gordy horn “the glue that holds the kids together” one-sided long playing record

• clayton’s code (2004)
  
• aimee’s dream (2000)
  
• put the rascal in the pudding (2005)
  
• the concept of love (2004)

what the...? press release...

artist: gordy horn title: the glue that holds the kids together format: 1-sided vinyl lp catalog: what013 vinyl debut of long-running cincinnati ohio/northern kentucky improv unit circling the center of saxophone/electronics tim schwallie (of the wolverton brothers) and doublebass/electronics scott hisey. over many many many many years the core remain the same with various collaborators and members walking in and stepping or falling out, but the core remain the same, as they stepped in and fell out of modes such as free improv, free funk, free song, as evidenced in these on record. and included on record is a highly-picked sample of highlights from gordy line-ups, including involving clayton "chicken" gunnels (rip, of the jbs, "america eats its young"-adelic), mark perry (heevahava), c. spencer yeh (burning star core) and names here. so mark perry 'discovered clayton' wandering covington streets. clayton was too well-dressed to be 'just another homeless dude' as mark put it... mark started a dialogue which turned into sporadic jams with clayton, then mark decided that gordy horn get-togethers were the best formats for clayton and you know the rest... 'do you know karate?'  tara was a singer with a very sloppy and very loud noise jam thing in the early nineties that i liked a lot--in particular i liked this pretty quiet small young girl that would transform into a screaming banshee on stage... we talked and then they moved to la; her boyfriend od'ed, she moved back, and we started talking again.  scott and i were in a collaborative mood. we met up with aimee who was willing to bring her harp around, and gordy was a four-piece for 8 months or so around june to dec 1999...  the quartet with spencer and adam was really the go-to quartet for a while there (2003-2006) and i am glad we got one of those jams on the record. - tim schwallie, spring 2010, cincinnati ohio. one-sided lp with silkscreen cover designed by artist paul coors.  130 copies limit.

bren’t lewiis ensemble “at the north pole, easter day, 1982” one-sided long playing record

• the fatness
  
• my down booties were eaten by pat’s dog
  
• theme from a man and a woman
  
• destroy farmer
  
• why don’t we do it in the road?
  
• spontaneous human combustion
  
• weeba wob
  
• mermaid freakout

what the...? press release...

artist: bren’t lewiis ensemble title: at the north pole, easter day, 1982 format: 1-sided vinyl lp catalog: what012 well there is much to say about this record of voices with much to say, so perhaps best to allow one who would know to speak the most for all -- as part of the 25th anniversary of the butte county free music society, at the north pole, easter day, 1982 follows the butte county free music society boxset induced musical spasticity and roughly coincides with the bren’t lewiis ensemble’s three christs of ypsilanti. recording and performing primarily in the mid-to-late 1980s, with sporadic efforts in the early 1990s, this barely organized enclave based in rural northern california ingests and disgorges outsider free music à la smegma and other bent lafms trippers, the uk’s a band, sunburned hand of the man, and the sort of visionaries currently promoted by labels such as chocolate monk and ultra eczema. members of the bren’t lewiis ensemble later migrated to vomit launch, glands of external secretion, the idiot, serious problmz, and bananafish magazine. in comparison to the only other available recording of a complete live performance by the group (the side-long “industrial barbecue,” on the above-mentioned bufms boxset), at the north pole, easter day, 1982 is starker and more minimal overall. performing as a quintet at a university open mic night in the student union cafeteria, the group had played live only once prior (a “bongos in the dirt” affair in the parking lot of an art gallery), they had yet to amass the collection of ubiquitous tape players and answering machines that accompanied most subsequent performances and recordings. the absence of overt forward progress in some (what the? note: there is more notes and they will be included with the record). previously released on the mary jane cassette in 1983. -- bren't lewiis spokesperson, bufms one-sided lp with silkscreen cover designed by artist paul coors, from an idea , along with a bufms-supplied glow-in-the-dark mini poster. 129 copies limit on a history which has no.

justin lieberman / c. spencer yeh “object lessons” picture disc long playing record

• circle of friends
  
• gazing globe
  
• space heater
  
• bird in a gilded cage
  
• the tunnel
  
  
• dell inspiron laptop
  
• krusty bong
  
• slurpee lamp
  
• wheelbarrow
  
• letter to an antique water pump

what the...? press release...

artist: justin lieberman & c. spencer yeh title: "object lessons" format: picture disc lp catalog: what008 "object lessons" and what of this ten-song collaboration between artist lieberman and yeh ?  perhaps the influenced musically discussed is somewhere starting between mutual love of various artistic and musical genres certainly -- sound poetry, psychedelic rock, japanese scum noise, japanese psychedelic rock, listy lists, but certainly embodies more the present-time sensibilities and whims of both between the two artists to combine for something perhaps neither strictly adhering to any imitation. perhaps to this record appropriately let's step back to new york artist justin lieberman's 2009 sculptural and multimedea work "the corrector's custom pre-fab house" -- a description from the debuting gallery follows -- the corrector's custom pre-fab house is inspired by robert venturi and denise scott-brown's 1972 book, learning from las vegas, which provides an in depth examination of what they call 'the decorated shed,' a simple structure with elaborate signage. using the urban sprawl of las vegas as an example, they posit this architectural style as a means to enrich the symbolic content of post-modern architecture. the corrector's custom pre-fab house is a steel dwelling covered with a multitude of objects including a 1970s snowmobile, a life sized jolly green giant, foam filled inflatable toys, an illuminated fedex sign, and a 7 foot shark. accompanying the house is a sculpture of the 'corrector,' a character inspired by the fictional figure, nobusuke tagomi, from philip k dick's novel, the man in the high castle. the novel follows tagomi in a fictional future fifty years after germany and japan defeat the allied forces in world war ii. lieberman's interpretation of taogmi is that of an avid collector of all things pop culture, whose collecting habits extend to the exterior of his home. within the house, there is a computer equipped with a program that enables the 'corrector' to archive each object with an informational text about the object's history, which is then projected onto the adjacent wall of the gallery. created in the style of a katamari video game, the program features texts on each object taking various forms such as objective accounts, plagiarized product descriptions, aesthetic meditations, poetry, short fiction, satire, and prose. these texts were then transformed into the record, object lessons, a musical collaboration between justin lieberman and c spencer yeh. the record is a spoken rendition of select object descriptions that were reworked into an ... musical format. full-color gatefold jacket, depicting abovementioned objects piled up in a grassy field, and the empty dome waiting for occupancy, and inside special ullistrations for both ten tracks -- with fullcolor picture disc lp showing the corrector statue's head in both sketch and final form. manufacture stopped around 250 copies.

speculum fight “live in tokyo ‘95” long playing record

• 4.11.95 at la mama shibuya (1)
  
• 4.11.95 at la mama shibuya (2)

excellent, archival lp containing damion romero’s set from this event ::