Category Archives: Band of the Week

Weird Band of the Week: Reynols

Reynols

To our South American readers: ¡Hola! How’s it hanging? Except for Brazil, we’ve kinda ignored you guys, and for that, we are sorry. You have your fair share of weirdos, too…starting with Argentina’s Reynols.

Reynols was started in 1993 by a drummer with Down syndrome named Miguel Tomasin and his two music teachers, Alan Courtis and Roberto Conlazo. They also had a fourth member named Christian Dergarabedian early on, and at some point Roberto’s brother Patricio got involved, so most photos and videos of the band show four members. According to Courtis and Conlazo, Tomasin introduced himself to them by saying, “Hello, I’m the world’s most famous drummer.” And the rest, as they say, is history.

Inspired by Tomasin’s unique way of looking at the world, Reynols make music that most people probably wouldn’t consider music. Their first album, Hydrogenated Vegetable Fat (Gordura vegetal Hidrogenada), was a “dematerialized CD,” which is another way of saying that it was sold as an empty CD case with nothing in it. Because it doesn’t exist, Courtis and Conlazo explain, it’s everywhere. “Everybody has that record, even people who haven’t been born yet,” Courtis told one interviewer. “Napoleon has that record, Plato has the record, Jim Morrison has the record.”

They’ve also released Chickens Symphony for 10,000, a field recording done inside a chicken coop, and Blank Tapes, an album consisting entirely of tape hiss, from tapes the band claims they collected from all over the world. “The cheap tapes sound better than the expensive ones,” says Conlazo. “TTK tapes from Singapore. Maxwell tapes (not Maxell!) from Taiwan. The idea was to use all the possibilities, a lot of different frequencies.”

They’ve also made “music” based on the sound of banging things against the Eiffel Tower and gravestones of famous people. “They’re all very different. For example the Oscar Wilde statue sounds incredible. We played it with roses. We use different things to play each grave.”

When they make music in a more conventional band configuration, it’s still pretty weird, especially because Tomasin does all the vocals, wailing in a made-up language about a parallel universe called Minecxio. His bandmates accompany him with detuned guitars, effects pedals, feedback and the occasion ram’s horn. It’s trippy and noisy. But mostly noisy.

Weird though they may be, Reynols was a pretty successful cult band for about a decade, releasing a ton of records on labels from all over the world. They toured the U.S and Europe at least once, although Tomasin couldn’t travel with them to Europe for reasons that are unclear, so they brought along a big yellow poster of his face instead.

Oh, and they were also once nearly arrested for a street performance in which they played guitars plugged into pumpkins. Pumpkins don’t actually make very good amps, so the guitars didn’t make much noise, but apparently the authorities felt that the performance was “setting a bad example for the tourists.”

In 2004, Reynols announced they were breaking up. Since then, Alan Courtis has released tons more experimental music on his own, while Miguel Tomasin and Rob Conlazo have continued to work together occasionally, but seem to be much less active. Someone made a documentary about them in 2004 called Buscando a Reynols, but as far as we can tell, that was pretty much the last time anyone’s done anything to document the group or its members.

We’ll leave you with a live recording of Reynols in Chicago from 2001, which someone was kind enough to upload so posterity could hear how completely batshit these guys were. If anyone knows more about the Reynols story post-2004, let us know and we’ll update this post. Oh, and many thanks to reader MrAgalloch, who suggested we take the plunge down the Reynols rabbit hole.

Links:

  • Reynols interview from Paris Transatlantic, March 2003
  • Reynols interview from Furious.com, updated Jan. 2004 with announcement that “Reynols’ life-cycle has come to its natural end”

Nozinja

Nozinja

We’re back! Sorry we’ve been away for so long. It’s coming up on six years since we’ve been doing this blog and I’m not gonna lie to you: There was awhile there when we were both seriously considering calling it quits. I mean, how many more weird bands can there really be out there? A shit-ton, I’m sure, but we’ve officially reached the point where 99.9% of the emails and comments we get are for shit that’s fucking awful and/or not that weird. So separating the cream from the curdle has actually gotten more difficult as our audience has grown. I know, I know…boo-fucking-hoo, right? At least our audience has grown, so we must be doing something right. Right?

