Extra Glenns - 'Infidelity' (Harriet)

Oh, to yearn for times past. Harriet Records! The innocence of this all - John Darnielle and Franklin Bruno coming together for three perfect songs, as perfect as anything else Darnielle penned at this fertile time. 'Infidelity' is elegant in its minimalism, capturing that wobbly experience just perfectly with the classic chorus 'I let my hand rest a minute on your stomach / like there was nothing to it'. 'Going to Lubbock' is the sleeper, but Bruno's arrangements, backup vocals and second guitar bring a mild arpeggiated complexity to the chorus that hadn't yet been seen in any Mountain Goats materials of the time. And then the flip - the glorious 'Malevolent Cityscape X', which sounds like an outtake of something from the Peter Jefferies/Alastair Galbraith scene, with it's backwards, sinewy electric guitar line ripping over the verses. It all comes clear for the passionate, practically shouted chorus. It's one of the most perfect few minutes of music Darnielle ever has laid to vinyl (or tape or plastic); it's erupting, wild and yet still recognisable, even iconic. In 1993 nothing could stop this. By repeating the word 'perfect', can I make it clear enough how much I love this record?

The Ex - 'Slimy Toad/Jake's Cake' (Ex)

Two angry blasts from the Ex, part of a series of which this is the first and we already did the last in the 12" blog. 'Slimy Toad' is an attack on (I think) F.W. deKlerk, accusing him of profiteering and pretending to care about Mandela, or something like that. As usual, G.W. Sok has a lot of words and this is pretty to the point, though the fact that I'm not actually sure what it's about probably says something about his ability to communicate his messages clearly. There's less herky-jerky drumming here, but a wall of noise guitar line that is pretty damaging.  'Jake's Cake' begins with what sounds like Terrie or Andy rubbing a slide frantically over the fretboard while the other brings in a somewhat off-kilter Devo-like riff. Lyrics, well, they're a bit more impressionistic though no less angry. Maybe I'm just too removed from 1991 politics now to remember who 'Jake' is supposed to be. It would be nice if I had the whole set of these....

Elf Power - 'The Winter Hawk' (Kindercore)

I remember Elf Power. I remember seeing them, even them staying at my house, liking them, both this 7" and their first full-length.... but I don't remember anything about what they sounded like. This isn't to say they were forgettable, but I guess I forgot them. (I do remember them covering Eno's 'Needles in the Camel's Eye' live, and it was pretty good). This is their debut 7"; they were led by a really lovely guy named Bryan Helium, and were affiliated with the Elephant 6 label, though perhaps in a second-tier setting. This is a nice record; post-R.E.M. jangle (they were from Athens, after all), some violin playing, and a warbly clarinet opens things up with 'Grand Intrusion Call'; 'Heroes and Insects' goes for a dirgy, almost doom-like instrumental approach before some trebly strumming lightens it up. This seems a million miles away from the catchy Beatlesisms of the Olivias, until the B-side comes with the title track. This is more like it, "it" being that lackadaisical indie-pop sound that I still associate with the Kindercore label. Vocal harmonies and some recorder (or melodica, or something) makes this easy and light, but still not particularly 'catchy'. It's a pretty mixed bag, this 7", and stronger than I remember it - let's face it, I don't remember anything - and maybe its diversity is the explanation. The closing cut, the impeccably titled 'Exalted Exit Wound', takes things out on a fuzz+acoustic combo, instrumental again, and reminding me a bit of 'Here Come the Warm Jets' (the song), again an Eno connection.