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M00SE / Big People Band / Belltonesuicide + Diagram A "Fuck Brett"
Edition of 100

Liner notes by Lisa Crystal Carver & Brett Robinson Brett asked Lisa to perform at his birthday party because he is a fan of all things Suckdog and Rollerderby. She agreed, and taught a bunch of people how to paint the soul of a stranger. She also painted a portrait of Brett for him since it was his birthday, which you can see on the back cover of this LP. Also for the party, Lauri made really awesome stickers that said "Fuck Brett (in a mean way)" and "Fuck Brett (in a nice way)" on them. Not only is Lisa proudly wearing her stickers and showing some tasteful cleavage on the cover of this LP, but each LP includes their own stickers for you to adorn yourself with! Lisa's painting instructional class was bookended by the musical acts captured on this LP. Side A features various Egg, Eggs members in alternative (Oh! Scandalous choice of word!) band configurations. Kick it off with the guitar/violin bliss of M00SE (second performance ever!) followed by the synth/uke/waking-nightmare assault of Big People Band (their one and only performance to date). Brett was physically assaulted during the latter performance, much to one of the Big People's dismay. Brett didn't really mind, after all it was his birthday and all of the violence was committed out of love. Side B of this LP turns the attack to the listener as Belltonesuicide and Diagram A, two of the heaviest bonescrapers in western Mass, conjure up aural destruction fueled by passionate and Pabst. Full-color, eight-page booklet includes text of Brett soliciting Lisa's services and Lisa's subsequent assessment of the soiree, plus performance photos.

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Paul Flaherty / Sam Gas Can / White Limo "Mystery Triangle" LP/DL
Edition of 500
A Feeding Tube Records & Mystra Records Co - Release
Like all of the greatest live “festival” records – Woodstock II (Cotillion ’71), Mar y Sol (Atco ’72) & 1968 Memphis Country Blues Festival (Blue Horizon ’69) – Mystery Triangle is an especially exceptional souvenir for those people who were there when it happened. But unlike dud compilatons, Mystery Triangle provides a truly fine sonic gush for even those of us who were too confused (or scared) to “make” the actual “scene”. In November 2011, a goddamn magnificent display of talent went down at Joshua Burkett’s Mystery Train store in Amherst, MA. And thankfully, Edward “Ted” Lee, the whirling dervish of Feeding Tube, was there to capture the sounds on tape. First up is Paul Flaherty – the godfather of all that is good and weird in New England. Paul has been woefully under-documented in solo performance. His maniacal sax work is well represented in duo and group settings, but he has always been a bit shy about pure solo work-outs, and he shouldn’t be. The beauty of his turn here is stunning. Relying less on the freak-gush that marks his ensemble work, Flaherty creates a pure, blazing line of melodic invention that is a testament to both the power of his lungs and the creativity of his process. Stoned and flowing, his side rips gently into the air with a series of compositional statements that are gorgeous, fully-imagined and a testament to the brilliance of no-net-improvising. Without other players gumming up his works, Paul moves through moods and thoughts with ferocious surety, creating one of the finest recordings in his catalgue. Truly a wowser of a set. Sam Gas Can sometimes relies on conceptual theories for his sets, but here is an engine of pure glossalic genius. Working in the tradition of the great sound-poets, Sam offers a bravura performance that stretches itself deep into the Schwitters zone, conjuring up subconscious connections to memories locked far beneath our surfaces. As the great Dredd Foole noted after the set, “No one uses their voice any more.” An amazing thing. Finally, White Limo (Chris Cooper, Jess Goddard and Joshua Vrysen), hit the road with a set of cracked electronics halfway between serious aleatory ensembles like Gruppo di Improvvisazione Nuova Consonanza and proletarian ass-crack noisers such as Id M Theft Able. Although they don’t seem to play often, this trio (with deep roots throughout of the odd-noise underground) has cracked the code that has daunted many similarly-intented combos, making sounds that manage to be both deeply resonant and weirdly engaging. Totally boss. Upon reflection, it’s difficult for me to think of a more fully satisfying festival record. Every performer, every note feels essential. One of the best. No shit.

