gem in the gold vault of SJ's ever-deepening discography. Pay attention
soon.
DIRTY CLOUD (AMERICAN GRIZZLY 2007)
The pink colored disc this album is pressed
on is probaly the most fitting, symbolic opposite of the sounds on it.
Social Junk inhabit the sludgier gutters of the free noise spectrum. An
area where Mouthus might be big dogs but a herd of kindred spirits roll
along with similar attitudes but slightly less attention pointed at
them (Social Junks Myspace slogan appropriately reads: gettin no
respect since 02 actually). Whether or not justified, they just
havent had that one big LP/CD release yet.
On Dirty Cloud, Social Junk throw down a ragged mishmash of lo-fi
vocals, junkyard clattering and a slice of guitarchords to top it all
off. It starts out on the clean side with the first track. Calmly
played toms, vocals hovering by like a thin woodsmoke veil, a couple of
guitarchords and a chiming cymbal every now and then. It?s a really apt
way to introduce an album, confident enough but hardly overachieving.
The percussive element in the duo?s sound forms a steady underpinning
during the first and second track on which they layer their various
outsider tendencies. Track 4 and 5 get right to the core of those
tendencies, vocal space mantra?s backdropped by looping feedback and
some weird, out-of-place sounding noodling guitar.
It?s really on the album?s last couple of tracks though that Social
Junk hit their stride. Fiery and primitive out-rock that defies a
shitload of traditions put down by whatever school of rock you?re into.
The start of track 8 reminds me of Magik Markers? car crash methods,
crazed vocals and a mess of guitars but instead of riding that vibe all
the way down the track abruptly fades into a not so impressive, low key
ending. The closing track 9 handles the job like it should do, a fully
formed piece starting with edgy drones, foggy feedback, bells and the
vocal space meditations of previous tracks all work together to build a
formidable dronescape that slightly matches the mysterious intensity of
Taj Mahal Travellers or, more recently, Double Leopards.
It?s a treat to find albums like these on relatively small labels.
Social Junk might not have the attention they deserve yet, with this
album they prove they?re able to ride along with the big dogs and I
can?t wait to see these guys come up with their first LP. Labels, you
better get on this one. 8/10 --
Joris Heemskerk (28 January, 2008)
DIRTY CLOUD CDR / OFFERING CDR
One band that certainly had
their hands full this year was Kentucky/West Virginia's Social Junk.
Now operating as the duo of Heather Young and Noah Anthony with
occasional help from auxiliary member Rickman, the band mounted their
first nationwide tour and released two full length CD-R's, two
cassettes, a split cassette with Kraken Fury (aka Thaddeus of the
Warmer Milks) and solo albums by all three members this year. While the
band has never been afraid of using every tool available to them to
make their eerie spook jams, they've occasionally been prone in the
past to overlooking their own amazing songwriting and instrumental
talents in the name of more, shall we say, 'fucked'. While they still
clearly favor the toys and the noise, this year's two CD-R releases saw
them hitting their stride and showcasing their talents like never
before. Gone are the meandering blowouts of last year's Trailer Witch
and the dry muck of 2005's Champs, replaced instead with meticulously
planned and brilliantly orchestrated songs of melancholy and delirium.
The first release to come tumbling from their fertile womb this year
was the Offering CD-R on Baltimore label
MT6.
This one could haunt a child for years. Playing out like some sick
desert nightmare the band pulls you in safely at first with soothing
synth tones, and then segues into a westerny "on your way to the
gallows" kinda groove driven by a simple ominous jangly guitar line.
Things get much darker on the next two tracks, 'Stoner Car' and 'City's
On Fire', two live favorites. 'Stoner Car' has an
impossibly
drilling looped guitar part and lots of chimes and horns, and it
certainly does not produce fond thoughts of being high in an
automobile. The prize on this one is 'City's on Fire'. Kicking off with
unsettling manic laughter more drilled loop guitar and aggressive yet
sparse percussion the song builds to a terrifying climax as Anthony
menacingly taunts "your children are alone/your house is on fire/your
city's on fire!". Meanwhile you presumably stand in pale faced shock
while watching it burn to the ground. Truly an ugly song by anyone's
standards. And you're far from off the hook. 'Mind' doesn't bother to
clean up the mess left by 'City's on Fire', and instead wallows in
upsetting noise and more hostile taunts from Anthony until it's
abruptly interrupted by an unexpected emptiness carried along by
haunting percussion. The whole thing builds back up getting even cruder
than before, and kicks sand directly into your face with both feet.
