ARTISTS: The Invisible Pyramid 2CD (LAST
particular regarding my overworked flippancy last ish, I'd
like to make some amends for the review of the Last Visible
Dog label's The Invisible Pyramid 2CD compilation.
Not only was my track-by-track for the first CD half-assed
and rushed, I didn't even mention the second disc at all!
What can I say, sometimes my beloved off-the-cuff-ness takes
over my common sense (like when I coin a phrase like "beloved
For example, I couldn't
even remember disc one's tracks 7 and 8 right after listening
to them, and now they're two of the most memorable on
the whole album. Track 7 is by Thuja (the sound of dark blue
smoke finding it's way into the fissures in a football field
made of ice at 4AM in the morning) and Track 8 is by that
(I think I can spell this right) Kemialliset Ystävät
band from Finland (some kind of crafty cinematic mind / loop-fuck,
As for disc two highlights:
The track by The Birdtree is just gauzed-out GREAT. Sounds
like someone just put on a scratchy obscure singer-songwriter
record from the 70s except that it's obviously from the 90s
and BEYOND. What else? Subarachnoid Space hit hard with a
heavy boom-box jam. Kind of imitation Bardo Pond, but in this
case it's a good thing. One of the few tracks on here that
really moves; a lot of this stuff is drony and static . .
. . . Miminokoto contribute "Dokonimo" -- say it
three times fast! This was the first place I heard this band,
which I highly recommend -- Fushitsusha meets Curtis Mayfield
back to Crazy Horse at their rawest and slowest. I was just
talking about them today to local psychedelic superhero Plastic
Crimewave, he's opening for them this Tuesday on their first
US tour. We hope people go see this band. I won't, I'll be
at home with babe-o, but I'll be there in spirit. Hell, I'm
ALREADY there in spirit. This song is GREAT, I think it's
better than any song on their excellent Live CD,
also on Last Visible Dog . . . . . . Avarus are big in the
news these days, and with good reason -- their track on here
is a little freaky too. Manic low cello saw, sure, but as
Tony Rettman said about some completely different record in
the last issue, "it's the shit clipping in the air around
it that's so dangerous" . . . . . Charalambides contribute
an excellent track, one of the quieter ones on here, but if
you listen close there's a lot of their distinctively thorny
beauty and quiet desperation in there . . . . . Bardo Pond's
track is actually kind of a letdown for me, I wanted to hear
them in full huge heaven-band mode, but it's a no-rhythm-section
'ethnic forgery' kind of track . . . . . Omit's track is GREAT
and reminded me that he's one of the very best soundmakers
to ever have the two words "New Zealand" somewhere
in his return address. Why have I not listened to this guy
once for the last four years again? . . . . . Karl Precoda
and Mike Gangloff (are they in Pelt?) do an excellent soft
piano meets softly shaken sheet metal kind of 'contempo classical'
whatsis . . . . . Black Forest/Black Sea's track reminds me
of both "Drifters of the Grand Trunk" by SCG and,
gosh, I think Sandy Bull . . . . . really good, too short
. . . . . and Peter Wright closes the disc with a nicely short
and slightly odd piece. And that's not everybody, but that's
the end of this review -- obviously, you should check out
this comp if you're looking for a fully stuffed introduction
to today's various strains of New Millenium Psych.
Live CD (LAST VISIBLE DOG)
everybody knows this is nowhere. What we need is some ragged
glory, and tonight's the night. So put on this album, and
it's like, "Zuma!" Y'know? Naw, forget all that,
I just wanted to be funny. I mean, this band very well could
use Crazy Horse as their one and only inspiration, but if
so it's still just a jumping-off point into their own haunting
zone. In the liner notes, Alan "Of Course" Cummings
says something nice about how the band willfully submerges
their influences and indeed, you could say that this band
coyly sounds like the middle point between Fushitsusha and,
I don't know, Humble Pie. I swear, at times they boogie, and
they boogie well, and people (probably visiting Brits and
Yankees) in the audience go "YEAH!!!", and then
other times it's more the fragile 'singing to the heavens
from the ruins of a war-torn city block' downer rock you might
associate with the PSF legacy. Either way, they're a band
to watch. And listen to. The trio consists of Masami Kawaguchi
(guitar & vocals, formerly of The Broomdusters, Aihiyo,
LSD March), Koji Shimura (drums, has played with White Heaven,
High Rise, Makoto Kawabata's Mothers of Invasion, and Mainliner),
and Takuya Nishimura (bass, also with Che-SHIZU).
