General Music Chat

Incomplete Discography:
______________________
Mystic Marsha – Why Can’t We Be Friends?
Mystic Marsha – Love Is Time
Mystic Marsha – Souls on Fire
Mystic Marsha – Starward Fury EP
Mike Nobody - Birthday
Mike Nobody – Edible Audio
Edible Audio – Windy Saturn
Edible Audio – Talking Machine
Edible Audio – Laugh On The World
F2RC (Fresh Farmed Raised Catfish) – blurk!
Bionics – S/T
Bionics – Moving Target
N2-Submission – The Deal
N2-Submission – Black Christmas
N2-Submission – St. Patty’s Day Massacre
N2-Submission – My Only Obsession
N2-Submission – First Kill
N2-Submission – Necessary Evil

Mandibles in Crisis magazine from Hawaii released a comp. featuring Mike Nobody, which also featured: Fognozzle, Xome, 3D House of Beef, Cock E.S.P., Jay T. Yamamoto and Men's Recovery Project. Contact: Mandibles in Crisis; 99-1661 A Aiea Heights Drive; Aiea Heights, HI 96701

Vermiform Records released a great noise compilation CD called Fruited Other Surfaces in 1998. Mike Nobody contributed alongside such luminaries as Krebstar, Drop Dead, The Replikants, Rah Bras, Lightning Bolt and Vermiform stalwarts Men's Recovery Project.





Well, I've got a few extra tapes left, copies I don't need.


marsha cover complete by Mike Damn Nobody, on Flickr

Mystic Marsha - Starward Fury (Copyright 1998 - Three Tunes on an Ensoniq Synthesizer, artwork by Mike Nobody)


mike nobody edible audio tapes by Mike Damn Nobody, on Flickr

Mike Nobody - Edible Audio (Tapes recorded between 1978-1994 get mixed on a karaoke machine. Crude and noisy)

I've got two copies of each available, if anyone is interested. I thought maybe $4 would be about right, postage included. Maybe $6 for two.

I've never used PayPal to receive funds before. But, I'll try it if anyone knows how. Otherwise, I'll have to do the check via snail mail thing.

http://forum.bandmix.com/viewtopic.php?t=16160

Yesterday, I went poking around the apartment looking for old tapes. The dust kicked up aggravated my allergies so badly I still can't breathe right.

I may post something from 'em. I may see about reissuing 'em. I don't know. It's a pain in the ass. It is mostly noise and industrial music. Hardly representative of my playing skill level or what I'm doing with NegativeM+. THAT'S WHY I HAVEN'T POSTED THESE BEFORE.

Is there any good reason to convert these besides shutting up some loudmouth assholes online (which it probably won't anyway)?

Remember to always support artists. Spend your hard-earned money on new music. See live music. Buy their mersh. Write them letters. Give them sex and gifts!

Yesterday, I went poking around the apartment looking for old tapes. The dust kicked up aggravated my allergies so badly I still can't breathe right.

I may post something from 'em. I may see about reissuing 'em. I don't know. It's a pain in the ass. It is mostly noise and industrial music. Hardly representative of my playing skill level or what I'm doing with NegativeM+. THAT'S WHY I HAVEN'T POSTED THESE BEFORE.

Is there any good reason to convert these besides shutting up some loudmouth assholes online (which it probably won't anyway)?

I honestly dont see the point in posting old project/music/lyrics if it's not indicative of what you're doing now. Unless you feel the need to prove yourself to other members on this site. This is a subject that's hard to drum into the heads of some members here. I have every intention of posting vids, at some point, in due time. Also, I have written or collaborated on material 'behind the curtains' so-to-speak, and I would not only be breaking contract, but getting a lot of people in the industry pissed off and not getting any more work from them.
Having a catalog of original music is a major asset. Some of the songs I've sold I wrote over ten years ago. The subject matter or the style didnt work back then, so they went into the vault.

Yesterday, I went poking around the apartment looking for old tapes. The dust kicked up aggravated my allergies so badly I still can't breathe right.

I may post something from 'em. I may see about reissuing 'em. I don't know. It's a pain in the ass. It is mostly noise and industrial music. Hardly representative of my playing skill level or what I'm doing with NegativeM+. THAT'S WHY I HAVEN'T POSTED THESE BEFORE.

Is there any good reason to convert these besides shutting up some loudmouth assholes online (which it probably won't anyway)?

I honestly dont see the point in posting old project/music/lyrics if it's not indicative of what you're doing now. Unless you feel the need to prove yourself to other members on this site. This is a subject that's hard to drum into the heads of some members here.

I'm one of the loudmouth a-holes , so I'll try to put some perspective on any comments I've made about having stuff on your profile.

Initially I thought this site was for finding musicians of like mind and as such, members should put up their resume so that people looking for others to join their project can determine if you are a match, and vice versa. I've never really thought of it so much as having anything to do with proving yourself to other musicians, though I think everyone would like a pat on the back or constructive criticisms on their work.

On hindsight though, the forums here DO reflect another aspect of the site that I wasn't taking into consideration when I made my initial comments, so I apologize for being a profile Nazi. It's really none of my business.

If after having said that, my opinion has anything worth consideration, then here it follows - otherwise, just move along cuz it's that nut-job SirJamsalot opening his mouth again.

In my humble opinion, if anyone thinks that his past work represents what he wants to do going forward, and if he's serious about hooking up with other musicians to pursue it, then he *should* get his stuff posted, if even just one item. After all, this is kind of your resume to find like-minds, right?

If you're just here to chit-chat in the forums, well it IS General chat and what you have or don't have on your profile is none of anyone's business. So I'll just shut up on this topic - I've seen the light!

regards

Wow SirJams that was the most reasonable, well-thought-out thing you've written here.













Are you on drugs today?

Wow SirJams that was the most reasonable, well-thought-out thing you've written here.













Are you on drugs today?

touche'

Low Morale - Mongoloid (Samhain Party 1995)
Video on profile

Devo cover. Not very complicated. But, as you can tell, the guitarist had trouble playing in tune to THAT...and he was the "professional" of the group (am I the only person who uses a tuner anymore?). The drummer just bought his first kit a month prior to playing this. The only payment for playing this Samhain Party was beer that the guy with the house brewed himself. Chocolate beer, yuk!

It got cut off. But, the drummer says at the end of the set, "Thank you for enduring us."

We sort of de-evolved from a mediocre hardcore group into a crummy new wave band within a few months.
Just another short-lived group that went nowhere.

Brown Cuts Neighbors

The Brown Cuts Neighbors (BCN) was formed by Jason and Colleen Martin (AKA Lady Starlight) in Schenectady, New York in 1980, and included an army of stuffed animals, imaginary people, and other entities. Their first tape, "Should Could Would" was recorded in September 1980. Early performances included broadcasting toy guitars / vocals / percussion into the street, via the stereo. Throughout the '80's BCN made about 10 tapes with hand drawn covers. Variety shows were produced to accompany some of these tapes, using dad's Sony Beta Porta-Pak video camera and light from slide projectors.
BCN later became an experimental rock band whose music combined Captain Beefheart-esque stylings with garage rock and tape manipulations. Formed in 1980, the primary human members were Jason Martin, James Kopta, and Marc Arsenault, with several others participating. They also did street theatre and created more than 50 films, many of which were shown on public access but a few were aired on national television. They released many audio tapes and two 7" vinyl records. Dara, the drummer on the second 7", was also a member of His Name Is Alive and had solo material released on Ecstatic Peace. The Brown Cuts Neighbors also covered the song "I'm a Mensch" on "The Necessary Effect - Screamers Songs Interpreted" double CD tribute to The Screamers. James Kopta died on August 9, 2002 due to an unknown accident.

Source: Wikipedia

Friend Jason Martin's Public Access TV Band, whom we've collaborated with since the early nineties.

Videos on profile.

Wesley Willis (May 31, 1963 – August 21, 2003) was a busker, musician, and artist from Chicago. A diagnosed chronic schizophrenic, he gained an enormous cult following in the 1990s after releasing several hundred songs of simple but unique music, with emphasis on his humorous, bizarre, and frequently obscene lyrics. In addition to his large body of solo musical work, Willis fronted the punk rock band the Wesley Willis Fiasco. He was also a visual artist long before his forays into music, and produced hundreds of intricate, unusual, colored ink-pen drawings, most of them of Chicago streetscapes and CTA buses.

Willis was born in Chicago, Illinois on May 31, 1963. In 1989, Willis began hearing what he called "demons" and was diagnosed with paranoid schizophrenia. He was institutionalized for two months after his diagnosis. He often mentioned that his demons were named "Heartbreaker", "Nervewrecker", and "Meansucker". He called his psychotic episodes "hell rides", and alternatively, he declared rock and roll to be "the joy ride music".

Willis sold ink pen drawings of the Chicago cityscape on the street (in The Daddy of Rock 'N' Roll, Steve Albini tells an anecdote about how Willis was in one train station drawing a detailed picture of a different train station from memory). These works of outsider art appear on the covers of his albums. Willis joined musicians from the city's alternative rock scene to form the hard rock band The Wesley Willis Fiasco. Willis created a fervor in the Chicago music scene and soon caught the attention of American Recordings, an independent label distributed by The Warner Group.

