Improvijazzation Nation, issue # 15
Improvijazzation Nation, issue # 15
Brought to you by: Zzaj Productions & DBAR
Fifteenth Edition, Winter 1994
D. Metcalf, HQ 19th TAACOM, Unit 15015 POB 2879 APO AP 96218-0171
Don Campau of KKUP
N-E-W reviewer; Elliott Smith
Wes Jensen w/poet Frank Messina (H-O-T!!!)
SPILLING AUDIO tapes are back UP & RUNNING!
A brand-new sonic experience from “veteran” David Zax
News & views about Bryan Baker’s “D.I.Y. Recording List” (weekly D.I.Y. update, via e-mail)
& much, MUCH more, dear readers!
An experiment in progress!
I’d be hard-pressed to run a ‘zine about IMPROVSATION & D.I.Y. without PLAYIN’ about wi’ th’ layout a bit e’ry onze-in-a-while now, woul’n’t I? Ergo, over th’ next coupla’ issues, I’ll be muckin’ ’round wi’ layout, format & wot-not. If there turnz out to be a PARTICULAR format you LIKE, or one you WANT us to use, just TELL me, OK? My address ‘s right up at the top – OR, if yer’ (?finally?) gettin’ in to the INTERNET, my new/current address is right up at the top as well. (Incidentally, SOME sites seem to have trouble HANDLIN’ that address, so if for some reason you get a reject, use:
All mail to that site is auto-forwarded to me, anyway!)
A QUICK disclaimer/apology is due at this point (& THEN, of course, we’ll get right to wot’ this h’yar rag’s all about – th’ REVIEWS)… in issue # 13, I mistakenly claimed that Adam Fleishman (tape was called “Space for Rent”) wuz playin’ guitar – he pointed out right AWAY that the ONLY instrumentation on that tape was him on 4 & 6 string BASS & Wes Jensen (our CO-EDITOR, BTW) on drum kit & synth. Suffice it ter’ say that my ears stand mightily EMBARRASSED – & also, to let you ARTISTS know that if I screw up in ANY fashion on my review of YOUR tape – I do (really) WANT you to TELL me! OK?
Y-Knot/Zero-D: SHURISAID/FOR WE ARE KLINGON (respectively, of course) – Well, Zalnikor & pals from “Rotton Kidz” are back in th’ “zanyzone” again. Side A (Shurisaid, vintage ’94) is 45 minitz o’ pure gitar “l” featuring Monkuss guitar/vox, Zalnikor on guitar/drums/vox & Johannes FTW on bass & keyboards… sounds similar in intent (tho’ much “crisper”) to my tape with him (“‘lectrik Katz in Buddahland”) earlier this year. Total random screemin’ mee-mees ter’ drive yer’ to oblivia… there’s sum GOOD guitar work on here, it’s just that yer’ have to be DEDICATED to listening to HEAR it! David (Zalnikor) ‘as told me more’n once that he’s proud to play today’s “ugly” music… from the standpoint of “improv”, this fills the BILL… crystal-clear & well recorded madness that WILL be brand-new to yer’ earz! I do indeed LIKE this side! From a decade earlier, Zero-D on side B takes us into th’ space-opera region with “For We Are Klingon”. Dirgelike opening moves right into HOT-ROCKIN’ guitar-based & timeless precursor to video-gameland. Full-bodied, tho’, & absolutely RELENTLESS! This is much LESS improv-oriented, falling out somewhere between metal-opera & improvisation. BOTH sides are a BUNCHA’ fun, & (as ALWAYS), I’ve no DOUBT you’ll enjoy the musics of each group. Contact at 6397 GLEN KNOLLS DR, ORLEANS ONT OT K1C 2W9 Rotcod Zzaj Dave Fuglewicz: EVERY ELECTRIC PART OF YOU TOO (sub: Vision For The Nineties) – If you’ve ridden Dave’s electronic majick carpet before (see issue # 14, in which several of his tapes were reviewed), this will do more than just take you on a “continuance”. This truly IS a vision, though it’s one you might not wantfor your children, unless they’re immune to NIGHTMARES. If you’re trying to prep ’em for the “chaos” generation, however, this will BE the ticket! From start to finish, this improvisational synth-based “oddest-y” will make yer’ head SPIN! There’s a “bell” section on side one, interwoven with sounds a spaceship might make at the “rim” that will DEFINITELY transport you! This is music for the 21st century – NOW! NOT for the squeamish, or volkz whose minds have been overlayed with the latest pop-schlock! MOST enJOYable, as are ALL the tapes I’ve reviewed from him thus farly! Comes HIGHLY, HIGHLY recommended from Zzaj! Contact at POB 48191, Doraville, Ga 30362 Rotcod Zzaj
Lonely Whisle Music: SEPARATE BUT EQUAL – Some of KKUP dj Don Campau’s favorite collaborators make “independent whoopee” on this lil’ tape! Wotta’ BLAST! For those of yer’ who’ve not been ’round this indie scene for a while, summa’ th’ names will be ‘new’… but those who sorta’ “grew up” with this wackiness will recognize Ken Clinger, Dan Fioretti, Tom Furgas & others right AWAY! Those who have heard Don’s pop/rock tapes before will be introduced to a TOTALLY new dimension of his musics… this IS improvisation! In its’ RAWEST forms. The ability to concentrate is required… but the reward is in experiencing sonic ADVENTURE! The beauty of this particular improv experience is that it’s not stuck in the RUT that a lot of improvisors seem to have gotten ’emselves into these days! Though there are EDGES, it’s not so jagged that you can’t enjoy the trek! A verily MOST enjoyable tape! If, f’rinstance, yer’ BRAND new to the improvisational experience & want to hear something new, but not QUITE ready to fry-yer-brain yet, I VERY HIGHLY recommend that you CONTACT Don right NOW, at POB 23952, San Jose, CA 95153 Rotcod Zzaj
…& now, for your enjoyment & edification, the latest crop of reviews in from Henry Schneider! Henry KNOWS his music, & pulls NO punches when reviewing various styles of music. “I.N.” is VERY fortunate to have his input, both in the form of reviews for this ‘zine and of Zzaj Productions tapes! THANKS again, Henry!!!