Paul Flaherty's Set
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Gary Wilson "Lisa Wants To Talk To You" LP/DL
Edition of 500

Vinyl actualization of a Gary Wilson originally released as a CD in 2008. The second of Feeding Tube’s Wilson retrievals (following last year’s Forgotten Lovers), we consider this the most solid of Gary’s post-revival albums. While it goes in a slightly different musical direction than the deranged porn-lounge inventions of You Think You Really Know Me (the classic ’77 LP, heisted in toto by Beck during his Odelay phase), the naif-ache of the lyrics and the music’s laid-back bowling-alley-funk-thrust reveal unending vistas of pure pleasure. Wilson’s vision and performance approach are absolutely personal and shockingly naked. Like other true outsider artists (from the Shaggs to Daniel Johnston), it’s possible to sometimes wonder what the hell Gary is up to, but the raw sincerity of his yearning is never at doubt. As with all his best work, Lisa Wants to Talk to You is about women. How they walk, how they sound, how the smell, how they can break your goddamn heart. A fellow and/or a gal could learn a lot by dancing quietly alone in the dark to this record. Saved from the digital graveyard by your friends at Feeding Tube, it’s time to prepare yourself for another small miracle. So do it.

Mary Won't You Dance For Me

Dance With Linda Tonight
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Vapor Gourds "Dagger Magic" LP
Vinylization of a classic 2008 Yeay! Cassettes release, which has cast an odd thrall over local heads since it was first issued. Vapor Gourds is the solo project of local DJ, sound guy and man-about-town, Jake Meginksy, who's is perhaps best known for his work in X.O.4 with Bill Nace and Johnny T. For this project, Jake has opted for a bizarre pile of machine sounds, none of them overly grating, with all sorts of near-subliminal pulse work raging around inside of ‘em. Very hard to put a finger on exactly what’s going down here. As soon as you decide to categorically shorthand the sound, Dagger Magic skitters off to another corner of the room. Parts recall everything from Sky Records synth-gush to cough-syrup dub-beats to Voice Crack-style electro-derangement. And there’s plenty of stuff that defies any kind of simple language at all. Dagger Magic is a quiet masterpiece of form destruction. The more you listen, the more there is to hear, and the dagger slips ever deeper. Let it slide, baby.

Dagger Magic Riddim
Magic Daggers
Gumshoe Grove Review


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Grey Skull "Damaged III" LP
Edition of 200
While we were playing the test pressing of this album, the UPS guy came in with a package. He looked at the speaker and said, “Sounds like that baby’s busted, champ.” Chris and I looked at each other and jumped him, popping his eyes out of his head and dragging him into the backroom to drain his blood amidst the backstock. Damaged III is that kind of album. Back when I lived at the Believers House in Easthampton, Grey Skull Manor was just downstairs and we would often feel the evil emanations seeping through the floorboards. Of course, this was long before the trio hung up their horned hats and went straight – George Myers becoming a yuppie movie booker, Jeff Hartford forming the Jeffrey Hartford Sextet Plus One, and Dan Cashman founding the…Fribbles. Back in those days there was no room for Milkshake Rock amongst these cavemen. Their sound is a perverse improv/noise/metal/core hybrid that made one’s ear bleed with the sheerest pleasure imaginable. Years in the making, Damaged III takes its blueprint from a Black Flag boot cassette called Damaged II. The idea was to take elements of that specific set of tunes and emphasize aspects of them that would deform their intent and meaning. No effort was made to replicate Rollins’ vocals (indeed, it sounds like they’re all gargling hot dinosaur jiz), but instrumental and lyric samples form the basis of the compositions. An extraordinary, dare I say, Herculean effort by three guys I just previously thought were a menace to society. That was before the Fribbles, of course. Keep your eyes and ears open for these gents when they come to your town.
Excerpt
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Omnivore LP/DL
Edition of 500
First album by Glenna van Nostrand, a Cambridge-based performance artist obsessed with archaic telecommunication hardware. Using solo vocals run through an old telephone, amplified by a variety of radios, her work creates its own rhythms through hypnotic layering, repetition and the imperfections built into her chosen delivery system. Alternately ethereal and cracked, her performance takes simple kernels of thought and speech, creating mystifying vistas of otherness that hint at the eternal now. The only specific musical accompaniment comes from her use of a telephone’s touch pad as a keyboard, but the rich weirdness of her compositions is consistent and dazzling. The album was recorded, mixed, and mastered at Machines with Magnets with Keith Souza and Seth Manchester in Providence. Are you ready for two side long slices of the Omnivore experience? Get yours now.