In early 1994, Willis recorded with the Canadian industrial-metal band Monster Voodoo Machine and appeared on their Juno Award winning debut album Suffersystem (RCA Records). In 1995, Willis was signed as a solo musician to American Recordings and went on to record two albums while producing dozens of other albums independently, becoming a minor novelty rock sensation. He toured frequently, was profiled on MTV and was a guest on The Howard Stern Show on September 26, 1996 where he played nearly-identical songs about Baba Booey and Howard Stern.

Rock critic and Okkervil River frontman Will Sheff wrote that Willis' "[P]eriodic appearances for crowds of jeering white fratboys evoke an uncomfortable combination of minstrel act and traveling freak show." Conversely, guitarist Scott Anthony, who toured with Willis in 1998, said "It's not frat boys coming to his shows and making fun of him:; it's punk rock kids who appreciate that he sings stuff people are thinking."

Willis liked to greet people by giving them a friendly head butt.

SOURCE: WIKIPEDIA

Wesley Willis vs The Impaler (Featuring N2 Submission) at The Magic Stick 1998

In the middle of a song Wesley tells the audience, " I gotta pee,"
and leaves the stunned bug-eyed Impaler on his own.

Wesley was a great guy, a friend, and will be sorely missed (RIP)

Video on profile

Destroy All Monsters

Destroy All Monsters were an influential Detroit band existing from 1973 to 1985, with sporadic performances since. Their music touched on elements of punk rock, psychedelic, heavy metal music and noise rock with a heavy dose of performance art. Their name likely came from the Godzilla film Destroy All Monsters, but it may also have come from a comic book with the same title. They described their music as "anti-rock."
Destroy All Monsters never found mainstream success, but earned some notoriety due to members of notable rock groups The Stooges and MC5 who joined the group.
Although Destroy All Monsters never recorded a proper album, Sonic Youth singer/guitarist Thurston Moore released a three compact disc compilation of the group's music in 1994.

Early years
Formed in 1973, the first edition of Destroy All Monsters was formed by University of Michigan art students Mike Kelley, Jim Shaw, Niagara and filmmaker Cary Loren. They performed in the Ann Arbor area from 1973–1976, and their only release was a one-hour cassette of their recordings available only through Lightworks magazine. Their early music was influenced by Sun Ra, Velvet Underground, ESP-Disk, monster movies, beat culture and futurism. Their sound was experimental, psychedelic, darkly humorous and droning.

On New Year's Eve of 1973, the first Destroy All Monsters concert was held at a comic book convention in Ann Arbor, Michigan. At the time the instruments were a violin, a sax, a vacuum cleaner and a coffee can. They performed a demented version of Black Sabbath's "Iron Man" and were asked to leave after ten minutes. The group performed "guerilla style", setting up free at parties and playing for food along Ann Arbor's frat row. They used modified instruments, a drum box, tape loops, hot-wired toys, cheap keyboards and broken electronic devices. Aside from the comic convention, the group's only formal gig in this era was at the Halloween Ball at the University of Michigan art school in 1976.

Kelley and Shaw left the band during the summer of 1976 to attend graduate school at CalArts in Los Angeles, California. Both have gone on to lead successful solo careers in the art world. Their work is held in major collections around the world.

New personnel
Niagara, Ron Asheton and unidentified drummer, Ann Arbor, Michigan, USA, Spring of 1982

In 1977, Niagara and Loren recruited guitarist Laurence B. (Larry) Miller and saxophonist Benjamin (Ben) Miller; both had been in the short-lived Sproton Layer with their brother Roger Miller (who later went on to found Mission of Burma). They invited Mike (Jett) Powers on bass but he soon left for Harvard University. Not long after, members of two important Detroit-based groups signed on: guitarist Ron Asheton, earlier of The Stooges, and bass guitarist Michael Davis of the MC5. Their presence garnered the group more attention than ever before. Shortly thereafter, Ron asked drummer Rob King to join the band.

In 1978, Destroy All Monsters were preparing to release "Bored", their first official recording, when the group began to fall apart. Niagara ended her romance with Loren in favor of a new relationship with Asheton; Loren quit the group, with the Miller brothers leaving after the band's Halloween gig at EMU, in 1978. The "Bored"/"You’re Gonna Die" single earned some attention in the UK music press, and the band was able to capitalize on the notoriety.

Later developments and reunion
In late 1978, Loren issued a live DAM EP known as "Days of Diamonds" on his Black Hole label. Another EP followed in 1979, "Blackout in the City" under the name XANADU with the Miller Brothers, Loren and Rob King. Niagara and Ron Asheton carried on with various personnel releasing a total of three 7" singles on the IDBI label. Between 1982 and 1984, Destroy All Monsters played in bars and nightclubs in Ann Arbor and Detroit. Personnel: Bill Frank on drums, Mike Davis on bass, Ron Asheton on guitar, and Niagara on vocals. In May 1983, the band recorded and videotaped the song called "Make Mine Japanese." Released in December 1983, this video can now be seen on-line. The Monsters broke up in 1985. The Asheton singles were released by Cherry Red Records on CD.
In 1994, Mike Kelley, Cary Loren, Byron Coley and Thurston Moore compiled a three-CD boxed set of music, artwork and extensive liner notes as Destroy All Monsters: 1974-1976 on Moore's Ecstatic Peace! label.

