BULL TONGUE by Byron Coley & Thurston Moore from Arthur No. 25 (Nov. 2006)

first published in Arthur No. 25 (November/Winter, 2006)

Exploring the Voids of All Known Undergrounds
by Byron Coley and Thurston Moore

Kommissar Hjuler and Mama Bar are a married couple from Flensburg, Germany. Hjular is an artist into collecting art-music and outsider weirdo records. He met Mama when she was 17 and the two of them live out in some mysterious house of cosmic wonder, where they record all kinds of bizarre jams and release them on their own Schöne-Hjuler-Memorial-Fond label in editions of 5 to 50. If you look on their site you can see their discography which is massive and, for the most part, sold out. We were finally able to grip a copy of their 100th release, fortuitously in an edition of 100. Wiederaufnahmeverfahren II/06 (SHMF) is a split LP by the two and if it’s any indicator of the Fluxus pleasure found on the previous 99 releases, then someone please start eBaying those discs cuz we need to hear more. Mama’s side starts with a series of similar sounding high pitched noise junk jolts, then develops into a Rita Ackermann-esque investigation of nursery rhyme sensuality, becoming alluringly repetitive and ultimately crazed as Mama’s lovely sing-song voice is transformed into deep-pit screams of anguish. Wicked. Kommissar’s side is more typically dada, running some very damaged no-fidelity frequencies against Germanic babble. The record comes in three different editions. One has a box with the LP, art, plus other sundries, and it’s cool to see the pair’s ephemeral clutter, particularly the art they make—hers, abstract paint; his, twisted eros collage. But the recordings are what’s key here for sure. A fucked earfull.

Ah, Belgium…perhaps not a comment we utter as often as we might, but it has a nice feel as it flutters over the tongue. And that’s just what it does when Satanische Vrede, the debut LP by Belgium’s Silvester Anfang (K-RAA-K) is playing. So rural, psych and folky they almost sound Finnish, Silvester Anfang is a Maldegem-based outfit whose membership changes with weather and circumstance. They use a barrage of standard rock instruments, but also lotsa odd-sounding string and percussion bits, to create a loopily chiming instrumental sound, more explicitly “out’ (in improvisational terms) than most similarly styled units. There’s nothing precious about this, and it teeters very close to the vibe produced by ostensible post-jazzbos, such as the Sea & Sun Ensemble. Which means there’s good gobbling for the whole trough. R.O.T.’s L’ecurie LP (K-RAA-K) is another explorational Belgian dive into some kinda forest primeval, but their journey is more about electro-acoustic tents propped up by crackling electronic fires in the middle of dark glens. Improvised in a kitchen, this is the sort of music horses hear right before they go to sleep. For good.

Most mind-felching graphics comp to come along lately is definitely the sixth edition of Sammy Harham’s Kramers Ergot (Buenaventura Press). This large paperback is a headrush from beginning to end. It checks in on most of the interesting styles of art currently residing in the graphics underground, from semi-realist to primitive to ratty to psychedelic to computer-generated. It’s one of those books you’ll look at ‘til your eyes get tired, then return to as soon as they’re well rested. Contributors include Gary Panter, Paper Rad, Jeff LaDouceur, Suiho Tagawa and more; the visuals range from single panel gags to long, complex sagas. Amazing. Buenavista has a couple more solid new titles out also. There’s Private Stash, a sleeved, accordion-style portfolio of glamor and nude drawings by Crumb, Clowes, Bagge, Burns, Panter, the Hernandez Bros. and others. There’s also issue 8 of Comic Art, which is a more serious journal devoted to the history of comics. This issue has a great piece on S. Clay Wilson’s newly discovered juvenilia (more on him later), a long Drew Friedman profile, stuff on the pulp art of Edd Cartier, and much more to tickle the brain of the form’s devotees. John Yee’s Arf Museum (Fantagraphics) has a second issue out as well, also taking a somewhat scholarly in-depth approach. Yee’s passion, however, is the juncture between “high art” and comics, so this issue explores that crease. Our fave things this issue are a great Mort Walker piece about meeting Roy Lichtensetin and a survey of gorilla ‘n girl art, but you’ll undoubtedly have your own picks.

