{"title":"Public Eyesore Recordings","description":"Public Eyesore Recordings","products":[{"product_id":"the-mighty-vitamins-take-out-cd","title":"The Mighty Vitamins - Take-Out CD","description":"\u003cp\u003eThe Mighty Vitamins - Take-Out CD\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e(The City Weekly 01-24-07) The Mighty Vitamins' new album, \"Take-Out\" is the latest release from Omaha-based under-the-radar label Public Eyesore Records, which has put out more than 100 releases in the last decade. And the experimental nature of \"Take-Out\" fits right in with much of the Public Eyesore catalog. The songs don't seem to rely much on predetermined structures, rather they unravel like a conversation between the four people sharing thoughts and ideas - here they are playing musical instruments - subtly influencing one another through their musical ebb and flow. On the first track, \"Get a Job,\" a sporadic buzz spawned from percussion, trumpet and guitar initiate the tone of the album. As a sampled one-sided dialog repeatedly asks, \"When are you goin' to get a good job?,\" the rest of the instruments chime in between the short pauses of the voice. The overall effect is playful and humorous. Next is \"Kaw River Suite,\" four tracks that are curiously called a \"dance.\" But there is no waltzing of side-stepping involved here, just spacious and sleepy droning swells providing a backdrop for a hazy trumpet line to explore. \"What a Way to Go\" begins with a straight-forward, steady drum beat as mellow frequencies, high and low, create spontaneous and sporadic melodies. \"Marked\" is along the same line, but with added horns. In both songs, the rhythms and tempos dissolve as the soundscapes progress. The final two tracks might be the only things somewhat \"familiar\" to many listeners. In \"39 Steps\" a drum kit pulses along with a walking bass line. This song could be generally labeled as free jazz. The finale, \"April 21,\" Drives forward with a solid rock beat, adding a touch of sampled blues harmonica to the usual batch of chattering instruments. The track then dissolves into a stew of ambiance, and abruptly ends. The occasionally jazzy runs and clean tones suggest that all the musicians are well versed with their particular instruments - and music in general. They are just taking a different approach to organizing and creating sounds than most people. The aesthetic effect of the album is not always easy to chew on; rather than conforming to the boundaries of mainstream pop and traditional jazz, \"Take-Out\" is a direct reaction against them. Instead of trying to make sense of the chaos in the world, \"Take-Out\" dances with it, holds it carefully, ties it in a loose knot and then leaves it fending for itself. For someone searching for a musical experience that's out of the ordinary, \"Take-Out\" could be the ticket - as would most any other Public Eyesore release. Just don't expect the tried-and-true methods of musical expression we are all accustomed to. \"Take-Out\" and other Public Eyesore releases are available at various Homer's locations. More information available at PublicEyesore.com. - Will Simons\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e(Foxy Digitalis 3\/13\/2007) This is a chaotic record that proves not only that you c an hum to anything if you only try and also that the creativity that has overloaded Cleveland made its way to Omaha. Like an updated Devo or Ubu, The Mighty Vitamins splice together electronics, short-sharp guitar lines and Rashid Ali’ drumming, into the perfect backdrop for eavesdropped conversations and drunken manifestos. “Way To Go” and “Marked” are variations on percussion-driven totems made monumental on “39 Steps,” where the bass line trots alongside a big BEAT. “April 21,” the closer, is the most straight-ahead rock tune of the set, but even here the band takes extreme liberties with the format. Public Eyesore is a busy label that has not shied away from the experimental and confrontational. They hit on a goodie with The Mighty Vitamins, who mix humor and bile, chops and curiosity to “Talk The Big Talk,” as one of their songs is titled, and to walk it as well. - Mike Wood\u003c\/p\u003e","brand":"Public Eyesore Recordings","offers":[{"title":"Default Title","offer_id":30574745485346,"sku":"","price":3.5,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2606\/0952\/files\/img007.jpg?v=1764367610"},{"product_id":"a-tomato-a-day-the-moon-is-green-cd","title":"A Tomato A Day ‎– The Moon Is Green CD","description":"\u003cp\u003e\u003ciframe src=\"https:\/\/bandcamp.com\/EmbeddedPlayer\/album=1253060899\/size=small\/bgcol=ffffff\/linkcol=0687f5\/transparent=true\/\" style=\"border: 0; width: 100%; height: 42px;\"\u003e\u003c\/iframe\u003e\u003c\/p\u003e\n\u003cp\u003eA Tomato A Day ‎– The Moon Is Green CD\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eBack in the early 90's, artist savant Brian Poloncic left all his other bands and started self-releasing cassettes of folk-damaged, noise pop hybrids under the name A Tomato A Day (helps keep the tornado away). New paint, new song constructions with sounds which neither embraced nor recoiled from indie rock and the lo-fi confessional folk sputterings of the day. His music was inside all that but outside it too, junkyard songs put together from spare parts. Songs that said rock and roll and relax. Songs without an audience, songs spilling from the head of an artist chasing his own muse for his own amusement. The music was everywhere, the lyrics were too. This music had plenty of Elvis lust and Dylan absurdity, a troubadour spirit with a punk rock genealogy. I don't know what the band name means but I have a theory the Tomato is a giant red pill somebody has to take every day just to keep the tornado in his head at bay. Drugs to keep you on the ground. The music of Tomato A Day has always inspired me, has always reminded me that it's more important to crash than it is to coast. Thankfully, there's been a new release every year or so to keep me grounded, keep me focused. So, here then is the latest in a long line of under-the-radar songs from an obscure hero of the form. The Moon is Green takes the man and the band in yet another direction. Nothing I say here can explain the journey and you can't possibly know A Tomato A Day by listening to any one tape or cd or record, it's an artistic career that most of us can only dream about. I encourage everyone to find and listen to everything you can get your hands on. Uncompromising, constantly evolving music released to anyone or no one, without echo or acclaim, that's A Tomato A Day. You'll get your basement songs, your bottom of the heart songs, your broken and healed songs, and all better than a dog or car. If you want music that keeps the tornado away but never denies the existence of the tornado, open your mouth and say \"ahhh.\" - Simon Joyner\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e(Music Emissions) Brian Poloncic, the man behind A Tomato A Day (and one of the founders of the Omaha bands Pickwick and Naturaliste) is a haunted and haunting figure. \"The Moon is Green\" is a seven song EP that makes you worry about and wonder at its creator. Disjointed and lo-fi, Poloncic's droning, oddly whimsical voice, backed by guitar, devastating cello and understated keys, is the central instrument, giving a confessional, naked feel to the somewhat abstract lyrics. Of the seven songs, \"Winter Wind\" and \"The Highest Kite\" stand out as the most poignant and strange. \"Halo\" and \"In A Book\" are not far behind. David Downing's cello work is almost as huge a psychic presence as Poloncic himself, a counterpoint that deepens the sense of melancholy dread of the tunes. Yet the tunes are also childlike, in a hermetic, hopeful way. As with those to whom he is often compared, Poloncic has had his struggles with mental illness. Like Daniel Johnston, Skip Spence and Syd Barrett, he has turned that nightmarish battle with uncertain reality into raw, honest, slightly askew melodies and distracted but moving tunes. A Tomato A Day may be an apt monicker for the man. Like the adage, he seems deliberate, present, and hoping each careful move will keep the demons at bay. 4.5\/5 - Mike Wood\u003c\/p\u003e","brand":"Public Eyesore Recordings","offers":[{"title":"Default Title","offer_id":30595004497954,"sku":"","price":3.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2606\/0952\/products\/atad.jpg?v=1570812814"},{"product_id":"bob-marsh-viovex-cd","title":"Bob Marsh - Viovex CD","description":"\u003cp\u003eBob Marsh - Viovex CD \u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e(Smother) Eclectic apartment experimental “pop” that is lo-fi to a whole new level of DIY. Using a Boss Harmonizer to create effects on the vocals, Bob Marsh wigs you out. Using loops made from violin, cello, and his voice, Marsh is certainly unafraid of doing something so different you’ll never hear it again. Weird, different, and elastic, this is the ravings of a madman with a tape recorder. - J-Sin\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e(Ampersand Etcetera) Bob Marsh who has appeared a few times on the label with a solo album. And another where liner notes can be a distraction. Marsh calls these 'rantings, ravings, sermons, scenes, little operas and whatever they might be' which leads you to expect a spoken word album. Reading on you see he plays (and processes) his violin and cello, messes around with sampled loops and some electropercussion and processes his voice. The result is a series of weird radio transmissions from another dimension - the voice shifts in and out of meaningfullness, instruments call and deconstruct and repeat, percussion weaves in and out, and the mind tries to build something from the words, grasping at interpretation as actual statements fly pass. The musical looping playfulness scraping and scattering around in the background echoes into darkness. Some titles are metonymic - the Amerindian feel to Indian summer, the tumbling Ready to roll, watery Oh bouy as waves drift and whispers whistle. Others reflect their 'text' I'm a sucka or Bring out the dead. Forest for the trees voice keens wordlessly over a twittering of birds and insects. Most tracks are relatively Short, but the final Calm down is extended and provides an opportunity