Year end/Tour highlights

View my disposable camera photo album from the November tour here.

Overall highlights:
(please consider this just some jotting down rather than an article)

Dave Phillips at Neon Marshmallow Fest (both sets, field recording set was really good too)
also from that fest Govt Alpha, Kevin Shields, Haters, Telecult Powers, Wasteland Jazz Unit, Sixes, Cornucopia, Fossils, Work/Death, dp/gx collaboration, Sigulda, Justice Yeldham, Pod Blotz, Dog Lady and I can keep going. 3 out of the 4 nights absolutely blew me away. And also doing a DJ set with a belt sander at the after party. Drinking after hours at the Green Mill with Derek Rogers. Many thanks for putting these nights together and doing good things for Chicago!

Chicago Noise Conference (especially travis from ONO doing his cover of "Motherless Child" with his adornments and his sheet metal), Forbes/Young duo on the rooftop, lots of drinking and comraderie.

Illusion of Safety doing an industrial set as a trio with a drummer on a stand kit of big drums. Whole night was good. Death Factory doing drum machine/rhythmic industrial with drills/guitars etc. Battleship doing a pretty eloquent kind of dark ritual drone type thing, ONO for joining me as Blood Rhythms, gentle yet chaotic wise people.

Everything at the last night of the Mopery in Chicago, and everything else at the Mopery.

Eugenics Council/Corephallism at Ball Hall

WolvSerpent/Locrian at Enemy

The 3rd anniversary event of my radio show - Everybody who played and showed up for making it an exciting night, the sound guy for not calling the police because there was blood all over his gear, Darkroom staff for being cool about it. Nookleptia, Ammunition, Lechuguillas, ONO.

Times at Mortville in general.

JIB JAB!!! http://www.youtube.com/watch?v=O4OatIhPg9Y

Doing my first tour in July with highlights including Cock ESP totally changing my approach just by their hospitality and intent alone, John Vance, Seth Ryan, Disthroned Agony, Sigulda, desoeuvre bruit, I Am Foresight, staying with a tenant (Zac Szymusiak) in an 1800s mansion in Columbus owned by Mark Gunderson of Evolution Control Committee and hearing inspiring stories, meeting bbob of Fluxmonkey, seeing Irene Moon perform at Cool Ranch, riding with Paleface Destroyers and hearing stories about Native American History as it relates to their collection of relics that they've found in cemetaries, and more things I can't remember.

STL Fest in October - Riding with Neil Jendon and stopping in Peoria to hang out with Infirmary, having a record store there buy $50 with of stuff from me, The sincere support from Mark of LEMP, the inspiring solidarity that Peter J Woods was able to instill (although I was only there on Friday and couldn't see his set) the sets by Diaphragmatic, Pusdrainer, Brain Transplant, and more; hanging out with a fella named Ben and Dave from Skarekrau Radio/Brain Transplant at a jazz bar, getting lots of free drinks from a drunken rich guy and almost going to a symphony with him, getting drunk and riled up with Alex from Socially Retarded and Jay from Lechuguillas all night, much to the chagrin of everyone else who was trying to sleep, unfortunately. Sorry!

2nd Tour in November - Dead Audio fest - Houston - Reality (a 12 year old kid, best set of the night)/Zombra, Austin Caustic/Concrete Violin, Richard Ramirez, Steel Hook Prosthesis, Lychgate (and getting drunk with them into the wee hours also), Mickey/Screaming Fetus, Bereft, Biological Girl (and also for making me an awesome custom mask by request, it didn't do what I expected it to do, and it gave me new approaches), Olivia nonchalantly playing ukulele all night, and doing a cover of "Tiptoe Through The Tulips" for me at 3AM, probably more that I am forgetting, incredibly good night. Hopefully I didn't do anything stupid.

Austin - Getting a ride with So Boring and Chris, playing with a Crash Worship cover band for almost 10 minutes until the fires happened, the immense experience that MC Clitfart, Bubble Face, Polly, Logan Owlbeemoth, and others provided while I stayed with them at Disco Village, Fucking Breakdancing Ronald Reagan for letting out a bunch of crickets and setting up two killer shows in one day, especially Dromez, Sex Bruises, and Derek Rogers
-Arlington - The immense support, the miracle of finding a show thanks to Wasted Words at a CD Warehouse after hours, and drinking/hanging out afterwards, smoking in bars, Welby, Zanzibar Snails, Snuff Film....
-Having a late bus cause me to miss my transfer to Baton Rouge, and being able to hang out with a very good friend of mine, Lidia, short notice in Tex-Arkana. Riding through thick fog and sharp turns on dirt roads to an absolutely isolated ranch at 60mph.

-New Orleans - Drew Ziegler and his big heart, insatiable appetite for alcohol, surreal living quarters like a hidden circus shanty town inside of an abandoned iron ore factory, 100 year old junk and ripped furniture everywhere, old friend Dave Hedges, seeing Ratty Scurvics and his wife OOPS, MC Tracheotomy, drinking Bloody Marys or Bug Gulp Daquiris all day, experiencing a fully functional squat house and drinking bootleg ginger wine, getting off of the bus and going straight into a cabaret with free spaghetti and wine, fitting right in immediately, watching people throw spaghetti around and light fire crackers, Playing a punk show in New Orleans short notice instead of a sports bar in the suburbs, hanging out with Sven from Telecult Powers, playing an open mic tent and freaking out families and children, also inspiring some to dance before the feedback kicked in. Going to a soul club at 4AM and getting flirted with, having incredible trouble going to the bus station at 6.

Atlanta - My best set of the tour, great sound - the most enthusiastic and supportive 5 people I have ever seen, Eyedrum is an amazing place.

Cleveland - Now That's Class - Brainbombs on the juke box, Black Mayonnaise fogging up the entire room and blowing everyone's house down, Fluxmonkey, Murderous Vision (especially for having me as a guest), jamming at Bela Dubby at 2AM, hanging out with good people on Thanksgiving, drinking absinthe, Cunting Daughters, Mitch from Fascist Insect, Ghostpussy, especially Wyatt and Cool Ranch, Paul for making me a mix tape of Cleveland punk, Sam Goldberg for doing synth jams while I was comatose on the couch with a hangover - perfect accompaniment.

Columbus - ONO for coming all the way to Columbus in some kind of absurd motorcade to play my tour finale, Also Bennett/Skylab, Pusdrainer hacking at his noise briefcase and sharing his whiskey, again drinking bloody marys all day.

