#25
SUMMER 2007 (in progress)
by Larry "Fuzz-O" Dolman (except where
noted)
all day names from Year by Angus MacLise (1962)
background by Kark
(2007)
JUNE 28 2007
(DAY OF THE HEARTS BLOOD)

Goddamn John
Bender rules....listening to the I Don't
Remember Now album from 1980....like a Midwestern
Suicide, sure, but with a distinct 'gentle German' influence tinging
through that cold and bitter Clevelandness.... Harvey Pekar fronting
Harmonia?? Robert Crumb (greeting card era) fronting Cluster??
On deck are Bender's two followup LPs, Plaster Falling
(1981) and Pop Surgery (1983), and no, none of these
are originals, strictly .rar..... but the real reason I'm posting
is to answer a challenge. In the latest newsletter to the No
Doctors mailing list, Elvis DeMorrow claimed that
their new LP Origin & Tectonics
"has already caused Larry Dolman to stop updating his BLASTITUDE
site in sheer awe." Well, it's not the ONLY reason I've stopped,
but there's no doubt that the advance copy I've received has left
me rather speechless, and at first it was because it sounded so
slick. It took 'em awhile to put this thing out (their
first release since moving to San Francisco in 2004), and it sounds
like they spent that time meticulously learning to be a massive,
clean-cut, and undeniably pro-sounding rock and roll
juggernaut. They've also learned how to really sing melodies and
enunciate their lyrics, and I'll be honest, these were unexpected
developments. Remember the non-stop yowling garbage-fi chaos of
their last full-length, Hunting Season from 2003? Those
blighted and decrepit streets have been completely cleaned up,
as if some kind of pro-rock Rudy Giulani took over and redeveloped
the neighborhood into a futuristic metallic factory complex that
slowly crafts a high-tech and burnished reamalgamation of the
history of rock. I'm telling you, sometimes they sound NORMAL
on this album, like South by Southwest or Kemado Records normal,
until you listen closer and realize that's precisely why they
are now weirder than ever. Again, their always bold and wiggy
lyrical concepts are now clearer and more pronounced, which can
be especially disconcerting on acoustic numbers like the extra-catchy
campfire song "For You," which goes "Wishing
on a woman / wishin' she would strip / Take me to the ocean /
wanna skinny-dip," seriously, and then asks a "fire-breathing
lady" [sic] to "smoke me like a peace pipe
/ If you wanna end the war" [sic!]. But then after each
one of these preposterous verses they pull out a sweet instrumental
turn-around, driven by guitar filigree and melodic bass, and we
are reminded that their motives are utterly sweet and pure. And
there are other songs on here that are just plain monumental --
"Invisible Clopes" and especially "AAO" take
the tempo and weight of doom metal and apply it to some new style
that is just as slow but poppier, proggier, and stranger, driven
by CansaFis's 'saxophone army' designs and yet more of those bold
lyrical concepts. (Apparently the track sequencing reflects "the
path from earth to jewel to love at the circus," and I think
I'm almost getting it -- definitely getting the "earth"
part because some of these lyrics, like "Yardin" and
"Tuning the Sundial," are just plain eco, and
around here that's a GOOD thing, OK?) "Lost in the Fog"
takes the 1950s balladry that was overtly referenced on "Floating
Woman" (from the ERP Saints CD EP, 2004, No Sides
Records) and makes something more covert, yearning, and intense
out of it, a seriously heartfelt lament for a stupefied leisure
society. And that's the key -- even with all the goofin' and yardin'
and perceived slickness on display, this is a seriously heartfelt
record, which is why I keep listening to it.
