Uncategorized

Well, this is something of a find – a good-quality audience tape of the very first FLESH EATERS show at Los Angeles’ Masque in December 1977…! Are you kidding me? I would have given my right arm for this thing at any point during the past 30 years, and it’s just been sitting there since May waiting for all of us to listen to it.

Thanks to Jon Hope for hipping me to this site Noise Addiction II – I’ve barely even dug through it yet and have already found that the site is just bursting with LA punk and oddities from the 70s and 80s. Don’t mind me, I’m over here shoving files into my piehole.

So the Flesh Eaters, in their very first show, still sound searing and raw on most tracks. This was from Chris D.’s “screaming” phase, which you can read him disowning in our own Dynamite Hemorrhage #1 fanzine, which has a lengthy interview with him about this era. The tape contains their cover of the Magic Band’s “Plastic Factory” as well as another cover I can’t place right now….can you? The tape cuts out just as the monstrous “Automaton Bombs” is just getting locked and loaded.

I can help a little with the song titling as well. Minus the one I don’t know, here’s what you’ll hear:

FLESH EATERS – live at the Masque, December 21st, 1977

  1. Disintegration Nation
  2. Agony Shorthand
  3. Police Gun Jitters
  4. Plastic Factory
  5. Achieve That Reject
  6. Brain Time
  7. title unknown
  8. Jesus Don’t Come Through the Cotton
  9. Automaton Bombs

Download the thing here.

Uncategorized

fuckinrecordreviews:

“It had this latent ignorant mentality, like fanzines used to be, like Touch & Go and other fanzines, purposely dumb, stupid and idiotic, but funny. So that’s where it came out of…”

YAK’UZ’Å, #6 1994 (cover)  DAVE MCGURGAN, Editor/Publisher

TOM LAX/MAC SUTHERLAND INTERVIEW by CHRIS RICE (PART 1 of 3)

  • In recognition of Tom Lax’s sixth or seventh visit to Brian Turner’s WFMU radio show on Tuesday 8/26/14, we launch a celebration of Siltbreeze with what may be the earliest interview on record: Tom and Mac Sutherland, 1994 style.
  • 3/15/06 interview/overview by Brian Howard at Philadelphia City Paper: “It had never been Lax’s plan to start a label; photocopying 150 issues of a fanzine and pressing 1,500 vinyl records are quite different propositions. Lax’s grandmother had taken out an $800 life insurance policy on him, a policy he had the option keeping or cashing in. ‘That,’ says Lax, ‘is how I started Siltbreeze’.” 
  • VICE?  VICE. 7/23/08  Any bands you wished you’d never even emailed back and were shitheads to deal with?  TJ:Probably. To be honest, I can’t remember…No one’s really a problem and everybody is pretty easy to deal with this go-round. Local bands always have a tendency to be problematic, but I solved that issue by not having any. Again! Yet!”
Uncategorized

(Originally posted on my Agony Shorthand blog in March 2004)

ARE YOU SWA OR NOT SWA?

One of 2004’s “Top 5 most promising Australian newcomers” is blogmeister Dave Lang, who forced me to chortle out loud this week with his continuing reviews of his dust-collecting cassettes, most notably the SST “Program: Annihilator” compilation tapes of some 15-20 years ago. His gratuitous mention of SWA, universally regarded as one of the absolute, no-question-about-it Worst Bands of All Time, got me remembering my own 1988 encounter with this loathsome combo. I mean, I’ve seen some atrocious bands in my day – Ethyl Meatplow, Hole, The Gargoyles, Stone Temple Pilots, Doggy Style – but I’m pretty sure that SWA were the worst (all right, Ethyl Meaplow were the worst). Dave was dumbfounded after I emailed him my kudos for his piece: “I can’t believe you saw SWA!!!”. 

Some background, all reconstructed from memory. By 1988, after three years of fruitless toil, SWA had been a huge scene joke for years. The band was one of several post-Black Flag, Los Angeles-based outfits for Flag co-founder and bassist Chuck Dukowski, all of whom were – when thought about at all – considered to be unarguably awful. But SWA took the cake. Tuneless, hookless, arduous and hideously overdone pseudo-metal with rotten vocals and a generally meatheaded persona was not a recipe for success in 1985-88, even with the Flag pedigree and the SST banner unfurled behind them. Countless fanzines mocked them. Steve Albini, in a piece listing the 50 Worst Things a Person Could Do (or something like that), had two SWA-related entries: “Listen to SWA” and “Be SWA”. Any association with the band could be deadly. SYLVIA JUNCOSA, having played guitar in SWA for a period of time, was instantly disowned by a large percentage of rock fans and had to resort to giving titles to her songs like “Lick My Pussy, Eddie Van Halen” in a vain effort to recover what little credibility she’d vainly squandered. A guy from my college radio station was hounded mercilessly for weeks and ceremoniously “kicked out of the scene” simply for the transgression of playing SWA on his show – once. Even Southwest Airlines were boycotted for years by a substantial contingent of underground rock tastemakers for the crime of having the offensive toll-free reservations number of 1-800-I-FLY-SWA. 