Wapassou: MESSE EN RE MINEUR (Musea FGBG 4111.AR) CD: 39:26 Originally recorded in July 1976 Messe en re mineur is one of the best psychedelic/progressive releases of all time. This unsurpassed musical tour de force consists of one long song that constantly shifts and changes throughout its 40 minute life span. The music harkens back to the even more ancient musics of Pink Floyd’s Interstellar Overdrive and Tangerine Dream’s cosmic freakout Ultima Thule. The interplay of Freddy Brua’s keyboards, Karin Nickerl’s guitar, Jacques Lichti’s violin, and Eurydice’s wordless chanting is exciting and innovative even by today’s standards. This reissue is a must for the adventurous music collector and listener alike. Musea faithfully reproduced the original album art on both the booklet and CD. Unfortunately, if you can’t read French you will be at a total loss regarding the liner notes and band history. [Musea, 68 La Tinchotte 57117 Retonfey, FRANCE] – Henry Schneider – August 1994
Pulsar: GORLITZ – (Musea FGBG 4108.AR) CD: 40:06 Pulsar was perhaps the best French band in the mid-seventies. In fact they were the first French band to be distributed by an English label. From 1975 to 1977 they released three albums culminating with their critically acclaimed masterpiece Halloween. However, the arrival of New Wave music caused Pulsar to face 10 years of forced retirement. Then through Musea’s encouragement Pulsar reformed and recorded Gorlitz in 1989. Though the years have taken their toll with bassist Michel Masson leaving the band, Pulsar’s energy and creativity are still evident. Unavoidably the crystalline sounds of digital synths and an updated rock influence predominate and yet the music is unmistakably that of Pulsar. Gorlitz abounds with classical themes and the 19 minute title track captures the essence of their early days. Long awaited for CD release, all that now remains to make Pulsar’s discography complete is the reissue of Bienvenue au Conseil d’Administration. However, conspicuous in its absence are the usually extensive liner notes that would trace Pulsar’s history from Halloween to Gorlitz. Be that as it may, Gorlitz is another excellent release that should not be missed. [Musea, 68 La Tinchotte 57117 Retonfey, FRANCE] – Henry Schneider – August 1994
Torn Curtain: TORN CURTAIN (Ventrick #4) CD: 37:10 Torn Curtain is the debut effort by former Mauve Sideshow keyboard wizard Dusty and his new vocalist Sheila. Consisting of the four songs Daymare, Creatures, Twilite, and Dawn, their self titled debut CD is a more peaceful and atmospheric release than those of Mauve Sideshow. Though still music from realms unseen, Dusty now explores a kinder and gentler territory devoid of Mauve Sideshow’s nightmarish tension. Instead Sheila’s ethereal soprano and Dusty’s Mellotron, effects, and tapes lure you into that twilight region just beyond the veil. Torn Curtain presents a major step forward in Dusty’s journey around this mortal coil. He squeezes some surprising warmth out of his electronics while at the same time demonstrating a mastery of this little explored niche of electronic music. The only drawback for me is that the CD is over just too soon. So if you yearn for something to soothe you to sleep that imparts a vague sense of uneasiness, Torn Curtain is the ticket. [Refraction Sound, P. O. Box 19523, Seattle, Washington 98109] – Henry Schneider – August 1994
Christian Decamps: et Fils NU – (Musea FGBG 4110.AR) CD: 74:27 Nu is the new CD release by Christian Decamps the former keyboardist and leader of the French progressive band Ange. Joined by the likes of Jean Pascal Boffo, Decamps runs through 16 relatively short songs, most 3 to 4 minutes long. The musicianship and singing are outstanding but overall the music leaves me flat. Most of the songs seem to drift between early Human League, Yello, and The Teardrop Explodes without ever settling down. It isn’t until the CD is more than half over that things pick up. The three best songs are Pierrot, la lune a soif with its outstanding e-violin, Les clodos et Ventre-Blues with its sexy sax, and Paysans et cosmonautes with its Gypsy violin. A nice touch in the booklet are the French cartoons accompanying the lyrics. Overall a pleasant suite of songs but nothing to get too excited about. One thing that does bother me is the inclusion of the photo of Decamps’ naked torso with a portion of his genitalia showing. I am by no means a prude but this photo is in bad taste, has nothing whatsoever to do with the music, and will needlessly offend some people. Thankfully you only have to look at Decamps paunch et al. when you open the case to take the CD out to play. [Musea, 68 La Tinchotte 57117 Retonfey, FRANCE] – Henry Schneider – August 1994
Tonart: DREI – (TONART BERLIN DREI) CD: 52:57 DREI is the third avant garde electronic collaboration between Lars Stroschen (AKA Propeller Island) and Jorg Thomasius. Whereas EIN also included Conrad Schnitzler’s playful contributions, DREI is a more uniform work. The 13 tracks are equally divided between the two composers with Lars contributing most of the odd numbered and Jorg most of the even numbered compositions. This alternating aspect juxtaposes the composer’s differing styles in such a way that the music flows from piece to piece without ever boring the listener. What rapidly becomes noticeable is that Lars favors low rumbling slabs of electronics iced over with shimmering shards while Jorg favors the high frequency manipulations, voices, and processed short wave radio similar to Asmus Tietchens. The one factor holding the music together across its 53 minutes is their compositional approach. Each composer starts with an original sound sculpture and then incorporates sonic material from his partner which he then processes further. A noteworthy advancement on DREI is the judicious use of reverberation that lends a warmth and depth to what could so easily have been cold and sterile electronics. While DREI is definitely not for your Yanni fan it is sure to please the post-industrial avant garde electronic music lover. [TONART BERLIN, Auguststrasse 19, 10117 Berlin, GERMANY] – Henry Schneider August 1994
Exposure Radio Network: EXPOSE (‘zine) First contacted these folks via e-mail after spotting ’em in an address list from our “I.N.” friend Henry Schneider… turnz out Peter Thelen is the one I got in touch with & he sez’ “I’ll send you a copy of the ‘zine shortly”. Well, b’lieve it or NOT, the package comes in about one week (wonders never cease, din’ think th’ UPS could WORK that fast). Three SPLENDID issues of what Peter & cohorts call “Your central source of information for Progressive, Symphonic, Fusion and Electronic Rock”… well, people, he’s not off the MARK at ALL! All the way from a comprehensive trib to the dear departed “Uncle Frank” to in-depth coverage of the latest prog-rock in Italy, with WELL written reviews of all KINDS of releases! This is a HOT ‘zine – & they know whereof they speak – they’ve got (what sounds like) a RED-HOT-SCALDING radio show to back up their claim to knowledge of the “scene”. The latest issue clocked in at 28 full-size pages. & that’s some rather small print (tho’ still readable). Fine layout, clean as a whistle and MOST informative. I really LIKED this ‘zine. Comes MOST HIGHLY recommended from Zzaj. Contact at PTLK@NETCOM.COM via e-mail or SNAIL to Peter Thelen, 6167 JARVIS AVE, # 150, NEWARK CA 94560 Rotcod Zzaj