Used To

Pink Electric

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Anla Courtis, Okkyung Lee, C.Spencer Yeh, Jon Wesseltoft "Cold Burn" LP
Edition of 500
Superstar live drone fiesta time here, my friends. Recorded in Olso, during the Auroura Borealic night of January, 2010, this beauty thrums with a majesty-vibe arising deep from within the earth. Each of the participants has been horn-blown around the globe for mastery of individual string/machine attack. C. Spencer Yeh’s violin arcs have powered a million strange improv scenes. Jon Wesseltoft is clearly the king of Norwegian harmonium dudes. Okkyung Lee is a Korean polymath re: formal cello innovations, but her handling of rainbow parallelograms is unequalled regardless of national borders. And Anla Courtis has taken the Argentinian electric guitar to points in space unvisited by any of his countrymen. The two sides of this LP form a brilliant whole. The first is a sequence of small discrete events that cohere because of “fifth mind” dynamic overlays. The second is the seamless contrail of an arrow shot directly into the heart of the sun. Together, they comprise one of the tastiest sessions of motion-as-stasis you will hear in many a dark night. Breathe the deep of the still and huzzing air. Be free and be one.

Excerpt

VICE : Nights Off Week Two: Drone, Eastern Mysticism, and Modern No Wave
By Steve Lowenthal




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M2 (Roger & Ben Miller) "At Land's Edge" LP/DL
Edition of 300
M2 is an East Coast-based duo comprised of two of the legendary Miller brothers, namely Roger and Ben. They have previously appeared together in such bizarrely protean ensembles as Sproton Layer and Destroy All Monsters, but they are probably best known for their work in autonomous formulations. Ben, most recently with the Glenn Branca Ensemble, Roger with Mission of Burma (and all who sail with them). The music on M2’s debut LP, however, is far from any of the rock-related moves with which they’ve associated in the past. Both have serious bonafides in experimental/improvised sound, of course, but these take a new leap with At Land’s Edge. Roger is playing heavily prepared piano – something he has been obsessed with for many years. And Ben is handling an electric guitar with more modifications than anyone can easily count. The eight pieces they have created for At Land’s Edge are entirely improvisational. But their sophistication and organization belies their purely aleatory roots. Indeed, the textures they create for their music buggers the very notion of piano/guitar interplay, substituting a shifting array of percussive and electronic field signals that recalls the smaller-format work of Italian improvisational units such as MEV and Gruppo di Improvvisazione Nuova Consonanza. An LP of pure wonder, At Land’s Edge represents a beautiful challenge for adventurous listeners. Exquisitely recorded by guitarist Michael Bierylo, the album is a monster of form confusion, and we can’t wait to catch the duo on tour. Dig it.
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Egg, Eggs "Make Yourself" LP/Insert
Edition of 100
Fresh off their triumphant escalation of white privilege into a distinct artistic medium on "The Cleansing Power of Fruit," Egg, Eggs returns with a newfound appreciation for the emptiness of a merely formal conception of time. Culled from a messy assortment of hastily assembled cassette releases, "Make Youself Egg, Eggs" folds distraction and regret into a fertile meringue, rich with concepts that somehow never seem quite able to achieve full viability. "Where do they find these pathetic little monsters?" one might ask, and where can I get one of my very own? There are too many answers to choose just one: vaginas are bountifully abundant (everyone knows that) but the question remains, "What is behind them?" Let's explore deeper and find out. Cover Art By LMcNamara, David Russell & Ted Lee
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No Sound "ORGANS" 3LP Boxset + Tshirt + Signed Original Art by Ted Lee
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Chris Weisman "Fresh Sip" 2LP
Edition of 500
Vinylization of a brilliant cassette album originally issued by Autumn Records in 2010. Perhaps best known as one third of Happy Birthday, whose eponymous Sub Pop album was much favored by people with ears, Chris is sometimes called The Brian Wilson of Brattleboro. When you swim into the ocean of Weisman’s sound you will find your ass alternately cupped and buffeted by paddles of unique design. Weisman pretty much does all the work on Fresh Sip – vocals, keys, guitar, percussion – all of it blasting out like a classic readymade version of Todd Rundgren rewriting the Chris Bell Songbook with help from Dean Torrance. No less an arbiter of yuppie etiquette than NPR’s “All Music Considered” rated Fresh Sip as one of the top ten cassettes of 2010, and for once those Skele-Toes running shoes wearing cupcakes may have gotten something right. The more it plays the better it sounds. Take that, Bob Dylan, you fucking crybaby.

