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LP
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FTR 809LP
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$27.50
PREORDER
RELEASE DATE: 10/3/2025
"Although it was the lead track on the Stones's eighth studio LP, Let it Bleed, the song 'Gimmie Shelter' was not released as a single. Indeed, the single 'from' that album was the countrified non-LP track, 'HonkyTonk Women' backed with the corny chorale sluice of 'You Can't Always Get What You Want.' It was as though the Stones, knowing they would soon be pilloried on the cross of Altamont, wanted to have a way to try and dodge those nails by being able to claim they weren't even a rock band. Well, fuck them. 55 long years after the Stones's shameful retreat from their true identity, Jackie O Motherfucker has decided to try them in the court of public opinion, both for their jaundiced world view as well as the sheer cowardice of their presentation of facts. The simplest way for JOMF to proceed would have been to illuminate the ridiculous musical and philosophical inconsistencies inside their trademark song of 1968/9, 'Sympathy for the Devil,' but they chose to leave child's play to children. Instead, they took the four minutes and thirty seconds of 'Shelter,' divided it into thirds and created a set of music that explores the mathematical relationships between those segments and the three parts of a song which it reportedly inspired, The Stooges's 'Gimme Danger.' I've had the Calculus of the equation explained to me a couple of times by Tom Greenwood, the founding member of JOMF, but I get sorta lost in most number stuff more evolved than Trigonometry. My sense is that three improvised pieces on this album are musical meditations about the possible existence of a tripartite equivalent of Aristotle's Golden Mean. And while I totally believe in his as a concept, it doesn't really help to explain what the music sounds like, y'know? The three tracks are drawn from two live shows and one studio session, using a line-up resembling that on 2023's Manual of the Bayonet, the music here is largely-instrumental, reed-laced, and filled with the same glowing sense of direction this listener gets when I'm several acid sheets to the wind. Some parts collect themselves and repeat like small bursts of energy trapped inside a pyramid. When vocals do pop up, they sound like out-takes from the soundtrack to Kenneth Anger's Invocation of My Demon Brother, and submerge themselves in a murk of Egyptian dust. Some might compare JOMF's sound to the more abstruse out-takes from the Dead's Gizan shows of '78. But its commentary on the nature of musical forms reaches back further than that. I mean, remember -- the Dead pulled out of playing Altamont. I'm not sure JOMF would have done the same, but I'm sure they would have done something if they found themselves in the same situation. And it might well have sounded like this. As Bear always said, 'A trip in time saves nine.' Good thought, and as diggable today as it was back then. Hop on. This shelter is rolling. --Byron Coley, 2025
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LP
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CASTEL 003LP
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Recorded live on April 28, 2014 at Outside Inside Studio, Montebelluna. Featuring Alan Zignoto (bass), Dave Easlick (drums), Tom Greenwood (guitar, vocals), Jeffrey Alexander (synth, chalumeau), Michael Whittaker (saxophone, flute, trombone), and Dave Siebert (violin, lap steel). Mixed and mastered by Matt Bordin. Photos by Lorenzo Ferraro.
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LP
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FTR 640LP
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"Manual of the Bayonet is hopefully just the first volume of archival recordings by this most excellent destructo-unit from the Pacific Northwest. The material here was recorded in Portland OR, between the years of 1999 and 2001, with some combination of ten members participating in the sessions. We always viewed JOMF as the West Coast version of free-rock collectives like NYC's No Neck Blues Band and Boston's Sunburned Hand of the Man. JOMF emerged from the Smegma-damaged wing of the Northwest sub-underground, and when you'd go see them about all you could figure was that the line-up would include Tom Greenwood. Although, now that I think about it, I recall a tour they did with Godspeed! where Tom was absent, and Samara Lubelski kinda led the shows. So there ya go. It was a collective effort. And a real damn good one. The period represented by these recordings is around the time of the Magick Fire Music (2000) and Liberation (2001) albums, which was when (in my opinion) JOMF really took off. Their original, somewhat goofy weirdness was now supplanted by a fully-freaked free-rock pulse and energetic explorations of various improvisational nooks. Like No Neck and Sunburned, JOMF just let it rip, and created flowing jagged sheets of sound that routed straight from their heads. Elements of jazz, new music, and rock of all sorts were mushed together into a great pile of strings, keys, horns, thuds, and grooves, then rolled right off a cliff. The splat this made when it landed could be magnificent, as you will surely confirm when you spin this disk. In the words of the critic Kevin Whitehead (albeit in a different context), this is 'nuts music, as free as the squirrels.' Load up." --Byron Coley, 2022
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2LP
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TLP 025LP
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Released in 2005 this fifth full-length album from the Portland based collective displayed the group's patient and evolved songwriting style with historic references to American blues and hymns. This double-LP contains songs that are all manifestations, mutations, and reinterpretations of old blues and gospel, specifically from an old hymnal called "The Sacred Harp". It is definitely the most accessible and sublime release from Jackie-O Motherfucker.
