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Redneck Fistula

Redneck Fistula

Updated: 2016-09-07T21:26:25.679-07:00


Anals - Total Anal


Figured since the Tour, excuse me, le' Tour is winding up, and all you French fux are finally recovering from Bastille day, it would be a good time to post this fine little set of ditties from The Anals.

See this one written about elsewhere, but don't see where you scumbags can grab it, so go fuck yourselves with this high quality vinyl rip.

Pet Peeves, Entertaining Athiests, and the Damaged Bedroom Wizardry of Fastest


One of my biggest pet peeves is people who think that just because they are emailing or texting there's no reason to punctuate the end of their sentences.  This annoys me even more than people who use lower case for everything.   I'm telling you, this stuff really gets on my tits. What I want to know is where and when did this most annoying and unprecedented semantic disaster of a trend begin? 

Think about it, the difference between a period and an exclamation mark can make all the freaking difference in tone and perception, and in this tenuous day and age, that loss of inflection could very well be the straw that brakes the camel's back and destroys the world; a sort of linguistic butterfly affect that could send us into the nuclear winter we thought we missed die to the headline grabbing climate change and economic meltdowns. Just envision what kind of absolute crazy shit could have happened if Clinton called an inebriated Yeltsin and hung up without saying bye.  srsly 

So, as a protest to all those who don't punctuate the end of sentences in texts or emails, and as a salute to people all over the world who make asses of themselves in the name of all the things that really matter (things like world hunger, economic collapse, religious wars, stem-cell disasters, strip mall sprawl, reasonable jury decisions gone wrong and pro sports lockouts) I am vowing to write in run on sentences for the entire weekend.

. . . A few beers later and trying to figure out what I have ran across lately that would consummately sum up how I'm feeling today and none other than the 20th centuries answer to Jandek with its new-wave of sinister pop-princess bent over in the bedroom obscurity and post Ariel Pink landscape ambiguity and mystery and possible portal to the next sphere of underground shame or significance and I can't quite get a grip on the genius of this one but it fucking works despite itself but why nobody knows and sometimes you should just enjoy it for what it is an not over think the shit you know what I mean 

Fastest - Theme.

Capturing the essence


Near and dear and hopelessly lost comp that kicks it unique in all the right places but never forgets where it came from. 

over and under or under and over



Time to take a deep breath and have some fun again. I plan to have some fine tunes up soon, beginning with a lost classic from the beginning of the 90's tribute rampage that has actually aged very well, unlike a lot of its peers.

. . . I know, I'm a fucking tease!

. . . slowly crawling from the primordial ooze of life.



Fuck me. Has it almost been a year since my last post? I think I'm finally getting my shit back together, so here goes. . . Not a lot of time to write much at the moment, or maybe I'm just lazy, but here's a couple of albums that speak to me in their own way, and are well worth checking out.

Drowning in angst and attitude.

Many reflections. Many moods. Ambient drone attack.



It's been a crazy couple of months for me. I know not many people read this blog, but hopefully, if you've just come across it or have been here in the past you can still cull some goodies from the meager depths. In the near future, when I get some time, I hope to put some more good shit up. Until then, peace!

Dead C - Hi God People | Split LP


Was going through some older vinyl trying to decide if there's anything else at all I can contribute to the vast world of underground sound on the net. I found this out there, but the link was dead, so here's a good rip for ya'.

The ghastly churning grey-noise of the Dead C shares physical space with the psych-folk-strum/pluck and aborigine-beat sound of the Hi God People, both creating metaphysical and foreign sounds aimed at those with a desire for exploration and shocks to reality.

Pure underground excellence, and better than watching the U.S. open or living in North Korea. Released in 2006 w/ beautiful hand-screened covers by Dylan Martorell of Hi God People.

Flourish in the improv aether.

City of Churches | Memelust 7"



Named after the town where I grew up (not really, but it easily could be.) Anyway, City of Churches is about as antithetical to church as you can get. Packing 62 songs on a 7" leaves little room for filler, so what you get here is some masterfully executed, pure straight-forward relentless and frenzied speed-prog-grind being played like there's no tomorrow. I hope you can forgive me, because I didn't separate the tracks.

