Author Archives: jakemanson

Weird of the Day: Tartar Control, “Smoking Crack”

Tartar Control

Hey, so here’s another L.A. band we’ve been meaning to write about for awhile. Tartar Control claim to be God-fearing Mormons from Salt Lake City who try to spread religion through the power of snotty punk rock, but I’m not so sure. I think they might be actual snotty L.A. punk rockers who are just ripping off these guys. Oh, wait, their drummer is a robot? I take it all back then. They must be actual Mormons and their act is totally original! (Mormons love robots. It’s why their Chosen One is Mitt Romney.)

Anyway, Sean, Robert and Robot have a new album coming out in October called We Forgive You. You do? Thanks, Tartar Control! Glad that dead hooker is finally off our conscience.

While we wait for forgiveness, here’s a video for “Smoking Crack” off their first album, Holy Crap! Tartar Control forgives us, but who forgives Tartar Control?

For more Tartar Control, floss regularly and visit the band’s website.

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Band of the Week: The Flying Luttenbachers

Flying Luttenbachers

Normally, to write about a band as batshit at The Flying Luttenbachers, I’d be drunk by now. Instead, I’m sitting here sipping Glenlivet single malt like a total boss. Why? Because today marks not one, but two major milestones in the history of our stupid little blog.

First: Today’s our five year anniversary! What’d you get us? Nothing? That’s OK. Technically, you all got us something, because today’s other major milestone is this: We just racked up our one millionth page view. How fucking cool is that? OK, if you divide one million by five years, it’s maybe less cool, but still. Considering our booze habits, obscure subject matter and complete lack of self-promotional skills, we’ve done all right.

OK, now that we’re done patting ourselves on the back: The Flying Luttenbachers. We’ve been saving these guys for a special occasion like today, because they are truly one of the strangest, noisiest, craziest bands ever to turn their amps up to 11.

The brainchild of drummer/ringleader Weasel Walter, for 17 years they terrorized audiences with a mix of free jazz, skronk, punk, metal, noise-rock, no wave and whatever else whoever was in the studio or onstage with Walter that day cared to unleash. They were like a more aggro Naked City, a jazzier Locust, and a faster Captain Beefheart, all marinated in fuck-you Chicago attitude and imbued with the shredding super-powers of your favorite technical death metal band. Weasel Walter called it “brutal prog.”

Oh, and there’s also an apocalyptic storyline about a cosmic battle between a void, a behemoth, and a giant robot buried beneath the earth who can only emerge after the human race has been eradicated. All told via the liner notes and song titles like “Rise of the Iridescent Behemoth,” because all the music is instrumental.

Here, suck on some right now:

That was from the 1995 album Destroy All Music, featuring the band’s confusingly named original saxophonist Chad Organ, along with Weasel on drums, Dylan Posa on guitar, Jeb Bishop on bass and trombone, and Ken Vandermark on sax and clarinet. And I’m not sure I bothered to tell you all that, because that’s one of about 20 different lineups the band went through and it’s not like I’m going to name them all. I suppose some might call Destroy All Music the Luttenbachers’ most mind-blowing work, but I dunno. A few years later, they released this:

That’s from the 1998 album Gods of Chaos, which featured a power trio version of the Luttenbachers with Chuck Falzone on guitar and Bill Pisarri on bass. Then there’s this:

What you’re hearing there is Weasel Walter jamming good with two bassists: Jonathan Hischke on the high parts, or “air” bass, and Alex Perkolup holding down the low end with his “earth” bass. Who needs those extra strings, anyway?

Towards the end of the Luttenbachers’ 17-year run, Weasel Walter seems like he was getting frustrated with his band’s revolving-door lineup. In the liner notes for the final Luttenbachers album, 2007’s Incarceration by Abstraction, he actually specifically says that he intended to record the album with guitarists Ed Rodriguez and Mick Barr…but they weren’t available, so he did the whole thing by himself.

At the same time he released Incarceration by Abstraction, Walter Weasel announced that the Luttenbachers had “ceased operation.” He’s since moved to New York and now holds down gigs in two bands, Cellular Chaos and Behold…The Arctopus. Both of which are pretty crazy, intense bands…but we still hold out hope that Weasel will reconvene some version of the Luttenbachers one of these days, because their live shows look like they were absolutely insane.

We’ll leave you with our favorite Flying Luttenbachers, which has nothing to do with the rest of the band’s output but is just too damn much fun not to include. This is from an appearance sometime in early ’00s on the Chicago cable access show Chic-a-Go-Go. The song is “De Futura” from that two-bassists 2002 album, Infection and Decline. And, by the way, it’s a cover of the French prog-rock/Zeuhl band Magma. Thanks to reader John for pointing that to us. We never would’ve figured that shit out on our own.