metall-assemblague: JAZZCORE MEETS THE FREESTYLE SCHOOL – & wotta’ meeting it IS! Our old “I.N.” friend LaDonna Smith (& editor of “the Improvisor”, one of the FINEST ‘zines in the WORLD for the improvising artist) first reviewed this group in their last issue… as usual with anything SHE reviews, the actual EXPERIENCE lives up to EVERY expectation/ appetite her review built up. However, reader/listener be foreWARNED! If yer’ not TOTALLY dedicated to improvisational EXCELLENCE (meaning that this is not a CD you put on & have a “party” to; it’s something that requires your ATTENTION), you’ll lose the ESSENCE of what this is all about! An excursion in musical FREEdom… what ALL you out there who “aspire” towards if you’re attempting to improvise. The FINE thing about this particular group is that they KNOW what they’re doing… in my early days exploring improv, there were some folks/groups I played with who thought “improv” only meant crash/burn, mebbe’ in th’ middle o’ sum rock ‘n thrash… that is usually FUN, but it doesn’t make for very MEMORABLE improv EXPERIENCES. & then there were the “wall-of-noise” addicts. The DIFFERENCE between such highcrash efforts and this truly outstanding improv is that even tho’ it’s “random”, there’s still a very highly developed sense of “purpose” that grabs HOLD of the listener & CARRIES them on the majick of the carpetride. Well, let me tell YOU… Josef Suchy, Robert Gerlach, Tom Eisen, Heimo Bierwirth & guest Oliver Steffen know right where THEY’RE going. This group is THE best improv I’ve listened to THIS year (&, in fact, is a REAL standout among the many I’ve listened to over the last TEN)! They most DEFINITELY get the PICK in this issue for “best improv”! HIGH talent, combined with an apparent love of musical freedom will make this one stay in yer’ CD stak fo’EVER! MOST HIGHLY recommended. Contact at 96049 Bamberg, Mittlerer Kaulberg 30 GET IT! Rotcod Zzaj
The following reviews came from a NEW reviewer (new to “I.N.”, anyway; I understand Elliott writes for many OTHER ‘zines also)… this continues to EXPAND into the realm I’ve wanted the ‘zine to move in for quite some time… OTHER writers/listeners/reviewers/players opinions of tapes/CD’s/vinyl that THEY have been exposed to… actually Elliott had many MORE reviews for me to look at – I only picked the ones that seemed “bent” more towards “D.I.Y.” and/or “home production”! It’s obvious to me that he has a STRONG writing/reviewing style, with a sincere enJOYment in what he’s doing… if YOU know of folks who are doing this, in PARTICULAR, folks who are up on the INTERNET, please STEER them my WAY, OK? Our THANKS go out to Elliott for letting us use these reviews!
Cul De Sac: ECHIM – (CD) The members of Cul de Sac have been around for awhile. Veterans of the late 70s punk scene and 80s industrial noise movement, Cul de Sac was formed in search of something entirely different. Combining folk, jazz, rock, and exotic elements, Cul de Sac forges a new path in the experimental world of music. Their debut full lenght CD is entitled Ecim and displays their ability to play in varying styles and oftimes fusing these elements to great effect. Although there are a couple of tracks with a vocalist known as Dredd Foole, I don’t particularly recommend these. Where these guys excel is in their use of varying sounds and textures. There’s a version of John Fahey’s “The Portland Cement Factory at Monolith California”, which moves pleasantly along until disturbed by what could be best described as thoughtful noise. This noise is provided by an instrument invented by bandleader Glenn Jones, that he calls “Contraption.” Along with the guitars, bass, drums, and “Contraption, ” there’s some nice synth work, a tape collage, and violin. As with any project of this nature Cul de Sac misses the mark a few times. They make up for this, though, by the many magical moments of sonic pleasure throughout Ecim. (NORTHEASTERN, P.O. BOX 3589, SAXONVILLE, MA 01701) Elliott M. Smith
Some Velvet Sidewalk: WHIRLPOOL (CS) There aren’t many groups out there who can get as much distance out of a couple of chords as does Some Velvet Sidewalk. On the surface this might appear to be a trashy release without much substance, but this group shows tremendous charm in the execution of what sounds like the neighbor boys clanging away on their instruments. I would like to see this band live. All their looseness is captured well on this Steve Fisk ( Steve was associated very closely with the “grandaddy” of all D.I.Y. ‘zines, LMN – “OP”, now regrettably longgone) produced album, but they probably shine even brighter in a live context. The song “Shame” was actually recorded live and is the standout track. Along with pounding bass, the vocalist rants and screams in a manner that might leave Henry Rollins green with envy. Besides a few distorted guitar oriented songs, Some Velvet Sidewalk comes through with a good collection of diverse songs. “Oscar Says” is a strong track that begins with some sparse accompaniment which later climaxes in a wall of sound. The title track contains some interesting guitar noodling that essentially defines the Sidewalk aesthetic, which could be defined as sloppy yet equally brilliant. The last two songs are slightly pathetic, though they do contain such inspiring lyrics as “dinosaurs are beautiful”, and “kicking giants is hard to do.” (K, Box 7154, Olympia, Wash. 98507) Elliott M. Smith
The Wrens: SILVER (CD) The Wrens cover some significant ground on their 23 track album Silver. With some catchy tunes and an instrumental ensemble that knocks you over the head, this may be the album that the Pixies never made. Comparing The Wrens, though, to any other group is an impossible task since the variety of songs they provide is outstanding. I really don’t think there’s anyone out there who couldn’t find something they like on Silver. Some songs blaze on by, clocking in at around a minute. Others, that are equally short, seem more like a musical snapshot, that could have been a song if only The Wrens were more focused. Besides the fast, loud, yet intelligent assuaults, there are a few extemely beautiful and lush songs, as well as a couple of acoustic numbers. Unfortunately, there are a few annoying tracks on Silver, but these are easily overlooked by the abundance of material that will have you coming back for more. Perhaps the most amazing thing about this CD, is that The Wrens recorded it in their basement. This is noticeable on some of the thinner sounding bits, but overall this is a very professional recording. With the willingness to program the CD player a little, Silver could be a good addition to almost anyone’s library. (GRASS, P.O. BOX 800, ROCKVILLE CENTRE, NY 11571) Elliott M. Smith