for some lovely extended violin loops. This is haunting as its phantasmal verbal tangets tantalise your desire to find meaning. The music fractures dissolving melodic meaning as well - creating an album of drama and fascination. - Jeremy Keens\u003c\/p\u003e","brand":"Public Eyesore Recordings","offers":[{"title":"Default Title","offer_id":30595033137186,"sku":"","price":3.5,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2606\/0952\/files\/R-3058663-1441469800-4820.jpg?v=1764368503"},{"product_id":"little-fyodor-peace-is-boring-cd","title":"Little Fyodor - Peace Is Boring CD","description":"\u003cp\u003e\u003ciframe src=\"https:\/\/bandcamp.com\/EmbeddedPlayer\/album=596835729\/size=small\/bgcol=ffffff\/linkcol=0687f5\/transparent=true\/\" style=\"border: 0; width: 100%; height: 42px;\"\u003e\u003c\/iframe\u003e\u003c\/p\u003e\n\u003cp\u003eLittle Fyodor - Peace Is Boring CD\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e(Westword) The subtly disturbing \"Death Sides Now,\" a Joni Mitchell cover, opens the latest full-length from Little Fyodor. Recalling the more demented side of Sun City Girls, Peace Is Boring is possibly this act's most actualized release to date. Before punk became codified, weirdos like the Residents, Ranaldo and the Loaf and Devo were lumped in with that movement. The unbound creative spirit of those acts informs this album of manic, deranged genius. The Stuart Hamblen cover, \"Open Up Your Heart (and Let the Sunshine In),\" made famous by the Flintstones and sung here by longtime collaborator Babushka, sounds absolutely un-ironic. With Fyodor in general, live or otherwise, the musicianship is solid, and these twisted pop songs will infuriate many but delight those who appreciate the unapologetically weird. - Tom Murphy\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e(The Yellow Rake) “What the hell is this?” you’ll ask yourself upon slipping Little Fyodor’s latest effort, Peace is Boring, into your CD player. And it will take several listens before you finally wrap your head around what the hell is going on here. That’s because Little Fyodor perpetrates eclectic music that's reminiscent of awkwardly laughing your way through a really confusing acid trip. The lyrics address several pressing issues facing humanity, such as uncomfortable clothes, hairspray, and as the title suggests, the dullness of peace. The songs range from straight ahead rock to Devo-inspired electro—but they’re all deliberately offensive and strangely strange in that punk rocking kind of way. As a whole, Peace is Boring rails against a culture that takes itself way too seriously (you know, the kind of thing that punks used to be really good at). And Little Fyodor is a type of prophet with a simple message: Life is too short not to have fun. So why not write a song called “Fuck-a-duck-a-luck-a-luck-a-ding-dong?” At least it makes sense to him. Definitely recommended.\u003c\/p\u003e","brand":"Public Eyesore Recordings","offers":[{"title":"Default Title","offer_id":30595077177378,"sku":"","price":3.5,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2606\/0952\/products\/lf.jpg?v=1570813515"},{"product_id":"philip-gayle-babanco-total-cd","title":"Philip Gayle - Babanco Total CD","description":"\u003cp\u003e\u003ciframe title=\"YouTube video player\" src=\"https:\/\/www.youtube.com\/embed\/X09NpVVF8Zo?si=crkgLxBtdx-BnqHp\" height=\"315\" width=\"560\" allowfullscreen=\"\" referrerpolicy=\"strict-origin-when-cross-origin\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" frameborder=\"0\"\u003e\u003c\/iframe\u003e\u003c\/p\u003e\n\u003cp\u003ePhilip Gayle - Babanco Total CD\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e(Killed In Cars) If I were grading recent submissions on a curve for weirdness, Philip Gayle’s “Babanço Total” would set the top of my curve. This is a record that immediately demanded my attention and cut its way to the front of a long review queue with its uncompromising and sometimes uncomfortable soundworld, gently described as a “one-time exploration of the voice and body soundscape” in its press release. The first track, “sleep rain,” got me thinking that I was listening to an album of layered avant-garde vocals, in the spirit of albums like Mike Patton’s “Adult Themes for Voice” or Maja Ratkje’s “Voice,” or Jaap Blonk’s work. Overall, that is indeed a good starting point for “Babanço Total,” and I suspect that if you like those records, you’ll want to track down a copy of this album. Most tracks are built of many, many layers of overdubbed voices producing an impressive variety of textures and rhythms. But by the third track, “esa peko peko pah,” I was considering how “body soundscape” presumably refers to sounds originating from more than voices, which is articulated slightly more explicitly in the album’s subtitle on the back cover: “Improvised bodily functions, etc.” Gentler readers, how to say it?—you might hear some eructation, emesis, lower-body peristaltic themes and variations. I don’t want to make too much of it, as “sounds from the bathroom” are a small percentage of the overall recording, but there are 3 or 4 tracks on which burp-ish, fart-ish, or puke-ish sounds may come to your attention. If you’re inclined to be irritated or upset by that sort of thing, there’s your fair warning. I can deal with it in the context of this music, though I must admit that my less mature side is quite amused by a mental image of this album being partially recorded at SugarHill Studios in Houston, the self-proclaimed “Abbey Road of the South.” I’ll bet these were surprising sessions for the engineers there! Philip Gayle’s previous solo efforts have concentrated on layers of mostly stringed instruments overdubbed in what amounts to a kind of free-improv solitaire, focusing on textural and timbral aspects of sound design. I went back to his 2005 “The Mommy Row” album in search of context for “Babanço Total.” It’s a great record that alternates between sections of long-tone, mostly bowed drones punctuated with Asian-sounding percussion, and fast skittering acoustic strings playing lines that remind me of early Eugene Chadbourne. Some tracks like “Cow People” use a lot of liquid pouring\/bubbling sounds that form a great timbral bridge between the two records. Both records are dense with overdubs, which remain fairly independent from one another rhythmically, proving that free improvisation can happen via overdubs instead of ensembles. That’s not to say this music is created quickly or carelessly: in the case of “Babanço Total,” recording started in 2000 and wasn’t completed until 2008. The tracks flow freely within themselves, but there is a clear sense of prior deliberation toward framing out the boundaries and approaches unique to each piece. And postproduction plays a role in many pieces, like the tremolo-like rhythmic voice clusters undulating beneath most of “feral basil pesto,” with quick fade-up articulations before each iteration, or sped-up speech patterns comprising much of “falling off brain like i told myselves,” which pleasantly remind me of Renaldo \u0026amp; the Loaf. Even the potentially juvenile burping sounds tend to be used in unexpectedly “mature” ways, like those in “naked brunch” that essentially become long drones oscillating beneath scrapes, breaths, and almost horn-like quick sounds whose origin I can’t quite identify. “agnes unknown” uses long belchy sounds, too, but they’re more foreground than background on that track. Especially effective for me was the album’s closer, “pajama turtles,” which features long quasi-microtonal chorale overdubs on shifting vowel sounds, all supporting a frenetic sped-up sounding solo munchkin freakout. I really liked “feral basil pesto,” too, which for me evokes some kind of Muppets-meet-zombies aural opera. The packaging for this disc deserves a mention, too: Houston artist and musician John Cramer’s work is featured in color on the front cover, and four more panels of his drawings are found inside. All depict creatures made of heads fused together in various ways, an eerily perfect visual analogue to the music found inside. As mentioned earlier, this record is a one-time exploration for Gayle, whose plans for the immediate future are focusing on a guitar-based record. He also plays guitar and mandolin for more conventional acts, including a recent tour on guitar with singer\/songwriter Ember Schrag. But he certainly brings a set of interesting ideas to the table with “Babanço Total,” and considering how few weirdovocal albums are released, let’s hope he returns to the form as time and inspiration allow. - Scott Scholz\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e","brand":"Public Eyesore Recordings","offers":[{"title":"Default Title","offer_id":30608020242466,"sku":"","price":3.5,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2606\/0952\/files\/img010.jpg?v=1764645459"},{"product_id":"marty-belcher-jason-bivins-double-quartet-exo-cd","title":"Marty Belcher \/ Jason Bivins Double Quartet - EXO CD","description":"\u003cp\u003e\u003ciframe src=\"https:\/\/bandcamp.com\/EmbeddedPlayer\/album=2118421063\/size=small\/bgcol=ffffff\/linkcol=0687f5\/transparent=true\/\" style=\"border: 0; width: 100%; height: 42px;\"\u003e\u003c\/iframe\u003e\u003c\/p\u003e\n\u003cp\u003eMarty Belcher \/ Jason Bivins Double Quartet - EXO CD\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e(Babysue) We've learned to expect the unexpected from releases on the strangely-named Richmond, California-based label Public Eyesore. This disc arrived with no press release, no publicity photo, and no explanations...which is usually a good thing because it forces lazy writers like us to actually focus on the music instead of extraneous details. This 58 minute plus album features fourteen tracks of experimental modern classical music that is moody and thought provoking. Playing on the album are Philip Anderson (electronics, vocals, fx), Marty Belcher (sopranino, soproano, tenor saxes), Jason Bivins (electric guitar, fx), David Miller (trumpet, pocket trumpet, flugelhorn), Chris Rail (tenor sax, percussion), Michael Rings (synthesizers, vocals, electric guitar, fx), Joe Stone (drums, samples), and Dan Wick (piano, drums). With so many artists taking part, you'd think that these tracks would be thick and muddy...but instead the