Thursday, April 28, 2016

Eroc - 1979 - Eroc 3

Eroc 3

01. Wutpickel (1:41)
02. Tontillon (6:20)
03. Fito Linte (3:30)
04. Wolkenreise (4:27)
05. Solar Plexus (3:13)
06. Euer Lied (3:34)
07. Falke Whips It Out (6:32)
08. About My Town (3:48)
09. Sunny Sunday's Sunset (3:52)
10. He's Around Here (3:25)
11. Crew Blues Session (6:40)

- Axel Harlos / percussion
- Bernhard Uhlemann / bass, flute
- Gerd-Otto Kühn / lead guitar
- Joachim Ehrig (Eroc) / drums, percussion
- Ranier Loskand / vocals
- Stefan Danielak / rhythm guitar, vocals
- Wolfgang Jäger / bass

 Eroc 3 wasn't really a solo album but rather a retrospective of his works starting from 1968 and contained besides two new tracks mainly archived recordings done by him with Grobschnitt or the previous band called Crew Blues Session. Let's go roughly through the tracks presented here.
"Wutpickel" is a short bluesy piece originating from the time between disbandment of Crew Blues Session and formation of Grobschnitt when Joachim Ehrig played in a trio with the same name. "Tontillon" is an improvised instrumental track from the recording sessions for "Rockpommel's Land" and in a similar slightly melancholic vein as this album. "Fito Linte" and "Wolkenreise" are true solo works by Eroc and the latter one especially became quite well-known due to its highly memorable soaring melody. That one had been written as an introduction for Grobschnitt's 1978 live show. "Solar Plexus" is an excerpt of a live recording for "Solar Music" overdubbed with accordeon. "Euer Lied" is another one of Eroc's fun pieces, a rather simple drum solo starting with an invitation of the audience to accomplish it with their own music. "Falke Whips It Out" is a collage of recordings from 1968/69 featuring an improvisation over "Born To Be Wild", some screaming, some parodistic pompous organ solo and a phone talk of Eroc with Grobschnitt roadie Peter Falke railing about some famous Prog bands. "About My Town" is an early live recording by Grobschnitt from 1971 with second drummer Axel Harlos which never saw a release on any of their albums. "Sunny Sunday's Sunset" is a demo version of the recording session for Jumbo album sounding completely different from the final version. The final "He's Around Here" was the first recording of Crew Blues Session which never saw a release, the music is a rather simple beat and only the voice of Stefan Danielak reminds at Grobschnitt. "Crew Blues Session" is an excerpt of an improvisation of the band played during their farewell concert in October 1969. This was actually the very original version of "Solar Music", here still with scatting vocals by bass player Peter Klassen but one can hear already the typical spacey sound.

Recently all of Eroc's solo records got CD reissues finally with the addition of multiple bonus tracks. This one was actually the most interesting sounding one at least for me providing a quite nice and enjoyable historical overview. Nevertheless I don't see any reason why it should be of much interest for others than fans of this particular band.

Eroc - 1976 - Zwei


01. Nebelwelt
02. Ein Unhoflicher Anfang
03. Aktuelles Vorwort
04. Der Traum Vom Wald
05. Lied Von Der Brucke
06. Toni Geht Nach Boelerheide
07. Geleerte Worte
08. Bemep-mope
09. Kleine Freude
10. Prof Erwin Senkellfuss
11. Sonnenfluch
12. Herr Von Schwabulahn
13. Das Irrsinnslied
14. Eine Erkenntnis
15. Ich Bin Ein Lachen
16. Sternwelke
17. Ein höflicher Abgang
16. Unsere Neuen Rosen
17. Geburtstagsständchen
18. Das Irsinnslied
19. Eine Erkenntnis
20. Ich Bin Ein Lachen
21. Sternenwelke
22. Ein Höflicher Abgang
23. Psychodelic Cloud
24. Morley's Orgasm
25. Liebeslied
26. Der Mond Ist Aus Grünem Käse
27. Der Marsch Der Pfifferlinge
28. Sprache Der Pfifferlinge
29. Sprache Der Pfifferlinge 2
30. Sprache Der Pfifferlinge 3

CD reissue of the 1976 release on Brain (tracks 1 to 22) with bonus (tracks 23 to 30). Note: some tracks have been retitled on this release.
- Eroc (Joachim Ehrig) / drums, percussion
- Toni Moff Mollo (Ranier Loskand) / vocals