Saved In Chats

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Blanche Blanche Blanche "Our Place" LP/DL
Edition of 400
No effects, EQ or noise reduction were used in the making of this album, the fifth by this fantastic Brattleboro duo (make sure you grab their first 7" single, also out on Feeding Tube). Sarah Smith and Zach Phillips (AKA Bruce Hart, Jordan Piper Philips, Nals Goring, etc.) assemble mostly keyboard-oriented skeletal pop gems from the softest imaginable bones. Sarah Smith sings like a torchier version of the Young Marble Giants’ Allison Stratton singing lost fragments from the Randy Newman Songbook. Smith's guitar playing seems effortless but planned out with a true heart. It’s an incredible combination that always pulls itself back from the brink of potential cutesy-pieness with genuinely unexpected moves and a fully brilliant manner of constructing songs. A surrealist cocktail masterpiece from the upper reaches of the Connecticut River Valley. If you crave more after these two Feeding Tube long players, BBB's album Wink With Both Eyes is available from Night People and another will be out soon from La Station Radar; for cassettes visit BBB's self-release label OSR Tapes.

Music Overall

Tiny Mixtapes Review

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Blanche Blanche Blanche "2wice 2wins" One Sided LP/DL
Edition of 200
Brattleboro’s Sarah Smith and Zach Phillips have dropped another absolute bomb. The music here is so good, we couldn’t resist releasing it on vinyl, even though the Our Place LP was already in production. Exquisite songcraft, cunningly rhythmic arrangements and Sarah’s lilting vocals give the songs here a deceiving lightness, almost like a 21st Century Gilberto/Jobim collaboration. The more you play it, the deeper it will cut. A perfect record for summer, with an engraved B-side, courtesy of the youngest members of Team Feeding Tube – Addie C. and Coco M. Also available as half of cassette split with Bruce Hart on BBB's home label OSR Tapes. No EQ. Bass by Danny Bissette. Etching by Coco Moore & Addie Coley

Alots B4

Gumshoe Grove Review

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Egg, Eggs "Cleansing Power of Fruit" LP
Edition of 500
Despite Matt Krefting’s resistance to all things fruity, there is little doubt that these friendly non-mineral, non-animal products of nature have the capacity to flush positions through our internal trails far better than ‘most anything else. Especially eggs. Still, it is an egg that remains Dave “Mr. E. Candy” Russell’s muse as he fumbles his way through a vocal universe that is collapsing around his French ears. Something like cross between Crocus Behemoth, Little Lulu and Colonel Bruce Hampton, Russell is on fire here. His vocals emerging from fruit-caked lips as though they were pearls shot from the buttocks of an all-seeing vizier. What Russell does exactly is hard to say, but its slow-kid sing-song quality is bizarrely captivating. And the band here is a goddamn all-star Valley ensemble – Tim Sheldon, Andy Crespo, Brett Robinson, Ted Lee, Vanessa Brewster, John Moloney, Jack Callahan, Ian St. George and special guests – Matt Valentine, Jeff Hartford, Conrad Capistran and Lisette Lopez. Recorded over the last couple of years, in various places around Western Mass, it makes a strong case for Egg Eggs as the most discordian combo in this part of the universe. The comparison my brain keeps returning to is the Hampton Grease Band, updated to shine stylishly in a post-noise-rock milieu. It shares the same mix of brilliance, annoyingness and sheer what-the-fuckery as Music to Eat. And that ain’t hay. Nor is it fruit. Hurray!

Excerpt

BLOG TO COMM REVIEW

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