Anyway, starting this week, I solemnly swear that I will post a new weird band every week again, just like the good old days. Andy will pitch in too, sometimes, but he’s got a fancy new job that pays him to go hang out at Coachella and shit, so he won’t be around as much. But your old Uncle Jake here is gonna start driving this blog like a stolen Ferrari again…at least on the weekends.

So to get us back in the swing of things, I figured some good party music was in order. So allow me to present to you Nozinja, inventor of a whole new genre of music called Shangaan electro that is like dance music for hummingbirds. Seriously, I’m winded just listening to this stuff.

Nozinja, whose real name is Richard Mthetwa, is from a part of South Africa called Limpopo, which is a long-ass way from Cape Town, home base of our other favorite South African oddballs, Die Antwoord. Limpopo is in the far northeast of South Africa, next to Botswana and Zimbabwe, and it’s mostly rural and dirt-poor. Among the many native peoples living there is a group called the Shangaans, who are known for the xibelani dance, an insanely fast dance that kind of looks like a cross between a hula dance and twerking. Shangaan electro, pioneered by Nozinja and other local musicians, basically took the rhythms of the xibelani dance, sped them up even more, and replaced traditional drums and other instruments with lo-fi synths and drum machines. And presto! A crazy new dance music genre was born.

Shangaan electro is so great, it probably would’ve gone worldwide eventually. But Nozinja sure helped jump-start that process. Using the money he’d earned from running a chain of cell phone repair shops, the budding Dr. Dre of Limpopo went all-in on a home recording studio and began cranking this stuff out. He even made a few goofy, low-budget videos that are all the more awesome because, against all the screen-saver graphics and random shots of backup singers dancing in what we assume is his front yard, Nozinja’s still sporting his cell phone repair shop owner wardrobe. He looks like he wandered in from a Ross Dress for Less ad, but he’s still got more swag that a thousand shitty gangsta rappers.

Such brilliance couldn’t remain undiscovered for long…and sure enough, Nozinja signed to Warped fuckin’ Records in 2014. Yes, that Warp Records, home to Flying Lotus and Aphex Twin. Not surprisingly, in his first video for Warp, “Tsekeleke,” he’s sporting a much more stylin’ wardrobe.

Nozinja’s debut full-length album, Nozinja Lodge, comes out on Warp on June 2nd. We cannot fucking wait. We’re gonna strap on our xibelani skirts and dance to that shit like hummingbirds.

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Puddles Pity Party

Puddles Pity Party

Do clowns freak you out a little? Yeah, me too. Which is why seeing Puddles Pity Party, starring a hulking, unspeaking clown named Puddles, definitely made me uneasy. But I powered through. I’m just glad I wasn’t one of the several audience members he tormented throughout the show—including one guy in particular who was clearly freaked out by clowns. Man, Puddles really went for the jugular with that poor bastard. He’s like a cat who picks out the most allergic person in the room and curls up in their lap, purring happily.

Puddles is the creation of a six-foot-eight singer from Atlanta named Michael Geier, who used to be part of an all-clown band called Greasepaint. When Greasepaint went their separate ways, he took Puddles solo, rebranding himself as the “Sad Clown With the Golden Voice,” singing covers of pop songs in a mock-operatic style that contrasted sharply with his white facepaint and hulking frame. His most famous song is a cover of Lorde’s “Royals” that you’ve probably seen by now:

But that track just scratches the surface of Puddles’ repertoire. He also does a mean Leonard Cohen:

And here, perhaps most impressively, he mashes up Celine Dion and Metallica:

That’s his assistant, Monkey Zuma, in that last video. For some reason, when I saw Puddles here in L.A. at the Troubadour, Zuma was not in attendance. Maybe she got sick of being paid in bananas.

Anyway, if you’re not too scared of clowns, I highly recommend treating yourself to the epic sing-a-thon that is Puddles Pity Party. Just be warned: This is one clown that likes to get into the faces of his audience. Especially the ones who look like they might be scared of clowns.