The young and dapper Alex Neilson of Glasgow, Scotland is a polite and altogether engaging fellow. He is also one of the most exciting free-spirit percussionists shaking shit up in these halcyon days. His fusion of traditional and avant-garde folk inspirations with free jazz exploration is young and tender and, like a fine clotted cream, superbly succulent. He records with Taupis Tula, a trio consisting also of David Keenan and Heather Leigh Murray (propietors of the Glaswegian record store, Volcanic Tongue) and was a live collaborator on Jandek’s initial sightings. What we have here is his latest solo splooge, An Old Soul At The Helm (Chocolate Monk), recorded under the Directing Hand monniker. Drawing from the percussive history/mind of such stalwart beat babes as Milford Graves, Chris Corsano and Tsuchitori Toshiyuki, then snuggling it with a heartfelt hug for Scottish countryside balladeering is a right-on move to our ears. This CDR, featuring through-the-haze vocal accompaniment by Christina Carter on one track, is the goddamn cheese. Get it and track down his previous sides on Secret Sound, Memoirs Of An Aesthete and—definitely—the new LP, Belsayer Time (Time-Lag) by the trio of Neilson, Alastair Galbraith and Richard Youngs. This is music for the ages and a fantastic visit from New Zealand’s Galbraith. Side one is all wheatgrass and psilocybin while side two is electric jagged crystal strikes. A total must. Power trio of the year.

Oren Ambarchi has long been one of the more interesting figurines on the Australian event horizon. His work with the Menstruation Sisters and Sunn O))) is perhaps his best-known stuff, but he released a deadly series of LPs in the late ‘90s exploring explicit experimental techniques for electric guitar. He has now returned to this concept with the Stacte Motors LP (Western Vinyl) and it’s something worth uncorking immediately. Like the legendary Remko Scha, Ambarchi employs machines to play his guitar strings here. Rotating motors with strings attached slap the guitar in a hypnotically rhythmic fashion while the hum of electricity and various overlays raise the shimmer-potential to extreme heights. Comprised of two long pieces, the album is trance inducing in the best possible way. Ambarchi also works with Australian sound artist, Scott Horscroft, on a split LP shared with the late Japanese experimentalist, Takahito Nakazato (Textile). More guitars are machined on his side, although the results emphasize clutter over calm. Recording as Hado Ho, Takahito’s offering is a suprisingly laidback series of sounds produced by amp noise, mircrophones and bad connections. For all that, it has enough open space inside it for the listener to breath, which isn’t always the case when Japanese noise is on the box.

S.F. guitar improvisor Henry Kaiser has released Domo Arigato Derek-sensei! (Balance Point Acoustics), a wonderful tribute CD to his mentor the late, great Derek Bailey. It delivers a fantastic display of Kaiser’s brain-finger-string-amp process/result with a choice selection of collaborators including Charles K. Noyes, Henry Kuntz, Toshinori Kondo, Andrea Centazzo, Davey Williams, Mototeru Takagi, John Oswald, Derek himself and more. The whole thing runs with spontaneous spoken word memorials interspersed throughout by Kaiser. It’s a sweet and funny fireside chat of a concert, very attuned to Derek’s perpetual spirit. All profits from the CD sales go to Incus Records, Derek (and his partner, Karen Brookman)’s long running chronicle of the improvised music world. And all material is live and free. Natch.

Norwegian Kjetil Brandsdal, used to be an experimental guitarist as well, but he dropped that hat in the gutter. The split LP by two of his current bands, Noxagt and Ultralyd (Textile) features two very raucous sides of proletarian urk. The Noxagt material comes from early rehearsals (or radio shows or something) and consists of short slabbed chunks of goofy noise, including a cover of Toni Basil’s “Mickey.” Ultralyd’s stuff is more feedback-scrambled in its orientation, but still pleasant as getting very soft fur stuck in your eye. Same could be said of Noxagt’s eponymous third LP (Load), which is a brilliant, lunk-headed lurch through instrumental forests of progressive criminality.

Most brilliant, sickest art book to power down the drain in ages is The Art of S. Clay Wilson (Ten Speed Press). Wilson is the Nebraska-born artist who freed Robert Crumb to follow the siren call of his id, and this collection is a horribly thorough dive into his ouevre. From early sketches through comic pages, book covers and more recent color bloodfests, this book is stunner. Wilson’s characters—bikes, pirates, cowboys, beatniks, demons, et al.—wage sense-war on the masses with an obscene strength that is unmatched in documented history. Approach with extreme caution and all your holes open.

Crown Now produce exactly what To Live And Shave in L.A.’s croon king, Tom Smith, must have sounded like as a kid in the backwoods with his Boones Farm-addled pals. With pimple-powered early Suckdog energy, this duo of delirious nerdniks howl along with broken records and messed up tapes, using their shitty microphones’ on/off switches to great effect. Love it! Ain’t nothing like the future, baby. This is one of four debut releases on Jessica Rylan’s new cassette label, Friendship Bracelet. The others are Bone Rattle, two freaks who also perform as Dreamhouse (whose Shake cassette is bunghole sludge dynamism) (which equals: awesome!). Then there’s Cough It Up by the Halflings, another teen combo taking on power electronic goodness. If Jessica is gonna be the den mom of noise, then the kids are definitely alright.

UK shit-noise label Turgid Animal have been releasing all kindsa brit-slime mostly revolving around the Mutant Ape/Filthy Turd axis (which we touched on last column). A particularly interesting split cassette by M.O.A.C. and Coco & Fiend Friend Mononoke (ta043) nearly had us driving the Volvo off into Route 9’s guard rails. M.O.A.C. (Mystic Occult Aid Ceremony) is a Japanese woman now living in Boston who really delivers classic Japanoise aktion (lately overshadowed by the new bleat of the West). Not only is it exciting and refreshing to hear someone really re-investigate this sound-world once again, but she gives it an enticing contempo edge. If you’re an old fan of Vanilla cassette wildness, this momma is yours. Coco And Fiend Friend is two mates really digging chaos, spliced depravity and all the farting mantraz thereof. Extra cruddy. But what is here is ass buhlasting.

Another coupla new installments of the great Hello Trudi have arrived. First is Busyness for the Self, which seems more overtly smutty than some previous issues (although maybe it’s just our mood). The second is You Want to Hear a Simple Story of a Swimsuit Model, another un-linear grapple with words and drawings created in the post-Pettibonian universe, containing one of the best Crass references seen inside the art world in many a moon. New issue of The Chuckwagon is Midnight by Dave Newman. It’s one of the best in the series thus far, a funny, black verse novelette about what it’s like to mop floors in the company of drug-philospher. The latest Shuffleboil has a fine topless Cecil Taylor photo on the cover and Clark Coolidge’s ruminations on that 10-CD Taylor box Codanza put out. There’s plenty of other stuff, too. The standard, brilliant collage of poetry and prose about improvised music and jazz we’ve come to expect from editors, David Meltzer and Stve Dickinson. Ong Ong #3 arrived in a glassine enevlope packed with various random goodies, all of which were nice to examine. As was the mag’s actual contents, which featured interviews with the Grey Daturas, Slim Moon (now outdated, since he’s moving to NYC) a portfolio of show fliers, a CD with Ghost Family (among others) and plenty more.

Among all the sensational exploits of mind cremation at No Fun Festival 2006, the one that had all in attendance either laughing or crying or both, was the hyper-vicious goofbomb noise circus of Macronympha. Along with the group’s stalwarts, two sexually weirded females (one a frozen ice queen friend, the other a saucy asskicker) were loose among the stage melee of oil drums, drunken groping meat claws and an upended card table (which subsequently chopped an audience member’s dick off). Pretty fucking cool gig and one that still has noise bloggers discussing its merits and ramifications. We’re not here to defend or analyze Macronympha’s aesthetics of pain and pleasure. We really just wanna lean back and exclaim “holy shit” after experiencing their Mugwump Reformer Mixes CD (Audio Dissection). Recorded in their sicko hometown of Pittsburgh in 1995 (as the rare and legendary Pittsburgh, PA LP on Praxis Dr. Bearmann) and remixed earlier this year, this CD may technically be the best sounding American necro-sexual harsh noise release to date. (Or at least since the ear world profundity of To Live And Shave In L.A.’s 2004 opus, The Wigmaker in Eighteenth Century Williamsburg.) Massive dynamic range is heard and felt and the stereo field of regret and rot is remarkably insane. The folded insert is a proto-typical Macronympha image-bust w/ horrific disease and terror alongside explicit porn punks and pansies. A must have.