exact opposite is true. There are plenty of wide open spaces between the instruments...and the players don't seem interesting in overplaying. There are no songs listed on the sleeve. Provocative and compelling stuff. - Don Seven\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e","brand":"Public Eyesore Recordings","offers":[{"title":"Default Title","offer_id":30608031907874,"sku":"","price":9.5,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2606\/0952\/products\/mb.jpg?v=1570924067"},{"product_id":"nels-cline-elliott-sharp-open-the-door-cd","title":"Nels Cline \u0026 Elliott Sharp ‎– Open The Door CD","description":"\u003cp\u003e\u003ciframe width=\"560\" height=\"315\" src=\"https:\/\/www.youtube.com\/embed\/s0zG5GOu4OA?si=BV-l1yNnOGjOGUaM\" title=\"YouTube video player\"\u003e\u003c\/iframe\u003e\u003c\/p\u003e\n\u003cp\u003eNels Cline \u0026amp; Elliott Sharp ‎– Open The Door CD\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e(Dead Angel) Talk about a meeting of the minds, this is an inspired pairing of two of the experimental and avant-garde scene's greatest guitarists. Cline may be best known these days as the lead guitarist of Wilco, but he has a long and illuminating pedigree in the world of experimental music, while Sharp (best known for his long-running band Carbon) has been a fixture in NYC's no-wave \/ avant scene for over thirty years. Most of this five-track album is actually a lost album that was recorded in 1999 and intended for release for one label, then another, that both tanked before they could release the album; fortunately for the rest of us, PE head banana Bryan Day somehow heard the recording and offered to put it out, and here it is, with the original four tracks followed by a live recording at The Stone in 2007. Anybody who's heard either man play probably has an inkling of the experimental sound of this album, but even those in the know will probably be thrown for a loop by their decision to play strictly acoustic guitars. As a result, the studio tracks sound very much like John Fahey in one of his more out-there moments; amazing neo-folk guitar runs do battle with warped chords, strange progressions, and unorthodox sounds. Even more amazing is how tuneful it is in spite of its abject weirdness; they have a highly unusual approach to the concept of guitar duets, to be sure, but they express their ideas with considerable style and a surprising level of melodicism. The live track that rounds out the album is in a similar vein, albeit a tad more avant than the preceding material and a bit closer to the quixotic sound familiar to PE listeners; it's choppy and less melodic, turning less on melodic content and more on perverse, staggered rhythms, but still every bit as mind-bending as the rest of the album. Definitely an eye-opener. - RKF\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e(Killed in Cars) I was understandably excited to hear that Public Eyesore was to release a collaboration by Cline and Sharp — two phenomenal guitarists, one firmly in the avant-garde camp, the other approaching such territory by way of adventurous work in jazz and indie rock and best known of late for his regular gig in Wilco. I had mistakenly assumed at first that this was a new thing for these two, but as it turns out, they have other performances and recordings together in their past. Open The Door, unreleased until last year, is among the earliest, recorded in 1999 or 1997 depending on whether you believe the credits or the liner notes written by the musicians. I’m inclined to favor Sharp’s account with the earlier date. This is ranging free-form acoustic guitar interplay every bit as rewarding as you’d hope from this meeting, maintaining an almost folk vibe in spite of the chromaticism, atonality, and lack of steady pulse. “Blue Particles” dispenses with introductions and tosses us, startled, headlong into a frenetic clatter of muted strings and harmonics before gradually settling into lower-pitched, somewhat droning resonant textures. “Five Tastes of Sour” begins with much more space, evoking for me a calm country morning enjoying the summer sun, breeze, and quiet through the kitchen windows over coffee. Indian or Spanish sounding bends and vibratos cue the energy to pick up, progressing nicely into “Isotropes”, where the cry of a slide brings us out into the fields for a day of work in the heat and dust. Cline opines in the liner notes that “Elliott, in his way, is a bluesman,” and I think this is the point on the album where that is most evident; but don’t expect swingy rhythms and pentatonics so much as barn-wood bends and dust-devil tones. The clarity and nuance of the recording is such that you can even plainly hear the high vibration of the string on the other side of the slide, moving contrary in pitch. Five minutes in it gets more jovial and bubbly with banjo-like picking, a quitting-time stop by the bar downtown for a drink and a dance before settling in for the night. The slide comes buzzing back in for “Let Her In,” but this is more of an atonal, percussive piece, pushing harder on the sonic boundaries of acoustic guitars. There are chiming chords against droning strums, and later some long, aggressively buzzing drones come in which sound almost like amplifier feedback; I have no idea how they are done, perhaps with some sort of sympathetic vibration involving a drum head or vocals, or maybe there are actual amps involved. Then there’s an abrupt, unexpected cutoff — perhaps the tape ran out. The CD wraps up with a later live recording from 2007, “Pietraviva,” a lively, skittering, noticeably more jazz-inflected affair punctuated with harmonics and muted-string raking, that receives a deservedly enthusiastic response from the audience. The rapport evident between these two guitarists as they adventure together makes Shut The Door a joy. - Charles Hoffman\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e","brand":"Public Eyesore Recordings","offers":[{"title":"Default Title","offer_id":30611678396450,"sku":"","price":9.75,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2606\/0952\/products\/nc.jpg?v=1570983830"},{"product_id":"v-a-the-unscratchable-itch-tribute-to-little-fyodor-comp-cd","title":"Various - The Unscratchable Itch - Tribute To Little Fyodor comp CD","description":"\u003cp\u003e\u003ciframe style=\"border: 0; width: 100%; height: 42px;\" src=\"https:\/\/bandcamp.com\/EmbeddedPlayer\/album=2601329388\/size=small\/bgcol=ffffff\/linkcol=0687f5\/transparent=true\/\"\u003e\u003c\/iframe\u003e\u003c\/p\u003e\n\u003cp\u003eV\/A The Unscratchable Itch - Tribute To Little Fyodor comp CD\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan\u003e(Maximum Ink) Little Fyodor is a twisted and wacky SubGenius superstar from Denver that has been spreading his bent mania for over 20 years; far long enough to deserve a tribute, so this is it! Featured here are 21 mind bubbling retakes on Fyodor songs including the classics, You Give Me A HardOn (Dan Susnara\/The Inactivists), I Wanna Be The Buddha (Evan Cantor), The Blackness (Boyd Rice) and Everybody’s Fucking (Lasse Jensen). Who really needs a firm grip on reality anyway? 8\/10 - Andrew Frey\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e1. Ralph Gean – All My Clothes Are Uncomfortable\u003cbr\u003e2. Patrick Porter – I Believe In God\u003cbr\u003e3. The Voodoo Organist– Get Out Of My Head\u003cbr\u003e4. Dan Susnara– You Give Me Hard-On\u003cbr\u003e5. Gregory Ego – Small Talk\u003cbr\u003e6. Amy Denio – The God Gripe Song\u003cbr\u003e7. Brian M. Clark – Happy People\u003cbr\u003e8. Diablo Montalban – Cruising (Bummer Scene)\u003cbr\u003e9. Boyd Rice – The Blackness \u003cbr\u003e10. Gort Vs Goom – I Dont Know What To Do\u003cbr\u003e11. Evan Cantor – I Wanna Be The Buddha\u003cbr\u003e12. Swami Loopynanda – Red Meat\/Throbbing Earthworm\u003cbr\u003e13. Lasse Jensen – I Want An Ugly Girl \u003cbr\u003e14. The Inactivists – You Give Me Hard-On\u003cbr\u003e15. Darren Douglas Danahy – No Relief In Sight \u003cbr\u003e16. Reverend Leadpipe And The Evil Do'ers – You Will Die\u003cbr\u003e17. Mødding – Let It All Ooze Out\u003cbr\u003e18. Us From The SuperFuture – That Was A Mistake\u003cbr\u003e19. Blood Rhythms – Won't Somebody Fill The Void\u003cbr\u003e20. Lasse Jensen – Everybodys Fucking\u003cbr\u003e21. Nervesandgel – Doomed\u003c\/p\u003e","brand":"Public Eyesore Recordings","offers":[{"title":"Default Title","offer_id":30611758743586,"sku":"","price":9.5,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2606\/0952\/products\/uilf.jpg?v=1570984288"},{"product_id":"auris-gino-rub-cd","title":"Auris \u0026 Gino - Rub CD","description":"\u003ciframe width=\"560\" height=\"315\" src=\"https:\/\/www.youtube.com\/embed\/UqifIYKvz1I?si=E3Yzy3sVu3K6MU18\" title=\"YouTube video player\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" allowfullscreen\u003e\u003c\/iframe\u003e\n\n\u003cp\u003eAuris \u0026amp; Gino - Rub CD\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e(Monsieur Délire) Auris is an electroacoustic improvisation trio consisting of Eric Leonardson (springboard \u0026amp; electronics), Julia E. Miller (guitar \u0026amp; electronics), and Christopher Preissing (flute \u0026amp; electronics); Gino is percussionist Gino Robair. Rub features three collective improvisations and three duos between Auris members and Robair. Noise-based, pointillistic music, a demanding listen, with very successful moments (especially in “A+G.3”) and forgettable ones. On the duos side, the best match-up is with the flutist, making “C+G” the highlight of this overall pretty respectable album. Rub is also downloadable for free from Pan Y Rosas. - François Couture\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e(Sound Projector) Gino Robair has also played with Braxton, and is a busy, noisy drummer and percussionist, here guesting with the trio Auris. All four players are credited with electronics in addition to their instruments, although I have no idea what Eric Leonardson’s ‘springboard’ is! The track titles appear to be cryptic letters, but after listening and reconsidering I reckon they stand for either the group [A] or individuals [C = Christopher Preissing; E = Eric Leonardson; G = Gino Robair, etc.] and who they are playing with. So ‘E + G’ is Eric Leonardson in duet with Gino