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viewing 1 To 25 of 46 items
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E#70D
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2002 release. Single-sided. Detroit/NYC guitarist, singer, songwriter, photographer, filmmaker, artist Dara was a member of His Name Is Alive for a few years. She was part of upstate-NY-based multi-media "performance art" group Brown Cuts Neighbors doing films, playing drums, guitar, bass, vocals, keyboards, and guerilla street performance. She collaborated through the mail w/ Warren Defever on a project called New Grape. They have a CD available through Time Stereo. She had a group w/ Ron Asheton called Creature79. She worked w/ artist Steve Cerio on a project called Lettuce Little featuring members of The Residents. She performs with husband Nick in a duo they call Laudanum. Her influences/interests range from Japanese "noise" bands/performers such as Masonna and Melt-Banana, jazz of Albert Ayler, Cecil Taylor, Sun Ra, Coltrane. The Stooges, Neil Young, '80s hardcore bands, new wave, Harry Partch, artwork of Jackson Pollack. Hammer horror flicks. Film noir. Spooky stuff. William Blake, William S. Burroughs, Bukowski, Nietzsche, Kathy Acker, Nick Cave, Lydia Lunch, Slayer. The Ecstatic Peace record: all of it is Dara playing vintage Farfisa keyboards, Casio keyboards, guitar, radio. Recorded in Dara's kitchen in 1997 on four-track. All artwork/photography by Dara. Album was heavily influenced by love of '80s synth pop and heartbreak. Like OMD, Depeche Mode, and John Hughes films, which she loved as an '80s teenager.
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E#83D
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2001 release. This is basically Karen Lollypop/Karen Constance (wife, sister-in-law, and fellow Jock to Decaer Pinga). Smack Music 7 is her doing solo tape music, a style she refers to as Glamtronics -- it is amazing, elegant, and stately. The Polly Shang Kuan Band is her ever-changing groop, consisting of herself and whoever else is drunk enough to partake (in this case Cécile Gilbert). A very sensuous text/test experience. Edition of 300.
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E#86D CD
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RIP BARBARA ESS (1948--2021). The only release of her music we have on hand is this old/classic 2002 CD on ECSTATIC PEACE.
Radio Guitar is nine tracks of fantastic music and noise utilizing radio sound and electric guitar as realized by artists Peggy Ahwesh and Barbara Ess respectively. Filmmaker Peggy Ahwesh came of age in the 1970s with feminist politics and the experimental film underground. She started working with Super-8 film in her teens and went on to make feature films, including Splice This (1999) and Girls Beware (1997). Her work has been shown at Rotterdam, Osnabrook, and The New York Film Festival. She is a recipient of the Guggenheim Foundation Fellowship, the NYSCA Film Production Grant, Jerome Foundation Grant, and a grant from Art Matters, Inc. She has taught at Bard College since 1990. Barbara Ess has been performing music in NYC since the 1970s w/ such famed no-wave groups as The Static and Daily Life as well as The Glenn Branca Ensemble and Y Pants, a trio of women playing music on toy instruments. She has also been a member of Ultra Vulva. She has also worked as a publisher of Just Another Asshole -- a series of anthologies of artists works in various formats. She also works as a visual artist, making and showing large-scale photographs. A book of her photo work, I Am Not This Body, was published by Aperture in 2001.
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E#100M
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"Ecstatic Peace has been wanting to release a CD by Lord Jeff since we first heard their stray tapes and CDRs floating around the Pioneer Valley like so much spring pollen a few years back. We knew nothing about them except they had some familial connection to The Entrance Band who we were most definitely interested in, and subsequently released an amazing LP and CD by. As it turned out Ecstatic Peace founder Thurston Moore's niece Louise Erdman reported she had been singing backups in this band Lord Jeff, so Uncle T went to see them at Union Pool in Brooklyn one fine rock n' roll evening and was entirely charmed. Plans went into action to release something/anything by these cats and after many moons of them playing in front of single digit audiences they got it together to record this amazing and beautiful disc. Think the genuine heart music of Buffalo Springfield and Wooden Wand with sweet Garcia moves and a punk gleam in the eye. Chief songwriter Sean Goggins is a gentle force of inspiration and his sound and vision are captured lovingly by the legendary Justin Pizzoferrato (J Mascis, T Moore, Fat Worm of Error etc.)."