JUNE 11 2007
(DAY OF THE HEARTS RELEASE)
FOUR
SUMMER TOURS..... 16 Bitch Pile Up and Warmer Milks,
the co-stars of the Blastitude #19 cover, are both starting tours
on June 12, La Otracina (great new CD on Holy Mountain) is starting
one today, and the mighty Avarus is coming to the States from
Finland in a couple weeks:
LA OTRACINA
Monday 11-Jun
Floristree (6th floor H&H building 405 w. franklin st), Baltimore,
MD with PLASTIC CRIMEWAVE SOUND, VINCENT BLACK SHADOW, WOMANS
WORTH
Tuesday 12-Jun
Marvelous Record Store (208 S. 40th street), Philadelphia, PA
with BURRS, MOUNT FUJI
Wednesday
13-Jun Cakeshop (152 Ludlow St) , NYC, NY cake-shop.com/ with
CHARALAMBIDES, GHQ, SUGARBEATS
Thursday 14-Jun
Velvet Lounge (915 U Street), Washington DC with BLOWFLY (seriously!),
PLUMS, and more
Friday 15-Jun
Spazzatorium Galleria (807 Dickinson Ave), Greenville, NC with
DD/MM/YY, OICHO KABU, PONIES AND FLOWERS
Saturday 16-Jun
Secret Squirrel (766 West Broad), Athens, GA with MUGU GUYMEN,
63 CRAYONS, SMOKEDOG
Sunday 17-Jun
The Whig (1200 main street), Columbia, South Carolina with Jeff
South Project
Monday 18-Jun
TBA Nashville/Murfreesboro, TN with CJ Boyd and more
Tuesday 19-Jun
Murphy's (1589 Madison Ave), Memphis, TN with TRUE SONS OF THUNDER,
and more
Wednesday
20-Jun Spooky Action Palace (e-mail venue for location), St. Louis,
MO spookyinfo@gmail.com with Ataraxic Ataxia, Sum Of Heroes
Thursday 21-Jun
Lazer Mansion (133 54th street), Moline, IL with MONDO DRAG, LAZER
MOUNTAIN
Friday 22-Jun
Hideout (1354 W Wabansia), Chicago, IL with PLASTIC CRIMEWAVE
SOUND, Matthew Wascovich, DRUIDS OF HUGE
Saturday 23-Jun
South Union Arts (1352 S. Union), Chicago, IL with Matthew Wascovich/PLASTIC
CRIMEWAVE Duo, PLASTIC BONER BAND, FOLK & VIOLENCE
Sunday 24-Jun
Basement Show (216 E Hillside Drive), Bloomington, IN with RESTING
ROOSTER, HOT FIGHTER #1
Monday 25-Jun
Skull Lab, (271 W McMicken ) Cinncinnati, OH with Ryan Jewell,
and more
Tuesday 26-Jun
TBA, Columbus, OH with Ryan Jewell, more
Wednesday
27-Jun Pat’s In The Flats (2233 West Third), Cleveland,
OH with MOOTDAK, 9 YR OLD MUDFLESH, THE FLAT CAN CO.
Thursday 28-Jun
House Show (114 1/2 Erie Street), Edinboro, PA with DROOPY SEPTUM,
TUSK LORD, FOREST DWELLER
Friday 29-Jun
Garfield Artworks (4931 Penn Ave), Pittsburg, PA with TBA
Saturday 30-Jun
Test Pattern Gallery (334 Adams Ave), Scranton, PA with THE MARSHMALLOW
STAIRCASE, THE ULTRA VIOLET RAYS
Sunday 1-Jul
Helderberg Palace (96 Sycamore St) Albany, NY with BURNT HILLS
Monday 2-Jul
Brilliant Corners (163 water street), Keane, New Hampshire with
KENDRA, Ian Joseph and The Toys
Tuesday 3-Jul
Grow Room, Providence, RI with XERXESX, BARNACLED, CINNAMON ANEMONE
Wednesday
4-Jul off
Thursday 5-Jul
Soundfix Records (110 Bedford Ave), Brooklyn, NY in-store performance
16
BITCH PILE UP
Tue
June 12 ROCHESTER @ A/V SPACE with Pengo, more TBA
Wed June 13
TORONTO @ Smiling Buddha Bar w/ Disguises, gastric female reflex
and the Flynns. Our first show in canada EVER!!!!!!
Thu June 14
MONTREAL @ Au Friendship Cove w/ the TDK C 90 Analogue Summer
Ensemble and Hyena Hive (our second show in canada, EVER!!!!!!!)
