Crumbs On A Dumpster

(Chocolate Monk - CHOC257) CDR $9.00 (Out-of-stock)

The fifth volume in Chocolate Monk’s Well Spliced Breath series of “sound-tape collage, text-sound, radiophonic, horspiel-type muck.” A few years ago Welch was at a party in Miami listening to an amazing 82-year-old salsa singer called La Gata. “Halfway through her set,” reports Welch, “A large dark shape emerged from the swimming pool. It seemed like the water was growing. At first I was sure it was some kinda ancient ageless Ghatanothoa thing that squeaked its way backward through the drains but it soon became evident that it was an ATF agent covered in petrified sea cucumbers painted with gothic nail polish. The goon was there to interrogate me about the core structure of these works. He said Obama knew that I had ripped them from a bland reading of an important post-Situationist text about labor. Yes, of course, it was the reading that seemed flaccid, the content was solid and unyielding. He also pushed buttons regarding the integration of a random sequence of numbers that eased into a lenient refusal. I suggested he listen closely to the singer’s voice and consider the possibility of extended excavations. The stuff slipped out of old cassettes, field recordings and the dynamic and changing personalities of each Loa. I turned to head back to the bar for another margarita. The glistening speleothem tapped me on the shoulder. I turned and yelled right into its disembodied face, ‘Back off! I just don’t wanna go around with this turd in my pocket any longer!’” Fairly self-explanatory. TEDIUM HOUSE BEST OF 2013


Nothing To Offer

(Singing Knives) Cassette $11.25

On one side, a stunning twenty-one-minute solo performance in a synagogue in Ivrea, Italy, as part of the Musiche Possibili festival, showcasing Welch’s combining of intense subjective engagement with the moment and objective awareness of the entire composition of his improvisation. Voice emphasizes the weird nature of drumming where multiple, separate limbs skip between cooperation and counteraction. Two pieces on the flip (both recorded in a sauna in Scotland) emphasize a unique synthesis of various legacies of spoken word innovation — individual (John Cage, Henri Chopin, etc.) and communal (katajjaq, etc.) — experiments in narrative form, the innumerable ways that bodily movement and bodily sound can generate each other, the spaces between poetry-making, novel-making, essay-making, song-making, play-making and myth-making, and anti-architectural sculpturing, such as that by Jimmie Durham, which seeks to liberate materials from unfortunate associations with monumentality, stability and permanence. C42