– Exploring the voids of all known undergrounds since 2002 –
1 CLAUDE PELIEU It has been ten years since the French-born artist, writer, and translator Claude Pelieu died at his home in upstate New York. His memory has been well served this past year, by the publication of at least three books that should be of extreme interest to anyone with a true hankering for the avant garde. The first is Kali Yug Express (Bottle of Smoke Press, bospress.net), a fantastic cut-up novel originally published in France in 1974. Translated by Pelieu’s late widow and long-time partner-in-crime, Mary Beach, it’s great to finally have a chance to read this book in a language we completely understand. As with some of his other work, Pelieu’s cut-ups do not always flow with the same dream-logic that guides Burroughs’ hand when he’s navigating similar waters, but it reads quite well. And Bill Roberts’ production standards are as high as ever. Second up is Un Amour de Beatnik (Non Lieu, editionsnonlieu.fr), a collection of letters and poems sent to Pelieu’s first wife (Lula Nash) in 1963-64, along with examples of his visual work from the early ‘60s. Although it’s all in French, the book is written in a relatively straightforward way, so you can parse it out even if yr French is as rusty as ours. Fully annotated, with period photos, a good chronology and whatnot, it’s a very solid read (and Claude’s early Leger-influenced paintings are quite a revelation). Third is Pelieu Mix/Etat des Lieux (la Notonecte, 15 bis rue Noel du Fail, Rennes, 35000, France), assembled by Benoit Delaune. Pelieu Mix is mostly a facsimile edition of some of Pelieu’s notebooks from the late ‘90s, filled with various texts, collages. It’s a great, beautiful jumble of stuff, presented spiral-bound, and now that we’re examining it more closely we realize it may have come out a while ago. But we just got it, so fuck you. More info on Pelieu and his art (as well as Mary Beach’s) can be had at beachpelieuart.com. Worth whatever eye strain it takes.
2 SPECTRE FOLK Spectre Folk is Pete Nolan’s long-running non-Magik Markers combo. And their new album, The Ancient Storm (Vampire Blues, vampireblues.net), is a quartet scene, with Pete joined by Aaron Mullan, Steve Shelley and Peter Meehan. Dreamier, poppier and ghostlier than previous efforts, it is tempting to call this the best record with a world class foodie (Meehan) since Robert Sietsema’s last recording with Blinding Headache. The longer tracks have a splendid psych droopiness and the whole thing just flows like butter. Meanwhile, Nolan’s label, Arbitrary Signs (arbitrarysigns.blogspot.com, has continued to flower slowly. Most recent drop was Your First Ever River by United Waters. UW is the new solo (or solo-esque) project by Brian Sullivan from Mouthus. The guy’s a brutal arm-wrestler (take our word!), but he also shows an incredible deftness with deeply murky pop constructions on River. Even more than with Brian’s other project, Eskimo King, the sounds here are bizarre but assembled with a precision recalling some of the best efforts of the long-gone Bobby J label. It’s a record that rewards heavy, smoked listening. Don’t think we ever mentioned the last record on Arbitrary Signs either, which was Four Corners Bounce by Devin, Gary & Ross. The surnames invovled are Flynn, Panter & Goldstein, so you can be assured this project is also a riot of screwed-up ‘60s pop readymades, interspersed with doper madness and actual songs that will twist yr mind like taffy. Don’t not check it out.
“The new oversized print-only issue of Arthur Magazine is even more gorgeous and satisfying than expected. Like a Sunday supplement for heads.” — Jesse Jarnow, author of Big Day Coming: Yo La Tengo and the Rise of Indie Rock
“A coffee-table newspaper, printed on 16 immense pages of newsprint with minimal ads, and almost every inch covered with words or pictures… The cover, a gigantic piece by surreal comics artist Rick Veitch, is gorgeous, and the crispness and clarity of the print is perhaps the best I’ve seen in a newspaper. Everything in the new [issue] is worth absorbing… Opening the mammoth pages of the new Arthur feels much like unfolding a road map, one that points to strange, unfamiliar worlds.” — Ned Lannamann, The Portland Mercury
“The Haydukes of music/art/culture journalism return…welcome back!” — Team Love Records
After a four-year sabbatical, occasionally beloved revolutionary sweetheart Arthur returns to print, renewed, refreshed, reinvigorated and in a bold new format: pages as tall and wide as a daily newspaper on compostable newsprint, with ads only on the back cover(s). Amazing!
