Slug Puss

Art: TC

Greetings -- Tony Coulter here, once more bringing you sightly sounds and sound sights. I haven't much to say preamblically, except to point out that some of the sounds were sprung from deep within the Eurock archives, while some of the sights were created by yours true-blue-ly.

Enjoy!

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Christopher Milk: s/t (United Artists, 1971) 7" EP

Let's commence this week's proceedings with a track from a fine 1971 7" EP by the L.A. group Christopher Milk, whose two key members, John Mendelsohn (vocals, drums, guitar) and "Surly" Ralph Oswald (guitar, piano, sax), were both previously in Halfnelson -- the group now known to one and all as Sparks. The sound of Milk is very Anglo (think Kinks, Who, and Bonzos) and a little glam to boot. Following their debut EP, the band managed to release one LP (Some People Will Drink Anything, 1972), before dissolving into a puddle of sour milk. Mendelsohn later formed The Pits, who in '76 released an EP on Bomp -- which on quick hearing is a tad too jokey for my liking.

It takes a village to drink a glass of milk:

Christopher Milk: Basket Case

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Daniel Mathieu: Terminus (36, 1976) LP

Next up I give you three tracks from a 1976 French Canadian LP that has that gentle, yearning, and slightly sad folky AOR sound most famously practiced by America, ringing 12-string and all. To top things off, two of the tracks are laced with the kind of thin, nasal mid-'70s synth sound I personally find delicious (the synth in question is an Arp Odyssey, by the way). Can't really tell you anything about Mathieu, who wrote all the music and is heard on guitar, fender rhodes, and lead vocals. Can anyone enlighten us?

Monsieur Mathieu:

Daniel Mathieu: Pensees

Daniel Mathieu: Coule la tendresse

Daniel Mathieu: C'etait un beau dimanche

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Morning: Morning Struck Like Silver (Fantasy, 1972) LP

We turn now to the second and (as far as I know) final album by the California band Morning. Following two years after the group's self-titled 1970 LP, Morning Struck Like Silver pretty much sticks to a country rock sound, unlike its somewhat more eclectic predecessor. I've given you what for me is the stand-out number: the wistful "Only to Say Goodnight," written by group member Jay Lewis (guitars, pedal steel, vocals). Something about the song's subtle melodic eccentricity reminds me of the divine Homegas -- for me, a strong recommendation indeed.

Marching into the Morning:

Morning: Only to Say Goodnight

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Park Version: Agape (no label, 1970?) LP

Not wishing to turn my back on God, I bring you now Park Version, a student group from Chicago's North Park College. Overall, the album's sound and material are unexcitingly average for the genre, despite the great primitive cover. One number, though, does deliver the delicacy and the touching openness I always hope for with this kind of record. I give it ye below.

Flowers for the Lord:

Park Version: Love, Peace, Comfort

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The Trifids: Brainbroom / Invincible (Scarab, 1983) 7"

Next up is what is essentially the third release from Canadian mystery group One of You, about whom I beware-of-the-blogged some time ago. I still know next to nothing about them, so am merely guessing that the "Trifids" name was adopted after the group lost its female vocalist(s). Indeed, both tracks on this 1983 7" are credited to One of You. I wouldn't know how to even begin pigeonholing the group's unique sound: The herky jerky music feels a bit naive, yet seems to operate on some strange and occult higher plane.

Lady of the Logo:

The Trifids: Brainbroom

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Forrest Fang: Music from the Blackboard Jungle (no label, 1980) LP

We turn now to the first release from Forrest Fang, a still-active and fairly well-known composer/performer, whose music typically blends minimalism and ethnic music--flavored new age sounds. This privately released LP, however, has a somewhat more aggressive and avant prog--ish sound than other things of his I've heard (though I should 'fess up to not knowing most of his music very well). The second of the the cuts I've given you, "To the Limit," even brings to mind Henry Cow, and indeed is dedicated to that group's guitarist, Fred Frith. By the way, as far as I can make out, the guy's name really is Forrest Fang!

Mister Fang's calling card:

Forrest Fang: Tales of Yog

Forrest Fang: To the Limit

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Anode: Kinetic Experiments (no label, 1979?) cassette

Next up is a cassette-only release from the Seattle ensemble known as Anode, containing music recorded between 1974 and 1979. No personnel is listed, but on other releases the group consisted of Robert Carlberg (synths and percussion), Dave Keller (bass and percussion), Jim Keller (keyboards), and Chas. D. Bronson III (percussion) -- so some combination of the preceding gentlemen probably appears on this tape as well. Anode was part of the Palace of Lights stable, and indeed both K. Leimer and Marc Barreca guest on a few tracks. The sound, however, is rawer and more experimental than a lot of the Palace of Lights stuff, which, while always tasteful, is sometimes on the cusp of New Agey-ness. In addition to this cassette, Anode appeared on a couple of compilations and -- I believe! -- released a 7" EP I've never seen.

Heads down:

Anode: Technical Aphasis

Anode: Goteborg

Anode: Admiram Plateche (w/ Marc Barreca)

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K. Kusafuka: Re-Musik (DD. Records, 1983) cassette

Here now is another cassette, this one from Kimihide Kusafuka, a Japanese musician best-known for noise music made under the name K2. This tape, which I believe predates the K2 project, isn't Japanoise at all, but rather tuneful synth pop. The second of the two unnamed cuts I've given you is a medley that finishes with what I believe is a traditional Japanese folk song (or style of folk song?) associated with rice farmers. If you know more, pray do tell.

K-squared:

K. Kusafuka: track A1

K. Kusafuka: track A5

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Love of Life Orchestra: Casino (Expanded Music/Antarctica, 1982) 12" EP

Let's finish up with this week's audio offerings by turning to a track from a 12" maxi by Peter Gordon's Love of Life Orchestra. Featuring a stylish blend of new music and disco, and a batch of downtown/new music regulars -- including co-founder David Van Tieghem (drums, percussion), Bill Laswell (bass), "Blue" Gene Tyranny (piano), Ned Sublette (guitar), and Jill Kroesen (vocals) -- Casino was (as far as I know) only released in Italy. Gordon, who's heard here on saxes, synths, and keyboards, was also involved in a number of other fine projects besides the Love of Life Orchestra, including Justine and the Victorian Punks and Dinosaur L. His first solo album, Star Jaws (Lovely Music, 1978), is a fine thing indeed.

Holding up his end of the wall:

Love of Life Orchestra: Roses on Bond Street

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It's time now for the things to look at. As mentioned above, I've indulged myself by throwing in a bunch of junk -- collages mostly -- I made myself. Most of the other stuff was clipped from I-remember-not-where, though I should thank Thom Jones for bequeathing me the Merrill Womach album below -- which finds the time-traveling Mr. Womach at the scene of the crucifixion.

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