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Listed: Moviola + KIT

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Every Friday, Dusted Magazine publishes a series of music-related lists compiled by our favorite artists. This week: Moviola and KIT.

Listed: Moviola + KIT


Moviola is a project of a group of singer-songwriters based in Columbus, Ohio. In the years since their inception, the band has moved from lo-fi rock to polished studio pop with a wide-open, countrified inflection. Their sixth full-length, Dead Knowledge (Catbird), was recorded over the past three years, and introduces parlor folk and bluegrass elements into their quietly soulful retinue.

1. Karen Dalton - In My Own Time (Paramount,1971)
I have to admit I didn't hear this record (which came out in 1971) until last year, but it made a huge impression. One unfortunate byproduct of listening to so much music over a lifetime is that if you're not careful, you can foolishly begin to think you've heard everything. I'd never heard anything like Karen Dalton's voice-frail, breathy, untrained, and somehow solid as dirt. I lean toward singers that hit notes in spirit as much as they do in perfect tonal reality, it's much more interesting that way. In My Own Time is a record full of mistakes, open sores, unconventional turns, and cracked phrasing, but it's also one of the most memorable records I've heard in the last 10 years. (Jerry)

2. Jennyanykind - Revelater (Electra,1996)
Moviola played a show at Washington University in St. Louis opening up for the Archers of Loaf and Jennyanykind sometime in 1996 or 1997. Jennyanykind was the first band we ever played with where going into the show we knew nothing about them, and leaving the show we played their CD in the van at least 3 times. Revelator is a direct descendent of Blonde on Blonde, and a third cousin of Flannery O'Connor. The record is blunt and ballsy, it grooves like a well oiled three piece should, and contains my personal favorite song title of all-time, "When the Sun Shines Down on the Average." (Ted)

3. Granfaloon Bus - Exploded View (Future Farmer, 2002)
I saw Granfaloon Bus play in my brother's backyard in Oakland at the party that followed his wedding in 2001. To say I felt an affinity would be a grave understatement. Felix Costanza's heartfelt warbling of his singular tunes was expertly supported by his astute bandmates. Damaged and joyous; sloppy and perfect. They were the best bits of San Francisco music over the years distilled into something cultivated, yet straightforward. Unfortunately, the Bus was about to finish it's last route with a worthy swan song in their seventh album, Exploded View. A masterful drinking record. (Jake)

4. Can - Delay 1968 (Mute,1981)
As much as I've worn mile-deep grooves into every CCR record you could name, it's almost more fun to hear what a fucked-up version of CCR (in Germany in 1969) sounds like, and that, friends, is what you get with this particular very early Can record. Beefheart may be a closer call, but there's a certain way that non-natives reinterpret music (Europeans trying to play blues, Americans trying to play English folk) that holds a special allure, to my ears, at least. This Can record stands for many others of that ilk-rocks best moments are those in which there is no formal grounding, and a certain amount of unease keeps things exciting. (Jerry)

5. The Clash - Sandinista! (CBS,1980)
This was the first record I remember being excited about buying before it was released. I was 13 in 1980 and had been playing musical "catch-up" up to that point. I got stuck on side one of the first record for months. Sandinista was like a novel that I put down unfinished over and over again. Its length and sprawling style kept me away from taking in the whole experience. It took months to get to side four and five, but the wait was worth it. The Magnificient Seven, Hitsville UK, Somebody Got Murdered, Let's Go Crazy, Police on My Back, The Call Up, Washington Bullets, Broadway, Lose This Skin, Charlie Don't Surf, Kingston Advice, and Street Parade are great, smart catchy songs. Buying a record with just these tracks would've been easier to consume, but The Clash always challenged me to go the extra mile along with them. (Ted)

6. Leon Redbone - Double Time (Warner Bros,1977)
I probably got this Leon Redbone album after seeing him on TV and thinking he was funny. Little did I know Leon would let me shake hands with the likes of Jimmie Rodgers, Blind Blake, Emmett Miller, Stephen Foster, Jelly Roll Morton, and scads of other American songwriters and performers whose music would blow my little mind. It was the musical equivalent of finding out your girlfriend has REALLY cool parents. (Greg)

7. Rod Stewart - Every Picture Tells a Story (Mercury, 1971)
I love all of his early records, but this one rolled up just the right blend of smooth-burning folk, country, and R&B. It opened my ears to how hard acoustic based music could rock. I have a hard time articulating what I think is so great about English drummers, but Micky Waller is exhibit A. Some classic originals and some exemplary covers all bearing the superior seal of Ron Wood. For as hard as it's been to find any signs of a soul for the past thirty years, Rod sure had a lot in the first couple years of the 70's. (Jake)

8. V3 - Photograph Burns (Onion/American,1996)
Lots of folks seem to always quote the same bands when the discussion turns to Ohio rock and rule, and while my Golden Buckeye Card would be revoked if I didn't express gratitude for the likes of Devo, Pere Ubu, GBV, Pure Prairie League, and the Wolverton Brothers, it's V3 that resonates the longest with me. This record was recorded for a few hundred bucks on the east side of Columbus, and then Jim Shepard pocketed the balance of the advance from Rick Rubin, which makes it sound that much more sweet. That Jim took his own life soon after adds some bitter mix, but doesn't lessen what was and is a great piece of art. (Jerry)


Stove Touchstone, Kristy Geschwandtner, George Chen and Vicente Cooler make up the all-caps KIT. And the typography is apt. This band is a walking exclamation point. KIT's songs, which can't really be pinned to any one genre, rarely last past three minutes. This Oakland band shudders, squeaks, erupts and moves on to the next thought. It makes sense that they released a 7" with Deerhoof way back when (hey, and look, they toured with them in June). They share a certain preternatural innocence, unsoiled by the woes of the world. KIT goes about expressing themselves a little faster, a little stronger, though. Their debut full-length, Broken Voyage, just came out on the L.A. label Upset the Rhythm. All four of 'em took part in this week's Listed.

