Friday, February 18, 2011

PLEASED TO MEAT ME


She said she was 34 but we both knew that was a lie.

I was old enough to know better, to know best even, but some spark remained; rendering me kid-like, still open to the inherent ridiculousness of life, the daily slapstick routine.

A life in the service industry yields bad habits. From eating food off the floor to inhaling rails of blow off the top of a toilet seat, your immune system grew strong, but your moral compass gave up and bought a house on the equator.

“Leave it to the professionals,” you think as a lifelong fever surreptitiously enters your bloodstream, your poor doomed bloodstream.

Blood is becoming your enemy; you slowly realize, hackles raised constantly, but it takes years to hit you, Eureka! like a poisoned arrow thru the window into your heart like a burrowing creature exploding apart. Shrapnel is all that you are left with, and all that you require.

Me and the Shrapnel go on dates. She is a connected woman in the Biz, making many figures; tall and curved. She - an ideal for many a man, not quite me, but who am I to argue with her attention? Legs from here to eternity. An actually well done and borderline appropriate boob job, nighttime soap opera face; Dynasty never got cancelled, it just moved to the West Village. The fresh not-so-fresh ex-boyfriend, an ex-NFL football player, now a day-trader or something of similar useless ilk, but still a meathead, still roid-raging like a goddamn bull in a china shop, except the china shop is their 5000 dollar a month apartment and his jerseys are on the wall, still; (she must’ve cleaned up the broken glass from his last fit quick) but he was a no-name player, filler, an extra.
But what did I care? I could scarcely render a hard-on on the roof of her friends’ place; something about the lights. It’s always the lights.

Expensive restaurants, bullshitting with chefs, them looking at me without even trying to mask their “Who the fuck is this loser weirdo with this beautiful successful woman?”

Someone invented a phrase for it:
Slumming it.

And I was too in my own way. Vertical slum. A peak at the other half living; I was barely doing it so let’s see how they fare. 
Ahhh, mostly a yawn, but every once in awhile, every blue moon, some event will transpire and, poof!, there you have the pulsating carcass of human existence, a tartare you would do well to devour, for you will need as much strength as possible in this life, no matter how long or brief. The thread needs to be fed.


EAT THE MEAT. EAT THE MEAT.


So I’m sure it will come as no great shock that this particular piece of Shrapnel was a human vacuum cleaner for cocaine, very very fine cocaine.
Certainly no one could complain. I never uttered a peep. Just took my trips to the bathroom like a dutiful lad, pocket bulging with the ziplock, an enormous amount of coke for an evening out. By anyone’s standards.


IN CASE OF EMERGENCY, TEAR OPEN BAG.


All of this wonderful food, sometimes special dishes prepared just for us (her), virtually untouched. Without a doubt admired, but seldom did the meat pass our lips. A nibble here and a nibble there, but the jaws were working on a different rhythm than the chew. Teeth muscle and saliva were not syncing up. It just wasn’t meant to be.

Scene: Exclusive literal-underground restaurant/bar in lower Manhattan. A bit overwrought, but hey I ain’t payin.

We make our way thru the glistening shmooze fest of the crowded bar, to a comfy corner booth, one she seems to be familiar with, settling in instantly. Our faces twitch, our legs pop, and our eyes scan the room, like a couple of hunted criminals, out on the lam, sure, but still looking for kicks.

I can say with all honesty that never in a million fucking years would I expect to see someone I know at a joint like this; they wouldn’t even make it past the kitchen.

But there I was. Standing there, drink in hand, laughing it up with some other empty suits, like a pack of hyenas post-meal. “You motherfucker,” I thought.

They say the camera adds ten pounds, but in this case it looks like it takes off more than that. I couldn’t believe how bulky I was; unwieldy, boxy, a giant slab of cold meat. This enraged me for some reason. How dare this doppelganging asshole make me look like a common brute, a performing cavemen, dance you dumb monkey, dance like I’m shooting at your feet.

Someone noticed. The psychic vibes would have alerted even the most insensitive among us. There were sparks flying, but this wasn’t the beginning of any kind of romance. Not us, no, not us.