International Email Audio Art Project Volume 2

Download a track of mine called "A Radio Drama" HERE

The Homemade Music Movement has grown from the roots of the Mail Art Movement, and in order to pay due respect and acknowledge these origins, I propose an international EMAIL audio art project in which contributors will send to me a one-minute miniature audio work in mp3 format (plus visual works if desired) attached to an email. These works will be published together in volumes online.

You can download Volume 2 featuring these 60 artists:

Adrian Carter (UK), Zilbread (USA), PBK (USA), R. Stevie Moore (USA), Fernando Bocadillos (Argentina), FLAtRich - Rich La Bonté (USA), Murmurists (England), Heather Perkins (USA), Le Scrambled Debutante (USA), Instagon (USA), Combat 23 (Czech Republic), Rick Tarquinio (USA), Sean T. Wright (UK), Kevin John Henry Lewis (USA), Travis Johnson (USA), Gary Pig Gold (USA), Nebulagirl (USA), Klimperei (France), Subversive Intentions (USA), Yannick Franck (Belgium), Barbershop - Concrete Project (France), _whALe_pLAtE_ (USA), Dave Wright (USA), Eric Boivin (Canada), Otolathe (USA), The Preschool (USA), Ryan Jordan (UK), Arvo Zylo (USA), Obozdur (Russia), M.Stactor (Canada), Andrew Mascardi (USA), Gryphée (France), Zanstones (USA), Regosphere (USA), Rolna (Hungary), Loup-Garou (USA), nundata (Serbia), undRess Béton (Germany), M.Nomized (France), Dooks/Cazal (UK), Anders Östberg (Sweden), Hieronimo Air Fat (USA), Minimal Frank (Canada), Vladimir Markov (Russia), Ed Wayne Lefski (Germany), Adrian Beentjes (USA/UK), Rosso Merda (Italy/USA), Julia LaDense (USA), Martial Bécheau (France), Jim Ivy (USA), Simon Whetham (UK), Bret Hart (USA), Brandon Ross/Lord Masque (USA), Half An Abortion (UK), John Wiggins (USA), The Evolution Control Committee (USA), Andrew Dalio (USA), Will Soderberg (USA), Hal McGee (USA), Dedali (Italy)

here:

http://www.archive.org/details/InternationalEmailAudioArtProjectVolume2

'Hello Walls' aired on Wm. Berger's My Castle of Quiet (WFMU)!

Listen to Wm. Berger's diverse yet cohesive episode of My Castle of Quiet where an excerpt from "Hello Walls" was aired along with The Damned, Bone Awl, Silver Apples, Aids Wolf, and John Carpenter!

BLOOD RHYTHMS debut at Viaduct Theater December 11th with Illusion of Safety, Death Factory, and Battleship

On December 11th at Viaduct Theater, there will be a night or dark, brooding, and abrasive electronic noise music.

ILLUSION OF SAFETY
Upon suggestion from curator of this event, will be performing an industrial set as a trio. Presenting a set of big beats, analog electronic sequences, voice cut ups, and other digital and non digital noises. Featuring IOS founders Dan Burke (laptop, modular synth, metal percussion), & Mitch Enderle (amplified... springs, metal, samples, circuit bent electronics) with Travis Bird (Drums), this set will thrill all five of you who have waited to see the days of our fifth CD, Inside Agitator brought back to life. Thrown into the mix will be a few long overdue cover versions of the founding fathers and our former heroes, Throbbing Gristle.

illusionofsafety.net

BLOOD RHYTHMS is a debut project spurred by Arvo Zylo (Arvo Fingers on WLUW's Delirious Insomniac Freeform Radio Show), and this time it will feature the entire band of chicago avant-gospel kingpins ONO doing a collaborative performance called "LOCKED AWAY".

www.arvozylo.bandcamp.com,www.ono1980.com

DEATH FACTORY will perform his particular brand of claustrophobic outsider noise music that he has been perfecting since 1988.

www.myspace.com/deathfactory

BATTLESHIP (radio waves/electroics duo)

www.viaducttheatre.com/

The Viaduct Theater

3111 N. Western Ave.

Chicago, IL 60618

9pm

$7

Latter poster design by Jim Ford

Dead Audio Footage/Back from Tour

Thanks to Hierchiss for the mask.

More photos on Facebook courtesy of Carol Ann Sandin:
http://www.facebook.com/#!/photo.php?fbid=1706114373598&set=a.1706024331347.95868.1260180116&pid=1905061&id=1260180116

The tour was great. Many thanks to the people who helped and supported!

A lot of stories to tell. But maybe later, no rest for the wicked!

ARVO 2010 SICK SKIN TOUR

11/13 - Houston TX - DEAD AUDIO FEST
11/14- still looking in Dallas, Arlington, or Denton
11/15 - Austin TX - Red 7 guesting with Warship Earth/Bubble Face
11/16 - Austin TX - 7pm - Trailer Space Records w/ Breakdancing Ronald Reagan, Trip Drip Drop + more
10pm - CLUB 1808 (1808 EAST 12TH STREET) w/ Derek Rogers, Sex Bruises, more
11/17- Ft. Worth, TX - Wasted Words Collective
11/18 - Baton Rouge. LA - The Warehouse w/ GNGRBNGR, more
11/19 - New Orleans - 6:30 PM: Fringe Fest/Buskers Happy Hour Tent
11/20 - Metaire, LA - Babylon
11/21 - Atlanta GA - Eyedrum Art and Music Gallery w/ Pony Bones and Sychophants
11/22 - Dayton OH - BATTERY CAGE (Skeleton Dust Presents) w/ IOVAE, KANIBLE, John Moloney
11/23 - Cleveland OH - Now That's Class w/ Murderous Vision, Black Mayonnaise, Fluxmonkey
11/24 - Cleveland OH - Bela Dubby
11/26 - Columbus OH - Skylab w/ ONO + TBA

_________________

Video from StL Fest thanks to Bullart./Tour Poster Added

Arvo Zylo at NoisefeSTL '10 (Day 1, 10/22/10) from Bullart. on Vimeo.

Diaphragmatic at NoisefeSTL '10 (Day 1, 10/22/10) from Bullart. on Vimeo.

