Ball of Wax 61 Songs: Simon Henneman and Benjamin Thomas-Kennedy Duo – “Pysht”

Ready? Set? Go. Go. Go!

“Pysht,” by the Simon Henneman and Benjamin Thomas-Kennedy Duo, is a frantic guitar and drum dash across a million guitar notes and at least as many rasps of percussion. The track begins in the realm of late ’60s and early ’70s spiritual jazz (think a guitar version of
Pharoah Sanders or Roy Ayers Ubiquity on a strong dose of Dexamethasone) before Henneman (Diminished Men, Wayne Horvitz’s Electric Circus, Meridian Big Band) and Thomas-Kennedy (Fungal Abyss, Shitty Person, blouseusa) race down a sonic landscape that is at once cacophonous and meditative. The duo makes quite a racket before the track suddenly stops. I’d cry “too soon” or “more” if I didn’t like so much the Holly Small track that follows “Pysht” on Ball of Wax Volume 61.

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Ball of Wax 61 Songs: electric bird noise – “hearn-roberts live . . .”

This track – whose full title, “hearn​-​roberts live at the spiritual center for the creative and sonically inspired 7​-​27​-​19 (song 4),” sums up its personnel and origins – is yet another piece of delightful, guitar-forward experimentation from our friends in South Carolina (hey friends in South Carolina: VOTE!). All I know about electric bird noise, apart from their state of residence, is that they play guitar. Based on this recording, and the fact that as far as I can tell it’s live and there’s only one guitar player involved, there is some looping involved, as well as myriad effects and processors. The piece is just as involved and cohesive as any of their recorded output – the only real clue as to its being live coming with the joyous applause at the end – making it clear that this is an adeptly composed piece of music performed by a well-oiled musical machine – in this case ebn/Hearn/Roberts. Maybe one day we can all play in rooms for each other again, and maybe one day we can travel around the country again, and maybe one day I can experience some version of ebn live. Dare to dream!

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Ball of Wax 61: Sceneries, Placements – “Guidance and Navigation”

Our new Arizonan friends Sceneries, Placements – whose membership overlaps to some extent with Vir(us), whom you heard on Volume 60 – have graciously shared with us the title track from their majestic space-travel-themed (I think?) album Guidance and Navigation. The song wastes no time, dropping you right into the steady, shuffling beat and layers of fuzz that will carry you blissfully through the next five minutes of your life. Rhythm and fuzz are the defining characteristics of this track, but there is melody to be found as well: slappy, delayed guitar lines weave in and out, along with strange synthesized sounds that might be a voice through a vocoder, or some other thing entirely. This may or may not be your jam, but it’s exactly what I would want to hear on my headphones during a space walk – or while hurtling untethered through space to my doom.

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Ball of Wax 61 Songs: Ainara LeGardon – “Ixo”

“Ixo” is an excerpt from Ainara LeGardon’s stunning trilingual book/cassette boxed collection, Res-cue. The Archive in the Mouth, which I fee incredibly fortunate to have seen in person and held in my hands.  It is a beautiful thing on a number of levels, and if you live in a country where you can purchase a physical copy, you should do so right now. (With any luck we’ll have a proper review of the whole thing coming up. Watch this space.)

The lyrics to “Ixo” were written by Xabier Erkizia. The song evolved over a series of years from Ainara’s own work. As I peruse the book now (have I mentioned how freaking gorgeous it is? It has an audio-tape book mark for crying out loud)  I see that this piece – featured on Mixtape 2 of Res-cue – got its start as “Last Day,” which was a video before it was a song, but the song starts off Ball of Wax 44, our all-vocal installment. “Last Day” eventually became “Frío,” which I assume was in Spanish, and the piece now exists in Basque as “Ixo.”

As far as the music goes: it is stark and raw and brimming with feeling. Ainara LeGardon is, without question, one of my favorite people to hear sing and play guitar, and “Ixo” is a perfect example of why. Pick up Res-cue if you can, and if not go throw a bunch of money her way on Bandcamp.

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Ball of Wax 61 Songs: Eggshells – “Unknown”

Eggshells – Peter Verdoes, Sera Han, and Benjamin Verdoes – really know how to set a mood. “Unknown” combines ghostly voices, spidery guitars, and steady, centered drums in a way that leaves your head both swirling and nodding all at once. Which is appropriate, I suppose, given the lyrical reference to “ghost-hearted dancers.” Thirty seconds from the end, however, just as you’re finding your place in this ethereal groove,  everything gets flipped upside-down and cut in half. We are shown the door by a loose, untethered, looping phrase that offers no resolution, merely the invitation to skip back to the beginning and join the dance again.