Anyone under the misguided impression that Germans don't have a sense of humor obviously hasn't been listening very closely. What's that you say? You don't recall the deadpan "Showroom Dummies" of KRAFTWERK? Or HOLGER CZUKAY's iconoclastic radio-wave cut-ups (turning even the late Pope John Paul II into an unwitting pop star)? And what about the Dada-Krautrock de-construction follies of FAUST?
Discriminating Progheads with long memories will at least have heard the name Joachim Ehrig, alias EROC, the multi-talented percussionist and resident madman behind the symphonic cabaret act known as GROBSCHNITT. The band was a popular concert attraction throughout the 1970s, famous for blending classic YES and PINK FLOYD influenced Prog Rock with elaborate vaudeville comedy skits, a tradition their pseudonymous drummer would carry into his own solo career as well.

Especially here, in his sophomore effort (or maybe it's only sophomoric?), in retrospect probably the wackiest thing of its kind since Monty Python's "Matching Tie and Hankerchief" album, which you'll remember had two parallel grooves on one side of the original LP, and good luck trying to guess which one the needle would follow.

Over the course of seventeen total tracks (lasting almost 50 minutes, and rivaling the side-long soundscapes of KLAUS SCHULZE for old-style vinyl generosity) Eroc delivers a vocal performance that can only be called eccentric (to say the least). He whispers, screams, coughs up phlegm, emotes in high dramatic fashion, conducts a bogus interview, interrupts the music with idle chit-chat and commentary, sings background harmonies sounding not unlike a chorus of Sesame Street muppets, fakes an orgasm (or is it constipation?) and, in one memorable highlight, punctuates a formal poetry recital with a window-rattling belch of truly epic proportions (cue the maniacal laughter: always an Eroc trademark).

And did I mention the sound effects? Traffic jams, toilets flushing, tolling bells, sawing wood, orchestral fanfares, machine-gun fire, and even samples of earlier Grobschnitt songs are all part of the overstuffed sonic collage. With all that (and more besides) you'd think there wouldn't be any room left for legitimate music. But Eroc backs up his theatrical conceits with a credible range of high-caliber tunes, playing all the instruments himself: keyboards, guitars, kazoos, accordions, warped Oktoberfest flugelhorns, and (of course) drums. There are even a few evocative, quasi- Krautrock interludes, scattered like life preservers throughout the otherwise relentless, broad-as-a-barn-door laff-riot.

Oddly enough, the best way to appreciate the album is without any understanding of German...although it's hard to miss the quotation from Kraftwerk's "Autobahn", shouted during the song "Der Traum Vom Wald". I suspect a direct translation might be just too idiotic to support repeated listenings, but the language barrier keeps the silliness from becoming too stupid, even when Herr Ehrig is burping his guts inside out.

Eroc - 1975 - Eroc


01. kleine eva (12:02)
02. des tauberers traum (5:22)
03. toni moff mollo (0:48)
04. die musik vom "ölberg" (1:13)
05. norderland (6:26)
06. horrorgoll (6:30)
07. sternchen (3:31)

2005 Brain Records CD re-issue (* unpublished bonus tracks):

01. Begrüßung (1:39) *
02. Kleine Eva (11:53)
03. Des Zauberers Traum (5:22)
04. Toni Moff Mollo (0:46)
05. Die Musik Vom Ölberg (1:26)
06. Chaotic Reaction (3:48) *
07. Norderland (6:30)
08. Horrorgoll (6:36)
09. Sternchen (3:34)
10. Teenage Love '69 (5:20) *
11. Abenfrieden (2:25) *
12. Ostergloingg (2:53) *
13. Andromeda (2:21) *

- Eroc (Joachim Heinz Ehrig) / keyboards, electronics, guitar, drums

Recorded at Eroc's Heimstudio and THG-Aula, Hagen, 1970 - 1974.
Mixed at Windrose-Studio, Hamburg, 1972 and Menga-Tonstudio, Gelsenkirchen, 1973 - 1974.