In your face.

Mule | ST LP


On a slight early 90's kick here. . .

I had a friend in high school who dipped Days Of Work chaw and liked MGD. He liked to get drunk and drive backroads tipping cows and shooting road signs with his grandpa's 12 gauge. This was his second favorite album right after Steve Earl's Copperhead Road.

Get you some low down chaw infested dirty ass backwoods wife-beating, cheap beer and whiskey drinking, non-law-abidin' punk rock riffage right here.

Friends of Jesus Lizard or Boss Hog will be especially interested.

Babyland | 1991 EP


The unabashed eclecticism continues. . .

Brian Turner was playing some Babyland on his WFMU show (possibly the best radio show on the net) the other day and I had forgotten how fucked up over the top these dudes were. Techno-thrashfest cum industrial cheese-wad fuckery to the max. Like a rave full of Tesco Vee lookalikes drunk on whiskey and tripping on bad acid while tooling for anus, and then Ogre comes in and kicks all their leather-clad asses. So dumb as hell yet somehow damn good. Motor.Tool.Appliance must be cranked to 10, and you must mosh to it without shame every time you listen to it. If you don't, the cyberpunk Gods will permanantly implant an earworm of Temple of the Dog's Hunger Strike in your brain while your sleeping.

I think this is floating around out there in very low bitrate, but here's a hq vinyl rip for anybody that might be interested. And basically these are the best four tracks on the You Suck Crap album (with the exception of Reality) which is hit or miss on the rest of the tracks.

Sean Mccann | Boomerangutan & Sway Cdr's


Jane Pow, Tar, now Sean McCann. . . yeah, I know, I'm crazy.McCann runs neck and neck with Prurient for most prolific man in the experimental underground. Much like the aforementioned noise guru, a surprising majority of McCann's work is excellent, and you will be hard pressed to find a release of his that isn't worthy of at least one listen.McCan took off on his musical journey with Boomerangutan in early 2008, and hasn't slowed down, disseminating his spectral sounds on cassette and Cd-r (15 releases proper by my count) but so far nothing on vinyl. Hopefully that will change soon. While McCann gambles with being overly prolific with this many releases, he's also got the skills and the creative capital in the bank to back him up if the dice don't roll his way from time to time.Boomerangutan consists of 16 untitled tracks ranging in length from 1:26 to 8:38 long, which is a refreshing change from the 20-30 minute long-players which are so prevalent these days. I'm not trying to decry the lengthy tunes, as many times the form is dictated by the nature of improv explorations. That is, it just takes that long for some pieces to culminate and become fully realized. McCann, however, has a knack for packing his shorter tracks to overflowing with interesting and dynamic sounds, each component carefully crafted and placed as to attain utmost efficiency. The economy of his sound, if you will, leaves nothing to waste.Boomerangutan begins by introducing us to an abundance of disparate but well mixed sounds that congeal in a murky pool whose depth is somewhat concealed upon initial listens, but clears upon subsequent evaluations. A mashup of apparent found sounds, echoing chants, and tribal drumming, all warbling through tape hiss and a distant shoegazed guitar sheen (ala My Bloody Valentine) create an atmosphere of enchantment which never lulls or dulls.Space-synth notes fluctuate in between the ever-mutating drones as an undergrowth of sound thickens and spawns colorful blooms of noise, mimicking the collaged cover-art of the release. A metallic hue, subtly evident during Boomerangutan's initial tracks, begins to take over the proceedings, pushing the releases essential rhythms and ubiquitous loops into outer-territories, flirting with pure noise and creating a paradox of musical emotion as the dilatory pace is antagonised by the harsher elements of the overall sound. Eventually this bipolarity drives the inmates insane, and a cacophony of inhuman voices overwhelms all but the endless electronic hum and some steady maraca-like percussion, leaving an unsettling feeling behind.Throughout its remainder, Boomerangutan fluctuates between airy and reflective drones, desultory experiments with large arrays of obscure instruments, pure pedal and synth din, banjo strumming on ramshackle porches with steel guitar accompaniment, and soulful guitar meanderings, obviously lessening in intensity over time, but never losing its anxiety, an element which serves it well, keeping it alert and focused throughout its 72 minutes. The consistency here never becomes boring, and its creativity never goes over the top. Mccann manages to keep affairs intact and focused while wrangling a panoply of unique sounds out of a multitude of sources. Versatility and vision meet controlled chaos as seen through a kaleidoscope of sound.I was lucky enough to get a hold of these two early on, and a quick search did not indicate they're available anywhere, so here they are now for your consumption.BoomerangutanSway[...]

