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Weird Band of the Week: 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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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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Shibboleth

Shibboleth

So our last Weird Band Poll™ got a little…contentious, let’s say. In the end, L.A.Drones! won by a pretty wide margin, but not before freaking out and accusing this week’s weird band, Shibboleth, of cheating. To which we say: Maybe they did, maybe they didn’t. We’re not high-tech enough to track every last vote. We believe in the honor system.

But however they got all their votes, Shibboleth deserve an “A” for effort and a belated, runner-up shout-out as our Weird Band of the Week. In most months, they would’ve won the poll. Not because our polls are that easy to game…more just because it doesn’t take all that many votes to win one.

So who or what is Shibboleth? Actually, we’re still not sure. We know they’re from Ireland, there seems to be three of them, and one of them is named Jonathan. We know one of them plays a banjo. We know they like to wear masks and weird sunglasses. We know they have a four-song EP called Farewell and they followed that up just a few weeks ago with a new song called “Crooked Frame.” We think the other two guys might be named John and Joshua. And that’s about it, really. Like a lot of good weird bands that haven’t been around long, they’re a bit shrouded in mystery.

Musically, Shibboleth veer between creepy, ambient doom-rock and full-blown, guitar-bashing noise. Throw in that banjo and some backwards vocals and they’re like a Celtic bluegrass version of Sun O))).

Here’s the video for their song, “The Cannibal’s Standpoint”:

And here’s their video response to the Great Weirdest Band Cheating Scandal of 2014, which we’re pretty sure is the first time any band has made a video specifically in response to something that happened on this blog:

After we saw that, how we could not make them Weird Band of the Week?

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L.A.Drones!

L.A.Drones!

Photo by Amy Darling

Another Weird Band Poll is in the books here at Weird Band HQ, and the band poppin’ bottles this time is from right here in our hometown of Los Angeles. So give an imaginary high-five to L.A.Drones! I wasn’t shouting, by the way…their name has an exclamation point at the end. Just thought I’d clear that up.

L.A.Drones! (not shouting, I swear) are a synth duo who perform wearing black bandit masks because one version of their name, “ladrones,” means “thieves” in Spanish. And because, as they told us, “we steal samples from the music we like.” I thought that was pretty much every synth band these days, but maybe L.A.Drones! are more thievish than most.

In another version of their name, it means “Los Angeles drones,” which could be a reference to the droning sound of their music, or the fact that we Angelenos increasingly live in a police surveillance state. Seriously, the cops here have drones. Which are supposedly not in use at the moment, but if there’s one thing every halfway intelligent American just learned in the wake of all that shit that went down in Ferguson, it’s that we should not trust our local police forces with all their new high-tech gadgets. You may as well give a box of fireworks to a bunch of 10-year-old boys and say, “Now you be sure to find a grown-up and get permission before you light these.”

Anyway, where was I? Oh, right. L.A.Drones! So far, the duo of Vulcanito and Tormentas Gonzalez has only released one track, an ass-shaking little jam called “Horrible Dreams,” which you can watch in the performance clip below and also buy on Bandcamp for less than a cup of gas station coffee.

When we asked if they had any other songs, Vulcanito explained that L.A.Drones! really has to be experienced live. “Horrible Dreams” is just the first part of a 45-minute “capsule” of music called “The Dreamlike World of the Midnight Walker,” which they never perform the same way twice, and any versions of it they release online will just be recorded live in the studio. They’re working on other “capsules” of music, each of which will be played at a different BPM. “Midnight Walker” is at 127 BPM, apparently.

Here’s a live clip of the second part of “The Dreamlike World of the Midnight Walker,” which is called “Give Up.” Musically, they’re not the weirdest band we’ve ever featured, maybe. But I do dig that their music is kind of freeform and dancey at the same time, and the whole concept of an electronic act that never plays anything the same way twice. Some of the “live” dance music acts Andy’s dragged me to over the years should really take a page from that playbook.

So congrats again to L.A.Drones! for winning the poll. I believe that makes them the first L.A. band ever to win a Weird Band Poll. About damn time somebody represented!

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Maywa Denki

Novumichi Tosa of Maywa Denki

We’re cheating a bit with this week’s “band,” which is really more of a multimedia art project. But music is an integral part of the Japanese “art unit” Maywa Denki, so we’re giving them a pass.