Robair. There’s a suggestion that Robair has been invited along as a newcomer to ‘alter the landscape’, but to these ears he fits right in. Electronics give an unworldly edge to all of these tracks: this really is a new world, one made with howls, textures, honks, drones and alien textures, where it is rare to be able to attach an instrument’s name to the sounds being produced. (Drums, at times, being the one exception). The music is hesitant yet aggressive, full of rhythmic pulses and urgent morse-like messages, metallic sustain and high pitched tones. An alien landscape if one wants to pursue the landscape metaphor, a world sculpted with noise and sound, a conversation between the organic and it’s treated digital self. This music is both exciting and challenging. - Rupert Loydell\u003c\/p\u003e","brand":"Public Eyesore Recordings","offers":[{"title":"Default Title","offer_id":30611808485410,"sku":"","price":9.5,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2606\/0952\/products\/auris.jpg?v=1570984643"},{"product_id":"massimo-falascone-variazioni-mumacs-cd","title":"Massimo Falascone - Variazioni Mumacs CD","description":"\u003ciframe style=\"border: 0; width: 100%; height: 42px;\" src=\"https:\/\/bandcamp.com\/EmbeddedPlayer\/album=3153770440\/size=small\/bgcol=ffffff\/linkcol=0687f5\/transparent=true\/\" seamless\u003e\u003c\/iframe\u003e\n\n\u003cp\u003eMassimo Falascone - Variazioni Mumacs CD\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e(Downtown Music Galley)This is a concept disc which was organized by Massimo Falascone on saxes \u0026amp; compositions with lyric by Bob Marsh. There are more than a dozen mostly Italian musicians involved most of whom I don't know except for Alberto Braida on piano and Giancarlo Locatelli on clarinets. Bob Marsh, who I recall from his work with Jack Wright, plays violin, cello and narrates as well. There are some 32 shorter pieces here which flow into one another seamlessly. There are also layers of sounds, static and soft voices swirling together. Bob Marsh has a strong, serious voice (Ken Nordine-like) but only speaks a few lines at a time. There are a few other voices who speak in French and Italian and are well-woven into the ongoing tapestry of sounds. This more like a radio play and is successful at creating a mood and story although I don't know what the voices are saying when they are not in English. Rubbed strings, an ancient typewriter, tapes and sound sculptures are involved and well-selected to create the overall tale. What I dig about this is how well it works even though it is not so much about the music as it is about the way it speaks to us. - Bruce Lee Gallanter\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e(Babysue) Massimo Falascone is part of the experimental underground in the world of music. He has played and recorded with a whole slew of artists around the globe and has recorded numerous albums. Falascone plays saxophones, composes electroacoustic music, writes music for the theater, documentaries, and installations. He also teaches, conducts workshops, and classes. And yet...his name is probably only known to a relatively small segment of the population most likely due to the fact that he chooses to focus on strange experimental stuff instead of commercial music. Thus, as you might expect, Variazioni Mumacs: 32 Short Mu-Pieces About Macs is a strange and curious spin. This album does indeed feature 32 compositions...all of which would be far too peculiar and abstract for the casual listener. It's almost impossible to really describe these pieces, you just have to hear them and draw your own conclusions. Folks who only like catchy hits are warned to stay away...far away. Folks who appreciate the stranger side of music...will find a wealth of material to appreciate here. Truly mind expanding and slightly surreal. - Don Seven\u003c\/p\u003e","brand":"Public Eyesore Recordings","offers":[{"title":"Default Title","offer_id":30716159754274,"sku":"","price":9.5,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2606\/0952\/products\/mf.jpg?v=1571070338"},{"product_id":"tetuzi-akiyama-anla-courtis-naranja-songs-cd","title":"Tetuzi Akiyama \u0026 Anla Courtis - Naranja Songs cd","description":"\u003cp\u003e\u003ciframe width=\"560\" height=\"315\" src=\"https:\/\/www.youtube.com\/embed\/-6RaXsO_m9o?si=juh6Itm990JIHmwJ\" title=\"YouTube video player\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen=\"\"\u003e\u003c\/iframe\u003e\u003c\/p\u003e\n\u003cp\u003eTetuzi Akiyama \u0026amp; Anla Courtis - Naranja Songs cd\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e(The Wire) After a sparse and spiky beginning, this meeting of improvising guitarists Tetuzi Akiyama and Anla\/Alan Courtis settles into what’s almost a groove on “Mind Mochileros”, the track that opens an affable sounding collaboration. With Courtis presumably providing the pulse – octaves and broken chords on the lower strings – Akiyama’s tautly pulled high notes are surrounded by a heady flow that, solo, his austere playing seems to diametrically oppose. On “The Citrico Vibe” the two players ripple in and out of one another, fast picked patterns only occasionally disrupted by pauses or clashes like small rocks in a stream. As on his recent collaboration with Tom Carter, Akiyama adds a welcome edge to his partner’s softer, more fluid figures. The remaining two tracks – “Springs And Strings” and “Los Frets Nomades”, as their titles suggest, see both guitarists delving into the more abstract possibilities of their acoustic guitars, wringing out bowed drones and indefinable percussive sounds. What holds the album together – aside from the quiet, detailed clarity of the recording – is both guitarists’ attention to resonance and sustain, a preoccupation that drives their improvisation and results in sounds both caustic and lovely. - Frances Morgan\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e(Monk Mink Pink Punk) These two veteran guitarists, one from numerous collaborations and the other from his long-time association with Reynols, take up acoustic guitars for a set of four excursions into string noises, scrapy rhythms, bowed notes and at times pretty chords and arpeggios. Comparisons with the acoustic guitar parts of Gastr del Sol are not out of place; there is a strand of minimalism in terms of repetition that weaves through the playing, such as the two chords that repeat and seem to slow in “Los Frets Nomades.” Parts of this are exquisite from two musicians who are known for louder forays into sound. - Josh Ronsen\u003c\/p\u003e","brand":"Public Eyesore Recordings","offers":[{"title":"Default Title","offer_id":30716171223074,"sku":"","price":9.5,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2606\/0952\/products\/ta.jpg?v=1571070466"},{"product_id":"music-for-hard-times-city-of-cardboard-cd","title":"Music For Hard Times - City Of Cardboard CD","description":"\u003cp\u003e\u003ciframe width=\"560\" height=\"315\" src=\"https:\/\/www.youtube.com\/embed\/HI5BPZuokX4?si=jZGKSy2p2G8jrLgI\" title=\"YouTube video player\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen=\"\"\u003e\u003c\/iframe\u003e\u003c\/p\u003e\n\u003cp\u003eMusic For Hard Times - City Of Cardboard CD\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e(Babysue) Ahhhhhh...sound as music. There are very few things that cause as many debates as artists who create peculiar audio explorations that few can comprehend and\/or understand because the usual elements in music have been discarded. Music For Hard Times is the duo of Tom Nunn and Paul Winstanley. Using various instruments and effects, these guys use sound like paint...creating abstractions that are curious, sometimes spooky, and ultimately difficult experiences for the casual listener. The folks at Public Eyesore have very quickly made quite a name for themselves by being brave and adventurous enough to release these kinds of albums, knowing very well that they will only reach a very limited audience. City of Cardboard features seven improvisational tracks. These pieces are bound to confuse and confound even the most ardent music fans. If you're looking for something cute, catchy, and comfortable...this is not the place to find it. Nunn and Winstanley are creating pure art here. And although some would question whether or not it really is music...in our minds this form of sound is just as valid as any other. Mind bending cuts include \"Obstacle Coarse,\" \"Augury Spirit,\" and \"Map of the Alleys.\" Strange and unpredictable. Top pick. - Don Seven\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e(Vital Weekly) The name Paul Winstanley vaguely rang a bell somewhere (maybe I was confused by Kiss' Paul Stanley), but this bass player is\/was part of Plains, a large group of improvisers from New Zealand of whom we reviewed some releases before. Here he's one half of Music For Hard Times and gets the credit for 'bass guitar with extensions' on all seven pieces, whereas Tom Nunn plays Skatchboxes, Lukie Tubes, Resonance Plates, Crustacean, Ghost Plate, Harmonic Rods, Music Boxes and Friction Twister - not all the same time, but in various combinations on either of these seven pieces. His instruments are not of the kind you can buy in a music store, but of his own making. Boxes with objects (combs, toothpicks, washers, dowels etc.) that he can pluck scratch or rub along and which sound is amplified. These seven pieces are in the world of improvisation of the variety that I really like. The use of non-musical objects for musical purposes is something I always like and often see misused. That hideous group Stomp with their dust bins banging them like drums: I don't see a point in that. It's still a drum and says nothing about the sound quality of a dustbin. Luckily Nunn and Winstanley understand this much better and explore the surfaces of their objects - in which the bass is also another object really and besides: what extensions are there? We don't know - and create dense patterns of sounds\/musical pattern. Sometimes drone like such as in the final two long pieces, 'Bad Volts' and 'Map Of The Alleys' and more scratching and hitting in the five shorter pieces. Nervous, hectic at times and mildly introspective at other times, such as in 'Shantytown Council'. They offer quite a diverse plate of possibilities on their home-made instruments without having it sound like a demonstration record of possibilities. Great work! - Frans de Waard\u003c\/p\u003e","brand":"Public Eyesore Recordings","offers":[{"title":"Default Title","offer_id":30716262121506,"sku":"","price":9.