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Spookey Ruben

Spookey Ruben

If there was any justice in the world, Toronto’s Spookey Ruben would’ve become a weirdo superstar in the mid-’90s, around the same time it was actually still possible for eccentric bands like Primus and Ween to sell millions of records and gain some mainstream recognition for their offbeat brilliance. Ruben came on the scene with a similarly brilliant debut album in 1995 called Modes of Transportation Vol. 1 that should’ve achieved Chocolate and Cheese-level notoriety. But the album came out on the crap-tastic TVT Records, a label that has screwed up the careers of everyone from Nine Inch Nails to Lil Jon over the years, and that was apparently no less kind to Ruben. For reasons we haven’t been able to discern, they decided to release his second album, Modes of Transportation Vol. 2, only in Japan, which had the not surprisingly effect of causing him to drop off most folks’ radar everywhere except Japan. Well-played, TVT.

Fortunately, Ruben has persisted, continuing to release new music through his own label, Hi-Hat Recordings. He even managed to get back the rights to all (or at least most) of his old TVT material, and has plans to do a 20th anniversary reissue of Modes Vol. 1 later this year, along with a new album called Modes III that he just successfully funded via Indiegogo.

Ruben got his start playing guitar in D.C. area punk and metal bands as a teenager, before moving to Toronto to go to film school. His hardcore roots occasionally surface in his solo stuff, especially when he lets rip on the occasional shred-tastic guitar solo, but mostly his music exists on a folk/pop/psych-rock axis somewhere between Ween and XTC. It’s catchy and polished, but always takes unexpected twists and turns, either with goofy lyrics, cartoon sound effects, unexpected stylistic shifts, or even just in the way Ruben’s melodies often cut against the grain of his chord progressions, making tunes that are at once bright and oddly dissonant, like Beach Boys songs heard from a passing train.

Last year, Ruben took time out from his solo work to front a power-pop band called AAA Battery. They did a song called “Jenna” that’s not really that weird, but the video is fun.

He’s also been putting that film school experience to good use with Spookey Ruben’s Dizzy Playground, a comedic short film series that has guest-starred folks like Ariel Pink and Feist. They’re all pretty hysterical, but our personal favorite is “Natural Born Grannies.”

We’ll leave you with two videos from Modes of Transportation Vol. 1. First up: his catchy, keytar-fueled ode to fast food, “Wendy McDonald.” Bet this is Zayde Buti’s favorite Spookey Ruben song. Don’t stop watching before the xylophone solo or you’ll miss out.

Next: The song and video that’s probably Ruben’s masterpiece, “These Days Are Old.” Remember, before you judge: Everybody in the mid-’90s had bad hair.

Many thanks to Sarah Dukakis at Hi-Hat for sharing Spookey with us.

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Harmony Bay

Harmony Bay

While we were away, an old reader called Sick Nick resurfaced and alerted us to the existence of this duo from the Czech Republic called Harmony Bay, which sounds like the name of a company that makes aromatherapy gift baskets but, in this case, is actually a couple of guys who make crazy, spazzy experimental comedy metal that sounds sort of like a cross between Naked City, Pryapisme and Mr. Bungle. Who knows, maybe the scent of their matching black and multi-colored suits has aromatherapeutic properties, but we suspect it just smells like a couple of sweaty Czech guys.

Anyway, their music is truly something special: cartoonish but also extremely technical, headbanging and hilarious. We have no idea what the songs are about, since they’re all in Czech, but we assume the lyrics are as surreal as the music.

You can hear a whole bunch of their tunes on this Czech website called Bandzone, but to get a complete earful and eyeful of Harmony Bay insanity, look no further than the video Sick Nick shared with us, “Palindrom lučního koníka.” Oh my god, the vocals alone. These guys are amazing.

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Rockbitch

Rockbitch

We get a lot of submissions from bands that like to perform in various states of undress, up to and including full genital exposure. It will not surprise you to learn that 99% of these bands are dudes. Guys love whipping it out in public, and doing so in the name of rock ‘n’ roll stopped being a transgressive act a long time ago. When Blink-182 does something, it’s officially no longer any big shakes.

