a weekly digest from the staff of brainwashed
V04I18 - 05132001
Click here for other issues
aranos turns to anarchist distribution
A brand new Aranos full-legth CD is due for release imminently. To find out his twisted new idea of anarchy distribution, check the site out. We're not gonna give everything away here.
Did you notice something new about the Tortoise website? It doesn't look the same as it did when it opened three years ago any more! 'Bout fucking time, right?
1-speed bike tour
Aidan of Godspeed has -just- announced a short tour of four dates in the Northeast US and Canada. Poke around the site in case more dates become publicized.
trans am in brazil
Trans Am begins a string of six Brazilian dates starting this Wednesday. For dates and locations, check out the website.
tim simenon spins live in wales
Tim Simenon of Bomb the Bass is scheduled to be spinning at an event this coming Saturday night, 19th May at Clwb Ifor Bach, Womanby Street in Cardiff. Also on the bill are DJ Scissorkicks, Neil Hinchley and Johnny Acid. Doors open at 10pm. For more info, (029) 20232199 or www.clwbifor.com.
master theremin player, james coleman hits west coast
Longtime friend of Brainwashed and internationally recognized theremin player, James Coleman has some dates lined up on the West Coast. His short string of shows starts on Thursday, the 17th in San Diego and ends on the 26th in Olympia, Washington. For the details, check out www.zuihitsu.net.
douglas adams, dead at 49
English born writer, Douglas Adams died on Friday after a heart attack. Adams is most known for "The Hitchhiker's Guide to the Galaxy" but also contributed to "Monty Python's Flying Circus" and "Dr. Who" back in the 1970s. At the time of his death, he was working on a film version of his classic book in Santa Barbara, California.
perry como, dead at 87
Classic crooner and cardigan-wearing variety show host Pery Como died in his sleep after a long illness. Como's entertainment career started in the 1930s as a singer for the radio show, "Beat the Band." Perry went on to have a successful singing career and later as a TV show host throughout the 50s and 60s. Como continued singing to large crowds through the 70s and 80s, long after his last Christmas special. Como died on Saturday at his home in Florida.
|MUSIC IN BRIEF|
"-Ma femme a des visions de grands chandeliers. Nous pensons aussi ÷ de tr▓s beaux escaliers... Mais on ne peut pas forcer les choses vous savez, elles se font naturellement."
L'argument tourne au drame. Il leur a d│j÷ propos│ une bourgade sympathique sur Pluton ("on est presque d│j÷ chez les ploucs l÷-bas aujourd'hui"), mais les deux autres ne captent rien. Il faut dire que la transmission se fait mal. Ils ne parlent que de faire le vide, et aucun degr│ de gravit│ ne pourra les aider ÷ atterrir. Il pourrait leur d│nicher l'appartement de leurs r░ves avec vue sur aurore bor│ale en continu, şa n'y changerait rien. D'autant que de nos jours, m░me les campagnes sont boud│es. Les ruminants s'y font kidnapper si souvent que la traite en devient une gageure. Les vaches tourment│es font tourner le lait. On les voit s'│lever par troupeaux entiers, prenant un air b│at, ou plut¬t │bahi, tandis qu'on les soustrait ÷ la gravitation. De mal en pis, la voie lact│e apparaËt comme la meilleure perspective, h│las qui sait o elles sont emmen│es. Quand les mamelles s'emm░lent...
"-Peut-░tre un de ces nouveaux lofts ? On leur pr░te un tel succ▓s..."
Allez, encore deux gogos au ciboulot d│sactiv│... On n'en sortira pas ! Personne ne semble r│aliser que dans l'eau cristalline de leurs piscines, les aliens ont toujours la voix qui tremblote. Ca vous prend par les cheveux, c'est la nouvelle mode pour d│trister les esprits. Ces longues petites choses vertes au mouvement pendulatoire ne sont pas tant des haricots que d'adorables petits l│zards. Phobie ou consensus ? Les moyens modernes de d│ridation oxyg▓natrice ont d│pass│ toutes les esp│rances primitives ! Ca vaut bien le d│tour... - Bruno Henlé
Lumen, "The Man Felt An Iron Hand..."