From A to Z: STARKLAND COMPLILATION (CD) High quality, intelligent electroacoustic music is what you’ll find on From A to Z. This compilation is a good introduction to what the relatively new label, Starkland, will offer in the future. They have already released two CDs that encompass all of Tod Dockstader’s works. This compilation features six other composers, in addition to Dockstader, that will be featured individually on future releases. One track that seems to be garnering a lot of attention is Phillip Kent Bimstein’s “Garland Hirschi’s Cows.” In this piece Bimstein has sampled a Utah farmer and his cows. The way in which the samples are handled varies from sensitive to humorous treatment. Circus-like percussion and a low resonating cello are among the accompanying sounds Bimstein uses. Paul Dresher’s “Underground” utilizes a tape machine he designed. This machine allows a performer to play an instrument while recording, playing back loops, and mixing with foot controls. The amazing thing about “Underground” is that the instrument involved is a cheap Casio keyboard. The results are amazing. Other pieces include Joseph Kasinkas “Rider,” a percussion piece that revolves around the use of echo. Pamela Z adds a vocal compostion based on samples of her own voice and singing. All this and I haven’t even mentioned Charles Amirkhanian or Joseph Lukasnik yet. This compilation is full of diverse electronic music that should appeal to both the academic and non-academic worlds of music. (STARKLAND, P.O. BOX 2190, BOULDER, CO 80306) Elliott M. Smith
THE Halo Benders: GOD DON’T MAKE NO JUNK – The Halo Benders fit well into the K Records line-up with their album God Don’t Make No Junk. The lo-fi thrills just never seem to stop, in what many consider, (myself included), the more creative side of the Northwest. Calvin, Dug, and a few others dish out ten solid tunes with the help of producer Steve Fisk. Although, “Bikini” is beginning to wear on me, the mindlessness of “Freedom Ride” seems to get better with each listen. Calvin Johnson’s low rumbling voice goes extremely well with the nasal voice placed in an entirely different register. Fairly sparse arrangements highlight this laid-back recording, perfect for just popping in and doing something around the house. The moods vary from the desperate “Will Work for Food” to the thumping “Canned Oxygen.” Opening track “Snowfall” is such a nice song I think my parents would enjoy it. As self-affirmation recordings go God Don’t Make No Junk is at the top of my list. (K BOX 7154, OLYMPIA, WA 98507) Elliott M. Smith
Hieronymous Firebrain: THERE (CD) If you ever wonder what happened to Camper Van Beethoven, part of the answer lies in Jonathan Segel’s group Hieronymus Firebrain. Sure, everyone knows that David Lowery went on with Cracker, but what ever happened to the experimental nature of CVB. Hieronymus Firebrain’s There is a live recording of sorts. Opening track “Heaven’s Expanse” starts off with a very relaxing feel. This mood gradually changes as does the entire album. The general base of this project is rock, but there are so many other elements intertwined that the end result is difficult to categorize. The lyrical content of There is serious, with enough meat to leave you thinking well after the music stops. Of course, if you don’t pay attention to the words, you still won’t be dissapointed. Folk, rock, ethnic, funk, Can and Frith, all lie side by side on an album that may require a few listens to appreciate in its entirety. Hieronymous Firebrain may never reach the wide acceptance of CVB, but I don’t think they really care. Sometimes artists actually make the type of music they would like to hear. (MAGNETIC, BOX 460816, SAN FRANCISCO, CA 94146-0816) firstname.lastname@example.org Elliott M. Smith
Miss: A PRETTY MESS (CS) – Avoiding current dance trends and steering clear of techno, A Pretty Mess comes through with some great mid-tempo pop tunes. Created almost entirely with synthesizers and the voice of Lara Vecchiarello, MISS has recorded a group of songs that range from psychotic to meditative. But the strength of MISS lies more in the opening songs on side 1, which are well crafted and illustrate that well programmed synthesizers can actually sound neither odd nor mechanical. Lara’s voice fits well in the mix, many times layering her own voice and singing backing vocals as well. Her voice comes across as being sweet, yet with a definite edge to it. The upbeat “vague” appears to be the most obvious choice for the dance floor. The strength of some of the other songs lies more in their rhythmic quality even though they do veer in a slower direction. “Around The Bush”, which is one of my favorites, has a steady groove that is interrupted a couple of times with a non rhythmic piano part. Overall M ISS is a talented group who have managed to discover their own sound. (MISS, C/O CHRISTOPHER ADAM, 822 NORTH 65TH STREET, PHILADELPHIA, PENNSYLVANIA 19151) email@example.com Elliott M. Smith
A Sister Machine Gun: THE TORTURE TECHNIQUE (CD) – Produced and mixed by the guys from Die Warzau, Sister Machine Gun’s second album is one of the best industrial albums I’ve heard in quite some time. Although there are a few moments in which I thought I must surely be listening to something by Trent Reznor, this group manages to take their influences into creative and interesting directions. I don’t know who deserves the credit for this album, Sister Machine Gun for the songs, or Die Warzau for all the studio wizardry. Either way The Torture Technique achieves musical anger that is sonicly pleasing. As Chris Randall sings and screams his twisted view of the world, references to religion and drugs co-exist. Closing track “Heaven” is actually two entirely different pieces. Beginning with a noise infected segment, silence follows for over a minute before an upbeat jazzy number takes over. Stretching the industrial borders Sister Machine Gun may be the new leaders of this genre. (WAX TRAX!/TVT, 23 E. 4TH STREET, 3RD FLOOR, NEW YORK, NY, 10003) Elliott M. Smith
Carl Stone: FOUR PIECES (CD) – Armed with a computer, a sampler, and a synthesizer, Carl Stone is creating some of the most interesting music available today. While the music seems greatly manipulated, this has all been done within a live context, without editing or overdubbing. “Hop Ken” is perhaps one of the best examples of what Carl Stone has been doing for the past decade. Taking samples of a recording of Mussorgsky’s “Pictures At An Exhibition,” Stone creates an entirely different piece altogether. New rhythms, tempos, and music all emerge. Mussorgsky’s themes are still recognizable, but they take on new meaning after they’ve been put through a unique musical process. Note that Stone considers himself a musical purist and rarely distorts or tampers with the sampled sound. The music he samples takes on new characteristics mainly due to the context in which he places them. “Shing Kee” is almost entirely based on a single sample of a Schubert lied. Beginning with a fragment of the work being sung, this is repeated continually as more and more of the sample is allowed to emerge. Halfway through, the piece shifts to a different phrase and continues to evolve in the same manner. “Sonali” is unique in that it consists of samples from one of Stone’s own compositions, “Wall Me Do.” This composition is also on the disc, although in “Sonali” he has managed to give even his own music a fresh and inpiring approach. _Four Pieces_ is an excellent introduction to an artist who is producing music that transcends time and avoids the academic sterility of many modern composers. (ELECTRO-ACOUSTIC MUSIC, 4104 24TH STREET, SUITE 410, SAN FRANCISCO, CA94114) firstname.lastname@example.org Elliott M. Smith