For women, it’s different. Thanks to our society’s inherent sexism and double standards, female sexuality is still taboo in ways that male sexuality is not. So the fact that a band like Rockbitch ever existed is a fairly remarkable thing.

Rockbitch was a British hard rock group that emerged from the ashes of another band called Red Abyss. From the start, Red Abyss embodied many of the same principles that later came to characterize Rockbitch: It was female fronted (though the drummer, and occasionally other members of the revolving lineup, were men), communal and sex-positive. But compared to Rockbitch, Red Abyss’s lyrics and stage show were comparatively tame: “We were hiding our lifestyle behind a facade,” reads the band’s official bio, written by their guitarist, Lisa “Babe” Wills, “self-censoring our natural behaviour.”

Part of the problem was that, while fans and promoters encouraged and even rewarded outrageous behavior by male rock bands, they tended to frown upon similar antics coming from the ladies of Red Abyss. “Male bands with whom we were sharing a stage would perform screaming out their fake rebellious bullshit about sex and satan — then insult us to our faces saying that we shouldn’t be fucking all those men and women in our dressing rooms, and did our parents know how we behaved?”

Red Abyss also encountered straight-up sexism at every turn: booking agents refusing to deal with their female manager, male sound guys and venue employees assuming they didn’t know how to play their instruments or outright sabotaging their sets, venue owners insisting on handing the money to a male roadie rather than to a female band member. “We were, bluntly, being treated like shit.” This happened, by the way, wasn’t happening in some pre–women’s lib Mad Men past. This was in the ’90s.

Eventually, the women of Red Abyss had had enough. They became the darker, heavier, more sexually aggressive beast called Rockbitch.

For a few years, up until they disbanded in 2002, Rockbitch was probably the raunchiest band on the planet. Many of the band members performed naked, or nearly so. Songs like “Fistfuck” would be acted out onstage. During every show, they’d toss a “Golden Condom” into the audience and invite whoever caught it, male or female, to come backstage and fuck several members of the band. (“Babe” Wills liked to point out that, of everyone who ever caught the Golden Condom, the only ones who would chicken out were the men, some of whom apparently assumed it was a joke. Rockbitch’s in-your-face female sexuality was, and still is, highly intimidating to many men. Including, we must admit, us.)

None of this was done for shock value, at least not primarily. As outlined in various essays and manifestos on the band’s website, Rockbitch’s mission was to destigmatize female sexuality and sex in general. And hard rock seemed like the perfect vehicle for doing so. “When a woman can’t even strip to the waist and play a bitching, head-down guitar riff, have her lead singer fuck her with a strap-on whilst a stage surfer licks her feet without authorities wanting to ban over 18’s from coming to see it — well, what has the world of rock and rebellion come to!?” their website playfully asks. (And no, that’s not an exaggerated description of their live show.)

By 2000, Rockbitch’s lineup had become all-female: founder/matriarch Amanda “The Bitch” Smith-Skinner on fretless bass, Julie Worland on vocals, Lisa “Babe” Wills on lead guitar, Luci the “Stage Slut” on rhythm guitar, Nikki Fay on keyboards and Jo Heeley on drums, plus two or three “Sex Magick Priestesses” who danced and facilitated some of the sexual rituals. The band’s former lead guitarist, Tony “The Beast,” stayed on as the band’s manager and producer — no doubt in part to run occasional interference with sexist bookers and venue owners.