This song also appears in much less imposing form on a split cassette
with Robedoor from this year's
Deathbomb Arc tape club,
although I've gotta say I much prefer the 'dirty' version. Next up is
the song 'Wedlock' which demonstrates the band's softer side and
highlights Heather Young's amazing voice. The song is nearly acapella
with just a few quiet drones and whipping flares echoing in the
background. It may be their only love song up to this point, I'm not
sure, but as beautiful as it is, I could certainly go for many more.
The album finishes up on another quiet note as simple rumbling guitar
and echoing horns create a peaceful soundscape far from the bombast of
'City's on Fire' and 'Mind'. I think there is always something to be
said for an album that you can create and maintain your own concept
around independent of the artist's vision. The creepy crud that this
record shores up in my mind scares the shit out of me, and that's part
of why I love it so much. On to newer things: the band recently
released the Dirty Cloud CD-R on
American Grizzly.
While it starts in a relatively similar fashion to Offering with that
kinda dying in the desert vibe, it's clear early on that this record is
not nearly as ugly as it's predecessor. For one Anthony's
vocals
are much calmer in general and often carry heavy effects processing,
and Young's vocals are more prominently featured. Instead of building
into massive wasteland proportions many of the songs, such as the
nine-minute 'Bloodletting', cruise instead to a peaceful warm place,
offering droning comfort instead of bone-shattering aggression. The
album still has it's share of noisers of course, 'Lands or Sands'
sounds like someone trying to yell at you from across the bridge in a
panic inducing traffic jam and 'Ramblin' Pines' sounds like the support
beams holding that bridge snapping as easily as a rubber band while
Flying Saucer Attack plays, barely audible on your car stereo. But
ultimately even the title track, which is the heaviest song on the
record, leads somewhere more pleasant. Having seen the band a few times
on their last tour i can attest that not all these songs come across
quite as comforting in the live setting, but hearing them play the
untitled last track on this album in LA last August made me view what
this band was capable of in a whole new light. At that point I hadn't
heard Dirty Cloud yet, but now that I have I'm more aware than ever of
the huge talent and potential this band has to offer both within and
outside of the greater 'noise pantheon' or whatever. And it seems I'm
not alone in noticing either. Five years of hard work has finally paid
off as the band is currently preparing their first LP for release on Deathbomb Arc and their first "real" CD to be released on
Project Active Media. I'd like to make a toast to five more years. -Myth of Leisure
MIRROR LANDSCAPE CS (5NAKEFORK 2007)
This metallic gold C12 by warped Kentucky electricians Social Junk is
as great, nameless, and unique as anything else I’ve heard by ‘em. The
A track is a hypnotic windswept steppe of blips, bloops, and purring
electronics that ends far too soon, and the B is pretty similar,
although some of the high plains drifting peaks at screechier
frequencies, plus there’s some lonesome sax bleat and the echoing croak
of what sounds like a pack of gargling frogs somewhere under a dock.
Unclassifiable and visionary and a solid display of Social Junk’s
impressive depth. Bonus/bummer: you gotta bust out a knife to play this
CS, as it comes rope-tied to a chunk of oversize cardboard. Deal with
it.
-Cassette Gods
Another whorish outing from the prolific haters at TWT. This one has a
fat skeleton holding a cross on the cover and the Head Molt stuff is
some of the grossest and least socially acceptable shit I’ve heard from
them yet (which is saying something). Lots of repulsive noises and
sputtering crap and then negative space zones littered with trash and
echoes before the inevitable return to wretched white-faced screaming
about hookers and the South Sandwich Islands. Social Junk, here, chase
a slightly less aggro dragon. Their jam, “The New West,” is a fried,
oddball junkyard of woozy feedback, jittery strings, and bizarre ESP
percussion. There’s lots of stops, starts, and quiet parts, all steeped
in tension and subliminal dread. Eventually they clatter things up into
something like a climax, but it’s not nearly as
straightforward-sounding as that. More great stuff from the Junk.
CHAMPS '06 CDR (RANKY TANKY)
“gettin’ no respect since ‘02″… or so says their
myspace
page. truthfully, I wasn’t sure what to make of this during the first
half of my initial listens… found that about half-way in, during the
longer tracks, it finally hits a stride, catches more attention and
starts to make sense. for some reason, all the descriptions I’d read of
Social Junk led me to expect something fairly
saccharine in terms of their sound, so maybe it was the relative
abbrasiveness – compared to my initial expectations – that caused my
appreciation to take a while to sink in. as best as I can tell this is
an earlier, now-unavailable release (there’s a “Champs 08″ K7
presently available on
Night People, the label run by the equally amazing
Raccoo-oo-oon), since no evidence of it seems to turn up on any search engine I’ve tried… at any rate, fans of the aforementioned
Raccoo-oo-oon
or any of the other indie-leaning noise/improv/psych/mish-mash scene
sprouting up these days would do well to give this a listen.