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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 Pisari 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.

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Negativland’s new album “It’s All Your Head” questions the existence of God and comes packaged in an actual Bible. That won’t piss anyone off.

Negativland

When last we heard from our favorite sound collage culture jammers Negativland, they were honoring the spirit of the late Casey Kasem by re-releasing their banned single “U2″ that featured Kasem’s familiar, woolly voice unleashing a profanity-laced tirade. While that was certainly a worthy endeavor, we’re happy to report that their next project promises to be a bit more substantial. On Oct. 28th, they’ll be releasing It’s All in Your Head, their first album of new material in six years. And this time, they’re tackling their heaviest topic yet: why people believe in God.

But wait, because this is Negativland, the fun doesn’t stop there. The CD release of It’s All in Your Head will be packaged inside actual copies of the Holy Bible. The trailer video even promises a limited run of copies packaged inside the Qur’an. So basically, It’s All in Your Head is guaranteed to piss off both the Christian conservative crowd and the Islamic fundamentalist set. It’s equal opportunity blasphemy!

To be fair, nothing in the trailer or press release suggests that Negativland are actually doing anything especially blasphemous. They’re simply using religious texts as found-art objects, and questioning the existence of, and our belief in, a single, all-powerful deity—which is not the same thing as denying the existence of said deity, a finer point that’s often lost on the zealots. Which is why we’re predicting this will probably be Negativland’s most-discussed release since their 1995 book/CD project Fair Use: The Story of the Letter U and the Numeral 2, which they put out in response to the Casey Kasem/U2 dustup.

Anyway, It’s All in Your Head promises, according to a press release, to combine “found music, found sound, found dialogue, guest personalities and original electronic noises into a compelling and thoughtful musical essay that looks at monotheism, Christianity, Islam, Judaism, neuroscience, suicide bombers, 9/11, colas, war, shaved chimps, and the all-important role played by the human brain in our beliefs.” Portions of the record were made in front of a blindfolded studio audience. Other portions were probably just taped off Christian right-wing radio. Which parts are which? We bet you can figure it out. You’re a smart bunch.

Here’s the video trailer. Enjoy! Oh and if you happen to be in Portland on Aug. 29th or Seattle on Aug. 31st, you can catch Negativland’s new show, “Content!”, at the Crystal Ballroom and Bumbershoot, respectively.

Petunia-Liebling MacPumpkin wakes up the “House Plants” in her new video

Petunia-Liebling MacPumpkin

The sixth video from Petunia-Liebling MacPumpkin‘s Residents-channeling opus Fish Drive Edsels is a pretty literal interpretation of the song “House Plants.” Fortunately, MacPumpkin’s lyrics are so random that even a literal interpretation leads to some bizarre imagery.

There are plants with eyeballs for fruit and hungry, gaping mouths. (Feed me, Seymour!) There’s an angry frozen octopus and lots of hourglasses, because the song mentions something about “undermation of the hourglass,” whatever that means. Above all, there’s lots of Petunia singing into a megaphone and hanging out in her attic with her house plants, whom she tries to wake up, but never too soon—never too soon.

MacPumpkin is working her way through Fish Drive Edsels one track at a time, creating surreal videos for each of her cracked-calliope tunes. Next up is a song called “Autumn Leaves”—hey, just in time for autumn! I predict this one will feature lots of dead leaves and maybe a jack-o-lantern or two.

Computer Jesus Refrigerator’s new video “Rang Zulu” just premiered on Adult Swim

Computer Jesus Refrigerator

It makes us so proud when obscure weird bands we blog about go on to bigger and better things. The latest weirdo to escape Internet obscurity for a taste of the big time is one-man Texas glitch tornado (glitchnado?) Computer Jesus Refrigerator, whose latest video “Rang Zulu” apparently had its premiere on Adult Swim this past week. I say “apparently” because we didn’t actually see it, but we’ll take CJR main man KOKOFREAKBEAN’s word for it.

Now that Adult Swim’s gotten their fancy premiere out of the way, the video is available on YouTube for non-stoned people to enjoy during daylight hours. Like all Computer Jesus creations, most of it looks like two Windows 95 screensavers making sweet, sweet love after candy flipping—but stick around for the Aztec human sacrifice, and for the ending, which features an army of ghost warriors invading what appears to be the dumpster alley behind a San Antonio supermarket, before they’re all sucked Ghostbusters-style into a little red jewelry box. To be continued? We can only hope.

Weird of the Day: Human Fluid Rot, “Kid Songs”

Human Fluid Rot

So this morning we got a very polite email from a guy from Florida named Robbie Brantley, asking us to check out his band Human Fluid Rot. “Good day to you all,” the email read in part. “I hope you find my project interesting enough to put on your site.” Who says “Good day to you all” anymore? Even with a name like Human Fluid Rot, we were half expecting a chap-hop project.

Happily, however, it turns out that Robbie’s politeness ends with his emails. Musically, he’s as rude as they come, unleashing the kind of shrieking feedback noise assault that clears rooms and busts eardrums. And occasionally, he creates it while taking a dump. He’s our kind of guy, that Robbie.

Anyway, here’s Robbie’s latest sonic stinkbomb, 45 minutes of static and despair called “Kid Songs.” It’s a great way to start your week!

To find out more about Human Fluid Rot, visit their Facebook page.