Links:

Weird of the Day: Puig Destroyer, “Mike Trout”

Puig Destroyer

Listen, I love baseball, but it is not the most metal of sports. Football, clearly…the American version, you Eurotrash bastards…football is the most metal sport, following closely by MMA and NASCAR. But that’s all the more reason to love Puig Destroyer. Here’s a bunch of guys who took one stupid pun and a love of the world’s most boring game and created the greatest grindcore band since…well, since Pig Destroyer, the band whose name they’re riffing on.

The other thing they’re riffing on is L.A. Dodgers center fielder Yasiel Puig, a great young player but hardly the most metal guy in the majors. He’s not even the most metal thing on the Dodgers…that honor still goes to Brian Wilson’s beard, even if the player attached to said beard kinda sucks these days.

So it’s about time Puig Destroyer finally…I mean, they’ve been around for a whole year now…finally recorded a song in tribute to the most metal guy in the majors, the Angels’ Mike Trout. Now this dude’s an absolute beast. Here’s a 489-foot home run he hit earlier this season. Even in the world’s most boring game, he’s fun to watch. And now he has a grindcore anthem worthy of his beastliness.

In case I wasn’t being clear: Yes, all Puig Destroyer songs are about baseball. Other titles include “First to Third,” “Destroyer of Baseballs” and my personal favorite, “Stop Fucking Bunting.” Seriously, guys, just knock it off. Your game’s wimpy enough as it is.

You can hear all of Puig Destroyer’s ball-themed mayhem on their Bandcamp page.

Weird of the Day: Hardcore Anal Hydrogen, “COI”

Hardcore Anal Hydrogen

I know we’ve been doing “Flashback Fridays” around here lately but I don’t care. This video is too fucking good to wait till Monday. Besides, it came out in February, so that counts as a flashback, right? Ah, Feb. 2014. The good old days, before Ferguson and ISIS and Robin Williams and Christ, what a depressing summer this has been.

Anyway, this is yet another French band from Apathia Records, the same lunatics who brought you Pryapisme. Hardcore Anal Hydrogen aren’t quite that out there, especially on this track, which is pretty straight-up post-hardcore with some fun tempo changes and electronic elements. But the video kills me every time. I almost hope the next metal band I see just sends cardboard versions of themselves onstage. It would probably be more entertaining than some shows I’ve been to.

You can find out more about Hardcore Anal Hydrogen on the Apathia Records website.

Weird of the Day: Deathgrind violin with Joey Molinaro

Joey Molinaro

Our buddy Folkicide told us to check out this guy Joey Molinaro who does something called “acoustic grind violin.” Intrigued, we clicked over to one of his YouTube and yep, this dude basically plays grindcore/death metal by himself with a just a violin, foot-stomp percussion and the occasional strangled vocal. The results sound like a cross between a mosh pit and a hootenanny, or maybe something you could call Appalachian folk metal. Check it out.

If, like us, you can’t get enough of this shit, there’s plenty more where that came from on Joey’s Bandcamp page.

Aphex Twin

Aphex Twin

If you heard a loud cheer in the distance on Monday intercut with what sounded like a skipping CD player, you heard the sound of Richard D. James’ fans rejoicing at the news that, for the first time in 13 years, there will be an official new album from Aphex Twin, the production alter ego through which the reclusive, mercurial man from Cornwall released some of the most game-changing electronic music of the ’90s.

True to form, James didn’t make the announcement with a simple press release. Instead, he launched a goddamn blimp with the Aphex Twin logo inside the zero of “2014” over London, then sent fans treasure-hunting into the deep web to uncover the new album’s title and track list. Turns out the new disc will be called Syro; no word yet on a release date. (If you, like us, have no idea how to get to the deep web, some kind soul mirrored the hidden Aphex Twin page here. But you might still need some help deciphering it.)

James has never really done anything conventional over the course of his 20-plus-year career. After first making a name for himself primarily as a producer of ambient music, James helped invent a twitchier, more experimental style of electronica that came to be known as “Intelligent Dance Music” or IDM (a term James himself has disavowed). His many forays into other new sounds and styles also influenced everything from glitch to breakbeat to drill ‘n’ bass. Just in terms of the sheer number of genres he helped shape or invent, he’s arguably the most influential electronic music artist since Kraftwerk.

Towards the end of the ’90s, James’s Aphex Twin releases began to take on a more satirical bent, especially when accompanied by a pair of groundbreaking videos he made with director Chris Cunningham. 1997’s “Come to Daddy” began, by James’s own account, as a death metal piss-take, before evolving into one of the first and most influential glitchcore tracks. Most of you have probably seen it before, but for those of you who haven’t, fair warning: It’s genuinely disturbing.