Tar | Clincher


Tar, "One of the most underappreciated bands of the 90's." Truer words (as uttered by jspdilla on RYM) have not been said. This album has only 18 ratings at RYM, which is truly amazing, considering how good all of Tar's work was.

Tar | Teetering b/w The In Crowd



To be filed under more long lost 90's greatness. Don't know what it is, but groups like this who seriously slayed have seemingly been completely forgotten. You never hear any love for bands like Tar or Godheadsilo or Karp etc. It's like the entire 90's sludge/metal/am-rep punk underground has been skipped over, and all you hear groups now tallking about influence wise is either krautrock, psych or drone. There's an entire lexicon of exceptional underground rock from the the early to mid 90's that folks need to get back to. It all basically comes and goes from one place, so this genre-montheism can fuck off.

Thanks to Shiny Grey Monotone for posting these Tar singles and reminding how good Tar were. Oh, and here's some more Tar goodies at The Power of Independent Trucking that should also help cure your noise rock fix for a while.

indie rock that is really indie rock

Jane Pow | Warm Room b/w Shut Down



Ok, we’re going to go in a totally different direction with this one. Jane Pow were a indie power-pop band from Southhampton, England who sailed to the states via the Slumberland label. They put out a few singles and the Love It Be It LP, but faded away quickly following the steps of many of their peers.

The A side, Warm Room, is more melancholy and atmospheric than the more rock-like numbers on the Love It Be It LP (and CD of which the two single tracks were included), a feeling which I think worked much pretty for the band, as the LP seemed a bit inconsistent and somewhat off-kilter, which is not to say it doesn't have it's standout moments. The B side, Shut Down, is a good straight forward power-pop song with some good guitar and killer drums.

This single spent plenty of time spinning on my roommate/best friend's Pioneer turntable back in the day, and helped me through many a blue period. This is a pretty timeless record from an age when things didn't seem so damn cynical, and endless joy could be found in simplicity. But I'm sure all people say that as they grow older, as the adage "the more things change, the more they stay the same" always seems to hold true. So enough of that. I hope you find this music as ethereal and meaningful as I did, and still do.

Warm Room/Shut Down

This Jane Pow site says the full-length is LP only, but you can actually get the CD reissue direct from Slumberland for $8.

Youth of the Beast | Lantern 7"



They've been putting something good and quite possibly highly hallucinogenic in the water up in Iowa City the past few years because that little town has been spawning good sounds left and right. A lot of it revolves around the Raccoo-oo-oon camp, so it's all high caliber.

Keywords to hone in on in this Arbor blurb about this 2007 release; primitive electronics, basement, noise, psychedelic, saxophone scrawl, epic percussion, etc. They're saying all the right words, but this ain't no all bark and no bite biz.

Youth of the Beast is pure primitive electronics, suffocating saxophone scrawl and epic percussion. Acting as the solo output for Raccoo-oo-oon’s Andy Spore, this record is YOTB’s first vinyl offering following up a few tapes on Night People and Fuck It Tapes. Blistering vocal screeches and mixer feedback blasts meld with stray tones as brass wails and drums are pounded. Spore is a master of channeling the spirits right into the basement where he crafts his jams, creating a captivating mass of noise and psychedelic signals crossing for a painfully beautiful 10 minutes. Breathless sax solos and massive tribal percussion interspersed throughout. The sum of all these parts is something intense, unknown; an ever evolving sonic creature as bleak as it is restless. In an edition of 315 records with EPIC xeroxed double sided/double foldover (you’ll understand it when you see it) sleeves and printed labels by Spore.