Control Freak: LOW ANIMAL CUNNING (CD) – I don’t know the history of this band, but they seem to either be emulating the grunge sound, that became ever so popular a couple of years ago, or they could actually be one of the original grunge bands that somehow escaped the major-label feeding frenzy. Either way, those who like their music dirty and full of angst will thouroughly enjoy this album. In comparison to some of the grunge icons, Control Freak has a rougher sound. A couple of these songs would go over well on the conservative alternative radio market, but in general the rest of _Low Animal Cunning_ is noisy, out of control, punkish rock. If this disc had been released a few years earlier, it would probably have been a more significant landmark. But even if Control Freak is a little late on the musical trend scene, they have passion for music that far outweighs the glossed over product that is being made in mass quantities. If you haven’t tired of the grunge sound, give Control Freak a listen and you will be pleasantly surprised. (CAVITY SEARCH, P.O. BOX 42246, PORTLAND, OR 97242) Elliott M. Smith
Violet Arcana: IN THE SCENE OF THE MIND (CD) – Jeremy Wells, who had a release on Silent Records under the name 68000, has teamed up with Dave Duddleston to form Violet Arcana. This CD is released on their own label, Ein Produkt, and their main method of promotion is through the internet. _In The Scene Of The Mind_ flows from track to track with trance inducing rhythms, light instrumentation, and an almost subconcious vocal approach. There is a very steady pulse throughout, but Violet Arcana make good use of the the outlined time frame with music that evolves and changes at just the right moments. The fact that most of the tracks sound similar is a common criticism of the ambient/trance/techno world of music. This, of course, is the very nature of the style, and Violet Arcana has successfully produced stimulating music within this framework. You probably wouldn’t want several albums that are similar to _In The Scene Of The Mind_, but that could be said about almost any artistic output that fully explores a specific musical landscape. The best thing about Violet Arcana is that they cater to individuals on the internet. Not only can you ftp audio and visual clips, but they also offer this disc for a measley 5 dollars (for people on the internet). If you’re lucky you might even find some violet seeds hidden away in the packaging. (EIN PRODUKT, PO BOX 19142, PORTLAND, OR 97280 email@example.com 97280 Elliott M. Smith
abbey: POETRY ‘ZINE (# 72) – Which, I guess, means it’s been around for some time… & no WONDER! Tho’ not TERRIBLY lengthy, it still clocks in at 32 full-sized pages! Chock full of work from poets who seem to have been chosen for their ability to express the “real” visions of life (as they see it, of course). Some quite familiar names here (some long-term “I.N.” friends like Joan Payne Kincaid & Shiela Murphy) like Paul Weinman & Michael Easterbrook, as well as some I’m not real familiar with. This particular issue was the “Readers Awards”, with ev’rything from poetry to novels to TV discussed. The poetry was noteworthy, though, & I’ll have to do some kind of trade with ’em to get a “full-blown” poetry issue. VERY enjoyable, fresh – has a real “people” feel, something oftimes rare these days! Contact David Greisman, 5360 Fallriver Row Court, Columbia, MD 21044 Zzaj personally RECOMMENDS this one! Rotcod Zzaj
Seed Glowing in a Mirror/Baby, Baby: BOOK OF POETRY – This is quite, QUITE interesting. Judy Kotz-Levine & Miriam Sagan (who many long-time “I.N.” readers will remember as having furnished poetry/novels for “I.N.” and Zzaj from the “early” days of this ‘zine) literally “join their words together” to bring you insights into motherhood. Somewhat different in style & attack, but it still makes for an interesting read. F’rinstance, Judy furnishes this in “Making Ready”:
We will inhabit these rooms fill them with the smell of warm milk.
Rocking chairs of cedar and pine.
Yellow leaves drift like a boy’s first boats gliding into words.
There are prose pieces as well, but the poems (as usual) convey stronger images for me. Witness this extraction from Miriam’s “Baby, Baby” section, from a poem titled “Towards Birth (White Wings)”:
Bread in the cupboard, and never go hungry
Fur lined boots and we will never die
Sorry to say I’m lying about that last part
Still I’d like to stay with you always.
Pleasant images, as well as pictures of the stark terror that pregnancy & the “waiting” can be… this is a FINE volume, another winner. Contact Nocticula, 10 Hillshire Lane, Norwood MA 02062-3009 RECOMMENDED! Rotcod Zzaj
& now, ANOTHER new reviewer for “I.N.” – these ‘zine reviews came in from Calum Selkirk, who does I/O/D; in his OWN words, ” I/O/D is a new interactive multi-media e-zine. Distributed free over the networks, small and perfectly deformed it creates high density chaos in a confined space. I/O/D investigates traces of linearity, anti-linearity and straight talking by e x-humans who:
Destroy dogmatic language systems on a regular basis.
Produce mind-curdling animations or quick time movies.
Make unearthly noises, loops, samples.
Rant like old testament prophets with bio-electrical implants.
Issue One includes:
‘Eschatology’ by Mark Amerika, a frenetic collapse of previously discrete narrat ives which finds Madonna and Nikolai Tesla fighting their way out of each other’s skins.
‘Black Capital’ by Stephen Metcalf is a convulsive reading of Burroughs that tra ces the trade routes of disintegration.
‘Aggressive Listening’ by Scanner is a random archaeology of the telephonic voice, seeping sporadically into your cranium.
‘Filth’ by Graham Harwood is a bug-eyed sequence of graphics that drags the digi tal into the bacterial and back.
Future issues will include material by: VNS Matrix, Critical Art Ensemble, Sadie Plant, Tommaso Tozzi
I/O/D is produced by: Simon Pope and Colin Green of Cactus Interactivity and Matthew Fuller, a syntactically incorrect being.
Write to: I/O/D, BM Jed, London, WC1N 3XX, UK, or e-mail firstname.lastname@example.org
HELP: We are desperate for ftp/gopher sites that will make I/O/D available on the nets .
…We TRULY appreciate the inputs from ALL of these netvolkz – it gives different perspectives for “I.N.” readers, more exposure to those who otherwise might not get ANY & is SO fast! Many MANY thanks!