Fri June 15
BROOKLYN @ Glasslands with Monotract, Religious Knives, Alan Licht
Sat June 16
NEW BRUNSWICK NJ @THINISU 138 Easton Ave New Brunswick, NJ 08901
w/ deep fried radio static for a new american century, ASPS and
Panther Modern
Sun June 17
PITTSBURGH @ Belvedere's w/Natura Nasa, Cock Scene Investigator
(edgar um, joe roemer)
MON June 18
LEXINGTON @ the frowny bear with cadaver in drag and caves
Tue June 19
CINCINNATI @ Skullab with Kevin Shields, Tik///Tik, Hentai Lacerator,
Jor Dan, DJ Thumper, Evolve
Wed June 20
CHICAGO @ ENEMY with burden and magic is kuntmaster
Fri June 22
COLUMBUS @ skylab with Sword Heaven, fat worm of error
WARMER MILKS
06/12/2007
- LANCASTER, Pennsylvania - KEPPEL BUILDING W/TBA
06/13/2007
- BROOKLYN, New York - SILENT BARN W/ BLUES CONTROL, NONHORSE,
PURIRI, WEIRDING MODULE
06/14/2007
- MONTAGUE, Massachusetts - MONTAGUE BOOKMILL W/ MV/EE AND CHARLAMBIDES
06/15/2007
-BOSTON, Massachusetts - TWISTED VILLAGE W/ SUNBURNED
06/16/2007
- BALTIMORE, Maryland - CURRENT W/ HUMAN BELL
06/17/2007
- WASHINGTON DC - WAREHOUSE NEXT DOOR W/ TBA
06/18/2007
- CHARLOTTESVILLE, Virginia - TWISTED BRANCH TEA BAZAAR W/ NED
OLDHAM (ANOMOANON)
06/19/2007
- COLUMBUS, Ohio - CAFE BOURBON ST. W/ SWAMP LEATHER, TIME AND
TEMPERATURE+TBA
06/20/2007
- CHICAGO, Illinois - S. UNION ARTS W/ TBA
06/21/2007
- LEXINGTON, Kentucky - THE FROWNY BEAR W/ CAVES, WALTER CARSON
AND EVERYONE LIVES EVERYONE WINS
AVARUS
06-29 Ridgewood/Queens,
NY - Silent Barn
with Manbeard, Fursaxa, Vanishing Voice and Watersports (Blues
Control folks)
06-30 Philadelphia,
PA - Johnny Brenda's
with Manbeard, Bardo Pond
07-01 Baltimore,
MD - Floristree
with Manbeard, Jack Rose, Sri Aurobindo
07-02 Asheville,
NC - Harvest Records
with Manbeard
07-03 Knoxville,
TN - The Pilot Light
with Manbeard
07-05 Nashville,
TN - Springwater
with Manbeard, Taiwan Deth, The Cherry Blossoms
07-06 Louisville,
KY - Lisa's Oak Street Lounge
with Manbeard, Caboladies, Deep Pockets (Son Of Earth, Sapat folks)
07-07 Cleveland,
OH - Parish Hall
with Manbeard, Thee Scarcity Of Tanks, Terminal Lovers
07-08 Chicago,
IL - The Hideout
with Manbeard, Spires That in the Sunset Rise
07-09 Cincinnati,
OH - Skull Lab
with Manbeard, Wasteland Jazz Unit
07-10 Pittsburgh,
PA - Belvedere's
with Manbeard
07-11 Washington,
DC - Velvet Lounge
with Manbeard, Kohoutek, Insect Factory
07-12 Point
Pleasant Beach, NJ - Om Baby Yoga Studio
with Manbeard, Phasmida
07-13 North
Adams, MA - Robot Mansion at Mass MoCA
with Manbeard, Spires That in the Sunset Rise, Aethr Myth'D (Sunburned,
Feathers folks)
07-14 Providence,
RI - Foo Festival at AS220 - Annual FREE street festival with
20+
bands on two stages (inside and outside), artist booths, games,
craft/record/book
vendors and more more more. FREE FREE FREE all day/night from
12pm to 1am. Other artists include Chinese Stars, Neptune, Stinking
Lizaveta, Aa, Spires That in the Sunset Rise, Pwrfl Power, Lazy
Magnet, Alec K Redfearn + The Eyesores, Japanther, etc.
JUNE 9 2007
(DAY OF COLUMBA)
LIVE
ON WBLSTD (777.666 FM CHICAGO)
Davis Redford
Triad "Into the Mist" (Holy Mountain)
Davis Redford Triad "Violent Stupid Friend" (Holy Mountain)
Air Conditioning "Where To Litter/Trash Burning" (Load)
Greg Malcolm "Mob Job" (K-RAA-K)
Mighty Baby "Virgin Spring" (Sunbeam)
Cherry Blossoms "The Wind It Blows" (Apostasy / Blackvelvetfuckere
/ Breaking World / Consanguineous / Hank the Herald Angel / Yeay!)
Poor
School "[Voor Niets In Zijn track one]" (Cut
Hands)
White Lichens "Stolas, or Stolos" (Holy Mountain)
Pink Reason "Goodbye" (Siltbreeze)
The Index "You Keep Me Hanging On" (Voxx)
Derek Bailey "Concert in Milwaukee (excerpt)" (Woodland
Patterns)
Rod
Poole "The Death Adder" (W.I.N.)
