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    <lastmod>2014-06-11</lastmod>
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      <image:caption>The packaging is equal to the media. Printed and foilstamped on heavyweight unbleached artboard (again with the Patrick Bateman-ing, sorry), the sleeve and inserts feature the cyanotype and tintype photography of artist Ginger Berry. Both of those processes are well older than anyone reading this, and so impart a distinctively antique look. Further, the package includes three 12x12” collodion photographs of the band’s members in their stage costumes, reprinted on linen paper. I absolutely adore it when a band goes to the trouble to make a release a proper art object, and Unconscious Collective have gone several extra miles on this one. Again, pixels fail to properly convey the depth and sheen you’d see in the real thing.</image:caption>
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      <image:caption>Since the advent of digital B2B and streaming, the promotional records and CDs that labels used to send to music writers like junk mail are now mostly a thing of the past. This bums me out somewhat. Digital is fine, I like hearing new music irrespective of the “container” it comes in, but not only am I an incorrigible vinyl hoarder (and don’t get me started on the whole uncomfortable commodity-fetish aspect of that hobby, believe me, I KNOW IT), getting surprise records in the mail is just a lot of fun. So when, unbidden, I got a vinyl copy of Unconscious Collective’s epic 2xLP Pleistocene Moon in the mail, it was a nice surprise, and it felt pleasantly like a throwback. Then I opened it to behold the most beautiful records I’ve ever seen. I’m not even slightly exaggerating. If what follows seems uncomfortably like a record-boy travesty of the business card passage from American Psycho so be it: each record is a lush, opulent vortex of a dense, eggshell cream and a raw, subterranean gold. They feel satisfyingly hefty in the hand, the 180-gram thickness of the media imparting further depth to colors that seem, almost magically, to alight and shimmer just beneath the grooves. It is stunning and elegant. I’ve seen a hell of a lot of great-looking records. This is the best. The glamor shots provided by the label and pressing plant don’t even come close to doing justice to these slabs, so I had a try at shooting some record-porn with my own DSLR. I think I got a lot closer, but this still ain’t quite there; alas, only reality is reality.</image:caption>
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      <image:caption>  "I thought I'd kick you in the pants." And so begins my fairly annual conversation with All Songs Considered host Bob Boilen about the year in metal and what I sometimes call "outer sound," a nebulous grouping of experimental music. You may may have seen — and perhaps been puzzled and/or delighted by — these types of music covered in my Viking's Choice column, and you can see more choice metal picks from 2014 right here. In 2014, Scott Walker and Sunn O)))teamed up for a sublime record that could neither be called metal or whatever it is that Walker does, a Thai psych band discovered on YouTube made one of the most transcendent records of the year and three dudes in body paint channeled King Crimson by way of Black Flag. Oh, it also happened to be a helluva year for punk, as evidenced in my picks for NPR Music's favorite songs of 2014. If your favorite bands include King Crimson, Last Exit and weirdo-era Black Flag, stop whatever it is you're doing and click play on Pleistoscene Moon. From the doomy noir-jazz that opens the double record to the balls-out "Kotsoteka" to the funky Tony Williams-inspired backbeat of "Is the Spine the Dividing Line," Unconscious Collective's ritualistic jazz-rock wanders a lost highway full of sharp turns and unknown spirits. http://www.npr.org/blogs/allsongs/2014/12/30/372464489/vikings-choice-the-year-in-the-loud-and-the-weird   THIS IS IT—THE SINGLE MOST BEAUTIFUL VINYL RECORD I’VE EVER LAID EYES ON      </image:caption>
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      <image:caption>I never thought I'd see a jazz show at a taqueria, much less a great one. To be fair, Saturday's bill at Taqueria Pedritos, including Unconscious Collective, HEX CULT, Drug Mountain and Baring Teeth, boasted a wide array of experimental offerings. Free jazz, no-wave, power electronics and metal were all represented. People gathered at this taco shop to celebrate the release of jazz-fusion trio Unconscious Collective's sophomore album, Pleistocene Moon. Those who came for this reason in particular caught some extra live music for their entry fee. Those who came for other reasons found out about one of Dallas' best new records.  Walking into the event was an ear-splitting experience unto itself. The weight of sound was like having an iron blanket thrown across your back, a fitting ice-water-welcome courtesy of Drug Mountain. Unlike your typical concert, it seemed everyone in attendance was a diehard fan, friend or family member of those performing. In virtue of this, the event felt uniquely intimate. It was clear the evening wasn't about entertainment -- just, you know, a good night out -- but rather it was about music and the bonds that art engenders.  I myself came for UC. But like any show worth its salt, Saturday offered up a mean surprise: HEX CULT. Searing would be a good word for what happened, although devastating would be a much better one. Wires like spilled spaghetti, a thin column of synths, a drum machine, and a deck of pedals was all it took for this duo to lay waste to every expectation I brought with me.  In the direct lineage of Throbbing Gristle, and in the vicinity of Royal Trux's most art-damaged heroin rock, HEX CULT was all texture. Violent, overtly dramatic motions went into their electronic machinery, and pixelated vitriol spewed out. The guitarist, who didn't so much play his instrument as assault it, was especially fantastic. His jerky, abbreviated style brought to mind Cecil Taylor's piano play, and the perverse yet sublime results weren't too far off the mark either. Roughly an hour later, Unconscious Collective took the stage. The trio, consisting of Aaron Gonzalez on bass, Stefan Gonzalez on drums and Gregg Prickett on electric guitar, opened with the title track from their new LP, "Pleistocene Moon". It was pure déjà vu. As with nearly every song in their set, the track was remarkably similar to the version that can be heard on record. All too often, live renditions are little more than shells of their recorded counterparts, but not with UC, and certainly not tonight in this taco shop. It's a telling feature too, because it speaks to the quality of musicianship at play in this trio. In the tradition of the best jazz groups, UC's sound is rooted in chemistry, chops and practice, not post-production sleight-of-hand or engineering trickery. In fact, there's a certain unmistakable energy exclusive to UC live that no recording could ever capture. Conversely, Pleistocene Moon achieves a level of detail that would be all but impossible to reach live, a sonic depth that, thankfully accentuates rather than modifies the group's aesthetic. Incendiary yet subtle, abstract yet melodic, the record is sure to be considered for greatest local album of the year, if it hasn't staked out that claim already. In honor of Ronald Shannon Jackson (with whom UC shares many close ties) the trio, joined by a violist, closed Saturday's celebrations with an ode to their fallen friend and mentor: an original RSJ composition entitled "People We Love." These final moments were as somber as they were triumphantly hopeful, a heartfelt reminder of music's capacity for healing and empathy. The rhythms were as firm as ever, the percussion was as intentional as it had been all evening and Prickett, visibly lost to the memories swimming in his head, played with a newfound sense of beauty, elegant but impassioned.  Following an impressive exhibition of viola fingering, the event came to a close. The performers then reminded the audience of why they came ("our new LP can be bought at the merch table"), but they had already reminded us of why we all love music in the first place. By Jonathan Patrick Tue., Aug. 19 2014 at 8:10 AM</image:caption>
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