St. Louis Noise Fest Highlights

photo courtesy of Blake Edwards

I had a great time playing at St. Louis Noise Fest on Friday. I wish I could have stayed the whole time. I was fortunate enough to be offered a ride from Neil Jendon, who did a stellar set with a drum machine, a modular synthesizer, and some other things I didn't grasp. PusDrainer blasted people with beat driven noise and vocals as I watched from outside with my nose pressed against the window because I didn't get back in in time before it started, Vertonen brought on a wide palette of sounds including a record player, a radio, and some Beyonce loop at the end, Brain Transplant was without a core member but executed some nice gloomy electronics with saxophone burps and whistles on top.

People were very receptive to my set, alarmingly so. Unfortunately I missed a video projection by Ghost Ice while I was breaking down, but things kicked right back into gear when Diaphragmatic erupted with heavy distortion from scrap metal, an electric drill, some chains, and a big steel bowl full of nails. My excitement got the best of me and with a nod of approval, I helped finish off his set with my belt sander.

At present time I am anxiously watching the Bullart. page for more uploads of the live sets throughout the span of the weekend. I have the utmost thanks and respect for Peter J Woods, the man who spearheaded most of the booking, and the people of LEMP who put it on.

After the show I had a long and heartening conversation with Mark, the owner of LEMP, and then went to a bar with an incredibly nice fella named Ben to see one of the members of Brain Transplant (and also Skarekrau Radio) play Sax in a jazz ensemble. By the time I came back to the venue, members of Socially Retarded, Lechuguillas, and GET PREGNANT were in the back yard lighting a fire and keeping me riled up laughing about nothing all night.

Many thanks to the people of St. Louis who attended and made it a refreshing and jubilant experience.

Grand Guignol: An Exhibition Celebrating the Legendary Theater of Terror

I'm not sure if I will make it back from St. Louis in time for this but I have been commissioned to do a 3 hour sound installation for this exciting and imaginative event.



GRAND GUIGNOL: An Exhibition Celebrating The Legendary Parisian Theater of Terror
CENTURY GUILD . 23 October 2010 . 6-9pm (secret location)

Mutilation… Hysteria… Disease… They all made their home at Le Théâtre du Grand Guignol! The Grand Guignol was a 19th century Parisian theater that shocked and aroused audiences with productions blending macabre horror and flirtatious sex. Its legacy has inspired contemporary artists from all backgrounds including Tim Burton, Clive Barker, and Marilyn Manson. To celebrate its blood-soaked legacy, Chicago gallery Century Guild presents an exhibition honoring the legendary theater just in time for Halloween.

Century Guild was founded in 1999 by Thomas Negovan and Stuart Tomc, and since its inception, they have placed artworks in museums and top collections around the world. Works previously in the Century Guild inventory are on permanent display in The Art Institute of Chicago, The Detroit Institute of Arts, and The Metropolitan Museum of Art. Previously, Century Guild kept a low profile and only exhibited their works at select public events and exhibition as they focused on building an impressive inventory of important Art Nouveau and Symbolist artifacts. The Century Guild collection concentrates on antique posters, lithographs, and period pottery from Germany, Austria, France, and Italy 1880-1920, and includes the lithography of infamous artists such as Gustav Klimt, Alphonse Mucha, Egon Schiele, and Henri de Toulouse-Lautrec. These artifacts are indisputably some of the most fabulous romantic and inspiring art anywhere — including very rare and very special posters from the early years of The Grand Guignol, so rare that many have not even been documented.

To celebrate both the opening of a new, Chicago-based showroom space as well as the most frightening night of the year, Century Guild pries open its steel doors and invites you to witness what will no doubt be one of the most grotesque displays of both antique poster and contemporary art, an exhibition inspired by the most notorious theater of all time: The Grand Guignol. Original and rare artifacts for The Grand Guignol as well as grim antique lithograph posters and works on paper by the likes of Gustav Klimt and Alphonse Mucha (turn of the century icons in the world of Secessionist and Art Nouveau art whose work continues to inspire) from Century Guild’s inventory will be exhibited along with notable contemporary talents: Dave McKean (groundbreaking multi-media artist best known for his work on Neil Gaiman’s legendary comic book series The Sandman and his feature film for the Jim Henson Company, MirrorMask), Gail Potocki (award winning Symbolist painter, “The Union of Hope & Sadness“), Chris Mars, Kent Williams, and more.

The exhibition will be a ONE-NIGHT ONLY event, featuring passed canapés and beverages. Because this event is sure to test the very sensibilities of even the most psychologically stable individual, no one under 18 will be permitted. Holiday-appropriate or formal attire encouraged. This is an invitation only event, RSVP required.

For more information and to R.S.V.P.:
inquiries [at] centuryguild.net, or contact Jack @ 800.616.2368

In addition to the show, an exhibition catalog is in the works. Currently, we’re rounding up support via the fantastic community-based fundraising website Kickstarter.com. To make a pledge, click the link below:

http://www.kickstarter.com/projects/337503446/grand-guignol-the-legendary-theater-of-terror-exhi?ref=search

The catalog will be 32 pages, full color and utilizes the same eco conscious printing techniques that our company has held in such high regard as with previous publications. It will be available for purchase at the exhibition, and thereafter online and at other Century Guild exhibitions. The run will be limited however, so be sure to get your copy soon.

ST LOUIS FEST UPDATE

FRIDAY

I LIKE YOU GO HOME
VERTONEN
ARVO ZYLO
SPUNKY TOOFERS
SLOW OWLS
NEIL JENDON
PUS DRAINER
INFIRMARY
ANDREW MARKEE
TIM KAISER
BRAIN TRANSPLANT
GHOST ICE
DIAPHRAGMATIC
SIGULDA
SWIM IGNORANT FIRE




SATURDAY


LELAND P MALARIA
MEKA
FATALE
BATTLESHIP
GRANDMOTHER
EVOLVE
GET PREGNANT
JIGSAW RHETORIC
VICTORY
DR RHOMBOID GOATCABIN
OBLIVE
KBD
BOAR
INSTINCT CONTROL
KINGSTON FAMILY SINGERS
RAPERIES
CORRIGAN BROTHERS





SUNDAY 1

MEKA
RED ELECTRIC RAINBOW
MATT MUSLIN (NAME?)
DEATH FACTORY
WHERE'S URANUS
BLESSED SACRIFIST
SOBOU SHUU
SUNGLASSES
SOLAR SHADOWS




SUNDAY 2

PLASMIC FORMATIONS
ANDREW MARKEE
C LUSTERFUCK
JOHN MALONEY
I AM FORESIGHT
LONELY PROCESSION
NOM DE PLUME
EPICYCLE
XALLXFORXTHISX
THE MAN AND THE SCIENTIST
CUSTODIAN
DEVELOPER
DARGER
DAY CARE

Mister Fuckhead T-Shirts

While the moniker “Mister Fuckhead” is now inactive after 10 years of existence, there have been consistent requests/suggestions to reproduce this old image onto a T-Shirt. Some may remember that it was the cover art for the original “333” release in 2004, and it was on hundreds of copies of stickers distributed for 5 years. It is now available for consumption.

