hep whiteys
This is one of the coolest review-inside-a-reviews I've ever seen. It feeds my Pynchon obsession, in addition to tweaking my punk/jazz aesthetic slightly. Bitchin'.
Long awaited reissue of this classic late 80s collaboration between the 2 sax players in Borbetomagus (Sauter & Dietrich) and Sonic Youth's Thurston Moore. Five extended tracks of guitar/sax/sax improvisational interplay, recorded in NYC in June, 1988. We first issued this as an LP-only in 1990, but it has been o/p for a number of years (a CD version was licensed by Shock UK and briefly available, but has been long o/p as well). "This is one mindfuck of a noisefest. Imagine if Metal Machine Music-era Lou Reed had been invited to Brotzmann's Machine Gun sessions. You're still not close. Likes beasts of burden locked to a single axis, the circles the trinity treads shaft deep, inside which they explode depth charges which reverberate to the core of your being. Now and again one might pull away to release heart piercing shrieks into the foul night. Truly tremendous." Biba Kopf / The Wire.
Liner notes to the album provided by none other than Thomas Pynchon himself!!
"One night Johnson, Coley and I were sitting in the back yard with a bucket of fresh sangria and a few bongloads of some very righteous boo. I'd brought out a box of my live Sonic Youth tapes and we were arguing about Lee Ranaldo's tongue vectors in the third quadrant of 'Society is a Hole' (Folk City, NYC 12/1/82) when one of T. Moore's downstrokes caught our attention. We ran the tape back and listened to the passage a few times. The subtly monstrous and mindless GUSH with which T. Moore hit the 'E' chord made it obvious that his playing was not coming out of a complete spiritual void. this was a real revelation. It meant that he capable of actually unclenching his brain and loosing demons of soul creativity.
Because we hate to see ANYONE lackeyed to jive-ass, pop-structure, white-man a-motionalism, a plan was immediately spun for freeing T. Moore from the shackles of Peggy Lee-descended dogshit that were obviously choking off his TRUE HUMAN FORCE. Deciding which hominid cudgels might be best wielded against these procedural chains was a lead pipe cinch. Who but Jim Sauter and Don Dietrich? These two men are the freest, loudest, swingin'est white motherfuckers to ever jaw-cleave an industrial strength reed. Their work with Borbetomagus has long been a raucous fountain of tonal explosion and aesthetic purity, as well as a black-gloved fist up the diz of all conservative musical architects. If anyone could blow the lock off of T. Moore's creational emo-safe, Jim and Don were it.
The rest was a snap. I had my agent get in touch with all the parties. She explained the points of our proposal in no uncertain terms. The results are
presented here. Two free men meet a slave. Everyone goes home barefoot. Right-fuckin'on.
Thomas Pynchon
Somerville, MA
January 1990"
Long awaited reissue of this classic late 80s collaboration between the 2 sax players in Borbetomagus (Sauter & Dietrich) and Sonic Youth's Thurston Moore. Five extended tracks of guitar/sax/sax improvisational interplay, recorded in NYC in June, 1988. We first issued this as an LP-only in 1990, but it has been o/p for a number of years (a CD version was licensed by Shock UK and briefly available, but has been long o/p as well). "This is one mindfuck of a noisefest. Imagine if Metal Machine Music-era Lou Reed had been invited to Brotzmann's Machine Gun sessions. You're still not close. Likes beasts of burden locked to a single axis, the circles the trinity treads shaft deep, inside which they explode depth charges which reverberate to the core of your being. Now and again one might pull away to release heart piercing shrieks into the foul night. Truly tremendous." Biba Kopf / The Wire.
Liner notes to the album provided by none other than Thomas Pynchon himself!!
"One night Johnson, Coley and I were sitting in the back yard with a bucket of fresh sangria and a few bongloads of some very righteous boo. I'd brought out a box of my live Sonic Youth tapes and we were arguing about Lee Ranaldo's tongue vectors in the third quadrant of 'Society is a Hole' (Folk City, NYC 12/1/82) when one of T. Moore's downstrokes caught our attention. We ran the tape back and listened to the passage a few times. The subtly monstrous and mindless GUSH with which T. Moore hit the 'E' chord made it obvious that his playing was not coming out of a complete spiritual void. this was a real revelation. It meant that he capable of actually unclenching his brain and loosing demons of soul creativity.
Because we hate to see ANYONE lackeyed to jive-ass, pop-structure, white-man a-motionalism, a plan was immediately spun for freeing T. Moore from the shackles of Peggy Lee-descended dogshit that were obviously choking off his TRUE HUMAN FORCE. Deciding which hominid cudgels might be best wielded against these procedural chains was a lead pipe cinch. Who but Jim Sauter and Don Dietrich? These two men are the freest, loudest, swingin'est white motherfuckers to ever jaw-cleave an industrial strength reed. Their work with Borbetomagus has long been a raucous fountain of tonal explosion and aesthetic purity, as well as a black-gloved fist up the diz of all conservative musical architects. If anyone could blow the lock off of T. Moore's creational emo-safe, Jim and Don were it.
The rest was a snap. I had my agent get in touch with all the parties. She explained the points of our proposal in no uncertain terms. The results are
presented here. Two free men meet a slave. Everyone goes home barefoot. Right-fuckin'on.
Thomas Pynchon
Somerville, MA
January 1990"
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