Eroc (Joachim Heinz Ehrig) started his solo career in 1975 while he was currently the drummer of Grobschnitt. His self titled album can be considered as a cross between Gorbschnitt's typical symphonic amazing music and electronic/ synthscapes dominated by numerous original sound manipulations. Despite that he was originally recognised as a drummer, here Eroc is the man behind the machines, controlling solid essays in synth experimentations and electronic collages. His first album is an absolute must in Kraut/ electronic genre, very abstract, emotional and a mix of different moods. This album is an opponent worthy of Klaus Schulze's first realisations in space/ "kosmische" electronic music. His following album ("Zwei" published by "Brain" in 1976) continues to process by a combination between rock and electronic but focused on short, efficient sketches. Humour and derision are clearly exposed in the lyrics and recitations. "Zwei" is a reminiscence of Grobschnitt's theatrical universe with lot of "gags" but the atmosphere is much more introspective, sometimes delivering deliciously melancholic melodies. After this two first very recommended efforts, Eroc pursues his solo career notably providing a kind of reunion, family album ("Eroc 3") with others Grobschnitt members. In parallel he also started a professional career as musical producer, recently published albums of Das Scheitas (among others).

 As the drummer, lyricist and co-producer of famed Teutonic prog outfit Grobschnitt, Joachim Ehrig - who is otherwise better known under the self-chosen pseudonym 'Eroc' - has enjoyed a long, colourful and successful career in his native German homeland. Known for their quirky sense of humour, fantastical themes, epic concept albums and highly-skilled musicianship, Grobschnitt were one of the premier German rock acts of the 1970s, especially in the live arena. Although strong domestic sales and deliberately-English lyrics failed to translate into British or American success, throughout Central Europe Grobschnitt's reputation was fearsome and well-earned. The album's 'Grobschnitt', 'Ballermann' and 'Jumbo', as well as a punishing live schedule, had seen the group develop from slightly awkward psychedelic rock origins into a full-blown, Yes-styled, symphonic prog group featuring lush, complex instrumentation, layers of keyboards and synthesizers and suitably striking artwork adorning the gatefold LP vinyl jackets. However, it would be the impressive, space-rock themed double-album 'Ballermann' that would really put Grobschnitt on the(central European) map thanks to the epic, 33-minute long composition 'Solar Music' which took up both sides of the second disc on the original release. With this success behind them, Grobschnitt would temporarily fragment, allowing Eroc to complete work on his long-mooted and eponymously-titled debut solo album. Released in 1975, several months before the group's much-anticipated third album 'Jumbo', 'Eroc 1'(as it has now come to be know thanks to subsequent and similarly-monikered follow-up albums) equally baffled, bemused and excited those who bought it. Obviously influenced by the innovative electronic krautrock groups Cluster, Harmonia, Tangerine Dream and, of course, Kraftwerk, Eroc's genre-defying debut is far-removed from the drummer's Grobschnitt days. Instead of intricate guitar-keyboard interplay and manic comedy 'Eroc' feeds the listener a series of slowly-evolving and carefully-layered electronic compositions that seem to blend the melodic instincts of progressive rock with the experimental nous of Berlin school sonic design. The album has a cool, relaxed and slightly detached vibe, as evidenced on the beautifully-ornate 'Kleine Eva', which crawls slowly and deliberately through twelve minutes of gently-pulsating, small-hour-evincing, electro ambient pop soundscapes in a style not dissimilar from mid-period Klaus Schulze albums such as Picture Music and Mirage. Later tracks, such as the rougher 'Norderland' and the almost celestial 'Sternchen' also tread this electro-psych path, only with an occasional nod-and-wink to Eroc's work with Grobschnitt. Surprisingly, and unlike many other band-members, Eroc has not employed any of his colleagues to help him on the recordings. Instead, the talented drummer has played all the instruments himself, including keyboards, synths and guitars, which may explain the slow pace of much of the material on offer. However, despite this minor critique, Eroc's debut reveals itself to be a truly original - and welcome - stylistic departure. Despite their German heritage, Grobschnitt were never considered a 'krautrock' group. In creating this LP, Eroc has joined the ranks of electronic purveyors who made that dubiously-titled genre so fascinating, and fans of analogue electronica should find much to admire on this refreshing record.