The Experiodicist. (double sided A3 folded.photocopy) this sporadic and simply produced broadsheet weaves a mastic wurly pool of experimental poetics, collage and pen & ink work into il pasto nudo. Experiodica is a term coined by Bob Grumman in the late eighties and defined by him as a non-exclusive terming of experimental odd periodicals focusing on exotica, but whos’ meaning has spread to other streams of cultural activity. This issue has work by such liminaries as Malok – offering mandalasigilic like scribblings from the ‘god’ series; wordmangling shorts from Fiscus Strangulensis; John M Bennetts flare of slur observation sticking my chucks; along with Sheila E.Murphy, Greg Everson, Paul Weinman, Jack Foley, David Thomas Roberts, Stacey Sollfrey and a whole bunch of others. This is where what’s happening on the page is not quite fixed as language and staid formulas are poked and wipped to a frothy mess. Take a look at the food blender. (9th St Labs., P.O.Box 3112, Florence AL 35630 U.S.A ) CS =20 Dreamtime Talking Mail. Issue 3/ Jan94. Number 2 Spring 93.(20×27.litho).=20 “information and images concerning the becoming of Dreamtime Village, a rural experiment in combining the ancient technology of permaculture with the unlimited possibilitys of hypermedia arts.” Many a tread is woven into the pages of this zine, applied Permaculture, utopian lines of flight, nomadic networking stratigies, enough to send you into the “hump dance”. Hakim Bay compares the Dreamtime Corroboree (festival) with his notion of the Temporary Autonomous Zone; Miekal And on Subtle Disruptions, an attempt to map divergent dialogues by following simultaneously a multiplicity of paths; a piece exerpted from Halsey Rineharts’ ‘Remembering Earl Sugden’, an antecedent to ‘hypermedia’, and offered in an effort to track local experimentation in the area surrounding Dreamtime. There is also something here that seems to connect the reader with the whole project, an enthusiasm and engagement thats is – let’s hope – infectious. $3/issue Dreamtime Village., Rt 2 Box 242W, Viola. WI 54464 U.S.A =20
OV (20 page A3,b&w printed) A new publication from the Temple of Phychick Youth, London. A large and well considered exploration of ‘occulture’ – a fusion of libertarian aspects of the occult and social activism. Previously some TOPY publications have eschewed legibility in favor of crap-xerox-chic, OV however is well designed – so your eyes’ll want to read it too. The articles are up to scratch as well. Editor of Pagan News Phil Hine, chats about the interrelated paradigms of psychology and magic, self determining sexuality and the politics of truth; an agent of the Out of Order Order chips in with an occult explanation of football; there’s an investigation of ephemeral literature- reading between the junk mail lines; homo nuns, the Sisters of Perpetual Indulgence, put lust back on the map, in a well deserved reprint from Fatuous Times. There also a couple of bands, thoughts on the Men’s Wisdom Movement, plus a slew of reviews on related material. The state machine’s sudden overt interest in S&M and related areas is also covered, though a little thinly. The Spanner case (where sixteen gay men where convicted for having consensual S&M) and associated media noise; Madonna, fashion piercing, the fetishism fetish, work both to bring these ‘deviants’ into the welcoming fold of ‘normality’ as much as redefine and rejuvenate it. In the OV editorials this occurs as the strictly cultural studies radicalism of one article and the practical imperatives of another. Maybe there could have been room here, given the Temple’s recent history, not for recapping, but for a wider consideration of possibilities. There is no one set of causes and effect at play here, whats needed is to develop exploratory and not purely polemical writing; tactics of thought and action that embody a diffuse, antagonistic and infectious alterity and importantly, tactics which operate in ways that people can get involved with. The production of OV puts this directly into practice of course and shows that we don’t need to make things acceptable to be effective. 1.50 & s.a.e from TOPY P.O.Box 1455, London N4 1JT =20
Kinokaze. Issue 1 (A5 46pgs litho) is a zine covering the little reported area of underground film making. This premier issue has interveiws with Kurt Kren, Richard Stanley and Pat Klein one of the founder members of the Exploding Cinema. A comic strip titled ‘Shrudfinder’ gives a step by step guide to doing over any old bits of celuloid with brillo pad precission, No Budget Heaven,a peice questioning standards of ‘quality’ in film production and more……..warped and kinky film stuff. =A31.50/issue (Mischievious Productions.,295 Wendover St London SE17 2UW) CS =20 =20
Scott Brookman: A NATIONAL TREASURE – Scott’s BACK… & wasn’t THAT in a hurry? There ARE some treasures on here, too… “Everything you write – just sounds like Death” is more’n just a cute toon… production is WAY up! Clean as a bell guitar, incisive percz & the vox/lyrics are (almost) “sweet”. A neat “folk scat” toon or two, with Scott doin’ ALL the vox is quite INTERESTING. Whether he was being “tongue in cheek” on th’ title or not, there surely IS merit in staking your claim early to THIS musical motherlode. Purely original, with a flair for the melodic, “…National Treasure” comes off as a ‘polished’ effort – but one that HAS substance, in th’ sense o’ havin’ FUN with music. &, ain’t that wot’ D.I.Y. is s’posed to be ALL ABOUT? My only complaint is that it was just a tad too short! ‘course, Zzaj likes ’em ALL to be C-90’s, anyway, know wot’ I mean? If yer’ lookin’ for “raw/sparse”, turn elsewhere. This is full-bodied music with a bent in th’ pop direction – but it turned ME on, I think primarily becoz’ this gent is SO full of energy in what he’s doing! Check him OUT at… email@example.com or via SNAIL at Loser Records, PO Box 14719, Richmond, VA 23221
Frank Messina & Spoken Motion: LIVE Now, folks, here IS a KICKER! Our co-publisher Wes Jensen (who also runs the D-BAR label, a H-O-T one) plays drums behind the GALACTIC words of spoken-word artist Messina in a live set that just can’t HELP but touch the “heartstrings” of those who recognize the natural beautyin the marraige of words&music! There are, in fact, two live sets on the tape, so a player list would be too long; you’ll have to CONTACT Wes at D-BAR (POB 3214, Wallington, NJ 07057) to get the TAPE! The one other player that MUST be mentioned (tho’ all of ’em SHINE) is sax/flutist Elliot Levin – he seems to be right IN Messina’s mind, following/leading/complementing, etc! If you’re looking for somethin’ both beautiful/reflective & challenging all at the same time – GET THIS! This one gets the PICK for jazz/spoken-word in this issue! There is REAL energy here & this tape comes MOST HIGHLY RECOMMENDED from Zzaj! Rotcod Zzaj