Royal Paint With The Metallic Gardener From The United States
of America Helped Into An Open Field By Women and Children
how long has it been since I've just looked at an album cover
without knowing anything about the record and said, "Alright,
this is going to be good." I mean, those records like
from Nauscopy that have stuff glued all over 'em are always
promising, but Kites do it with just full-color photography
and cut-up design. That title helps too. As for the music,
Kites have been getting some pretty serious if deep-under
props from a few trustworthy people and so far side one alone
has more than lived up to 'em. A mix of harsh noise and song
experiments that seems like, finally, the proper mixture of
day-glo performance, the one-man harsh noise legacy, and,
I don't know, any singer-songwriter whose one-sheet namedrops
krautrock and Syd Barrett. Starts off with a long psych-noise
jam titled, perfectly, "Staring Into The Sun." Then
there's a scary song about Side two has three tracks, the
first which is subtitled "Live 2003" and features
bits from five different shows, and it's pretty much all harsh
loopy bleatage -- some of the photos on the cover give a hint
what a Kites performance might be like and I'm sorry I missed
his recent tour. One of the shows is in collaboration with
another name you might've been hearing, Jessica Rylan, a/k/a
Can't. (I really like that for a band name: Can't.) Did I
mention that even the inner paper sleeve is color silk-screened
with lyrics and artwork? A veritable artastic explosion, this
record. Limited to 500. Also available on CD.
USA IS A MONSTER: Tasheyana Compost CD (LOAD)
I'm kinda bummed. I love Load Records, and I love USAISAMONSTER's
Masonic Chronic rec (see #15), but something's kinda
off about this one. Masonic was muddy and creepy
and weird (and on vinyl) and it was hard to believe they were
a duo, but on this one it pretty much sounds like a duo because
the production is clean, bright, and sparkly (and on CD).
There's still lots of great riffs, but not a lot of mystery.
I like how they set Chief Joseph of the Nez Pearce's "I
Will Fight No More Forever" speech to music on track
3 (that's him on the cover too) but the melody is so bouncy
and light, and it's this weird new 'happy' direction that's
throwing me. Vocals aren't buried enough in the mix. It's
almost . . . emo production!!! There, I said it.
Track 4 is getting somewhere, with some mean extendo-riffs,
but they still sound like they could be playing at some Touch
'n' Go CMJ showcase. There are more good protest lyrics about
the U.S.A., like "His progress looks like cancer cells
to me somehow." I don't know, people who haven't heard
the band yet might find this pretty good, but I'm kinda bummed.
HUNK: Smarmymob CD (LOAD)
I was sent this CD a long time ago and I forgot to review
it for the last Blastitude. Why? I don't know, overexposure???
I used to see The Neon Hunk play at least three times a week
in Chicago (they live in Milwaukee which is only 90 miles
away), and everybody loved 'em, and maybe I thought they were
already too ubiquitously approved of to need a review in Blastitude.
What kind of shit is that? Now they don't play as often and
I don't go to shows as often, and I miss 'em and wonder if
I'll ever see 'em again. Put it this way: when it comes to
costumed retardo-core, I actually only really like about 3
bands. And Neon Hunk are one of them. (Their secret ingredient,
though it's no secret to those who have seen 'em: sex appeal!