The creepy Richard James masks are a recurring motif in many Aphex Twin videos, as well as much of his album art (the cover of 1996’s Richard D. James being the most famous). For his second video with Chris Cunningham, 1999’s “Windowlicker,” they took an even more unsettling turn. (Most of you have seen this video, too, but another warning for those who haven’t: the first four minutes feature more N-bombs than Samuel L. Jackson’s entire filmography).

Prior to the announcement of Syro, the last proper Aphex Twin album was 2001’s Drukqs, a double album that alternated between pretty ambient works performed mostly on a computer-controlled piano and glitchier tracks featuring lots of intricate drum programming and melodic synths. He followed that up in 2003 with a remix compilation with the brilliantly cynical title 26 Mixes for Cash, and a 2005 collection of 42 acid house tracks released under the name Analord (he loves aliases; AFX, Polygon Window, GAK and Bradley Strider are among his others). Then, for the most part, he fell silent.

In the decade since, James has surfaced occasionally, at one point even claiming that he had six completed albums’ worth of Aphex Twin material. He’s rumored to be behind an anonymous glitch group called The Tuss, which released some music on James’s Rephlex label in 2007, but he’s never copped to it. He’s definitely behind an odd release earlier this year under the name Caustic Window—odd because the album, a relatively restrained foray into ambient techno and tech-house, was never really meant to be released. Recorded in 1994 but scrapped after just a test pressing, only a few vinyl copies of Caustic Window ever found their way into circulation, occasionally trading hands for thousands of dollars. Finally, some enterprising fans raised the necessary money to buy a copy and release it digitally (with James’s blessing) via a Kickstarter campaign this past June.

But all this activity aside, Syro is still the first official release of new Aphex Twin material in over a decade, which makes it a Very Big Deal in electronic music circles.

One other interesting thing to note about Richard James is that he’s really into hiding images inside his music—literally. At the end of track two of the Windowlicker EP, “Equation” (or as it’s officially titled, “ΔMi−1 = −αΣn=1NDi[n][Σj∈C[i]Fji[n − 1] +Fexti[n−1]]“), he conceals his trademark creepy grinning visage inside the last few seconds of the track’s spectrogram (which you can see here). And on the 2001 EP 2 Remixes by AFX, what sounds like a bunch of piercing, test-signal high frequencies is actually an SSTV transmission, which can be decoded with the appropriate software into what we’re told is an image of James sitting on a couch, along with some text listing all the software used to make the EP (although we couldn’t find this image online anywhere).

While we’re all anxiously awaiting the arrival of Syro, we’ll leave you with another of Aphex Twin’s greatest weird videos, from a 1995 EP called Donkey Rhubarb. Chris Cunningham did not direct this one, so it’s not quite as artful as “Windowlicker” and “Come to Daddy,” but the Teletubbie-like creatures cavorting around with James’s illustrated face (from the cover of his 1995 album I Care Because You Do) are pretty entertaining. Apparently he brought them out on tour for awhile and used them to mess with the audience before shows. He’s a prankster, that Richard D. James.

In fact, come to think of it, we probably shouldn’t believe he’s releasing a new Aphex Twin album until the day it actually arrives. There’s a good chance he could just be punking us. Or it’ll arrive, but it’ll be in binary code, or embedded in a microchip that can only be played via Apple IIc. Or maybe he’ll drop the only copies out of a blimp. Who knows?

Or, knowing Mr. James and his perverse sense of humor, maybe he’ll pull the ultimate prank on his audiophile fans and only release it via iTunes.

Links:

As promised, GWAR gave Oderus Urungus a proper Viking funeral

Oderus Viking funeral

Another GWAR-B-Q has come and gone and while I’m sure all the bands rocked the fuck out and all, most of the talk has rightly been about Dave Brockie/Oderus and the fact that his GWAR bandmates really did, as promised, give the man a full-on Viking funeral. They put Oderus…or at least the latex monster suit formerly inhabited by Oderus…on a boat, sent it drifting out into the middle of a lake, and set it on fire with a fucking flaming arrow. Best funeral since Hunter S. Thompson? I would say so.

The whole funeral is up on YouTube. Lamb of God’s Randy Blythe delivered an excellent eulogy, and there’s some cool stuff with a girl dressed up like a Valkyrie waving a flaming sword around, but the whole thing is 52 minutes long and we know you people have short attention spans. So here’s the flaming arrow money shot:

Rest in peace, Oderus. Or better yet, rest in chaos and mayhem, because that was always more your scene.