Available at RedBubble or CafePress.

ST. Louis Fest

Vertonen
Neil Jendon
Arvo Zylo
Infirmary
Boar
Victory!
Instinct Control
Battleship
I LIke You Go Home
The Man And The Scientist
Sigulda
Nom de Plume
Is
Fatale
Oblive
KBD
Solar Shadows
Tom Vasilj
Evolve
Sobou Shuu
Jigsaw Rhetoric
Diaphragmatic
I Am Forsight
Peter J Woods
Custodian
Blessed Sacrifist
xALLxFORxTHISx
Get Pregnant
Pusdrainer
Grandmother
Meka
Lucky Bone
Wilmer Incognito
Developer
Red Electric Rainbow
Ghost Ice
Epicycle
Clusterfuck
Malaria
Sunglasses

"Saint Street" on Hal McGee's Homemade Alien Music Program

An excerpt from "Saint Street" has been featured on Hal McGee's Homemade Alien Music Program. Hal has been making experimental music since the early 80s, and has been an important fixture in the experimental scene around Florida and in general. His podcasts have a broad, yet cohesive reach with regard to sound as it is weaved into a sonic palette. This 21st episode is said to be his final one. Thanks Hal!

"Saint Street" aired on WFMU's My Castle of Quiet with Wm. Berger

Thanks to Wm. Berger for playing "Overture" from the album "Saint Street", along with The Birthday Party, Twin Stumps, Fecalove, Flesh Coffin, and Khanate, among others! Listen to the archive or look at the playlist HERE: "Inhuman Nature"

"333" Reviewed at Auxiliary Out Blog

Mister Fuckhead - 333 [No Label]

A while back I reviewed a hulking 93 minute beast by Mister Fuckhead and Company, where Arvo Zylo and a series of collaborators ran the gamut from forming live junk noise brigades to 7 or 8 piece meat locker brass sections. Zylo a.k.a. Fuckhead (though he recently dropped the moniker and now plays as just Arvo Zylo) is back but this time solo, apparently with only a sequencer in tow, with 333, with a cassette seven years in the making.
Zylo is up to something very different here, it's still a beast at 3 tracks spread over a c66 but Zylo throws plenty of curveballs. For instance, the first side, "Quicksand Eggs of a Beaten Pathos" rolls to a start with surprisingly mellow looped toms. If he wanted to head in a powwow direction he could have, but instead he launches this queasy synth beat and furthermore throws barroom piano over that! The beat lurches/grinds/limps along in a bizarre mess of a beat. Flaming barrages of noise drop in and things get harsh. Heavy torrents of feedback all but subsume voice and the deep throb of the drum programming. The tape continues to singe your eyebrows for a long while with screaming frequencies. It drifts out of the cloud enough for some heavy piano and drum hits though. Sequenced synth tones spread like an infection and morph into an electric organ bit. There's some thunderous crushing drum hits quickly after before slowing into a mid-tempo beat with oscillators puttering all around. The beat gets syncopated and lurches forward. Zylo breaks it down mixing up the beat with a programmed drum solo constructed from live drum samples I think. Around halfway through, the carnage seems to cease. A quiet drum pounds slowly in an empty room until corroded by pervasive scratchy static, atonal panned piano slams, hyperactive squelches and what sounds like a cut-up keyboard demo that morphs into a weird house rave-up. A new agey synth makes a surprising but welcome appearance as the piece jettisons deeper into its technicolor nightmare. My favorite beat from the side emerges pretty late in the game and it's fleeting too as it gets slowed down pretty quickly. The tape lurches and grooves relatively "un-noisily" for the rest of the jam until it evaporates in a cymbal crash. It's a dense and burly side to be sure.
Following it is the first track on the second side, "Deadbeat Deluxe," which continues the onslaught of noisy beats. All manners of bzzsh's, krshff's, and mhmffm's make their way along plenty of loopy electronics into a cyberpunk thrill ride. Fast drum machines, heavy reverbed thumps, repetitive synth parts; no one would mistake this as being uncomposed but it still hangs together by a thread. Zylo keeps piling on more and more sounds/parts/whatever until it makes up a cacophonous layer cake of destruction. The track achieves an interesting feat in that it's totally assaulting music without actually relinquishing the conventional rules of what music should be. The piece breaks down into a section of rare sparseness and Zylo marches along with a beat that sounds like a whip being cracked along with an array of strange noises. The beats kick back in with a bit of a vintage video game vibe. The soundtrack of Mario getting his ass tortured to death in Bowser's dungeon? Don't know what the inspiration was here, but I suppose that's as good a guess as any. The frequencies continue to heave, the jam gets progressively noisier and more confrontational. The steam engine continues to roll until its yanked out by the neck and replaced by a new beat that quickly peters out. The final and shortest track "Plasma/Asthma" is by far the noisiest jam, and I mean that literally cause of how saturated, blown out and grainy it sounds. The sound doesn't lose any definition because of it though which is amazing. Kudos to the masterer, Clayton Counts. Underneath the six feet of fuzz are pounding percussive loops like a muck raking hip hopera from hell about a factory workers' uprising. Gears grind, seize, stop and lurch forward again in bizarre poly(a)rhythms. Shifting into a machine gun synth melody, things get progressively zanier. In what, in all likelihood, is my favorite part of the tape, Zylo launches into a heady haunted organ jam. It's excellently composed with various layers of melodies and manages an absolutely seamless transition from all the head smashing that came before. The whole tone of the piece is difficult to describe as it manages to be a little uplifting but in a very unsettling way. It's perplexing, but I'm gonna take the sublime whenever I can get it.
This is a hefty hour of music, and not everyone will be down with it, but whether someone is or not shouldn't cause the listener to hold back any respect for Zylo's painstakingly put together and singular vision. Fuckhead and Company will probably end up getting more plays in my deck, but 333 takes you on a journey that the former can't match.
The packaging is cool as is typical with Zylo's releases, 333 has a purple vellum cover with a double-sided, fold-out color j-card on the inside. The tape is still available from the artist and there is also a pro-duplicated, shrinkwrapped CD-r edition too if that's your preference.