For all genders and preferences.) This CD is a fine introduction
to the band if you'd like one -- it pretty much sounds like
the live show, which is synth and drums and treated vocals
bringing you straight-up helium-argument-prog-noise, without
overdubs or studio arranging. However, if you're used to hearing
them through the Fireside Bowl P.A., you will find this studio
recording to be quite crisp and clean. At first the mix may
even seem a little Steve Alb-indie, but keep listening and
it does piercing things, especially with Ms. Mothmaster's
keyboards. And, the album's only 21 minutes long, so it's
a nice little shot of adrenaline. No complaints here.
CALIFORNIA AND THE STATE POLICE: Audio Hallucinations CD (LOAD)
First song is called "No Soda Pop" and
the first song on the Screamin' Mee-Mees new archival Live
From A Basement CD is called "Sody Pop." Kindred
spirits, 25 years apart? Totally: lone punks, no scene necessary,
recording on whatever junk they've got and cranking out some
giddy raunchy good times. In this case Mr. California plays
"Guitars, Bass, Programs a Drum Machine, Programs Bass,
and sings." Lots of bad words, and lyrics about running
out of soda pop, serial killers and their dental plans, Tic
Tac Toe, cocaine, zombies, ego trips, high school, and suicide
-- actually that's just the first eight songs, and there are
FIFTY-ONE songs on here, so yeah. After track 8 the songs
devolve into tiny little blasts where the entire text is usually
just the song title. In the time it took me to write that
we're already on track 20. Some good jokes, like "Cocktail
Party Ice Breaker," which goes "The doctor says
I'm gonna live," and "Pelican," which goes
"He was fucking a Pelican." One of the longer ones
is track 33, "Flaming Heart," which goes "YOUR
HEART IS LIKE A BAG OF SHIT ON FIRE, AND I'M AFRAID TO PUT
IT OUT BECAUSE IT COULD GET . . . MESSY!!!!" It's fun,
but by the last third of the album it's pretty hard to care
what the hell's going on. The first eight tracks (billed as
"Side A") are the keepers.
here for special feature.
Total Bugs Bunny On Wild Bass CD (NARNACK)
Weird one from Hella, the guitar and drums duo from Sacramento.
The drums are there in all their technical ecstacy, but instead
of good ole gee-tar I'm hearing like two or three or even
more tracks of guitar synth grotesquerie, or synclavier sickness,
or MIDI mania, I don't know, it's really fast and complex
and manic and goofy, and in the same sub-subgenre as the concurrent
Flying Luttenbachers album Systems Emerge From Complete
Disorder, which is progressive rock that takes you to
that far-away planet where the King of Rock 'n' Roll wasn't
Elvis, it was . . . . Conlon Nancarrow! Pretty enjoyable,
but I do find myself wishing for some good ole straight-up
gee-tar on these tunes, more like the Hella live show. That's
where the enhanced portion of the CD comes in, an mpeg video
clip of one song videotaped live at a little place in Sacramento,
and it's excellent, the two of 'em just jamming out to an
appreciative crowd, more the Hella I know than the bugs bunny
stuff on the disc itself. The drummer really is amazing, he
even plays two kits on the live clip.
& LABOR / TYONDAI BRAXTON: Rise, Rise, Rise CD (NARNACK)
of these acts got reviewed last issue, their respective debut
records on the JMZ label. They were good, neither bad nor
quite great, but now, moving over to Narnack for this new
split release, both bands take further steps and, ahem, "grow
as artists." If you're interested in one or both, the
debuts are good, but you might want to check this disc out
Parts & Labor was
already bringing their own much-needed spin on the dance-punk
sound of today, with some sort of classicist mix of Lightning
Bolt, Trans Am, and, I don't know, Lee Michaels. On this disc
they add more styles to the blend. The first song starts out
with pace-setting sitar-type sounds and synth, and then after
quite some time an arena-rock drum beat comes in and it's
rather triumphant. On the second song they include vocals
for what I think is the first time, and it comes off pretty
well. The track that's on right now has a friggin' bagpipe
on it, so yeah, they're definitely moving onwards and outwards
from their not-bad first release.