1. Plants That Kill - CDR (Curor Recordings)
Some people can do more with one day at the rehearsal space on a cassette four track than others can do with several months at Sound City on the company dime. Plants That Kill was created by Sharon Cheslow, Weasel Walter, and Liz Allbee. It would take a phone book to list everyone they've collaborated with on other projects. I've seen this particular trio live twice and it is a treat to wash those memorable shows down with a "killer" CDR. Focused improvisation diced up a little in post production. Very Nice. (ST)

2. DAT Politics - Plugs Plus (Chicks on Speed)
The first DAT Politics record that I heard upon waking up in a 110 degree car somewhere in Florida. It really blew my mind hearing how they used laptops to create all of these weird sounds and such an insane atmosphere within their music. (VC)

3. Yoko Ono
Everything this lady creates is truly magical. Her creations range from musical records ("Season of Glass"), to art books ("Grapefruit"), experimental films, and performances. She was even a leader in the peace movement who wasn't afraid to express her opinion about the Vietnam War. She is one of those artists that truly make everything she creates her own. Always ahead of her time and truly brilliant. (KG)

4. Paul F. Tompkins - Impersonal (A Special Thing)
Nothing kills time on the road like a comedy album. We have not yet toured with this CD in rotation yet, but Tompkins is one of the underrated wise-asses of the alt comedy circuit that does not work too dirty and proves his mettle with bits like "Stromboli" and "Peanut Brittle." More Bob Newhart cerebral than his contemporaries. (GC)

5. Smashing Pumpkins - Mellon Collie and the Infinite Sadness (Virgin)
I would hope that the current hype on the non original SP lineup would undermine the genius of this record. It is a definite document of SP at a peak of their creativity- at this time I hadn't heard such a collection of ideas and overuse of instruments on a record. It definitely spoke to me and continues to influence what I do creatively now. (VC)

6. The Magnetic Fields - Charm of the Highway Strip (Merge)
Stephin Merritt has this ability to write songs that evoke feelings of nostalgia. The songs somehow make you feel as if you have lived them. This record is his homage to country music; it captures life on open road of a period of time that has long since past... His voice is deep and dark; it sounds like a beautiful monster rose out of its grave to sing a final lament. This record is a true gem. (KG)

7. The Better To See You With demo
Everyone in this band has vastly different tastes and listening habits, but I shockingly do not hate anything that my bandmates have listed here (there have been extreme sonic vetoes in the past). Leaning toward the increasingly obscure, this Portland group first came to my attention in 2005. They released a CD on Mark Burden's Celestial Gang and lost their bassist, but they brought on Nate Carson on keyboards and the witchy-weird Faye on vocals. The twin brothers Billy and Charlie pound the shit out of drums and brutalize buzzsaw skree out of the guitar. Almost formless blast beat terror noise, sort of like Burmese and Get Hustle birthing an "It's Alive" monster baby. (GC)

8. Clara Clara - CDR (Zero Jardons Rds)
Everyone thought this band said their name was "Santa Clara" when they played Oakland's wonderful Purple House earlier this year. That's "Clara Clara"! Their show was totally uplifting in a wow-I-am-glad-punk-is-moving-forward sort of way so I decided to hand the touring French band three dollars for this CDR. It's good but not as good as they were the night I saw them perform. It just sounded so much better in person. Still, this CDR is successful in bringing back memories of my warm and fuzzy experience that night. Oh, it's punk in a Japanther/Lightning Bolt/Matt and Kim way. (ST)

9. Japanther - Master of Pigeons (Menlo Park)
Another one of those records that documents a really good band at a strong point of its evolution- not that they were better at this point then they are now- but that this record has many ideas recorded in different areas of the world. A beautiful piece. "Mornings" is one of my favorite songs ever. (VC)

10. High Places
I hate to be the person who jams in as much as they can write right before a test is over, but that is how I feel right now. Or on the Oscars when they are trying to get you offstage and you still need to thank a bunch of people who will totally give you the cold shoulder if they were left out of your Oscar speech. I feel safe in naming High Places as the one band that everyone in my band agrees on. We've played shows with them and hung out on both coasts (VC even toured with them in Alaska). Spiritually up (with people? or without) pop made of tinkling woodblocks, barely identifiable guitar tones, and Mary's sing song vocals. Rob Barber, VC, and I did a recording with Grey Daturas under the name Must Have No Magic and my electronic band Chen Santa Maria played with the also magnificent Barber solo project, Urxed. (GC)

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