Pabst | 2016 | Skinwalker

Indie | Noise Rock
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The one element that definitely stands out in Skinwalker, Pabst's debut EP, is the attractive fusion of influences that the Berlin trio achieves. On the one hand, the heritage of indie rock in the vein of Sonic Youth, even reaching Dinosaur Jr.'s noise rock; on the other, it is just as clear that the band is strongly inspired by stoner, whose influence, however, appears shaped by the band's melodic sensitivity, which owes a lot to alternative rock. In that sense, Erik Heise's voice is a highlight in Pabst's recipe, without overlooking the instrumental efforts, which are quite remarkable as well. This equation works perfectly particularly in the case of the title track, "Skinwalker", which constitutes a catchy and salient single.
Notwithstanding the above, the band's formula has a serious flaw: it is depleted very, very quickly. This is a critical issue, inasmuch as we are talking of a 15-minute EP and, thus, it seems unthinkable that their resort could be depleted as fast as it happens here. Certainly, Pabst are not looking to reinvent anything or to go beyond the safety of nineties-flavored rock –and they shouldn't be judged for that–, but in the future it will be necessary for them to explore the grounds on which they wander and lead their sound through more sustainable path. But then again, there's another positive aspect: at least Skinwalker shows between the lines that the band has the necessary tools in order to undertake this challenge and to exploit the richness that shines here and there within this debut. It is an unavoidable duty. —IMF

Tiny Tim | 1968 | Tiny Tim's 2nd Album

Psychedelic | Baroque Pop
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Link | mp3 | 256 Kbps

It is difficult to describe a record like Tiny Tim's 2nd Album, due to the deep emotional charge that albums like this inevitably generate over time and after a number of listens. But what can be added about pieces of this category will never be enough.
Although chronologically it could be classified as psychedelic or barroque pop, it would not be unfit to add the "vaudeville" label to the New Yorker's second album, owing to its beautifully aged sound and to the fact that, as a remarkable archivist, Tiny Tim covers songs from decades earlier, from times when the world still had some of the romantic spirit of the 19th century. In that sense, it is a record that stands out for its honest sound and a spirit that only evokes kindness and harmony, which end up shaping an album rich in its diversity, with a repertoire that ranges from deeply melancholic ballads to playful and lively rock & roll, with a huge stretch between both ends –with a sound share of crazyness in between.
Tiny Tim's 2nd Album is a record within which boredom is inexistent, but whose essential value, beyond that, lies in Tiny Tim's vocal performance, so genuine and sensitive, which attracts the listener not only in the merely formal grounds of music, but also in an emotional plane. A beautiful work with an unparalleled sincerity. —IMF

The Stooges | 1973 | Raw Power

Garage Rock | Proto-Punk
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Link | mp3 | 320 Kbps

Iggy Pop (vocals), James Williamson (guitar), Ron Asheton (bass, backing vocals), Scott Asheton (drums) y David Bowie (piano, percussion)

Fun House was the first album by The Stooges that I listened to, followed by the band's self-titled debut. The quartet's first two albums blowed my mind, each one from its particular flank. I had to listen to the legendary Raw Power, no doubt.
However, it was not what I expected. I did not understand it. I thought that I was listening to a flawed version. How was it possible that it sounded that bad? But I gave it more chances, in spite of the fact that I still was not able to understand it. Until it happened: I slowly began to remember the songs. And then I started to feel the need to listen to them again and again, until I suddently realized I had memorized the whole record. It did not bore me at all. I understood it.
Raw Power is, undoubtedly, the highest point in The Stooges's career, even within their original trilogy. The band's overflowing effervescence, their uncontrollable rush was already producing consequences: bassist Dave Alexander had been fired due to his alcoholism, Iggy Pop was immersed in a heroin addiction and the band's stability was in critical condition. In the middle of the turbulence of excesses, the quartet –which now consisted of Iggy Pop, James Williamson (who had just entered the band), and brothers Ron and Scott Asheton– managed to somehow focus on a creative process boosted by David Bowie acting as a producer. The result was Raw Power, a reliable reflection of that street indecency, that liberating muddle and reckless wildness in which the band was submerged.

The album has a rusty, grimy, crude, careless sound, and that is precisely what enabled The Stooges's peerless spirit (the sound that the band built like there was no tomorrow, as if it was a life or death matter) to be captured seamlessly. A plainly possessed Iggy Pop (it is easy not to recognize him at first listen) steps onto an instrumentation as solid as in previous albums, but in which the incorporation of guitarist Williamson and Ron Asheton's new role behind the bass stand out, shaping the band's sound towards a perhaps less psychedelic, yet not less powerful path, especially when Scott Asheton's drums are added to the recipe, adding outstanding intensity to Raw Power.

And when everything –blood, sweat and tears– is put onto the music and, in addition, there is as much unparalleled talent as the one the band had already showed in The Stooges and Fun House, the result cannot be other than a masterpiece. Raw Power has no low points and just grows with every listen. And it is, no doubt, a reflection of voluptuous and hasty creative energy, as well as of rabid eagerness and vehemence that, sadly, did not end up well in its frenzy. The Stooges split up, leaving behind three key pieces of rock history. —IMF
Note: This is the original, Bowie-mixed version of Raw Power.