In partnership with Portland, Oregon’s Floating World Comics, Arthur’s gang of idiots, know-it-alls and village explainers are back, edited by ol’ fool Jay Babcock and art directed by Yasmin Khan.
This issue’s contents include…
Dream a Deeper Dream: A how-to conversation with cartoonist ROARIN’ RICK VEITCH by Jay Babcock. Plus “Cartographer of the American Dreamtime,” an appreciation of Rick Veitch and his work by Mr. Alan Moore. Mr. Veitch’s “Self-Portrait in Six Dimensions” graces our cover.
JACK ROSE: the definitive, career-spanning interview with this late great America guitarist, conducted by Brian Rademaekers just months before his death three years ago. Plus: Jack Rose discography compiled by Byron Coley, and an illustration of a classic Jack pose by Plastic Crimewave.
An illuminating/endarkening conversation with sparkling Luciferian artist FRANK HAINES by Eliza Swann
Stewart Voegtlin on WAYLON JENNINGS’ dark dream, with an illustration by Beaver
Columnist DAVE REEVES on Burroughs, bath salts and border guards, with an illustration by Arik Roper
Columnist NANCE KLEHM on new modes of exchange—and homemade smokes, with an illustration by Kira Mardikes
“Bull Tongue” columnists BYRON COLEY & THURSTON MOORE survey happenings in underground culture, paying special attention to new and archival releases from Claude Pelieu; Spectre Folk; United Waters; Devin, Gary & Ross; Jess Franco; Mick Farren; Chris D.; Donna Lethal; Crystal Siphon; Mad River; Horace; Erewhon Calling by Bruce Russell; Toy Love; The Clean; David Kilgour; The Heavy Eights; Chris Corsano; Joe McPhee; Rangda; Ben Chasny; Sir Richard Bishop; David Oliphant; Brothers Unconnected; 200 Years; Six Organs of Admittance; Gary Panter; Marcia Bassett & Samara Lubelski; Cheater Slicks; Ron House; Above Ground; Vacuum; Max Block; Dead C; Axemen; Hamish Kilgour; Circle Pit; Kitchen’s Floor; Bits of Shit; and Boomgates. Plus a special report on The Ex 33 festival at Cafe Oto in East London, featuring The Ex, John Butcher, Zea + Charles, Jackadaw With Crowbar, Mats Gustafsson, Ken Vandermark, Trash Kit, Steve Beresford, Wolter Weirbos, Valentina Campora, Gabriella Maiorino, Andy Moor, Yannis Kyriakides, Anne-James Chaton, Ad Baars, Jorge Vega, Ian Saboya, Enrique Vega, Tony Buck and Roy Paci.
Please keep in mind… Arthur is no longer distributed for free anywhere. Those days are (sadly) long gone, ladies! Now you gotta buy Arthur or you won’t see it. Our price: Five bucks pretty cheap!
1. Whatever generation it is now of the St. Marks Poetry Project New York School is beyond us, we stopped counting as soon as we saw Anselm Berrigan running the joint, remembering him as a kid banging around the folding chairs at the Project really not that long ago. Time flies in real time and in poet time and the last decade of young poets around that scene has been consistently engaging, though maybe exuding a transitional character that left us waiting for some kind of sick throw down. A recent publication that kind of comes very close to this is Mum Halo by New York City poet John Coletti, published by Rust Buckle Books. Coletti’s a pal of the true hearts writing, ruminating and starving around the historical churchyard on 2nd Ave and 9th street but keeps a slow and low profile. So when Anselm handed us this book we were curious, and when ripping through its pages we were left both stoned-brained and speed-slapped. Here is writing that takes the economy of word-mythos line play and evokes it with charm, humor and street sophistication. Check this out:
Because you’re patient
helping world being
less injured in it
pull up skirt hard inside
burnt my finger
putting you out
Killer, here’s another:
Like to complicate my life no I don’t
sleep all day full pail &
feather your hair grinding sea
for Texas decades, sure
I might be a fuck-up awesome fuck-up
2. The recent Jack Rose release party in Philly felt pretty cathartic for a bunch of the people who attended and it also kinda highlighted the wide breadth of style-glumph that is currently heralded as volk.