A quick Google search didn't indicate this one was out there so get your grubby hands on it.

Post Alarmist Dracula Safai



Post Alarmist droogs getting it back on. Featuring Inca Ore, Ghost to Falco, Tunnels and Argumentix. Alarmist existed from 2004-2005, and you may ask yourself what makes them so goddamn important that they get a tribute album? Who the hell knows the answer to that, but I do know this is one kick-ass comp. A quick look at the RYM ratings (all two of them) for Alarmist's Evil Works Get Rich or Try Dying Evil Works album gets a whopping 1.20 rating. WTF do RYMer's know! Anyway, this is good stuff so here's the weirdness.

4/23/2010 | National Hammer and Sickle T-shirt day



Due to this unfortunate episode, I proclaim the first annual National Hammer and Sickle T-shirt day shall be April 23, 2010. Get one and wear it proudly!

And kudos to the Flaming Lips for rising above it all, and truly showing how they are, and always shall be true Oklahoma Icons that care more about people than popularity and getting votes.

Update. Just found this . . . Wayne's response.

My Bloody Valentine | Palladium Ballroom | Dallas, Tx 4-22-09



Dave Chappelle had a skit on his show that explained the differences between what white folks and black folks liked in music. It was freaking hilarious, and basically showed how much rhythm and style black folks have when it comes to music, and how us white folks dig the noisy guitar-driven stuff. So, as I was standing there sipping on a Crown and Coke and blissfully taking the pummeling from MBV's guitar barrage, it dawned on me that they are in fact the epitome of white folks music, and that is not at all a bad thing.

MBV are loud, somewhat aggressive in a non-threatening way, and noisy as hell with the vocals and rhythm section taking backseat to the effects pedal-chained guitars, a fact that is even more evident in their live show than it is on their albums, which are noisy and raw enough in and of themselves. As I stood there taking it all in, I noticed something very interesting, people were hardly moving. At first I thought maybe the crowd wasn't into it, but that wasn't it at all. Everybody was mesmerized, as MBV's sound is hypnotic, repetitive, and in an emotional way, moving.

Thus, attending an MBV show is to experience a ritual. The sounds as evinced by the pulsating and subtly rhythmic guitars mix with the sights as shown by the customary background film footage and the slight rocking, trance-like movements of the band; both coming together in the end, producing a deafening wall of noise which is completed by syncopated flashes of light which cover the darkness of the motionless crowd. The experience is not only visual and aural, it is physical, as your entire body is actually shaken and the hair on your head and arms is blown back by an actual breeze that is produced by the huge wall of guitar feedback, much like the blows of a concert kick-drum, but somehow more surreal and limitless.


I was planning on posting some photos here, but forgot my camera at the hotel, so all I got where some crappy cell phone pics that aren't even worth publishing here. However, here's some good photos I found of flickr you can check out if your interested.

flickr MBV

Also, check out the My Bloody Valentine cover of Map Ref 41N 93W in the previous post. Wow!

Whore: A Tribute to Wire



As far as tribute albums go, this one sets the standard. Whore takes on a life of its own, while never forgetting its heritage. I've had this album in my collection for going on fifteen years, and it never ceases to amaze; just like the originals.

A 1990's menagerie of seminal bands including Bark Psychosis, My Bloody Valentine, Fudge Tunnel, Godflesh, Lush, Band of Susans, and one of the godfathers of Post-Punk, Mike Watt.

consummate strangeness

COOP Ale Works Do Not Resuscitate Belgian Style Golden Ale


(image) Brand new from the recently established COOP Ale Works, and the "biggest beer brewed in Oklahoma." Weighing in at 10% ABV this one packs a nice punch, but the intricacies and attention to craftsmanship are what make this beer what it is. I tried this at Mcnellie's pub in OKC a few weeks ago, and it was served in a pint glass. At that time I appreciated the beer, and there was no doubt it was a good beer, but it wasn't until last night when I requested it in a snifter did it's aromas and flavors truly reveal themselves. There's proof positive that glassware does in fact make a difference, so don't settle if you don't have to. Now that doesn't mean go out and make a beer-snob ass out of yourself over glassware either. Ok, enough of the spiel, on to the beer.

