Author Archives: weirdestband
We’re cheating a little with this week’s “band,” weirdlings. Meow the Jewels isn’t a band per se; it’s more of a remix project, created hardcore hip-hop duo El-P and Killer Mike, aka Run the Jewels. The weird part? All of the remixes are composed primarily out of cat sounds. Why didn’t anyone think of this sooner?
After recruiting such big-name guest rappers and producers for the project as Prince Paul, Just Blaze, Dan the Automator and even Snoop Dogg (who really should’ve been billed as Snoop Catt — missed opportunity, guys), El-P headed down to the animal shelter to enlist some cats to provide sound effects. Then it was off to the studio to flip such Run the Jewels tracks as “Jeopardy” and “All Due Respect” into “Meowpurrdy” and “Paw Due Respect.” The result is perhaps the greatest hip-hop album of all time, cat-themed or otherwise.
That’s neat and all but — I hear you ask — do they have videos? Well, since the Internet is roughly 80% cat memes (the other 20% is equal parts porn and right-wing conspiracy theories), you bet your sweet ass they do. This first one was directed by Jason Goldwatch for Mass Appeal, and somehow manages to cram most of the Internet’s finest cat memes into 3 minutes and 14 seconds.
Then, as if all that weren’t awesome enough, last week Meow the Jewels released a new video for “Meowpurrdy” directed by none other than our favorite digital animation madman, Cyriak. If you’ve ever wondered what it would be like to drop acid in one of those Japanese cat cafés, this is probably your answer.
Our readers submit a lot of marching bands as possible entrants on the Weird List. Usually, we don’t pay them much attention, because the whole concept of extreme/alternative/punk-rock marching bands is nothing especially new at this point. You got your Extra Action Marching Band, your Mucca Pazza, your Rude Mechanical Orchestra and so on. But something about this week’s band, Itchy-O, stands out from the pack of tattooed punks bashing away at quad toms.
A 30-plus-piece ensemble from Denver, the Itchy-O Marching Band (IOMB) typically begins their performance by entering the venue from the street. Drums dominate, but there are also synths, vocalists, dancers, guitar and bass, and a prominently featured Theremin. Many of the performers wear amps like backpacks, so they can move freely around the venue during the show. There’s usually a giant, dancing Chinese dragon. There are several of those massive, Japanese taiko drums, which are basically the Steinway pianos of the drum world, both in terms of sound and in terms of how much it must suck to haul them around on tour. They wear black balaclavas and often giant sombreros, which makes them look a little like a gang of anarchist mariachis. It all makes for what looks like a pretty insane, sensory overload live show (though we have yet to experience it first-hand ourselves).
With their emphasis on drums, dancers and audience interaction, Itchy-O are clearly indebted to San Diego neo-tribal performance troupe Crash Worship, although their shows are, by all accounts, relatively tame compared CW’s, which famously featured lots of fire and nudity and fluids, bodily and otherwise. To the credit of the group’s founder, Scott Banning, he acknowledges the debt, telling Denver publication Westword that, while living in the Bay Area, he became friends with Crash Worship’s Simon Cheffins, and toured with both CW and Cheffins’ later band, Extra Action Marching Band, though he’s careful to say, “I was never in Crash Worship.”
Banning, a percussionist by trade, initially started Itchy-O as a studio project; his first release under that name, in 2005, he described as “an ambient project made from the layered tracks of animal heartbeats found on vinyl from a veterinarian school.” But as he started organizing Itchy-O live shows, the project grew into a full-fledged band, evolving into its marching-band incarnation by 2010.
Following a 2011 EP, Inferno, the band released its first full-length album, Burn the Navigator, on Jello Biafra’s Alternative Tentacles in 2014. Usually, bands built so strongly around live spectacle don’t really measure up in the studio, but tracks like “Dance of the Annunaki” (which appears on both Inferno and Burn the Navigator) are a really cool mix of heavy, syncopated percussion, squelchy electronics and weird ambient noises and vocals — in this case, random bird and jungle sounds.
At other times, Itchy-O go for a sort of tribal black metal vibe, like on “The Merkabah,” which sounds like a bhangra remix of Mayhem.
