Showing posts with label Fat Worm of Error. Show all posts
Showing posts with label Fat Worm of Error. Show all posts

FAT WORM OF ERROR
"Brickfaced Vol.2" c40 (Yeay!)

http://yeay.suchfun.net/images/tapeimages/y034fwoebf2.jpg
I'd be quick to name Fat Worm of Error as my favorite live band playing right now. The five member group of Jess Goddard (vocals, keys, costumes), Chris Cooper (guitar), Tim Sheldon (guitar), Donny Shaw (bass), and Neil Young (drums, elctrnx & Yeay! Plastics proprietor) are so much more than the sum of their parts and create sounds so far beyond what is usually expected from a band with such commonplace instrumentation. Fat Worm is far for commonplace. In fact I would go so far to say that there is not a single other band that has ever made such sounds. Sure, there are other bands splashing their post no-wave antics left and right, there are other artists creating fractured electronic blorp-scapes and there are a few costumed noise rock bands still left hanging on, but FWOE is a complete synthesis of everything that has been awesome about the American underground for the last 30 years.

The band of folks who are mostly in their mid-late 30s and early 40s has some serious pedigree, with two of it's members (Cooper/Goddard) hailing from the Bay Area's otherworldly historical reenactment troupe Caroliner (look it up. If you don't own every LP, most are still kept in print for roughly $7 a piece...write agenerak@yahoo.com). Not to mention each of the member's A-1 side projects and loose SF connection to Deerhoof from days of yore. FWOE makes its home in the forests and brick towns of Western Massachusetts.

While they may not outshine Caroliner in the concept or costume department, Fat Worm's broken down, off rhythm composition/improv takes off in surprisingly new directions. Nothing is tied down in their universe; riffs disappear as quickly as they are introduced, off-time vocals land like a ton of bricks over rapidly shifting ground. Parallels could be drawn to a band like Arab on Radar, but FWOE's work is less coarse and brutish. This gang is more like a chamber music ensemble; their strength relies less on overpowering sonics, but on subtle interplay between their constituent parts.

I've probably seen this band play 20 times and it took a little while for me to realize that what I had initially taken to be complete improvised cacophony, was in fact a finely developed Harmolodic songcraft (Ornette Coleman fans take note). At this point I could probably sing along to these lurching odes to disconnectivity. One of the most wonderful things about the Fat Worm crew is the innumerable treasures that repeated listens hold. The band is set to go on tour this spring. Get on the mailing list to stay updated.

To the matter at hand: is Brickfaced: Vol. 2 a good place to start? I'd suppose so, it's a fine collection of unreleased snippets recorded over the last five years. The group's perverted charm shines through over the course of tape's 40 minute run time and I imagine you could become hooked from just listening to this document. But for the uninitiated, I would strongly suggest starting with the Broods LP released last year on Ecstatic Peace and Open Mouth Records. It really shows Fat Worm operating at the height of their powers. Whereas, their early cassette and cdr work with pretty scattered, and their long playing debut CD/LP on Load showed the signs of considerable post production work, "Broods" really captures the organic beauty of these five individuals playing together in one room. That's not to say that you shouldn't head right over to the Yeay website and buy Brickfaced right now, it's only $6 ppd and it will surely sell out quickly, but once you get started, you'll want to track down all of the releases in the band's dense catalog.

Find Yeay Plastics here. One of the few bands reviewed on CG with a wikipedia page. Their live exploits have been heavily documented on youtube. There are tons of Fat Worm jams to listen to on the Free Music Archive, including a complete download of Brickfaced Vol. 1 from 2003.

ANGST HASE PFEFFER NASE "Seashard" C30 (Self Released)

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Chris Cooper, (Fat Worm Of Error, ex-Caroliner, ex-Deerhoof & Wester MA's Barn Owl) is probably the most creative guitarist working on the contemporary underground music scene. His "guitar on the floor" work with the Barn Owl (not the West Coast band) or his "guitar on a strap" freakouts with Fat Worm Of Error are always a frightening thing to behold. Write Chris today and see if you can still find a copy of this.


angsthasepfeffernase@gmail.com

COUCHIE POOCHIE
(Feeding Tube Records) C10

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The opening of this live acoustic set taped on a couch in Easthampton, MA is one of my favorite recordings in recent memory. That's not surprising seeing as Couchie Pouchie (a band with an ever-shifting moniker -- see Creepy Pee Pee, Crappie Pappie, Drippy Hippy) is comprised of D.B. Russell (The Frothy Shakes) and Tim Sheldon (Fat Worm of Error, Rack Rash - see review of the excellent "National Felt" in these pages) and the song is the Phil Phillips penned "Sea of Love". This much covered song is delivered completely straight and it's a soulful and heartfelt version, if maybe a tad creepy.

The rest of the tape veers into diffuse improv with Russell's high pitched and mongoloid singing/intoning accompanied by Sheldon's acoustic guitar and the singer's abstruse Casio sounds. The third piece is also a real winner; an ad lib with the lyrics "I wanna live in America, where the sun shines every day. Here in this real hell". A national anthem for these times if there ever was one.

Overall, a very deranged, yet surprisingly melodic tape of retarded half-songs. A reel winner! First edition of thirty or so still kicking, and I believe this will be reprinted by the label too.

the tape is available from feedingtuberecords.com

This is the band that later developed into Western Mass. super group Egg, Eggs - Ed.

NATIONAL FELT: s/t (self-released)


Fat Worm of Error guitarist Tim Sheldon gives himself a new guise as National Felt, remixing who knows what into what, who knows? What? Previously going under names like Oxbow Meads and Rack Rash, I’m pretty certain this is his first formal release explicitly sampling other formal recordings (first I’ve come into contact with at least), big time operator’s songs abused and rendered with Sheldon’s own sounds squawking and grinding around too. I envision a Hollywood studio tour passing a jukebox array of 90s top-ten artists struggling to film their music videos as workers loudly strike the sets behind them, as if to hurry the whole operation and get home already. It’s a pretty short tape too, probably longer than I think, but it’s such fast-paced, exciting work, this train blows right past you.

One of the things I love most about this tape is the packaging. It comes in a cardstock sleeve that not only is sealed by velcro on the front, but you see that smokestack? That’s velcroed up too. So you can either open it in this amazing way, or you can just slide it out the top, a really good example of creativity meeting functionality. If that’s not enough, the band name is etched onto the tape by hand. I don’t know how many copies of this Tim made, but still, holy crap!

No idea where to find it, try dropping the guy a line...

http://www.myspace.com/259246838

BROMP TREB “Audio-Visual Cassette” (Yeay! Cassettes)

Predictably maddening brain-scrambled rectal messes from this resolutely incoherent Massachusetts weirdo squad. Farting, squiggly electronics (in the Crank Sturgeon mold), chopped/screwed patches of wacko drum programming, and inane/insane alien rap experiments (that sorta echo certain Need New Body tracks I’ve heard) all soldered together into a relentlessly goofy C26 chain letter of dangling randomness. Can say with all honesty I can’t ever foresee circumstances leading me to put this thing back in the deck for a second play, but I guess if yr feeling deprived of the sound of Smurfs being choked to death in a neon bouncy castle, then this’ll be your go-to jam. The art is a photocopy of a basic Maxell-style advertorial J-card with Bromp Treb info typed on top, kinda like those pop-punk bands that re-appropriate the Snickers or Pringles logo/font for their album art or Vans Warped Tour t-shirt.