A friend pointed at me. He thought he was being sly, but I saw that accusatory finger, like a guided missile at my very existence. My shadow caught my gaze and held it, working over the ramifications in his mind. I could smell the gears grinding, and I saw all of the possible headlines before he could work through them; some ended in his blood smeared all over the bathroom walls, some ended us as best friends, arm in arm til the end of the world. “Fuck this,” I thought, I’m taking the fight to him.

“I’ll be right back,” I growled to the lovely piece of shrapnel next to me, and I stood up with great purpose, knee-knocking the table and jerking some silverware around. Suddenly all eyes were on me as I strode across the room, almost angrily, certainly defiantly, my own eyes leveled at my target.

I practically walked right through him.

“Well, hello there,” I said, “This certainly has been a long time coming.”

“Oh yeah?” he said, an infuriating smugness settling over his face, his too-wide grin on his too-big head. “Why is that?”

“I figure it’s been a good 13 years, lucky number that, since the horrid ironic horror movie you appeared in came out and fucked my life up forever. Every goddamn day, I’m reminded. Everyday some fool says, ‘Did anyone ever tell you….?”

He started to really understand what was going on.

“Bah, you’re a pale imitation. Get back to me when you’ve won a Tony.”

“Fuck Tony and Fuck You,” my voice getting higher and louder, others’ quieting down, craning to hear the commotion.

“Listen, brother, I’m trying to have a drink with some friends here. So, nice to meet you, but kindly fuck off.”

“I didn’t even introduce myself, you fucking cocksucker. I’m trying to have a quiet dinner with my ladyfriend,” my arm made a grand sweeping motion towards the bug-eyed Shrapnel, “and you come rolling in here like the fuckin’ King of England.”

“That’s your girlfriend?” he said, his own eyes doing their own kind of bugging.

“No, not quite, why?”

“She’s stunning; my heart is literally skipping beats. Now that's a woman.”

My brain began a quick series of calculations, weighing this and that, considering several different outcomes to this scenario. Part of me wanted to lure him into the bathroom with the promise of a bump of fine grade, and then what? Strangle him with his own tie? Bash his head into the corner of the marble sink? Jab my keys into his neck, hoping to gut the jugular?

But then I came upon a much simpler, more elegant, and altogether mutually beneficial solution.

“Forgive me, dude. It actually is very nice to meet you. Fortuitous even. You see, me and my ladyfriend are going through a bit of a rough patch; I’m not sure we’re going to make it through, truth be told. And perhaps that’s for the best, I don’t think it was meant to be.”

At this, he was nearly slavering like a dog; unbecoming for one of even modest international fame such as himself. And his children, my god I felt sorry for them.

“Why don’t you come with me and meet her?” I said, one eyebrow cocked queerly.

“Oh yes, that sounds fabulous.”

I led him across the room to our table. At this point, most had returned to their over-priced meals, snugly back in the folds of their mundane conversations.

“Ms. Shrap, please meet Herr Doppelganger. I believe you’ll have much to talk about. Now, can I see that zippie once again, my dear? I’m gonna toot off to the lavatory right quick. Back in a jiff. Herr, please treat yourself to a bite or two of my dinner, I don’t think I’ll be finishing it.”

He looked at me stupidly, a big dumb dog reacting to his master’s voice.

I walked towards the restrooms, and vanished into the crowd at the bar. Before I melted into the scenery, I took a glance back and saw Dog and Shrapnel hitting it off instantly, he putting his arm around her, she smiling like a cat eating a canary.

I made my way up through the subterranean establishment, into the blinding lights of the city, and virtually skipped down the street in glee. Two birds, one stone.

Now, I wondered, where does that lovely Naomi live?









[This piece was written for a group show entitled MEAT. While I read the story in front of a full length mirror, semi-famous photographer Keith Marlowe threw fistfuls of raw ground chuck at me each time I uttered the word "meat" or "meet." He scored several direct hits; first salvo square in the back of the head, final salvo full-on in the face. Later, we grilled floorburgers. A good time was had by all. The end.]