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CD
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TCD 016CD
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2007 release. Three finely crafted songs on side one, and on side two, a 20-minute classic psychedelic, dirt road journey. Valley Of Fire begins with "Sing" an original composition with vocals by Eva Salens (Inca Ore), written in collaboration with a local street preacher, the song addresses the importance of the individual voice, rising above a rotten political structure. Track two, titled "Valley Of Fire", another Jackie-O Motherfucker original composition, was recorded in Leeds, England over the winter of 2006, with further production in Portland by Adam Forkner. Track three, is a JOMF arrangement of a Beach Boys song called "The Tree" from their lonesome and wasted record, Surf's Up (1971).
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CD
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VF 045CD
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This is a collection of live-recorded improvised material by Portland, Oregon's Jackie-O Motherfucker. Compiled by founding member Tom Greenwood, this music captures the sound of a reconfigured Jackie-O during the late summer of 2006, with vocalist Eva Salens (Inca Ore), Tom Greenwood, Danny Sasaki, and Nick Bindeman. Their first stop was at the Great American Music Hall in San Francisco, where the group were scheduled for their first appearance supporting the Dirty Three. There they would begin -- unrehearsed in this formation, and in front of a large audience. The plans to perform material from their newest release Flags of the Sacred Harp were scrapped, and the band launched into a free-form set of improvised, trance-inducing, punk-inspired, psychedelic rock, which became the framework of the new music they would develop together over the next few years. Freedomland is the document of this trip through America. The record consists of location recordings, captured live, and mastered in the United Kingdom. The songs were created from the spirit of improvisation, and honed by performing nightly in dive bars, music halls, and art galleries across America. Salens' vocal delivery is raw and honest, the words flow from conversations, to streams-of-sub-conscious conjuring, and prayer. Guitars alternately soar into cloud-scapes, and battle like free-jazz saxophones, propelling the group into new terrain nightly, while the percussion of Danny Sasaki alternates between exploratory and dead-solid motoric. The collection was edited by Tom Greenwood, from dozens of live recordings, and captures a rare moment in the band's long and confusing history. As Greenwood himself describes, this is "truly the music of everyday life -- birthed each night in a new form, from musicians who put great faith in each other, under awesome strain at times, to project modern music, with soul."
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LP
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UZU 001LP
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"What started out as an effort to issue some live recordings from the Fig. 5/Liberation era slowly turned into what is the most recent live recordings made available. The free jazz tinged freakouts you were going to hear have been shelved so we could bring you these three swirling moments in time. Almost an entirely different line up on this Jackie-O than previous releases, Tom Greenwood brings along Nick Bindeman, Danny Sasaki, and Eva Salens, joined by fellow sonic adventurers, Jessica Rylan on one track, while on the last track they are joined in Italy by The Moglass and My Cat Is An Alien. The entire first side features a séance sure to bring out all the ghosts in your home as the percussion builds and the guitars, synths, and saxophone create a shimmering, sparse back drop for the spirits to frolic to. While the second hints at the JOMF of yester year with a moaning trombone, a noodling blues-tinged guitar and the cries of a lone saxophone on the first track. And to close it all off, a dense, dreamy, endless mess of drones, moans, bells and such recorded in Italy. Released in conjunction with Tom Greenwood's U-Sound Archive, this LP is a one-time pressing of 1000 copies onto heavy 180 gram vinyl and enclosed in a custom gatefold jacket with four color printing, hand-screened right here in the great white North."
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2CD
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X 002CD
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Originally released in 2003. "Double CD from this NYC/Portland/Vancouver collective of out there ambient skronk space explorers. Recorded on their breakout European tour from the fall of 2002, this set shimmers and builds, masterfully weaving tension with ease. All the best tracks and improvisations boiled down to 2 CDs of tripped-out bliss. This release is a jump from Jackie-O's recent release, Change on the French Label Textile. Covering a wide array of the sonic land, from psychedelic space rock, sax freak-outs, and layers of sound decaying & blooming."
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