The original lineup (Kelley, Loren, Niagara and Shaw) reformed for reunion shows in 1995. Loren republished the six issues of the Destroy All Monsters Magazine (1976–1979) with added DAM student artwork, flexi disc and history in the book DESTROY ALL MONSTERS:GEISHA THIS -- four VHS tapes of DAM films were also issued. An exhibition of their artwork followed at the Book Beat Gallery as well as live performances in Detroit, Los Angeles and San Diego. A live CD, "Silver Wedding Anniversary", resulted from these concerts and was released in 1996 on the Sympathy for the Record Industry label.

In 1996, the group (sans Niagara) performed in Tokyo and Osaka, Japan. A display of DAM artwork was held at the Deep Gallery in Tokyo. At the invitation of Ben Schot and Ronald Cornelissen for the "I Rip You, You Rip Me" festival and seminar at the Boijman's Museum in Rotterdam, DAM began work on the installation and film known as Strange Früt: Rock Apochrypha, an investigation of Detroit culture. This exhibition was shown and completed in 2000 at COCA (Center on Contemporary Art) in Seattle, WA., and in 2001 at the DAM Collective: Artists Take On Detroit at the Detroit Institute of Arts. This work was also selected for inclusion in the 2002 Whitney Biennial of Art in NYC.

In 2006, the "Strange Früt" exhibition and the bands archives traveled to the Magasin Center for Contemporary Art in Grenoble, France. DAM performed at the "All Tomorrow's Parties" festivals in Los Angeles as guest artists of Sonic Youth, and in London, UK as guest artists selected by Dino and Jake Chapman. A selection of the band's archives was on exhibition as part of the "Theater Without Theater" show at MACBA in Barcelona, Spain opening May 25, 2007. The exhibit traveled to Lisbon, Spain in the fall of that year.

Since 1995, the band has released five full length CDs on their own label(s) [The End is Here]: Radio Teardrop 1996, Backyard Monster Tube and Pig 1998, Swamp Gas 2001, and on [Compound Annex]: Detroit Oratorio 2003, DAM: Live in Tokyo 2003.

A reprint of first six issues of DAM Magazine with added band artwork, history, and a flexi disc was published by Book Beat in 1995 as Destroy All Monsters: Geisha This, and was reprinted in three different editions. A DVD of selected DAM films was released in 2007 by MVD video as: "Grow Live Monsters" featuring early 8mm & 16mm films taken in 1971-1976.
In 2009 the Printed Matter bookstore in NYC mounted an exhibit Hungry for Death featuring the group's collected work. The exhibition toured to White Flag Projects in St Louis, 0047 in Oslo and in 2010 will culminate at SPACE, London. To coincide Printed Matter released a 1975 recording Double Sextet as a vinyl album. They also re-released the Destroy All Monsters: 1974 - 1976 compilation, without booklet, in a limited edition of 1000.

SOURCE: WIKIPEDIA

Detroit noise rock legends, friends we've collaborated with (mainly Carey Loren).

Video on profile

Destroy All Monsters later morphed into Dark Carnival, featuring Ron and Scott Asheton of The Stooges, Niagara on vocals and my friend and engineer Pete Bankert on bass. In 2000 Pete introduced me to Scott and we recorded three CDs, The Farleys "Youth in Asia", The Farleys "Meet The Stooges" and The Farleys "Pincushion Sue". We later played at art exhibitions by Niagara at Union Street and C-Pop Galleries. Here's a video of them, you can see Pete on the left playing his Gibson Explorer bass.

http://www.youtube.com/watch?v=xMxlBv68MYk

Destroy All Monsters later morphed into Dark Carnival, featuring Ron and Scott Asheton of The Stooges, Niagara on vocals and my friend and engineer Pete Bankert on bass. In 2000 Pete introduced me to Scott and we recorded three CDs, The Farleys "Youth in Asia", The Farleys "Meet The Stooges" and The Farleys "Pincushion Sue". We later played at art exhibitions by Niagara at Union Street and C-Pop Galleries. Here's a video of them, you can see Pete on the left playing his Gibson Explorer bass.

http://www.youtube.com/watch?v=xMxlBv68MYk

First Elvis Hitler, now this. This is starting to turn into "Six Degrees of Kevin Bacon."

Ha, I'll try to post some of the stuff I recorded with Anison.