Archive for Tag ‘The Bomb Shelter‘

BLACKTOOTH RECORDS PRESENTS: Chrome Pony – You Are the Pisces EP

The brothers Chrome Pony (again, with added juice) slow down, groove harder and are at home with dynamics on their new EP. If you’ve listened to their hazy-yet-bellicose tunes in the past, be prepared, for the darkness of life has revealed yet further corners to round, breeding maturity – as is its wont. Yet even as these tunes bounce along with an ameliorable step, they are not settled. One does not realize the divinity (pisces) within at no cost, and it’s still time to synch up the laces, strap on the sweat bands and take it to the hole. “Naked I came and naked I’ll stay for you.” It’s a worthwhile dictum.

Personal and data to be found below.



All songs written and performed by Chrome Pony and friends

Produced by Chrome Pony

Co-Produced by Andrija Tokic

Chrome Pony is :

Tyler Davis : Guitar/Vocals

Kyle Davis : Drums/Percussion/Vocals

Jon Gottschalk : Bass/BGV

Additional Musicians :

Ricardo Alessio : Organ 1 & 4

Peter Keys : Organ/Farfisa on 2 & 3

Jem Cohen : Background Vocals

additional background vocals on “Road Dope” : Ricardo Alessio, Kim Mikula, Jon Gottschalk, Kyle Davis

Recorded at The Bomb Shelter Studio B by Troy Dison and Andrija Tokic

Mixed by Andrija Tokic at The Bomb Shelter

Mastered by John Baldwin at John Baldwin Mastering

Blacktooth Records



To put it safely: it’s about damn time. Unafraid to take up a pace much closer to nature’s than the urban sprawl, Majestico has finally solidified an album for the people to hear.

Recorded – like so many of the delicious things in our lives – by Andrija Tokic (AKA Dreya, AKA Dre-Babe, AKA Dr. Dre, AKA The-Dre) at the Bomb Shelter here in Nashville, it does the right thing by most any standards. It’s got quite a few of the jams you’ve heard for a long time now, as well as more recently penned ones, that are more future-indicative of the tender baby-bamboo shoot finally exploding that is Graham Fitzpenn and co. who have spread their roots so deep and so far for so long now.

Here’s to not surviving the New Age Revival.

Out 2/11/14 on ATO Record Club and 3/4/14 to everyone else via ATO.

Album trailer via us?:

Directed by Graham
Shot/Edited by Schuyler
High Shots by Logan “Gotdam” Frank



They want to sound like they promised their daddies they’d make it for them and damn if they didn’t nail it. Promised Land Sound’s debut album comes out today via Paradise of Bachelors and we remember when they played their first show way back when at our Summer Party…they were just innocent little Promised Land then. Free of legal issues and way worse at their instruments. Now look at ‘em, all boutique and high and ripping sweet licks and singing. D/L a track by them at the bottom because they can jam.

Record done at the Bomb Shelter by Andrija Tokic and Jem Cohen and that’s all. The release show is this Saturday – 9/28 –  at Jem and co.’s Found Object with label mate Steve Gunn and Weekend Babes.

FYI: Guitarist Sean Thompson played lead on the Blacktooth Release of TV John – The Dream Man.

Listen: Promsed Land Sound – River No More

Blacktooth Records presents: Chrome Pony – Lazy Bones (new album)


On March 5th, Blacktooth Records is proud to release the new record by Chrome Pony, entitled Lazy Bones.

This is Chrome Pony’s first full length and you get to go on a real fast and fun ride with this one, ladies.

Chrome Pony is obviously the brothers Davis, Tyler and Kyle, with Matt Shaw (Fly Golden Eagle/Majestico) playing bass, and Ben Trimble (Fly Golden Eagle) and Matt Menold (Clear Plastic Masks) also chipping in. It was recorded at The Bomb Shelter and Ben’s house, produced by Ben Trimble and Chrome Pony, engineered by Ben and Andrija Tokic, and Andrija also mixed and mastered it at the Bomb Shelter.

Them’s the deetz and we’ll have more for you as the day approaches.

Visit their website here: <click!>

Chrome Pony – Lazy Bones

1. Base of the Mountain
2. Domesticated
3. Fun Girls
4. Good Times
5. Ciggy Stardust
6. Never walk Away
7. Island Fever
8. Motorcycles Don’t Lie
9. Black Smoke

The State of Kuwait: Several Tenses of Travel

Welcome again to “The State of Kuwait,” a reoccurring series here on Blacktooth.

This entry proves a little less polemic and a lot more global-village-y (thanks NPR! you bastion of liberalism, you). Ranging from some Nashville videos that are both entertaining and mawkishly sentimental, to Morocco and Thailand. East to West, y’all.

Without further adieu:

Hans Chilburg (no joke) put together this great, minute-long, smashed-up footage. He’s currently working on a full-length feature that we hope to have our hands in (somehow) called “Dreamscape” and it’s in post-production right now.

Kim McCulla put together this great, three-minute-long, smashed-up footage from our 4th of Joo-Lie party last year, where Ben Trimble of Fly Golden Eagle and the boys in Chrome Pony played the National Anthem every hour on the hour until something ridiculous like 3 AM the next day. It was awesome and so is this video.

In other news,

Natasha Pradhan is an artist/researcher in Morocco. We’ve read a little bit about her, and was exposed to her work by our friend Josephine Foster (Click for her music. Ben Trimble of Fly Golden Eagle played on her new record and Andija Tokic from the Bomb Shelter recorded it. Pick it up when it comes out later this year). Natasha’s visuals are stunning and with a little digging we found a pretty good paper she wrote on the indigenous Moroccan esoteric music rituals that was extremely knowledgeable, both from the writer and for the reader. Here’s an excerpt and click below for a video of the Hamatcha Lila in action. (It is highly suggested you read, if not the whole article, at least the excerpt. Which, in true Blacktooth form, is hardly even terrain as far as “presumed excerpt length” is concerned. You need to read more anyway.)


VIDEO: <click!> (Hamatcha Lila) <click!> (Breathing Room)

READ: <click!>

“This evolution of the Gnawa ritual as a secular performance is largely a matter of economics. Secular performances and collaborations energize a very needy community with the economic fuel to sustain themselves, and potentially their religious tradition in an increasingly modern economy. The Gnawa community has become visibly more well off (nowhere near wealth, but rather distanced from poverty) compared to other brotherhoods. Does this increase in wealth sustain the essence of the Gnawa tradition or fuel more performances that further articulate the distance from a space that was? A new economic relationship with their spiritual practice does have a radical rhythmic impact on life. While zaouia’s are kept up through the giving of small amounts of money in a ritual setting with the idea of baraka, the Gnawa ceremonies are now indirectly funded by large sums of money less frequently from secular sources.

The process of bestowing of money to sacred musicians is a materialization of listening, or receiving practices of the music itself. When the music of the Sufi brotherhoods is absorbed in a space of ritual with its sacred potency, the resulting economic exchange is an offering for baraka. When money is bestowed in exchange for work (secular performance) the musicians receive a salary or stipend. By the same means that practices of creative listening (Novak 2008: 30) are “a vital social activity and the cognitive basis of an interactive music culture.” The materialization of these listening practices directly to the musicians in turn alters their relationship to their performance practices.

One such instance occurred upon the removal of the sacred music of a town called Zahjouka from Zahjouka. Brion Gysin, an artist associated with the beat generation that spent a large part of his creative career in Morocco, describes his discovery of Zahjouka’s music in an interview with Terry Wilson: “I heard some music at that festival about which I said: ‘I Just want to hear that music for the rest of my life. I wanna hear it everyday all day. And uh, there were a great many other kinds of extraordinary music offered to one, mostly of the Ecstatic Brotherhood who enter into trance, so that in itself – it was the first time I’d seen large groups of people going into trance – was enough to have kept my attention, but beyond and above all of that somewhere I heard this funny little music, and I said: ‘Ah! That’s my music! And I must find out where it comes from.’ So I stayed and within a year I found that it came from Jajouka…[tape stops]” (Vale 1982: 47). Gysin proceeded to develop an economic relationship with the musicians in which he could hear this music all day everyday. “Oh the restaurant [1001 Nights] came about entirely because of them…I said ‘I would like to hear your music everyday’ and, uh, they said ‘Well, why don’t you just stick around and live in the village?’ And I said, ‘No, that isn’t possible, I have to go back and earn my living’…and they said, “Well, then why don’t you open a little cafe, a little joint, some place in Tangier, and we’ll come down and make the music and, uh, we’ll split the money?” (Vale 1982: 52)

Secular income from a performance concretizes the economic potency of the performance as work. A sacred ritual becomes a production of a commodity (music) to be consumed, an in turn transformed, by its reception unto secular ears.

What is lost by the popularization of sacred sounds and the assimilation of esoteric modes of existence into a secular economy? Attempts that understand the emergence of modern forms of old traditions, or the mechanisms to sustain traditional forms in modern contexts, as a preservation of these traditions commits the fault of reducing these traditions to their superficially extractable elements. Institutional attempts at preservation of the music of Sufi brotherhoods in this way (through stage performance and marketed recordings) are victim to a flawed essentialism that slightly alters the original meaning of the music each time it is employed for a commercial or popular purpose.

The ritual is the embodiment and sustenance of a particular mode of existence, a particular shared conception of time and situation of space. As life, the ritual is never fixed. Essentializing modes of understanding or recreating the ritual results in preservation attempts that do not transgress the superficial. The forces that endorse secular festivals featuring sacred music and musical recordings as “world music” perceive a space or experience and proceed to reduce this space to its musical performance. Such efforts fix the musical ritual in time and fuel folklorization. The case of the Gnawa ritual makes evident that an either/or attitude is in fact more harmful because it forces this distinction to be digested by the musicians; and as a result of imbalances in resources, the new ritual that articulates a modern and secular digestion of this music is that which prevails. Sacred understandings of one’s musical and religious practice becomes assimilated into modern understandings of one’s musical and labor practice.

Looking forward, subsequent research of the ritual practices of the Sufi brotherhoods and their evolving contexts in environments dictated by popular conceptions of music and musical performance should explore new avenues of preservation. Preservation practices of the Sufi brotherhoods can manifest itself either towards the sustenance of esotericism (or the re-introduction of esotericism), or through modes ofcreative preservation.

Esotericism makes spaces not susceptible to the deleting forces of popularization on the practice of spirit possession and faith-building through hadra. By simply placing restrictions on the dispersion of a music, its popularization, and subsequent economically-systematized secularization can be limited.

Perhaps more useful, however, is to explore existing and possible avenues of creative preservation. Creative preservation is to preserve not the rationally perceivable elements of a tradition – i.e. the music, costume, etc. but rather to preserve what is contained within the ritual and practices of sacred music. This preservation takes into account the space, the performance practices, the faith behind, and the experience of time and space as embedded within the space of ritual. Instead of understanding preservation as a freezing of particular aspects of a tradition that have penetrated popular consciousness, creative preservation sustains and reinvents the what is experienced within the music rather than facilitate reenactments of its forms. This bears into being new rituals, rather than staged reenactments that extract from whatwas and cage an entire way of life within the past.”


Luk Thung – Classic & Obscure 78s From The Thai Countryside is an awesome compilation that came out this year, curated by the Monrakplengthai music blog and others (read about it here: <click!>). In the attempt to seem less ethno-voyeuristic, deem these as simply good, grooving songs. Songs that are long considered as hailing from the the margins by the disfranchised people and continue to serve that function in the political turmoil that resides still today.

Phloen Phromdaen – “Ruedu Haeng Khwam Rak (Season of Love)” by dusttodigital



And that, my friends, is the State of Kuwait.

With confluence,

TV John – The Dream Man

















TV John – The Dream Man

  1. Drone
  2. Ya-Ya
  3. Cell Phone
  4. Do the Bomp
  5. All About You

Download “The Dream Man”: <click!>




The Limited Edition cassette of “The Dream Man” (BT009) is in the store and the tunes are yours to live. Listen to the single “Ya-Ya” below. The music video for Cell Phone, shot by Jake Smith and edited by Drew Maynard (click!), is the ride you’ve been waiting for. The treats in this one singular moment are irreplaceable and inexplainable. Remember: the tapes contain a clue to a special Blacktooth Records Sweepstakes Prize! Jake Smith shot and edited the behind-the-scenes footage as well.
TV John – Ya-Ya by BlackToothMunch


TV John came from Washington D.C. to Nashville in a swirl of coupons, melodic, and lyrical ideas and crashed into the Blacktooth Camp for one insane collaboration. Ben Trimble arranged the terms and agreements after taking an interest in exploring the nexus of creativity and originality. TV John cooked us ribs and conveyed his song-dreams to us, we arranged the new tunes, learned a few of his preexisting hits (“Party Animal“, “Elivs’s Brain” etc.), and played one hell of a show at The Zombie Shop. We are thankful to have shared the world-unto-itself that is TV John Langworthy’s. We won’t soon forget it. He was a “party animal” and hopefully, after hearing these new songs, you will be also.

Musicians on the tracks (in alphabetical order): Ben Trimble (Bass, Electric Guitar, Drums), Chris Murray (Saxophone), Mitch Jones (Organ, Keys), Ricardo Alessio (Piano, Bass, Electric Guitar, Synths), Richard Harper (Drums, Bass), Sean Thompson (Lead Electric Guitar).

BGVs: Brittany Painter Shaw, Lilly Lomein, Liz Thielemann, Josh Harper, Kim McCulla.

Recorded by Mitch Jones at Lil Biv Town

Mixed by Ben Trimble at Lil Biv Town and The Bomb Shelter

Mastered by Andija Tokic at The Bomb Shelter

Pictures by Jota Ese


Po’ Me Granite

Obliged, thank you, gratitude, etc.

Here’s a “wrap-up” for you and yours via The Blacktooth Camp and co. We asked some rad people in town who we think do rad things to compile their top 5 records of the year (some released in 2011 and some they just dug the most in 2011). A diverse sprinkling, both in terms of records and choosers, it’s of interesting note that a lot of locals show up, as well as the absence (barring a few exceptions) of solely, new, released-in-2011 records. Maybe that has something to say, maybe it doesn’t.

At any rate, in addition to the top 5′s, we’ve culled together a mix from some of our favorites in town. The bands are entities that we’ve (mostly) talked about on here, one way or the other, as well as bands who’s records we’ve put out (or would like to put out. Or are in). This is a fantastic run of demos/unreleased/new songs from some of the most talented people in town (or, in the case of Dungen, who came to town):

You’ve got a Chrome Pony jam from their demo release (a song that wasn’t re-recorded for their Illegal Smiles EP); a new demo from Fly Golden Eagle; The Phantom Farmer brings hot fire, which is from Joel McAnulty’s (By Lightning) forthcoming solo release, Home On the Frequency Range: Alpha; James Wallace visits weird city with Jen Turner of Here We Go Magic; Jota Ese remixes the unflappable Mark Morrison‘s early-90′s slow jam, “Return of the Mac” and sends it straight to atonal hell; Natalie Prass shows how sexy mumbling can be on her demo of the slow, well-tempered-synth jam, “Bird of Prey”; John McSparran, puppeteer-extraordinaire, gives us a short introduction track under a misnomer (which should direct you to his very-rare project Cigarette Trees); a ghost by the name of Odessa chills all over it; the post-mortem Hepatitties give a demo from their progenitor days that never made it onto the now-cult-classic A Taste for Peaches EP;  a more sentient and palliative state is where you will find Majestico; and the nubile and raw-as-real-time-revolution men in Ranch Ghost cut a new track over at BIV town with Jitch manning the boards that acts as the auditory whiskey you add to your apple cider. (Speaking of Jitch, he recorded the Dungen-Sweedz when they came through town last year and Ben T. made it sound right.)

Download the mix after the picture below, and read on to see the top 5′s.

Nashville rules. Thank you. Seriously.

Download “blacktooth on Blacktooth” here: <click!>




Andrew Krinks (Editor, The Contributor):

Tom Waits – Bad As Me
Gillian Welch – The Harrow & the Harvest
Radiohead – The King of Limbs
James Blake – James Blake
Wilco – The Whole Love


Ben Trimble (Fly Golden Eagle, Majestico, Hepatitties, Blacktooth Records):

The Limiñanas – (S/T)
Brazilian Guitar Fuzz Bananas – (Compilation)
Unknown Mortal Orchestra – (S/T)
Serge Gainsborough – Les Annees Psychedeliques (1966-1971)
Natural Child – 1971


Sean Thompson (Nikki Lane, utility for anyone):

Michael Daves And Chris Thile – Sleep With One Eye Open
Nikki Lane – Walk Of Shame
Louvin Brothers – Satan Is Real (repress by Light In The Attic, I know, but this is a really important album that a lot more people will hear now.)
Charles “Packy” Axton – Late Late Party 1965-67 (Another Light In The Attic Repress but goddamnit this record rules.)
Kenny Vaughan – V