There is, of course, Jack’s own new album, Luck in the Valley (Thrill Jockey), which is a magnificent precis of his career, ranging from long raga fantasias to clackety neo-rags and stomps with Harmonica Dan, D. Charles Speer and other fellow travelers. The beauty and ease of his playing is something we will hold as a treasured memory as long as we live.
Jack’s long-time riding partner Glenn Jones also has a brilliant new album called Barbecue Bob in Fishtown (Strange Attractors Audio House), which is his best blast yet. Soloing on both guitar and banjo, Glenn’s playing has a precision and formal mastery that is jaw-dropping and so wide-ranging it’s incredible. And it’s definitely worth getting the LP version, since there’s a visual tribute contained to Muddy Waters’ Electric Mud album that is sure to crack up any knowledgeable collectors out there. I just hope he gets around to recording the Stockhausen music box pieces he’s been ruminating on for last decade or two. That would be a total gas.
One of the obsessive fanboy strands we’ve shared with Glenn over the years is the immortal Michael Hurley, and he has a smoking new LP as well. Ida Con Snock (Gnomonsong) was recorded over the course of a few years and features a mic of new & old material (as has been Hurley’s wont for a good long while.) What’s different and extremely special here is that he’s backed by the young Brooklyn folk-rock band, Ida, and also the great Tara Jane O’Neil. The gang really provides Hurley with the best backing band he’s had since Have Moicy! They usually hang back, only moving forward when it’s really appropriate, and the results are solid and as satisfying as a spliff, a jug and a warm fireplace. Hurley has the capacity to sound timeless, and he’s in rare form here, doing songs as transcendent as “Wildegeeses” and as boy howdy as “Ragg Mopp.” A massive favorite for all seasons.
Which reminds me of a show we put on in 2002 or so, where Hurley was backed on some numbers by the Philly band, Espers. That was a corker, as is Espers’ new LP, III (Drag City). Someone from the band told me they felt like this album was a holding-pattern in comparison to earlier work, but we sure don’t hear it. The CD has been stuck in the car stereo a lot lately, and the blend of Anglo-style female vocals (this time more like Celia Humpries—from the Trees—and Sandy Denny) and the male ones (which remind us of nothing so much the actually great—we swear—soft-rock of Mark-Almond and Sweet Thursday) is so fine. And the whole thing is laced with shots of guitar so goddamn psych you’ll swear they’re Japanese. But they aren’t. They’re just great.
Lastly in this category (for now) comes Peter Stampfel‘s long-overdue Dook of the Beatniks (Pietystreet Files and Archaic Media). Stampfel, of course, as half of the original Holy Modal Rounders has a pretty legitimate claim to being the founding father of the whole psych-volk shebang, so what does he do? Why he perversely records a rock & roll album with Mark Bingham producing. And it’s great, naturally—c’mon, nobody sings a song quite as crazily as Stampfel does—and contains everything from covers of obscure Johnny Cash b-sides to Sam Shepard’s “Take a Message to Omie” (Shepard was in the Rounders for a while too) and various other great damn tunes. It’s really nice that Stampfel allowed himself to take the lead on all the vocals here (something he never did in the Bottlecaps or the Rounders) and the results are extremely uplifting. You have to go online to read the fucking liner notes (similar to one of those Adelphi Rounders albums where you had to write the label to get ’em), but they’re typically fine and worth the effort. This still ain’t the exact Stampfel album we’re waiting for—back in the ’80s Ira Kaplan tried to strong-arm Peter into doing a solo LP with just voice and fiddle, and that’s the one we’re still holding our breath about. But this one’s a riot. And the cover pic of young beat Pete is wild. But hey—what happened to that album where he was gonna record a song from each year of the 20th Century? That’s due, too. Shake a leg, mofo.
3. Some superior communal and loose-tongue drone by Your Drugs My Money, a collective of peeps from all over the usa and one copenhagenite. They wrapped their heads together a couple years back in Portland and ran tape and it is deep wind-charmed fluidity, both sweet and raw. The session exists on a split tape released by oms/b tapes with Les Aus, two freaks from Barcelona who’ve been making records etc. for a while. Death trip momma Lydia Lunch shows up to intone on a track and the earth cracks open and cream gushes.