Whatever you've heard about this band, it doesn't do them justice. "The Man Felt An Iron Hand..." is actually a shortened telling of the real title for the album, one that would make Fiona Apple cringe. It seems an unlikely combination, this band called Lumen: stand-up bass, acoustic guitar, heavy-hitting drums, and accordion/organ. But it works as a unique and vibrant sound. Little is known about the band except that they are from San Francisco and two of the members are/were in other bands: Andee Connors from A Minor Forest and Jeffrey Rosenberg from Tarentel. And the song titles, simply roman numerals representing their track number, don't give anything away. The formation that is Lumen exceeds all comparisons to any other bands, including those its members are from. Supposedly, the members "collectively despise post-rock," and it shows in the choice of instruments and often spacey compositions. It's purely fascinating how they get some of these sounds with the bare instruments they've chosen! Sometimes, the arrangement is too repetitious, as on the almost annoying "VII." But "III" and "V" are where the sound comes together in an amazing display of unity between the band members. Intricate, pulsating, driven, and melodic as all hell, "The Man Felt An Iron Hand..." is as original an album as I've heard this year. - Rob Devlin
JOHN HUGHES, "SCARLET DIVA"
The man behind Slicker and Hefty Records steps out from his protective shell to produce one of the finest soundtracks I have personally heard in a while. Hughes has certainly expanded his range from what has been the electro punchiness of previous Slicker releases to a conceptual effort which encompasses various styles of retro-fitted pseudo-pop post-electronica jazz-influenced multi-instrumentalist filmscapes. After about four listens in a row, my only complaint is that it's TOO DAMNED SHORT! Understood, this is only a soundtrack but this collection is a tease at 18 tracks, it barely touches over 30 minutes. Nearly every song is strong enough to be developed into something much longer than a minute, and it would seem that the careful efforts put into every delicately woven track could pay off with longer tunes, yet only two break the three-minute mark. As a vocalist, Hughes has a style similar to a drunken Sam Prekop, something which other critics have disliked, but as a soundtrack I'm eager to see the film to make a better judgement on the vocal tracks. The music here is undeniably brilliant, with a moderate mix of live organs, bass guitar, organic percussion, lush strings, horns and electronics. Hughes has scored a variety of moods like the eerie glitch-driven "Red Room" or the 70s-era bass-driven soundtrack style walking tune, "Street Song." Hughes has obviously spent much of his life around both music and film and I'm hoping he brings more of the variety of work presented here into his Slicker guise. - Jon Whitney
cerberus shoal, "garden fly, drip eye"
The quasi-anonymous Cerberus Shoal seems to be one of the most prolific and diversified bands that I've encountered. This Portland, Maine collective and the constantly evolving lineup of the band merits that term seems to have mastered a new style with each release. With 1999's "homb" cd on Temporary Residence, Cerberus Shoal delivered their exemplary thesis on dark, ambient rock. The dynamics and instrumentation, combined with minimal but rythmic percussion, fused together to make one of the most beautiful and original releases of recent years. Later that year, the Shoal (as bandmembers are known to refer to band) released "Crash My Moon Yacht" on the small label North East Indie. A perfect companion to "homb," this album marked the maturity of the band and created a stiro of anticipation for their next release. "Garden Fly, Drip Eye" is that release. Gone is the ambient droning, flowing percussion and Can-influenced atmosphere. Instead we have a more aggressive Cerberus Shoal, with very imposing vocals sung simultaneously by all six band members, further solidifying their collective status. Bursts of homemade instruments, childrens toys, and bombastic drumming bring to mind June of 44 if perhaps they had given up their prefered themes of travel in favor of surrealist love poems and an abandoned playground. "Garden Eye, Drip Fly" is not the record I was expecting from this album, but I wasn't surprised to hear it either. The band seems to be driving forward across sonic territory, experimenting with new sounds and styles and stretching the artistic and musical capabilities of each member to the max. Cerberus Shoal presents challenging music, music that is rewarding and strikingly creative, redefining itself constantly and refusing to stagnate. - Carter Adams
The debut release from Australia's Vibragun label is a 12" four track taster of the forthcoming 2cd various artists compilation of the same name. The rather loose guidelines for the project stated that a track could be in almost any style, "the one requirement is that it be a thoughtful interpretation of the theme." So with that in mind, Atom Heart and 3 Australian artists - Pimmon, 8bit and Oren Ambarci - went to work. Pimmon's "Morse:Fin" drearily drones along with Morse code-like blips and an intermittent scratching sound. Atom Heart's "SEA (Stuffit)" is by far the best track (and, of course, the shortest) with a happy assortment of bass and machine sounds. 8bit's "Can't U Hear the Rave?" (the worst title ever?) is a clippity clop chunk of techno with sonar bleeps that drags on for 6 and 1/2 minutes. Oren Ambarchi's "Ring King" (exclusive to this EP) is a very annoying 5 minute collection of random metallic bangs. Yuck. Side B will never see my turntable's needle again. Neither will Side A now that I've made an mp3 of the Atom Heart track. Hopefully the 2cd will have more to offer than the 12". - Mark Weddle