Color is a bright, slightly hazy orange and there's a nice off-white covering of dense froth. A few long lines of lacing exist and stick around for the duration. Vanilla, light fruits (pears, oranges, grapes) and spicy aromas waft to the nose. Tastes of big sweet malts which surround more spices, toffee and sweet bread. There's a quick hint of graininess toward the end. The alcohol heat is noticeable, but not overwhelming, and it in no way detracts from the other elements and the overall experience. Mouth-feel is medium plus, and it goes down smooth and a bit more creamy than expected, hovering close to tripel territory in that sense.

I'm not going to deny that I have some local bias on this one, but trust me, it is an excellent example of the style. Chase Healy and the fellows at COOP really have their hand on the pulse of where beer is going, and they know how to translate that knowledge into great beer. Apparently, and in addition to the Native Amber ale which is already available, they have a porter, a wheat, and a "cervesa" (sounds interesting) on the way, but I'll have to be honest, I'm really looking forward to another bigger brew from these guys, as this one turns out to be a great initial move that should put them on the craft beer map.

COOP Ale Works

Mcnellie's Pub

Electric Annihilation zine



20 pages of pure noise-psych-punk excellence here. Just like the old days when you had to send SASE's (self addressed stamped envelope for you youngsters) to get your favorite zines, this one is only mail-order, and that's completely bad-ass. Includes interviews with Wet Hair, Emeralds, John Olson of Wolf Eyes, Sun Araw, and superheros Henry Rollins and Thurston Moore. I've thumbed through this issue and there's some awesome concert pics, along with the customary Rollins "I'm going to kick your fucking ass" photo. The Cameron Stallones (Sun Araw) interview, which is the only one I've had a chance to read was enlightening as he explains the creative process and the influences behind his otherworldly sounds, which made me anxious to get to the rest of the zine. It's $3, and that's just 19 cents more than a medium vanilla malt at Braums. WTF are you waiting on?


Group Bombino


Group Bombino, Guitars from Agadez Vol. 2, the follow up to Group Inerane, Guitars from Agadez Vol. 1, begs the question, could it get any better? The answer, as with any question dealing with music, is highly subjective. Both albums consist of some of the most intense, soulful, unique, and satisfying tunes to come out in the last few years, and that is something that really can't be argued.

While Group Bombino may initially lack the distortion and immediacy of Group Inerane, they still retain the most important elements unique to both releases, and that's the transcendental and transportive aspects that exist throughout all the songs. The sublimating properties take us to higher places, while the foreign sound and feel takes us to more exotic locales. The softer approach taken by Group Bombino makes this trip a bit more laid back, less extreme and dangerous, but in many ways deeper and more intricate, allowing for a more intimate experience.

Even when you turn the record over to Side B, and Group Bombino introduce electric guitars, the unhurried attitude is not lost, and the deep rhythms and grooves are still present. Side B seems to be recorded in a live setting, or a maybe a more "livelier" setting (the entire album is a field recording as was Vol. 1) as it sounds like it was possibly presented to the recording crew with an audience that the first side did not have. You can vividly imagine yourself sitting among the Taureg in their remote desert village, listening to the steady and subtle drum rhythms, constant funky guitar movements, and realizing how important music is to these people, and how much talent (creative and technical) that these musicians have.

I'll have to admit that at first Group Bombino seemed a bit of a let down to me, and I don't quite know why. Maybe it was the lack of initial electricity so evident with Group Inerane, as maybe I was looking for something to rock out to. But after a few listens the complexity of harmony and composition truly showed itself, and now I can't keep this record off the turntable. With all that I've said, I don't want it to seem that the laid back atmosphere of Group Bombino is in any way antipodean to Group Inerane's excitement, as the both serve as near perfect compliments to each other.

seek and you shall find

Herds | Spring b/w Katmai | Self-titled 7"



Brutality meets finesse and fist fucks its way into a frenzy. Awesome change-ups, mosh-pit aggression, and tight guitar switchbacks make this some of the best hardcore I've heard in years. You can tell when a band has control of the chaos, and these guys have ultimate control. The instrumentation is tight; the vocals mean and tested.