4. As it so often does, the Christmas season brought an avalanche of books about the Velvet Underground. Well, maybe not an avalanche, but THREE. And that seems like a lot for band that lost its leader (Lou Reed) 40 years ago, But we don’t wanna complain. ‘Cause the best thing is that whenever a buncha new books come out, it means there’ll be some pics we’ve never seen before. And it’s hard to think of a band that looked as consistently cool as the Velvets. The three are all by scribes we know, and each has a take somewhat reflective of author’s personality.
A Walk on the Wild Side author Jim DeRogatis
The first and most general one is A Walk on the Wild Side by Jim DeRogatis (Voyageur Press). Jim’s best known for daily newspaper work and his serviceable bio of Lester Bangs. His chief function as a rock scribe seems to be restating consensual realities, and so it is here. I mean, the book’s text is a solid introduction, but this is an intro that’s been made many times before. The volume’s raison d’etre, one assumes, is the new visuals. And it’s true—the pics look great (even though the most surprising ones now show up elsewhere as well), but the text is somewhat bland and the stuff about later solo work doesn’t carry the same charge. Still, a worthwhile filer. The Velvet Underground: New York Art by Johan Kugelberg (Rizzoli) is an outgrowth of the art catalog he did that we wrote about a couple of years ago. New York Art is a gorgeously printed, obsessive’s guide to the explosive confluence of Warhol’s scene and the Velvets. If you want a coffee-table Velvets book, this is the one to own. The text pieces are solid (an interview with both Lou and Maureen; random pieces by Bangs and Meltzer; memoirs from Rob Norris, Sterling and others) and the illustrations are pretty mind-bending. Very over-the-top, but wildly cool. White Light/White Heat (Jaw Bone Press) by Richie Unterberger: this one goes beyond obsession. It’s a day-by-day tracking of everything known about the band and their fellow travelers. And it is exhaustive. Richie has even dug up some images that eluded DeRogo and Johan, but the meat of this book is information overload. It’s the kind of book that can keep your ass glued to the toilet for days at a time. So don’t keep your copy in the bathroom. Might be hazardous to your very own ass health! Amazing work.
5. Caldera Lakes is Eva Aguila and Brittany Gould, two Los Angeles women who are displacing the Ladies of The Canyon mantle of Joni Mitchell by taking that songbird’s searching heart and massaging it against an amplified key grinder. And it is seriously killer. With a clutch of releases on Blackest Rainbow, Deathbomb Arc and 905they have proven to be one of the most arresting and savage femme noise units creepy-crawling the planet. Their latest self-titled tape on Accidie is as great as anything they’ve done, if not the greatest. Essential mayhem.
6. There are pretty many great jazz reissues and retrievals every year. People stumble over some crazy ass shit and we are goddamn happy when they deign to bring it to our attention. But it’s also fun to revisit old friends who’ve lingered in the shadows of our record collections for too long. So it was a sweet feeling to get a grey-area reissue of The Psychedelic Saxophone of Charlie Nothing, an LP that originally appeared on John Fahey’s Takoma label in 1967. Asked about it, Fahey would only say, “That was ED Denson’s idea!” But Nothing at this time was a Berkeley fixture and was known for wild alto sax improvisations as well as the huge book of writing and art he was always working on. Well, Charlie passed away a couple of years ago, and he recorded a bunch of interesting stuff that will hopefully see wide distribution one of these days, but this album is his first and it is a masterpiece of free improv—sax and percussion, unbridled from formal constrictions, allowed to weasel around like electrified rats. People have occasionally decried this LP in the same terms they use for Beefheart’s soprano playing (“that’s not playing—that’s just breathing!”), but we say “Fuck You,” to those who would quibble over such outmoded concepts. As Duke Ellington so famously said, “If it sounds good, it is good.” You are so right, Duke. And this Charlie Nothing album sounds GREAT.