Mini Tour Highlights

Live Excerpt Thanks To Emil Hagstrom

In Minneapolis I was fortunate enough to record and do a show on the same bill as Cock E.S.P. . Their performance was in total darkness, with whatever light that came from someone's hand held camera illuminating naked/half naked bodies covered in glitter writhing around, with amplified tire rims and a trampoline bouncing around in the background. The combination of finding a belt sander in a Minnesota thrift store and being enabled by Emil Hagstrom in a few ways made my little mini tour astronomically better than I'd thought it would be. There was also some technical help given by John Vance that ended up saving me from a drastic tour setback on day one.

Columbia saw our show getting relocated to a venue with much more traffic, to a party kicked off by a large circle of people square dancing. My time spent with Dominick Dufner/ Sigulda and his girlfriend Michaella nom de plum was super fun, good people. Michaella gave me a hand stenciled T. Rex shirt, I will never forget it!

In St. Louis I made it to Apop Recordsearly and was fortunate enough to get my tapes into that store, while also buying what I could with my meager budget. You have to commend a store that is carrying cassettes that come with rotting, moldy pig ears, or mini CDs mounted on broken shards of glass. That is a damn good record store. The Show Was At Wayout Club, a bar owned by a couple who share duties of running sound, door and bartending between themselves. They shared food from their picnic earlier that day and were very nice people. All sets were great, Sigulda, N.N.N. Cook, and Desoeuvre Bruits, a project by a man long involved in the noise scene for over 10 years, collaborating with many people around town, he shared his debut as a solo act on this bill. I also met Mark and Sasha from Luftwaffe and had some good conversation before getting whisked off to the bus station.

When I get the chance, I will be sending a few gift baskets. It was a lot of fun.

Highlights from Columbus and Cleveland are: Getting to share a bill withFluxmonkey, hanging out with Andy Slater/Velcro Lewis before my show at Bela Dubby, making it to Cool Ranch afterwards to meet/see Irene Moon for the first time, reuniting with an old and dear friend, hearing stories about collecting Indian Artifacts from Rudy Gerdeman and seeing him swallow a piece of his broken mic and continue playing. In Columbus I was fortunate enough to hang out with Zac Szymusiak at his house built in 1870, and hear stories about having Mark Gunderson of The Evolution Control Committee as a landlord. I was also glad I got to meet/see Jonathan Enrique Barajas/I AM FORESIGHT perform and meet Luke Tandy/Skeleton Dust/Being. Many thanks to the people who made it good!

Photos for cassette editions of "Hello Walls" and "Saint Street"

Hello Walls at Bachelor's Grove Cemetary:



Hello Walls at the "Bird Sanctuary":


Saint Street view 1:


Saint Street view 2:


Dead Bird:

July Mini Tour

happening soon!

SAINT STREET

Now available: "SAINT STREET" pro shrink wrapped CDR (or pro duplicated, imprinted smoky black cassettes with double sided 5 panel inserts; preorder also available, shipping later this week). Digital harsh noise work from 2003 - 2010, in some cases written before a formal introduction to harsh noise was made, out of explorations with failure at making structured electronic music. More musical elements than a usual harsh noise release can be expected. A raw track from this release can be heard here: UNDULA.

Shipping Options

Including Shipping within US $8.00 Including Shipping Canada/Mexico $9.00 Including Shipping International $11.00

HELLO WALLS REISSUED

HELLO WALLS MP3

The impetus that spurred this album happened when Ed End, curator of the yearly comp series, "Necktar", asked me to contribute something based on "perception". I immediately came up with an elaboration from Willie Nelson's song, trying to evoke the idea of human imprints on inanimate objects existing within a room, or the anthropomorphic characteristics of them, without the implication of love or loss. This is from my experience of spending a lot of time in old and abandoned buildings, as well as cemeteries, desolate plots of concrete along the lake, and especially in the flooded, moldy basement of an incredibly old church around Augusta and Noble, Chicago circa 2003. I also wanted to use musical and visual imagery which suggested a sort of euphoric feeling of submersion that comes with the choice of complete solitude and being influenced solely by one's own thoughts/actions within a set location for long periods of time. Originally issued on the now defunct Enemata Productions in 2008 (headed by Rick from Infirmary), this new edition comes with 3 single sided 3x5 cards, a yellowed, crumbling page of a book from 1938 with old English text in German, and a generous amount of soil from either "The Bird Sanctuary" along Montrose area lake grounds, the Morse beach, or Bachelor's Grove Cemetary, reputedly the most haunted place in the country. Select copies come with worms, bird bones, and garbage. Cassettes are black Type II High Bias, duplicated by Andy Ortmann with full color labels inside of a smokey poly case, all contents come in a black 4x6 poly bag. Specific soil requests are not available. Run time is approximately 68 minutes. Limited to 84 with a small amount set aside for a special edition packaging later this summer. More pictures to follow.

SOLD OUT

"333" aired on WFMU's The Eternal Now with Andy Ortmann

Another show I regularly listen to when I do anything regularly is The Eternal Now. Hear a snippet of "333" as it heads up to great stuff by Robert Rental/Thomas Leer, Leslie Keffer & Scott Martin, John Foxx, Psychic TV, and a gnarly remix of Teenage Fanclub!

"333" Now Available In Pro CDR Edition

These are shrinkwrapped in a standard jewel case, pro-printed discs *whose under sides are a decptively shiney silver. $9 Postage Paid. *AUDIO SAMPLE*

333

USA $9.00 WORLD $9.00

"333" aired on Wm. Berger's My Castle of Quiet Radio Show!

A lengthy excerpt of "333" was aired on Wm. Berger's WFMU Radio Show My Castle of Quiet, smack dab inbetween a mesmerizing unreleased harmonium piece by Rory Hinchey, and a deeply engaging, perhaps somewhat pagan noise track by Cornucopia. I'm a regular listener of this show when the computer is on, and I'm honored to be a small part of Wm.'s vast, foreboding tastes.

