Record Label / Recording Studio
Make Noise Not War Records (USA)
Logo by Edith Sööt (Estonia - Los Angeles, CA) - 2020
MNNWR is located in Los Angeles, CA. Curated by MAKE ART NOT WAR FOUNDATION (USA) with the mission to support independent musicians from around the world. It is a sublabel of Toys of the Masses (Los Angeles, CA).
Frentzmoon - Old Trash Jazz LP
Quick Records - Argentina / Aquatalan Records - Argentina / Make Noise Not War Records - USA. 2020.
We present a kind of missing link in the prehistory of the Argentine psychedelic rock group El Festival de los Viajes: Frentzmoon, and their first LP Old Trash Jazz.
Why a "missing link"? Because, somehow, Frentzmoon (1995-2002) was one of the musical experiences that, years later and with new ingredients, led to the project El Festival de los Viajes (2005-2014).
Briefly about Frentzmoon: it could be said that it was a rarity within the local underground scene of the early millennium.
It was a rarity because, despite the frenetic activity that the group developed in its years of existence, it never published material or made itself known outside the limits of its base of operations (El Galpón, a dark and colorful space inspired by the adventures of Ken Kesey and his Merry Pranksters, and the Furthur bus they were riding on).
And it was a rarity also because, in the midst of an era that looked to brit pop and post grunge, Frentzmoon was inspired by the dark garage and progressive psychedelic bands of 65-68 (13th Floor Elevators, The Red Krayola, Second Hand, The Deviants, to name a few), the Grateful Dead from 68-69, the Pink Floyd from Saucerful of Secrets, the Miles Davis output from 69-72, and the Beatles from Revolution 9.
Back to Old Trash Jazz, it could be labeled as Freakodelia Lo Fi: it is a compilation of sequences, put together from the material that the band accumulated after many hours and many live music recording sessions, totally improvised at the moment, without much filter, never repeating or looking to repeat what had been played in previous sessions.
Without raising their heads to see what their partners were playing, the members of the group shared a ritual of immersion in sound, establishing telepathic dialogues through vibrations, notes and cadences; a dialogue that was sometimes felt, sometimes hesitant, sometimes powerful and with direction, sometimes adrift and crossed by feelings of frustration.
About the sound of the LP, it's worth stopping by: for better or worse, the recording ways at El Galpón give Old Trash Jazz part of its singular identity.
During all those years, the band spent a lot of money to equip themselves (a Fender Bassman, a Twin Reverb, an Ampeg V4, a Rhodes electric piano), but they never spent much on microphones and consoles: everything was recorded on ordinary cassettes, in a 4-channel Tascam Postastudio, with cheap Phillips microphones (with all the fury, maybe there was some Shure 58 sneaking around). The mics went through a Ross brand powered console, and from there they went directly to the Tascam.
Control over sound was always fragile, relative. Nobody in the band had much idea about professional audio and recording techniques. They never worked with sound engineers, nor did they ever think about how to achieve specific sonorities. They never recorded for broadcast purposes. Although Old Trash Jazz reveals that Frentzmoon worked hard in its peculiar search, imagination and enjoyment always seemed to prevail, rather than calculation and technical precision.
Old Trash Jazz reflects the intense exploratory desire of the group members during those years; get carried away by long improvisations, dive deep and dark waters, walk off cliffs, watch universes disappear, watch stars rise, and access that incredible experience over and over again: feeling a strange connection that moved the band in unexpected directions, despite (or driven by) the talents, limitations, and musical influences of its members.
The Old Trash Jazz music was recorded between 2000 and 2002, but the sequences that make up the LP were arranged between June and July 2020.
The LP introduces one of the many line ups of Frentzmoon:
Marcelo Carmona (bass, guitars, sound and general engineering).
Javier Aguirre (voices, Rhodes, keyboards).
Mathias Harbek (guitars).
Adrián Felcman (drums, keyboards, voices, arrangement and artistic production).
Illustrations: Adrián Felcman.
Graphic Design: Mathias Harbek.
Mastering: Sebastián Lombroni.
10/2/2020 Make Noise Not War Records. Los Angeles, CA. #MakeArtNotWar
THE DAGG - August 2020 / 5 Year Anniversary Re-Release
The album was recorded after winning the award for “Best Band” at the “Cavern Rock Festival" (2011, Argentina), including an honorable mention for Ary Garay as the "Best Guitarist".
Cover art was illustrated by Guido Felet (Argentina).
Graphic designed by Santiago Tomás Pagura (Argentina).
Printed at Grafikar (Argentina). Original idea of the cover art by Ary Garay.
Sponsored by Walter Broide (Argentina).
Produced by The Dagg.
Originally released by The Dagg in Argentina, 2015.
5 Year Anniversary Re-release by Make Noise Not War Records (USA) / Sublabel by Toys of the Masses (USA).
Declared "Cultural Interest" by Make Art Not War Foundation (USA), 2020.
TOYS OF THE MASSES
Los Angeles, CA
Toys of the Masses is a Recording Studio & Record Label, doing its damndest to bring aural nutrition to the masses! Originally launched by Los Angeles based musician, producer, & artist David Hakopyan, a pure attempt to create a community of like minded weirdos who will help each other get their madness to you. On board to realize this vision, is Argentinian Filmmaker and Culture Aficionado Chapete.