Meat Receiving
(Butte County Free Music Society - BUFMS41) CDR $8.00
Two long tracks of ground-up tape noise and uneasy electronics, plus the five-minute "Venison" (previously released by From The Same Mother on a CDR comp; features Tom Lax on tongs), all previously released on the Ultra Eczema LP of the same name. Overall, an off-kilter abattoir of dread and fear and suffering. With bonus tracks.
Masters Of Atlantis
(Butte County Free Music Society - BUFMS29) CDR $8.00
This quasi-concept album chronicles an old man's nervous breakdown, his inevitable collapse, and the disastrous wake-up call. Like Meat Receiving (Ultra Eczema 2009), Tubular Bells (Starlight Furniture Co., 2003), and Icebox (Opax 2005), it is both an electronic album and a musique concrète album, though not strictly either. An unnerving montage of found sounds and field recordings (rusty hinges, antique calculators, security alarms, spewed liquids, defective mechanical pumps, public address announcements), narcotized sound effects from cartoons and children’s records, tape loops and tape cut-ups, and a smidge of electric guitar. Previously released on Inyrdisk.
Convicted Felon Adjusted For Inflation
(Butte County Free Music Society - BUFMS68) CDR $8.00
A surreal collage of songs, sounds, Barbara Manning’s vocals, voice samples, loops, out-of-context rhythms, field recordings, electronics, cut-up manipulated noises, a cover of The Shaggs’ “Why Do I Feel?”, and anything else which is not considered music, even if it is, and does not need actual instruments to be played, even if they are used. The duo’s twisted orgy of sound borders on audacious, which the phrase “extremely psychedelic” fails to completely encapsulate. Co-released with Coherent States.
Inoperable Turmeric Malignancy
(Butte County Free Music Society - BUFMS83) CDR $8.00
Released in support of the April 2019 tour by Seymour Cassel and Barbara Mandrell, as Aaron Dilloway refers to them, this mostly live recording reveals the crazed shards of flavor-blasted rock always present in the duo’s idiosyncratic gack but usually obscured by a psychotic interfacing of the psychedelic and the concrète, a là Ceremony. The five tracks here, including covers of The Dead C. and Traffic, writhe around like a bunch of unforeseen side effects to ill-advised pharmaceuticals sharing. Screeching, bellowing, collapsing, meandering toward oncoming vehicles, too many impaired functions to name.