Spilling Audio: REPERCUSSION – HEEEYYYY, katz! Eric Hausman (in case you didn’t KNOW it awready) is BACK, people! & what a SENSE-ational way to kick back on to th’ scene! Those who’ve stayed with “I.N.” since it’s inception will well remember my HIGH praises for his Spilling Audio tapes, lone artists as well as compilations. On this “re-birth” of the SA label, there are 24 absolutely SMASHING (po nun intended) entrees in to th’ world of percussive talent. Some “old” (Triptic of a Pastel Fern, Jacky Ligon/Duke Andrews) as well as “new” (Okaniwa Fumihiro, Treblemaker) auras grace this highly-charged re-entry. Eric has NOT lost his “touch” for picking sonic meshings that will both astound and excite you in every way imagineable. This is one HOT tape, & you NEED to contact Eric to get a copy! Contact at firstname.lastname@example.org or snail to Spilling Audio, P.O. Box 24592, Jacksonville, FL 32241 For ALL you D.I.Y.’er’s out there who have “pieces” you want others to hear, Eric has some “new” comps he’s preparing as well… here’s th’ poop… “The fourth DRUM compilation will be a C-90 release with a focus on percussive sound” and “SCRATCH, which will be a C-90 compilation featuring unconventional sounds produced from homemade instruments, found devices, non-musical devices, etc.” Don’t sit there & W-A-I-T, i.e., V-E-G-E-T-A-T-E… make sure you DO somethin’ with yer’ music, like NOW. There ARE people (like me & Eric) who want to HEAR what you’re DOING! D.I.Y. fo’EVAH! Rotcod Zzaj
David Zax: FUNNY FANNY – Summa’ yer’ may reMEMBER this gent, currently hailin’ from Taiwan (right close ter’ ME, but we ain’t managed to hook UP yet)… originally from England (or thereabouts), Zalnikor (of th’ Rotton Kids) stopped off & jammed with him last spring. Since then, David’s gotten some new recording equipment, a new place & put down some H-O-T trax! The rhythms on side 1, when paired with him gravelly vox, made me think “Tom Waits”, like in the immediate! ‘course, that’s what ‘appened LAST time, as well. There are some similarities, but then he POPz right in to backbeat rhythm pieces colored with shades of Cp’n Beefheart! VERY versatile guitars against drumz, Zax is a MASTER at creating the mood he WANTS yer’ to be in. This is his best work yet – & if you like free-form folk/rock with a hard EDGE (just th’ RIGHT amount o’ bitterz), you’ll WANT this ‘un! I absolutely froggin’ LOVED it… HIGHLY RECOMMENDED! Touch base with David at POB 8-198, TAIPEI (TAIWAN) RC Rotcod Zzaj
The Noisy Room: SAMSARA – In from Marco Olivotto, previously a B-I-G netrover on the ALLMUSIC net (he hasn’t been ’round that much of late on there), this is another SUPERB effort from this group. SAMSARA is out on CD, & for ALL you fanz o’ progrock, you won’t wanna’ leave home withOUT it! Based in Italy, TNR is a TRUE power-group that will blo’ yer’ SOCKZ off (“l”, they already DID, if you got their CD from last year, “The Chessboard”), if yer’ in to PROGRESSIVE even in the least bit! These gents (it’s basically a four-person group, with about 7 other players “guesting”) go FAR beyond the scope of “radioable”, however. Deeply emotional lyrics combine with VERY beautiful musical panoramas that are, as Ohm sez, “meant to be circular, in a way, since the last song explains, at it’s very end, the first…” I think that’s the REAL beauty of this TNR “classic” – it reaches out and makes you FEEL! This one comes MOST HIGHLY recommended! Contact at 16 Via dell’Abetone, 38068 Rovereto(TN) Italy (FAX: 39-464-421837) Rotcod Zzaj
Late Breaking News
GAJOOB, for all you R-E-A-L D.I.Y’er types out there, is BACK! Yah, yah, I do REMEMBER – I’ve told you that NUMEROUS times over the last two years or zo, people… well, THIS time, it’s fo’ SHO’… absoLUTEly NO B.S! Bryan Baker is up & RUNning with it! He’s not only got the ‘ZINE back up (issue # 10 should be in me’ ‘ot lil’ HANDS s-o-o-n) h e’s also running a NEAT e-mail project called the D.I.Y. Recording List. Feedback from MANY active D.I.Y.’ers, reviews by Bryan & others, just a whole PACK of information that’s USEFUL for those of us who want to ACTUALLY DO somethin’ with our music/poetry/art… those not familiar with the netz won’t realize it, but a LOT of the e-zines, lists & other traffic on there are full of folks who are just ADVERTISING to each other, or elsewise (sort of) MASTURBATING! There’s certainly nuthin’ WRONG with conversation, & in my (quite jaded) sense of things, there’s nothin’ wrong with a little bit of advertisement, either… (more about all that in a minit) – what the D.I.Y Recording List does is makes SURE you get some R-E-A-L news about what volks are DOING! Snail addresses, as WELL as e-mail addresses (for those that have them) add to the dynamic! This is MUCH different than a ‘ZINE! I, for one, am really impressed & highly-CHARGED over the prospects that such a list can (& most likely WILL) bring about. Bryan’s always seemed to be most interested in SPREADING the word about D.I.Y.; not just runnin’ th’ standard H-Y-P-E that so many lists practice. IF you can get yourself CONNECTED to the INTERNET, do it NOW! Send your comments/notes/latest projectz to Bryan… e-mail is email@example.com If, for some reason you can NOT get a connection, send your tapes, etc., to Bryan at PO BOX 3201 Salt Lake City, UT 84110
Yer’ heard me gettin’ started off into my monthly “S-U-B-J-E-C-T”, volkz! This whole D.I.Y./”independent” scene is kinda’ comin’ to a head fer’ yer’ ol’ zzaj-friend. Of course, after one fashion or another, I’ve been DOING it (by myself, often with OTHERS) for about a quarter of a century! Oh, hell, it wasn’t always XACTLY what I wanted it to be in the end-run… I had to SHAKE it ’round a bit quite often… turn th’ phrogger upside down & inside out… but I can’t remember a time when anyone or anything got in the way of my being able to say that I actually D-I-D something! Poetry, music, performance; while they probably weren’t “classical”, in any sense of the word, they were “mine”! You know WHY? Because “i/we” DID them! We didn’t sit there & T-A-L-K, night after endless NIGHT, about IF we were gonna’ do something… no great philosophical diatribes about the question of whether we SHOULD or not! We/I, whoever I was with (in the performance sense), had to learn that long-term deliberation/pontification/examination usually produces NOTHING!