ATOM TM, "HARD DISK ROCK (DON'T STOP)"
Atom TM is yet another pseudonym for Uwe Schmidt, the uber prolific Chile based German expatriate best known as Atom Heart (and better known to me as Se°or Coconut and one half of Flanger). "Hard Disk Rock" was previously released on Rather Interesting's "Real Intelligence III" compilation in 1998 and I believe this 12" was also released by Spinyl Records in the US in 1999. Now Australian upstart Vibragun has seen fit to put it out again as their second release. Side A has 2 four minute tracks of robotic electro funk with sliced and diced glitches, beats and computer generated voices repeating the title phrases. The title track is especially fun and funky while "8-Bit Boogie" is less so. Side B requires a slow down from 45 to 33 RPM. "HD Endless" is much the same, mimicking the Kraftwerk classic for nearly 12 minutes and culminating in a pseudo locked groove. Pretty cool, though I do prefer Schmidt's work as Se°or Coconut and with Flanger over this. - Mark Weddle
DISCO OPERATING SYSTEM, "YOU DON'T HAVE TO WORK TO BE MAD HERE"
The more attentive experimentally-minded Manchester electronica enthusiast might be able to spin yarns of Rotations nights upstairs in a small pub room just round the corner from where the Hacienda is boarded up. Organised by Gareth Bibby of RSI Recordings, these have featured appearances from the likes of Mild Man Jan, Magic City, Pendro, Modified Toy Orchestra and his own pedal hopping sampling project Disco Operating System.
The first time I caught DOS in performance, the Pan Sonic influence was apparent, and this was born out by the opening track on the Phonia 12", which also trod similar ground to some of Mick Harris' darker tracks. The System was certainly operating under its own steam by the time of the dynamic 'compact disc digital audio' CD-R, but following this a couple of live appearances saw whatever small Disco portion there ever was in these technoid endeavours dwindling. Stripped down minimal loops were well to the fore.
This disc follows that trajectory, whirling round and round in a series of skillfully edited rhythmic loop constructions which revel in textural exploration underpinned by a playful but subtle sense of humour. Each of the fifteen tracks is an exploration of repetition usually juxtaposing two different timbres, occasionally three. Taps dripping in robotic precision give way to twittering comfortable sine waves clogging the ether. Bells ringing joyfully 'Because Children Are Matter' back on to an accurate simulation of the hum of the cranky portable computer from BBC space opera Blake's 7. Well that brought back some sonic memories, but now I'd like to hear the telephone cable laser guns and teleport too. The pumping kaga-chug of the 'Weiss Squad' makes me feel like I'm resting my mindbrain on the engine of a spaceship made out of a discarded air freshener, as I try to download a frosty chunk of cryogenic toast. Have I earnt my final reward for acceptable behaviour yet? - Graeme Rowland
Bardo Pond, "Dilate"
Simply put, Bardo Pond have never impressed me. I've never heard one of their records and wanted to hear it again and again. In fact, there were times that I wanted to shut them off halfway through, as either the squelching guitar or vocals were annoying enough to warrant. 'Dilate' is the first release that I can honestly say I like, and for extremely good reason. Where the band has always been known for their near-heavy metal crunch and destruction or their plodding along until nothing really happens, "Dilate" finds them concentrating more on dark melodies and subtle arrangements with a much fuller sound. Sure, there are loud guitars. But rather than smacking you on your stupid head, they're in a far more menacing tone, where you know it's not just for the noise but for the effect. The opener, "Two Planes" is pained and brutal with a lovely undertone of violin and bass, so when the backwards recordings and acoustic guitar of "Sunrise" come in, you're almost unsure if you're listening to the same band. The lovely intertwining blues guitar lines by the Gibbons brothers are more pronounced here, as well. Sometimes they almost sound like Canned Heat, which was a very strange experience for me. There are low points even now, as on "Aphasia," where it almost seems like the song will never be realized until the last minute where it explodes in awesome wonder. The abrasiveness is mostly gone, though, so there's very little not to like. Every track has a place to go, too, a change from other records. Bardo Pond is developing in a very brave way, challenging their own ideas and those of their listeners. Jump in at the shallow end and wade in: 'Dilate' is the latest release and the most impressive yet. - Rob Devlin
ANTIBALAS, "LIBERATION AFROBEAT VOL. 1"