Pretty cool, right? Still, it’s clearly in a live setting where Itchy-O’s particular brand of percussive mayhem is its most powerful. So we’ll leave you with a live clip from a show they did in 2014 right here in Los Angeles — which we missed, because we are bad at our jobs. Hopefully they’ll be back soon, although touring with 36 people and a hundred or so drums can’t be easy.
Happy 2016, weirdos! Here’s our resolution: to get back to updating this site on a weekly basis again. Also to drink less, exercise more, and spend more time with family. Yeah, we don’t like our chances of sticking to any of it, either.
Our first weird band of 2016 was suggested to us by a few readers: Djzen John, Jake Kirby and Andrew. It’s no wonder Five Starcle Men comes up frequently when discussing weird music, because even though they’re about as obscure as it gets (their fan-created Facebook page has a mere 56 likes), and haven’t been active since the ’90s, their small catalog of recorded output is about as bizarre as it gets. The most obvious touchstone is The Residents, and there’s also a little Captain Beefheart and maybe early Ween, in their early bedroom-stoner tape experiment days. But really, most of the stuff on Gomba Reject Ward Japan, a compilation of Five Starcle Men material released for free by Lost Frog Productions via Archive.org in 2007, exists in its own universe of psychedelic tape loops, thrift-store drum machines, detuned guitars and unintelligible lyrics.
Not much information on Five Starcle Men is out, but it appears to have been mainly the work of two young men from Lancaster, California named Glen Hobbs and Luke McGowan. Lancaster is an outer suburb of Los Angeles in the high desert, near Edwards Air Force Base, a surreal yet crushingly boring corner of America full of ex-military burnouts and neatly grid-patterned streets that lead to nowhere. It makes sense that two smart, creative kids from such a cultural wasteland would do lots of drugs (particularly DXM, a cough suppressant with dissociative properties, similar to ketamine) and invent a whole mythology of “alien drug torture” and “deadly cartoon culture governments,” as it says on their Archive.org page. Unfortunately, the experiment came to an abrupt end when Glen Hobbs committed suicide in 1998.
Besides Gomba Reject Ward Japan and its cryptic accompanying bio, which also mentions that “using modern cultural, pharmacological, and other technologies, these young suburban punks constructed highly aestheticized, delusional realities for themselves and their viewers,” the other main artifact of Five Starcle Men’s existence is a video from a 1993 performance the band gave at Mondo Video here in Los Angeles. The video (embedded below) was shot and later uploaded by a friend of the band’s who goes by the name Rich Polysorbate 60. Rich was a longtime member of the L.A. Cacophony Society and has a reputation for making up mythical/historical characters and presenting them as real, so at least one person (a guy from fellow Weird List entrants Baboon Torture Division, in fact) has suggested, not unreasonably, that “it could be a fictitious band invented by Rich.”
While this is an intriguing theory, you can see in the video below that there appear to be two young men at the center of the chaos, wearing matching caps and fiddling with gear and cables. Are they Glen Hobbs and Luke McGowan? Perhaps. It’s also possible that this is Glen Hobbs’ gravesite, even though it’s in Colorado for some reason. And Luke McGowan might be the same Luke McGowan who is now a part-time Professor of Psychology at Cal State Fullerton — that doesn’t quite match the official bio’s note that McGowan “now studies science, philosophy, and history at university,” but it’s close.
In the end, though, it doesn’t really matter who was behind Five Starcle Men. Whoever they are, or were, they left behind some amazing, surreal, alien music. Take a few swigs of Robitussin and enjoy.
Though they douse our inbox daily with a firehose of awful, mainstream crap, music publicists aren’t all bad. Occasionally they serve up something truly bizarre, like Shmu, a cut-and-paste solo project from Austin-based musician (and occasional Flaming Lips collaborator) Sam Chown that sounds like 10 different bands playing on top of each other at the same time — because that, essentially, is what you’re hearing.