Musically, the band played theatrical, heavy rock, highlighted by Worland’s operatic vocals, The Bitch’s fluid, often funky basslines and Babe’s scorching guitar. Here’s a good example, a track called “Sex & The Devil” that also happens to features a weirdly witchy video, with the Rockbitches cavorting half-naked in the forest:

As you probably got from that video, besides all the sexual themes and imagery, an element of paganism runs through Rockbitch’s music and philosophy — though Babe is quick to point out on the band’s website that they are neither Wiccans nor Satanists. As best as we understand it — and I admit, as a couple of uptight dudes in monogamous relationships, our understanding is probably shaky — they celebrate sex itself as sacred, particularly the acts of cunnilingus and vaginal penetration, which they describe as forms of “cunt worship,” the vagina being the source of all human life and therefore the most sacred component of human sexuality. This worship/celebration of sex extends, paganistically, to the worship of nature in general; although their website stops short of describing many of the group’s offstage rituals, or explaining the full meaning of their many onstage ones (“we are intensely private people,” Babe explains in her “brief and grudging account of part of our belief system”), their are a few photographs showing things like an “earth-fucking ritual” and a “serpent initiation ritual,” suggesting that the cult of Rockbitch is a fairly elaborate one that extends far beyond just the music and sex acts.

Perhaps not surprisingly, the authorities tended to lose their shit over Rockbitch. The band was banned from performing at many venues, and their music and album artwork was heavily censored in many countries. It’s not clear what role if any this played in the band’s eventual breakup. but it couldn’t have been easy for the women to tour or get distribution for their music.

Rockbitch only released one studio album, 1999’s Motor Driven Bimbo, plus a live album, Rockbitch Live in Amsterdam; during their brief run, the Netherlands seemed to have been one of the few countries where the band was able to tour on a regular basis. A second album, Psychic Attack, was never officially released but has been widely bootlegged and can be found on various torrent sites. Motor Driven Bimbo is out of print, but copies occasionally surface on Amazon and elsewhere, often selling for $100 or more.

Post-Rockbitch, the band’s full lineup resurfaced in a clothed, less theatrical incarnation called MT-TV. But that group soon disbanded, as well. Amanda Smith-Skinner and Jo Heeley later teamed up with singer-songwriter Erin Bennett to form another all-female band called Syren, but tragically, that group dissolved after Heeley died of breast cancer in 2012. Other former Rockbitch members have, as far as we’ve been able to tell, retired from making music — though according to their Facebook page, they still live and work together as a commune.

We’ve known about Rockbitch for years, but were reluctant at first to add them to the Weird List because to do so seemed sexist. So it was a bunch of women with guitars and their tits out — so what? A bunch of men doing the same thing would be met nowadays with a collective shrug. To add them to our compendium of extreme music felt like yet another example of the very double standard in music that Rockbitch railed against.

But as well researched the band further (while our wives were at work), we decided that regardless of their gender, Rockbitch were truly unique. No other band in history, male, female or coed, ever randomized the groupie selection process as radically as Rockbitch did with their Golden Condom, or made oral sex and vaginal penetration such a routine part of their stage show. Rockbitch incorporated sex into rock ‘n’ roll performance in a way that’s never been done before or since. And as powerful, liberated women, they made that sex a political act. A Rockbitch show was a rock concert, neopagan ritual and radical feminist performance-art piece all in one. And lots of people got laid. That’s the truly awesome kind of weirdness this blog was designed to celebrate.

We’ll leave you one more video, for a track from Psychic Attack called “Breathe.” This appears to be a fan-made mashup of strange naked zombie go-go dance animation and video from one of several concert documentaries made about the band, probably 2002’s Sex, Death and Magick (which, if you’re so inclined, and are over 18, you can watch in full on YouTube).

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BiS Kaidan

BiS Kaidan

Ever since we added Babymetal and their J-pop-meets-death-metal steez to the Weird List earlier this year, a bunch of you have written in to point out that actually, Babymetal aren’t even the most extreme example of adorable headbanging Japan has to offer. For truly insane idol-meets-noise Japanese weirdness, we have to go to a short-lived project called BiS Kaidan.