Political and musical descendents of Fela Anikulapo-Kuti, Antibalas are a 14-piece Afrobeat-inspired co-ooperative collective straight out of Brooklyn. Knowing these facts alone, you're likely to immediately draw a (maybe too easy) comparison between the political and social conditions of Nigeria in the late 70's and those of New York in the late 90's. Case in point: just as Fela changed his name to Anikulapo ("he who carries death in his pouch"), one member of Antibalas has taken Amadou Diallo's name for his own. And just as Fela built a powerful, popular, and political genre from a potent mix of both tradition and innovation, Antibalas are in the process of taking Fela's Afrobeat in a new direction without sacrificing any of the genre's urgency, either musically or politically. Such urgency is evident on tracks like "Si, Se Puede," "Battle Of The Species," and "Uprising," all of which proclaim a largely non-lyrical statement of existance and earnest (leftist, anti-capitalist) belief through driving bass grooves, infectious polyrhythmic percussion, and punctuating horns. 'Liberation Afrobeat Vol. 1' does a commendable job of capturing the essence of the band's feverish live performances by keeping studio over-production to a minimum (a couple of the tracks were in fact recorded live in London). The authentic sound of the LP is accentuated by the instrumentation: these days, you'd expect a band like this to feature a couple of turntablists and some other modern musical accoutrements, but thankfully there's nothing but live instruments here. Antibalas make you confront themselves on their own terms, and in this case that means restricting themselves to many of the conventions of Afrobeat. But they do it so well and with such conviction that the music doesn't seem restricted at all - on the contrary, it is truly both liberated and liberating. By keeping the tracks on this Ninja Tune rerelease of the album relatively short (each less than ten minutes), Antibalas manage to present a full range of compositions which together serve as a great introduction to the band. - Charles Monaco
Ultra Living, "Transgression"
Never have I heard a record that made my brain want to chew it's way out of my head until now. From the first track of 'Transgression,' called "Entwurf," Ultra Living sounds like a improvised jazz/lounge/fusion project. Reminiscent of Andrew Bird's Bowl of Fire, this sound seems to belie the band's moniker. It's followed by "Absurdly Pedantic" which features a repeated vocal loop and nice beats and organ, but the occasional and prevalent insertion of high-pitched frequencies make it unlistenable and, well, absurdly pedantic. In fact, it seems like Ultra Living is desperately searching for an identity throughout the release. The music is all fine, but I found it impossible to stomach in one listen. The blending/breaking of styles is increasingly difficult to justify, and goddamn those high frequencies. On a decent stereo or through headphones, your eardrums almost implode at times. There are drum and bass moments ("Color-Perspective" and "Immaterial" which also features beat box and soul sister singing), trip-hop moments ("Free Radicals"), and sounds like if the Borg made a musical ("Birds Must Be Eliminated" a fitting track name for a Borg musical, in fact). It's wildly inconsistent, a hodge-podge of styles and sounds, but it's new, I'll give it that. I would just like to hear Ultra Living stick with one direction and see where that leads. My brain couldn't take another release like this one. - Rob Devlin
IMITATION ELECTRIC PIANO
You can remove the guy from Stereolab but you can't remove Stereolab from the guy. Short and deliciously sweet is the first eponymous release from the relatively new instrumental outfit formed by current Stereolab bass guitarist, Simon Johns. It's difficult not to make comparisons to Stereolab when the songs sound almost exactly like familiar Stereolab tunes, only in instrumental format. Johns only recently joined the Lab for the last full-length album and EP, two of my least favorite releases from the groop. The strange thing is that I actually enjoy these five songs quite a bit whereas I strongly disliked the two similar sounding Stereolab releases. On 'Imitation Electric Piano' the five-member band sounds like they're executing songs the Lab either turned down or didn't have enough time to record. Much like the Lab, this group is tight and provide perky upbeat post-modern bachelor pad tunes, primed for driving a trendy european automobile with the windows rolled down. The production, however isn't as sparkly or shimmery as McEntire's knob twiddlings. Perhaps this is Imitation Electric Piano's saving grace: the same type of output but with a sound remeniscent of the older, much rougher days of the Lab a sound which turned most fans and critics ON to the groop in the first place. The only thing really missing is vocals most English and French speakers can't understand. This 21-minute five-track EP was originally released on Duophonic in the UK late last year and is now available in mass quantities in North America through Drag City. - Jon Whitney
We know that sometimes these CDs are somewhat challenging to find, which is why we have a community section which can be used to obtain nearly everything available on this site.