High Speed and the Afflicted Man "Zip Ead" (Rock Toilet
Records)
Darkthrone "Det Svartner Nĺ" (The End)
Women in Tragedy "Lost in the Rays of the Sun" (Cut
Hands)
Ex-Cocaine
"With The With The When The One" (Siltbreeze)
Cherry Blossoms "Golden Windows" (Apostasy / Blackvelvetfuckere
/ Breaking World / Consanguineous / Hank the Herald Angel / Yeay!)
JUNE 8 2007
(DAY OF GAMMADION)
Album
of the month(s) right now is Those Are Pearls That
Were His Eyes, by Charles Cohen and Ed Wilcox,
an edition-of-500 CD release on the Ruby
Red label from Portugal, intense and quietly active
electro-acoustic synth/drums duo improv by two beyond-seasoned
veterans from the fringes of Philadelphia. Of course the "beeps
and boops" of antique space-age synthesizer
and the urban rainforest tickle of post-free post-jazz percussion
have always been a match made in heaven, but I can't think of
another time they been so blended as what Cohen on "Buchla
Music Easel" and Wilcox on "drums and gongs" have
laid to tape here. Feel free to turn it way up, because both musicians
employ an uncannily sympathetic light touch throughout -- in 10
tracks and 48 minutes, the music never agitates or explodes, it
only ripples and patters and somehow, at any volume in any environment,
seems to remain just under the threshold. Cohen and Wilcox also
played together on one of my favorite rippling/pattering under-the-threshold
mutant jam albums of the
1990s,
the phenomenally wrecked Bullet In2 Mesmer's Brain!
(Bulb Records,
1998), by Wilcox's long-running revolving-door concern Temple
of Bon Matin. There were nine people in the band for the sessions,
such a rarefied space-jazz-noise unit that when the CD came out,
the band had been rechristened Laser Temple of Bon Matin
for that album only. Wilcox's mix is unbelievable, multiple performances
layered and separated and crossfaded with dubwise boldness through
tiny sonic prisms into swinging mind-sized shadow paintings. Yeah,
it's been good to pull out Mesmer's again, and good to
have it spurred by Cohen and Wilcox's stunning new duo music CD.
(And this just in: "Well
over six hours worth of Charles Cohen on the Buchla Music Easel.")
And
speaking of multiple performances layered and separated, crossfaded
with dubwise boldness, that kinda talk reminds me of this new
Excepter double-CD release called Streams
(Fusetron),
compiled from 36 hours of performance, all originally streamed
over three years' time from their
website and podcast.
In an
excellent interview over at the Sweet
Pea Review website, Excepter's John
Fell Ryan sez, "We use the tools of electronic dance
music, but in the services of dissolving boundaries between different
kinds of music." Taken out of the full interview's rich
context, this might sound like a typical musician talk, but there
are indeed countless actual moments of boundary dissolve throughout
these two discs. For one example, I put on Streams expecting
Excepter's one-of-a-kind foggy reimagining
of electronic dance music as a confusing, bemused, and
patiently ambling dérive
.....and that I got. But I got lots of other things too, and the
thing I noticed the most was lots of feral and fearless vocalising,
nutso growling and yowling wolf transformation type stuff, reminding
me of a New York City band from 40 years ago, The Godz, as much
as any of Excepter's electronic-styled contemporaries. St. Julian
was talking about the same thing over at his Head
Heritage review of Streams, when he brought
up "post-Amon Duul 1 protest chanting in a ‘Help
Me, I’m A Rock’ free rock-style as orchestrated by
two mush-mouthed Kim Fowley and J. Morrison types performing through
Adrian Sherwood’s On-U-Sound filter." Hell yeah,
and there's plenty more boundary dissolve waiting for you and
me on Streams, or any other Excepter release -- always
the same, always different, pick up any one and see.