BiS Kaidan was a collaboration between an idol J-pop girl group called BiS (short for “Brand-new Idol Society”) and the veteran noise band Hijōkaidan, who have been churning abrasive noise collages like this one since the late ’70s, occasionally accompanied live by smashing up equipment, pissing onstage and throwing garbage at the audience. (Japanese noise bands, in case you’re not familiar, do not fuck around. The Gerogerigegege used to jerk off onstage and eat each other’s shit, and an early version of the Boredoms called Hanatarash, during one show, once took out the back wall of the theater with a backhoe.) BiS already had a bit a bad-girl rep for mixing hard-rock guitars into their music and making music videos like this one:

So it was a match made in heaven. Or hell, depending on your tolerance level for listening to the dog-whistle shrieks of Japanese girls over guitar feedback and caffeinated punk-pop.

BiS Kaidan were only active for about two years, from late 2012 until this past May. Shortly after they disbanded, BiS broke up, as well, in a move that’s pretty typical of idol groups, I guess, since hardly any of them stay together once the members exit their teens. Wish somebody would tell American and British teeny-bopper groups about this tradition. I saw Take That on The Graham Norton Show the other night and those guys are definitely way past their expiration date.

During their brief run, BiS Kaidan played a few shows that, based on the YouTube videos we’ve seen, look like a cross between a GWAR concert and a pillow fight at a Japanese girls’ boarding school. Aborable and horrifying. Adorifying!

While the BiS ladies were wreaking havoc with Hijōkaidan, they were continuing to produce their own, increasingly out-there music and videos. We’ll leave you with “STUPiG,” which is like some kind of cyber-horror cross between Dir En Grey and Lady Gaga set to the most headache-inducing hardstyle EDM you’ve ever heard blasting from a Honda Civic with a street racing spoiler. Not even Miley Cyrus went this scorched-earth on her cutesy teen-pop roots.

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Mac Sabbath

Mac Sabbath

Every once in awhile, a new weird band comes along with a concept that is so completely fucking brilliant, you can’t believe no one else thought of it sooner. That was the reaction we first had when a friend of ours here in L.A. invited us to see a McDonald’s-themed Black Sabbath cover band called…wait for it…Mac Sabbath! Genius, right?

It was so genius that we were sure they must suck…no idea could be that clever and well-executed. Turns out we needn’t have worried. You’re in good, puffy clown hands with Mac Sabbath…those hands belonging to one Mike Odd, the same twisted visionary behind another of our favorite weird local bands, Rosemary’s Billygoat. (Officially, Mike Odd is just Mac Sabbath’s manager. But let’s just say that must be Mike’s brother under the “Ronald Osbourne” makeup, because the resemblance is uncanny.)

We were apparently fortunate enough, by pure dumb luck, to attend Mac Sabbath’s first-ever live performance (blurry photographic evidence below) back in July and it was fucking amazing. Hamburglar came out first, tossing hamburgers at the audience as he took his place behind the drum kit. Then came the guitar player, Mayor Slayer McCheese, horns protruding from his cheeseburger mouth like he just ate a whole steer. Then came Grimace, and of COURSE Grimace plays the fucking bass. Most bass players have a little Grimace in them. If you painted my high school garage band’s bass player purple, he’d basically be Grimace with slightly more hair.

Ronald Mc…sorry, Osbourne, came out sporting red and yellow fringed sleeves and took up position behind a mic stand shaped like a giant milkshake straw. The band launched into “Sweet Beef” and the rewritten Sabbath songs just got more ridiculous from there: “Frying Pan” instead of “Iron Man,” “Pair-a-buns” instead of “Paranoid,” you get the idea. I’m pretty sure “Rat Salad” is still just “Rat Salad,” though.

The highlight came when Ronald reached into his takeout bag, pulled out a hamburger with bat wings, and took a massive bite out of it. Or maybe the highlight was when he started using a giant straw to sneak slurps of audience members’ drinks. Or maybe the highlight was just watching Grimace play the bass. Seriously, I could not get over that part.

I’ll leave you with a live video of the band performing “Frying Pan,” complete with subtitles so you can appreciate the full hilarity of what Mike Odd and company have aptly dubbed “Drive Thru Metal.” Supersize me, Mac Sabbath!

