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:
Showing posts with label ensemble. Show all posts
Showing posts with label ensemble. Show all posts
Saturday, March 6, 2010
Tuesday, March 2, 2010
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.
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.
Sunday, February 21, 2010
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
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
Tuesday, January 19, 2010
Review of Mister Fuckhead & Company in Vital Weekly + "333" Due out in March
http://www.vitalweekly.net/714.html
90 + minutes of a compilation... ...I suspect revolves around the DIY ideas in the noise genre, which I suppose I should say something about. I think it's a continuum of the very free improv work on the outskirts of jazz / avant gardism / fluxus which will it seems continue to exist as its kind of found an ecological niche within contemporary modernity / post-modernity, a niche similar to a biological one through perhaps in terms of Dawkins' "meme" - though I must admit to not liking the idea which seems self contradictory especially here as I cant see how this music can have the desire to sustain itself anymore than DNA.
The ideological processes that gave the left field avant improv is no longer active, which is proclaimed by the current practitioners, but that perhaps is the whole point - an ironic positing of the no longer theory laden intellectualism of the new wave, more an oily swell of pollution and dead seabirds. Interesting, poignant even and ultimately nice.(jliat)
--------
MORE POLLUTION ON DECK: a cassette version of an album I worked on for nearly 5 years, "333" will be out in march. Mastered by Clayton Counts, it will be a c66 with a double sided 3 panel j card. Edition of 99. Here is a crop from the collage art:
Please feel free to get in touch if you're interested in ordering or carrying this release. Wholesale will be available.
PAYPAL/CONTACT: misterfvckhead@yahoo.com
3XC33: $18 ppd everywhere
C93: $6 USA, $9 World
90 + minutes of a compilation... ...I suspect revolves around the DIY ideas in the noise genre, which I suppose I should say something about. I think it's a continuum of the very free improv work on the outskirts of jazz / avant gardism / fluxus which will it seems continue to exist as its kind of found an ecological niche within contemporary modernity / post-modernity, a niche similar to a biological one through perhaps in terms of Dawkins' "meme" - though I must admit to not liking the idea which seems self contradictory especially here as I cant see how this music can have the desire to sustain itself anymore than DNA.
The ideological processes that gave the left field avant improv is no longer active, which is proclaimed by the current practitioners, but that perhaps is the whole point - an ironic positing of the no longer theory laden intellectualism of the new wave, more an oily swell of pollution and dead seabirds. Interesting, poignant even and ultimately nice.(jliat)
--------
MORE POLLUTION ON DECK: a cassette version of an album I worked on for nearly 5 years, "333" will be out in march. Mastered by Clayton Counts, it will be a c66 with a double sided 3 panel j card. Edition of 99. Here is a crop from the collage art:
Please feel free to get in touch if you're interested in ordering or carrying this release. Wholesale will be available.
PAYPAL/CONTACT: misterfvckhead@yahoo.com
3XC33: $18 ppd everywhere
C93: $6 USA, $9 World
Thursday, October 15, 2009
New Mister Fuckhead & Company
The initial idea for this project started with a brass group on April Fool's Day that just did reverb-laden drones. Other ideas presented themselves from there on. Later, various incarnations of the Mister Fuckhead Ensemble, Mister Fuckhead & Friends etc. incorporated junk metal scrape, chains, vacuums, glass, drills, guitar, keyboards, field recordings, classical samples, and tape loops. "c93" is a live document of more than 6 performances from the last 2 years or so; edited, and revitalized.
Contributors featured are travis (ONO), Daniel Burke (Illusion of Safety), Michael Kendrick (Lovely Little Girls, ex-Rope, Redemer, etc), Mike Krause (Death Factory), Dave Purdie (Silver Abuse, Satan2000), Richard Syska (Dummy Antenna), Andy Ortmann (Panicsville), Bruce Lamont (Yakuza), Right-Eye Rita, Brian Klein, Christopher ILTH (Daily Void, ex-Functional Blackouts), Alejandro Morales (PISSPISSPISSMOANMOANMOAN), Rik Garrett, Rupert Glimm, Bobby Danger (Black Bear Combo), and Allison Lake (Pommel).