Costin Miereanu - 1975 - Luna cinese

Costin Miereanu 
Luna cinese

01. Lato x opp. y Parte Prima (Seconda) 20:53
02. Lato y opp. x Parte Seconda (Prima) 20:30

Voice [Voce Recitante] – Varin M. Broun
Recorded at Studi Ricordi, Milano

Costin Miereanu was born on February 27, 1943. A graduate of the Bucharest Conservatory, Miereanu entered the international musical world in 1967, when his avant-garde piano concerto Finis coronat opus was awarded the Gaudeamus International Composers Award. One year later, following an invitation to Darmstadt, Miereanu joined the long line of Romanian intellectuals who were disobeying the restrictions on emigration imposed by the Romanian communist regime, and decided to never return to his homeland. Eventually he settled in Paris, a decision of fundamental impact not only on his career, but especially on the freedom of expression as an artist.

During his student years in Bucharest, Miereanu benefited greatly from the guidance of professors such as Stefan Niculescu, Aurel Stroe, Anatol Vieru, Tiberiu Olah, and Myriam Marbé, all part of the elite generation of Romanian post-war composers. This was Miereanu’s opportunity to come in contact with the most recent trends in Western composition, through scores and recordings more or less officially made available to Romanian musicians, since they were diametrically opposed to the communist aesthetic doctrine. Alongside his growing interest in new music, Miereanu also pursued a thorough analysis of ancient music, in particular the works of Flemish school composers. Here he found a technique he would make extensive use of in his mature compositions: the continuous transformation of a musical motive or idea.

In the musical landscape of his native country, Miereanu became a prominent figure already as a student: for several years he published articles in an avant-garde cultural magazine, The Amphitheatre, debating issues on modern music and contemporary composers, simultaneously engaging into preoccupations as a critic. But the first major step as a musicologist was taken once he joined Doru Popovici – Romanian clarinettist and ardent promoter of the contemporary music – in writing a book dedicated to the early stages of Romanian musique savante. Initially published as fragments in important journals, the book had as its main goal the rehabilitation of a historical truth that had been the victim of imprecisions or wrongful interpretations.

Miereanu’s multi-faceted activity, so obviously put in the service of modern music, soon labelled him as a rebel in the eyes of the political authorities. In 1967, he was denied the access to a German scholarship he had received to study with Penderecki in Essen, but the chance was, nevertheless, by his side. Later that year, he travelled to Darmstadt, to work with Stockhausen, Ligeti, and Karkoschka at the Ferienkurse für Neue Musik. He went back to Darmstadt in 1968 and never returned to his homeland.

Miereanu’s talent was noticed not only by Stockhausen, who selected him for the team of the project Musik für ein Haus, but also by Romanian Mica Salabert, president of the Parisian publishing house Salabert. Committed to contemporary music and notably to the generation of Romanian young composers, Mika Salabert immediately offered Miereanu a contract, by which some of his already existent works and all the others he would compose were to be published under this label. Later, between 1981 and 1991, Miereanu assumed the artistic directorship of Salabert.

Miereanu’s interest to pursue multi-disciplinary studies led him to an encounter that changed the entire course of his professional life: in 1970, he was admitted at the Ecole des Hautes Etudes en Sciences Sociales, where he met and studied with Greimas and Barthes. In 1978, he defended his doctorate in musical semiotics, under Greimas’s supervision, and in 1979 his State Doctorate for Letters and Social Sciences, under Daniel Charles (Université Paris VIII). In 1981, Miereanu was appointed professor at Université Paris I, where he taught Philosophy, Aesthetics, and Artistic Sciences until 2013, when he was conferred the title of professor emeritus.

 I've always found it baffling that; of all of the Cramps titles reissued and re-reissued over the past few years, this piece, considered by many followers of the “Dark Side-long Aleatoric Electro-Acoustic Collage” aesthetic - see Dub Taylor, Luis De Pablo, Jean Claude Eloy, - to be one of the finest examples of said, was never given its due time in the warm, contemporary sun. Kudos, then, for the Nth time, to Mr. P.C. C.P. for his prescient, timely efforts. Do, aside from “Dark Side-long Aleatoric Electro-Acoustic Collage,” what does it sound like you ask? imagine Xenakis’ bells-and-trinkets epic “Bohor” overlaid with Basil Kirchin’s “Worlds within Worlds” and generations of pan-linguistic self-help / instructional programs - at any given time in the piece there are at least 4-5 separate layers of gated textures, field recordings, dissonant / glassy ensemble playing, and a bed of Synthesized Drone-sound. The voices that dominate the first half in strident, authoritative tones give way in the second half to sparse moaning and sustained ululations, leaving more room for the woozy “Instrumental” textures. An ominous, creepy piece; not for the weak of constitution.