Weird of the Day: Moebius Neumeier Engler, “Anabolica”

Moebius Neumeier Engler

We were catching up over the weekend on some old shows by our friend Bepi Crespan, CiTR-FM Vancouver’s leading weird music deejay, and were immediately intrigued by the playful electronic soundscapes of Moebius Neumeier Engler, an improvised collaboration between pioneering German/Swiss electronic music composer Dieter Moebius, jazz/krautrock drummer Mani Neumeier and industrial rock icon Jürgen Engler of Die Krupps. Unfortunately, you can only hear snippets online of their brand-new album, Another Other Places, but its 1996 predecessor, Other Places, has a few tracks streaming on YouTube. Here’s one of the more ominous numbers, a mix of industrial stomp and swarm-of-bees synths called “Anabolica”:

For more on Moebius Neumeier Engler, visit their label site, Bureau B.

Weird of the Day: The Godz, “Contact High with the Godz”

The Godz

We rarely post entire album streams on this site, for a variety of reasons: a.) Most of the full album streams on YouTube are of questionable provenance, and we don’t wanna get sued; b.) We have very short attention spans; and c.) Most albums are, let’s face it, not compelling enough to listen to from beginning to end. But The Godz’s 1966 debut, Contact High with the Godz, is too amazing not to share in its entirety. So with apologies to the great ESP-Disk label, which reissues all sorts of great half-forgotten freakery from the ’60s (including the tribal noise pioneers Cromagnon), we present Contact High with the Godz in all its glory. Enjoy!

A bit of backstory as you listen: The Godz emerged from the same underground New York folk-rock scene as The Fugs. They went on to release three more albums before breaking up in 1973, although they did reunite a few times in recent years. As the ESP-Disk website says, “There was no precedent for what they did. The weirdest and most far-out bands around at that time were the Monks and the Mothers of Invention. The first albums of the Velvet Underground, the Stooges, and the Grateful Dead all lay in the future.” They also pre-dated Cromagnon and The Shaggs by several years. So whatever you want to call what they’re doing—freak folk, psych-folk, avant noise-rock, proto-punk—they were pretty much inventing it out of whole cloth.

A tip of the hat to reader Lowell Brams for suggesting we do a Godz post. Lowell, incidentally, runs a fantastic label called Asthmatic Kitty that many of you are probably familiar with. If you’re not familiar, please check them out.  The new My Brightest Diamond video is especially stunning (not in a weird way, just in a lovely way—think of it as a palette-cleanser after 25 minutes of Godz).

Weird of the Day: Viranesir, “Not Alone”

Viranesir

I don’t think we’ve ever featured any music from Turkey on this blog. That’s fucked up. I went to Turkey once and it was awesome. So let’s get them in on the weirdo action right now.

This Viranesir project is the work of a guy named Emir Toğrul and it’s basically a cross between noise rock and doom metal, but played entirely on drums and synthesizers. It’s like listening to Wolf Eyes on acid. Here’s the video for “Not Alone,” the lead track off the project’s third album, Shoot On Mom’s Corpse. Which is like the greatest album title ever, until you find out Viranesir’s previous album was called Kill Your Repulsive Child, which is ever greater.

Shout-out to Merdümgiriz, who is both the insanely chaotic drummer for Viranesir and the guy who emailed this project to us. Not sure how you found us, Merdümgiriz, but I’m glad you did.

You can stream Shoot On Mom’s Corpse on Bandcamp or better yet, buy the damn thing. It’s only $4 to download the whole 49-minute album. I’m pretty sure it’s worth at least that much just to have the title Shoot On Mom’s Corpse show up in your iTunes occasionally.

Weird of the Day: Nautical Almanac

Nautical Almanac

When they’re not heading up their experimental noise project, Nautical Almanac, Twig Harper and Carly Ptak (that’s them in the above photo) run Be Free Floating, a Baltimore company that puts people in those sensory deprivation tanks. Which is ironic, because their music—and some might take exception with calling it “music”—is kind of sensory overload. Weird vocals and noises made on homemade synthesizers scud along the surface of a thick stew of arrhythmic percussion and guitar feedback that doesn’t so much overwhelm you as totally disorient you. After listening to a few hours of it, you could probably use some time in a sensory deprivation tank just to decompress.

Reader The ∞ NSA sent us this clip of a half-hour performance by Harper, Ptak and a third guy (possibly Max Eisenberg?) from back in 2005, which seems to be the last time they released any new music. Since then, Harper’s done some solo stuff and Ptak has gotten into photography. And of course, they help people float. Wish they had an L.A. branch, because I just had a long-ass week.

Most of Nautical Almanac’s catalog is pretty obscure, but they do have one album, Rooting for Microbes, available on Amazon.com.

Weird of the Day: Hans Reichel and his daxophone

Today’s weirdness comes to use from reader Jake (not to be confused with TWBITW co-founder Jake, who’s passed out under my desk as I type this). It’s a piece of music featuring a unique and not nearly famous enough instrument called the daxophone, performed by its inventor, a German luthier named Hans Reichel. It sounds a bit like a ballet for frogs, and every time we play it, we can’t stop laughing.

The daxophone works with a combination of contact microphones and friction: a thin piece of wood gets attached to a tripod, and from there, the musician uses a thicker block of wood and a violin bow to change the vibrational frequency of the wooden blade. Think of it as the overachieving offspring of a musical saw and a lap steel guitar. Different blade shapes also produce different tones, and Reichel produced dozens of them, all of which stand as beautiful artworks unto themselves.

Reichel passed away in 2011 at the age of 62, but his daxophone lives on; although he never mass-produced the instrument, he made the plans for it available for free on his website (in the downloads section), so other woodworkers and instrument makers could make their own versions of it.

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