Showing posts with label fmsmprc. Show all posts
Showing posts with label fmsmprc. Show all posts

Sunday, January 16, 2011

the charred rampz- "hunt the grease" cassette...

alright! something else like new, from like fmsmprc. drawing inspiration from king kobra III, the cherred rumpz bring some hidden noise to the forefront as one of the single heaviest tapes we've yet to throw up. it's a fun listen if your ear likes brutal and _____. 

another taser factory aspect is that while a few tapes will make their way to a couple of select shoppe shelves for retail style procurement, the majority are available via TRADE only from fmsmprc. acceptable items for trade include about anything (i know we're asking for with that statement), and definitely NOT limited to audio. little artworks, words, found documents, etc. are totally rad. and i guess if you wanna trade cash, that's cool too...


The Charred Ramps
“Hunt the Grease”
fmsmprc27=cassette

blaring from the western parts, the charred ramps enact a heavy handed noise-core in the guise of back-handed thrash metal. hunt the grease profiles 30 minutes of broken sidewalks, broken wrists, and the smell of urethane in the hot sun.


this recording is available as cassette in selected stores (for sale) and direct from fmsmprc via TRADE (only)! send a recording or art or something and we’ll send tha tape.


fmsmprc

1558 n commonwealth ave

unit 9

Los Angeles, CA 90027


chrrd rmps is:

evol slej + carcar blahblah

take a listen::::

Saturday, December 25, 2010

a ground-ups x-mas...


Mary Christmas told me to tell you...

Ground-Ups began in like 1999, or something like that. Shane and I were really into Ruins around that time, but definitely not up to that kinda like trap-kit blitz or stamina. To make up for it, we like put that influence together with our own art drives, and decided to like both play the drums.

We like talked the whole thing up to Chris Clavin and soon he found a home in g-ups via one of his lost passions, the trumpet (and/or) cornet.
Shawn and I love the trumpet (and/or) cornet, and welcomed the new movement of the ground-up. I don’t know...I think Chris just really liked playing trumpet (and/or) cornet.
The initial material really related to life, if you were on a boat, or worked in a hotel, like Shane and I did at the time.

We had some other stuff, like a floor tom with some trash in it, and some spray paint, and Chris had a bunch of stuff like a dictionary, and we spray-painted that and the cape. We record our first show on a video camera, and that appears in these recordings. Sounds like bad, but good bad too.

The second round includes Shan Egg and I with Leah Yeppi highlighting the vocals, playing banjo, banging keys and effex, and engineering the shit in a strange way. Shane and I came up with “GT Frame You Fucking Suck” on the way to record, when we saw some guy walking down the street either riding or carrying a GT mountain bike frame. One of said, “GT frame you fucking suck.” He heard us. We made it into a tape called: “OH! It Bites Me!”

Part 3 is some live recording a few years later when it was just Eric Weddle and I for the large part, and Shim on and off. Er’s horn action (trumpet and sax) is blasted well thru a cut down ancient quad fender amp.

E.W. and I moved on to record studio type ground sounds with Nhoj Daswon at White Ark. Things, like purpose, never really materialized, so these recordings have since sat, been fondled, and end up here in whatever form available from thy hard drive. There is also a few live tracks recorded by someone in PG Six. I like the way those sound.

I wanted to put together a disc or something and title it “Knights of the Ground Table”. But didn’t. The actual recordings sound great rad, but I went in over the course of time and mixed them around and screwed up a lot of the goodness. And that’s fine.

Ground-ups TNG featured Justin Clifford Rhody on trumpet and Clare Hubbard on saxophone. These could of been, and possibly were the best of times...I think I was drinking too much though. Here’s a few tunes from that, and I know there is more out there, but...

These appear via friends and relatives records as a cassingle, split with Crotch Council.
Shane was back on these tunes, at least some of them, and sometimes I can’t tell if it’s both or not. Regardless, it’s def jcr and Clare.