Tyondai Braxton didn't
quite get the full thumbs-up last ish either. When he worked
solo with voice and guitar pedal he made some excellent dusted
landscapes but when he brought in indie-rock session men things
got kinda trad. Now he's onto new shit just like Parts &
Labor, and it's more unified than just solo tracks vs. band
tracks. He has three tracks on here, two of them around ten
minutes long, and it's some odd dreamy epic soul music, which
I've listened to a few times and have yet to completely figure
out, but I want to keep trying. Stevie Wonder meets Black
here for special feature.
Hung By The Dick CD (NIHILIST
some sample lyrics: "Oh my god, my dick is yellow! It's
so weird! I can't believe it!" And that's merely from
the song called "Logic and Mathematic." I'm not
even going to quote from the songs called "A Dick in
the Brain," "Big Is My Dick," "Hung By
The Dick," "Himayala Of Shit," or, for that
matter, "Heil, Fuck Me Harder" or the controversial
"Koreans, Part of the Plot." If those titles intrigue
you, you should know that this CD comes with complete lyrics!
It's a very inflammatory text, but I've been able to overlook
all my tensions about race relations (and shit relations and
dick relations), and enjoy this CD, simply because of the
title. I just can't help but love an album called Hung
By The Dick. (Same way I love Fucks The Sky by
Liquorball, even though I've never actually listened to it
or even seen it.)
I love the mini-manifesto
on the back cover, too: "I hate my race, I hate myself,
but I like my dick." I know how he feels! Above that
it says, "30 Songs, 1993" -- we're getting closer
to the music. I am curious to hear it, because Costes is still
in the public eye ten years later; in fact, he just finished
an extensive American tour, and it sounds like he's lost none
of his youthful enthusiasm. Even if you missed it, as I did,
you've probably heard the reports of how the vomit and piss
and shit (some of it real!) and karaoke and balls and dicks
and pussies and boobs were flyin'. How could I not be curious?
Here, I'll put it on, let's listen . . . .
Oh merde, take it
off, this is the most annoying shit ever! Just kidding, leave
it on. Costes is actually a great noise shouter in the tradition
of William Bennett and Miguel Tomasín. (I think it's
an obscure mutation of the 'toaster' tradition more commonly
seen in reggae and global hip-hop, as developed over the past
couple centuries due to trade routes between Europe and the
Americas, with their stops in the Caribbean Islands, but I'm
no expert.) He's also in the tradition of both Antonin Artaud
and Alice Cooper, because he plays theatre of cruelty shock
Either way, I dig the music
on a sonic level for the dubbed-out cavern feel, and I dig
the overall abandon of the performance. The cumulative effect
of all this frothing profanity does make me shut down a little,
but not enough to miss the little horribly damaged pop/cabaret/??
songs that pop up sporadically. Kind of great, but sometimes
I wonder just how big of a William Bennett fan Costes is.
He even has the same high voice that Bennett has for imitating
women and children. Then again, I think Costes is older than
William Bennett, so I'm not sure. You tell me . . . and research
it by checking out this album!
ARTISTS: Masters of the Scene, the Definitive ABBA Tribute
you get excited when you hear about another tribute album
that features various noise and no wave artists DECONSTRUCTING
(ahem) the work of kitschy pop superstars, but me? Not very.
However, I can be persuaded by an interesting lineup, and
this comp has one, for me, anyway, because I live in Chicago
where the label and a handful of the acts are from. Eye-catchers
for Chicago noise people and/or assiduous Bananafish readers
would include Canned Hamm (Vancouver), Kazumoto Endo (Japan),
Vertonen (Chicago), Evil Moisture (Great Britain), SkiMask
& the Bucketmen (Buffalo), Absorb (Chicago), I & Makoto
(Japan), irr. app. (ext.) (San Francisco Bay Area), Foamula
(Chicago), Spider Compass Good Crime Band (Berkeley), Plastic
Crimewave Sound (Chicago), Sudden Infant (Switzerland), Gunshop
(Chicago), and Viki (Michigan).