* Another Fine Day - Scarborough Fair 12"/CDEP (Six Degrees, UK)
Biosphere - Substrata 2 2xCD [reissue of the 1997 album Substrata with a second disc of new material] (Touch, UK)
Current 93/Nurse With Wound - Bright Yellow Moon CD [mail order only release - first 1000 copies include a bonus CD entitled Purtle] (Durtro, UK)
Depeche Mode - Exciter CD/LP (Mute, UK)
Matthew Herbert - Bodily Functions CD/LP (Studio K7, Germany)
Jowonio Productions - The Meat and Bread Variations CD3" [includes collaborations with Merzbow, Chris Robinson and Big Block 454] (Leohtan, UK)
Orchestral Manoeuvres in the Dark - Navigation: The B-Sides CD (Virgin, UK)
Ovuca - Wasted Sunday CD/2xLP (Rephlex, UK)
Seelenluft - Synchronschwimmer 12"/CDEP (Klein, Austria)
Various - Ru.Electronic CD [collection of Russian electronic artists selected by EU - with Fizzarum, Solar X, EU and more] (Lo, UK)
V/Vm - Sick-Love Will Tear Us Apart 7" [deconstructed versions of the classic Joy Division track and the Paul Young cover version] (V/Vm, UK)
This is simply this week's highlights from the NEW RELEASES provided by Greg and Feedback Monitor.
Aranos - Whilst Your Gaiety Melts 10" (Beta-Lactam Ring, US)
* Autechre - Confield CD/2xLP (Warp, US)
Randall Cousins' meltdownGreen - Road to Boombladore CD (Alleged Iguana, Canada)
Depeche Mode - Exciter CD (Mute/Reprise, US/Canada)
Fantastic Plastic Machine - Beautiful CD/LP (Emperor Norton, US)
Neutral - Driving Backwards LP (Mad Monkey, US - Hymen, Germany)
Bob Ostertag - Getting A Head CD (Seeland, US)
Nick Parkin - Entropolis CD [ltd to 500 copies] (Soleilmoon, US)
Nick Parkin - Geomorphic Resonance CD [ltd to 500 copies] (Soleilmoon, US)
Photek - Mine To Give CDEP (Astralwerks, US)
* Rajna - Ishati CD [reissue with bonus tracks] (Projekt, US)
Scanty Sandwich - This One 12" (Astralwerks, US)
* Sigur Ros - Agaetis Byrjun CD (PIAS/MCA, US)
Squarepusher - My Red Hot Car 12"/CDEP (Warp, US/Canada)
Stimulus - A Motion Signal CD/2xLP (Beta-Lactam Ring, US)
Stimulus - Who Makes The Machines That Make The Machines LP (Beta-Lactam Ring, US)
TLM - Electrastars CD/2xLP (Hydrogen Dukebox, UK)
Various Artists - Modular Systems CD (ESL, US)
Vas Deferens Organization and Christopher - Suspension LP (Beta-Lactam Ring, US)
The Young Gods - Live Noumatrouff CD (Intoxygene, France)
The Young Gods - Braindance CD (Intoxygene, France)
* The Young Gods - The Young Gods CD [reissue of the first album] (Intoxygene, France)
For a more detailed schedule stretching into the future, please check out the site,
since release dates can and will often change.
|LINK OF THE WEEK|
BRAINWASHED ANNOUNCES ENDORSEMENT IN UK ELECTION
The United Kingdom has announced there will be an election this coming June. Here at Brainwashed, we proudly endorse the Stark-Raving Loony Party and sincerely hope they open offices and have candidates in the USA soon.
|THE WEEKLY CHART|
rejected autechre song titles
- Krunk Ewe
- Vax Deverens
- Verio Verizon Viant
- Aquent Digitas
- Umple Lanugo
Subject: no subject
The downfall (perhaps 'tragedy' would be a better word here, Jon?) of the modern age is that any pretentious, cocky, wannabe hack with a web presence and a promo CD can write an ill-informed, unreservedly bitter review of something they have barely listened to. What the hell do these vicious, emotionally retarded young Wire rejects really know about presenting a balanced appraisal of the work of a dedicated musician? What right have they to pass such a musician off as some fickle scenester with a "limited sound palette" when in fact the artist in question was compiling percussion samples and gathering analogue instrumentation when our would-be David Toop was still rocking out to Crowded House and Peter Gabriel (knowledge gathered from the online catalogue of his CD collection - need more really be said?)? I am sorry to say that I believe you are, (as you so elegantly put it) "entirely missing the entire point of this record". And, oh yes - "Warp needs to consider the future more so than the past". Was there a single English lesson you didn't sleep through?