Oh and here’s our bragging-rights photo of their very first performance:

Mac Sabbath at Bergamot Station

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Thomas Truax

This photo by Andrew Werner; banner photo by Chris Saunders

This photo by Andrew Werner; banner photo by Chris Saunders

We’re back! Did you miss us? We promise to resume regularly posting Weird Bands of the Week and occasionally updating our Weird 100 chart, but other site updates will probably be more infrequent because we’ve both got demanding day jobs now. For our ever-popular Weird of the Day picks, follow us on Twitter or Facebook. And now, back to the weirdness…

This week’s “band” is a solo artist from New York named Thomas Truax (pronounced “True-Ax”) who plays guitar and a variety of homemade instruments, mostly of the beat-making variety. He started out as the bassist/vocalist for a ’90s trio called Like Wow that was part of downtown Manhattan’s “antifolk” scene (did anyone actually like the term “antifolk”? didn’t think so), then turned solo around 2000 or so. His signature instrument, seen above, is called the Hornicator. It’s a modified gramophone horn that he can both sing into and use as a twangy percussion instrument by plucking a string wrapped around its neck. It apparently also has a kazoo inside it, because really, any halfway decent homemade instrument may as well include a kazoo.

Musically, Truax tends to play his own spin on mutant, lo-fi blues, evoking shades of everything from Nick Cave to Jon Spencer to another weird artist famous for cleverly constructed analog drum machines, Mr. Quintron. He’s done an entire album of songs from David Lynch films and another of original songs to accompany a production of Henrik Ibsen’s Peer Gynt. More recently, he’s teamed up with ex-Dresden Doll drummer Brian Viglione. But it’s his solo live shows, where he unleashes his Hornicator and a variety of steampunky percussion instruments with evocative names like the Sister Spinster and the Mother Superior, that really showcase Truax’s weirdness.

Truax has also made more than his fair share of memorable music videos over the years. Here’s our favorite, suggested by reader Chas (thanks, Chas!), for a typically offbeat Truax original called “Prove It to My Daughter” that doubles as both a song and a hypnosis session:

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Space Alien Donald

Space Alien Donald

One of the weirdest music and art venues in the world is in, of all places, Phoenix, Arizona. There, the self-described “world’s oldest gay Canadian rapper,” Space Alien Donald, does shows and hosts art exhibits in a little house near the airport called Funny World. We hope to visit soon, because it sounds like the kind of place that The Man could shut down at any moment. Especially in a place like Arizona, where anyone suspected of being an alien is just one broken taillight away from getting deported.

Actually, when Space Alien Donald bought Funny World in 2011, he was apparently told by the city that it would be torn down in six months to make way for a parking lot. But three years later, it’s still there. Even in Arizona, the weirdos are winning.

How did a 70-something gay Canadian rapper wind up hosting semi-legal punk shows in his house in Phoenix? We’re a little hazy on the specifics, but according to this article in something called the Downtown Devil, the man born Donald Roth moved to the U.S. from Ontario in the ’60s to work in electronics. After working in Silicon Valley, where he faked his school records to get jobs, he eventually settled in Prescott, a small city north of Phoenix, where he began developing his sci-fi inspired alter ego, Space Alien Donald.

Donald calls himself a rapper, but that’s not quite accurate. He really just kind of sing-speaks lyrics about science, astronomy, aliens and one of his favorite topics, a hypothetical particle called the tachyon that, like many things in Space Alien Donald songs, may be legit science or may be a bunch of pseudo-scientific hooey. He does this over synth backing tracks that sometimes are just the preset beats and chord progressions built into cheap electronic keyboards. So basically, he’s like nerdcore meets Mission Man meets a less schizophrenic Wesley Willis. Only older and more Canadian.

Donald just released his latest album, Must Be Funny, on Related Records. It’s got songs about how aliens built the moon and it has penises on the cover and it’s awesome. You can stream the whole thing over on Bandcamp and buy it for five bucks if you’re awesome, too. Here’s one of our favorite tracks:

To get more of the full Space Alien Donald story, this documentary, made by one of the residents of Funny World (yeah, people live there, too), tells you all you need to know:

Big thanks to Kai of Toxic Chicken for introducing us to Space Alien Donald’s weirdness.

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