The Canned Hamm track
sounds a lot like Smell & Quim! And, they seem to have
messed up the instructions, and done "Your Mother Should
Know" by the Beatles instead of the intended ABBA song,
"Does Your Mother Know."
Sockeye do "Take
A Chance On Me" as a lo-fi rock stomper, recorded in
1991. I'm just starting to hear about Sockeye regularly but
I know nothing except he/they are/were from Akron, Ohio.
Kazumoto Endo do "Gimme
Gimme Gimme (A Man After Midnight)," bringing the sort
of hardcore gruesome Germanic karaoke / pop / techno nightmares
that for whatever reason seem very appropriate for Nihilist.
Vertonen does "The
Name of The Game" inscrutably, as one of his trademark
Evil Moisture do "One
Night in Bankok" (hey, I thought that was by Murray Head
. . . must've been produced by the B&B team), completely
unrecognizably as a series of shadowy noise edits. Not unlike
some recent Hair Police cut-ups!
Next is Ungrateful Deadbeats,
who I know nothing about besides "email@example.com,"
doing a slightly more conventional version of "SOS."
(It has singing and words and a backbeat and stuff. The 'outro'
jam is really good avant-rock tape stew!)
Next is Ski-Mask &
the Bucketmen, who had a great track on the Roctober Uno-A-Go-Go
comp, and are perhaps the third greatest artist to come from
Buffalo after Rick James and Vincent Gallo. This track is
great too, "My Mama Said" sounding like Depeche
Mode being destroyed by Schooly D and the bizarro world (i.e.
good) version of the Insane Clown Posse on vocals! Great hip-hop
Next is Absorb, another
small group involving the member of Panicsville who is the
CEO of Nihilist Records. They do "Super Trooper"
-- actually somewhat recognizably -- with vocoder madness
over evil frog basslines, intentionally gay damaged-muzak
interludes, samples of mooing cows, and laser gun effects.
Track 9 is Guilty
Connector doing "Rock Me," total harsh Japanese
noise that has nothing to do with any ABBA song but it's very
Track 10 is I & Makoto,
which is Cotton and Makoto from Acid Mothers Temple, doing
"Eagle" (don't know it) as a super-spooky little-lost-ghost-girl
ballad! And there's another excellent spooky lost ghost girl
ballad just a couple tracks later, Chicago act Foamula's rendition
of "Chiquitita" (certainly don't know that one either).
Okay, YOU can check out the rest . . . if you want a noisy/weird
compilation, you could do a lot worse than this, and don't
worry, even with ABBA being the honored artist, it's not a
VARIOUS ARTISTS: Space Is No Place CD (PSYCHO-PATH)
a "some of what's going on in the Big Apple these days"
comp that has the enormous good taste to have not called itself
Yes New York. I just don't think any of these people
are really scenesters -- the name of the comp itself destabilizes
that sort of affiliation.
Flaming Fire kick it off and
are good until they start singing, which is about four seconds
in. Still one of the more creative tracks I've heard from
them -- weird jump-cut chantism. Too bad they still remind
me of Tenacious D.
No-Neck Blues Band contribute
the closest thing I've ever heard to a pop song from them
-- three minutes, a backbeat, and 'lead vocals'.
Axolotl and Centuries are two
bands I've never heard of before with two tracks that I still
can't quite recall, even though I've heard them both numerous
times and I think I like them. I have a vague recollection
of maybe Centuries sounding sort of like . . . . um . . .
. accordion? But in a good way? That's about all I can come
up with, and that's just what kind of music this is. (Psycho-delic?)
Jesus With Me offer a crazed-ass
noise-wall that goes down real good, and they do it with conventional
rock band instrumentation (gtr/gtr/bs/drms) . . . . Enos Slaughter
is a NNCK side project that specializes in what I would call
mutant bluegrass noise psych. They do another version of the
second song from their fall 2002 live set. (See Enos
Slaughter review!) . . . . Electro Putas do 6 or 7 minutes
of improvised skronk-rock, not too bad at all but kind of
80s, kind of -- dare I say it -- pigfuck?? I would
compare it to Lubricated Goat or Live Skull, but I've never
heard either band.