Chris Murray (Square People, Square People Jazz Maturity, Hepatitties, Toadies 2):

5. Dope Body – Nupping
4. John Maus – We Must Become the Pitless Censors of Ourselves
3. Fat Worm of Error – Broods
2. James Ferraro – Far Side Virtual/Condo Pets EP
1. LMFAO – Sorry for Party Rocking


Josh Habiger (Chef, The Catbird Seat):

Wugazi – 13 Chambers
tUnE yArDs – w h o k i l l
Tom Waits – Bad as Me
The Goat Rodeo Sessions
Lost in the Trees – Time Taunts Me


Graham Fitzpenn (Majestico):

The Mattoid – The Glory Holy
The Velvet Underground – Loaded
Bob Dylan – Desire
The Royal Greek Festival Company – Greek Folk Songs and Dances
The Breeders – Last Splash


Joel Macinulty (By Lightning, The Phantom Farmer, records everyone/anyone):

Matt Moody – El Baile de los Muertos
Fly Golden Eagle – Swagger
Wilco – The Whole Love
Shabazz Palaces – Black Up
Chrome Pony – Illegal Smiles


Richard Harper (Fly Golden Eagle, Majestico B-squad, Oh Dang Lo Mein, Hepatitties, Blacktooth Records):

Psalters – Carry the Bones
James Wallace and the Naked Light – More Strange News From Another Star
The Stepkids – (S/T)
Shabazz Palaces – Black Up
trog’low – Mellow Feats EP

Honorable mention for White Denim – D and Tinariwen – Tassili


John Stout (Jota Ese, Oh Dang Lo Mein, Day Old Records):

5 of my favorite albums of 2011 are:
Shlohmo – Bad Vibes
Charles Bradley – No Time For Dreaming
Samiyam – Sam Baker’s album
Blu – n o y o r k
James Blake – James Blake

5 of my favorite songs of 2011 are:

Panda Bear – “Last Night at the Jetty”
Radiohead – “Lotus Flower” (with the music video of course)
Tyler the creator – Yonkers
Gil Scott-Heron & Jamie xx – “New York is Killing Me”
Heavy cream – “Watusi”


John McSparran (Puppeteer, Wishing Chair Productions, Cigarette Trees):


1) John Adams – Nixon in China
2) The Caretaker – An Empty Bliss Beyond This World
3) Washington Phillips – Spreading the Word Through Song
4) Leonard Cohen – The Songs of Leonard Cohen
5) Mike Patton – The Solitude of Prime Numbers


Matt Jernigan (Chicago-based artist):

The top five albums I played loud enough from the hours of midnight – 6 am to piss off my upstairs neighbors in 2011. There’s never any particular order from midnight – 6am.

- Shabazz Palaces – Black Up
- James Ferraro – Night Dolls With Hairspray
- John Maus – We Must Become the Pitiless Censors of Ourselves
- Richard Pinhas & Merzbow – Rhizome
- Hepatitties – A Taste for Peaches


Tommy Stangroom (Square People Jazz Maturity, Square People, Toadies 2):

Deerhoof – Deerhoof v.s Evil
Bird Names – Metabolism (A Salute to the Energy of the Sun)
Thee Oh Sees – Carrion Crawler/The Dream
Shannon and the Clams – Sleep Talk
Hepatitties – A Taste for Peaches

James Wallace (James Wallace and the Naked Light, Heypenny?, tons o’ others?):

Best Records of 2010-2011 (Released within these years)
1. Mr. Hazelwood – The Golden Age
2. The Parting Gifts – Strychnine Dandelion
3. Matt White – Something New From America Today
4. Ballpoint Pens -Calcutta
5. Kai Welch – Send it Down


Andrija Tokic (The Bomb Shelter Recording Studio):

Lee Hazelwood – Cowboy In Sweden
The Hives – Tyrannosaurus Hives
Fly Golden Eagle – Swagger
The Who – A Quick One
XTC – White Music


Davis Watson (Filmmaker, The Kodachrome Project, Good Piping, Saul Burke on the Radio):

T. Rex – (S/T)
Bob Dylan – Nashville Skyline
Townes Van Zandt – High, Low and In Between
Paul Simon – Still Crazy After All These Years
Van Morrison – Common One