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2606\/0952\/products\/mf_44850ab0-a54d-49d7-8bab-52d916632f23.jpg?v=1571071096"},{"product_id":"period-2-cd","title":"Period - 2 CD","description":"\u003cp\u003e\u003ciframe title=\"YouTube video player\" src=\"https:\/\/www.youtube.com\/embed\/W0Va-n53fUU?si=ituMiIkYZgsBgr_a\" height=\"315\" width=\"560\" allowfullscreen=\"\" referrerpolicy=\"strict-origin-when-cross-origin\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" frameborder=\"0\"\u003e\u003c\/iframe\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003ePeriod - 2 CD\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e(Something Else) For years, now, Mike Pride has joined forces with Charlie Looker to make some off-kilter improvised music that touches on several of their favorite bases at once: experimental metal, free form jazz, art rock, electro-acoustic music and the like. Period, as this union of the drummer and guitarist call themselves, hasn’t been confined to just Pride and Looker; Chuck Bettis often sat in with his croaking vocals and light electronic touches, and saxophonists Darius Jones (Little Women) and Sam Hillner (the Zs) sometimes participated in the fun, too. Pride and Looker did make an obscure album, Period, back in ’06, and it immediately sold out of its limited run. Since then they’ve made Bettis a full-time member and recently signed up with Public Eyesore Records to make a belated follow-up. 2 (on sale May 20, 2014), as this record is called, is probably not going to offer any surprises to anyone who has seen them perform over the years in NYC whenever they took a break from their other projects (Pride alone leads Bacteria To Boys and Drummer’s Corpse), but for everyone else, this record is going to serve as their “howdy” to the world. 2 is a blatant display of doom but not blatant display of chops, at least, not in the jazz sense of chops. It’s a temperament thing, and much of 2 moves at a glacial pace, and yet, the fury is all there. Slow motion death metal. The seven tracks are all named after numbers, and they aren’t ordered accordingly. “Two” (the title song?) features Looker on an electric baritone guitar, a perfect instrument for laying down the doom with just a single strum, and Looker’s instrument of choice throughout most of the album. Pride’s crawling march is impactful, too: much as a good guitarist can wring passion from a slow solo, he wrests impending doom from his gradually unfolding fills. The song does reach up to a more intense apex at the end but there remains an unhurried pace. “Four,” on the other hand, thrashes, and thrashes hard for the first four minutes. Bettis lets loose primal screams and Pride unloads. In what is a pattern for other tracks, the violence subsides, and the three peel away from each other to regroup with sparser texture; dead space becomes a fourth instrument. “Six” ratchets up the intensity even further. So much so, it’s over in little over two minutes. They were probably exhausted by then. By the time we reach “Ten,” the duo playing at the beginning has expanded to a quintet with Jones and Hillmer helping them make hay. Hearing Bettis wail through his throat amidst the wailing by the saxes of Jones and Hillmer, it becomes clear that Bettis’ role is really that of a saxophonist without a sax, and his growls and yells go hand in glove with the horns. Looker and Pride largely stay out of their way here, but both assert themselves against the nasty front line for “Nine.” That results in a monster cacophony for the first few minutes, and like “Four,” drop down to near silence; you can hear Looker’s amp buzz as everyone make threatening spooky noises but never explode again. Looker swaps his baritone for an acoustic guitar during “Eleven.” Jones emits small random tones in the same style as Looker, and Pride creates soft shapes to frame the mood. Those shapes turn into a restless rumble, which lulls Jones out of his shell, and his expressive, voluminous remarks on his alto make up easily the most beautiful moment of the record. Taking in 2 makes it easy to imagine why the first album quickly disappeared from stores: music of such profound anger that speaks louder in what is held back than in what is discharged is rarely done so effectively. - S. Victor Aaron\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e","brand":"Public Eyesore Recordings","offers":[{"title":"Default Title","offer_id":30716273066018,"sku":"","price":9.5,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2606\/0952\/products\/per.jpg?v=1571071253"},{"product_id":"ou-scrambled-cd","title":"Ou - Scrambled! CD","description":"\u003cp\u003e\u003ciframe src=\"https:\/\/bandcamp.com\/EmbeddedPlayer\/album=823537254\/size=small\/bgcol=ffffff\/linkcol=0687f5\/transparent=true\/\" style=\"border: 0; width: 100%; height: 42px;\"\u003e\u003c\/iframe\u003e\u003c\/p\u003e\n\u003cp\u003eOu - Scrambled! CD\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e(Earshot) It has been said that writing about music is like dancing about architecture. Accordingly, describing Scrambled, the latest recording from OU (featuring Seattle avant-gardist Amy Denio as both a member and producer), is a bit like painting an omelet. Based in Rome, OU (lit., “egg” in Sardinian) is an energetic and exciting sextet that lives – thrives, actually – at the intersection of jazz, pop, and the avant-garde. It’s music solidly rooted in composed forms and patterns but equally at home in improvisation; music that grooves, but not too predictably. Led by adept vocalist, composer, and multi-instrumentalist Ersilla Prosperi, OU seems defined more by spirit than style – the kind of group that could play a jazz or punk festival but probably wouldn’t fit in entirely at either. “Gallone Bocca Larga” juxtaposes syncopated minimalist vamps with straight-ahead swing and a skronky, odd-meter saxophone solo. The infectiously funky “S’Ou Abbattadu,” a Hammond B3\/brass jam with the feel of a New Orleans street party march, contains a boisterous oratory on the virtues of scrambled vs. hard-boiled eggs. “Jengi’” at first suggests a pop-chanteuse along the lines of Yael Naim, but closes with a meditative, chant-like choral section that connotes a closing prayer. A thoroughly enjoyable listening experience that delights and surprises at nearly every turn, Scrambled is an adventurous album that is at once challenging, accessible, danceable, and thought-provoking. - Jeff Janeczko\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e","brand":"Public Eyesore Recordings","offers":[{"title":"Default Title","offer_id":30735489531938,"sku":"","price":9.5,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2606\/0952\/products\/ou.jpg?v=1571194653"},{"product_id":"ghost-in-the-house-second-sight-cd","title":"Ghost In The House - Second Sight CD","description":"\u003ciframe width=\"560\" height=\"315\" src=\"https:\/\/www.youtube.com\/embed\/reF1nJ8NAFw?si=28dxJu18RG-e82V2\" title=\"YouTube video player\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" allowfullscreen\u003e\u003c\/iframe\u003e\n\u003cp\u003eGhost In The House - Second Sight CD\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e(Disaster Amnesiac) Not to take anything away from the two discs preceding this one, but Ghost In The House's Second Sight is definitely the most juicily varied of the shipment. This group plays out fairly often, and their lineup is pretty stable. Thus, their sound is that of a working band. Disaster Amnesiac has seen them a few times, but can't recall Kyle Bruckmann hitting with them. He brings really great oboe and English horn classicism feels to tracks such as Low and Metal Land Miniatures. These tones contrast the metallic inventions from Tom Nunn and the prodigious gongs of Karen Stackpole. David Michalak joins it all together with stringed accents. This quartet's interactions are subtle but not pensive; one gets the impression that they're playing with and listening to each other. Not always the case in Improvised Music, but Ghost In The House nail that dynamic. Guest appearances from Dean Santomieri with his compelling elocution on The Dream Machine (along with Polly Moller), Dockside Discovery and the really funny The Bats (are hanging upside down), John Ingle's alto sax on Innocence Walks a Dark Path, Cindy Webster on saw, and Bart Hopkin on rumba box thicken the sweet and sour sonic pho of Second Sight. I used to know a guy who'd say about a still-developing band, \"it ain't soup yet\"; Ghost In The House have gone beyond all that. This group is the stock that some others are basing their stuff upon. - Mark Pino\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e(Vital Weekly) Ghost In The House is Kyle Bruckmann (oboe, English horn), Tom Nunn (inventions), David Michalak (lap steel) and Karen Stackpole (gongs). Helped out by John Ingle (alto sax), Dean Santomieri (voice), Polly Moller (bass flute), Cindy Webster (saw) and Bart Hopkin (rumba box). David Michalak is the initiator behind this project. He is a filmmaker and musician. Since the early 70s he realized many films with original music. In the 90s he started a trio to play live scores to his films. In 2004 he started a new group Ghost in the Machine, exploring “the ethereal and elemental soundscapes where music suggests an image, a kind of picture music”. “I’ve always thought of music as kind of a second sight: a unique way of perceiving the world around us’. Their first release appeared in 2007 for Edgetone. Some ten years later we can welcome their second statement. I listened first to this CD on my way to my first Harry Partch-concert ever performed by the Scordatura ensemble, and was struck by similarities between the two. Like Partch, Ghost in the House uses micro tonality in some parts in their dramatic music. All eight tracks on this album are based on a scenario written by Michalak that is musically interpreted by the band. In most of the tracks this is done instrumentally. On two tracks the story is narrated by the voice of Dean Santomieri. This results in a strange, intriguing