is a word coined by Angus MacLise, original drummer
of the Velvet Underground and quite possibly the
coolest hippie of all time. (cf. track four of his
posthumous CD release The Invasion of Thunderbolt
Pagoda, released by Siltbreeze/Quakebasket.
for immediate cf'ing.)
click on Angus)
and Gentlemen, your host for this issue, The Unknown
Comic!!! Just kidding. (Anyone have a 'complete
works of The Unknown Comic" video floatin'
around? Something with all the Gong Show appearances,
his 'blue' cameo in the movie Night Patrol,
any other esoterica that somehow got broadcasted...Hollywood
Squares? Fernwood 2 Night? The Love
What makes this issue special?
Why, this is the issue where for some reason I
decided to review every single record I listened
to, while I was listening to it, for a week. To
do this, you have to type really fast, and finally,
I understand what Truman Capote meant when he
said of Jack Kerouac's body of work, "that's
not writing, that's typing." I'm definitely
guilty of some typing, but the thing is, I always
go back and tortuously revise my typing, chipping
away at over and over again, trying desperately
to shape and reshape it until it's actually writing.
Sometimes I'm successful, but even when I'm not,
I put it up on the web anyway because I've got
a deadline. That's as close to the Blastitude
mission statement as I can get after my tenth
deadline-intensive issue in a row.
Ah, but the astute ones
out there have surely noticed the deadlines have
been getting less intensive every issue. Look
for that trend to continue. Really, I've just
listened to too much improv-type noise music these
past few months. Hell, I'm listening to improv-type
noise music right now, guitars I think, coming
from the CD shuffler, and three minutes in, I
don't even know who it is. My initial reaction
is, "Damn, take it off, put on some Fela"
but...you know, after four minutes in, the music
starts to insinuate itself.
This whole improv-type
noise thing really does have its way of insinuating.
I always want to get up and turn it off, because
it's just another noise record, but it numbs me
into apathy before I get around to getting up.
(It's not a coincidence that marijuana is a very
popular drug among noise users.) Because of the
inherently tedious circumstances the existence
of "another noise record" thrives upon,
hearing another noise record -- on your own stereo,
no less -- can instantly divert you into some
sort of task that helps you ignore it. For example,
cleaning the kitchen while it plays in the other
room, turning it down so you can better concentrate
on driving while eating that taco, or writing
a review about it for your webzine.
And right now,
while writing about it, I'm realizing that this
record is The Somnambulist by Delayed Sleep.
I've already listened to it once, and I reviewed
it while I was listening to it then too, which
can be read on page six.
This time I'm liking it just as much, and the
reason, I'll admit it, is because I'm MELLOWING
WITH AGE. Call me a 'sissy' if you like, but in
my humblest opinion, I'm aging like a good red
wine. I like all kinds of noise music, and I think
it's cool how noise killed the song, but I still
really like songs too, and I wanna hear songs
at least 50% of the time. I mean you should've
seen Harvey Sid Fisher last night at The Hideout...those
were songs...Bill Callahan can win all the Magnet
Magazine "best songwriter" polls there
will ever be, but he has never connected with
me 1/10th as much as Harvey Sid does...I'm not
joking at all...
Anyway, it's not
like I'm fleeing for Elephant 6 here. (I only
own one affiliated LP, and that's a CD-R dub of
In The Aeroplane Over The Sea that I've
listened to exactly once.) It's just that, with
all the noise music in the world, if you're gonna
do it and I'm gonna be engaged by it, there has
to be a song somewhere in it. I don't care how
deeply it's buried, but I wanna feel it: a hook,
a sequence, a progression, some kind of narrative
arc, however experimental...any semblance of the
soul of an individual other than simply the rejection
thereof...there doesn't have to be words or vocals...there
doesn't even have to be notes...there just has
to be a CONCEPT other than "Being Beat Up
For 30 Minutes" and "Being Beat Up For
30 More Minutes."
for example, did it by beating you up for ONE
minute instead of 30 -- a much more invigorating
experience. On record, they broke up the noise
with interview segments, and then audio verite
arguments, and then actual songwriting (retarded
electronica songwriting, but songs nonetheless).
Delayed Sleep know how to do this too. They don't
keep punching when you're already down, they give
you a backrub. And they know how to change it
up; track seven ("4'15") is a killer
mid-album curve ball, consisting of a slowed-down
and faraway hip-hop beat coming out of an amp
with one of the guys whispering some pleasantly
indiscernible lyrics over it. Most of the rest
is just mellow mellow mellow ominous spacious
guitar improv. When it's over and a mean 'n' evil
early Captain Beefheart blues demo kicks in, it
actually sounds too mean. That old Beefheart
raw adrenaline, so often a source of excitement,
is now a source of aggravation. I wanna go back
to (delayed) sleep.