In a way, you're heard it all before, but what haven't you heard before? There's nothing wrong with perfecting a true and tested style, and Herds perfect the shit out of hardcore. While there's so many new sounds being explored these days, and while some could argue hardcore ran it's course many years ago, it pays to keep to the basics and not judge a record by its genre. Ultimate punk goodness for friends of SSD, B'last, the Effigies, Die Kreuzen, and Negative Approach.

Buy the ST 7" at Fashionable Idiots.

Grab the sold out Spring b/w Katmai 7" here.

I personally think the ST is the better of the two, and it's only $4. So if you still appreciate the good shit grab it while you can.

Magik Markers | The Voldoror Dance


The Voldoror Dance, released as a limited edition through the Southern Records Latitudes series in late 2007, is perhaps my favorite Magik Markers release, with the exception of Boss. Taking into consideration its expansive qualities and scope, and how hard it is to pull off improv sound over long periods of time (2 of the 4 songs are over 20 minutes, and one is almost 15 minutes long) and comparing it to Boss' song-oriented approach, which we're finding out is actually working out well for the Markers, The Voldoror Dance still gives Boss a run for its money, eventually being beat out by a half-length in a photo finish by the fact that Boss is more of a consistent record throughout.

The Markers can pull the long-player noise rock off well, and they keep things interesting when they lock in the groove. Unlike some bands that tend to black out in an epileptic fit of pure boring noise while exploring the frontiers, straying too far from the pack and getting lost in a wilderness of desultory noise, The Magik Markers maintain the focus (in most cases). So if you want a good dose of Elisa's angsty, echoing and yes, sexy vocals, mixed with Pete Nolan's unwavering drumming, all drenched in the feedback, sub-shoegaze, wah-pedal driven wall of sound that the Markers are known for, then take advantage of the wonders of the internet age and DL this shit now.

Dance Magic

Bear Republic | Big Bear Black Stout


(image) This is by no means a new or unique beer, but it's new to me, as Oklahoma is always a few years behind on everything, if not decades. But the way I figure it, the more people that are turned on to good beer in these parts, the more the top tier craft breweries will take notice of this state, and the better the chances we'll be getting better distributorship. So, when I get the chance to promote something I believe in, I don't pass it up. Just ask my friend and family, who are probably sick of hearing about beer.

All that being said, there are some good things happening on the beer front here, as Marshall brewing in Tulsa has established itself, and COOP Ale Works in OKC is taking off, so it's becoming apparent that Oklahoma definitely has some good beer lovers who are ready and willing to support the tasty stuff. Also, let us not forget to mention Choc Beer Company, the original Oklahoma craft brewers, who were making Choc beer way before craft was cool, and who gave the big bird to the man, as home/small-batch-brewing was not always legal.

Ok, let's get to the beer.

A thin, bubbly, dark tan head disappears after a minute or so and leaves some small spots of lacing behind. Color is pitch-black and ominous. Toasted malts, burnt sugar, taffy and dark chocolates float to the nose. After your olfactory sense filters through those complexities, a subtle earthiness and some pine push through.

Initially tastes of deep, dark chocolate with little to no sweetness noticeable. Big roasted malts come into play right before a nice hop bitterness is noticed. Underneath it all exists some very slight caramel sweetness, an almond nuttiness and a nice alcohol heat. Mouth-feel is on the heavy side of medium. It goes down smooth and doesn't weigh on the stomach. A quick shake results in a good blast of carbonation bubbles, which leads to an openness on the palate.

Many times Russian Imperial Stouts can be cloying or terribly unbalanced. This is not the case with the Big Bear, as Bear Republic, who don't seem to be able to do any wrong, have made another near-perfect brew.