multidimensional work. The music is very evocative and narrative, full of spooky and sinister sounds. The metallic sounds generated by Nunns inventions, the gongs and other percussive instruments and objects by Stackpole, make it a very multi-coloured work. And make a nice contrast with the acoustical instruments, especially the oboe played by Bruckmann. Inventive and very weird chamber music it is. Totally convincing. Very original also, in the way Michalak successfully creates pictures - as it were - through his music. - Dolf Mulder\u003c\/p\u003e","brand":"Public Eyesore Recordings","offers":[{"title":"Default Title","offer_id":30740212383778,"sku":"","price":9.5,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2606\/0952\/products\/gith.jpg?v=1571236141"},{"product_id":"collision-stories-those-missing-will-complete-us-cd","title":"Collision Stories - Those Missing Will Complete Us CD","description":"\u003cp\u003e\u003ciframe src=\"https:\/\/bandcamp.com\/EmbeddedPlayer\/album=1617982290\/size=small\/bgcol=ffffff\/linkcol=0687f5\/transparent=true\/\" style=\"border: 0; width: 100%; height: 42px;\"\u003e\u003c\/iframe\u003e\u003c\/p\u003e\n\u003cp\u003eCollision Stories - Those Missing Will Complete Us CD\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e(Chattanooga Pulse) Space vampires. Those are the two words that immediately come to mind for this reviewer when listening to the instrumental album Those Missing Will Complete Us by the improvisational San Francisco quartet Collision Stories, but don’t let that impression hinder anyone’s imagination, which has ample opportunities to be provoked by this fascinating release. The “vampire” impression comes from the subtly sinister and mostly ominous vibes emanating from the album, and its careful building of suspense makes it perhaps appropriate for a horror soundtrack; just a handful of certain tiny synth slivers bring fleeting hints of John Carpenter scores, and a momentary use of music box sounds injects uneasy and unexpected innocence into the enigmatic proceedings. Throughout the album, electronic notes and noises, some of which sound like they were created from tinkering on open control panels for emergency repairs, provide the sci-fi aspect, with synthetic squeaks and a disquieting ambiance providing an inorganic detachment. Also, the use of space is key on Those Missing Will Complete Us, with the performers often showing restraint to build up each clearly audible layer—it’s complicated without sounding recklessly messy; with an abundance of space, there’s a deep loneliness evoked, as a trapped space traveler peers at the void of outer space both longingly and fearfully. Those Missing Will Complete Us was edited together using both live and studio recordings made in the spring of 2016, and its four members—Jorge Bachmann, Bryan Day, Michael Gendreau and Mason Jones—are seasoned non-traditional aural creators. They each have huge bags of tricks drawing from their varied backgrounds in composition, instrument invention, acoustics, psych-noise and other fields. It’s paradoxically a little startling when, at times, actual guitar notes can be heard, amid the hard-to-place synthetics that dominate the album. It’s a spooky album that never lets the listener get too comfortable to allow the sound slip away into the background of consciousness. - Ernie Paik\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e(Disaster Amnesiac) The earliest memory that Disaster Amnesiac has of Industrial Music enjoyment: being entranced by the hypnotic back and forth of the wiper blades on my mother's Volvo as we zipped through rain storms in suburban Virginia. The sound and rhythm of those blades most definitely primed me for an appreciation of experimental music. It seems to me that one must be willing, when listening to Industrial or Experiment Electronic, both of which fit nicely as descriptors for Collision Stories new release, Those Missing Will Complete Us, to embrace the type of pure sounds that emanate from the machines that surround us as music. Disaster Amnesiac mentions all of this not as some sort of qualifier for approval, but simply because Collision Stories do such a fine job of making compelling music from within those stated rubrics. Made up of ten interlinked parts, running continuously for a bit over an hour, Those Missing features all kinds of great, mysterious sound interactions between a quartet of highly skilled improvising experimenters. Collision Stories are making true band music, but have simply dispensed (for the most part: Disaster Amnesiac has heard a few guitar strings in the mix) with the usual instruments, instead jamming out group interactions more with electronic patches, stand-alone pedals, contact mic'd stuff, and Public Eyesore Records founder Bryan Day's fascinatingly singular instrumental creations. The disc's ten tracks feature disciplined movement as the group wends its way with a quite sublime mixture of focus and patience, through highly intriguing sound spaces. Themes arise from one player, the rest of group, as they are listening, are able to add to and comment on these themes; this interaction builds up layers that rise and move with a nice organic feel. Additionally, its engineering, so crisp and clear, really allows for deep appreciation these feels. This is band music in principle and act, top flight Industrial\/Experimental band music. As such, it can complement the sounds that whirl around those of us living within the Grid, or, presumably, entertain those that may have the luxury of not having to do so. In Disaster Amnesiac's case, Those Missing Will Complete Us satisfactorily fits into my mental imprinting, done long ago, for appreciation of the type of action offered from Collision Stories. I guess one could miss out and complete Jorge Bachman, Michael Gendreau, Mason Jones and Day, but, as for me, I'm glad to have broken off a piece or two. - Mark Pino\u003c\/p\u003e","brand":"Public Eyesore Recordings","offers":[{"title":"Default Title","offer_id":30740283228194,"sku":"","price":9.5,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2606\/0952\/products\/cs.jpg?v=1571236290"},{"product_id":"michael-gendreau-polvo-seran-mas-polvo-enamorado-cd","title":"Michael Gendreau ‎– Polvo Seran, Mas Polvo Enamorado CD","description":"\u003cp\u003e\u003ciframe src=\"https:\/\/bandcamp.com\/EmbeddedPlayer\/album=1195405816\/size=small\/bgcol=ffffff\/linkcol=0687f5\/transparent=true\/\" style=\"border: 0; width: 100%; height: 42px;\"\u003e\u003c\/iframe\u003e\u003c\/p\u003e\n\u003cp\u003e Michael Gendreau ‎– Polvo Seran, Mas Polvo Enamorado CD\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e(Lost In a Sea of Sound) Michael Gendreau's passion and creativity exists in a world of frequencies almost two low to hear. Like art at a microscopic level, magnification needs to be amplified in order to see. Polvo Seran, Mas Polvo Enamorado is similar to this thought in an aural context. Decibels need to be dialed high, exposing the consciousness to lurking sonic explosions. This technique of listening follows the path of many classical recordings. A symphony in it's many parts equivalent to Gendreau's subsonic adagio, then the bursting cacophony of a well placed but brief allegro. Then back to again. This is a lengthy composition of four parts. Reading the descriptions of Michael Gendreau's past works and direction, there was an unfamiliar word, \"parataxis\". After reviewing the definition; a juxtaposition of unconnected things, these sounds do have this quality. Not to the extent of being uncomfortable, but more the the level of maintaining interest. Polvo Seran, Mas Polvo Enamorado is not a violent noise composition, these captured sounds are methodically thought about and delivered with more purpose than what can be understood. Michael and the wisdom of his vast sonic knowledge and love, is in another place. Maybe the low frequency rumblings are the only sounds able to pass through dimensional constraints. It would be easy to label this audio journey as experimental, but this is just a generic term for something that can not be comprehended. Maybe the better term for these selections would be \"to be determined\" once the listening world matures. For now, Polvo Seran, Mas Polvo Enamorado has depth and beauty in a sonic class little else exists. - Robot Rattle\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e(Avant Music News) Michael Gendreau’s Polvo serán, mas polvo enamorado [PE 140] is—mostly–an essay in liminal sound. Gendreau is an acoustician working on noise design in built environments; the raw material of much of his work consists of low frequency vibrations and their relationship to the resonances of rooms. His recording features long stretches of sounds that exist at the margins of perception, some of which are more felt than heard. But beware: the apparent silence may be broken by an unexpected and jarring upsurge of loud sounds. - Daniel Barbiero\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e","brand":"Public Eyesore Recordings","offers":[{"title":"Default Title","offer_id":30752809943074,"sku":"","price":9.5,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2606\/0952\/products\/mg.jpg?v=1571328129"},{"product_id":"albert-day-kreimer-mutations-cd","title":"Albert \/ Day \/ Kreimer ‎– Mutations CD","description":"\u003cp\u003e\u003ciframe style=\"border: 0; width: 100%; height: 42px;\" src=\"https:\/\/bandcamp.com\/EmbeddedPlayer\/album=3819720403\/size=small\/bgcol=ffffff\/linkcol=0687f5\/transparent=true\/\"\u003e\u003c\/iframe\u003e\u003c\/p\u003e\n\u003cp\u003eAlbert \/ Day \/ Kreimer ‎– Mutations CD\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e(Avant Music News) Mutations is the product of the virtual collaboration of sound artists and instrument builders Bryan Day of San Francisco and Jay Kreimer of Lincoln, Nebraska, and Marco Albert, an Italian-born musician now based on Oaxaca, Mexico. The three played together in Queretaro, Mexico, in 2018 at the Festival Internacional de Improvisación y Música Extrema, where they had the idea of continuing to work together via file sharing. For Mutations, each recorded his part at home; Albert provided the final mix. The six tracks give evidence of the trio’s fine chemistry and obvious compatibility of approaches to sound, as well as the willingness of each to build an uncluttered audio space in which the others can thrive. Consequently, Day and Kriemer’s invented instruments combine with Albert’s electronics and voice to create richly colored environments telling of unlikely sounds: imaginary objects ricocheting off of mirrors amid electronic glisses bringing news of yesterday’s vision of the future. Albert’s voice grounds several of the pieces as he whispers coded messages against a background of kalimba-like, ad hoc percussion and scraped metal, delivers a lecture on modern art and objectification to an increasingly raucous—skeptical?