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E#13F
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"After being completely blown away by Servile Sect's first limited release CD Stratospheric Passenger (on the amazing Sounds of Battle and Souvenir Collecting label) we requested to release it as an LP. It proved to be one of the more significant releases in the marginal world of sci-fi centric black metal. Learninghowtosink.blogspot.com commented, 'It's easy to forget time with this band and let yourself slip down that dark tunnel of astral travel as their music sweeps you away.' And Animalpsi.com raved, 'Texture is the guiding focus, as the pair generates an astonishing range of sounds bundled in so many palatable and complimentary compositions that the brilliance of each is absorbed seamlessly into the whole, and the whole a fantastic story.' We asked Servile Sect, who we only know as a mysterious duo hailing possibly from Northern California and somewhere deep in Brooklyn, to allow us to unleash a newly recorded CD. Realms of the Queen is an astonishing furtherance of these men's strange and lonesome rage pealing from the bowels of a god-forsaken earth to the endless scree of the cosmos. An essential document for anyone investigating the forbidden zones of elusive black thought."
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E#105Q
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"Leslie Keffer has been one of the most startling and provocative practitioners of 21st century USA noise music since her first harsh emanations on the cassette underground in the early 2000s. Ecstatic Peace released her first full length LP Feels Like Frenching a few years back and it was hailed as a cornerstone in new blood noise exploration. Boomkat.com reported, 'she's beating the noise-boys at their own experimental game and winning...Keffer had me at hello.' And Performer magazine heard the LP as 'a dense series of coded subconscious messages sent from some buried cerebral cortex.' On this new 12", which has been waiting to be issued or near on two years, she joins forces with local Nashville rockers John Eatherly (Be Your Own Pet, Jemina Pearl), Steve Poulton (Paul K & The Weathermen) and fellow noise artist Valerie Martino (Unicorn Hard-on). These two tracks are a departure from the pure noise action Leslie is known for and present her current trajectory into hypno dance dub psychosis with waves of junk filtered radio wash and siren chants. The artwork by Adriane Schramm is astounding."
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E#104E-LP
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Gatefold LP version, limited to 500 copies. Includes 11x17 poster. "Psych-garage-noise purveyors Awesome Color coalesced after Michigan skater/musos Michael Troutman and Allison Busch hooked up with fellow Great Lake State expat Derek Stanton in Brooklyn, NY, in 2004. Tired of the same old, same old that was passing for NYC underground punk at the time, the trio set out to inject a little Detroit rock know-how into the scene. Succeeding marvelously at channeling the grit and free abandon of the Stooges and MC5 into a propulsive, riff-based, Black Sabbath-informed mule-kick of a live show, the group soon caught the ear of Sonic Youth's Thurston Moore who wasted no time in snatching up the band for his Ecstatic Peace! label. Their self-titled debut hit the racks in 2006 and was followed up by Electric Aborigines in 2008. The wake of that second release found the group touring the world in support of Sonic Youth and Dinosaur Jr."
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E#13E
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"Since their first live performance in 1999 and subsequent first release, That Specific Function , to their third full-length release on Ecstatic Peace!, Boston's Black Helicopter have been riding a fine line between mechanical, grinding cyclical rhythms, sparse yet intricate airy psych-outs, and addicting pop melodies. Black Helicopter's Don't Fuck With the Apocalypse is no exception, with both meaty slashing layers filled with pounding intent and engaging melodic interludes that stick in your skull. Whether it's the plight of Soviet soldiers during the second East Prussian offensive ('Invasion of Prussia'), begrudgingly accepting the limitations of one's self ('In the Blood'), or pining for a bygone era ('Record Player,' 'Golden Days'), the tales told here are relatable to a broad spectrum, yet yield nothing to conventional 'product rock.' Black Helicopter takes no orders from passing trends, clearing their own wide swath as they go. Tim Shea's vocal delivery falls somewhere between Scott 'Spiral Stairs' Kannberg and J. Mascis, and is what makes Black Helicopter's rangy meat-and-potatoes workouts worth returning to. The man has a soft spot for all manner of sad sacks, erecting sturdy narrative windows into the depths of their doldrums. Comparisons have been made to bands like Shellac, Pavement and Mission of Burma." Featuring controversial Pettibon cover art.