7. Kryssi Battalene is a New Haven experimental angel who channels the sound of cosmic snowbirds through the physical friction of ferrous oxide tape against smoldering tapeheads. She also plays an astoundingly wicked guitar both traditionally and out of this world. We first saw her perform as a duo with Danny Moore in the amazing Heaven People, since disbanded, and she has been currently soloing every once in a while under the name Colorguard. She’s recorded a few weird cassettes handed off at gigs but thank the long red hair mystic Heath Moerland of Fag Tapes for releasing Shared Planet, a fine premier for this most awesome of wild improv enchantress.
8. Excellent to be able to screen Shout Factory‘s new, super clean DVD of the great American International teenage rock & roll spectacular, The T.A.M.I. Show. The older of us actually saw this screamfest at a movie theater when it came out in ’64, and it was amazing. The weirdest part of it may be the soundtrack, which has a persistent teen-scream huzz which (from the look of the crowd) is something that was tacked on to provide extra energy or somesuch. But the film doesn’t need it. Between the gyrations of the go-go girls (including Teri Garr and Tosi Basil back when they were part of Wallace Berman’s circle), the wild performances of the musicians (James Brown, the Stones, the Barbarians, Chuck Berry, etc.) and goofy MCing by the superb surf duo, Jan & Dean (the first group whose records I collected seriously). It is an insane blend and a testament to the heterogeneity of the early ’60s R&R experience, when the underground and commercial scenes were virtually interchangeable (apart from the creepy singers pushed by publishers and producers). This was shot at the Santa Monica Civic, and the tickets were given away free to local high schools. What a bonus fucking day that must’ve been.
9. One of the great small press poetry publishers, O Books, out of Oakland CA, issued in 1989 the first English translation of It Then, a book of poems by the late French poet Danielle Collobert. Collobert is little known outside the rabid circle of enthusiasts for her minimalist, self erasing style, but she has an intriguing history. Born in 1940, she published her first book of poems, Chant de Guerres (Song of Wars), in 1960, then hunted down every extant copy and destroyed them.
She became a political activist involved with publishing the Revolution Africaine newsletter. She published the Raymond Queneau-championed book Muerte (Murder) in 1964, traveled extensively, wrote and performed radio plays, published Il Donc (It Then) in 1976, and committed suicide in her hotel room in Paris the night before her birthday July 24, 1978. Collobert possessed a dark and romantic visage, especially evident when one notices her jacket photo with its downward gaze and the sensual sadness of her beauty. Her work astounds, moving across the page with a sonance both velvet and machine-gun like. The translation allows us to access her meaning, but the poetry here is compromised by not hearing the sound of the writer’s language. Even so, the thought process, the artistry of the trajectory, comes clear—and it is not always pretty. In fact it can be pretty frightening, detailing emotional negotiations with the poison of inhumanity as well as the living psychology of being female, indeed being REAL.
It – flows – it bangs itself – slammed into walls – it picks itself up – stamps feet – it doesn’t go far – four steps to the left – new wall – it extends its arms – leans – leans hard – rubs its head – again – harder – forehead – there – the forehead – hurts – rubs harder – becomes inflamed – not the forehead – from within – cries
good start for the pain – head between arms – forehead against wall – and rubbing – skin breaks open a little – not enough – ooh the pain – there it is – feet kicking the wall down low – go on – with the toes – striking hard – thrashing – nothing to be done – doesn’t subside – never will subside – the rage – the pain – cries – hits with flat hands – dull noise – a cry – here a cry – no gasp – a little above a gasp – in shrillness – here it comes – collects at the back of the throat – what’s going to come out – still below the pain – not enough
sobs shaken – saliva at lips’ edge – bitter taste – slides a little towards the corner – nose smashing – lips – the lips twisted sideways – pulled back to the gums – moistening the wall – eyes closed – stomach and chest flattened – unsticks – comes back harder – sharp impact of shoulders – unsticks – comes back again with elbows with knees – bangs fists – fists’ backs – to the bone – starts over – skin reddens – rips at last – it falls – doubled up – dragging arms stretched along the wall – kept vertical by ends of fingernails – it collapses – impact of back – head rings on wooden floor – it pushes up onto its elbow – drags along the wall – reaches hung-up coat – hangs onto – hoists itself – buries its head in the wool – grabs the arms – holds the end of the sleeves tight – overlaps them around neck – expecting softness – but no – squeezes hard – chokes – coughs into tears – chokes – lets go – hangs onto cloth – pulls hard to rip – rips with all its strength – tears pieces with its teeth – spits – chokes – arms fall back down – sinks down – slips onto the ground