Monotract
has put out two albums less than a year apart. First in mid-2006
was the acclaimed Xprmntl Lvrs on Ecstatic Peace, which
I missed completely, but on my stereo right now is Trueno
Oscuro, their early 2007 followup on Load
Records, and if this is what they're up to now it's
no wonder Xprmntl was acclaimed. Opening track “Muddy
Thunder” sets a great tone with a staccato electronic futuristic
robot rhythm, doubled by live drums, accented by thoughtfully
applied bursts of static and subtle Magic Band guitar clipping
around the edges, all of which turns out to be a long prelude
to something almost totally different, a big-guitar power-anthem
with rad 80s punk vocals by Nancy. That's just "Muddy Thunder,"
but every track on this album ends up being a punk song, it's
just that many different styles and approaches are used to get
there, from the mysterio-femme tone-poem of "Under My Arm,"
to "The Ballad of Lechon" (vocals like Dave Byrne if
he actually was weird, backed with ripping post-punk echo guitar),
the heavy beat street funk (seriously) of "Big N" and
"Cofu y Kaka" (you can really hear the Caribbean roots
in these jams, almost like steel drums are clipping along with
the infernal punk grooves), the amazing electric guitar freenoise
coda of "Red Tide".... and so on. I can't tell you how
many different weird musical styles from the last 20 years they
brilliantly allude to on these seven songs, and it all goes down
in a blistering 30 minutes. Yep, not counting the
Red Tape, Trueno Oscuro has gotta be Monotract's
finest release thus far.
Great
split LP of solo guitar from the Belgium-based Glasvocht
label, with Harris Newman (from Montreal, Quebec)
on the A side, and Mauro Antonio Pawlowski (from
Belgium) on the B. This is my introduction to Newman, having missed
his opening set at a Six Organs of Admittance show back in March
2005. During the Six Organs set, Chasny called him "the future
of acoustic guitar," and now over two years later I can finally
see why. First track is an instant grabber, Newman laying down
an unstoppable spooky bluesy theme which he proceeds to stop,
restart, lead slowly into strange dead ends, stop again for uncomfortable
silences in haunted echo chambers, restart again right back into
the thick of it, somehow constantly developing it for over 10
minutes while still keeping it stuck in the same place. The title,
"Onset of Tourette's," hints at what's going on, as
if the song is a close examination of how a motif can become a
tic. The remaining two tracks are also excellent compositions,
one short and bluesier, the other sounding like a slower, more
focused, and way intense reprise of "Tourette's." Really,
a perfect album side. The
Pawlowski side makes me think of a friend of mine who was getting
to know free improvisational music. He thought Derek Bailey and
a few others ruled, but he could never really get deeper into
the genre. "I wanna like it," I remember him
saying, "but it always ends up sounding like guys playing
their instruments funny." And he meant it like 'funny
peculiar', I guess. I never really agreed with him, but I can't
help but think about his statement when going from the experimental
but deeply idiomatic music of Harris Newman to the more quirky,
atonal, and decidedly non-idiomatic music of Mauro Pawlowski on
the flip. The good news is Mauro seems well aware that this music
is funny peculiar, because he plays short pieces (ten in all)
with titles like "The Emperor's Shy Bladder," "The
Paranormal Olympics Cancelled," and "The Last Living
Beatle." He has a nice humming and spooky guitar tone too,
not unlike Newman's, and the end result is a pleasantly surrealist
style that he calls "ethnical Belgian improvisation music."
JUNE 1 2007
(DAY OF THE ROSE)
Wow,
can you believe I once said I was gonna do daily posts? I wish
I could tell you that this summer issue (#25) is going to be the
"Reviews Issue" and that I might even increase updates
to, I don't know, once a week. You never know
-- right now I'm getting myself psyched by listening to the new
Ex-Cocaine album on Siltbreeze.
It's called Esta Guerra, and two tracks
in I'd say it's a definite improvement on Keep America Mellow.
That was a good debut for sure, it sat there and spread out nicely,
but the sundazed Dead C-meets-Allmans Montana-raga style that
was budding on that album is really blossoming here, adorned with
strange weeds like the Milford Graves Percussion Ensemble and
the thought of a completely twee-free Tyrannosaurus Rex. When
they really get the songs moving it can be easy to forget they're
just a duo of electric guitar and hand drums, and side two really
nails it with the long album-closer "With The With The When
The One."
Holy
shit, this Futurians CDR with Mr. Spock on the
cover is fuckin’ great. It’s probably almost a year
old too, but you know sometimes it takes me a while. The first
two or three tracks are just totally tranced-out sci-fi garage
garbage rock -- I think each time they just pushed the button
marked 'retardo dunt loop', turned the knob marked 'tempo' down
until the sound got nice and fuzzy, and then kinda wandered out
of the room for awhile. Eventually they came back with some beers
and started yelling from across the room so it would be a ‘song’.