Claudio Rocchi - 1975 - Rocchi

Claudio Rocchi 

01. Zen Session 13:30
02. Zero 4:34
03. Aijdmal 3:32
04. Il Giorno Di Malcom Azul 4:30
05. Chota Sa Balma 4:30
06. Certa Puglia 5:08

Registratro in casa fra il Novembre '74 e l'Ottobre '75.
Recorded at home between November '74 and October '75.

Claudio Rocchi (Milan, January 8 1951, † Rome, 18 June 2013) was the original bass guitarist of Stormy Six, and played on their first album Le idee di oggi per la musica di domani, leaving the band soon after the album release for a solo career that started in 1970 with the first album, Viaggio, mainly acoustic and with good flute playing by PFM's Mauro Pagani.
Always influenced by eastern doctrines (he later became a Hare Krishna), he was also active in anti-war movements and always present at the various Italian pop festivals of the early 70's.
A second album in 1971, Volo magico n.1, is usually considered as his best effort, in much the same style as Alan Sorrenti's Aria with a side-long title track and softer tracks on the other side. The 18 minute long title track starts with a soft introduction and goes on with hypnotic move based on the guitars of Alberto Camerini and Ricky Belloni (from Nuova Idea and later New Trolls).
Next album, La norma del cielo (subtitled Volo Magico n.2) was similar, but weakest in comparison, and after a long journey to India he released Essenza at the end of 1973, with help from Elio D'Anna (Osanna) and Mino De Martino (Giganti) among others.
Il miele dei pianeti, le isole, le api was a six-track album mainly based as usual on Rocchi's acoustic guitar folk-psych compositions, but featured well-known guests such as Walter Maioli (from Aktuala), Trilok Gurtu (that played with the same band at that time) and violinist/multi instrumentalist Lucio Fabbri (from Piazza delle Erbe, then a long time Eugenio Finardi collaborator and from 1978 with PFM, he also released a solo album on Cramps).
Later production had more use of electronics and interest in experimental sounds. In 1980 while in a Hare Krishna community he released Un gusto superiore with Paolo Tofani (Area).
In 2007 Claudio Rocchi directed the film Pedra Mendalza (the name of a popular volcanic hill in Sardinia) and its soundtrack, released on CD in 2008.

Boyd Rice - 1977 - The Black Album

Boyd Rice 
The Black Album

01. Untitled
02. Untitled
03. Untitled
04. Untitled
05. Untitled
06. Untitled
07. Untitled
08. Untitled
09. Untitled

Boyd Rice is a dark shadow hanging tall over (counter) (popular) culture in many forms, be it as noise/industrial (music) originator (pioneering the use of multi axial record center holes and locked grooves), absurdist prankster (attempting to present Betty Ford - first lady at the time - a goat's head in 1975), literary surveyor/interviewee/topic of discussion (The Industrial Culture Handbook, Incredibly Strange Films, Cinema Contra Cinema, Apocalypse Culture, 100 Artists See Satan, Rollerderby, The Manson File, Ben Is Dead, Modern Drunkard...), cult(ural) agent provocateur (his championing of Social Darwinism, Charles Manson's release from prison, a kind of aesthetic extremism,  involvement in both the Church of Satan and the Partridge Family Temple, the Boyd Rice Presents series...), visual artist (photography, painting, graphic media), filmmaker and actor (2004's Pearls Before Swines). As a recording artist, his first efforts making home tapes date from 1975, but would only later be documented and taken further on releases such as the 1977 (later Mute re-released) Boyd Rice LP, the Mode of Infection / Knife Ladder 7" single (later re-released as a 1980 split 7" with Smegma), the 1981 locked/loop groove collection (actually a 7" housed in a 12" sleeve) Pagan Muzak and an ever-growing discography until the recent Terra incognita: Ambient Works, 1975-Present compilation.