Thursday, February 17, 2011

The Unholy Three - My City Was Gone



Here's an overlooked gem (CD-only unfortunately) from late 90s Akron hardcore punks, The Unholy Three. Yes, before there was current Columbus $kum fuck$, The Unholy Two, these 4 NE OH dudes raged hard +1 (+2 too). That's a lot of band math, but these guys ruled it for a few years. After a great self-released 7", they teamed up with short-lived Akron label, Teenage Sex Vixens From Outer Space (also responsible for the excellent Ligod 7"), and long-time Kent label, Donut Friends (responsible for classic records from bands like Harriet the Spy and Party of Helicopters, among many others) to release this 16-song/22-minute tour de force.

Singer Larry Gargus had been in Akron HC band, Splinter (my first real "punk" show was seeing Splinter at the basement of a pizza joint in Kent [blanking on the name]; I missed Born Against by a few weeks apparently) and had published the zine, Crunchface. This was in the days of Victory Records-dominated hardcore, and straight edge was HUGE, as was the influence of horrible later NYHC, like Judge. Not my scene, AT ALL. I went to high school with the guitarist and bassist of The Unholy Three, brothers Clint and Chris. Later, after shaking off the burden of 90s big-pants-core, Clint became a pretty intense record collector, eventually assuming the responsibility of taking care of legendary Akron punk/new wave label, Clone Records' remaining stock. For quite a few years, you could buy originals of most of their catalog at face value, 5 bucks for a 7" etc, from Clint. I've also gotta credit Clint for turning me onto the pre-Cure Cult Hero shit ("I Want to Be Old"/"I Just Need Myself" etc) and the Beach Blvd. compilation, which is an all-time favorite. Finally, the drummer was some 18 year old kid from Canton (even more of a cultural wasteland than Akron at the time, and most likely still). This kid was a sick drummer, throwing in crazy fills all over the place, and solid as a rock.

I saw The Unholy Three play a few times, but not as many as I'd have liked, cuz I was living in Richmond VA and Columbus OH for most of their existence. I do remember them opening for Los Crudos at the Legion of Doom in Columbus and they held their own in that cramped, packed, stinky-ass basement (fuckin' crusties).

After UN3 broke up, they morphed into Don Austin with essentially the same line-up intact (minus the drummer + another guitarist). Don Austin has a bunch of quality 7" EPs that are even more nihilistic and bitter, channeling a serious Negative Approach vibe. You can probably find some of these without too much effort.



So here's The Unholy Three's only full-length, named after The Pretenders' song for some real reverse Akron pride.


The Unholy Three - My City Was Gone (1998)

http://www.mediafire.com/?x6cqhz5bsotfh

Friday, February 4, 2011

Tokyo Storm Warning teaser

Probably of interest to only Clevo people, but I think the music itself stretches far beyond the shores of Erie.
There will be a far more in-depth examination of this short-lived on/off band of mid-Ought Cleveland.

Rust belt blues.

In the near future there will be a limited to 100 copies 12" of the Tokyo Storm Warning oeuvre.

Here's a taste. Back 7 years into the future. Here's one version of the shoulda-been-a-contender "Misery Antenna," maybe just maybe our best song.

http://www.mediafire.com/?ppf4c7br554xma0

Mike D. - bass
Jermainiac - guitar right
Neely - guitar left
Stan(miuzi weighs a)ton - traps
EBH - vox

Monday, January 31, 2011

Mind/No Mind - Music For Dead Phones

The name came from a series of espionage novels featuring emotionally-tortured ninja assassins written by Eric Van Lustbader (noticed recently that he has penned several post-Ludlum Bourne novels which makes perfect sense). I devoured these as a pre-teen. Long complicated plots featuring copious amounts of tawdry sex, set pieces in tragic nations like Cambodia and Vietnam, labyrinthine plot threads featuring all manner of betrayal and emotional violence, and killer action sequences full of stealth, shadows, and quick death. The protagonists were usually young men with a horrific past full of murder and despair, tossed by the currents of life into the hands of power-mad father figures intent on using their skills to manipulate global politics and economics, puppet-masters with only the most devious of intentions. Toss in a bit of Eastern mysticism and philosophy and I was sold. And that's where the name came from. The master assassin character would inevitably slip into the "mind/no mind" state; a perfect Zen headspace where you were both operating on total instinct and hyperaware perceptions. To achieve the mind/no mind state was to be a primitive animal and an intellectual of almost supernatural ability, simultaneously. I really dug that. Isn't that what we all want? Perhaps not, but if I could be a knuckle-dragging Einstein, I would.

