Thursday, April 28, 2016

Bomis Prendin - 1979 - Test

Bomis Prendin 

01. Rastamunkies
02. Artemia Salinas
03. October Bargain Days
04. 38 Angry Tigers
05. N.Y. Nightmare
06. Malay Deadfall
07. Umbral Vectors
08. 2%
09. Not At Home
10. Blauegeist
11. Auto-acupuncture

Music By – Bomis Prendin
Performer – Bill Altice, Bomis Prendin, Candeee, Corvus Crorson, Miles Anderson
Recorded November 1978-May 1979 at Threatening Canopy Studio I.
Edition: 1.000

Bomis Prendin.  They broke the mold.  The question is, was it after they made him, or before?  Keyboards, percussion, vocals, scribbling, taping, etc.
Corvus Crorson.  He started it, damn him.  Drink too much coffee, and this could happen to you, too.  Beware.  Noise of all kinds.
Miles Anderson.  An unholy cross between a human being and a Fender Stratocaster.  Lead guitar, vocals, anti-composition.
Hungry "Isaac" Hidden.  Shy and retiring, he's a wee little fellow who plays a funky-ass bass when the situation calls for it and, really, when doesn't it? Vocals as well.
Candeee.  Despite the name, she would probably be a choking hazard.  It would be best to just listen to the atmospherics she brings to the equation.

Bomis Prendin - The early years   We got together sometime in 1978, refugees from the liberal and other arts, five post-adolescent DC-area transplants from Richmond and Pittsburgh. Within a few weeks, we were free-styling noisily in a living room cluttered with guitars and amps, a wheezing antique organ, rewired plastic musical toys, a half-dozen analog effects. We wrote songs on occasion, but more often just started making sounds, then made other sounds, ping-ponging between two cheap cassette decks.   With inexplicable hubris, we took our lowly Radio Shack Gold cassette master to a real recording studio to see if they could remove some of the hiss, so loud at times it was almost like having a rattlesnake in the band. After a few hours of brilliant work by our engineer, Malcolm “Pep” Peplow, we walked out with TEST on a reel of 1/4-inch tape the size of a pizza.   Throughout the rest of the process of designing and manufacturing the 1,000 or so copies we made, we all worked together, a half-baked assembly line, gluing and folding and stamping and bagging and putting little stickers on. We sent out copies, got lots of interesting reviews (including mail from Jandek, Fred Frith, Matt Howarth, Gary Panter, Irwin Chusid, Vale of Search & Destroy, Tim Sommer at Trouser Press, and Trev Faull at OUTLET, among others) and we even played a few shows. It was so much fun, we did it all over again a year later with Phantom Limb.   25 years later, after discovering that original copies of TEST and Phantom Limb were much in demand at ten times their 1980s price of $2.50, we sent our original 1/4-inch masters to Tom Kikta at DDAI in Pittsburgh for baking and digital transfer. Listening to the result was a revelation, as it will be for anyone who’s only heard the somewhat lo-fi flexidisc version. It’s as close to being in that cluttered living room as you, or we, can get.    These two flexi's were the basis for Bomis Prendin's inclusion on Steven Stapleton's now-legendary “Nurse With Wound” list.   - Miles Anderson

OUTLET Magazine, 1980/No. 21 - Trev Faull (Ilford, Essex, UK)

"........I picked up the interesting looking 10" sleeve from the racks and handed it up to the assistant behind the counter. The assistant took a glance at it and I enquired what it was like? I obtained a negative response in fact as I found it was a flexi album and L3 at that the assistant said it was probably not worth the money anyhow and they only had the one. Such salesmanship always staggers me and there was something about the tone of voice in which it was employed that made me doubly resolved to buy the thing. I'm relieved to say I was very glad I did. The album is a thick type of flexi with surprisingly good recording quality too. RASTAMUNKIES opens the first side with a jolly pop style song all jaunting guitars giving no idea as to what was to come. ARTEMIA SALINAS led the way, solemn blending of guitars and voices rushing into one vibrating wind that led into OCTOBER BARGAIN DAYS. The voices here seem to be mingled with that of an announcer and it's pretty difficult to find out what the hell's going on! 38 ANGRY TIGERS begins the electronics which (with?) blips and farts and all manner of jungle noises. A guitar hangs frosted notes upon the beasts of the jungle and in turn they bey and call to the music. N.Y. NIGHTMARE continues the atmospherics. A voice reciting words over the top of electronic doodlings. At times it sounds as if a whole flock of birds are taking over the recording studios. After 3 or 4 plays it gets very captivating! MALAY DEADFALL closes on a short note full of more electronic intricases. A definite Residents feel to this. Turn over for the strange sound of UMBRAL VECTORS where the industrial side of things takes over. Gone are the conventional sounds. All that's left are like distorted phantoms creating uneasy vignettes of sound patterns. Chaotic at times but interesting to observe. After the machines are set on overload it is followed by "2%". With the benefit of low grade guitar mix, special effects and a drawling voice a song breaks forth about 2% of everything. The voice is strangely mutated into a whispered echo that keeps the original voice company all through. NOT AT HOME begins with the electronic jungle sounds and all manner of contortions and textures are drained forth. What does a black hole sound like? Maybe like this, I dunno but the way it buzzes and bleeps is quite extraordinary....uneasy listening! BLAUGEIST arrives from the region of the twilight zone and poses the question....Why hav'nt Ralph Records signed em to a long term contract yet, or perhaps they are already defunct? This is a brief grating sound and makes way for the final song "AUTO-ACUPUNCTURE". Oriental electronics with tinkling piano and just about everything else are contained here. The vocals are the best on the LP. It has that distictive drone of sound with all manner of instruments vyung for control. Almost dub at times it ends on a whine of motorised sound that poses the question....did the machines really take over?? Seek and enjoy."

If I say it's a series of shortish wonky numbers (mainly instrumental, but some with equally wonky vocals), it'll sound like I mean it resembles the Residents. It doesn't (well, not that much): it's noisier and dirtier than that, and much less contrived, more like the first DAF or Der Plan records (Neue Amerikanische Welle?). This is a good thing. Ideal for mixtapes. Sprinkle them amongst Chuck Berry, Hank Williams and the Shangri-Las and spread some happiness.

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