His numerous associations with like minded spirits have given way to projects/releases such as the Easy Listening for the Hard of Hearing LP with Frank Tovey (Fad Gadget) in 1981 (unreleased until 1984 due to record sleeve related disagreements), the Boyd Rice and Friends project in 1990 (with among others Douglas P., Michael Moynihan, Rose McDowall, Tony Wakeford, Bob Ferbrache, Albin Julius and ex-SPK/Current 93 John Murphy), the Seasons in the Sun LP (as well as the Johnny Remember Me single) with Rose McDowall (as SPELL) in 1993, the I'm Just Like You 10" as The Tards with Adam Parfrey through Sympathy for the Record Industry in 1993, Monopoly Queen a 1994 Sub Pop Records single of the month club release with Combustible Edison and Mary-Ellen Carver, Hatesville! from 1995 by The Boyd Rice Experience with Adam Parfrey, Jim Goad and Shaun Partridge, 1996's Heaven Sent as Scorpion Wind (with Douglas P. and John Murphy), The Way I Feel (2000), a compilation of team ups with among others, Joel Haertling, David Tibet, Chthonic Force, Coil, Tiffany Anders, Winona Righteous, Little Fyodor, Luftwaffe as well as some some previously released sellections. 2002 saw the release of Wolf Pact credited to Boyd Rice and Fiends (with Douglas P. and Albin Julius). 2004's Alarm Agents is the at last full fledged collaboration with Death in June.

Playable at any speed. All selections by Boyd Rice. Recorded Decembre 1975 - January 1976.
Solid black cover. Usually referred to as "The Black Album".

Boyd Rice came from the very bosom of American society – a Southern California trailer park. Nurtured in infancy on the cult TV show Dark Shadows – “the wrongful influence on my life, according to my dad” – he dropped out of school in 10th Grade, in order to avoid the daily pounding from local jocks who were convinced he must be gay. Instead, the youthful Rice studied the art of subterfuge, subjecting his neighbours to a steady barrage of destabilizing pranks including impersonating an official from the Bureau Of Animal Control, and convincing a housewife that her son was harbouring poisonous snakes in her backyard. “To listen to this woman screaming at her kid and shaking him around and him squealing, ‘Mom, I don’t have any snakes,’ made me realise that we’d sucked people into this alternate reality,” he later recalled. “They were playing by our rules.” It was an experience that would stand Rice in good stead for later life. Boyd had no ambitions for a nine to five life, surmising that he would probably grow up to become a thief. But a fascination with pop music would open up another avenue for voracious exploration. Whilst his peers smoked dope to Led Zeppelin, Rice was immersing himself in The Archies and The Shangri-La’s, noting the extraordinarily manipulative powers of bubblegum music. “It had a directness and seemed like the real stuff,” he noted. “It made you feel emotional and I think people find that really threatening, to have some sappy, sugary pop song make them happy or sad. They want to be in control of their emotions. They don’t want to submit to something which is just good fun.” When Boyd analysed what he liked about such music, he found it was the quality of the actual tones of the girl’s voices. “I felt that if somebody could just take these piercing, harsh tones in the girl’s voices and reduce them to a drone, that would be great. After a certain amount of time I realised that nobody was actually going to do that, and if I wanted music like that I would just have to figure out a way to create it myself.” With no musical training whatsoever, Boyd pursued his vision with the acquisition of a number of tape recorders, collecting sounds from the streets which he would mix and match with sampled Easy Listening samples and run them in loops. “I wanted to do something myself and be in total control, and with a tape recorder that was very easy. You have a blank reel of tape one moment and the next something exists that never existed before. That really excited me.” Locally, the responses to his work were somewhat belittling: “In the middle-70's no one was listening to this type of music,” he recalled. “People thought I was insane. They thought that I was this creative, talented guy who was just wasting my time by pouring it into some kind of sociopathic attempt to inflict pain on people.” His first record, which came to be known as Boyd Rice’s ‘Black Album’ was initially restricted to 85 pressings, recorded at the end of 1975. On it, he took the functional aesthetic of Easy Listening to its furthest logical conclusion: “I think I created something that blanks out your brain, leaving a vacuum and allowing new thoughts to form. There is no area of modern life where you have room for undirected thought. Unless you’re sitting on a toilet, there is always some intrusive information. I wanted to crate something that would run all the thought out of people’s heads.” The Black Album was self released in 1977 and re-released on Mute Records ltd. (STUMM 4) in 1981. Playable at any speed. All selections by Boyd Rice. Recorded December 1975 – January 1976. Solid black cover. I recorded it at 33 rpm.

Contextually, or historically if you prefer, this is pretty much as out there, exploratory/provocative speaking anyway, as any of them.

The fragmentary and at times drone like frenzy here simultaneously evokes a Hymnen period Karlheinz Stockhausen, a young and riotous John Cale, and of course, his highness Milan Knížák. Not a small feat at all in my book.

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.