LETTERS TO THE EDITOR
I've heard 'em. Angel Air have released about 600 CDs by
the group in the last six months alone. Mayahoshi Urabe
appears on all but two...
Nandor knew "Vulva" from the long-distance guest sessions
for "The Wigmaker." I dig his version a lot. "Wig" is due
Lyrics are at the Shave archive: http://members.dencity.com/mpolk667/
More specific to your quest: http://members.dencity.com/mpolk667/wigd2_08.htm
stumbled across your review of Opprobrium online recently,
ironically whilst in the process of searching for background
information about Birchville Cat Motel for a review of
his Hermescorp CD. I found your take on Opprobrium refreshing,
and I thought your review raised some very pertinent points,
so thanks much for your comments. I receive next to nothing
in the way of analytical response from anybody, so it's
always nice to get a bit of feedback, even - or especially
- when negative. Some of it I disagreed with, but then
some of it I agreed with; there are a few issues I could
raise, but not without coming off as incredibly anal and
prolix, so I won't indulge myself. The one thing I would
point out is that it's erroneous to argue I "[have] always
written off the Campbell Kneale/Birchville Cat Motel/Celebrate
Psi Phenomeon axis". Birchville Cat Motel have been reviewed
three times in Opprobrium (the Insample CD in print issue
4, and the Drunken Fish CD and lathe LP in online issue
1), each time positively. To my recollection - please
correct me if I'm wrong - I have never written anything
negative about Campbell Kneale or Birchville Cat Motel.
And to say that I wouldn't be able to tell the difference
between a BCM cassette and a Bruce Russell cassette is
a bit silly. FYI, I thought the BCM H/corp CD was okay,
if nothing startling. New issue of Opprobrium by the end
of October, with - hopefully - fewer reviews written by
found a copy of "glory road" at work yesterday and actually
listened to it, swear to christ, and while it wasn't nearly
as bad as would be reasonable to expect, it only had ian
gillan's voice and way w/ a vocal melody to put it above
same-era whitesnake or rainbow ( which would mean graham
bonnett-era?) come to think of it, i'm not even sure if
mick underwood's on it, so maybe it doesn't count. is glory
road one of the "good" ones?
about mick allsup? don't know shit about him other than
he plays guitar on kim fowley's outrageous ( a duty he
shares w/ official greatest name in rock n roll mars bonfire
- so not sure who's doing what) - but that really ought
to be enough i think to make the list.
your zine's pretty keen and all, although several mentions
of the verve had me listening to that at work too, thinking
maybe it was deserving of re-evaluation and i still haven't
figured out what the fuck i'm supposed to hear in 'em,
but nobody's perfect i suppose. keep up the good work
and all that...
Houser in Las Vegas
Several mentions of the Verve? I do have a strange soft
spot for their album A
Storm in Heaven,
and Brad Sonder did give it props in his column a year
or so ago, but I can't recall a single other time they've
appeared in our pages.
I haven't heard anything else by 'em and certainly don't
feel the need to, but that album -- listened to at work
in a record store -- hit us with some sort of freewheeling
acid-soul bonfire-on-the-ocean-at-night thing. At the
time, it was a nice release from ringing up Garth Brooks
CDs for hours straight. It still sounds just as good to
me, but hell, I like a song by Blackbox Recorder, so don't
take me as an authority or anything...
Yes, being named Mick and playing with Kim Fowley automatically
puts one in the Top 10, if not Top 5, Micks of Rock. If
only I'd known...my apologies to Mr. Allsup. As for which
Gillan LP's are the good ones, perhaps only Ian himself
can tell us...
will be published quarterly from now
on. Next issue probably not until March 1st. And I need
help! Would-be submitters, sharpen your pencils PLEASE...
Comments, recommendations, complaints,
for consideration should be mailed to Blastitude
@ 2158 N. Mozart St. #2, Chicago, IL 60647
designer, collater, curator, writer: Larry "Fuzz-O"
"Gathering Buds" by Tom Smith
"Living Like Burt Reynolds On A Mac Davis Income"
by Tony Rettman
"Inklings and Musings" by Brad Sonder
Portrait of Brad Sonder by Michael French
BLASTITUDE #10 © 2001
Published by Tiny Press