Monthly Archives: July 2015

PPL MVR

The One and Only PPL MVR

You probably think you can tell what PPL MVR sound like just by looking at them. I mean, it’s three guys dressed up like yetis. It’s gotta be knuckle-dragging, skull-pounding sludge metal, right? Or maybe theatrical death metal a la Band of Orcs. One way or another, it’s metal. Clearly. Only metal guys are willing to sweat that much.

But think again. Although PPL MVR’s sound does in fact rock hard, and their drummer does in fact play with sticks shaped like thigh bones, they owe more to strutting, ’70s-style cock-rock than to anything on today’s headbanger circuit. In fact, once you throw in some pedal-distorted guitar and talkbox-distorted vocals, they kinda sound like ELO trying to do Sabbath covers. At least they’ve got all windmilling-in-the-wind-tunnel moves down, though. Whatever planet they’re from must have Headbangers Ball reruns.

PPL MVR—or “The One and Only PPL MVR,” as they sometimes go by—are from right here in TWBITW’s home base of Los Angeles, but like all good costumed bands, they’ve done a pretty good job so far of keeping their identities secret, going only by their yeti names of SNWBLL, K-PO and Q. They give great interviews, staying totally in character, and we’ve heard their live shows are great, too, though we haven’t yet had the pleasure.

And they must have a really good manager, because even though they’ve only been in existence for about a year, they’ve already appeared at Sundance, Tenacious D’s Festival Supreme, the Playboy offices, and something called the Spike TV Guys’ Choice Awards, because y’know, all those other awards shows don’t let guys give each other enough awards. They’ve even been signed to Elektra Records, which is pretty big time. I mean, yeah, they live in L.A. and their songs are catchy as hell, but still—bands like Extreme Turbo Smash must be looking at PPL MVR like, “Fuck. What do we have to do to get in on that action?”

Not much else is known about PPL MVR at this point, because well, they’ve only been around for a year and the only interviews they’ve given so far have consisted of grunts and snarls. So we’ll just leave you with what appears to be their latest video, for a song called “Let’s Take This Outside.” I’m no expert on yeti social customs, but my strong advice to you is: Do NOT take it outside with PPL MVR. Let the beasts eat their pancakes in peace.

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Lieutenant Caramel

Lieutenant Caramel

One of the cool things about my day job is that I get to work with the great Henry Rollins, whose taste in weird and esoteric music is even more wide-ranging than mine and Jake’s. (He also knows more about music than the two of us put together. Like, a lot, lot more.) He hosts a radio show every Sunday night on KCRW-FM that I highly encourage you to check out — every week, he breaks out some new mind-bending shit you’ve probably never heard of. In the coming week’s, we’ll probably be mining Henry’s show for all sorts of new weird sounds.

Our first raid of the Rollins vaults comes in the form of a gentleman from France who goes by the nom de weird of Lieutenant Caramel. He describes himself as a “hunter of sounds” and collector of “resonant matters,” but his work transcends typical musique concrete and field recordings with a sense of wit and whimsy that makes even his most bizarre compositions as hilarious in places as a Wile E. Coyote cartoon. Most of them clock in at around ten minutes or more, so they’re not for short attention spans — or then again, since they constantly warp and shape-shift, maybe they are.

Lieutenant Caramel is the alter ego of Philippe Blanchard, who lives in the ridiculously picturesque town of Annecy in the French Alps. In 1999, he founded a festival there called “Le bruit de la neige,” which translates to “The Noise of Snow.” Looks like the most recent one was just last month, so I guess Jake and I will just have to start planning now to hit the 2016 edition.

Not everything Blanchard produces as Lieutenant Caramel sounds like cartoon character stumbling through a tool shed. We’ll leave you with a track that’s more Lynch than Looney Tunes. There’s still some funny, distorted voices in there, but this time, you won’t know whether to laugh or hide under the covers.

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