{ PRESS }
R. GARCIA
GLUTEUS.FREQ
ARCHIVE.ORG
Subject: Pure
Genius!!!!!!!!
This album is fantastic... it makes me wonder how people can create such
good music and just give it away!!! But thank you very much R. Garcia for
doing so, I think I've fallen in love with Girl On The Corner!!! 5 out
of 5 stars
Review By Kreetch
R. GARCIA
GLUTEUS.FREQ
ARCHIVE.ORG
Subject: Awesome
I've never been a huge fan of the Kikapu catalogue, but I've been listening
to some great things lately. This is just one of them, came across this
after being intrigued by the "Travel by Light Rail" ep, and I like this much
more! This is mostly beat-driven idm/electronics, and of the pleasantly
handcrafted type. Nothing tremendously original, but how can I be so
critical with such a good album. Be sure to check this! np "All Work and No
Play" 5 out of 5 stars
Review By Purusha
I USED TO WRITE ON WALLS
BROADWAY WORLD
Bekah Brunstetter's new
play I Used to Write On Walls is billed as an "anti-romantic comedy". This
is a good term for it, since though it is very funny, it's terribly
unromantic.
Three normal stable women all fall for the same callow surfer dude, and he
ends up breaking their hearts. First there's Diane (Maggie Hamilton), an
overweight cop who gains the respect of Trevor (Jeff Berg) by allowing him
to draw a wave on a wall with chalk. Then there's cosmetics-loving Joanne (Darcie
Champagne), who is sleeping with Trevor but really just wants someone to
remember her birthday. Then there's also Georgia (Levita Shaurice), a slam
poet, who is also sleeping with Trevor.
Why an unemployed drifter who smokes pot, can't remember anything, and is an
ephemeral graffiti artist attracts all of them is something of a mystery.
Certainly, as played by Mr. Berg, he's very handsome, and takes his shirt
off frequently to expose his rippling abs; his childlike sense of fun,
devotion to God, and the "rad, philosophical journey" that he's on make him
superficially attractive, but in the end he's a user who doesn't really give
himself to anyone.
In a parallel story, there's Anna (Chelsey Shannon), an 11-year-old girl,
and her mother (Rachel Dorfman), who have a benign Snow White thing going
on- her mother is envious of her daughter's beauty. Anna wants nothing more
than to finally menstruate (menstruation is a big theme in this play- it's
mentioned in nearly every scene in the first act). Diane's mother (Mary
Round) also makes a brief appearance, as does an insane middle-aged would-be
dominatrix named Mona (Ellen David).
The play seems to reinforce the stereotype that women need men to feel
complete; all of the female characters aside from the 11-year-old have all
their energies tied up in wanting men.
The scenes between the women are the most interesting. The one time Diane
and Joanne meet and Joanne gives her a makeover in the park, and the moments
between Diane and her mother and Anna and her mother all sparkle. In the
scenes with Trevor, the more irresponsible and callous he was revealed to
be, the more I wanted to go all Jerry Springer and shout "Drop that Zero and
get yourself a Hero!". Which is not to say that the play is uninteresting;
on the contrary, though I disagreed with the character's choices, I went
with them on the ride. Bekah Brunstetter's use of language is exquisite; her
dialogue sings and expresses character with telling detail. Georgia's slam
poetry is a highlight as well. The plot sometimes meanders, but it ends up
where it needs to go.
The cast is great, especially Maggie Hamilton as Diane, who inhabits every
moment with a powerful honesty; hers is the character you want to win. Jeff
Berg is perfectly addle-pated as Trevor, throwing out stoner exclamations,
existing in his own little world. Darcie Champagne is sweet as Joanne,
though her character shifts abruptly early in the play from comic to
pathetic. Levita Shaurice is everyone's beat poet- a mouthpiece for the
put-upon. Chelsey Shannon is never saccharine as Anna- her sight gag that
opens the play is perfectly realized. Rachel Dorfman's character veers
between touchingly real and more stylized lines with aplomb.
Mary Round has one wonderful scene- I wish there had been more of her. Ellen
David only has one scene as Mona, as well- in her case treading the line
between Carol Channing funny and Michael Masden terrifying- it's a powerful
but very odd scene.
The set, by April Bartlett, is fascinating and beautifully evocative, and
Candice Thompson's costumes are great. Randy Garcia's music is nicely tied
to each character. The co-direction by Diana Basmajian and Isaac Byrne is
clear and focused.
Working Man's Clothes Productions has delivered another powerful show
Review by Duncan Pflaster
NERD PARADE A
DELICATE BASHING
PERFORMER MAGAZINE
"The Nerd Parade, comprised of Randy Garcia, John Jacobus, Rich Wilson,
Buddy Buttram and Abby Wren, offer up a debut full of smart, dancey,
kinetic, electronica-laden indie-pop. From the first track, the record is
instantly hypnotic and engaging as a computerized voice speaks the first
sinister words over industrial soundscapes. But before things get too
dismal, the vocals of Garcia and Wren gleefully announce, "No one's
listening to your shit," and seconds later the listener is immersed in a
full-on electronic dance party.
Thankfully, The Nerd Parade isn't just a one-trick pony. The lyrics are
clever, but in a goofy, underhanded sort of way: "No man is an island 'less
he's drowning in a pool ... If you want to hold 'em you should try to shoot
the moon / I know just when to fold 'em like that Kenny Rogers' tune." And
the music isn't made up of just infectious dance tunes. A Delicate Bashing
also contains soulful R&B slow jams, sleepy indie ballads, a good dose of
'80s synth rock and hooks that cover all the important genres.
And while The Nerd Parade has some decidedly art-rock leanings, even that
label would be a bit premature. What's truly amazing is how unpredictable
and dynamic the album sounds.
The Nerd Parade's well-researched romp through indie-pop's stylistic
catalogue lends A Delicate Bashing more of a solid footing rather than a
branding of "pretentious." Though having been recorded in various garages,
bedroom and hotels during the course of four years, the lo-fi sound is
almost non-existent. The best tracks on A Delicate Bashing would have to be
"A Picturesque Sunday," "Kenny Rogers Tune," and "Crude Polygonal Space
Fighters," which sounds like a lost Radiohead track. This record is the one
to take with you everywhere you go. (Headphone Treats Records)"
Review by Charley Lee
NERD PARADE A
DELICATE BASHING
INK 19 MAGAZINE
"The Nerd Parade is the brainchild of Nophi Recordings co-founder and
multi-instrumentalist, Randy Garcia. Garcia and his quartet of indie
pop-loving misfits recently released their debut album, A Delicate Bashing
and fortunately for us, it doesn't suck. This electro-infused genre-jumping
CD combines jazzy R&B ballads with dance-y synth pop numbers and inventive
pop culture references. The montage of musical styles makes it near
impossible to classify The Nerd Parade, but Garcia's programming skills and
the decidedly lo-fi sound of the album would certainly suggest some art-rock
proclivities and a soft spot for '80s synth-pop. And there are certainly
enough catchy hooks on this album to choke a horse.
The opening track, "A Picturesque Sunday," begins with a Radiohead-like
robotic monologue before bursting into the unexpectedly upbeat song, "Yr
Horrible Stupid Life." The robotic voice returns on "Crude Polygonal Space
Fighters", but there's a good chance you'll be too busy tripping out to the
mellow trance-like music in the background to heed the lyrics. The soulful
slow jam "A Bird's Song" features vocalist Abby Wren, and why it isn't a
solid gold hit already, we may never know, but as soon as Wren starts
cooing, it's time to get the Kleenex. Some of the lyrics may seem childish:
"and the earth may quit turning or some crap like that/ my heart is a waif
but my feelings are fat", but a thorough listen to the album would suggest
that The Nerd Parade are actually subversive rascals masquerading as
juvenile delinquents; a feat they pull off with exceptional ease."
Review by Crystal Lee
NERD PARADE INTERVIEW
BUZZ S&E MAGAZINE
The Nerd Parade is probably the gentlest, sweetest group of musicians I have
met in a while. From Atlanta, GA, they combine gritty, power pop with
southern hospitality. They came through Chicago Saturday, April 28, to play
a fashion/art show called Grit and Glitz, and I was lucky enough to wrangle
Randy Garcia into doing an interview with me. And it went a little somethin’
like this . . .
So most of you guys are from GA . . . what’s it like there? How’s the
music scene?
Northern Georgia is quite beautiful, especially downtown Atlanta and its
surrounding suburbs. The music scene there is thriving and healthy, with
many great bands and venues to play at. The thing that really makes the
scene great is the fact that there is something to do virtually every night.
Most of the band members are homebodies though, so we mostly lay low at
night and enjoy the green spaces, bike trails and culture by day.
What instruments do you play?
I play pretty much anything except woodwinds. I’m certainly not a master of
anything, but I can find my way around the fret board and drum kit with the
most confidence. Most of the band can double up on instruments, and even
Abby gets into jamming with us on a guitar or keys sometimes.
How did you all meet?
Rich and I met about 16 years ago in middle school. We’ve played in tons of
bands together over the years, so the choice to play together in this
project was pretty obvious. I met Johnny a couple of years ago at a show.
Abby and Buddy both joined up in the last year.
What is one of your first musical memories?
I remember playing on my Aunt’s piano when I was young. I was really
fascinated with the way the notes worked with each other. I would space out
playing all black keys and trying to match words to the notes. I had no idea
what I was doing, and it was awesome.
First concert you attended?
Michael Jackson and the Jackson Five, on the Victory Tour. I had the glove,
zipper jacket and pants. It was incredible. The stage show was out of this
world. I’m still a huge fan of MJ in spite of all the negative press he’s
gotten.
First concert you played?
A skinhead rally in Ft. Lauderdale FL. We didn’t know what kind of show it
was going to be, we were just happy to play. None of the White Power kids
seemed to notice that I was Hispanic and our singer was half black either.
Have you been in other bands?
Yes, way too many.
What did you learn from those experiences?
I think each band experience has contributed a little bit to the overall
framework of my current projects, whether business or pleasure. I’ve also
learned to not regret anything in the past, as most of those experiences are
what forge a successful career in music.
Did you go to college?
Yes. I have a degree in Audio Engineering and a degree in Liberal Arts.
Do you have jobs?
Since the start of 2007, I’ve been focusing solely on The Nerd Parade. Every
so often, I get involved with a commercial audiovisual project, or produce &
engineer music for other artists, which I’m certain I’ll do after the
regiment of tours we have planned.
Why is your album called A Delicate Bashing
I think it would be best if I define what a delicate bashing is – not as a
title, but as an experience. A delicate bashing is when you experience
something in life that roughs you up, exposes you or leaves you in a
weakened state, like a break-up, or loss of a loved one. While you
experience the brunt of the pain on the front-end, there is always someone
there to pick you up and dust you off. A delicate bashing is like having a
best friend who would take a bullet for you; someone to say “If you want to
get to them, you have to go through me first.” So, in relation to the album,
A Delicate Bashing is life itself.
Favorite show experience
It’s hard to say exactly which show we’ve played has been the best.
Nashville sort of stands out on this tour—as there was a very tight room
full of people, and most of them were dancing. We really love to see people
interacting with the music.
How has this tour been so far?
We’ve been fortunate for the most part. We’ve managed to laugh through the
rough times and are really enjoying the drives. We have a bunch of gadgets
in the van to keep us occupied, like a PS2, Gamecube and wireless network
for gaming and DVD’s. Our van isn’t really new or fancy, but we took the
time to add some creature comforts so we wouldn’t be gouging each other’s
eyes out on the lonely mid-western drives.
Got any interesting tour stories?
So far it’s been pretty smooth. We had a couple of drunks get really
friendly with us in Memphis, and then there was the guy who passed out in
his own puke in the elevator at the Chicago show. Our most recent story
involves Pittsburgh, an incredibly dirty toilet, and ultimately a show
cancellation.
How’d you come up with the name The Nerd Parade?
It is the title of one of my solo albums. Abby, John, and I were sitting in
the studio during the final weeks of production on A Delicate Bashing and
trying to come up with a name for the project. One of them suggested we use
“The Nerd Parade” as the band’s name in honor of my solo record and what it
stood for. Then name in association with a band was a bit unusual to me at
first, but it seemed fitting at the time and it had kind of a lighthearted
ring to it, so we just decided to roll with it.
Do you think image is important in the music industry? Do you care?
I think the image should fit the band, whether it be elaborate or stripped
down. What many bands seems to forget is that the music industry is also
known as “show business.” That sort of entitles the performer to put on a
show. I try to match the appearance the mood of the music with because it
adds to the overall performance aesthetic. With the Nerd Parade we sometimes
dress up in various ways -- maybe a dorky sweater, blazer, or hat. Abby
wears schoolgirl or nurse-like dresses because they are fun, easy, and sexy.
I think the best part is that each individual member can spruce up their
personalities with what they wear. I would hate to have a totally uniform
look in this band because we are not totally uniform people. Image really
should be secondary; a condiment to a good course of music.
What are some of your goals—immediate and long term?
Touring and recording are our immediate goals. We haven’t though much beyond
that, because we love to play and write music. I suppose if things continue
on as such then we will need to analyze the bigger picture. Until then, we
are quite content to be DIY and in complete control of our careers.
What can we expect from your next album?
The next album will be a little denser musically, and probably explore new
sounds and instrumentation. We’ve talked about so many things at this point
. . . I couldn’t begin to give you a definitive statement here. One thing we
hope is that the record will kick ass and still be fun and exciting on the
ten-thousandth play as it is on the first.
Interview by Hilary Rawk
NERD PARADE A DELICATE BASHING
MURMUR MAGAZINE
"The latest in a barrage of North Georgia-based bands invading our personal
space is The Nerd Parade out of Atlanta. And fortunately for our earholes,
they're really good. They're a mellow 5-piece lo-fi pop band with some
electro elements.
Led by Nophi Recordings label co-founder and multi-instrumentalist Randy
Garcia, The Nerd Parade is obviously a project of careful craftsmanship and
restraint. In my estimation, lo-fi bands of the same genre regularly reek of
sloppiness, yet that is not the case here. There are no stray notes or
unmotivated musical tangents at work, and the balance between the group's
live and computer-generated elements leaves no musical tension or desire for
more of one or the other. It's effortless to listen to."
Article by Tadd Trueb
NERD PARADE A
DELICATE BASHING
CREATIVE LOAFING
Nerd Parade's debut album, A Delicate Bashing, is an inventive slice of
indie pop. It switches gears effortlessly from the jangling Grand Royal funk
of "Kenny Rogers Tune" (which breaks into a country run on the chorus) to
the frizzy Brit pop of "Kitten." The vibe is effervescent and happy, even as
the group explores the nuances of being a young adult trying to establish
successful personal relationships.
"I'm into far too many types of music, and everyone in the band has such
varied interests that I think we would just sell our compositions short if
we didn't explore the possibilities of these various styles of music," says
group leader Randy Garcia. He speaks from somewhere in the Northeast; the
group is currently on a two-week tour.
Some Southeast music aficionados may recognize him as the producer who helps
run the IDM electronic collective Nophi Recordings and records under the
name R. Garcia. Born and raised in South Florida, Garcia relocated to
Atlanta in 2006. "I broke away from [IDM music] just to take a break. I did
seven albums in a row and went on a bunch of different tours all over the
country," he says.
Garcia conceived the side project that would eventually become Nerd Parade
in 2003. He recorded several tracks with an unnamed vocalist who he says
didn't work out, and then found his current muse, Abby Wren. Together the
two collaborated on what Garcia calls a coming-of-age album. "You'll
identify with a lot of the music in there if you suffered from the teenage
condition," he says. Although the subject matter covers "My So-Called Life"
territory (the opening track is called "Yr Horrible Stupid Life"), the
sounds are buoyant, silly and fun. "We want to convey a positive message."
With the onset of live concerts, Nerd Parade expanded to include
instrumentalist John Jacobus, bassist Rich Wilson and drummer Buddy Buttram.
Formerly a solo vehicle for Garcia to express his neuroses, it has grown
into a full-fledged band. "I'm already working on my next electronic album,"
he says. "But I have no intentions of stopping doing the Nerd Parade stuff."
Article by Mosi Reeves
NERD PARADE A
DELICATE BASHING
AMAZON.COM
"From start to finish this album wows me. The mix of electronic, jazz, indie
and soul makes this album very hard to classify. BUT NOT HARD TO LISTEN TO.
All-star tracks include Kitten, Ice Cream, Resolution Day, Kenny Rodgers
Tune, Let It Go... I could name the entire album. What's left to say, other
than this gem shines brighter and more brilliantly then most? If you're a
fan of indie rock you must not let this one pass without buying and
listening. \m/"
Customer Review by M. Mihevc (Utica, NY USA)
NERD PARADE A
DELICATE BASHING
QRO MAGAZINE
Randy Garcia is the founder of South Florida’s electronic label Nophi
Recordings, and has been creating his own electronica for over sa decade.
Yet his newest project, the Atlanta-based Nerd Parade, has created a truly
original mash-up of lappop, video games, R&B, electronic voices, powerfully
expressive female vocals, country, disco, and the kitchen sink. What could
all be a mess is put together wonderfully in the band’s debut release, A
Delicate Bashing. An mélange of four years worth recordings in hotel rooms
across the country, Bashing really isn’t like anything you’ve heard before,
and that’s a pity, because it’s really very good.
The record opens with its most out-there concept, an electronic voice
talking about life and video games in 1983 on “A Picturesque Sunday”. That
voice comes back in the album’s middle, discussing life and video games in
1989 and 1994 to a slow electronic vibe in “Crude Polygonal Space Fighters”,
and is then tacked on to the end of the finale track, “Let It Go”. The
concept isn’t really annoying, but of all the sonic inventions on A Delicate
Bashing, it is probably the least essential.
The most essential, however, is the soulful tone of fellow lead singer, Abby
Wren. Her rich, jazz/gospel singer-like voice is a major force whenever it
appears on Bashing. It unfortunately takes five songs into the record before
she really comes through, but the wry country/R&B mash-up “Kenny Rogers
Tune” is a real delight, with its catchy lyrics, great beat, distorted
guitar solo, and infectious group chorus. Wren is at her most soulful with
the grooving “A Bird’s Song”, which is really touching without ever going
overboard, as well as the melancholy-about-the-past “Ice Cream”. The Nerd
Parade are less ambitious with other Wren-fronted tracks, like “The Devil of
California”, “Wide Asleep”, and the non-electronic main portion of “Let It
Go”, but in none of those can Wren’s voice be denied.
This isn’t to say A Delicate Bashing slips when Wren isn’t at the forefront.
Early track “Kitten” is some truly great lappop, melodic and flowing, with
just enough driving and poignancy. The record is brighter with the preceding
“Yr Horrible Stupid Life”, more indietronic-rock with the following
“Smedley” (before going into a weaker acoustic second half), and hits a
wawa-ing disco rhythm on “Outside” and “Spies”. All solid, these musical
forays are still, however, overshadowed by the lappop of “Kitten” and the
growing, carrying penultimate tune, “Resolution Day”, that, with the
inclusion of Wren’s vocals, perhaps best sums up the record.
Most of the time, all music – even indie music – is just finding new ways to
play the same old tricks, and all the listener has to choose from is which
old tricks he or she wants to hear. That amazement of discovery one
experienced when first getting into ‘music’ is lost, and never really makes
it back. With Nophi Recordings, Randy Garcia has been releasing some
mold-breaking electronic music, but with The Nerd Parade, he, Abby Wren,
bassist Rich Wilson, and guitarist/keyboardist John Jacobus have broken the
far sturdier indie-pop mold. A Delicate Bashing may be a little all over the
place, but what a place they’ve found."
Review by Jean Anderson
NERD PARADE A
DELICATE BASHING
COLORADO MUSIC BUZZ
"Now based in Atlanta, this talented group of quirky transplants bend and
blend all manner of musical genre and emotion - very compellingly."
by Melissa Axel, Editor
NERD PARADE A
DELICATE BASHING
MUSIC FOR AMERICA
"The Nerd Parade are a male/female duo who create some irresistible power
pop mixed in with electronica and a bit of rock. A Delicate Bashing
(Headphone Treats) is a quirky album that works very well, as if they were a
more pop-friendly Mecca Normal. I say this because when I played the album,
I could tell that this was a bit more... how do I say this? I can hear the
minds moving between these two, at times locked in unison as if they were
one, other times going off in their own words and unsure of where to go
except forward. "Smedley" moves along at a bumpy pace, while "Kenny Rogers
Tune" sounds a hell of a lot like Nikka Costa's "Everybody Got Their
Something" instead of being a tune about the former First Edition singer
with a second edition face. The female half of the duo, Abby Wren, her voice
sounds very familiar or maybe I'm simply comforted by how she sings. I could
hear bits of Kim Deal, other times their music could be from the mushroom
sandwich box of The Flaming Lips or King Missile (Dog Fly Religion).
There are times when I expected the music to go lo-fi, since some of the
drums and rhythm patterns are from rhythm boxes and drum machines long gone,
but they keep things sounding very professional. In fact, a song like
"Outside" has Randy Garcia (the male half of the group) going into They
Might Be Giants or Barenaked Ladies territory with its mix of great playing
and pop craftsmanship, yet still being able to lure in listeners with
something that result in something magical and quirky at the same time.
Quirky, yes, but not strange or off-center. Yet The Nerd Parade are capable
of moving off-center, if need be."
Review by DA Bookman
NERD PARADE A
DELICATE BASHING
SMOTHER.NET
For some reason, pun-irific or not, when I saw the name “The Nerd Parade”, I
instantly thought of Robert Carradine and Anthony Edwards’ role in the
classic comedy “Revenge of the Nerds”. While all those horn-rimmed glasses
images aside, what you have here is a melodic indie pop group that has
female/male vocals amid a chorus of chunky guitars and electronic bleeps.
Who can go wrong with that? Not many and the Nerd Parade prove that they’re
no one-hit wonder with dashes of awesomeness spread about throughout “A
Delicate Bashing”. Stellar my friends!
Review by J-Sin
2006 TOUR BLURB
MIKRONESIA.COM
(Philadelphia): At 10 r_garcia and recompas hit the stage... I knew from
their sound check they were going to blow the place out and they did. Mixing
up live looped guitars, bass, saxophone (played through a telephone),
theremin, melodica, vocals, oscillators, synths, laptops, fx boxes, live
drums into a nasty stew of funk, noise, electronics, jazz and dub these
*TWO* guys from Atlanta were awesome.
2006 TOUR BLURB
CREATIVE LOAFING
RE COM PAS, R_GARCIA, MFBC, EXTREME ANIMALS Re com pas (a.k.a Travis
Thatcher) bends vague elements of dub through a storm of melodies, noise,
trash-can beats and sonic clutter. R_Garcia plays quirky funk and electronic
music that's partial to structure but dissolves into pools of dark,
breakcore beats and crunchy experimental soundscapes. Music from the Belly
of the Cosmos and Extreme Animals gets the mutant electro dance party
started. $5. 9 p.m. Eyedrum. 404-522-0655. www.eyedrum.org. -- CR
2006 TOUR BLURB
GAINESVILLE SUN
On Monday, the Shamrock, 1017 W. University Ave., augments the Tom Miller
Show with Randy Garcia, a.k.a r_garcia, aka the hottest electronic
stormhouse from the southern reaches of Florida.
V/A SUBVARITRAX
IGLOO MAGAZINE
A SubVariant style dosing agent against SMO (sonic mediocrity overexposure),
Subvaritrax aims to cure what ails the overwhelmed melodic IDM listener by
allowing them to enter into a receptively poignant mental state through
ministration of artfully arranged sonic vibrations and textures. Subvaritrax
also cures hyper-tension brought about by an inundation of repetitive BPM
and repairs receptors damaged by the supra-processization of an excessive
application of DSP patches.
Phylum Sinter's "Monastic Phase" starts the gentle release into your
bloodstream with tender melodies drifting in a free-form solution of squishy
beats and rain-kissed tones. Marshall Watson recommends a "Fall Without
Change," a gravity-free undulation of synthesizer and frayed beats that
moves like a heat wave across still landscapes. Label-owner Liz McLean
Knight who records as Quantazelle (as well as being the creative force
behind the jewelry line Zelle and attendant online shop, Fractalspin.com)
slips us a dose of "Late Blazing Kinch Theme," a vaguely Aphex Twin rhythm
scattered across harp melodies and subdermal beat dappling. It'll hitch in
your throat and leave a resonating hum that will percolate through your
brain for days. She also offers "Braking (Hushed)," a gurgling lurching tune
that sounds like electric wind chimes being shaken by a low magnitude
earthquake. Nothing traumatic, just chaotic movement given sound.
Randy Garcia's "Honkeywrench" keeps catching my ear as it dances and jabbers
about. Anchored by the spitting sound of speaker feedback from local RF
signals (and I get it enough at the day job that I keep thinking that this
track is just fucked up and not cleverly recycling modern noise detritus),
R_Garcia throws up squiggling pong melodies that flit about with joyous
abandon. There's a middle of the Subvaritrax dose that goes all woozy on you
with house rhythms skewed with jittery noises and squelchy bursts of liquid
funk as Matthew Mercer, Popkan, Kero and Derek Michael ooze into your
system. Tim Koch's "Minor Rendered" puddles with aquatic dub while ringing
with minor chords that are flung up like fireworks to hang in the sky. A
sinuous funk beat slithers into the room and coils around our ankles,
lending a lurching stagger to our dance steps. While Zainetica delivers a
swooping aerial ride filled with the guttering echoes of synthesized voices
in "Bytesize," Sense's "Gift" is a orchestral wash of electronic tones and
fluffy melodies.
As Set in Sand's "A Echo of An Mistake" (sic) warbles and threatens to lose
track of its rhythmic center (yet retains it in the end as the effort is to
shift you slightly and not yank the chair out from beneath you), edIT's
"Spare Spork" shares no such illusions. The beats in "Spare Spork" stab at
you with their guttering intensity, echoing in the background like ping pong
balls ricocheting off concrete walls. The lonesome guitar melody in the
foreground is dragged in the wake of the beats, its melancholy secondary to
the gutter-jerk of the affected beats. Quench keeps some of the manic energy
afforded by edIT (this is the end of the dosage after all, somnambulant
effects must be wiped away) but channels it as BPMs. Shivering beats
collapse and percolate like hot water in a coffee maker while digital
melodies churn and curl around one another like snakes, like Mobius
patterns.
SubVariant takes a very serious approach to presentation and the limited
release of Subvaritrax comes as a Rx package, a personalized prescription
written just for your mental state. "Play entire CD twice daily or as
needed" read the instructions on the plastic casing. Would that all
medicines that make you feel better go down so easily (and the final
glistening water electronica of Ochre eases you back from your SubVariant-induced
slumber). This is a heartily recommended panacea for the beat-broke blues.
Review by Mark Teppo
V/A SUBVARITRAX
TEXTURA
"Though one is struck initially by Subvaritrax™'s distinctive pharmaceutical
packaging, the comp's presentation is trumped by the potency of the
medication itself. Virtually a primer for current electronic music trends,
the release collects what could be the best bits from imaginary comps by
Merck, Neo Ouija, Spectral Sound, and M-Nus into an 80-minute, 17-track set.
Such largesse is often wearying but [it] maintains interest by extending the
stylistic range beyond a single genre...
Sparkling streams of glistening melodies unfurl throughout Phylum Sinter's
(Detroit-based Christopher Todd) “Monastic Phase,” Sense's (Melbourne
musician Adam Raisbeck) “Gift,” and Ochre's (Chris Leary) buoyant epilogue
“Copacetia” while boisterous breaks splatter and flail in tracks by Marshall
Watson and Quench (aka Funckarma, Netherlands-based Don and Roel Funcken).
edIT's (Ed Ma, Planet-Mu) fabulous stutter-crunk oasis “Spare Spork” is an
album highlight, as is ... [the] Quantazelle cut “Late Blazing Kinch Theme,”
an entrancing intertwine of scurrying percolations and harp melodies. On the
techno front, Frederique Garvin drops twitchy, bass-throbbing machine-funk
in “Not So Hot,” Derek Michael coaxes whirrs and groans from his gear in
“Similak Jiggles,” and Matthew Mercer and Detroit Underground label head
Kero (Sohail Azad) take schaffel strolls in their respective outings. While
R_Garcia's gleefully stomping, arcade-flavoured “Honkeywrench” impresses
too, the album's peak arrives with Popkan's (Tom Erdmann) “Broken Lighter,”
a tasty sampling of funky, M-Nus-styled minimal house. While Erdmann's
micro-sampled field of blips, smears, and croaks sounds incredible, it's the
little kick he adds to the tail end of the warping bass line that's pure
genius.
A terrific outing by the Chicago-based subVariant imprint, the 'instrumental
neuro-stimulant' Subvaritrax™ more than makes good on its promise to treat
Sonic Mediocrity Overexposure (SMO) with a therapeutically forward-thinking
mix of melodic IDM and glitchy minimal techno."
Review by Ron Schepper
R. GARCIA NERD PARADE
BRAINWASHED.COM
"On his latest album, Randy Garcia sings “Music is the only reason on this
Earth for some of us to stay,” and it’s a mantra that’s as catchy as it is
bittersweet. Nerd Parade is a celebration of life and music, and it’s just
another in a long line of quality home-brewed records from the Garcia’s
criminally overlooked Nophi Recordings.
Randy Garcia has quietly been building an empire in central and south
Florida, racking up an impressive catalog of releases that touch nearly
every corner of the vast field of electronic music. Whether he’s releasing
his own work under the r_garcia alias or putting out records by kindred
spirits, the same enthusiasm and sense of purpose permeates everything he
touches. It’s that enthusiasm that makes Garcia’s live performances so
magical, and also what makes Nerd Parade a fun, eclectic ride through
Garcia’s unique headspace.
It’s obvious that Garcia is a product in some sense of the Florida rave
scene, as his songs here all build and break to serve the impulse to dance.
His drum programming and beat chopping could easily land him in the top
echelon of dance music producers if making club and party music was his only
goal. Thankfully, he brings much more to the table on Nerd Parade, showing
that he’s equally comfortably coaxing melodies out of bluesy guitar as he is
bubbling along with sid-chip synths. This might be the only album this year
to mix tabla, electric guitar, amen breaks, Miami bass, and over-the-top
game melodies and make that improbable mix work.
With as much style hopping and genre mashing as Garcia does, there’s sure to
be a track or two on a record like this that just miss a particular set of
ears, but the reverse is also true: there’s something for everyone to love
here. Some of the synths are cheesy and the rhythms are occasionally
straightforward to a fault, but it’s all supposed to work that way. The
secret weapon for Nerd Parade is Garcia’s absolutely fearless pursuit of a
good tune. Melodies stick out in an almost embarrassing way until you
realize that Garcia’s well aware that he is the leader of the Nerd Parade,
and he revels in it. And while he occasionally breaks beats with the
ferocity of the darkest breakcore 12”es, but he does it playfully, in
service of a simple joy that makes his music something special and
transcendent of genre or style.
I hear that Garcia is working on a rock band side project now, and who can
say what will come after that? As I replay this record, I keep coming back
to the truth of “Music Is The Only Reason” and I realize that r_garcia is
one of those rare artists who makes music that is vital, unpretentious, and
pure fun. If Nerd Parade helps to remind me of what music means to me along
the way, that’s even better."
Written by Matthew Jeanes -- Monday, 21 November 2005
R. GARCIA NERD PARADE
IGLOO MAGAZINE
"Randy Garcia is the hardest workin' man in electronic music, or at least in
Plantation, FL. An accomplished multi-instrumentalist spitting out quality
release after release as the head of Nophi Records as well as his own
punishing output schedule, it's easy to forgive him if he treads the same
territory once or twice on an album, right?
Thankfully, we don't have to.
Nerd Parade is the title of R_Garcia's latest full-length release. Released
summer of this year, it's the single most listened-to CD of my 2005. Every
track stands out as a unique display of R_Garcia's mastery of melody and
rhythm as they span the musical spectrum and never get too old or too
repetitive. This album embodies the phrase emblazoned on Nophi's
bumper-sticker: "IDM is dead - we can all unfold our arms and dance now."
The album flows beautifully from start to finish, beginning with "Come One
And All", an oncoming train from the distance of amens and ambience as it
explodes into "Music is the Only Reason," one of the highlights of the
album. This song explores dance-heavy basslines and R_Garcia's crooning
voice on top of even more amen blasts. The beat may be tired, but R_Garcia
injects fresh life into it throughout this release. Nerd Parade continues in
the fine R_Garcia tradition of revitalizing lost game console sound chips
with tracks like "Polaroid Pussycat," "Hurry Up and Disappear," and "Snowtime"
which reminds the reviewer of the old TurboGrafx16 launch title, Keith
Courage in Alpha Zones. Somehow, Randy is able to capture the feel of the
games and digital experiences of yore with his own unique flavor. As an
aside - check out track 3 on his Monkey vs. Pig release, which sounds
straight out of Street Fighter III 3rd Strike. Pardon the gaming digression,
but it's critical to emphasize the Nintendo influence that permeates
R_Garcia.
"Bob the Steak" swings a tasty groove around a slide guitar riff and adds a
crystalline dimension of synthesis. This fades into one of my personal
favorite tracks, "Tablatar," one that's sure to move asses aplenty. A chorus
of tablas atop some slick guitar work drops into an infectious crescendo of
synth riffs that steadily build until the track explodes with acoustic drums
and final fantasy-like arpeggios.
R_Garcia explores harder drum & bass territory on the track "Mercy" like
contemporary Mike Paradinas with his "Approaching Menace" track off Lunatic
Harness. What should be out of place in the context of the surrounding album
is smoothed out by R_Garcia's trademark glitches and tweaks amid expert
rhythm programming. The next track, "Don't Fake the Funk on a Nasty Dunk"
stands out as a sure-fire body mover rife with rapid-fire blips and dream
synths at 150 bpm, with a tried-and-true breakdown that never disappoints no
matter how many times you have the song on repeat.
"Biomagnetic" explores territory that Twilight Circus and Rhythm & Sound are
familiar with - deep space dub. R_Garcia proves his rasta mettle with
late-night bourbon street horns atop minimal sine bass and in-step beats.
"Estrus and the Terrasque" acts as a mental sherbet, cleansing the sound
palette with a texture filled wash of atonal soundscapes. "Sixes, Fours, and
Twelves" revisits the 16-bit themes of Street Fighter and Chrono Trigger
with a Tom Jenkinson-influenced amen treatment on top of R_Garcia's bouncing
filtered basslines. This leads into the title track and what is most likely
the most solid demonstration of R_Garcia's multi-instrumental prowess. "Nerd
Parade" begins with a solid bassline and hyper swing jazz rhythms as soft
lead synths percolate through the mix. This drops out into a distorted acid
bassline that erupts into a heavy metal Randy shredding his axe with Manowar
force. The electronics respond back as the track progresses much like that
of a story; an epic battle between guitars and laptops that ultimately sees
both sides joining forces to create a sonic fighting force of extraordinary
magnitude. To see R_Garcia growl like Slayer into his mic as he plays this
live is quite a treat.
R_Garcia is the sound of a smile, and this smile lasts 74 minutes from ear
to ear."
Review by Matt Simpson
NERDS ON PARADE TOUR
NASHVILLE SCENE
"Florida's dance music scene expands to include Nashville yet again. This
time its the blippy and expressive beats of r_garcia, which promise all the
programmed boom-boom you'd expect from live dance acts, but with a more
contemplative vibe and in a nice intimate setting. garcia's work masterfully
spans genres, incorporating cinematic textures and vibes alongside
propulsive and moody programming. His recent Remover EP is a mellower
experience, but it still provides a stimulating intersection for the feet
and the brain, and garcia's near-defiant joy is infectious. Hair of the Dog"
Article by Jason Shawhan
R. GARCIA
TRAVEL BY LIGHT RAIL
DISQUIET
"While there is much on r_garcia's four-song Travel by Light Rail MP3 EP
(available for free from the Kikapu netlabel) that leans heavily on the sort
of techno-exotica that seemed brave and new when Aphex Twin first recorded
such things — the tick tock beats, rubberized and distended; the disarming,
Casio-style melodies; the light echoes of dub; the ironically canned nature
of some of the rhythms — there are more than enough moments of pop
splendidness to warrant its download. Here are two: on "Runk," which is a
kind of willfully rudimentary Balkan slice of techno, it's how the piece
funnels down into a simple, repetitive sequence, and how your brain isn't
quite sure which beat is the down beat; on the title cut, it's the opening
sequence, in which the plaintive beacon tone is set against a pneumatic
thump. The Kikapu label's 70th release, Travel by Light Rail is available
here."
Review not credited
R. GARCIA
TRAVEL BY LIGHT RAIL
ARCHIVE.ORG
Not feeling the 2nd track at all..it's not bad, but it seems so out of place
here and if I heard it on its own I probably wouldn't hunt down more
r_garcia tracks which would mean I wouldn't hear these others that I
absolutely dig. Other than that, the rest of the release is great. IDM that
doesn't take itself too seriously or lend itself towards fake academia.
Holds a good flow/vibe and nice harmony. Good use of space and time
throughout all the mixing. Dig the last 2 tracks especially. Beats are
entertaining and programmed, but you aren't demanded to listen at all times.
Nice balance all around.. fun but moody melodies. 5 out of 5 stars
Review by Moot
R. GARCIA
TRAVEL BY LIGHT RAIL
ARCHIVE.ORG
"Hi, I am the KemikalDeath/LoserAdmin producer. Your work is great and I
sometimes can't imagine how you can do such rhythms apocalypse.
Congratulations....oh, by the way, I'm gonna send you some of my stuff. Bye"
5 out of 5 stars
Review by Kemikaldeath
V/A CTRL-F2
COMPILATION
IGLOO MAGAZINE
"Ctrl-F2 is the first music compilation for online magazine Modsquare.
Skillfully curated by founder Liz McLean Knight and available as a free MP3
download or sampler-priced CD-R for those with dialup, I'm sure it won't be
the last. From the stuttering Aphex-style electro breaks of Atropa's "Yaser"
to the graceful glitch of Praveen Sharma's "Elephant Feet," Ctrl-F2
consistently manages to one-up itself in its style and diversity. Equulei's
"I Break For Children" flirts with a "Born Slippy"-era Underworld build that
begins with insistent breaks over unfolding layers of loops before dropping
a choice 4/4 beat that dissolves into a sustained breakdown perfect for long
beatmatches. Matthew Mercer's "Buy Back Popular Demand" fashions a kind of
broken glitchtech with a crock-pot of simmering samples programmed to be
ladled at random as the baked beats are served oven-hot. Kero's "3-21" moves
on into classic IDM with an inspired mix of crunchy rhythms and silken organ
pads that are mindful to their experienced sources, while still maintaining
a fresh twist. And speaking of twists, Quantazelle's "Braking (Broken)" gets
its original coherent construction rearranged by way of unknown Feng Shui
methods and what results is a slightly twisted, crunchier variation just as
tasty.
The shifting, bubbly 8-bit melodies and rhythms of R. Garcia’s “Washing My
Pants” make me want to see if there’s a hidden SAP function for some
unreleased GameBoy classic featuring mazes of gyrating sunflowers and bouncy
fuzzy creatures showing the way out. The sunflowers turn into thorny evil
carnivorous plants and the fuzzy creatures become bloodthirsty rabid rodents
weakened only by enchanted swordplay in The Flashbulb’s “Lawn Wake IV
(Black),” which to me sounds like a reverent chiptune ode to epic guitar god
Yngwie Malmsteen. The mania continues with Atomly’s “Big Up Mi Snacks,” a
DSP/Jungle-flavored Dancehall excursion complete with an MC toasting while
nursing a glass of Absinthe. The glass gets passed on to Aaron Funk who
shares it with Ennio Morricone and what results is Mochipet’s “Desert Search
For Techno Baklava,” a track guaranteed not to disappoint those intrigued by
its clever title.
If Ctrl-F2 is just the first course of Modsquare’s collection of free audio,
there’s no doubt in my mind the rest is burning a hole in Liz McLean
Knight’s hard drive. Until the second course is served, we can savor what
Ctrl-F2 has on its delicious menu.
Ctrl-F2 is out now on Modsquare."
Review by John Reveles
R. GARCIA
ANIMAL OUTLINE
WPRK
"The latest and greatest from r_garcia 'Animal Outline' transforms the cold,
vacant arena of electronic music into a bopping, bleeping playpen for
melodies that skamper, thump, and bewitch. Ever the skilled ringmaster,
r_rarcia commands the reigns of this eclectic collection of shimmering
snyths, twisted and tangled samples, and skittering beats, uniting it all
together into a small yet mighty cohesive pop masterpiece. This is an
unforgettable album with warmth and all the right kinds of nostalgia."
Review by Sheila Scoville
R. GARCIA
ANIMAL OUTLINE
ORLANDO WEEKLY
"IDM stands for a variety of things including Independent, or Intelligent,
Dance Music, or, just as frequently: Ignorant of Dance Music. Luckily,
Orlando's R_Garcia falls into the latter, sandwiching his bleeps of melody
into picnics far outside clubland's trends on "Animal Outline." This is a
smorgasbord of good tracks, influenced more by rock and jazz than
electronica. As it opens the disc, "Picks and Whistles" lets the bass take a
solo before Garcia's vocabulary of near-Atari tones rushes the mantle and
conquers with a peculiarly romantic synth sweep. "Roper" creeps prepared
piano backdrops into an Aphex Twin framework, switching in the end to a
cuter number. "Washing My Pants" crunches lo-fi drums and a chorus of
spiritual keyboard riffs into an ecstatic pop number. The moods on Animal
Outline are various and lumber between dark ambient pieces and songs that
refuse to take themselves seriously."
Review by Andrew Jones
R. GARCIA
ANIMAL OUTLINE
INDEPENDENT
"The r_garcia 'animal outline' CD is amazing. I've been doing this stuff for
a long time and this particular CD is deep. In some ways, the tracks trace
the history of avant electronic music embracing everything from Wendy
Carlos's Moog waveforms and heavily reverbed ring modulations to John Cage
piano renderings of Schonberg twelvetone music. Webern is there, along with
LeJarren Hiller and Karlheinz Stockhausen...It's a masterpiece."
Review by Bob North
R. GARCIA
ANIMAL OUTLINE
URB MAGAZINE
"Like a Kandinsky painting, Animal Outline explodes with sonorous color and
light in a seemingly cacophonic way, but every brushstroke is deliberate. on
"Spec Racer," (r_garcia) juxtaposes piano arrangements with delicate beats
that complement each other exquisitely. The fact that he refrains from being
noisy for the sake of being noisy is entirely refreshing. Animal Outline
flickers and shines with adroit musical invention."
Review by Sabrina Winogrond (for Simon Hawkins)
R. GARCIA
CHINESE FOOD
INTELLECTOS MAGAZINE
"Since late last year I have been discovering the glorious and cunning
sounds from the Florida based label Nophi Records. This Nophi release by R.
Garcia is another winner which is very worthwhile. Garcia makes smooth,
crafty, and melodic IDM that evokes gentle thoughts and chill landscapes.
Chinese Food like the Nophi releases in general feature dynamic and
imaginative IDM that at times can rival the leaders of the genre on Rephlex
and so forth. The timely dramatic changes of "Pace Yourself" and the
bubbling ease of the next track show how talented Garcia is in making
infectious IDM. He even drops some dub/reggae beats on one track which works
effectively. The Nophi site has a quote from Garcia about the EP, "for two
weeks, i ate a lot of chinese food - the songs were in my fortune cookies."
I will be buying Garcia and other Nophi artists more Chinese food then ... "
8.5 out of 10
Review by Julian Rant
V/A NOPHI COMPILATION
TWO
INTELLECTOS MAGAZINE
Nophi subscribe to the Warp/Rephlex ethic. Combining clicky intricate beats
and abstract sounds this compilation showcases leftfield electronica which
is neither indulgent experimental crap or simplistic preset electronica.
Keeping the balance in focus best is Triage displaying wistful clicktronica
and R_Garcia showcasing dreamy melodic electronica. The sounds further on in
the compilation from artists like SMU with the silly and bleepy "Fucking,
Sucking, and Clapping" gives this mix some color and variety which is
needed. The only drawback as with many electronic compilations is how too
many tracks blur into each other. Towards the end the moodier track from
Stellarcable and the lilting Opaeque track are enjoyable. Overall, this
compilation is a very engaging mix of sounds. 8 out of 10
Review by Julian Rant
BARCODE LOUNGER TECH
SUPPORT
INTELLECTOS MAGAZINE
This is a highly engaging Nophi Release featuring Randy Garcia and Mike Mell.
This is a charming slice of groovy electronica which reminds me at times of
someone like Cyclob to even Bertrand Burgalat. The sounds on this disc are
warm and very soothing. This is where Barcode Lounger distinguish themselves
from most electronic artists. At worst Barcode Lounger can sound like cheesy
film music with a breakbeat, but that's not necessarily a negative. The last
track is a sprawling noisy piece which gives this EP a more balanced vision.
7.5 out of 10
Review by Julian Rant