Chown, who’s originally from Toronto and studied music at Berklee, also makes delightfully spazzy electro-noise-rock as the drummer half of the duo Zorch. As Shmu, he makes music that is at once more accessible and more abstract. At their heart, Shmu songs are shoegaze-y dream-pop; Chown cites My Bloody Valentine as an influence, although only inasmuch as he, like Kevin Shields, is fascinated with the happy harmonic accidents that happen when you keep layering sound on top of sound to the point where the human ear can no longer distinguish all the individual parts.
Here’s a good example of Chown in full-blown sensory overload mode. Listening to this on repeat kind of makes you feel like you’re having the world’s happiest seizure.
To achieve his “Tomorrow Never Knows” as remixed by The Field sound, Chown records multiple versions of the same track and then edits and layers them all together. Sometimes, when he doesn’t like where one song is heading, rather than scrap it entirely, he just mashes snippets of it into whatever he decides to do next. “Many [songs] even contain performances of me playing samples live that are samples of scrapped songs or of other entire songs — I’m performing a performance of a performance,” he says in that press release we somehow rescued from our inbox last week.
He applies the same technique to recording other musicians, as well. Shmu’s latest album, SHHH!!!!, is mostly him on the all instruments, but there are some additional guitars and bass and even a string quartet buried in there somewhere. On for one of the album’s coolest tracks, “Flutes,” he had two flautists play the same piece of music into five sets of microphones on five different delay pedals, then mixed the results together.
SHHH!!!! is Chown’s second Shmu album; the first one, 2012’s Discipline/Communication, is way less mental, but still worth checking out. It’s especially interesting to hear how the track “Turpentine” off that debut gets reimagined as a swirling, shoegaze guitar freakout on SHHH!!!!
We’ll leave you with the most ambitious track on SHHH!!!!, a 12-minute jam called “Harmonic” that closes out the album with a hurricane of Brian Chippendale-like drums, glitchy electronics and the epic post-rock sensibilities of fellow Austinites Explosions in the Sky. If this doesn’t convince you that Chown is something special, stop reading this blog and go buy the new goddamn Adele album.
Sometimes one weird band leads you to an even better, weirder band. That’s what happened this week when we started looking into a Ukrainian band called DakhaBrakha, who have a show in L.A. next week (with Tuvan throat singers Huun Huur Tu, no less). DakhaBrakha describe their music as “ethnic chaos,” which sounded pretty promising — but it turns out that, although they’re a perfectly good band with a cool NPR Tiny Desk concert to their credit, they’re not that weird. Unique? Absolutely. But our minds were not blown — until we stumbled across a another project their cellist, Nina Harenetska, is sometimes part of, called the Dakh Daughters Band. We’ve been binge-watching their videos ever since and we’re still picking pieces of our brains off the keyboard.
Dakh Daughters Band is the product of Dakh Contemporary Art Center, a theater in Kiev. It’s seven actresses who also happen to be fantastic singers and multi-instrumentalists. Each song they perform is a mini-cabaret full of sung-spoken monologues, eerie Ukrainian folk harmonies, percussion, strings, stringed instruments turned into percussion, wailing, weeping, white face paint, moaning and gnashing of teeth. It’s like The Bacchae meets The Tiger Lillies meets Dead Can Dance, except even more awesome than that. Here’s their most famous video:
I mean, holy fucking shit, right? Just when you think, “OK, that one’s clearly the star of the troupe,” another one starts singing and steals the show. And then another. And another. They’re all amazing! How many kick-ass women are in the Ukraine?
As good as the “Rozy/Donbass” video is, clips of Dakh Daughters’ live performances are even more riveting. Prepare to witness the sexiest accordion-fueled murder ballad ever performed:
The Dakh Daughters started their self-described “freak cabaret” in 2012 as a one-night project for a performance in Paris. Apart from a bio on a website called What’s On Kyiv and a short Wikipedia page, very little has been written about them in English, so we don’t know much else about them, except that another of their members, Ruslana Khazipova, is in another Ukrainian band called Perkalaba, who play a sort of Ukrainian-gypsy version of ska-punk. And they’re playing Lyon, France in 2016. And we’re really fucking jealous of Lyon.
