Music for the messes since 2012. Into the obscure, the underground, and the other stuff. Clean Nice Quiet is live on KPISS.FM every Saturday from 5 to 7 PM US Eastern. Live on 8K.NZ every Thursday 9 PM US Eastern. SUBMISSION GUIDELINES: E-mail your rad tunes to: matt (at) clean nice quiet (dot) (com). In the body of the e-mail, please include a publicly available file or link. Please do not submit anything under embargo. Feel free to send when it is publicly available.
So Clean Nice Quiet is now going to be live every Saturday, at 4PM Central / 5PM Eastern on the mighty golden stream, KPISS.FM! I'm so stoked. So catch me on KPISS coming up on the 1st for some fun tunes. And I'm still going to do CNQ Live via caster.fm when I feel like it -- if you see me on air on the embedded player at the top of the blog, press play! Am thinking I may do a caster.fm show tonight, actually, but don't want to commit in case I decide to stare at my shoes instead.
Catching up on submissions here from August and September. Lot of great stuff!
London's experimental slide guitarist Geiger von Müller has a new full-length album out called Slide Sonatas I. Very cool stuff:
Pete Um from Cambridge has a new full length minimalist synth album out called Surface Zero. Solid:
Also new in the experimental electronic genre, harse noise enthusiast Into the Buzzing Room has a new EP, his first, called Excessive Focus. Into the Buzzing Room is from Münster, Germany. I've featured their previous demo before. Killer diller:
New York's Strange Neighbors reached out to me with three super rockin' singles, "Whoa! Is Me," "Hotline Psychic," and "Window Watching." I like all three but I think I'm leaning towards "Window Watching" being my fave:
Crass Lips Records has a new release from HOTMOM out called On TV. HOTMOM is from Austin, they've been around for a while. I featured a track from them on the old CNQ show all the way back in 2018:
Finally, Alien Nosejob has a new record out on Total Punk in the US, called Stained Glass. The first single, "Beatles VS Stones," is a ripper, as we've come to expect from New Zealand's Jake Robertson (Ausmuteants):
It's fast approaching CNQ's ten year anniversary, and I'm certain I am the only soul on Earth who gives a shit. And that's fine! The other day I spent an inordinate amount of time messing with my labels on your left side of the screen in the blog's desktop mode, and not 100% pleased with what I did. I was trying to tidy them up. Maybe I'm 90% pleased. Anyway, it's fun to keep a music blog, most of the time! Just a quick dive into new and newish on Bandcamp:
Nova Cheq is electronica from the UK. This Edits Pack Vol 1 was released in April, 2021. Bandcamp page says,
"Edits are bootlegs of hip hop/rap songs I love featuring amazing black artists such as: 3 6 Mafia, SL, Childish Gambino, Playboi Carti, Lil Uzi Vert and Ramz."
Man, so weird to think I've been doing these Bandcamp dives for 10 years. It's nice to have a hobby.
From Auckland, New Zealand, Nuggiez has a new 12 track album due out next month called Toil in the Time of Monsters. Two songs are available for listen now, "The Creeps" and "U Against U." Good post-punk.
I love Thank, and they have a 4 track live release called Live @ Little Buildings, which you oughta purchase immediately, so they can put that money towards another album, or whatever they wanna do with their gottdang money:
This year, instead of doing New Year's Resolutions that I'm never going to keep up with all year, I'm doing micro-resolutions month to month, and allowing myself to fail and get back up again, instead of, if I mess up, just scrapping the whole resolution. So far it's worked well and I recommend it.
Keeping up with CNQ more was not one of my micro-resolutions. For the one or two of you who read these posts, I'm a broken record, I know. I say "I post when I feel like it and don't do reviews" quite a bit. I'll put it in the blog description and maybe that will help me remember to talk about something else every once in a while. But yeah, as soon as I feel like I have to do this (or anything), I immediately do not want to do it anymore.
Meanwhile, artists and bands, feel free to send me your tunes, I'll happily listen, and if I like it, I'll share a song and a link and probably talk about it a little. But I'm not a music critic, just a fan, and I generally don't do reviews. Occasionally I'll break that rule, but in general that's how CNQ operates.
So let's see what's going on with some Bandcamp e-mail updates. Geeze, I get a lot of these.
Burger Records sent a link to Shindig! Magazine's premiere of Dead Ghosts' new video for a song called "Drugstore Supplies," off their new album "Automatic Changer," due out April 24. I liked Dead Ghosts' "Can't Get No," which came out in 2015, and I like Burger Records. Shindig's a neat magazine and I wasn't aware of their web presence until I got that Burger Records e-mail update. I listened to about half this 3 and a half minute song and I'm like, ya know, this is the same garage rock that every Burger Records release sounds like. It's fine, but frankly I'm a little bored by the formula.
Holy mackerel, I think I just did a critical review. But what do I know? I can only strum three chords. Here's the video. Like I said, the song is fine. But it sounds like so much of what Burger Records puts out, and stuff that sounds like what Burger Records puts out, that I can't really get excited about it:
The Youtube video on the Burger Records channel has 29 thumbs up and no thumbs down as of 9:47pm on 1/16/2020. I've always wondered what kind of asshole thumbs downs a video. I'm not gonna be that guy. If there was a "meh" icon I'd click it, maybe.
The Ausmuteants' Jake Robertson has a new solo album, "Suddenly Everything Is Twice As Loud," out on Anti-Fade Records (in Australia) and Drunken Sailor (in the UK). The solo project is called Alien Nosejob, and I love it. I'm pre-disposed to the "Devo-core" sound of Ausmuteants much more than I am the surfy garage sound of Burger Records releases, but it's not like Robertson is just re-making Devo songs. He's using that sound as a jumping off point to make some inventive, highly listenable, synthy garage-pop/off-kilter rock'n'roll that is worth purchasing so you can be cool and own it, and he can continue to do it. You can get it on black vinyl (red sold out already) from Anti-Fade for $25 AUS dollars, and from Drunken Sailor for a little cheaper -- shipping to the US is cheaper via Drunken Sailor too. Both sites have it available for $12 to dl digital via Bandcamp. Great album:
