April 14, 2009
TONGUE TOP TEN #2
Martin Kippenberger. Untitled from the series Dear Painter, Paint for Me (Ohne title aus der serie Lieber Maler, male mir), 1981.
1. There is currently a huge Martin Kippenberger retrospective show up at MOMA in New York City. It’s called “The Problem Perspective”, and it is an incredible tribute to this wild artist, who created a fairly unbelievable amount of stuff in a trajectory that lasted only 20 years. We first became aware of Kippenberger in the late ’70s or very early ’80s because of his musical work with the band the Grugas (with Christine Hahn and Eric Mitchell), and for his association with the performance space, SO 36. There’s not much evidence of that aspect of his work here, but the multi-floor museum exhibit (and the dandy ass catalogue accompanying it) is a massive mind-blow. Went with some kids and one of ‘em was most impressed by the endless array of sketches, collages and whatnot Martin did on the stationery paper of fancy hotels. Another almost lost it when she realized how mean and funny the sequence of paintings of Picasso’s last wife was. But there is something for everybody here. And the book is excellent. It reprints a long, legendary interview Kippenberger did with Jutta Koether, and includes some extremely useful essays, plus a huge selection of eye candy produced by a guy who was the most influential German artist of his generation.
Leah Peah
2. Hampton, Virginia has been throwing down hard lately with its weirdo sick homegrown noise skuzz scene. The group Head Molt seems to be the chief instigators, particularly with the inclusion of wild woman Leah Peah. Leah’s solo cassette, peah pop & the baby lion show on Anti-Everything/AEN tapes is a peek into the furious sensibility she seemingly has raging through her consciousness. Lots of junk psychosis noise swill dementia. But it’s her split tape with freak loop weirdos Cheezface that really caught our attention. A highly contagious flow of sense bliss destruction.
3. A couple of jazz reissues just came out that are so savagely great it would be a goddamn shame to imagine there are homes without them. Both are on Eremite, both are LPs, and are packaged with amazing care via-a-vis sonics, wax quality & visual/heft appeal. The first is Sonny Murray‘s Big Chief, originally released on the French Pathe label, not to be confused with the sessions released under the same name by Shandar. Recorded in January ’69, Murray leads a wild international octet (supplemented in spots by the expatriate jazz poet, Hart LeRoy Bibbs) into insane, ragged bursts of gorgeous beauty. The material they tackle is a fine sample of Murray’s early compositions and the brakeless genius of the group (Francois Tusques, Ronnie Beer, Beb Guerin, Bernard Vitet , , Kenneth Terroade, Alan Silva and Becky Friend!) is the perfect compliment for the moment. Long a lost piece of the Murray discography, it is finally back the way it should be.
The same is true of Red, Black and Green by Solidarity Unit Inc., a rather obscure St. Louis combo led by Charles “Bobo” Shaw, which was essentially an expanded version of the legendary BAG (Black Artists’ Group). The band this evening is Richard Martin, Oliver Lake, Floyd Leflore, Joseph Bowie, Carl Richardson, Clovis Bordeaux, Danny Trice, Baikaids Ysaeen (aka Baikida Carroll) and Kada Kayan. Here, they present a concert, dedicated to Jimi Hendrix, recorded on the day he died, and filled with some of the craziest electric guitar ever, courtesy of the late Richard Martin. The sonics have the same raw galacto-fidelity associated with Arkestral recordings of the same period, and this is a great goddamn explosion. You bet!
From Demons’ “Life Destroyer” dvd
4. Steve Kenney has always been the wild card lost cog in the Michigan noise underground – the true wizard, the most insane of the insane. An original member of the legendarily fucked up Beast People along with Aaron Dilloway,and a current member of Demons with Wolf Eyes’ Nate Young and visualist Alivia Zivich, Kenney is just now beginning to bust out some releases of his own. His axe is the synth and with the proliferation of interest in synth investigations going on in the Midwest with Cleveland’s Emeralds et al and even out East a la Infinity Window and pals–it’s gotta be said: SK rules the fucking roost. The guy’s brain might as well be a modular synth smoked with toxic fuels it sounds that jazz. A great place to lose yrself in his sweet swarm is the cassette In the Sphere I am Everywhere on Nurse Etiquette. Majestic excellence.
Arthur Magazine 