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E#104E
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"Psych-garage-noise purveyors Awesome Color coalesced after Michigan skater/musos Michael Troutman and Allison Busch hooked up with fellow Great Lake State expat Derek Stanton in Brooklyn, NY, in 2004. Tired of the same old, same old that was passing for NYC underground punk at the time, the trio set out to inject a little Detroit rock know-how into the scene. Succeeding marvelously at channeling the grit and free abandon of the Stooges and MC5 into a propulsive, riff-based, Black Sabbath-informed mule-kick of a live show, the group soon caught the ear of Sonic Youth's Thurston Moore who wasted no time in snatching up the band for his Ecstatic Peace! label. Their self-titled debut hit the racks in 2006 and was followed up by Electric Aborigines in 2008. The wake of that second release found the group touring the world in support of Sonic Youth and Dinosaur Jr. In 2010, the band plans to release Massa Hypnos on Ecstatic Peace! and jump back in the minivan to play every rock club, basement, and skate park they can, leaving a trail of broken guitars and pizza crusts from Michigan to Mars."
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E#91E
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"Hat City Intuitive have long been the mainstays of the Danbury, Connecticut free improvisation scene and, as such, are regal. Yet this crown of creative impulse and desire does not cloud their intention of celebrating the NEW. When they gather, and whoever they may invite into their high flying midst, the vibrations are a fresh fire and are wholly positive, forsaking the droll techniques of free jazz blather, and licking the under shine of night stars howling light into the black. This session has most recent member Gene Moore (guitar/reeds) showing up with his kid bro Thurston, who plugs into the nearest amp and is only too happy to just GO, as TM is a long-time fascinant of the Hat City Intuitive, having grown up in the same Nutmeg State environs just 30 some years prior. Compiled from hours and hours and hours of basement mind/spirit autumnal wine-soaked pot-smoked camaraderie, this recording is where the dirt meets the concrete and winks up to the forever sky."
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E#88D
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"Glass Rock is a song, is a band, is a way of life. Glass Rock is the crystallized movement formed by the molten lava makeout of the two bands of the album title: Tall Firs meet Soft Location. It's a werewolf and a rhino on a first-date rampage of Korean Food and poppers, doing the Cabbage Patch on the boardwalk, kissing babies with beer breath, all with truthful love in their hearts. The core elements of the Soft Location sound are Kathy Leisen's haunting voice and boneyard guitar, and Matt Kantor's slo-mo jet fuel bass jamminating. Add Tall Firs: Ryan Sawyer's could-blow-your-pants-off-but-prefer-to-slowly-work-them-over-your-hips drumming and Dave Mies and Aaron Mullan's creamy dual-savant guitar stylings: two dudes who don't even know how the other guy's guitar is tuned but nonetheless have brought the tandem knockout reverb dropkick since 1991. The band actively refuses to discuss influences, even with one another. With two pairs of childhood friends in the band, the music just happens and the listener is left to speculate. The dilettante thinks Chan Marshall or an Astral Weeks-era Van Morrison caught an extra-rad time machine ride and now inhabits every moment from 1955-2013 simultaneously. The serious aficionado is thinking Martha Reeves, Amon Dull II, the Gories, Otis Redding. But Heads know: This thing is wigs, Pepsi commercials, Sam Cooke, hardcore festivals, and free stuff on craigslist. In reality, Glass Rock are a prisonyard football team: a motley collection of wizened lifers, small-time pimps, and the wrongly convicted. Leisen is their Burt Reynolds. A painter on the Outside, she woke up back in the huskau of a recording studio after Awesome Michael ratted her and Kantor out to Ecstatic Peace. In the yard Tall Firs were hanging around bench-pressing twice their body weight. This record documents their crushing and dramatic defeat of the prison guards, and their harrowing escape during the ensuing melee. There is nothing contrived about this band. Neither derivative nor hybridized, GnR II are truly Chimeric. This ain't reference-rock. This is the half man/half shark/half alligator sung of in days of yore, with inflatable Sasquatch feet and one popsicle arm. This thing will get bestial with you on the dancefloor, and will hold you tight on a pre-dawn canoe ride; staring at the stars crying at the wonder and terror of it all."
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E#88E
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"Nancy Garcia is among the most galvanizing and evocative provocateurs in the current underground strata of New York multi-media art. Coming from a fully realized performance background Garcia translates the experience to her compositions and delivers Be The Climb, her solo debut for Ecstatic Peace. The album is part of a new project called I need more, which is comprised of an online video, a live performance, and the album. While the project's components can function independently, together they illuminate one another and produce a single, overarching choreography. The online video can be found on YouTube. Utilizing a confidence and strength of personality rarely scene in the hidden gestures and pretences of the avant-garde, Garcia has effectively created an album diverse enough to conquer genre restrictions. Guitars, voice, electronics and percussion are unified by the force of her charisma and deep understanding of 'audience.' Having spent years touring and recording with Monotract, alongside Carlos Giffoni and Roger Rimada as well as working with the Laundry Room Squelchers and performing alongside Arthur Doyle back in the Cooler days of NYC, Be the Climb shows a culmination of process, noise, melodies, and songs."
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E#100L
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"Yankee Reality. What does it mean? Does it portend that there is some unique, other plain of existence for northerners and/or city folk? Something perhaps alien to, well, everybody else? Virginia cum citizen of London/rambling man Keith Wood knows all about it. Several years ago, he relocated to the city of crumpets and tea, where he, among other things, secured a gig playing guitar for notoriously intense death folk legends Current 93. In the midst of all this excitement, he has managed to write and record a brand new Hush Arbors album, his second for Ecstatic Peace!, and it's his finest to date. With a full band in tow -- multi instrumentalist Leon Dufficy, bassist Jason Ajemian, and drummer Ryan Sawyer -- and none other than J Mascis in the producer's chair, Yankee Reality continues Wood's winning streak while introducing an embarrassment of riches in the way of surprises and curveballs along the way. Yankee Reality is a credit to Keith Wood's vast talents as a songwriter and performer, but also, stands as a shining example of his breadth of focus and versatility. How many fools out there love Merle Haggard, The Dead and Dinosaur, Jr equally? I know one." -- James Jackson Toth, Nashville, TN, August 2009
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E#109C
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"Still harvesting and sustaining in the deep woods of Vermont , MV & EE (Matt 'MV' Valentine, once the brawn of the Tower Recordings, and Erika 'EE' Elder, CEO of Heroine Celestial Agriculture and The MV & EE Medicine Show) are following their 2008 release Drone Trailer with their feature-film-for-the-blind Barn Nova, which marks their return to the Ecstatic Peace! label. MV & EE aspire to the sort of beautifully rewarding standard in their documented output that Sun Ra or The Grateful Dead achieved. It is with Ecstatic Peace! that their most consistent works have been born and continue reach fans with The Golden Road, their most constant band. Together with Doc Dunn (pedal steel, rhythm guitar, vocals, drums) and Mike Smith (Rickenbacker 4001, vocals), who appeared on Drone Trailer, as well as J Mascis (drums, guitar, plate reverb) and Woods' Jeremy Earl (vocal, drums) they take you on the ride now known as Barn Nova and here they jam. Justin Pizzoferrato also appears contributing percussion, space echo and aiding once again at the controls. This album was recorded at MV & EE's own home studio 'Maximum Arousal Farm' as well as their current local New England rooms of choice, 'Bank Row' (an old mid 1900s bank) and J's home studio 'Bisquiteen.' These kindred spirits share a wealth of ideas including a serious reverence and desire to upgrade/expand the classic-rock idiom. Barn Nova marks the return of 'Spectrasound,' MV's production technique that places tones dancing all around the stereo sound field: it has to be heard to be believed. This effect is all the more impressive that the majority of it was created recording live, rather than conjured through studio post-production during mixing. Especially potent on the A side-ending stomp 'Summer Magic,' where Erika's economical leads go head-to-head with J's on a particularly mind-blowing live-in-studio effort; It brings to mind the vibe of Green Blues, Mother Of Thousands and even an electric Moon Jook with matured songwriting. Inspired by the likes of Jerry Garcia, John Cipollina and Tom Verlaine, Matt Valentine displays an insatiable appetite to play in various idioms with constant exploration and development. Meanwhile, Elder's harmony leads recall the glorious twinned guitar lines of Canned Heat's Al Wilson & Henry Vestine at their most potent."
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E#96C
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"White Out are indeed 'white' and, in transcendence of such inherent nothingness, most definitely 'out'. Linn Culbertson and Tom Surgal met in the still wild mania of 1986 New York City in front of CBGB during a Big Black show (Steve Albini's notorious Chicago trio of miscreant salutation). They were introduced by ex-Sonic Youth drummer Richard Edson and, after discovering mutual fascinations with the avant-garde marginalia of no wave, free jazz, noise rock etc., began to play music in a secret location on the Upper East Side of Manhattan. Surgal had been playing drums his entire life informed by the majestic energy of Elvin Jones, as well as the primal insolence of Bradley Field (of Teenage Jesus & The Jerks 'fame'). Linn had come out of modern 20th XX composition studies in Madison, Wisconsin. By the mid-90s, White Out had become one of the more interesting and increasingly stunning lights on a downtown scene that had grown a keen and critical eye on contemporary moves in improvised music. (Early on in this scheme, Thurston Moore had introduced Tom to no wave guitar legend Rudolph Grey and the two men re-established Mr. Grey's incendiary Blue Humans project, incorporating Thurston on intermittent second guitar, alongside a young Alan Licht.) Ecstatic Peace released the first White Out CD Red Shift in 1995, and in 2001 released Drunken Little Mass, an amazing recording with acclaimed multi-instrumentalist and music theoretician (and, at the time, Sonic Youth member/ secret weapon) Jim O'Rourke. The UK based ATP (All Tomorrows Parties) label released the China Is Near CD in 2005, also with O'Rourke and employing the wizardry of William Winant, an acclaimed percussionist who has worked with John Cage, Iannis Xenakis, and Cecil Taylor as well as being involved in an infamous trio with Surgal and Moore, which rears its head when the demons beckon. Senso is a live recording from two shows at the heralded and, sadly shut, Tonic club in NYC December 18, 2004. It was a lovely evening when O'Rourke and Moore, both of whom had played with White Out, but never together, would set the controls for the heart of the universe. Each set was its own distinct drama and captured the four players in a unified mind meld bringing the audience with them on a spirit-high journey."
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E#110LP
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LP version with glossy insert.
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E#8B
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"Andrew's first ever new-age instrumental solo piano concept album. 55 Cadillac showcases Andrew's spontaneous piano improvisations, as well as the visualized manifestations of his car. Special edition gatefold vinyl by Ecstatic Peace!. The 55 Cadillac recording process began in Cleveland, Ohio, on Friday, January 23rd, 2009. Andrew played his very own Steinway Concert D piano, set up for optimum tape recording by F.F.V., using a mobile triple cassette sound system. Photographer, Andrew Strasser, has completed a comprehensive photo shoot of AWK's prized 1955 Cadillac Fleetwood limousine, which features heavily into the album's artwork. Mario Dane mixed the album at Skyscraper Music Maker in Manhattan, NYC. Only 750 copies of the LP will be pressed."
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E#110
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"Samara Lubelski's 5th solo LP Future Slip serves up a gorgeous and friendly collection of bittersweet melodies, sinister basslines, gestural Polaroid lyrics, and spot-on drumming- garnished with sprigs of fuzz, paired with a guitar Riesling. It is a record of knowledge and innocence, of truth and fairytale, of wonder and clarity. Envision France Gall performing the songs of Sterling Morrison and Mo Tucker with Ralph Molina on drums. The show is at a loft across Bowery from CBGB's and the only person in the audience at soundcheck is Jandek, cross-legged in the middle of the floor. Produced by Thurston Moore. Our story is already in progress as of the late '90s. NYC native Lubelski's howling, droning/pizzicato/Psycho violin rides atop Neu! inspired beats and alongside budget guitar arpegiations in the group Hall of Fame -- a band excellently obsessed with the second Red Krayola LP, Gamelan orchestras, and amassing bewildering piles of equipment and cables onstage. Occasionally she picks up the guitar and sings a 'proper' song, though it is only partly discernable among the rumble and flicker. Like some sort of two-way prism, all of the components of what would eventually be called the New Weird America passed through the Hall of Fame/Tower Recordings bottleneck in New York. The beardo folk, the freeform improvisation, the Krautrock, heavy psych, 20th century avant-garde, ethnographic field recordings, the Godz, the Fugs. This rainbow of influences was all turned into a single blistering white light on free Monday nights at the Cooler and gallery parties. The scattered releases made by Hall of Fame/Tower (the latter of which Samara joined) were glued to turntables from Atlanta to Brattleboro, and their influence passed outward into a variegation of likeminded fellow-travellers. After those bands ended, Samara made the crucial In the Valley album (with M.V. producing) and then announced she was going to make a pop record. Over the course of 3 LPs on the Social Registry label, the occasional murmur from the Hall of Fame days became a full-blown songwriting affair. Samara found a working method that she continues with to this day: Cutting basics in her second home of Stuttgart, Germany with members of psych-freakers Metabolismus and bringing the tracks back to New York to collaborate with her U.S. cronies, which this time includes PG Six, Helen Rush, Steve Shelley, Willie Lane, Nicolas Vernhes, Werner Notzel, Moritz Finkebiner, and Thilio Kuhn. In 2007 longtime fan Thurston Moore recruited Samara and her violin skillz for his Trees Outside the Academy album and tour. Familiar with the solo work, Thurston wanted to hear a new type of record from her: more confident, bolder. He offered an Ecstatic Peace! release if he was allowed to produce. Samara poached drummer Steve Shelley for her band, adding the missing backbeat to a swarm of overdubs. Thurston produced the mix sessions; lying sick on the couch calling out for more and more elements to be louder until a wonderfully aerodynamic version of the songs flew forth. And here is the result: Future Slip is a worldly record, a record which offers 'a taste of the new dimension' but warns of 'guru bummers'. To a sunny day it adds the shadows which allow the perception of depth. On a rainy day it offers a selection of cakes. Anyone who does not dig this record deserves our pity, as they know nothing about the joy or sadness of life."