You have a lot of nerve to sit back and bitch when you've never stepped up to the plate and wrote a review yourself. You've also got a lot to fucking learn about the difference between original music and derivative music. Brainwashed was built through the work of myself and many other unpaid volunteers around the world who were raised to share. We've shared our collections, gatherings, knowledge and time about a tiny number of bands, bands that The Wire have openly admitted to consulting when writing cover stories (ex: Diamanda Galas, Nurse with Wound, Coil, Current 93, Tortoise, etc,...). You're not dealing with any old wannabe hack with a web presence, you're dealing with somebody who has also been listening to Cabaret Voltaire and Throbbing Gristle since before you could wipe your own ass.
Let your lazy ass feeble defensive mind consider this: if little ol' me (who's not a computer musician) can pick out Reaktor mods that easily on a listen, I'm more informed than most of the flock of mindless sheep. Next, this trust fund baby in question has got enough praise from everybody else and their teenage sister, so why should one opinion matter to him? Or to you? I'll bet your precious little hero is more thick skinned than your poor insulted soul. Finally, I may have fallen asleep in English class, but I don't try to make a career out of writing at least I didn't fall asleep in music composition and theory classes and try to make a career out of being a musician.
Do you happen to know what was the deal with the Autechre concert in Cambridge? I dropped in at what I thought was it but instead there was about an hour of what seemed like 4/4 techno mixed with some really poorly done noise of the Mike Patton Is Screaming Into a Microphone, Hell Yes type. Like Nurse With Wound, without the wit, self-awareness, or skill. Any idea what was going on? A college "noise music" senior project, perhaps?
At one point I'm thinking, "wow, this is Merzbow. Actually sounds nice." And then a drum loop came in. I'm guessing the drum loop was Haswell's contribution.
It was later in the far-too-long set, when I recognized the same drum loop he had used earlier coming back, that I realized it was time to go. If I had been smarter, I'd have showed up at the concert at 11 but then I'd have missed Matmos. Anyway, I'm just annoyed at Ae for making me listen to an hour of frat-boy-spins-crappy-house-and-old-skool-noise. And at every single concert! But at least I learned something I hadn't known that DJs still did the five-minute-loop-of-some-guy-saying-something-in-a-foreign-language thing, and I was under the mistaken impression that Ae's popularity had killed really, really repetitive preset-sounding drum loops.
Warp hasn't made any apologies on behalf of Autechre's choice of openers yet, be thankful we at least got to see Matmos.
Subject: lpd usa
Will the Pink Dots be doing a North American tour this year?
Nothing's been announced yet.
Subject: Tortoise on NPR
Did you hear this bit on NPR? "The Suspension Bridge,..." from TNT.
Didn't hear it personally, but heard about it. Kudos to the band, they're superstars!
I have the pleasure to introduce my self as a musician that is based in Guinee. With this regard i will want you to funish me with some important addresses or they web page of all artist around the world.
I shall be greatful if you could send me the info.
Sorry, don't know all they artist around the world.
Subject: Raising Hell
Do you have any info on this Coil release?
"The Consequences Of Raising Hell" tape on Solar Lodge
Subject: Paula P
Hey, Your site is the greatest. I've been using it for so long now and it's still very informative. I'm confused as to the lack of Paula P-Orridge information. Not just on Brainwashed but anywhere on the Net. I know she did that CD on Silent but then what? Is she still releasing music somewhere? She seems to be conveniently erased from history after 1993. Did she really exist?
She existed at one point. Some people might even have photographic evidence of her existence, but sadly Paula P-Orridge no longer exists and has been replaced by a woman named Alaura. As for her whereabouts and information, sorry, we're empty-handed here. Check the NYC phone book perhaps.
|WHAT'S IN YOUR PLAYER?|
selling crack on cell phones
Marumari-"The Wolf's Howl"
Bruce Haack-"Song Of The Death Machine"
He Said Omala-"Water Tight Seal"
Chris Morris-"Little Girl Balls"
Fantomas-"Page 18 (20 Frames)"
Dead Voices On Air-"Bored Of Canada"
Trans Am-"Where Do You Want To Fuck Today"
Matthew W. Bryan, location unknown, who also makes bad puns with little or no response.