—Greek chorus of noise, or chants over burbling sounds recalling the reaction of baking soda with hot water. - Daniel Barbiero\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e(Avant Music News) There are two completely different ways this writer considered approaching the new album Mutations created by Marco Albert (from Oaxaca, Mexico), Bryan Day (from San Francisco) and Jay Kreimer (from Lincoln, Neb.): 1) find out as much information as possible about the musicians and sound-making processes, or 2) just “accept the mystery” (to borrow a quote from the Coen Brothers’ film A Serious Man). Day and Kreimer are both instrument inventors and improvisers, while Albert is a vocalist and electronics wiz, and the trio came together for a performance at the 2017 Festival Internacional de Improvisación y Música Extrema in Mexico and subsequently embarked on a long-distance collaboration involving passing around recordings that were edited and mixed together. Gleaning a few hints from video footage from the Festival—the entire 20-minute set is on YouTube—we see Day and Kreimer striking and scraping their inventions, primarily staying the realm of percussion, while Albert’s words and wordless outbursts are wild and sometimes harrowing. Kreimer seems to hit a sort of amplified hammered dulcimer-esque instrument mounted on a tripod, while Day has an entire table full of his creations, including antennas, effects processors, a wooden trapezoid and one instrument that uses five tape measures each extended to a different length. Some similar sounds seem to re-appear on Mutations, but the details are fuzzy. While the Festival performance was a live improvisation, Mutations is a carefully assembled recording, and without delving into background information, one could imagine this music being some kind of fascinating invocation for an arcane, modern ritual with physical and electronic sound-making. Eerie and sinister spell-casting is evoked from windy sounds, while metal bits are rubbed and plucked, resembling kalimba tones. Each track dwells on its own sound-realm; “Mutation 5” has an obsession with springy “boing” noises, while “Mutation 6” offers aquatic gurgling amid the impulses of synthetic calculations. Albert’s vocals are as enigmatic as the sounds, with both Spanish and English words that are sometimes distorted and sometimes whispered, suggesting secrets that are revealed without giving it all away. - Ernie Paik\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e","brand":"Public Eyesore Recordings","offers":[{"title":"Default Title","offer_id":30752817774626,"sku":"","price":9.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2606\/0952\/products\/adk.jpg?v=1571328239"},{"product_id":"alan-sondheim-future-speed-future-cd","title":"Alan Sondheim ‎– Future Speed Future CD","description":"\u003cp\u003e\u003ciframe src=\"https:\/\/bandcamp.com\/EmbeddedPlayer\/album=2950792958\/size=small\/bgcol=ffffff\/linkcol=0687f5\/transparent=true\/\" style=\"border: 0; width: 100%; height: 42px;\"\u003e\u003c\/iframe\u003e\u003c\/p\u003e\n\u003cp\u003eAlan Sondheim ‎– Future Speed Future CD\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eAlan Sondheim with Azure Carter, building on his legacy of innovative music that resists genre, that opens awkward and unfathomable worlds of sound, played on traditional instruments without effects.\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan\u003ePublic Eyesore has released Future Speed Future, with seventeen high-speed solos and duets, with guitar, viola, saz, dutar, oud, and voice. Speed is critical here - Sondheim plays as fast as possible, the notes often at a furious pace. It's a study in thinking, where conscious thought and repetition are impossible. It's also a study in a different kind of music, approaching Sondheim's limits of fast improvisation - scales, harmony, and rhythms tumble and change from one moment to another.\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan\u003eSondheim says \"What I do here - I play as fast as possible. By every means possible. Working in ways in which I try not to repeat things I already know, trying to harness speed without being too much aware of what I have done before. So that it is future speed future and this is future speed future. And so I'm riding the contour of what I'm hearing, and my fingers are flailing as if I were out of control, or as if the music were in control, and I could hardly follow the music. Azure Carter's songs are beautiful and provide a depth and balance to the mayhem. So the result is this cd, whose content is poetics and\u003c\/span\u003e\u003cspan class=\"bcTruncateMore\"\u003e\u003cspan\u003e \u003c\/span\u003espeed and what speed can do and what happens when you make it or hear it.\u003cbr\u003e\u003cbr\u003e\"I shape the contour, on every instrument, fingers straining to produce what i'm hearing internally, desperate to mind the intervals, remembering constantly, what came before, what is projected through the possibilities, whatever i'm playing, ranging across different sonoroties - I move among these, create circulations among things i've heard in my mind, where everything is perfectly in pitch, where it's almost as if i were capable of shattered and sutured worlds. there's strings, bow, always winding and unwinding tensions, nervous playing, even anxiety, anything i can use in\u003cbr\u003eorder to produce the surfaces of the imaginary i'm shape-riding, i'm circulating, i'm inhabiting. there is always the sound itself; am i letting everything down in this regard. i don't know, i've moved on to the next figure, next position, remembering the ruptured melodic arches that mark and remark me on the way to certain dissolution.\"\u003c\/span\u003e\u003c\/p\u003e","brand":"Public Eyesore Recordings","offers":[{"title":"Default Title","offer_id":30893808484386,"sku":"","price":9.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2606\/0952\/products\/as_79573c13-2050-44ff-a1bb-c612e22f9d54.jpg?v=1571442487"},{"product_id":"ashtray-navigations-anla-courtis-protozoic-rock-express-cd","title":"Ashtray Navigations \u0026 Anla Courtis ‎– Protozoic Rock Express CD","description":"\u003cp\u003e\u003ciframe src=\"https:\/\/bandcamp.com\/EmbeddedPlayer\/album=52082021\/size=small\/bgcol=ffffff\/linkcol=0687f5\/transparent=true\/\" style=\"border: 0; width: 100%; height: 42px;\"\u003e\u003c\/iframe\u003e\u003c\/p\u003e\n\u003cp\u003eAshtray Navigations \u0026amp; Anla Courtis ‎– Protozoic Rock Express CD\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e(Chattanooga Pulse) While most musicians measure time with beats, for the duo of Phil Todd—known as the main force behind the prolific Ashtray Navigations—and Anla Courtis (known as a member of Reynols), their complicated, collaborative drones have their own subtle rhythms that slowly form crests and dips; it’s more like the breathing patterns of whales instead of the hummingbird’s heartbeat of, say, pop music. The new album Protozoic Rock Express was compiled from recordings made between 2004 and 2010 in Leeds (U.K.) and Buenos Aires, Argentina, which are the respective homes of Ashtray Navigations and Courtis. The gentle unraveling and slow reveals provide a soundtrack for strange meditations and also aural Rorschach inkblot test mind-movies; armchair psychologists doing self-analysis can likely amuse themselves by trying to understand why these sounds inspire the personal, fabricated visions that they do. For example, the 22-minute “Part III” uses tones that resemble the rising and falling pitches of disaster sirens, like those that provide warnings for tsunamis and tornadoes. Interestingly, when these tones are overlaid, they create tension, but there’s enough space to zoom in on individual tones, which have their own odd tranquility to them. Atop the drones are some lightly popping sounds—exploding transformers, miles away?—distorted guitars, ominous rumbling and synthetic non-human yells that evolve into screams. Just a few peaks emerge within the long piece, like when the tone pitches climb to their highest notes (an old musical trick for representing an emotional peak) or when there are quicker variations in tones. On “Part I”, there’s a blurry sound-fog, made with drones or vibrating pieces of metal, with a few sharp details that sparkle—tinny tinkles, squeaks or shakes of hand-held percussion—like potentially salvageable shards, temporarily illuminated in a giant landfill trash heap being manipulated by bulldozers. “Part II” could be a bizarro universe raga, with what sounds like harmonium drones along with string and oscillator drones, with a slow envelope effect being just one driver for its atypical cycles. Things happen on both a micro and macro level, and regarding the album’s immersive experience and potential psychological mirror, your results may and should vary wildly. - Ernie Paik\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e(Babysue) Truly far out stuff that'll make you feel like you're taking a trip to another universe and beyond. Divided into three sections, Protozoic Rock Express will certainly take you to places you've not been before. Ashtray Navigations is Phil Todd, a man who's been involved in the undercurrents of music since the 1990s. Todd plays acoustic guitar, oscillators, moog, sampled harmonium, and casio sampler. Working with him on this album is Anla Courtis, who plays electric guitar, organ, hawk-bells, e-bow, and found metals. The list of instruments utilized in these recordings does not really give a good indication of the overall sound. These compositions have a great big huge sound. They're hypnotic. They're drone-like. And in many ways, they're kinda overwhelming. We hear tons of