Mouth Us (who??) contribute
one of the more musical presentations of one piercing feedback
tone I've ever heard, and they keep it up for all five of
their minutes. Then Sightings, who I'm sure you know, doing
more of their whited-out 'new klang' sound, then Naturally,
doing a great haunted ghost-children-of-ESP-Disk mutter-zone
type-thing (who the hell is Naturally?), then Terrestrial
Tones, which is Dave Portner of the Animal Collective and
Eric Copeland of Black Dice doing . . . microhouse! And doing
it well! Then it's Breast Fed Yak! Best band name since Prehensile
Monkeytailed Skink! And their track is nuts-gibbering faux-east
improv! Almost as good as Avarus! Then two more bands, Mountains
of Mata Llama, and Las Malas Amistades, which is to say WHO???
I thought this was a comp of bands from New York, not Peru!
I guess that's what they mean by melting pot. I'm from Nebraska,
there ain't enough melting going on out there, but there's
plenty of melting going on HERE, so get with it, if that's
your kind of scene (like it is mine).
ZETTERLINK: In The Poor Sun At Sunday Night In The BLOW UP
talk about first-tier krautrock and second-tier krautrock,
but who knows what tier the one and only Zippo Zetterlink
resides on. Apparently they are from Germany and this weirdo
LP came out in 1971, so the time and place is right. The first
time I put this on I really thought I had reached it: the
absolute bottom of the krautrock barrel. The second time I'm
like "This is the most pure statement of THUG JAMMING
ever recorded." Track three is like Jonathan Richman
singing a blues shuffle while being German, and not done very
well at that. And it's also a great track, somehow still well
within THE ZONE. Throw in the fucked-up colorful 1971 scrawl
graphics and it's a keeper.
'N' SNIFF ENTERTAINMENT (SNSE):
/ HAIR POLICE: Split LP/CD (LP on SCRATCH
'N' SNIFF ENTERTAINMENT, CD on LOAD)
LP version is reviewed here, and it's real nice to look at,
with artwork by Gary Beauvais (a/k/a Gary Mlitter, a/k/a Mr.
Mlitter, a/k/a MAMMAL), another fine example of the "New
American Hesher Scrawl" movement: yellow scrawl on field
of sweet blue, the insert is white on darker blue, and then
the vinyl itself is light chalk marble blue with a darker
blue label, with all text hand-drawn by Mr. Mlitter. Thanks
for all the blues! Really, really nice -- props to Scratch
'n' Sniff Entertainment!
Listening is also a pleasure.
Starts with Viki, and I'm pleased to hear it's pretty much
the same soundbombing style she was hitting so hard with at
the (relatively) recent August 2003 Empty Bottle show. The
recording doesn't do that show justice, but is good in a different
way -- that was high volume city, this is more far-off basement
loner. First track ("800 Lies," not "Goolies"!)
is instrumental, a vibe-up of sorts, track two has vocals,
and a soundbomb hook that I remember from the Bottle, and
Viki speaking cute in between verses ("We've got a lot
in common") and then ranting during verses. And then
on the third track, "Merican Metal," she takes the
rant deeper and it's almost like John Rotten himself. Dare
I say instant classic? Fourth track continues to stomp, with
noise atop that actually makes sizzling sounds from where
the needle is touching my vinyl, I can hear it when I'm standing
next to the stereo. And I really like the closer, a tape-warbled
instrumental cool-down called "Compulsive Sigh."