Here is a link to sound samples: http://www.divshare.com/download/8911141-c60
Contributors featured are travis (ONO), Daniel Burke (Illusion of Safety), Michael Kendrick (Lovely Little Girls, ex-Rope, Redemer, etc), Mike Krause (Death Factory), Dave Purdie (Silver Abuse, Satan2000), Richard Syska (Dummy Antenna), Andy Ortmann (Panicsville), Bruce Lamont (Yakuza), Right-Eye Rita, Brian Klein, Christopher ILTH (Daily Void, ex-Functional Blackouts), Alejandro Morales (PISSPISSPISSMOANMOANMOAN), Rik Garrett, Rupert Glimm, Bobby Danger (Black Bear Combo), and Allison Lake (Pommel).
Here is a link to sound samples: http://www.divshare.com/download/8911141-c60
The accompanying visual matter was made with only the intention of framing the work, I had no desire to try to place any kind of artful sheath over this collection or its contributors. It's been in my mind for the entire time to use pen & ink splatter and a few other elements, so naturally the end result is an edition of 33 with hand made inserts/labels and handwritten credits (samples below). There are 3 red tinted c33 Type II High Bias tapes in a white cassette album and it comes with a 4x6 photo from the aftermath of one of our performances. Fountain pen ink has been the main tool used, on varied sketch paper. I grappled with the idea of selling this item at all since I've got so many... um ...royalties to give out and I've become attached to some of them. Never-the-less, 9 of the 33 are available for $18 postage paid everywhere. C'est La Guerre. First come first served.
There is also a solid red c93 in an edition of 93, containing the same material with two sided, perforated, black and white J cards based off of the handmade work; black and white labels, red norelco cases, printed credits. Covers vary. There will be a small amount available with hand written/drawn/made covers & labels. $6 US, $8 World.
All orders will be shipped within 3 business days between 2 pieces of cardboard, inside a padded envelope.
Paypal to misterfvckhead@yahoo.com
The content is the same for the 3xc33 album and the c93.
A1:
Christopher ILTH (Daily Void): Tape Loops
Alejandro Morales (PissPissPissMoanMoanMoan): Drums
Mike Krause (Death Factory): Guitar, Electronics
Mister Fuckhead: Electronics, Scrap Metal, Tapes
Recorded live at The Empty Bottle, August 3rd, 2008 by Daniel Burke.
Live sound by Kenny Rasmussen.
A2:
Mike Krause: Electronics, Scrap Metal
Mister Fuckhead: Electronics, Scrap Metal, Glass, Vacuum
Recorded live at South Union Arts, July 11th, 2007 by Joe Hahn.
Live sound by Brian Klein.
A3:
Travis Dobbs (ONO): Vocals, Vocal Overdubs, Scrap Metal.
Daniel Burke (Illusion of Safety): Guitar, Electronics, Scrap Metal
Michael Kendrick (Lovely Little Girls, Ex-Rope, Redemer, Maco Sica, etc) - Scrap Metal, Trigger Pads, Blood
Richard Syska (Dummy Antenna): Bass, Modified Trumpet, Electronics
Mike Krause: Guitar, Electric Drill
Dave Purdie (Silver Abuse, Satan2000): Baritone Sax, Mouthpiece, Electronics
Mister Fuckhead: Scrap Metal, cymbals, Coronet
Recorded Live at Ronny's, March 18th 2009.
Collaborative live sound by Brian Klein.
B1:
Taken from material recorded inside of a meat locker
above Grace Kulp's apartment on October 29th, 2008.
There were recorders in each corner for acoustic brass improvisations by:
Bruce Lamont (Yakuza), Andy Ortmann (Panicsville), Dave Purdie, Brian Klein (The Machinist), and Mister Fuckhead.
B2:
Various carefully piled layers from each corner of the meat locker.
B3:
Bobby Danger (Black Bear Combo): Tuba
Rupert Glimm: Trumpet
Right Eye Rita: French Horn
Rik Garrett: Trombone, Electronics
Brian Klein: Trumpet, Electronics
Richard Syska: Trumpet, Electronics
Dave Purdie: Baritone Sax, Electronics
Mister Fuckhead: Coronet
Excerpt from a live performance at Beat Kitchen, April 1st, 2007.
Recorded by Dan Demchuk.
B4:
Rupert Glimm: Trumpet
Rik Garrett: Trombone, Electronics
Richard Syska: Trumpet, Saxophone, Electronics
Allison Lake (Pommel): Kazoo, Electronics
Dave Purdie: Baritone Sax, Electronics, Buzzing
Brian Klein: Trumpet, Electronics
Mister Fuckhead: Coronet, Electronics
Recorded live at Darkroom Bar, May 20th, 2007, by Dan Demchuk.