experimental and progressive bands, but we've never heard one that's quite like this. Traditional melodies and song structures are irrelevant here, as the overall sound is what's important. Recorded in Leeds (UK) and Buenos Aires (Argentina) between 2004 and 2010, this is a total excursion into non-commercial sound manipulation. Most listeners will either be turned off or confused by this music. Todd and Courtis are playing for a very select group of people, those who welcome and embrace sounds that are unfamiliar and strange. Some folks that tread into this sort of territory come up with sound that is odd, but not listenable. Express is amazingly listener-friendly and just goes to show that it's the manner in which you do things that matters most. For a totally tripped out experience, you won't do much better than this. Provocative. Wild. And amazing. Recommended. Top pick. - LMNOP\u003c\/p\u003e","brand":"Public Eyesore Recordings","offers":[{"title":"Default Title","offer_id":30893821100066,"sku":"","price":9.5,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2606\/0952\/products\/an.jpg?v=1571442578"},{"product_id":"courtis-las-sales-fundentes-2-xcd","title":"Courtis - Las Sales Fundentes 2 xcd","description":"\u003cp\u003e\u003ciframe title=\"YouTube video player\" src=\"https:\/\/www.youtube.com\/embed\/rJrY4_o4ivs?si=SUAdGJ_pLfdnNiW0\" height=\"315\" width=\"560\"\u003e\u003c\/iframe\u003e\u003c\/p\u003e\n\u003cp\u003eCourtis - Las Sales Fundentes 2 xcd\u003c\/p\u003e\n\u003cp\u003eActually released by OM Discos\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e“Legend has it that when Rahsaan Roland Kirk first encountered a pocket calculator he immediately put it to service as a sound source, composing a mambo for keypad touch tones. Something akin to Kirk’s irrepressible, benign spirit and infinite curiosity regarding the properties of sound seems to animate all the music produced by Alan Courtis. The evidence is all over this double solo CD, which compiles unreleased pieces and tracks previously issued by labels based in Finland, Norway, Belgium, Germany, the UK, New Zealand, Japan, the US (underlining this Argentinian omni-musician’s frequent-traveller status among the international experimental jet-set). Several of the pieces are droneworks, but even as they describe a gradual movement along a static horizontal plain, these drones are ever changing, as multiple frequencies unleashed to interact through the vertical laminates revealing a microtonal world full of drama and incident.” Tony Herrington. THE WIRE (UK). issue#289. march 2008\u003c\/span\u003e\u003c\/p\u003e","brand":"Public Eyesore Recordings","offers":[{"title":"Default Title","offer_id":30893826965538,"sku":"","price":17.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2606\/0952\/products\/cour.jpg?v=1571442804"},{"product_id":"dereck-higgins-dino-felipe-d-d-7","title":"Dereck Higgins, Dino Felipe ‎– D + D 7\"","description":"\u003cp\u003e\u003ciframe src=\"https:\/\/bandcamp.com\/EmbeddedPlayer\/album=2422306336\/size=small\/bgcol=ffffff\/linkcol=0687f5\/transparent=true\/\" style=\"border: 0; width: 100%; height: 42px;\"\u003e\u003c\/iframe\u003e\u003c\/p\u003e\n\u003cp\u003eDereck Higgins, Dino Felipe ‎– D + D 7\"\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e(Vital Weekly) D+D is one Dereck Higgins and Dino Felipe. They play together, but each side has the other one credited as main player. Both sides last no more than two and half minute each and it's hard to figure out what these boy play. Guitar for sure, but perhaps also some electronics? 'Properties' is a soft piece, or rather one with lots of silence and an occasional 'outburst', although it never reaches the height of noise, it stands out a bit from the vague crackling. 'Ribbons' on the flip consists more of sustaining sounds but here too things don't extent very much. Again, all in a sort of free improvisation play, but it has a mysterious character, of held back tension that makes this into a nice one. - Frans de Waard\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e(Aiding and Abetting) Very subtle stuff, the sorta thing that doesn't always work on a single. But these two short pieces (\"Ribbons\" is the flip) do quite nicely. Higgins and Felipe drop some cool mutated electronic work onto this steaming slab of pink. In fact, part of the fun is watching the circular flamingo go around while the blips and pops and (occasional) orchestration erupts from the speakers. - Jon Worley\u003c\/p\u003e","brand":"Public Eyesore Recordings","offers":[{"title":"Default Title","offer_id":30912732364834,"sku":"","price":4.25,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2606\/0952\/products\/dh.jpg?v=1571533053"},{"product_id":"monotract-pagu-lp","title":"Monotract ‎– Pagu lp","description":"\u003cp\u003eMonotract ‎– Pagu lp\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e(Independent Mind) Pagú is the latest affront to electronic music by knob-twiddling and button-punching noisicians Monotract from Miami, Florida. Using harsh electronic beats and bleets, ringing synthetic noise-tones, turntable abuse, and manipulated tapes as weapons, Monotract attack with agile precision and impressive ferocity. The results are a devastating mindfuck. Devoted as I may be when I drop the needle, I've only managed to listen to it in its entirety in one sitting a couple of times out of maybe ten attempts. It hurts my head and I think it's giving me an irregular heartbeat. It's like taking a beating. To follow this simile a bit further: much as two fighters earn each other's respect over the course of a grueling bout, Pagú has earned mine. - Edward McElvain\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e(All Music Guide) Describe Monotract in one word: mad. This trio from Miami can and will use any instrument or musical form to deconstruct, subvert and attack your music beliefs. Guitars, cheap synthesizers, distorted voice, toys, phone messages and computer processing all become part of an electronica freak circus where humor supports the big top. Pagu, released as an LP by Public Eyesore, throws 13 dizzying tracks at the listener in under 40 minutes. We are bounced and thrown from one tune to another in this no-man¹s-land somewhere between experimental electronica, (naive techno which has lost all its naivete) and noise. It is one hell of a ride and most listeners will give up trying to make sense of it all. That¹s the point. Don¹t fight it, accept the fact that anything goes and Pagu turns into a fun-filled adventure into the confines of underground music. 'Con la Cabeza en la Escuela' opens side one with a taste of stupid techno. This side¹s highlight is the two-part 'California,' a noise assault that hides much more craftsmanship than what you¹d expect. The flip side¹s standout is 'Ellen¹s Song,' which is basically a phone message turned into a dyslexic dance floor anthem. 'Hot Sine' arches back to vintage Industrial days. The last two cuts push the aural assault a few notches up, bordering on digital Merzbow in 'Nestron.' Surprisingly, there is a lot of this kind of music out there, but Monotract¹s possesses that level of excitement and obvious involvement that separate the professionals from the amateurs. - Francois Couture\u003c\/p\u003e","brand":"Public Eyesore Recordings","offers":[{"title":"Default Title","offer_id":30912743964706,"sku":"","price":9.75,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2606\/0952\/products\/mono.jpg?v=1571533205"},{"product_id":"pet-the-tiger-gaze-emanations-cd","title":"Pet The Tiger - Gaze Emanations CD","description":"\u003cp\u003e\u003ciframe src=\"https:\/\/bandcamp.com\/EmbeddedPlayer\/album=1602097730\/size=small\/bgcol=ffffff\/linkcol=0687f5\/transparent=true\/\" style=\"border: 0; width: 100%; height: 42px;\"\u003e\u003c\/iframe\u003e\u003c\/p\u003e\n\u003cp\u003ePet The Tiger - Gaze Emanations CD\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e(Lost In A Sea Of Sound) Sounds emanating from artwork is a frontier left for creative interpretation and skilled means of channeling. The artists who make up the project Pet The Tiger are the select crew you would want on this en devour. Surely Brian Lucas, the artists who created all of these drawings, felt at ease when the creation of this \"soundtrack\" was discussed. Gaze Emanations has no boundaries, but this does not mean these sonic craftings are scattered or chaotic. Looking at the artwork created by Brian Lucas, there is a format and method that bonds all of the drawings together. The project Pet The Tiger was thoughtful with each selection. With eight musicians working together to portray in sound one artist's renderings, there is a sense of concise appreciation for the entire process. Of the group, three artists are highly adept at creating there own instruments. Two musicians specializing in percussion, one with saxophones, one with trumpet and electronics and the last with the incredible voice. To accurately describe in words, what musical artists are describing in sound, of the drawings another artist created, seems futile. Maybe to summarize, as far out as these sounds are, they are still very drawn in. This is not vibrant bedlam, instead aural introspective conception with patient individuals who add just the right amount. Their sum of sound together is still less than many would compile on their own. That is how good this is. If you really want to blown away, just click on the links for each artist below. Tried to find the most pertinent sites for each person rather than all facebook pages. Tackle that task, listen and look at the pictures below while experiencing. The titles to the drawings are the same as the titles to each track. \"Radial Garden\" is the cover picture and \"Here Comes Everybody\" has two tracks. - Robot Rattle\u003c\/span\u003e\u003c\/p\u003e","brand":"Public Eyesore Recordings","offers":[{"title":"Default Title","offer_id":31604291239970,"sku":"","price":9.5,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2606\/0952\/products\/ptt.jpg?v=1587089212"}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2606\/0952\/collections\/pe.jpg?v=1570642420","url":"https:\/\/www.stickfiguremailorder.com\/collections\/public-eyesore-recordings.oembed?page=2","provider":"Stickfigure Mailorder","version":"1.0","type":"link"}