i never saw a rodan album in any record store i visited when i was younger. maybe i wasn’t looking in the right section? whatever, there are numerous threads of the web that shoot off them though. they’re a junction, of sorts.
i’ve already accidentally covered some june of ’44 in the live & direct compo earlier, along with seeing the name tara jane o’neil every single day on the papa m poster of a donkey for whatever, mortal that is stuck on a wall in my house (course, hearing her as well). then there’s the split release i bought second-hand in canada between rachel’s and matmos (the latter which oddly connects back to david grubbs last posted). and of course, shipping news songs strewn across the life of the louisville is for lovers series. they all came from rodan of the early 1990s, and amazingly spanned a remarkable diversity of music styles and genres.
i think i have said before that louisville has spawned some of the most remarkable music of the last 20 years – or maybe it’s that the place has some part of my soul buried in it somewhere.
it’s gotta be unfair to both bands that a sort of likeness exists between rodan and slint (though they were never actual contemporaries as bands). rodan seem a little less esoteric, somehow, and more engaged in knowable (well, programmable) heavy bass rock. there’s a hell of a lot to hear in the wall of sound that characterises most songs, so don’t mistake it for simplistic. it’s actually genuinely satisfying to listen to. at volume.
sadly, two former members have passed on (jason noble and jon cook), assuming that based on when they formed this band, they wouldn’t have been very old.
it wasn’t minor, but the tone of the music was. this shit was life (and death). it’s the way of things.