Seeing them open for DAS DAMEN at LA’s Anti-Club in ’88 was the culmination of years of trembling anticipation – I mean, how bad could they really be? Oh my goodness yes, that bad. In front of 10 people in a dank, dark, dirty club with a 2-foot stage, Dukowski violently slapped his bass, puffed out his cheeks like a blowfish, and leapt around like he was headlining at Wembley. It was so ridiculously over-the-top and 100% uncalled-for that I’m willing to at least entertain the theory that SWA was actually a drawn-out, years-long joke from the Andy Kaufman school of humor (supporting evidence for this notion can be found on one of those Harvey Kubernick “spoken word” compilations, on which Dukowski gives a long rant asking people to choose if they’re “Swa” or “Not Swa”). But I doubt it. Lead vocalist “Merrill” writhed and winced and sweated through their bombastic barrage, and even transported his mic outside onto the patio to berate the poor patrons who just needed an escape from the band’s horrors. It was pretty amazing chutzpah, but the band must have figured, what did they have to lose? I am willing to state for the record that there was A.) not one person there to see SWA and B.) that of the 10 who watched, not one liked them, not even a little bit. 

Yet the band soldiered on for one more album (of five total, including a compilation!) the next year, before vanishing in complete and utter disgrace. I had repressed them fairly successfully until Dave Lang brought them screaming back to life. One of the hallmarks of progress in therapy is the willingness to confront your innermost demons and slay them publicly, with a circle of close friends or relations you can trust. I’d like to think that I can share the horror of SWA with you, my friends, and in so doing can perhaps bring my rock therapy to a close. It all depends on how I sleep tonight, because I just may have woken something up that had wanted to stay buried for a long, long time.

Uncategorized

fuckinrecordreviews:

BEST REASON TO WRITE A FUCKIN’ RECORD REVIEW TODAY! (7/14/14):

PIECE WAR Apathy lathe 10” (Epic Sweep, New Zealand – 2014)

  • If you look closely at the Piece War bandcamp screen shot above – under the “supported by” banner – the Piece War patron all the way to the left is tumblr’s very own Jay Hinman, he of Dynamite Hemorrhage, Agony Shorthand, Beer Samizdat, The Hedonist Jive and…Superdope! We stalk Jay as well as anyone (just like we do with urbankill and rockscissorsgun), regularly downloading his Dynamite Hemorrhage podcast the same way we use to mark up these yellowing zines with dots (have it) and checks (need it) and x’s (fuck that, throw it back) back in the days of ballpoint pens and paper. Nowadays we bookmark, you see, and bookmark we did in response to Dynamite Hemorrhage Episode #40!  (mr. goodbysunball beat us to the lathe too.)
  • Roaring out of the DH #40 gate was PIECE WAR, who we sorta knew from kissing up to and researching the new Coolies 7” three weeks ago, not to mention our deep appreciation for anything on Epic Sweep. But “Call On Me” was DH #40s second cut and WOW, were we pasted to the wall by the duo’s King Loser surf desperation…these two crack the bones of Chris Heazlewood but good. Shame on us for waiting so long to gnaw accordingly. Puts so much of that Burger Records finger sandwich food to shame.    
Uncategorized

belakoe:

fuckinrecordreviews:

“…put these brotherly lovers on the top American craftsmen list because they’re hitting all the right smokestorm buttons, right now.”

SUPERDOPE #5 1992 (no page #) 

MONKEY 101 review by Jay Hinman, Editor

  • Jay may have written this ode to Monkey 101 22 years ago, but the “right now" part applies today, cuz they just posted their unreleased 1993 LP  + the Silbreeze and Papa Popov 7”!

"We met up with Paul and Bob outside the Philadelphia Record Exchange last August. Here’s what they had to say.

Tom Leader: You guys seem like some kind of enigma. Do you still play music?
Paul: Yes, I’ve been playing with my band Chino for the last ten years or so.
Bob: I have also.
TL: What do you think of the current music scene?
Bob: A bit like Manchester, England here.
Paul: I really like …
TL: Do you guys have an idea if you’ll be getting back together again soon?
Paul: Yes.
Bob: I would rather play than pay today.
TL: Do you have much contact with any of the bands that were around when you were playing?
Paul: I don’t talk to Sonic Youth that much anymore, you know the breakup, but I still am in contact with Norman Greenbaum.
Bob: We still talk to Ashtray.
TL: What was the last time you guys got together to write a song?
Paul: During the Fairport Convention era.
Bob: At least a couple of minutes ago.

The sky was beginning to set on South Street so we shook hands and talked to Jose.” 

Just listened to “transistor” a few weeks ago!

Uncategorized

SONIC’S RENDEZVOUS BAND article written by Steve Watson for Superdope #1, a fanzine I put out in 1991. Steve passed away yesterday, and it’s hit those who knew him pretty hard despite ample warning that his passing was coming.

Funny story about this one: Steve gave me his typewritten pages for the piece and I published it as is. I thought the ending was a little clunky, but good, and neither of us thought anything of it until we actually saw it in print. That’s when Steve realized he’d forgotten to give me the last couple of pages (!). We talked about putting “Part 2” in Superdope’s second issue, and somehow it never happened.

The flyers in the piece came from Steve’s personal collection; this was his favorite band while he was growing up in Michigan. Best wishes to him in the great beyond, and to all who knew him.