"333" Reviewed on OKTO Media

OKTO MEDIA


http://www.chondriticsound.com/forum/viewtopic.php?f=1&t=35266

I keep coming back to this tape, and I think it really deserved to be reviewed. I really prefer tapes that range the perfect balance of quality work and decent length, which "333" manages quite well. Anything shorter than its hour-length would probably leave me unsatisfied; anything longer would possibly drag. It is also relevant to note that prefer to listen to tapes in my car, where the recording kicks on and off at random intervals with the starting and stopping of my car in my various travels. Big-picture composition is somewhat important to me when it comes to music, since if i like the details, i will listen to the tape enough times to figure out any greater design of the piece. Well, that's a tad of a cop-out, but really, it's mostly less important than how the music makes me feel. Whatever.

Overall, the most basic thing to be said of "333" is that I felt like I was in good hands during my listenings.

There are many tape out there with damaged music bordering on noise. "333" is the inverse of that approach, which is less common to me. the most convenient label of the work on the tape is clearly "noise", but that is somewhat limiting. the flow of work is a nicely balanced feel of stream of consciousness improv with very deliberate decisions on structure placed throughout. The artist makes important note in his press releases of the grueling mastering process of the tape, along with the intentions of the work to be performed live, which is cool to know, but not necessary to feel the intelligence behind the audio. I can rarely notice track changes, since most of the pieces flow together nicely.

This is rhythmic noise that occasionally organically turns into melody at times, as well as often shifts to well-crafted, energetic harsh noise. Because of this, its rather difficult to define, which is always a good sign, personally. Parts of this could easily be compared to "industrial", but that is rather limiting as well.

In any case, this is noise/music that challenged the need to distinguish between the two. It's really a dogmatic distinction that most of us can't help but adopt, but listening to this tape is a great reminder that music is music, and that good art doesn't need to be choked by labels.

There's a cool intelligence behind the wheel here; which doesn't seem too self-conscious, either. It's a confident mish-mash that is clearly doing what it wants to accomplish.

RECOMMENDED LISTENING. I look forward to any future releases by Mister Fuckhead.

*Negative Note(s):

(1) I'm not really a fan of the moniker "Mister Fuckhead". It doesn't illicit any serious attention for me, and it makes the release appear to be a bit of an immature joke-project at first glance. If the artist didn't include audio samples on the press release I saw, I would have had no interest at all in the project. But, whatever. I think Melt-Banana is a stupid name, too, but nobody cares since they are one of the best bands on the planet.

(2) Not a huge fan of the cover art & fonts either, but the orange version of the tape I have and the use of the transparency print is totally rad. My reaction to the visual aesthetic feels like a weird counterbalance of taste. The design concept is excellent and professional. I love the image concept, but not the image content, if that makes any sense. Whatever.

Again, VERY SATISFYING TAPE. RECOMMENDED.

Watch for this artist's future releases, and pick this up before it's gone.

-Jonathan

jonathanenriquebarajas at gmail dot com

"333" featured on Colors of the Dark blog

I share some background about my approach to making the album, and a little about where I stand in terms of making art in general, at Jonathan Canady's Colors of the Dark, a blog whose original focus was about featuring various macabre artists, and now has expanded to also include personal interest entries and dark subject matter in general. I'm glad to be part of it, and I want to thank Jonathan for the support!

"333" Available Now!

MP3 Samples:

Excerpt 1

Excerpt 2

Excerpt 3

In 1999, a half-semester at an art school that corresponded with a theoretical synth punk band went terribly awry. This caused an experience that effectively spurred a deep foray into experimental music and industrial noise out of simple practicality, almost entirely naive or unaware of any previous precedents with this mode of expression. In existence since the year 2000, the one-man project started with little else than a sequencer for the first 7 years, and it's still an integral part of the composition process.

Solo work up to that point had been inching around minimal electronic and sample-based material ranging from madly structured pseudo-classical, swing jazz, or exotica to industrial, noise, drone, and technical malfunction based compositions. The premise was later broadened to a great deal of studio editing/composition, and can be summarized by excessive amounts of layering from various sound sources and instruments. Recent lone performances have incorporated rhythmic noise accompanied by a contact mic'ed metal mask, with Arvo effectively taking a belt sander to his face, and he has been referred to by many as "intense weirdo power electronics" with regard to his live sets.

While he has toured solo, and exacted countless performances by himself, locally Arvo has often taken to an affinity in setting up large groups for captivating, mood changing performances. There are often around 6-15 people working in layers of comparative sameness, particularly with The "Mister Fuckhead Ensemble", which was rooted around the concept of brass instruments or junk metal in copious amounts. The "Mister Fuckhead" moniker has been retired, and in its place is a more primal thesis statement, "BLOOD RHYTHMS" as the new umbrella. The debut of "BLOOD RHYTHMS" in December of 2010 exhibited a haunting, visceral performance featuring the entire band of 6 Chicago veterans, ONO, with many layers of junk metal cacaphony, 2 power tools, 3 guitars, 4 vocalists, and many electronics.

Past live contributors or collaborators have included Dave Purdie (Silver Abuse, Satan 2000), , Mike Krause (Death Factory), travis (ONO), Daniel Burke (Illusion of Safety), Michael Kendrick (Rope, Lovely Little Girls), Bruce Lamont (Yakuza), Right-Eye Rita, Rik Garrett, Adam Jennings (Winters in Osaka), Christopher ILTH (Daily Void, ex-Loto Ball Show), Alex Morales (Running, piss piss piss moan moan moan), and Andy Ortmann (Panicsville).

After much time carefully and obsessively dwelling on releases, having officially issued only 3 for the entire decade, Arvo has become more efficient, decisive, and exacting privately, coming out of his shell and expanding with both live and studio collaborations on the horizon alongside creatives such as Fatale, Desoeuvre Bruit, Skin Graft, Dog Lady, and Cock E.S.P. It will still be surprising if he takes less than a year to release anything, given his ponderous nature, but a diverse palette of work has been set in motion. He is also known by some as a radio DJ whose program is syndicated in Croatia, a freeform live DJ, a writer, an artist, a curator of a events, an occasional label head, and in general a catalyst for exciting ideas.

The cassette is limited to an edition of 99, across 3 different colored cassettes (solid orange, solid purple, black), with 3 different label designs, a 3 panel, two sided, full color insert, and a color transparency.

There is also a professionally duplicated, shrinkwrapped CDr in a jewel case with full color art work, in an unlimited edition available.

Shipping Included

USA $9.00 World $12.00

(sample of one of the 6 label designs)

People that can get past their potential assumptions about the name won't likely be disappointed. The transparencies cost a lot but it has to be that way. Here is a scan of the transparencies that will go over the inserts (please pardon my dirty scanner bed, I was scanning piles of nails the other day):

Mister Fuckhead Special on Radio SC in Zagreb Croatia!