B5:
Brian Klein: Tapes, Electronics
Mike Krause: Tapes, Electronics
Mister Fuckhead: Tapes, Field Recordings, Electronics
Recorded live at Elastic Arts, June 21st, 2008
All Material was edited, manipulated, and mastered by Mister Fuckhead.
Duplication (and some further fine tuning assistance) By Andy Ortmann.
3xc33: $18
c93: $6 US, $8 World
Paypal: misterfvckhead@yahoo.com
Wednesday, April 1, 2009
Mister Fuckhead Ensemble live at Darkroom 01/11/09
Mister Fuckhead Ensemble live at Darkroom 01/11/09 featuring Richard Syska, Billy Smith, Eorl Scholl, Clyde Rourke, and Andy Ortmann. Scroll to about 5:20 for the performance to start. It was filmed courtesy of Soren Kyale with a small handheld video camera. The audio doesn't do the performance justice, but the performance is well worth documentation.
DOWNLOAD
Tuesday, March 24, 2009
LIVE MISTER FUCKHEAD ENSEMBLE
THE MISTER FUCKHEAD ENSEMBLE:
w/ arvo fingers, richard syska, daniel burke, michael krause, brian klein, michael kendrick, dave purdie
Video courtesy of ACID MARSHMALLOW
mister fuckhead ensemble (early set) at hotti biscotti (chicago) march 7th, 2009 from acid marshmallow on Vimeo.
mister fuckhead ensemble (late set) at hotti biscotti (chicago) march 7th, 2009 from acid marshmallow on Vimeo.
w/ arvo fingers, richard syska, daniel burke, michael krause, brian klein, michael kendrick, dave purdie
Video courtesy of ACID MARSHMALLOW
mister fuckhead ensemble (early set) at hotti biscotti (chicago) march 7th, 2009 from acid marshmallow on Vimeo.
mister fuckhead ensemble (late set) at hotti biscotti (chicago) march 7th, 2009 from acid marshmallow on Vimeo.
Tuesday, December 2, 2008
Press Release for 1/11/09 Show at Darkroom
This incarnation of The Mister Fuckhead Ensemble will feature brass elements, electronics, scrap metal, and a great deal of percussion.
www.myspace.com/illusionsofsafety or www.illusionofsafety.com
http://www.myspace.com/aph0rism or www.ap5m.com
www.myspace.com/7283165 www.wtiirecords.com www.darkroombar.com
Oneiroid Psychosis:Oneiroid Psychosis, originally a duo between brothers Lars and LeifHansen, is now a darkwave solo-project from Wisconsin by Lars. Originallyknown simply as Psychosis, they were discovered by Decibel Records in 1993and have been making music using the name Oneiroid Psychosis since.Because a band called Psychosis already existed, it was necessary for thebrothers to change their name to avoid confusion or legal conflict, hencethe addition of the word "Oneiroid," which comes from the Greek word"oneiros" which means "dream".OP's first album, Stillbirth was released in 1995. Four songs from TheTime Spent Dead were included on the album, two after being re-recordedentirely, and two after being remastered. Stillbirth was re-released onCOP International in 2003.
After Stillbirth, OP released two more CDs on Decibel in 1996: A single,called Assuage and the album Fantasies About Illness. After these tworeleases, however, Decibel and Psylabs (OPs recording studio) both moved,which resulted in a number of complications regarding the next album,Garden of Remembrance. OP was forced to separate from Decibel, but aftersome time, they found a new home with Nilaihah Records.
The album featuresguest appearances by Kristy Venrick of The Azoic and Shikhee of AndroidLust.The fourth album released by Oneiroid Psychosis was originally a "topsecret project".
Lars and Leif wanted to make an album without any outsideinfluences. They recorded the album while building a new studio.Eventually, the secrecy of the project became less important: passion wasparamount. As their new studio was completed, so was the album.
DREAMS(with pollutions when virile) was released in 2001 by COP International.A re-release of 1995's Stillbirth was followed by OP's fifthfull-lengthalbum, Forever is Forgotten.
At this point, working together on musicbecame more difficult for the brothers: they no longer lived together,Leif had a new baby and both were involved with Albion Swords, asword-making company. They managed to find the time, however, to completeForever is Forgotten.
Fast forward to 2008 and you will see the launch of a web store forOneiroid Psychosis (which is located at www.psylabstudios.com) and thereleaseof the new cd Sentient.