So, years later, when I started to cut n' paste together zines of dubious distinction, I named my little venture, Mind/No Mind Enterprises. All business. Punk rock CEO.
So, then, even more years later, when I cobbled together various home-recorded experiments of the previous half-decade, I decided to name it Mind/No Mind.

Below you can download the A-side of a c60 that I "put out" in 2000. It features all sorts of weirdness recorded on tape recorders and 4-tracks starting around 1995. The cassette was called Music for Dead Phones. The titles are as follows:

The Shape of Noise to Come
FRANKENSHTEEN!
Taking Cover in the Mekong Delta
My Whole Life is a Vibration
Passage of Time
Frankendub
Burning Me Sideways With Your Song
I Can't Even Figger Myself


"FRANKENSHTEEN!" has a fairly amusing story behind it, and is the earliest piece recorded (and really the only proper "song" on here). It was senior year of high school (ouch, this hurts just thinking about it), and I had an assignment due for my AP English class. Now, I hardly ever did homework (against my morals), or, really, much of anything in school besides sleep (how I managed to graduate with a 3.0 [exactly] is still beyond me). We had read Frankenstein (wow, how "advanced") and we were tasked to do some sort of project, any project (how progressive!), about how Shelley's book was a "frame" story. Y'know, a story-within-a-story (within-another-story for ye olde Victorian yarn, I believe). So, typically, it's the night before, I haven't done shit, and I'm starting to feel a bit of anxiety, as my grade sucked in the class and even the extra point might not save me from an F (pretty sure I had never received an F despite my endless scholastic naps). I'm downstairs in the computer room/den and in my turmoil I turn and see my pathetic little music set-up: generic shit guitar, Gorilla 15 watt practice amp (which ruled), a floor tom given to me by a friend with head that had to have been on there at least a decade, one Radio Shack mic, and a Tascam porta 03 4-track. The lightbulb went off. Within an hour I had recorded "FRANKENSHTEEN!" (yes, you are correct, a Young Frankenstein reference), dodgy English accent and and all. At the end of the narration I say, "That's very nice, you should write that down and put it in a frame," which makes virtually no sense, but is my one concession towards the stated aim of the assignment. I was so proud of my strange lumbering song. The next day, I brought in the tape and a small boombox. When my time came to present to the class, I strode up to the front, popped the cassette in, hit PLAY, and watched the looks of confusion pass over everyone's faces like a stormcloud gathering on the plains. "What The Fuck?" seemed to be the common sentiment silently communicated by these need-to-fart facial expressions. The teacher, who already thought I was a weirdo and resented my complete disinterest in the class (also, she was bitter that she lost on Jeopardy! to her fellow teacher, who kinda liked me even though she thought I was a weirdo too; her bewildered response to my 20-page thesis on Naked Lunch the year before was "A+") just looked at me like I was wearing a trenchcoat with a semiautomatic hidden underneath. Who knows what grade I got. And who cares. I still like that song, and high school was a load of shit.

The rest of the side features early experiments with tape recorders, delay pedals, and even a snatch of spoken word. I'll spare you side 2 for now, as it gets a bit redundant, but perhaps in the future you will be able to hear its lost, uh, genius. Don't you wanna know what "The Real Sound of Cyberspace on Macgillicuddy's Farm" sounds like? Remember when people used to say "cyberspace?" Oh those were the days.

I made about 20 of these. A decade-plus later, not a single one exists most likely. Hey Not Not Fun, why don't you "reissue" this crap? You got nothin' to lose.

