"Second Trick : name-dropping.
Always useful and often expected, name-dropping provides referential anchors to the reader. It's like a hug. She/he no longer feels alone in the world. Others, like them, are imbued with influences that they sometines have to keep quiet about to their skeptical surroundigs.
In our case, given the wicked monster generated, there is no need to seek external references for support, they're included in the package !
Ex : Smegma's historical wing incorporates the generation that nursed it. Alongside the "elders" like Jackie "Oblivia" Stewart and Eric "Ju Suk" Steward (Smegma, Tenses, The Rodney Forest...), Dennis "Duck" Mehaffey ( Airway, Doo-Dooettes, Human Hands, The Dream Syndicate...), the late Steve "Ace Farren Ford" Rietta (Ace & Dude, The Child Molester, The Mystery Band...), Amy DeWolfe (Smegma), Bradford "D.K." Hostetler (Smegma), the younger generation brings its share of fluids with Mars "Pharoah" Ford, Steve's son, and the indispensable L.A. saturator John Wiese (Sissy Spacek).
On the other side of the ring, the boy band L'AARQLMEDAL'A is complete of its four youthful fiftyish : The Argentine Alan "Anla" Courtis (Reynols, Origami Republika...) and the French triangle Franq de Quengo (Mahayoni Mudra, Dragibus, French Doctors...) Nicolas "Aka Bondage" Marmin (Osaka Bondage, French Doctors, Oleo Strut....), Sebastien "Ogrob" Borgo (Sun Plexus, Ich Bin, Micro_Penis...).
Yes, you can call it a gang-band ! "
Extract from Samon TAKAHASHI's Pynchonesque liner notes
Smegma : Ace Farren Ford, Mars Ford, Amy DeWolfe, D.K., Dennis Duck, John Wiese, Oblivia, Ju Suk Reet Meat.
L'AARQLMEDAL'A : Aka_Bondage, Alan Courtis, Frank de Quengo, Ogrob
The setup is simple and decisive: a similar electronic device for each instrument played in the soliloquies, for a direct and introspective music that follows my psychic states. In this case, a lap steel guitar, an electric sanza, and a bass guitar. Three instruments for four soliloquies, as there is no numerical logic here. The bass guitar plays twice on side S, and that's how it is. Speech is banned. 'Four soliloquies' without voice or words: the title may seem paradoxical, I admit. However, it took no less than four instrumental attempts to try and translate the thread of my emotions and intellect.
R.S
Ravi Shardja is a French composer and an experimental musician. He is a founding member of the free-form music collective GOL which released iconic LP with Charlemagne Palestine, Brunhild Ferrari, Dave Nuss, Mik Quantius, Charles Hayward, Iancu Dumitrescu, Ghédalia Tazartès...
Ravi is also part of the experimental new wave duo Couloir Gang.
Since 2018, he participes to the French industrial project Art et Technique.
The dense HNW blocks of sound does not dominate or overpower the more dynamic guitar excursions of Courtis, but instead there is a good balance of the elements, making room for both artists to shine. The two sidelong pieces that makes up “Sin Comentarios” appears to be composed in a considered manner. The first piece is a full-on ferocious hailstorm of electronic shards, like a thousand pieces of scarp metal disappearing into a prehistoric black hole. Midway through piece a metallic drone appears and slowly takes over the music. This leads us into the second part, which feels like the grinding cosmos of part one twisted inside out, like an alternate reality, all elements in an inverted state of weightlessness. The piece is more open, the elements more clearly defined, there’s a different sense of both space and pace, but the piece is no less intense. Towards the end the music slowly builds down, almost like a sonic origami that folds itself into nothing. I’m sure it was not intended as a symbolic Zen-like closure, but it in the context of what happened, it’s hard not let the thought cross your mind when listening to this remarkable last Vomir recording. (extract from Lasse MARHAUG's liner notes)
A bad torrent file for the theme from Miami Vice rings in your ears as you struggle to get out of an elevator that’s crashing real fast while you were waiting for a phone call from Bill Orcutt. Enjoy life while it lasts.
– Guy Mercier
For their first collaboration as a duo, rather than succumb to the devastating fury that is the hallmark of so-called 'noise' music, Michael Morley (electric guitar) and Michel Henritzi (lapsteel) have opted for the open sea, and the interior landscapes with the ghostly strangeness that is usually associated with them. The emergence of embryonic melodies under their fingers never frightens them. On the contrary, it allows them to delve deeply into the contemplative and hypnotic dimensions of listening, through skilful interweaving of constantly shifting masses of sound. Although they conceived Mirrors at a distance from each other, what emerges is a fascinating maelstrom, sculpted over time like a long blast spread over two sides. The first, in the form of effluvia, relays primitive forces in gestation since the appearance of the blues. The second, majestic and devoid of ostentation, explores a succession of stases that could have been extended ad infinitum, so much so that the suspension that constantly postpones the fall abolishes any notion of time.
(Philippe Robert)