We’re still doing it...whoever we are.
-jk 

Thursday, June 17, 2010

(knee shy) - "(a)Tonal Destruction's the Only Solution" - Now Available

FMSMPRC Presents:
(a)Tonal Destruction’s the Only Solution

By: (knee shy)

Format: limited edition CD-r in one of a kind handmade packaging

Catalog #: FMSMPRC26


In early 2010 (knee shy), the chosen moniker of the collaborative workings of Los Angeles based artists j. shelley harrison and jeremy kennedy, presented an art/sound installation titled “the Sound of Wall” at Origami Vinyl, a record store/performance space in LA’s Echo Park community.

The piece itself was essentially a large wall mounted string instrument built specifically for the space. The 7-section unit contained in total 111 strings, some strung properly and others prepared with a variety of objects. Amplified both electrically and naturally, it filled the roll of several traditional instrument variants, and encouraged the use of extended technique and improvisation.

“(a)Tonal Destruction’s the Only Solution” was not recorded on “the Sound of Wall”, but during the process of building the piece. The creation of the piece required (knee shy) to look to a number of existing instruments for ideas and more importantly, parts and components. Subsequently, many of these instruments were altered, broken, and otherwise cannibalized by the assemblage.

One such instrument was an upright spinet piano from 1964, the main source of sound during this recording. Starting with the improper removal of the piano’s keys and ending with the cutting of each string inside the body, this field recording captures the torturous and methodic disembowel in its entirety.

Atonal blasts compound with dying chirps as a result of the physical destruction, guided with a mix of care and chaos. Armed with an array of pliers, hammers, saws, snips, and other instruments of destruction, (knee shy) programs an instant arrangement birthed as much in chance as in crafted strokes of violence.

The wood and components taken from the instrument itself have been reused by the artists as raw materials for 4 separate projects to date, including the packaging for this limited release. Other pieces of note include (knee shy)’s “the Sound of Wall”, and j. shelley harrison’s “keys to an eighty-eighth”.

The originally noted “Sound of Wall” installation’s opening event featured an improvised performance, dedicated to Luc Ferrari (whose 83rd birthday coincided with the event), played on the assemblage. (knee shy) sees this as a pre-extension of that composition, and a tribute to Ferrari’s fielding efforts.

“(a)Tonal Destruction’s the Only Solution” is now made available by FMSMPRC as a limited edition release of 30, in a variety of packaging created by the artists from materials recycled from the original piano.

Tyco Riley- (2010)

fmsmprc: myspace.com/fmsmprc

(knee shy): www.kneeshy.com

Wednesday, February 17, 2010

shane edge - hose adjusting

shane edge. shaun egg, chain leg, shawn love, evil sleg...regardless of the moniker, he has maintained a terrific output of taser factory art for a number of years. definitely multifaceted, he is most often recognized for his work with visual art, sound-making, and bar tending.
mr. edge recently returned to the sunny shores of colorado to escape the incests of the midwest, and recapture his eagle spirit. shawn and i have consistently collaborated together since the land before time, and geographical distance has never really slowed that down. so the future is same as we thought it was.
there are images of shim's paintings available online, but i can't recall where...but that doesn't matter right now. this entry is about these two full length albums, which are now available online.
shan's audio products cant really be summed in the time i wanna spend writing this. simply, it is vocal tape manipulation, free / stream of consciousness composition. his voice knows few bounds, and has many characters built-in, which he decisively calls into action at will. Egge's recordings have garnered both amazing and terrible reviews from the music press and friends alike. i like it. but then again, i also like no
n-rhythmic noise and phil collins and most things inbetween.
it has always amazed me at how the most universally likable person i have ever known can produce some of the more potentially unlikable sound products you can find in the course of a day. you be tha judge:

shan edg circa 2001
"hose adjuster" cover by: crab jackson
shane edge - hose adjuster (fmsmprc24)
shane edge - shine love (fmsmprc11)
both available here: listen!
shane was actually the person who coined the term "taser factory".