Speaking of No Fun, the label office of this enterprise has been squeezing out some nice and sleazy little runs of primo US noise LPs. The recent one by C. Spencer Yeh, Three Sisters Who Share An Eye (No Fun Rotten LP #5), has this cochlea-splitting Ohioan stepping outside and around his Burning Star Core monniker and recording a disk that just fucking blows doors on everything around it. We’ve raved on about Yeh’s meat salad science in the past, but the mug keeps getting more and more wrecked. Essential listening from top to bottom. Another is Oscillators ‘87 Guitar ’88 by Jim O’Rourke (No Fun Rotten LP #4) which is also just 300 copies and completely nuts—easily one of the most testes-tingling O’Rourke discs EVER. Both sides move along with a zen blood focus. The music is like power cables swaying to the earth’s heavy action with 60 zillion watts of juice silently streaming inside. Damn, dude!

Speaking of explicit porn punks, no one’s more noise-coitus graphic right now than Boston’s mighty Two Dead Sluts One Good Fuck, a fantastic duo (sometimes trio) who go way out of their way to ensure everyone’s having a fuck of a time. Their P.T. Barnum’s Gallery Of Masturbatorial Disenchantment CD on Kitty Play (a label which the group “dropped” for various reasons, all notated on their MySpace blog) is a masterpiece of messed up boy skum energy, where lead screamers grow ferocious red beards and pound their skinny white chests with cum drunk revelry. Nice. And very nasty, the sleeve is a wraparound of dripping schlongs and girl-on-girl oral communication. Top shelf! And sexcellent “driving” music, to boot.

Sheesh. Long time since we (or anyone) opened a new Helios Creed LP. But here is Deep Blue Love Vacuum (Noiseville), which fills not one, but two LPs. Anyone who ever loved his earlier solo slop, or his time in the classic period of Chrome, should have their drool nozzles well tweaked by this. Veering between thick cosmic haze-gestures and thug-metal raunch, the sound is a beautiful distorted mess. With guest vocals by Fabienne Shine (esp. notable on the Velvets cover) and a pimp-solid bottom, this is one of the best drug warps to spew past us in a while. A real surprise LP has sailed over from France by a trio called Outtakes (Abstract/Concrete Recordings). Their weird yet down-the-middle improvisational gestures evince evocative compositional goodness. A sincere avant-instrumental vibe of pop/noise psychedelix runs through the grooves and we certainly hope there’s more brewing. Word has it that they are preparing a musical tribute to the Beats. Something else to find if you can is the Djinn Funnel LP by the Sub City Girls (Nashazphone). Label is either French or Algerian or some damn thing, and the music (recorded live between ’99 and ’01) is a largely instrumental affair, displaying the band at their surreal psych utmost.

If, like us, you’re an unabashed fanatic for bowed metal and dry ice combos then dude we got the record for you. It’s 5015 AD (Ehse), the new 12” by Baltimore’s finest drone-cum-tongue-tie outfit, Trockeneis. With silkscreened jackets by Twig Harper and Carly Ptak, this is the sound of what Ian Nagoski claims is the best city for experimental music, bar none: Baltimore. So, yeh, no doubt, no argument. Trockeneis delivers classic yet singular salutations of fine flutter and squall. Further proof of Baltimore bad-assness can be found no further than an amazing LP by Harrius (Ehse). Harrius is a duo of Metalux’ Jenny Graf and the we-need-to-hear-more-from Chiara Giovando. Anyone who spun the cassette wheels off that CarlyPtak/Chiara Giovando Heresee tape from a couple years back should start the party NOW, as Chiara astounds here with a fine balance of slow, unfolding sound-dadaistix and palpable energy-microphone-allure. Jenny Graf is an excellent partner in this work which has marks of Metalux motion-magic strangeness but with a sparser spatial vibe. Dig it. Besides Ehse and Heresee another heavy Baltimore label is Hoss and they’ve just released one of thee heaviest discs of 06: the debut LP (CD is on the Hit Dat label) by WZT Hearts, Heat Chief. If you love quilted blankets as much as we do you will absolutely trip out sinking into the cover art which is a collaged bevy of fine bizarre weaves. And even if you don’t, you’ll still get sucked into the head-splut of WZT (pronounce “wet”) Hearts’ deep sound forage. A killer side.
Put This Way (Feudal Gesture) is the first volume of verse by long-time rock writer, Michael Layne Heath. Mike has been around since the earliest days of the DC scene, but is now based in SF. The poems sound like they’re being shouted through a bottle, and Mike has a nice romantic take on the deprivations of a life lived without excuses. Good stuff. On a related shelf we find dear friends, lovers suckers by Wesley Eisold and Charles Rowland (Heartworm Press). Both members of Some Girls, the book combines some the better (more reflective and funny) tour diary entries we’ve seen in a while with some excellently mean-spirited poetry by Eisold. Commendable work from a couple of guys who sound like they’re real pricks when they’re fucked up. More sober (in a way) is Carol Lewis’s Magenta’s Adventures Underground with drawings by Regine Polenz (Words Like Kudzu Press). Originally serialized in New York Nights, this short novel is a lovely, surreal version of Alice, set in the subways of Manhattan with sex, veterans and ghosts of war tossed into the mix. Regine’s art reminds me a bit of Emily Hubley’s early work. Which means it’s good, too.