And it definitely is. In fact, I've been walking around the city
singing these songs all week. Strangers keep hearing me quietly
yelp the phrase "pure green blood" over and
over. You can imagine the looks I get, but it's well worth it.
At least I'm not singing the nutso last track, which sounds like
some boom-box outtake from the Flowers of Romance sessions,
special guest Yoko Ono... Anyway, it's called Spock
Ritual -- great black-on-silver silkscreen design
on this thing too -- kudos to the Invisible
Generation label for this edition-of-300 rock masterwork.
The
Barge Recordings
label put out an excellent compilation last year called
Innature, and they've made a strong move with their second
release too. It's a CD called Life-Size Psychoses
by a duo called The Fun Years. I knew nothing
about 'em whatsoever but this thing had me within about 45 seconds,
opening as it does with an exquisitely controlled aeons-wide endlessly-slowed-down
sad soul music loop. I swear it just keeps going for a good 20
minutes, holding that same mood while all the oxygen slowly leaves
the room and the world quietly dies. Not bad for a duo of turntable
and baritone guitar. The whole piece/CD runs about 45 minutes,
and even if 3/4th of the way through I'm starting to think these
guys might still have a couple Tortoise albums in their collection(s),
that first half is such a grabber that all is forgiven.
I
hardly ever listen to the Double Leopards and I think it's because
they're too good and I'm actually a little afraid. I don't know
if it's the fear that the sound will finally devour and dissolve
my mind completely, or a fear that it will all come crashing down
like a house of cards because after all aren't they mostly just
groaning through pedals? Either way, I really didn't know what
to expect when I warily put on this solo album by founding DL
member Marcia Bassett, recording as Zaimph, but
my first thought after the record started to sink in was, "Man,
no wonder the Double Leopards are so good." These are four
long soft hums of hymnal electricity, "live room recordings"
from 2006, and for each track it's amazing to imagine any mere
room, anywhere, ever sounding like this in real-time.
It's just too mysterious and gorgeous, but yet here it is, in
my room, somehow contained on 180 gram vinyl. It's called
Mirage of the Other, and sure enough,
I'm already a little afraid to listen to it again. Another new
hymnal electric album from the same label (Gipsy
Sphinx of Belgium) is Djid Hums
by Bear Bones, Lay Low. It's not in the same
league as the Zaimph, but not many are, and it's certainly still
recommendable. It has a more 'computery' heaven-drone sound to
it, not unlike Neil Campbell's recordings as Astral
Social Club, with Burning Star Core/Carlos
Giffoni/No
Fun Productions vibes as well, especially on Side 1. Side 2 is
more of a guitar maelstrom kind of thing -- real good, and if
it runs a little long, it's still worth it for the space-froggy
voice coda. Great cover art too on another fine 180 gram Gipsy
Sphinx vinyl pressing. Bear Bones, Lay Low is one to watch, an
18 year old kid from Venezuela who moved to Belgium with his family
to avoid social unrest in the wake of Chavez! Read all about it,
along with due props to Tool, in this
interview at Foxy
Digitalis.
And
sounding pretty good on the stereo right now is some heavy way-out
free-rock destructo-jam action, lots of blubbering and rampaging
low end with attacking drums. A single 15-minute jam. Blue Humans
vibe, but coming more from the free noise tradition than the free
jazz tradition. If I was in a blindfold test I might even guess
this was Eloe
Omoe, but I know that's not right (because that's
a duo and this seems to be a trio). It's just that I'm making
dinner while wife and kids are at the library, which means stereo-cranketh
time is NOWETH, and this is the first thing that came up on the
old CD shuffler. It's really blowing out some cobwebs, perfect
for 15 minutes of house-to-myself after a stupid day at work.
Of course, I might never play this thing again, but who cares?
I'm not writing about all these hundreds of records so you'll
buy them all and play them all in your home and/or rip them to
your iPods (although that might all be cool), I'm writing about
'em to let you know WHAT'S BEING DONE OUT THERE. And what's being
done right here is some variation on the basic heavy Blue Humans
template by some free-thinking weirdos out there somewhere. (I
still don't know who this is.) (Turns out this thing is a 3"
CDR by the Western Massachusets group Grey Skull,
recorded live in Providence, RI waaaaay back in October 2004,
as released by Breaking
World Records. I've heard a couple weird stripped-down
noise-type releases from Grey Skull, but I believe this is the
only time I've heard 'em play in a stand-up rock-trio style.....maybe
they were indeed directly influenced by some Eloe Omoe shows.....they
both live in Massachusets.....)