ILLUSION OF SAFETY:IMPRESSION Illusion Of Safety intrepidly charts the terra incognita wheresound, silence, noise and music intersect. Using conventional instruments,sound generating devices and random objects, IOS hews sonic sculpturesthat deliberately provoke, mesmerize and even affront listeners.
OVERVIEW Illusion Of Safety has been the ongoing project of Daniel Burkesince 1983, working with numerous individuals in various combinations ofone to 10 members. Their work has been continually evolving, neversettling into an easy niche. Each collaborator has brought their ownunique perspective to the project. Since 1991 IOS have released 20 CDs onlabels such as Die Stadt, Silent, OddSize, Staalplaat, Soleilmoon,Manifold, Tesco, Ossosnossos, and Complacency. At times their work hasbeen called ambient, post-industrial, electro-acoustic, electronica,noise, sound collage, improvisation, and power electronics.
Unable tocategorize their work into one style, each release, live performance, andsometimes individual piece often shifts abruptly from one atmosphere toanother.
CURRENT POSITION Daniel Burke is currently working with electronicsynthesis, computer composition, and manipulation of historical musicalreferences and highly amplified handled objects. Burke usessemi-recognizable preexisting structural elements and rearrangements ofthe "language of error" to convey external stimuli and personal internalcontext. The results are destroyed music, broken sound, disturbed ambienceand the quest for the sublime.DANIEL BURKE'S ARTIST STATEMENT: The work represents not only my internalworld but the world as I perceive it. I work toward truth and often usebrutal honesty in mirroring my own state of mind and what I experience ofsociety & civilization.
The work represents my interest in the duality,contradictions, and ironies of the world we live in, the human conditionand my own state of mind.
I explore my fascination with the necessities ofbalance and the nature of dichotomy: chaos vs. tranquility, sacred vs.profane, subtleties vs. obviousness, and the ugly vs. an all pervasivebeauty. My hope is that other people can relate to the work on anemotonal, and intuitve level, while appreciating my aesthetic interest inexploring the inneffible.
To illiustrate & illuminate psychologicalprocesses and personal/interpersonal relationship. To activate modes ofperception to facilitate direct access of the psyche, emotion, and theinfinite. transcendence
THE MISTER FUCKHEAD ENSEMBLE:Mr. Fuckhead is the mastermind of one Arvo Fingers, who is not only a liveperformer, but also chicago's leading dj for music that falls into the"experimental,noise" category. Probably best known for releasing thenow-sold Trunculence Locked Groove Seven Inch Record which hadcontributions from such bands as Crash Worship, Nurse with Wound,HeliosCreed,Mykel Boyd,Cock E.S.P, Emulsion and many more.
The live version of this incarnaion is often referred to as The MisterFuckhead Ensemble. Members range from Three to Eight depending on what isplanned for the evening. Tonight's show arrives with the expectations ofat least 3 drummers/percusionists to keep true to Arvo's"industrial"roots.
Mr. Fuckheads live performances are always loud, incedinary, uniqueand unforgettable and have they have brought their unique interpretationsto play along side many of the noise scene's biggest names. One thing issure is that if you are missing old skool bands such as In the Nursery,Controlled Bleeding, or Einstuerzende Neubauten then Mr. Fuckhead is foryou.
APHORISM:Aphorism's Josh Pyle is no stranger to electronic music. Drawn to thedarker end of its spectrum in the early 90's, Josh spent years in theIndustrial music scene.
Involved in a number of projects, Josh relocatedfrom Texas to Chicago in 2000. With a music background spanning well over15 years, Josh's project Aphorism began to take off in 2005. "Whenworkingon a new track, it usually starts to take shape as a song at about thesame time it starts crashing my computer.
I guess I like to push the limitof my gear. Either that, or it's time for a new Mac."Although obsessed with the ability to create physically impossible soundswhile driving his equipment to the edge, Josh never lost his love for postpunk and Wax-Trax! era electronic dance music. With inspirations rangingfrom Berlin Electro to Skinny Puppy; from Amon Tobin to Dub, thecombination of stylistic influences plus an interest in 60's and 70'sEuropean soundtracks contributes to the sound of Aphorism. Now, Aphorismjoins Tympanik Audio for his fantastic and incredibly dynamic debut albumrelease titled 'Surge' with this showcase being his cd release party.
Press release written by Dave from WTII Records
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