(c) 2012 Lauren Records / Ghotsbot Records
Back in the early 80s when the first tide of Punk gave way to a New Wave, a couple new styles started to coalesce. On one side there was the move back to basics, picking up chicks style rock and roll that paved the way to all so much hair metal. On the other end there was the more cerebral college shoe gazing rock that found its way to the masses as indie or alternative.
Los Angeles based act, Pangea summons up the spirit of the latter with a four track 7” that is as much at home on 120 minutes of yesteryea as it would be now on the stage at Coachella. Killer Dreams is a quirky little EP with an alternative yet punky eclectic blender concoction of Lou Reed, The Cars, The Dickies and The Pixies all frappéd with an early 60s rock and roll feel. (and that is just “Plasma” the lead in track.)
The 7” continues with a roots/Americana Violent Femmes via Andrew Jackson Jihad sounding ditty called “Love & Alcohol”. The track carries the full weight of the emotional train wreck that the title suggests.
Moving to the B-side we’re entertained with a more up tempo number called “River”. I’m again reminded of Pixes. There is definitely a very strong influence going on there.
Finally the EP comes to a close with the title track. It is a myriad soundscape that is at once its own and yet still firmly attached to the vision and sound that alternative evokes.
Overall, Pangea’s Killer Dreams EP is a new fresh burst of familiarity that grafts a new branch on old roots. You can check out the release on their bandcamp page. Like it? You should buy it.
Interview with Mike Ivey of Basehead
Conducted via email 11/08
Jerry Actually – When “Play With Toys” came out it was greeted with a decent amount of attention, but by the time “Not In Kansas Anymore” was released, Basehead seemed to have faded back into obscurity. Was I just not paying attention to the right channels, or did your audience pick up the ball and then drop it?
Mike Ivey – Actually, the fade back to obscurity was after “Not In Kansas Anymore,” and after we recorded the follow-up “faith” which didn’t get a major label release after parent label Imago’s BMG distribution deal ended. Prior to that Kansas sold about as much as Toys, we did got some press, and we toured opening for Stone Temple Pilots, Butthole Surfers & fIREHOSE, as well as on our own and in Europe. Therefore the fade to obscurity was a bit more gradual than described above.
Jerry Actually – In regard to the question above question, basehead came about a few years before the massive proliferation of the internet and the whole peer to peer file share phenomenon. Do you think if basehead would have been more in line with this that things would have unfolded differently?
Mike Ivey – Actually, things unfolded the way they needed to. “Play With Toys” came out right just as Soundscan was in the process of rolling out, and that multi-year run ended right before the internet really got going, so I feel fortunate to have experienced the record business prior to the traditional industry model falling apart. I’ve always been skeptical of the panacea of promises of the internet age, particularly in regards to how artists are supposed to be paid for work when everything is available for free. But in general, it’s a cost-effective means for marketing and communications in the 360 degree-DIY business model that the future seems to be calling for.
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