a body there – practicing pain – as if it hadn’t had enough of this suffering – at each moment – in floods – in vast wave – trying pathetically to practice it
body striking – disfiguring its limbs with the too full pain – which body sudden empty – which violence against – about empty – pain congealed at last – wanting to reach it to set it once and for all – to keep it there motionless – or set it down in front of it – itself – to make it really visible – in its infinitely numerous images – unceasingly
a body there – no – that body there – the one banging its face against the wall – maybe – no
walls fictive also – unnecessary walls – no – only to see from the place of the present invisible – here – facing the stripped body – arms motionless yet sweeping around in space without meeting anything to lean on – temporary connection – just for an instant – to slow the breathing down – slow down the beating – to quiet down – this body seeking the place – the hollow in which to melt back down again – heat ruptured – and cold of the world around – its place or position unsure to inscribe against the lack – the shocks of the day
10. So many boss records floating through here, really have to just randomize & roll. Talk Normal‘s debut full-length, Sugarland (Rare Book Room) is a blazing extension of their earlier EPs. Their basic heft (UK ’78 DIY/No Wave squall) remains in places, but it is swamped by a new, venomous psychedelic thrust mixed with a post-scum instrumental chiming that is ridiculously effective. And their Roxy Music cover is as perfectly imagined as anything you’ve ever heard.
Then there’s the new album by Pete Nolan’s main non-Magik Markers project, Spectre Folk. Their second LP is called Compass, Blanket, Lantern, Mojo (Arbitrary Signs), which I suppose are the four main points on Pete’s aesthetic compass. Less massed and grueling than the Markers, this band’s sound is far more ramblesome and loosely psychedelic. Largely instrumental and as low-key as it is wasted, the LP wiggles beautifully from the instant it hits yr veins.
One of last year’s most profoundly underrated LPs was definitely Bats in the Dead Trees Parts I-IV (Lost Treasure of the Underworld) by Columbus, Ohio’s Cheater Slicks. This superb band—once based in Boston—has been churning brilliantly for a couple of decades now, and has created some of the world’s most tasty garage raunch in the process. Here they take the challenge and drop structure for an album’s worth of howling free-rock improv, and it sounds so fucking perfect, I just hope a whole lot of garage dudes/dudettes decide now’s the time to put up their own dukes and just LET ONE FLY. Would make for a lotta totally ginchy listening! Thank you, Cheater Slicks.
One band that was born in the land that form forgot was Detroit’s Destroy All Monsters. And luckily for us, Cary Loren has whipped out some expanded jams first presented in edited form in the 1974-1976 3CD box, and smeared them across a glorious slab of vinyl called Double Sextet (The End Is Here/Compound Annex). Yow. Only 500 pressed of this 33-minute chunk of free-form savagery, recorded in 1975, and it’s an instant classic.
Also instantaneous is the garage-vom-darkness of the long-lost LP by Michael & the Mumbles (De Stijl), a ’66 midwest session led by the teenaged Michael Yonkers. The band’s sound contains elements of frat-romp, folk-rock and pure-garage-fuzz, but the blend is definitely tentative and the sound quality is on a par with Justice albums of the era. Very cool, but only essential if you’re already a head. Which we are. But was this actually released at the time? We’d never even heard rumors of its existence. What the fuh?
Last brain-fugger this time out will have to be Major Stars‘ Return to Form (Drag City). We think it’s their second for the label, but our Drag City service is too spotty to be certain (hint hint). Regardless, we have loved this band’s core (Wayne, Kate and Tom) through decades and every combo mutation they’ve fronted. The Major Stars express more explosive improv gush here than they’ve done on some other LPs (they sometimes feel more like a live band than a studio one, which’s the opposite of some of their precursors), but the balance—as always—in the Major Stars rests on the balance of the instrumental frontline’s grotesque sonic overload and the massed rock-drive of the other players & singers. Sounds fucking incredible this time out (yin/yang energy up the ass), and the cover art by Bill Nace is as beautiful as a foot.
Alright. Gotta get this posted.
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