Mattin on voice in an album of rock improvisations featuring Loy Fankbonner on drums, Margarida Garcia on electric double bass, Kevin Failure on guitar and Mattin on vocals recorded in NYC in 2009.
Squidco Hurricane Sale: save $1.04
Out of Stock
Shipping Weight: 16.00 units
Quantity in Basket: None
Log In to use our Wish List
Limited edition of 450 copies.
Label: Azul Discografica
Catalog ID: azd08
Squidco Product Code: 14795
Packaging: Vinyl 12" LP
Recorded by Dougie Bowne and Ivan Julian at NYHED, NYC the night of February 27th, 2009.
Margarida Garcia-electric doublebass
Kevin Failure-guitar, piano
Highlight an artist name or instrument above
and click here to Search
1 Reveal the Structure: Exquisite Corpse
2 Diaries in Exile
3 Against The Reproduction of Stereotypes
5 The Most Abject Form of Authorship
6 New World Order
9 Abstraction Will Bring You Death
10 Kill It While You Can
Rock and Related
NY Downtown & Jazz/Improv
Limited Editions & Out of Print
sample the album:
You've read the blurbs so by now you know the deal with Mattin: "instigator," "prankster," "provocateur," IM-PRO-VI-SER, sometime "punk." He's from Spain or something. Oh, right -- Billy Bao, Deflag Haemorrhage, Josetxo Grieta, Sakada. Noise and Capitalism. That's him. Okay! So in 2009, our man, the "laptop anarchist," the Christ of Crust, the minimalist gadfly, decamps from his estate in the vineyards of Greece and hangs up his shingle in New York City for nine months. The pregnancy was healthy, thank you, and at the end of the tunnel we wound up with mad "jams" as he collaborated with everyone from Drunkdriver to Emma Hedditch and Pink Reason. I
f you've been following his work (and even if you haven't, you big bugbear) you know that Mattin brings a conceptual musician's ear to his rock 'n' roll but he keeps it out of the museum and on the "streetz," 'cos that's where the riots went down, and this places him at a helluva impasse: the European dialectical impulse has no choice but to hurtle head-on into a game of chicken with the American-Historical Rock Narrative (not the name of a band, though it should be) or to get in bed with it and allow their legs to intertwine in an awkward genital embrace. So it was that in the winter of '08, the bellicose Basque recruited globetrotting bass pervert Margarida Garcia, Kevin Failure of Pink Reason (guitar and piano), and erstwhile Chinese Restaurant "Lucky" Lloyd Frackkbonner (drums) for an exquisitely corpsical seance conducted on Manhattan's Lower East Side, where Lautreamont shakes hands with the Language Poets and hunkers down for a burger and a smoke with Ivan Julian and Dougie Bowne (engineers and Vietnam vets both).
Together they perform an ontological autopsy on the body of rock & roll form, then hogtie the improviser's process with a rope made of crisis (remember the bailout?) -- the Surrealist parlor game subjected here to crushing technology and a stopwatch plus liquor and god-knows-what else.
The Rules: ten songs, each exactly three minutes in duration, recorded in strict ass-backwards fashion: first the vocals, then Kevin's guitars, etc., then Margarida's bowed and throbbing bass, then the drums. No second takes. No two musicians were allowed in the studio at the same time and none of them could hear a playback so their only guide -- their score, if you will -- was Mattin's lyrics, which themselves are a living corpse that slices itself open to display its guts, which look like these ten songs or a mangled womb.
So we hear it for the first time and guess what? It sounds like a Top-40 station playing nothing but side B of No New York. No shit. Every song is a hit. You can perv it up with exotic ideas, cram it full of ass beads, or run it off the road like a hippie jalopy, but like the man said, you can't stop rock 'n' roll -- not in your wildest dreams."-Azul Discografica
"What makes this record an exquisite corpse? Margarida, Kevin and Loy were given the lyrics to these ten "songs" only two days before the recording, and each of them recorded separately - consecutively - without hearing or even seeing each other. They were only given one chance to record their parts for each song, so what you hear on this record consists entirely of first takes. This way, as with all improvisation, there was no way back: the moment is what matters and if you record it, it's there forever. I hate telling people what to play, just as I hate other people telling me what to play, so each of the musicians on this record played whatever the fuck he or she wanted to. Contrary to the usual way rock 'n' roll records are recorded (first drums, then bass, then guitar and finally voice) I started by recording the voice; then Kevin recorded his guitar and piano without hearing me; then Margarida recorded her bass, again without hearing anything of what Kevin and I had done previously; and finally Loy added his drums without reference to any of the other musicians' tracks. The only thing that we had in common was the lyrics, which functioned as a graphic score or, if you like, as a way of setting a mood for each song. Oh, yes, and we all had to conform to the stereotypical duration of a rock song - three minutes - which also happens to be the ideal length for one side of a vinyl without losing any volume. Once the tracks were recorded, I simply laid them on top of each other on the laptop, and did a very direct mix without moving or taking anything away... so as to let the exquisite corpse vomit the new wine!"-Mattin
Limited edition of 450 copies.