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Ball of Wax 61 Songs: Gillian Frances – “Loose”

Anacortes’s Gillian Frances makes her Ball of Wax debut with “Loose” – and what a debut it is. I’m a sucker for a good dynamic build – a song that starts up close and quiet, all hushed reverby vocals and guitar, and, like a slow-motion explosion, gradually ramps up to the point where it feels like it might lift you off your feet. “Loose” does all of this and more, anchored by Gillian’s stark vocals, which morph over the course of the song from a hushed falsetto to a full-throated cry that pairs beautifully with the overdriven lead guitar providing the final layer of sonic swell to push the whole song off a cliff. (And yes, that sentence was ridiculous, but I make no apologies.) It’s an easy song to lose oneself in, making it a perfect match for the lyrical content, which seems to be about the unsettling feeling of losing oneself in another. Here, though, we are not unsettled so much as delightfully enveloped.

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Ball of Wax 61 Songs: KPH & the Canary Collective – “Tell My Dreams”

I swear I didn’t intend to front-load this particular volume of Ball of Wax with songs about loss, it just kind of worked out that way. KPH’s lovely, languorous “Tell My Dreams” is clearly an ode to a lost love, but it’s so subtly written that it’s unclear just what type of loss has occurred. For me, that particular disconnect between dream-life and waking life is reminiscent of what can happen when a friend or loved one dies, but I’m sure it happens when relationships have ended as well. In your dream everything is just as it was: your person there, your love intact. But then, when the dream is over, as KPH sings: “waking up’s like the radio plug’s / Been ripped out suddenly / The music’s stopped, I’m here alone / You’ve dropped your dance with me.” It can be a good thing to see people in dreams you won’t ever see again in real life, but sometimes you just wish, as she also sings, that your soul would get the memo.

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Ball of Wax 61 Songs: “Bitter and the Herb (for Marco)”

Our dear friend Brittain Ashford returns with a gorgeous ode, all piano and clarinet and Brittain’s smoky alto. You could imagine this song being picked out in a dark bar at the end of the night, barely noticed except by the broodingest, keenest-eared patrons – which is appropriate, as it was written in tribute to a bartender who is no longer with us. Perhaps the deftest moment in this elegantly crafted song comes when she sings “sometimes you want to go where everybody knows your name” – in a song about a bartender – and it doesn’t make you crack a smile, or wink and nod, at least not right away. It flows into the next lines, about friends who will give it to you straight, about whether there are lessons to be learned, and it just works. And then, sure, you go, “ha, Cheers,” and imagine the subject of this song doing the same from the great beyond (and oh, how I wish I believed in that beyond sometimes). It’s a beautiful reminder that sometimes funny things can be fraught with grief, and that it’s okay to be funny when you’re grieving.

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Ball of Wax 61 Songs: galenbaby – “Cats”

This pandemic is doing strange things to all of us. Our dear old friend Galen Disston, recording as galenbaby, appears to be coping by cuddling up with some synthesizers and channeling the inner lives of his cats via his own stunning voice. “Cats” is simple and eerily gorgeous: a couple synth parts loop and phase, while Galen repeats his feline refrain with a variety of melodies and emphases: “Did you hear me waiting at the front door? I was waiting for you.” One brief moment of multi-layered harmony opens up that “waiting for” moment in the middle of the song, but mostly it’s just one Galen, quietly and beautifully meandering, wondering, did we hear him waiting?

Note to Galen: If I hear you waiting at my front door, I will let you in. (Assuming you’re wearing a mask, of course.)

Editor’s note: This song was so nice, we reviewed it twice! Here’s Steven Scribner’s take:

Music with a cattitude! There are examples in other genres of course (Rossini’s operatic “Cat Quartet” is a particularly hilarious example) but here we have an indie-rock track that suggests felinity and seems to get into the cat’s mind as well. How so? Well, the weirdly-reverbed synth slinks and struts (“slithers” is entirely the wrong animal) like a mouser stalking your eardrums. The vocals (spare, with only occasional overdubbing) don’t meow, exactly, but there’s that quality of incessant yowling (subdued in this case) because, as always, you’re ignoring the tabby waiting not-so-patiently by the door. Of course, there’s not much lyrical content here: the cat’s waiting by the door, and you’re not letting him in (or out), so the cat’s waiting by the door, and you’re not letting him in (or out), so the cat’s waiting by the door and you’re still not letting him in (or out) and on it goes. But the cat’s probably not thinking about going in or out anyway, but merely about not being let through the door, so that’s all that needs to be said. Altogether this is a fun little tune. Two dewclaws up.

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Ball of Wax 61 Songs: Maluhia – Long Drive Out to the West Side

After a couple of emotionally intense tunes, on track three we have been blessed with a moment of instrumental relaxation and repose, courtesy of the Hawaii-based artist Maluhia. “Long Drive Out to the West Side” blends elements of electronic and Hawaiian music to create something new, and much-needed in these times. Bubbling beeps and boops combine with slide guitar and a relaxed, syncopated beat to help ease us down the road. I assume this piece is inspired by a drive to the west side of one of Hawaii’s many islands, but this track would be the perfect soundtrack to any drive, to the west (or east) side of anything. All I ask is a full album to go with it, so as to properly flesh out a longer drive. I’ll keep this on repeat in the car until then.

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