Within a year of releasing this tape, I had begun to play live shows under the Mind/No Mind moniker. The first one being a Men's Recovery Project show at Speak in Tongues in Cleveland (big ups to Jake Kelly for both organizing this show and asking me to play it, basically out of the blue). It went OK, so periodically I would perform some weird mix between experimental-not-quite-noise muzik with a sort of performance art twist. Each show was with different personnel and featured a completely new, one-time-only performance, seeded from some half-baked vision I had. Mind/No Mind played with such early Ought luminaries like Lightning Bolt and Black Dice. These performances culminated in the "American Cherry Burst" performance at SIT in 2001, of which I will be posting a recording of in the near future.

Anyway, "enjoy":

http://www.mediafire.com/?rzzlv1i5r1901iz

Thursday, January 27, 2011

Fucking in The Fitting Room

Long out of print split 7" between my band (Golden Error) and NYC (nay the world's) #1 one-man band, LiveFastDie. We were supposed to make a video for this (w/ Keith Marlowe). We had a spot (Metropolis) and a girl and some ideas (I wanted it to look supershitty early 80s public access style with all the lyrics pretty much acted out), but, cuz we're dumb punks, we never brought it to climax. Lame.




Record live in our practice space (including vocals which were coming out of a vintage Fender PA reverb tank). 4 mics into a 4 channel mixer going directly into a cassette deck. Engineered by the talented Mr. Greg Ashley, of Gris Gris/Mirrors/Stratecoats fame. Thanks, Greg, you da best.

I put this out myself on Mind/No Mind Records. 500 pressed. All gone.
If you happened to get one of the ones with the jackets made out of vintage potato chip bags from
Akron OH, count yourself lucky.

GE side art by Brandon Mulloy (and I need to get an image up here cuz it's a doozy).
LFD side by Camero Werewolf.
LFD songs were "Dawn of fhe VHS" (an all-time LFD classic for sure) and a cover of The Spits' "She Don't Kare." One day the Wolfman will put out a singles comp LP and that'll be radness personified. One of the better singles bands of the last half-decade.

Anyway, here's the song!

http://www.mediafire.com/?gp7b2tbds8ibjmz

HATE POEM FOR CLEVELAND


Decaying decrepit city
like an old woman with a broken hip
You got pockets of beauty in those
tattered pants
    but even those are filled with dirt

Your children are dangerous because they are bored
Your pimps ride the bus because they are broke
Your old men drive motorized wheelchairs
    not because they are crippled
But because they have given up walking


Deceitful disastrous city
like a leaking gas stove in a brokedown apartment
So eager to poison us while we sleep
So delighted at the exploding future
So hateful, hissing in our fated ear

My breath is holding me, dead civic.
Who dares hold you? Who hears your weeping
when the day is over? Who watches their backs during long
cold nights, just to see your true face?


Demonic destroyed city
You took out Levy and Laughner and untold
thousands before them
Sneer blind at the attempts   ATTEMPTS
Your contempt at these attempts is so apparent
So fluid So pervasive
Just look around yourself for the evidence
                                              the disgust


Hart Crane is still swimming, for sure
His sail soars, his suicide merely symbolic,
his soul searches for shore, he is replenishing
the ocean with his tears.

Albert Ayler is Heaven's marching band.

Cleveland - born to Purgatory
New York - drown in Hell

He finds his destiny in the darkness of the river
Dreaming feverishly of Cleveland's nightmare
skyline, refusing his too-soon recruitment into
legend, with his young lungs' rage --

"I am not ready for the fires! I am not ready for the clouds!
   I am not ready for the long dive into past, into this world
  with no Here, no Present, no Whole Sound, NO BREATH!
                                                                                  No Breath!
                                                                               no breath no breath no breath
"


Eventually, your river, your artery, erupted into flame
In the dead of night you could hear a saxophone
 gobbling oxygen    greedily. drunkenly
devouring every last vestige of free air

Far, deep in the folds of abandoned factory flesh
wild dogs wield fangs
wear random animal pelts
stalk lone persons down Murder Alley
grinning, laughing without a sound
immune to Ayler's wail
Levy's hazy anger
the cavernous hollowness blowing through
and around and all over
   and so spread

Days clicking away
Scraping on




Originally published in Flat Bike #5 by Matthew Wascovich (Slow Toe Publications).