STREAM
RADIO SC IN ZAGREB CROATIA
I will see if there is a recording of this show that I can share.

Apparently the special was aired this morning. Enormous Thanks to the people at Radio SC for doing this feature!

Poslušajte danas na Radiju SC Chicago noise specijal!

17h – 20h Čangrljanje-specijalno izdanje: Bratez Sachulatez presents Mister Fuckhead /Radio SC (Zagreb)

Monstruozni, nasilni Bratez i promiskuitetni prevarant Sachulatez u svojim dekadentnim avanturama, lutanjima, opijanjima diljem svijeta uvijek kada se vrate u domovinu kao pravi hrvati/gastrbajteri donesu darove i belosvjetske drangulije kojih nema kod nas. Bratez Sachulatez su se napokon vratili nakon šest godina i koji tjedan, te obradovali/iznenadili i prijatelje i neprijatelje.Njihovim poklonima svi se raduju kao kada si 80s djeci dijelio gumene bombone po povratku iz Austrije. Nije ni čudo da se iza kuluara priča da su novi val upravo Bratez Sachulatez doneli jos krajem 70s, no kako nikada nisu voljeli veliku pozornost, titule i medalje rađe su prepustili Rundeku i ekipi.

Kako pričaju u Chikagu prošlog ljeta su upoznali izvesnog Arvo Zyloa, poznatijeg kao Mister Fuckhead koji zajedno sa osmoro virtuoza čine big band, i to ne običan već extream noise big band. Mister Fuckhead je Bratez Sachulatez dvojcu poklonio trostruko kazetno izdanje njihovih Live performancea snimljnih u zadnje tri godine. Naime na kazetama se nalaze šest live performansa i još dva dodatna odsviranih od strane arva i njegove ekipe kako Arvo to opisuje svojim riječima: …the line-up ranges from Arvo and one other to like eight people, all huffing away on brass instruments, manipulating tapes and electronics or just plain out banging on shit… quartet on drums, tape loops, guitar, scrap metal and electronics. I can’t quite make out the samples from the tapes, it could be some kind of fucked classical piece or folk tune but at times it even seems a little like a 70’s disco/funk jam…

U svakom slučaju nepropustite premijerno emitiranje tri kazete Mister Fuckheada koje niko nikada ranije nije čuo na našim prostorima. Više informacija o Mister Fuckhead i sutrašnjem showu potražite na sledećim linkovima:

http://www.myspace.com/misterfuckhead

http://www.discogs.com/Mister-Fuckhead-Company-3-X-c33/release/1990583

Autor i voditelj: Bratez

Sachulatez

Google Translation:

Listen now on Radio SC Chicago special noise!

17h - 20h Čangrljanje-Special Edition: Bratez Sachulatez presents Mister Fuckhead / Radio SC (Zagreb)

Monstrous, violent and promiscuous Bratez fraudster Sachulatez in their dekadentnim adventures, wanderings, drinking around the world whenever they return to their homeland as a true Croat / gastrbajteri bring gifts and belosvjetske trinket which there with us. Bratez Sachulatez have finally returned after six years and that week, and glad / surprised and friends and gifts neprijatelje.Njihovim all rejoice as when you 80s children shared the rubber candy after his return from Austria. No wonder that after kuluara story that the new wave just Bratez Sachulatez brought at the end of the 70s, but never like that great attention, titles and medals rather are left to Rundek and team.

How to tell the chikago last summer they met a certain Arvo Zyloa, better known as Mister Fuckhead who along with eight virtuosos are big band, not the usual noise, but extream big band. Mister Fuckhead is Bratez Sachulatez duo presented a triple cluster edition of their Live performances snimljnih the last three years. In fact the tapes are six live performance and two additional odsviranih by Arva and his team to Arvo to describe his words ... the line-up ranges from Arvo and one other to like eight people, all huffing away on brass instruments, manipulating tapes and electronics or just plain out banging on shit ... quartet on drums, tape loops, guitar, scrap metal and electronics. I can not quite make out the samples from the tapes, it could be some kind of fucked classical piece or folk tune but at times it even seems a little like a 70's disco / funk jam ...

In any case nepropustite premiere broadcast of three tapes Mister Fuckheada that one never before been heard in our country. More information about Mister Fuckhead and tomorrow's show, visit the following links:

MISTER FUCKHEAD - "333" PRE ORDER

I wrote the first beginning from this album in 2003, while I was living in a 2nd floor closet, squatting in a rat-infested house that only had power in one outlet, all the way in the flooded basement. This was for my first performance at a public venue. I have reworked these tracks over and over again, spending 15-25 hours at a time drinking fake absinthe doused with wormwood oil and plugging away, to make individual pieces for each performance up until 2007. It took me some time to be completely happy with the whole album as a cohesive, organic entity that takes on a life of its own, and with the incredible patience and ceaseless resources of Clayton Counts, we mastered it in a stretch of about 5 8 hour long days, while we meticulously went over every detail. The 60 minutes of material culminates a series of compositions I made specifically for live performance, then spent a lot of time fine tuning or expanding afterwards. It is composed entirely with a Yamaha RM1x sequencer, incorporating various carefully crafted haywire anamolies that were featured in Dead Tech/Circuit Bending type of art gallery events, and much experience from performing with live bands or working with various drug addled beat industrial/hip hop artists, among other things.




The cassette is limited to an edition of 99, across 3 different color cassettes (solid orange, solid purple, black), with 3 different label designs, a 3 panel, two sided, full color insert, and a color transparency. The cost is $9 USA, $12 elsewhere, postage paid. The release date is 03/30/2010, and will ship within 3 days of that date. You can send paypal to misterfvckhead@yahoo.com . If you would like my mailing address just let me know. If anybody who does reviews for publications or blogs would like to give a thorough review based on the content, I will refund their money after purchase. Wholesale rates are available, distros are welcome and encouraged to get in touch. The cassettes are duplicated and the printing is almost ready to be done.



