New York bands Talibam! and Peeesseye together for a limited edition album mixing rock, sound and noise, and altogether unknown territory; great stuff!
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Shipping Weight: 26.00 units
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Limited edition of 600
Catalog ID: 13
Squidco Product Code: 12818
Format: 2 LPs
Packaging: Vinyl LP in a Gatefold Sleeve
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1. You Tried (To Eat It)
2. Everything For Everyone
1. New Vitality In The Biomass
2. A Grey Mountain Of Human Shit
1. Year Of The Moral Orgy
1. Grit Of The Ghost
Rock and Related
Sound, Noise, &c.
Limited Editions & Out of Print
sample the album:
"Talibam! (Kevin Shea on drums, Matt Mottel on keyboards) and Peeesseye (Jaime Fennelly on electronics, Chris Forsyth on guitars and Fritz Welch on drums) have been pals and Evolving Ear labelmates for a while now, so it was only a matter of time before they all got together and let it rip. And rip this certainly does, driven on by the double-barrelled percussion attack, underpinned by Fennelly's drones and scribbled all over by Mottel and Forsyth, whose wild gonzo soloing is a happy and healthy reminder that one-chord jamming was part and parcel of American alt.rock before the word alt.rock even existed, back when Fugs roamed the Earth and Angus MacLise still turned up for rehearsals, back when these laddies were still twinkles in their daddies' eyes. Of course, it's not all one-chord rock —sometimes they dispense with chords altogether and dive headlong into the primeval murky soundpool, with scant regard for whatever sharp rocks and nasty beasties might be lurking under the surface. Loud, messy, dangerous and glorious." —Dan Warburton Only 600 copies available, artwork by Rachel Lowther. CD available at Invada Records!invadarecords.bigcartel.com www.peeesseye.comwww.myspace.com/talibam
Limited edition of 600
• Show Bio for Kevin Shea
"Kevin Shea is valued as being a vital and original artist in the contemporary music scene. Shea's originality is manifested not only by his personal approach to his instrument, but also throughout his constant search for new musical horizons unifying all the bands he has been involved in despite the parameters set for musicians by genre definition, or by historical icons.
The plurality of rigorous artistic aspirations and creative engagement that distinguish the discography of Kevin Shea are not the product of chance or merely taking advantage of opportunities -- but the result of labor, strong convictions, and a strong conceptual support -- a deliberate search for transitional territories away from the dogmas of boring and unnecessary conventions.
Shea's artistic interests are rooted in reevaluating what a band/music, musician/performer, artist and audience can and should be. Splitting the difference between passion and song, Shea plays multi-dimensional utopian sound in which opposing musical forces integrate to form a new sustainable recipe for sound and social implication. Remaining devoted to his belief that the application of sonic diversity is paramount to the appreciation of human diversity, Shea's ultimate goal has been to wed disparate ideologies through proficiency, controversy, inquiry, and compassion -- an approach perpetuating audiences, listeners, and sometimes fellow band members, to face, question, define, and attempt to defend their own level of tolerance and compassion head-on, no-holds-barred.
Through this carefully planned direct method in the round, Shea's sonic investigations emphatically traverse the mobius strip highway of refurbished canticles, perpetually climaxing between Sadean semelparity and Platonic resurrection. At the heart of Shea's dialectical core, unabashed artifacts of rhythmic iconoclasm conjoin with anthemic melody gestures and modern memory loss to create a vital force that gives us bittersweet contemplation and empathy.
As a youth, Shea moved throughout the States many times, transforming any of his formal expectations into a joyous foundation of constant flux. He learned that intuition and customs had to be constantly re-evaluated and negotiated rather than held as sacred. This process of questioning is central to Shea's music. To him, sound is a result of a broader process rather than formulas tied to notions of predictable emotional response. Shea sees sound and music, not as a prize, but a simple aspect of banal daily life.
Kevin Shea has over 25 years of experience as a professional drummer, composer and performer. He has recorded on over 120 albums in a mish-mash of contexts and has performed in over 40 countries. His training started in public elementary school and continued steadily through his college years at Berklee College of Music."-Kevin Shea website (http://www.kevinshea.info/)
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• Show Bio for Matt Mottel
"Matthew Mottel, is an internationally recognized musician and artist, performing most notably with Talibam! for the past seven years. His visage should be familiar to anyone who's been going to shows in NYC in the past ten years. He's been hanging around NYC clubs since he was like 16, and dropping electric mind bombs with his synthesizer in those clubs nearly as long with folks like Karole Armitage, Rhys Chatham, Awesome Color, Akron/Family, Jeffrey Lewis, Chris Taylor (Grizzly Bear), Kenny Wollesen, Chris Corsano, Ras Moshe, Cooper-Moore, Sean Meehan, and many others."-Free Music Archive (http://freemusicarchive.org/music/Matt_Mottel/)
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• Show Bio for Chris Forsyth
"Guitarist Chris Forsyth's hypnotic instrumentals assimilate art-rock textures with vernacular American influences culled from a lauded career as a composer, improviser, and inveterate collaborator. Long active in the international improv/experimental underground, he's released a series of acclaimed records as a solo artist that demonstrate a resolute engagement in making corporeal/cerebral music that transcends such subterranean realms, reaching instead for a bleeding-edge physicality and lyricism that he deems "cosmic Americana." The fascinating tension manifest in Forsyth's playing between often long-form, rarefied abstraction and percolating rhythms and rock/roots structures animates notable recent works such as his 2011 LP Paranoid Cat on Family Vineyard and Early Astral, a 2012 duo LP with Koen Holtkamp (Mountains) on Blackest Rainbow.
His 2012 Kenzo Deluxe LP/CD on Northern Spy, which features "The First Ten Minutes of Cocksucker Blues," a stunning conceptual soundtrack piece for Robert Frank's banned Rolling Stones documentary film, has been described as "resonant [and] incisive... a cosmic abstraction of the American guitar tradition, reducing blues, rock, folk and improvisation into their spare, hypnotic base elements." Aptly, Forsyth credits a Keith Richards interview in a 1988 issue of Guitar World with introducing his teenage self to the banjo-derived open G tuning, which Forsyth now employs almost exclusively. The Wire has praised him as "an erudite and farsighted guitar stylist, mapping a path that's hip and scholarly in equal measure." Uncut calls him "an emergent master."
Forsyth has toured throughout Europe and the U.S., sharing stages with such like-minded travellers as fellow PoB artist Steve Gunn, Bill Orcutt, Rhys Chatham, Sic Alps, Grouper, Loren Connors, Mind Over Mirrors, PG Six, and Träd Gräs och Stenar, and, from 2002 to 2011, as a member of Peeesseye. He studied with guitarist Richard Lloyd of Television and has also collaborated with diverse artists including Meg Baird, Tetuzi Akiyama, Nate Wooley, and choreographers Miguel Gutierrez and RoseAnne Spradlin. Forsyth was awarded a 2011 Pew Fellowship in the Arts and resides in Philadelphia."-Paradise of Bachelors (http://www.paradiseofbachelors.com/chris-forsyth/)
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