The Daughters’ latest music video is actually a cover of a Perkalaba song called “Zozulytsya.” In it, the girls seem to be trapped in some kind of cage in which they’re forced to play their instruments using household objects like wooden spoons and giant keys and whatnot. They’re also not wearing their trademark white facepaint, which I guess makes this their equivalent to KISS’ “Lick It Up,” only way less sucky. Give this one a few minutes; it builds. Oh, how it builds.
You probably think you can tell what PPL MVR sound like just by looking at them. I mean, it’s three guys dressed up like yetis. It’s gotta be knuckle-dragging, skull-pounding sludge metal, right? Or maybe theatrical death metal a la Band of Orcs. One way or another, it’s metal. Clearly. Only metal guys are willing to sweat that much.
But think again. Although PPL MVR’s sound does in fact rock hard, and their drummer does in fact play with sticks shaped like thigh bones, they owe more to strutting, ’70s-style cock-rock than to anything on today’s headbanger circuit. In fact, once you throw in some pedal-distorted guitar and talkbox-distorted vocals, they kinda sound like ELO trying to do Sabbath covers. At least they’ve got all windmilling-in-the-wind-tunnel moves down, though. Whatever planet they’re from must have Headbangers Ball reruns.
PPL MVR—or “The One and Only PPL MVR,” as they sometimes go by—are from right here in TWBITW’s home base of Los Angeles, but like all good costumed bands, they’ve done a pretty good job so far of keeping their identities secret, going only by their yeti names of SNWBLL, K-PO and Q. They give great interviews, staying totally in character, and we’ve heard their live shows are great, too, though we haven’t yet had the pleasure.
And they must have a really good manager, because even though they’ve only been in existence for about a year, they’ve already appeared at Sundance, Tenacious D’s Festival Supreme, the Playboy offices, and something called the Spike TV Guys’ Choice Awards, because y’know, all those other awards shows don’t let guys give each other enough awards. They’ve even been signed to Elektra Records, which is pretty big time. I mean, yeah, they live in L.A. and their songs are catchy as hell, but still—bands like Extreme Turbo Smash must be looking at PPL MVR like, “Fuck. What do we have to do to get in on that action?”
Not much else is known about PPL MVR at this point, because well, they’ve only been around for a year and the only interviews they’ve given so far have consisted of grunts and snarls. So we’ll just leave you with what appears to be their latest video, for a song called “Let’s Take This Outside.” I’m no expert on yeti social customs, but my strong advice to you is: Do NOT take it outside with PPL MVR. Let the beasts eat their pancakes in peace.
One of the cool things about my day job is that I get to work with the great Henry Rollins, whose taste in weird and esoteric music is even more wide-ranging than mine and Jake’s. (He also knows more about music than the two of us put together. Like, a lot, lot more.) He hosts a radio show every Sunday night on KCRW-FM that I highly encourage you to check out — every week, he breaks out some new mind-bending shit you’ve probably never heard of. In the coming week’s, we’ll probably be mining Henry’s show for all sorts of new weird sounds.
Our first raid of the Rollins vaults comes in the form of a gentleman from France who goes by the nom de weird of Lieutenant Caramel. He describes himself as a “hunter of sounds” and collector of “resonant matters,” but his work transcends typical musique concrete and field recordings with a sense of wit and whimsy that makes even his most bizarre compositions as hilarious in places as a Wile E. Coyote cartoon. Most of them clock in at around ten minutes or more, so they’re not for short attention spans — or then again, since they constantly warp and shape-shift, maybe they are.
Lieutenant Caramel is the alter ego of Philippe Blanchard, who lives in the ridiculously picturesque town of Annecy in the French Alps. In 1999, he founded a festival there called “Le bruit de la neige,” which translates to “The Noise of Snow.” Looks like the most recent one was just last month, so I guess Jake and I will just have to start planning now to hit the 2016 edition.
Not everything Blanchard produces as Lieutenant Caramel sounds like cartoon character stumbling through a tool shed. We’ll leave you with a track that’s more Lynch than Looney Tunes. There’s still some funny, distorted voices in there, but this time, you won’t know whether to laugh or hide under the covers.
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.