Heiter bis Wolkig

Heiter bis Wolkig

Meet our latest poll winners: Heiter bis Wolkig, self-described purveyors of “weird German cabaret bullshit.” And when it’s German bullshit, you better bring a plunger. That sausage and sauerkraut diet is murder on the ol’ gut pipes, if you catch my drift.

Anyway, we actually don’t know much about these guys, because they didn’t tell us much and nearly everything that’s been written online about them is in German. But hey, Google Translator to the rescue!

Apparently, Heiter bis Wolkig started way back in the ’80s as some kind of college theater art prank. A bunch of schoolmates from Cologne started making parody songs as part of a cabaret night and I guess things kinda just snowballed from there. They even had a sorta-hit in 1992 with a song called “Hey Rote Zora,” a parody of “Here Comes Pippi Longstocking.” If you speak German, I guess it’s fucking hysterical… although even for us non-Germans, the part where it turns into a snot-punk rave-up is pretty fun stuff.

In case you’re wondering, Heiter bis Wolkig either means “Partly Sunny” or “Partly Cloudy” or possibly both those things, because Germans are complicated.

Back in the day, Heiter bis Wolkig was a whole gang, but only two of them, Marco and Micha, have been crazy enough to keep at it into their forties. God bless ‘em, right? Seems like they revived Heiter bis Wolkig in 2012 after a long hiatus with a couple of releases: a “maxi-CD” called Pop Ma$$akker and a single called “Generation D.” No, I don’t know what a maxi-CD is, either. It’s either a CD that doubles as a tampon or it’s what we Americans call an EP or “extended play” release.

Anyway, Heiter bis Wolkig’s new stuff is still super-satirical, but it covers more ground genre-wise. Here they are making fun Lady Gaga-style electro-pop, while running around London in fat suits because I have no idea why:

Actually, maybe “satirical” isn’t the right word for lyrics like “Stupid Gaga music for fucking silly skanks.” How about we just call it put-down pop? That’s catchy, right?

Here they are making fun of pop-punk. Yeah, they’re shooting fish in barrels here, but there’s something ever so slightly off about the whole thing that makes it just downright delightful. Also, they throw in a “fucking motherfucker” madrigal interlude, just cuz. And they’re wearing white jumpsuits that say “ZOMBIEPROOF” on them. Because fans of pop-punk are a bunch of fucking zombies, I guess? I dunno, the fact that half of it makes no sense at all is what makes it work.

And finally, here’s the German version of their Lady Gaga parody, which honestly works even better than the English version. Side note: Back in my skate-punk days, I totally used to own that baseball cap.

So anyway, congrats on winning our poll, Heiter bis Wolkig! We look forward to you shitting on other forms of music us Americans love soon. Maybe dubstep? Dubstep is always a good target.

Links:

Weird of the Day: Erleen Nada, “Psychedelic Spaceship”

Erleen Nada

I don’t know about you, but some of my favorite weird music videos are the ones where you can quite tell if the band is kidding or not. When I first watched “Psychedelic Spaceship” from self-proclaimed “sassy synth master” Erleen Nada, I was sure the whole thing was a big goof. Now I’ve watched it like 10 times, because it’s awesome, and I can’t tell anymore. She’s like the sexy lovechild of Jan Terri and Fred Schneider. Is she really gonna take a ride on a psychedelic spaceship? Is she really infinity? I think maybe she is. Take me with you, Erleen!

For more from Erleen, who’s yet another weirdo from right here in Lost Anjealous, check out her website.

Weird of the Day: Mongolian Nazi pop

O. Ankhaa

OK, this is one of the most batshit things we’ve posed in a long time, and you regular readers know I don’t make such claims lightly. Yesterday we were reading on Dangerous Minds (yeah, we spend way too much time on that blog) about a thing called “Asian Hitler chic,” where kids in Japan, Thailand and other parts of Asia dress up in Nazi garb because I guess they think it looks cool and because, hopefully, they have no idea that the Third Reich was one of the most evil, racist, genocidal empires in all of human history.

Anyway, the whole article is pretty mind-blowing, but for our purposes, the most mind-blowing part came at the end, when the author posted up this Mongolian music video of a dude crooning jazzy pop while dressed in full Gestapo drag, surrounded by swastika banners and comely video vixens. Wait for the part where it suddenly goes into some kind of digital hardcore breakdown and then a fucking Carpenters sample. It’s bonkers.

We tried really hard to dig up more info on the star of this thing, but so far we’ve come up empty. His name seems to be O. Ankhaa and the song is called “Gulug,” but that’s about as far as we’ve gotten. If anyone knows anything else about him, please share.

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