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E#104D
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"Little Claw was born in Detroit, Michigan during the Great Eastern Seaboard blackout of 2003. Having nothing to do, nowhere to go, Heath Heemsbergen and Kilynn Lunsford began playing their acoustic guitars and singing into the darkness. An auspicious beginning to be sure. Even now, Little Claw are still strumming and screaming into the void. Formed originally with Jamie Easter from the Piranhas on drums, the band played a string of shows, starting with their debut performance with legendary Ohio art-punks the Bizarros, which then led to the recording of the first Little Claw LP with Warn Defever (His Name Is Alive) The album was released by Ypsilanti records in 2005. Jamie left the band in the summer of 2005 and after one show as a duo, Hendrik Deherder joined up on the drums. A second LP was recorded with Matthew Smith (Outrageous Cherry) in his Hamtramck living room mid-2006 and was subsequently released by Thurston Moore's Ecstatic Peace label in 2007. Later that year, there was a release of a split 7" single with Michael Yonkers on X! records. Little Claw's move from the urban nightmare of Detroit to the more subtle cloudy terrors of Portland, Oregon prompted some more augmentations to the line-up: Adam Svenson (of Seattle improv band Du Hexen Hase) took over the caveman beat on the drums, freeing up Henrik to bang the synth and add additional percussion. On the road and on recordings, the Little Claw sound is graced by the touch of Toledo native, Damon Sturdivant (Puffy Areolas, Tyvek) on additional percussion and synth." "But what do they sound like anyway? They sounded like the greatest godammned fucking band on the planet the time we saw 'em. Two minimalist drummers, a guitar dude with a nice underhook rhythm rip and a girl with a badass no wave slather tongue tearing hell out of her slide guitar given half the chance. And not all hellbent rage either -- some nice licorice melt drizzle crud groove too. Fuckin' awesome." -- Thurston Moore
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E#91D
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"My 'career' in music is about to enter its 13th year. Lucky 13! I've performed in at least 15 groups (probably more on the order of 20 if you count guest spots) over the years, the most prominent being the long-running 'quiet music' combo Son of Earth and the short-lived-but-muchhyped Believers. Historically more of an experimental man, the Believers project showcased my always right-below-the-surface interest and passion for all things rock, and so, a couple of years after the demise of that group, I was approached by Ecstatic Peace, who asked me to produce a solo record. For the better part of a year I conceptualized, recruited, and eventually came up with I Couldn't Love You More. An early attempt to marry electronics, field recordings, and song was scrapped in favor of the personal and perhaps obvious choice of producing a covers record. It was the perfect idea, the realization of a dream. Years of singing in the shower and on long car trips had given way to the stuff of fantasy. Why stick to what you know when you can reach for what you've always desired? I asked friends to help with the realization. John Moloney, Phil Franklin, Ron Schneiderman, and Rob Thomas (all of Sunburned Hand of the Man), I've known for years. Same with J Mascis. Old friends John Shaw (who I've done more music with than anyone) and Lynn Meyers provide some vocals here and there, as does my wife, Jamie Jo Oltmans. The Wild Card here is John Townsend. Andrew Kesin of Ecstatic Peace introduced me to him, and he was a jack-of-all-trades. He plays on most of the tracks, sometimes exclusively, and co-produced. I chose songs from all over the map, from Rick Danko to John Martyn to the great Bill Fay. Not exactly lightweights, and quite intimidating when their full historical weight is taken into account. However, I attacked each piece with the intensity of one who truly loves these songs. I didn't concern myself with being overly arty or inventive in my interpretations (there are no truly radical re-workings of anything here), instead allowing my own emotional investment in the material to guide me and inform the other players. These are songs of love and longing. The themes are eternal. It's an honor to have had the chance to play them. Enjoy the music." -- Matt Krefting, December 2008
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E#100K
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"To quickly address the elephant in the room -- certainly, collections of demos, outtakes and home recordings are mostly bogus, but obviously you're reading this, so obviously I've somehow been coerced into releasing this batch of tunes, and you've bought it or stolen it or borrowed it or gotten a promo or whatever, so let's cut to the chase. In my defense, all of the cuts contained herein are 'songs' in the traditional western sense -- my experiments in 'surf harmonica' and 'doom zydeco' will not be chronicled here, deep and plentiful as those archives may be. Everything here was recorded by me on either a Roland BR-8 digital 8-track or it's flashier, more cosmopolitan cousin, the BR- 1600, with incalculable assistance from Jexie Lynn, who accompanies me on many of these songs and who's encouragement and creativity allowed many of them to be. Most of the recordings were done at my then-home in beautiful Knoxville, TN between October 2002 and January of 2007, just prior to the retirement of the Wooden Wand name. You've already pardoned the narcissism, now pardon the cliché: I stand behind these songs as snapshots and enjoy them despite their many flaws. I hope you do, too." -- The Wand
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2x10"
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E#85H
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"Jason Crumer likes what you like: noise, girls, getting wasted once in while and maybe a spot of trouble here and there. He first started blowing minds as guitarist in the insane sludge punk core outfits Aluminum Noise and Facedowninshit. As well as the ultra-weirdo outfits American Band, Now In Darkness World Stops Turning and Amazing Grace. Since going solo in 2005 he's released fascinating and brainmelting USA noise death on labels like Iatrogenesis, Audiobot, Ignivomous, RRR, Nazot, Chondritic Sound, Misanthropic Agenda, Harsh Head Rituals and Hospital Productions. Roxann Spikula has been creating killer noise action with and without Crumer (as well as her twin sister Rachal in the band Relay For Death) for years in the Raleigh, NC scene. Their particular venue was more focused on experimental moves and Roxann is an amazing proponent of this world. Her work here in conjunction with Crumer is deep and considered and moves from dark drone solace to sick shards of noise hell. This is a double 10" in a gatefold sleeve with art by Roxann. 500 copies."