Got some heavy treats from Hook or Crook, a new bizarro-garage label from Oakland. The Panther Howl LP by Haunted George is a strange one-man grovel in graveyard dirt by Steve Pallow (ex-Necessary Evils). It totally delivers on the failed promise of an album I once had by a guy calling himself “The Singing Mortician.” It’s kinda like the Zacherle/Bryan Gregory duo album you always dreamed of. Next is Demon’s Claws’ Live in Spring Branch Texas mini-LP. This Montreal outfit has the same sorta drug-swamp aura as Au Go Go-era Scientists, and their seven songs are screamed into a deep well of drunken goodness.

Another one of the chioicer garage records of late is eponymous debut LP by The Golden Boys (Perpetrator). It’s not clear why this Texas band had to go to New Zealand to find a label for the LP (I think the CD might be on Hook or Crook), but what the heck? They have a very cracked and shaky take on raunch-hootnenanny-ism recalling members of the In The Red stable, as well as some of Memphis’ more lop-sided degenerates. There are parts of this disk that cohere into something identifiably musical, but not enough to bother us. Anyone who remembers the New Zealand bands Constant Pain and 3Ds can find solace in knowing that some of these creeps are now bombing around Scotland and the UK, coming together when touched by the black thumb of Beelzebub in order to blow out overly skuzzed metal puke rock under the aegis of Evil. Evil’s first document is a 10”, A True Untimely Atrocity (Wishbone Records) and it’s pretty damn hellacious. Good to hear Liz Matthews smashing her kit and awesome to once again see artwork by 3Ds’ David Mitchell. These tots may have sold their buns to the devil but if that’s what it takes, then screw God. Hell is our destiny.

Sweden has some of the most bonker-zone record labels on the planet, such as Cold Meat Industry and Freak Animal. Those are both industrial noise-mung arbiters, but the label that’s got us trying to rip the ears off our heads in fits of dementia is UFO Mongo, a sub-label of Borft Records, seemingly bent on exposing us to the distorted vocals and blumpie-gushing synth puke of label zeros Enema Syringe. ES’s Visa Mig Vägen Till Mellringe LP and Screaming Fish 7” really had us in a herniated hucklebuck, so we were cautious in our approach to the Angst Vor Alles LP by Commando Laarz, one of the ES loonies and a pal. Not so different than the ES sound which is okay: we weren’t actually looking forward to variations on this specific fuckery. But Sweden man, whatever happened to the tender vision of Tesco Vee’s love-pump fantasy, Agnetha Fältskog?

One dude from Sweden we dig in ways that border on scary is saxophone gnasher Mats Gustafsson. Mats has got rock and roll and deep avant jazz outré-ness raging through his Scando blood. Proof positive is the torch of inspiration passed on to his teenage daughter Alva Melin. Along with girl teen partner Gabbi Evren, these two have created the stunning Drap En Hund (English translation: Slay a Dog) which is primarily bass guitar, drums and vocals. Taking cues from the wonderfulness of ESG (as well as the entire history of DIY spuzz) DEH have fearlessly cut the killer CD, Be Yourself (Slottet SLMI), with such tunes as “God Damned Destroyed,” “Don’t Drink” and “Hate You.” Why be something that you’re not? A lovely thing.

Finally laid hands on Ports Bishop’s first photography collection, Future Friends (Little Cakes), and it’s a brilliant evocation of past, present and post-present all balled into one. The photos were taken at two recent rural music festivals and the images are brilliantly evocative of the sense of time-collapsing so inherent to today’s underground. Some of the pics could be diddley-ass out-takes from an old hippie tome, others are so obviously current you can almost hear the SQUEE of noise-amps in the background. Viewed together, the result is a swank protrait of group of people self-consciously losing themselves in the aether at T-3 speed. It’s very strong work.
Treasure Chest (Galleria Paolo Bonzano) is the second LP by New York’s Hurray, an ensemble devoted to various terminal branches of sonic architecture. We’ve seen this new one referred to as “noisy folk music,” but that doesn’t really tell the tale. What it actually sounds like is a few guys up in a treehouse, throwing sticks and stones at some guys with guitars who are trying to climb up “their special ladder.” The new Timo van Luyk and Kris Vanderstraeten LP, High Noon (La Scie Dorée), is another journey through the Buddhist mind of free percussion via van Luyk’s long running collaborator Vanderstraeten. Like the Af Ursin sides van Luyk recorded (and just about anything on his label La Scie Doree) it’s all high grade spirit-spuh with enough klang to ring any tuff kid’s gong.

Received the first two issues of Sarah Becan’s comic, Shuteye (Short Pants Press). Each issue has one story unrelated to the other by anything except mood. The first issue is called “Vea,” and has a vaguely Poe-like vibe, telling a story about a deserter drifting into different realities amidst an ever-changing word of grass. The second, “Liar,” is about loss of identity and Scotch hallucinations. Both are simple, but very-well told, and the art (as well as the silkscreened covers) is quite bonus.

An amazing split LP is to be had from Jerusalem and the Starbaskets and Skarekraouradio (Apop). J.A.T.S.B’s side is some kind of unholy union betwixt an early lost Pavement session and maybe if the Velvets did jam with the Modern Lovers. It’s almost that cool, but it stands alone. A boss meander that works wonders. Skarkou Radio is a messed up amalgamation of free zap noise guitar and girls on LSD with nowhere to go except into the dungeon of your burning brain. Sweet stuff. Missouri and Illinois is where these nutrockers come from so dig it: this is some new killer American mung. Fugkin recommended. As is the split shared by two Cali bands, Child Pornography and Quem Quaeritis (Not Not Fun), both of whom mix sideways-moving improv spass-aktion with distinctive house-party formalism. What you get is a mix of disturbed urk and subliminal booty-rassling. Which might well split your butt right down the middle!

The Olde English Spelling Bee has gone beyond the call of duty by reissuing Copper/Silver the momentous collaborative meeting between Portland, OR’s Yellow Swans and Australia’s molten-drone-core kings, Grey Daturas. Initially released as a tiny edition CDR on Yellow Swans’ JYRK label what we have here is a real boss sea-swell of heavy wave deep-mind sound tonic. A double LP, again limited, and a possessed session spotlighting what is truly great within the world of contemporary underground music. No site for Olde English Spelling Bee but most small distributors seem to carry it. Yellow Swans, excellent in their own right, are heard in another collaborative state, this time with Charalambides’ Tom Carter as a unit entitled Mudsuckers. Their self-titled debut CD on Important has more open free-sparkle action than the collab with Grey Daturas, but still maintains the underlying sonic river of charmed-tone tongue that makes their shit a wicked listen. Mudsuckers is a collective with other musicians involved, particularly Henry Kuntz, a man with a long history of avant-garde saxophone work. Cool to see him here for sure. Important Records is also to be commended for issuing a balls-out mutha of a session by Paul Flaherty, Chris Corsano and C. Spencer Yeh. A Rock In The Snow has all the high action trademarks of a swingin’ Flaherty/Corsano affair. Blasting concept percussion techniques and white beard reed/bell energy lines all in a package made more remarkable and entertaining with the inclusion of kick-ass liner notes by Wolf Eyes’ John “Coorz” Olson.