As for The Hair
Police, they turn out their very best set of music yet, in
my opinion. All their records have been good to great, but
with qualifications: History of Ghost Dad was really
good but it was a little too all over the place, Blow
Out Your Blood was really good but not all over the place
enough, Mortuary Servants was great but it was only
about six minutes (?) of stuff. This 20-odd minute side, on
the other hand, strikes me as the perfect Police release for
right now. I really can't describe it, and I've already listened
to it 8 or 10 times this week, but I'll try: after a real
short 'atmospheric' opening (kind of like the Dead C White
House LP??), it rocks out with the expectable Hair Police
mega-dive into 110% spazz-hell, but something happens along
the way, shit gets spliced and diced and stuttered and --
I really don't know what happens! Which is why I've listened
to it so many times, I'm still trying to figure it out.
Double Nature CD (SCRATCH 'N' SNIFF
thing I always liked about Mammal was the way he wasn't afraid
to throw down DANCE AND HIP HOP BEATS. Someone called it "BOOMBAP,"
and it reached a pinnacle on Side 1 of his classic Fog
Walkers LP. Before that, I even did one of my most embarrasing
comparisons ever when I compared him to PEACHES. I was just
trying to make a point, that Mammal wasn't afraid to fuck
around with the more hyped fashion-mag sell-out electro styles,
'cause he knew he could still clobber 'em. But, really, Peaches??
I still like that "Fuck the Pain Away" song just
fine, but that was just plain stupid. And I've
been called on it. Believe me, it'll never happen again,
especially not with this new Double Nature album.
The BOOMBAP is in there somewhere but Mammal seems to be trying
to suffocate it, bury it, drown it, smother it in a black
hole that lets in no sun or light or love. Really, this is
an intensely unpleasurable record. When the beats do emerge
in these four long tracks, they are sick, withered, fried,
dead. I don't mean all of these adjectives in a negative sense.
On the cover: more killer Beauvais artwork.
Imperfection of the Organism LP (SCRATCH
I am just getting a goddamn SLEW of colored vinyl these days,
which I like just fine. Something about this new 'scene' of
'kids', I think. They like things day glo and excessively
psychedelic (psychotronic?) so as to celebrate/regurgitate
their upbringing with THE FOUR C's: cartoons/comic books/cable
TV/and cereal (or just substitute candy). (If I could somehow
make video games start with a C, there would be five C's .
. . how about arCade?)
Side one: nothing seems
to be going on at all with this record for at least the first
minute, at least nothing I can hear with this ghetto mutt
outside my window barking like crazy. Is my turntable playing
slow? It looks like it is, but maybe that's just the colored
vinyl . . . . . . let me try something else . . . nope, "Disco
Inferno" by the Trammps sounds perfect. Put Panicsville
back on, and now after a few minutes it doesn't sound like
Sukora anymore and more like that weird loopery/quease I know
This Andy Panicsville guy is
kind of a trickster, you know, the way he straddles scenes
as a scene of (almost) one. He's like a classic post-RRR noise
guy who plays around with the 'asshole' image and runs a label
called Nihilist that offers weird packaging and anti-record
objects, but then he's all day glo and artsy and no wavey
and he has one of the most involved costume concepts you'll
see this side of Caroliner. His shows never blow me away,
but I think that's at least partly by design -- he doesn't
really pander to the audience that way.
This record is low-key
too, and although many of the loops and tones are theoretically
annoying, there's a weird 'background' vibe to it. "Piss
In Your Brain And Control Your Mind" kicks up some steam
though, with the largest wall of noise on the album and a
Wolf Eyesian dentist-drill broken-beat menace. Also a 'definite
Wolf Eyes thing going on' with the first track on side two,
the LP's title track, but not in any kind of bad over-imitative
way. I mean, really, who in today's noise scene isn't dealing
with Wolf Eyes in one way or another? They're pretty much
setting the benchmark. Crazy ending on this track, almost
like the ending of Coop's "Halo of Flies." Record
goes on, in and out of focus -- it's weird to listen to at
low volume because you keep thinking you can hear someone
breathing or something. Then it gets real loud and crazy for
awhile, etc. Good record. Last track, "The Man Who Hated
Women And The Women Who Loved Him" is one of my favorites.