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LP
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E#4D
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"Unlike anything book or animal, the Menstruation Sisters destroy wholly" -- Thurston Moore, Sonic Youth. "Menstruation Sisters hail from Sydney, Australia. Basically a duo comprised of wildboy poet ululationist and guitar strangler Nick Kamiussis (aka Rizili aka Riz) and OZ wonderkid Oren Ambarchi (Sunn 0))), Burial Chamber, Grave Temple, John Zorn etc etc), and sometimes aided by Brendan Walls and others. Their first LP, Ma, was in an edition of 100 copies, all of which had razor blades, balloons and hypodermic needles applied to one side. As an objet d'art it became a highly desirable item for noise believers (and was recently reissued -- sans appliques -- by No Fun Productions). Every once in a while an LP drops out of nowhere only to further confuse whomever is fortunate enough to grip it. 2005 saw the Holy Africa 7" on White Denim, in 2001 the infamous Goog LP on Saucerlike, in 1999 the Dead At Slugs LP on Menlo Park and in 1998 the Triple Bogey On A Ma Par Hole 3x7". All of these are essential documents of one of the most bizarre, genuinely inspired free time outfits working the avant-mind body love/noise worship axis today. This newest LP has been patiently waiting to be released for the last few years, initially a multi-label project instigated by Menlo Park and now fully realized by Ecstatic Peace. Long a champion of Menstruation Sisters after witnessing an out-of-nowhere set at NYC's legendary lost underground experimental oasis The Cooler in the late 90s, Thurston Moore invited the Sisters to open for Sonic Youth in Sydney shortly thereafter and, as inspired and weird as the NYC set was, the Sonic Youth gig was perhaps one of the most astounding question marks of music the seasoned Moore had ever experienced. So we present you Samantha (My Wack Panther) -- a new and beautiful peek into the edge of musical menstruation."
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E#34C
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"After releasing the first Mouthus LP years back, Ecstatic Peace returns to unleash another beast by this always amazing duo. Brian Sullivan (gtr/vox) and Nate Nelson (perc) connect here with a focused, thematic hayride through long tone static and fried mind amp terror. Anyone following the arc and molten flow of Mouthus' last few LPs and CDs (on Our Mouth, Troubleman Unlimited, Olde English Spelling Bee, Music Fellowship, Important, Three Lobed, Weird Forest and the exemplary Saw A Halo on Load) will be surely intrigued by Divisionals as it is Mouthus at their sweetest. Almost. Just when you're drifting through the electric skies you find the Earth reaching into your soul pulling you back to a primordial foreverness. A charming action."
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E#85G
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"Mutant Ape is the insane noise project by Yorkshire, UK resident George Proctor. George runs the Turgid Animal label, which since 2005 has been the go-to place for harsh noise, power electronics and other demented spuzz releasing over 500 CDs, CDRs, cassettes, LPs, 10"s, 7"s etc. He has been releasing Mutant Ape sounds wherever and whenever, establishing his classic yet contemporary noise/horror vision of lust and spectacle as one of the premier scum artists of the last decade. Erotic Yorkshire is Mutant Ape at its most corrosive delivering from track to track occult ambience to skin shredding power drug electronics. All bookended by the demented and misogynist rants of Jamie Gillis. Artwork by the fractured mind of Tisbor. Disgust, depression, defilement and demotion are all here for those of you who demand only the best in carnal crud."
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