Saturday, February 6, 2010

the sound of wall (follow-up)

in spite of the rain (an element which frightens LA folk into a state of non-being) the "sound of wall" opening was a success! we dedicated our improvised demonstrational performance to the french composer Luc Ferrari. Just so happened that feb. 5th was his birthday, so we just put the elements together. unfortunately, the piece was not recorded, but was titled in a very on a very Ferrari hinge "Presque bien avec strings". here are some photos and info:

“the sound of wall”
by: (knee shy)

The sound of wall was built specifically for installation at Origami Vinyl. When faced with creating a piece for an audio driven environment. (knee shy) took a peek into our own sound inclinations and interests. The resulting product was this assemblage.

As both sound-makers and listeners, we found a common focus on some of the worlds heavier, concept/theory based sounds and the purveyors of... also referred to with such tags as: experimental composition, new music, 20th century composition; and includes such names as: John Cage, Henry Cowell, Christian Wolff, Glenn Branca, etc.

However, when put to the masses, ideas in this realm sometimes succumb under their own weight and sink in terms of general interest. Even from the stand point of being fans of the theories and methods employed, we agree that waxing on and on over the subject is a terrific way to be labeled as extremely boring.

In answer to resolving our hang-ups with the over-intellectualizing that can so easily turn off interest, we have tried a combination of the above mentioned with our natural (knee shy) penchant for interactivity and light heartedness.

For “the sound of wall” (an obvious and satirical reference to the amplification system once employed by the Grateful Dead) we have created an interactive “non-traditional music instrument”. It is a device containing many elements which lead to instant experimentation and composition, extended technique, and other forms of non-traditional instrument use.

The intentional lack of elegance in the aesthetic qualities of “the sound of wall” are reflective of our trust and love for the d.i.y. mentality, and how it is very possible to experiment and build on a higher academic pattern of concept with a homespun adjustment.

We welcome questions, comments, and for anyone who feels inclined to “play” the sound of wall.

(knee shy)= j. shelley harrison + jeremy kennedy

Special Thanks to:
Origami Vinyl, Lone Horn, Yosuke Kitazawa, Adam Reese, Jamie for helping us get this stuff over here, and the person who hated that piano enough to give to us.

Wednesday, January 20, 2010

"Lost Cat" by: the kwop organization

the kwop organization is a pre/post puppy vs. dyslexia audio project that crab jackson and i did/do/?. Once upon a time we happened upon this here "lost cat" flyer at our house. we stayed up late drinking that night, and at around 2 in morning crab called the number on the flyer. when he got the (Al's) answering machine, he read back the entire flyer as a message. this was probably received as very frightening. who knows. check out the track!
the kwop organization- "holding handsful of terror" album cover

Friday, November 20, 2009

toothbrush toothbrush, brush my teeth...

toothbrush, toothbrush, brush my teeth...toothbrush, toothbrush, brush my teeth...toothbrush, toothbrush, brush my teeth...toothbrush, toothbrush, brush my teeth...toothbrush, toothbrush, brush my teeth...toothbrush, toothbrush, brush my teeth...toothbrush, toothbrush, brush my teeth...toothbrush, toothbrush, brush my teeth...toothbrush, toothbrush, brush my teeth...toothbrush, toothbrush, brush my teeth...toothbrush, toothbrush, brush my teeth...

toothbrush, toothbrush, brush my teeth...toothbrush, toothbrush, brush my teeth...toothbrush, toothbrush, brush my teeth...toothbrush, toothbrush, brush my teeth...toothbrush, toothbrush, brush my teeth...toothbrush, toothbrush, brush my teeth...toothbrush, toothbrush, brush my teeth...toothbrush, toothbrush, brush my teeth...toothbrush, toothbrush, brush my teeth...toothbrush, toothbrush, brush my teeth...toothbrush, toothbrush, brush my teeth...
toothbrush, toothbrush, brush my teeth...toothbrush, toothbrush, brush my teeth...toothbrush, toothbrush, brush my teeth...toothbrush, toothbrush, brush my teeth...toothbrush, toothbrush, brush my teeth...toothbrush, toothbrush, brush my teeth...toothbrush, toothbrush, brush my teeth...toothbrush, toothbrush, brush my teeth...toothbrush, toothbrush, brush my teeth...toothbrush, toothbrush, brush my teeth...toothbrush, toothbrush, brush my teeth...
lyrics by: j. shelley harrison / guitar by: jeremy kennedy