(sample of one of the 6 label designs)

Excerpt 1
Excerpt 2
Excerpt 3

(These samples can be heard streaming HERE )

Mister Fuckhead and Company Reviewed at Heathen Harvest

Heathen Harvest

Well, Mister Fuckhead And Friends plays very strange music that is repetitive and loop-based. Often times the music has harsh noise elements to it, and in general the vibe of this makes me think of Crash Worship and that sort of carnival atmosphere. There are live drums and rhythms that at times recall the New York no-wave era and some of the groups that followed in that direction such as Swans. This has a distinct Skin Graft records sort of flavor to it, and the adventurous jams often go on into cacaphonous dalliances far past their original rocking intentions. The music seems mostly improvised, as strange sounds will make their way into the mix on the first track that don't seem fully intended. As we get a little bot further into the casssette, things get a bit more interesting with some complete abandoning voyages into glaciers of harsh noise shredding the speakers with total disregard for rhythm or melody. Still sounds like it would have been better to have been there in person, but this recording will suffice.

At over ninety minutes of music, this collection of unnamed and improvisational live sets is very daunting. Mostly the music has a very nineties feel to it, this sounds like it could have been recorded at the same time as some of the classic recordings by the Haters or the New Blockaders. Each set has moments of interest, but for the most part this tape is one long noise set. There are some fairly spectacular and strange line-ups, including what sounds like a makeshift jazz ensemble. My favorites are the electronic and tape-based setups, which is what side one mostly consists of. If you are a fan of no-wave and need something new in your life, you could do worse than this ninety-minute long cassette of noise performances by Mister Fuckhead and Friends.

This has a pretty wide variety of material on it for you to choose from. Also, if you unravel all of the tape from the inside you can spool it around clothing and make very interesting tassels for your outerwear. Hanging many strands of magnetic tape in a consecutive row off of your hat is a great way to show your individuality and style.

Mister Fuckhead & Company Reviewed at Auxiliary Out

Auxiliary Out


This project was masterminded by Arvo Zylo, unfortunately better known as Mister Fuckhead. The "company" in question is a huge series of collaborators he recruited to produce these 90 minutes. The tape consists of six live recordings and two recorded in a meat locker and the line-up ranges from Arvo and one other to like eight people, all huffing away on brass instruments, manipulating tapes and electronics or just plain out banging on shit. It's one of the most monstrous 90 minutes I've come across, and perhaps a bit too much to take in in one sitting but taken a few performances at a time it's pretty enjoyable.
The tape starts off with one of the strongest performances. It's a live recording from 2008 featuring a quartet on drums, tape loops, guitar, scrap metal and electronics. I can't quite make out the samples from the tapes, it could be some kind of fucked classical piece or folk tune but at times it even seems a little like a 70's disco/funk jam. Anyway, so you got someone messing with samples meanwhile the world is basically collapsing. The rest of the crew gets really heavy and moves like a fucking juggernaut, splintering everything in its path. The drummer hits them like a bastard and the guitar gives it a steady rock n roll underpinning that really ties the jam together with a sludgy bow on top. The quartet builds to such a relentless, unholy racket it's quite staggering. It's phenomenal really. The second piece, recorded in 2007, switches gears with a duo formation on scrap metal, electronics, glass and vacuum. Rather than the monolithic skull crushing of the previous piece, it moves along somewhere in between mild harsh noise and free-percussion crews like Albero Rovesciato. The piece is navigated through jangling percussion, sharp blasts of feedback, synth filter sweeps and electronic rumble. It's a good track, well-paced and the duo definitely have a handle the rhythm of the piece. I'd be curious to see what else this duo formation would come up with. The final piece of the side was recorded under a year ago and it expands the ensemble to 7 people. One or more people are credited to all of these things: baritone sax, electronics, guitar, electric drill, scrap metal, saxophone, modified trumpet, bass, cymbals, blood, coronet and vocals which is pretty insane. Looking at a line-up like that I was expecting another noise assault a la the first track but they actually deliver something much more unsettling. Someone's crooning about temptation against brass and reed squeals, metallic clinks and clangs and fearsome power drill work. There's way more space in this piece than previous tracks making it feel a lot more ominous and disjointed. The second half of it finds lilting brass met with shrieks from a modulated power drill and its real disconcerting.
The second side houses five pieces. The first two are shorter and were recorded by a wind ensemble in a meat locker. Five people play baritone sax, coronet, saxophone and trumpet. The first piece somehow manages to recreate some of power drill-like grind from the last piece. Maybe I accredited it incorrectly before. The piece flowers (or wilts) into polyphonic disharmony. The next piece finds Mr. Fuckhead layering various recordings from the meat locker on top of one another, creating a much more unyielding, dissonant plate of sound than the previous track. Both are cool pieces particularly the second one and they show another facet to the Fuckhead and Co. identity. The third piece of the side is another live performance that expands the ensemble to eight, now including trombone, tuba and french horn(!) It's awesome, a throbbing, swollen mass of resonance. There are nearly imperceptible melodies hidden deep within the swampy brass drones. It's a pretty brilliant piece of creepy horn-blowing. The next track finds the group in a seven piece formation still with many horns in tow but with the addition of electronics (and kazoo.) A couple minutes in, after establishing some core drone waves, a few trumpets and possibly coronet start soloing and it's pretty fucking cool! The ensemble creates this swirling vortex of brass and reeds lead by a great central melody continually contorted and modified by that group of trumpets/coronet. It's odd because out of nowhere on this rather dark and noisy tape there's a fascinating centerpiece of beauty. Around halfway through a really bassy sound starts wiggling around and a few filter sweeps worm their way in as well. That horn melody continues but it's slowly dro(w)ned out by jittery electronics but makes occasional resurgences before the track splinters and slowly sputters to a halt. It's a fantastic 15 minutes, quite possibly the best work of the whole tape. The final piece features three people with tapes, electronics and field recordings at their disposal, kicking off with classical music in a cloud of noise. It's a weird track cause there's this pervasive prickly static but occasional intimations of melodies underneath the white noise. I think the piece suffers from following the previous one because the majority of it comes off as significantly less dynamic. I really like the final five minutes of it though, lots of weird loops intermingle freely with a little melodic undercurrent before bringing the tape to a close.
The thing I like most about the tape is that Zylo has assembled a burgeoning group of individuals with an even larger tool chest to explore the many sonic products possible from their collaboration while simultaneously creating a unified aesthetic over the course of 90 minutes (and a couple years.) Well done.
The c93 is limited to 93 copies, it's a lot of bang for six bucks and the tape looks really nice, with matching labels and matching red shells and cases; you can tell a lot care went into the packaging just as well as the music. There's also a special edition triple cassette version with handmade art and whatnot available as well. Check hereor record stores around Chicago for copies.

Many thanks to Drew, he has a good radio show/podcast on his page too...

There are a couple of copies at Reckless Records