Apop: http://www.apoprecords.com
Audio Dissection: c/o Emanuele Bonini, via Marchetti 8, 38023 cles (tn), Italia / audiodissection@yahoo.it
Balance Point Acoustics: http://www.balancepointacoustics.com
Borft: http://www.borft.com
Skarekrouradio: http://profile.myspace.com/index.cfm?fuseaction=user.viewprofile&friendID=36612543
Buena Ventura Press: http://www.buenaventurapress.com
Chocolate Monk: http://www.pinktoes.net/chocolate_monk.htm
The Chuckwagon: casey.st@comcast.net
Coco and Fiend Friend: http://www.coco-friend.cjb.net
Directing Hand: http://www.secreteye.org/se/directinghand.html
Drap En Hund: http://www.drapenhund.com
Ehse Records: http://www.ehserecords.com
Evil: http://www.myspace.com/theunholytrinity
Fantagraphics: www. fantagrpahics.com
Feudal Gesture: mlayne@hotmail.com
Friendship Bracelet: http://www.irfp.net/index.html
Galleria Paolo Bonzano: http://www.arte3.com/
Grey Daturas: http://www.greydaturas.com
Heartworm Press: http://www.theheartworm..com
Hello Trudi: http://www.hellotrudi.com
Hit Dat Records: http://www.hitdatrecords.com
Hook or Crook: http://www.hookorcrook.com
Hoss Records: hossrecords.com
Important: http://www.importantrecords.com
Jerusalem and the Starbaskets: http//profile.myspace.com/index.cfm?fuseaction=user.viewprofile&friendID=20394169
Henry Kaiser: http://www.henrykaiser.net
Kitty Play: http://www.kittyplayrecords.com
Kommissar Hjuler and Mama Bar : http://www.asylum-lunaticum.de
K-RAA-K: http://www.kraak.net
Little Cakes: http://www.littlecakes.org
Load: http://www.loadrecords.com
Macronympha: http://www.myspace.com/macronympha
M.O.A.C.: http://www.myspace.com/moacmoac
Noiseville: http://www.noiseville.com
Not Not Fun: http://www.notnotfun.com
Ong Ong: http://www.ongongpress.com
Outtakes: http://death666records.chez-alice.fr
Short Pants: http://www.shortpantspress.com
Shuffle Boil: shuffleboil@hotmail.com
Slottet Records: http://www.slottet.eu
Sun City Girls: http://www.suncitygirls.com
Textile: http://www.textilerecords.com
Time-Lag: http://www.time-lagrecords.com
Trockeneis: http://www.trockeneismusic.com
Turgid Animal: http://www.mutant-ape.co.uk
Two Dead Sluts One Good Fuck: http://www.myspace.com/tdsogf
UFO Mongo: http://www.borft.com/label.php?labelID=12
Western Vinyl: http://www.westernvinyl.com
Wishbone Records: wishbonerecords@gmail.com
WZT Hearts: http://www.myspace.com/wztheartssss
Yellow Swans: http://www.jyrk.com/yellowswans

Categories: "Bull Tongue" column by Byron Coley and Thurston Moore | Leave a comment

About Jay Babcock

I am the co-founder and editor of Arthur Magazine (2002-2008, 2012-13) and curator of the three Arthur music festival events (Arthurfest, ArthurBall, and Arthur Nights) (2005-6). Prior to that I was a district office staffer for Congressman Henry A. Waxman, a DJ at Silver Lake pirate radio station KBLT, a copy editor at Larry Flynt Publications, an editor at Mean magazine, and a freelance journalist contributing work to LAWeekly, Mojo, Los Angeles Times, Washington Post, Vibe, Rap Pages, Grand Royal and many other print and online outlets. An extended piece I wrote on Fela Kuti was selected for the Da Capo Best Music Writing 2000 anthology. In 2006, I was one of five Angelenos listed in the Music section of Los Angeles Magazine's annual "Power" issue. In 2007-8, I produced a blog called "Nature Trumps," about the L.A. River. Today, I live a peaceful life in Tucson, Arizona with Stephanie Smith. https://linktr.ee/jaywbabcock

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