Why this PARTICULAR rant? I guess wotz’ been gettin’ on my nervez of late is the netspread of (what I consider to be) an insiduous & VERY unhealthy V-I-R-U-S! This probably wouldn’t be on my mind so much, if it weren’t so PREVALENT on the netz! Groups that are/were formed for the love of WHATEVER (tho’ my netwanderings are pretty much restricted to those that involve some form of art) seem to have been invaded by a whole phroggin’ BRIGADE of “mindsnatchers”… (never mind the one-liner postings, those always crop up, & most of the netz police themselves pretty well) …you remember the ancient sci-fi flic, the “Bodysnatchers”? I mean, that IS what it reminds me of. A whole damned SNOOTful of volkz who want to offer up page-after-page of “insightful” opinions aboot th’ “ramifications” of a certain piece of music, painting, or other artistic endeavor. Now, I’ll be the FIRST to admit that I’m (fairly) RABID about the need to DO something… but even after I throw in the required grains o’ salt – THESE plooks are carryin’ this T-A-L-K-I-N-G too FAR!
As some of you’ve probably heard me say numerous times (& prob’ly will AGAIN), th’ KEY word in D.I.Y. is “DO”! Not sittin’ there mullin’ it over in yer’ thot process until yer’ original IDEA has become sausage… you want sausage, hit th’ KROGER! What the D.I.Y. process also involves (besides the word DO) is C-O-N-T-A-C-T! Some of those reviews you see/hear must have SOMEthin’ that stirs your interest! In my mind, D.I.Y. is not JUST playin’, paintin’ & performin’; get HOLD o’ some o’ those people that sound like they might be interesting! NO one can FORCE you to BUY anything from ’em… so, just drop ’em a NOTE, or an e-mail (better yet). GET involved! THAT is a B-I-G part of D.I.Y., too! & then TELL us about what you DID! Gotta’ RUN! See yer’ next ish!
APOLOGIZING TO THE ENEMY
After I had killed you
I threw all your parts into the air.
Some of them came back down
and your dogs tried to catch them.
(you’d forgotten to feed them again)
but the monkeys still preferred bananas.
I think the other parts must have gone
really really really far
because they’re still not back.
Someday I’ll put you back together.
But isnit it nice to know that your esophagus
has been to France and back?
c Jessica Manack
The bowlegged pumpkin-he
in checkered overalls
fell asleep astride two
curly-haired pillows and
a young dancer man in
Bemused, his unused lady
pumped banana in her
puckered lips and
c Carol Frith
Before I crawled into the casket,
I smeared absolutely ochre-ochre
on my fat face, then lay in wait
for some old big-assed wife.
She came. I preened.
And then, up in my PO Box,
she placed a poopie.
Piss on her.
c Carol Frith
Shot through the ground
You tried to stop me
but I slipped through your fingers
of butter, slicker than glass
like the streamlined perfection
of the world I was running from
c Jessica Manack
Whereas he, carefully measuring
secondhand yard goods,
192 inches in width being required;
overlooked her, bent nearly double
on the floor immediately
below him, which narrow as it was,
afforded only enough light
to skitter crablike,
his own mother, therefore
cringing green down there
and breathless, was by him
c Carol Frith
MERRIE MELODIES 2 (HALF-CLOTHED AND GIGGLING
When I discovered that my wife had a secret lover uglier than me,
it led to a series of stimulating revelations. Almost at once, I became sexually inventive and domestically considerate. I gained unimaginable respect for her backward musical taste, swaying (clumsily) to the new CD of Brian Eno’s ambient lullabyes to Robert Fripp. My entire record collection, clearly, had to be re-evaluated. I started loaning her my shirts, and tried on her underwear. Friends dropping by would find us half-clothed, and giggling. That was what is was all about, we tried explaining; to be half-clothed and giggling, and they’d nod, only partially convinced, and soon leave, tiring quickly of the jejune spectacle. These are some of the changes–unexpected, marvelous–from the time when I discovered that my wife had a secret lover uglier than me.
c Jack shadoian
are getting worse;
the goldfish duck
to the bed
and passes out, wide-
the silver fillings
glittering like rain.
c Jack shadoian
NICE GIRLS DO
a throbbing sensation
high up in the head
and all that.
c Scott C. Holstad
WHAT THE OLD DUDE SAID
“she wishes there were
a literal heaven
which of course
would be a
imagine just the same
going on up over
your head all
as in say
c Walt Phillips
TRUTH ONLY COMES IN FRAGMENTS
scott and i got drunk
in new haven
talking with pop somebody-or-other
an olt time college football
at one point
some co-eds went by the door
i never did ask where
there seemed to be clocks
everywhere that day
most of which
i looked at with just one
needless to say
that was no great help
to any of us
c Walt Phillips
she parked her car & froze
She filed for bankruptcy
but bought more shoes
to run from
Tearing across the lot.
c Debra M. Bechham
F o r mat guill
o tine nec k
ja zz Ma n
leg lift inG BRICKS
c cl cHaMPiOn
every line in his face
has a name
he makes up little songs
regarding sea-birds and stone walls
quite early each morning
wisdom tickles him
by mid evening
he orders it from his dwelling
he anticipates a simple grave
with a lost world to surround it
c Walt Phillips
A STONE A LEAF A RESTLESS SHIT
in mexico i was in new england
in new england
i was in oregon
in northern california i
was in southern
i get around i get
every place just a
song a photograph a
bill in the mail gets
some place else
to quickly become
c Walt Phillips
SILLY LITTLE GAME
linted tinmen hustle saints for coffee from the realm of jive
and travel out the bowties of grammar to a land of slang-bait
rapping the towels to divine a rumpus meter shakes the clouds
but flings a whetted penis from inhuman contradictions
stale fidelity pumps the widget’s gasoline up at wicca-women
exalted by unbroken juju-chants that itch of cool saliva
voyage longer out of soily power and door-to-door sales
that mock the jism of a lanky lizard spanking hot surrender
peopled angels scrape the heavens in guttural exaltation
hoisting the dice of hell through hokey-pokey ringlets
sup those cubes on rancid rubroot of satan’s brother
and bog the Hudson River sans warm sheets or blankets
fizzle ginger tin farts at leftovers of presidents aghast
to foil the morning syrup from it’s course of snotty danger
c 1994 Mark Thomas
emptied beer cans float remarkably well for things that destroy
columns of bubbles or rabbits’ spines which gather rickets off
uneasy grassy fuzziness – oh tease and please this apple sauce
squeezed from cuddled raisins rocked by little yelps and squirts
and hoisted poorer from sasquatch’s pistol-faceted ricochet
the river’s hunting out and down the drunken upkeep i persist
it’s mocking a friend who never belched or squeemed to hail
my eastward leap of death and sweage and selfish pity
which finished out a jiffy little yesterday devoured by fear
the grain of a dime solders weakly throbbing veins of dying geese
whose lives come to bespeckled end from the strength of
whiskeyed ding-dongs oozing mucous on account of hot rice
whispering under the toes of buddah and stoking corporate quackers
c 1994 Mark Thomas
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