MELVINS
Stag - (1996)

The repeating sitar-into-guitar-chord start of the album makes it clear that Stag isn't going to be quite like anything the Melvins had yet recorded to that point. There's such a strong and audible emphasis on the band really exploring the possibilities of the studio throughout that the effect is breathtaking — it's a huge, epic sound that's also quite varied, a fine indication of where the band would be going in later years. The roots of the Melvins remain clear — direct, deliberate, and focused crunch — but they don't feel constrained by them, bringing in everything from more stripped-down space in the arrangements to stylistic forays revolving around the central approach. Hearing horns and scratching helping match the monster riffs on "Bar X the Rocking M" is at once a mind-f*ck and something that makes total sense, as does the mini-prog epic "Buck Owens," packing in time-signature shifts and a mid-section trip-out and more in three minutes' time. Short, almost fragmentary songs like "Hide," with its quiet guitar chime, and the weird, sparkly drones and burbles of "Soup" help to further flesh out the inspired feeling of Stag. Osborne's vocal delivery and various treatments thereupon are fantastic, ranging from dreamy float and gentle croon to rasping roar, paralleling Stag's overall emphasis on trying anything at least once to see what works. Check his winsome, light turn on "Black Bock" for a real trip — it's hard to believe this is the same guy who sang on "Hooch" and "It's Shoved." Songs like "Tipping the Lion" and "Goggles" capture the spirit of Stag excellently, able to switch from quieter to louder moments and back again effortlessly. Then there's the twinkly, Chipmunks-sung "Captain Pungent," which will leave most listeners paralyzed with fright or with laughter, if not both. (allmusic.com)

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THE RESIDENTS
The Sandman Waits EP - (2007)

This disc was offered as a bonus for people who pre-ordered The Voice Of Midnight CD from Ralph America. Originally it was announced to be limited to 300 copies, but preorders exceeded expectations and the number of copies manufactured was bumped up to 500. The disc was manufactured by Ralph America for the Cryptic Corporation, but the label is listed as eL Ralpho. It was Issued in a plastic envelope with a single card inlay. An interesting note: I have seen this EP for sale at The Residents merchandise table when I was at the recent Talking Light show and believe it or not, the price was $125 !!! No kidding.

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*** 7" SINGLE ***
ZEN GUERRILLA & JELLO BIAFRA
Jezebel / Speed Demon - (2008)




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WILLIAM S. BURROUGHS & KURT COBAIN
The "Priest" They Called Him - (1993)

The "Priest" They Called Him is a collaboration between William S. Burroughs and Kurt Cobain (Nirvana). Cobain provides dissonant guitar backing based on "Silent Night" and "To Anacreon in Heaven" to Burroughs' deadpan short story reading. The track was originally released as a limited edition (5000 copies)10-inch EP picture disc on Tim/Kerr Records in 1993 and subsequently re-released on CD and 10-inch vinyl. This short piece read was first published in Exterminator!. The "Priest" in the track title refers to the story's protagonist, an otherwise nameless heroin addict trying to score on Christmas Eve. After selling a leather suitcase filled with a pair of severed legs (and subsequently visiting the ubiquitous crooked doctor), the Priest returns to a boarding house with a fix. While preparing, the Priest is interrupted by muffled moans from the next room. He knocks and finds a crippled Mexican boy in the throes of agonizing withdrawal. After giving the boy his drugs as an act of charity, the Priest returns to his room, reclines on his bed and dies, in what Burroughs calls the immaculate fix. Another reading of this piece was also used in "The Junky's Christmas", a short animated film in 1990. The title character, the Priest, is only the protagonist for that section of the book (and, in fact, is at most only a side character in the rest of the novel), if the term protagonist is even applicable in this bit of Burroughs' writing. The original 10-inch record is one-sided (With the cover art completely covering the disc along with a hand written number from 1-5000.) while the flip-side features etched autographs of Cobain and Burroughs: "William S. Burroughs" and "Kurtis Donald Cohbaine" (With a dot above the o of Cohbaine).The release details "TK 92-10044" are etched in the inner groove of Side A. Kurt Cobain's friend and bandmate Krist Novoselic features on the cover.

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dj BC
Let It Beast - (2006)

Bob Cronin established himself within the mainstream with his release of The Beastles in 2004, a collaboration that saw him fuse various tracks by The Beatles with vocals performed by the Beastie Boys. As the presence of bootlegs received national notoriety, Cronin received praise for his work from the likes of Rolling Stone, Q Magazine and Newsweek, establishing him as one of the world’s premier bootleggers. Let It Beast contains more of BC's unique mixing talent scattered throughout ten original mash-ups that pick up right where his first Beatles/Beastie Boys release left off.

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CONFORCE
Machine Conspiracy - (2010)

Conforce, is Dutch techno producer Boris Bunnik. Machine Conspiracy continues in the same vein as Conforce's recent releases on Meanwhile and Modelisme, focusing on a bright and buoyant dub techno vibe. The album was recorded mostly in his bedroom in Leeuwarden, with two tracks originating on the Island of Terschelling, an isolated Dutch isle where Bunnik grew up, which is pictured on the album's cover. All the tracks on Machine Conspiracy are previously unreleased. Lush and melodic Detroit/Dutch techno album from the mighty Conforce. Ever since the release of his 'Our Concern EP' in late 2007, Boris Brunnik has forged a celebrated catalogue of heart-warming techno for labels like Rush Hour and Curle. He arrives at his debut album for Meanwhile, shaping six tracks (the CD release has ten) of synth-cushioned headspaces equally at home on the 'floor or the bedroom. His sound takes the most florid elements of Detroit operators like Carl Craig or Derrick May and fuses them with a European dub-techno sensibility to place him in the recent tradition of Convextion.

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YO LA TENGO
Ride The Tiger - (1986)

Anyone who encountered Yo La Tengo's first album, Ride the Tiger, upon its original release in 1986 can be forgiven if they didn't immediately recognize that the band would become one of the most consistently interesting American acts of the next 15 years. Yo La Tengo's debut is a decidedly modest affair, and Ira Kaplan often sounds as if he's still finding his feet as a singer and guitarist, though Dave Schramm does more than his share to take up the slack (in his liner essay for the 1993 reissue of Ride the Tiger, Kaplan went so far as to write that "Dave's guitar playing is inarguably the best thing about the record"). However, Kaplan already knew where he was going as a songwriter, as "The Cone of Silence," "The Forest Green," and "The Pain of Pain" make clear, and if the group's bracing blend of tuneful eclecticism and creatively applied noise was still gestating, Kaplan's lovely melodic sense and the haunting blend of his reedy tenor and Georgia Hubley's slightly fragile soprano marked Yo La Tengo as a band with real potential. Clint Conley made a rare post-Mission of Burma appearance on Ride the Tiger as producer (he also takes over from bassist Mike Lewis for three cuts), and he had the smarts not to impose a Vs.-style hard guitar sound on the band, instead making the most of the band's roomy jangle and giving the sound plenty of body when it needs it. Ride the Tiger is Yo La Tengo's juvenilia, and they'd create much stronger work a few years down the line, but on its own terms, it's an intelligent and engaging set, and any band that can cover the Kinks and Pete Seeger on the same album and make them both work must be doing something right.

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