The Mars Volta - Landscape Tantrums

On April 23rd The Mars Volta released the box set 'La Realidad De Los Sueños' ("The Reality of Dreams"), the first ever full vinyl release of their current (winkwinknudgenudge) catalogue.  The box set was limited to 5000 copies at $429 pre-orders and was sold out instantly via distributor Cloud Hill Recordings.  Along with a few lesser discovered tracks, and a photo book compilation, arguably the most intriguing part of the package for longtime fans was the inclusion of 'Landscape Tantrums', annotated on the cover as "Unfinished Original Recordings of De-Loused in the Comatorium" [2002], which was the band's first full-length album.

I presume Rick Rubin wasn't involved yet during these original recordings, but tracks "Tira Me A Las Arañas" and "Cicatriz ESP" are absent, and the sound is markedly different from the final product (and as a minor mention, "Roulette Dares (The Haunt Of)" jumped from track 3 to track 1 on this version).  Entire sections are different, most notably the stylings and often lyrics of front man Cedric Bixler-Zavala, which the cover makes clear as "Vocals Unfinished"; the biggest obvious difference is that the thundering conclusion of "Take the Veil Cerpin Taxt" is completely instrumental aside the final few seconds.  It's pretty interesting to hear the metamorphosis the entire album took compared to these recordings, and also how much of it was already intact before finishing production.  Translated to an auditory sense, it feels like the equivalent of staring into a gem from a different angle.

The band released 'Landscape Tantrums' on digital streaming formats the same day, which I believe is only available for actual purchase/download on iTunes.

Digital

Physical/Box Set

...eBay?

Genghis Tron - Dream Weapon

Genghis Tron has resurfaced with 'Dream Weapon', their first studio release since the critically acclaimed 'Board Up the House' in 2008.  The band was on hiatus, and has re-emerged with new members and a noticeably new sound.  Original member Mookie Singerman (vocals, keys) is no longer with the group, and his effects-laced frenetic screams and buzzing keys have been replaced by the high-pitched singing of Tony Wolski.  The band also has done away with their percussion being implemented by drum machines, bringing in the talents of Nick Yacyshyn (Sumac/Baptists), and the revered/signature production of Kurt Ballou (Converge).  While 2/3 of the original members (Hamilton Jordan, Michael Sochynsky) are still here, the band undeniably has moved into a different direction; the longest track (and personal favorite) "Ritual Circle" really stands as the only track you could pick out of the album as something akin to their old styles, if not only for featuring the only scream on the album (**There's some on "Dream Weapon" as well).

Would recommend checking this out whether old fans or new to the band, the production of Ballou (whom also produced their previous two albums) and the drum talents of Nick Yacyshyn alone make this worth checking out, on top of what everyone else brings to the table.  I liked the singing of Tony Wolski, even if I anticipated track-to-track a re-kindling of their old hardcore sound that never really arrived.  In the band's own words their new album is "more meditative, hypnotic, and maybe psychedelic".  Taking it for what it is and not what it was, this is a great album and arguably is as unique as the sound the group became known for; my only minor gripe is that the vocals start to feel too familiar by the album's end, but a lot of that is probably magnified by looking standing back and not forward in the present. 

Bandcamp

Writhing Squares - Chart for the Solution

Writhing Squares are a two piece from Philadelphia consisting of Kevin Nickles (sax, flute, clarinet, synth, vocals) and Daniel Provenzano (bass, synth, percussion, vocals).  Their latest release 'Chart for the Solution' is like if you put prog/punk/psych into a low-fi blender with a strong aftertaste of brass.  While sounding like a conglomerate of styles mostly from the 70's this album is certainly unique in how their (many) influences come together.  The album has a real "space" vibe with the synths and retro production, but it sounds like a deranged punker escaped the psych rock spaceship's holding cell, with lots of surprises sprinkled throughout.  

This is the first release I've heard from these guys but they have multiple recordings as far back as 2013...so I'm curious to see how they arrived at such interesting intersections.

Bandcamp