Maywa Denki specializes in creating what co-founder Novumichi Tosa calls “nonsense machines”: mechanical objects that may or may not serve some useful purpose, but achieve that purpose in absurd or impractical ways. Their most famous creation, which Novumichi is brandishing in the above photo, is a note-shaped musical instrument called an otamatone, a made-up Japanese word that sounds (intentionally, we presume) quite a bit like “automaton.” You play the otamatone by sliding one finger up and down the instrument’s neck to hit specific notes, while squeezing the instrument’s “mouth” to control volume, tone and pitch. They come in various sizes and, in the right hands, can be made to produce all sorts of different (but always vaguely silly) sounds:

Maywa Denki has mass-produced some smaller versions of the otamatone, which has helped spread its popularity and led to some pretty great YouTube videos by other musicians. But the otamatone is just the tip of the nonsense machine iceberg. Maywa Denki has an entire product line called Tsukuba dedicated to ridiculously elaborate (but, usually, easy to play) musical instruments, like a set of six guitars played via a pedal organ and a “rhythm-making machine” that’s basically just a series of on/off switches attached to a turntable, all of which can be worn like a keytar.

Most of Maywa Denki’s larger instruments haven’t been mass produced, for obvious reasons, but Novumichi and his brother, Masamichi, occasionally take their nonsense machines out for concerts—or, as they like to call them, “product demonstrations.” Dressed in DEVO-like matching blue jumpsuits, the Tosa brothers and their assistants put a dizzying array of different machines through their paces in the service of creating music that is, surprisingly, pretty catchy and accessible. Videos don’t quite do the whole spectacle justice, but this Slovenian clip is one of the better ones we could find:

More recently, Maywa Denki have launched their own fashion line, Meewee Dinkee. Naturally, they produced an indecipherably bizarre video to promote it:

Sadly, most of the coolest pieces in the fashion line are already sold out. But we have no doubt the brothers Tosa are already hard at work on their next art “products.”

Our thanks to reader Frederick for posting the Meewee Dinkee video on our Submit a Band page and sending us plunging down the Maywa Denki rabbit hole. We’d like to dedicate this otamatone video to you, sir!

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Tera Melos

Tera Melos

This week’s band is usually described as “math rock,” a style Jake and I have bagged on in the past, partially out of sheer ignorance (back in 2010, we tagged Little Women as a math rock band…um, no), partially because, let’s face it, there are a lot of crappy math rock bands out there. Start-stop tempos and unconventional time signatures, in and of themselves, don’t make guitar-based music interesting, or even all that weird—but our inbox overflows with such dreck on an almost daily basis. So to all you struggling young math rock bands out there, we say: Study the catalog of Tera Melos, and then get back to us. If you can make music half as challenging and (here’s the important part) fucking fun as these guys, we and all the other jaded hipster music blogs might actually start paying attention to you.

Guitarist Nick Reinhart and bassist Nathan Latona started Tera Melos in Sacramento, California in 2004. Initially they were an instrumental quartet, with guitarist Jeff Worms and drummer Vince Rogers, although Worms quit pretty soon after the band started. Their debut album was an untitled collection of eight untitled songs, just labeled “Melody 1,” “Melody 2″ and so on—which was a bit ironic, given that most of the tracks were not so much melodies as kaleidoscopic explosions of processed guitar churning over insanely intricate drum patterns and basslines.

The band’s second full-length album, 2010’s Patagonian Rats, marked a major leap forward. Reinhart had occasionally contributed vocals in the past, but now he was a full-fledged lead singer, and new drummer John Clardy was every bit as technically precise as Vince Rogers but could lay down the occasional in-the-pocket groove. Now Tera Melos sounded like something new: a flashy, complex math-rock band with a fondness for melody and atmosphere, sort of halfway between two of their tourmates, Dillinger Escape Plan and Minus the Bear.

It was also around this time that Reinhart emerged as a bona fide math rock guitar god, with a unique way of using pedal boards to extract maximum sonic impact from his instrument. If you can stomach the host of this video and his relentless ass-kissing, some of the tricks Reinhart demonstrates are pretty impressive. This live in-studio performance gives an even better idea of his guitar/pedal wizardry:

But at the end of the day, it’s not Tera Melos’ math rock chops (or even their refreshing sense of humor about the genre, as seen in the banner art at the top of our site this week) that earn them Weird Band of the Week honors. What really puts them over the top are their music videos, which are nearly always amazing. Here’s “The Skin Surf” from Patagonian Rats, in which they engage in a bit of crustacean osculation while dressed up like the world’s lamest Weezer cover band:

And here’s “Weird Circles” from their latest album, last year’s X’ed Out. Who’s hungry for some Yum cereal?

But their crowning video achievement to date has to be “Bite,” also from X’ed Out, in which music and visuals merge into some kind of overlapping Battles/Primus/Kyary Pamyu Pamyu hallucination. By the way: It’s worth noting that all of these videos were directed by the same guy, a Los Angeles-based filmmaker named Behn Fannin who is clearly some kind of dark, twisted genius.

I’d be remiss if I didn’t once again thank the reader who turned us on to Tera Melos, matp662. I bet matp1 thru matp661 put together are still less cool than you, sir!

Update: Right when we make Tera Melos our Weird Band of the Week, they drop yet another crazy video! Please to enjoy their fresh-pressed latest, “Sunburn”:

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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.

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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.

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