HR034 - Judgement Day — 2 X C90 compilation — 1986
Tape 1
Side A
1. Viktimized Karcass - (Memphis, TN) - Dead On Citizens Band
2. Peach Of Immortality - (Washington, D.C.) - Recorded 29 Jan 86 During REM Sessions
3. Menticide - (Memphis, TN) - Vicious Circles
4. H.W.K. - (Memphis, TN) - Sound Mounds Excerpt
5. Asbestos Rockpyle - (Santa Cruz, CA) - When The Sun Shines
6. Asbestos Rockpyle - America Song
7. Asbestos Rockpyle - Chaos In My Head
8. Corn For Texture (Memphis, TN) - Regen
9. Swine Bolt 45 (Memphis, TN) - Sockets
Side B
1. Cephalic Index (Memphis, TN) - Take A Walk Boy
2. Swine Bolt 45 - Schemes Of Derived Origin
3. Swine Bolt 45 - In Every Room
4. Mental Anguish (Memphis, TN) - I Don't Care
5. Theatre Of Ice - (Provo, UT) - Tomorrow Never Comes
6. Theatre Of Ice - In The Coming Years
7. Theatre Of Ice - Dark Haired Lady
8. X Ray Pop (Tours, France) - Capture D'Ame
9. Barnacle Choir (Santa Cruz, CA) - Self-Fulfilling Prophecy
Side A
1. Viktimized Karcass - (Memphis, TN) - Dead On Citizens Band
2. Peach Of Immortality - (Washington, D.C.) - Recorded 29 Jan 86 During REM Sessions
3. Menticide - (Memphis, TN) - Vicious Circles
4. H.W.K. - (Memphis, TN) - Sound Mounds Excerpt
5. Asbestos Rockpyle - (Santa Cruz, CA) - When The Sun Shines
6. Asbestos Rockpyle - America Song
7. Asbestos Rockpyle - Chaos In My Head
8. Corn For Texture (Memphis, TN) - Regen
9. Swine Bolt 45 (Memphis, TN) - Sockets
Side B
1. Cephalic Index (Memphis, TN) - Take A Walk Boy
2. Swine Bolt 45 - Schemes Of Derived Origin
3. Swine Bolt 45 - In Every Room
4. Mental Anguish (Memphis, TN) - I Don't Care
5. Theatre Of Ice - (Provo, UT) - Tomorrow Never Comes
6. Theatre Of Ice - In The Coming Years
7. Theatre Of Ice - Dark Haired Lady
8. X Ray Pop (Tours, France) - Capture D'Ame
9. Barnacle Choir (Santa Cruz, CA) - Self-Fulfilling Prophecy
Tape 2
Side A
1. Alien Planetscapes - (Brooklyn, NY) - Rodan Part 1
2. Cancerous Growth - (Memphis, TN) - Dead In The Road
3. Pierre Perret - (Marnay, France) - Excerpt From Gaia, La Terre
4. Mental Anguish & I.T.N. - (Memphis, TN & Columbus, OH) - Confrontation With The Beast
5. Anatol Sucher - (Santa Cruz, CA) - Battleground
6. Anatol Sucher - (Santa Cruz, CA) - Years Pass By
Side B
1. Cool & The Clones (Cabin John, MD) - Whew
2. Chuck (Greensboro, NC) - Chuck's Realization
3. Chuck - Helvis
4. David Nikias (Greensboro, NC) - Plastics #1
5. David Nikias - Plastics #2
6. David Nikias - Rattles
7. David Nikias - I Found A Place
8. David Nikias - Process With Radio
9. Emil Beaulieau (Lowell, MA) - Fontana Blues
10. White Hand (Fremont, CA) - Overland
11. White Hand - Marsek
Side A
1. Alien Planetscapes - (Brooklyn, NY) - Rodan Part 1
2. Cancerous Growth - (Memphis, TN) - Dead In The Road
3. Pierre Perret - (Marnay, France) - Excerpt From Gaia, La Terre
4. Mental Anguish & I.T.N. - (Memphis, TN & Columbus, OH) - Confrontation With The Beast
5. Anatol Sucher - (Santa Cruz, CA) - Battleground
6. Anatol Sucher - (Santa Cruz, CA) - Years Pass By
Side B
1. Cool & The Clones (Cabin John, MD) - Whew
2. Chuck (Greensboro, NC) - Chuck's Realization
3. Chuck - Helvis
4. David Nikias (Greensboro, NC) - Plastics #1
5. David Nikias - Plastics #2
6. David Nikias - Rattles
7. David Nikias - I Found A Place
8. David Nikias - Process With Radio
9. Emil Beaulieau (Lowell, MA) - Fontana Blues
10. White Hand (Fremont, CA) - Overland
11. White Hand - Marsek
REVIEW by Jerry Kranitz
Tape #1
The submissions must be coming in hot and heavy because Judgement Day is an epic 2 x C90 tape compilation.
Viktimized Karcass (Memphis) defies all stylistic expectations by cranking out a song that is space rock and punk pandemonium, but is also impressively complex in its guitar and bass interplay. Guitar and bass weave intricate riffage and solos while electronics swarm like locusts, vocals rant, and all kinds of other synth action colors the proceedings.
Peach Of Immortality (Washington, DC) are back yet again, taking what sounds like classic Delta Blues and shoving it through a tape recorder cut-up collaged noise and effects drenched salad shooter. Think I hear bits of AC/DC’s ‘For Those About To Rock’ too.
Menticide were Mike Jackson and San Francisco based Barry D'Alive. I love it when homemade artists use cheap gear like Casios and playing plinkity drum machines. This minimal yet grooving ditty combines a repetitive horn, bass (maybe) and beats, later adding toy symphonics to create some majestic Romper Room fun.
H.W.K. (Mike Jackson and Jimmy Lee) contribute a simple yet cool and fun minimal synth and soundscape meditation. The last few minutes are the best as it evolves into a nifty floating space excursion.
Asbestos Rockpyle (Santa Cruz, California) return with three cool tunes. ‘When The Sun Shines’ is a pop-metal space age love song. ‘America Song’ is a zany lo-fi punk cross between The Residents and Walls Of Genius. There’s actually a lot happening here. Impressive. And ‘Chaos In My Head’ is a humorously heavy driving punk-metal pop rocker with 80s political commentary.
Corn For Texture (Memphis) indulge in spaced out sound experimentation with whacked out Sun Ra synths and a churning engine room vibe.
Swine Bolt 45 is a Roger Moneymaker (Memphis) solo project. ‘Sockets’ is a darkly ominous yet ethereal and image inducing atmospheric piece that packs a heap of emotions into less than three minutes. ‘Schemes Of Derived Origin’ is more noisy and cacophonous yet equally alluring. I like how continually sweeping electronic waves roll, pulsate and grind in a way that is noisily meditative. And it’s made all the more fun by tape manipulation collage fun. And ‘In Every Room’ features tribal rhythms, hallucinatory transmutated electronic textures and symphonics, and montaged vocals and samples that make for a space ambient collage experience. Nicely creative tape stitching.
Cephalic Index’s (Mike Jackson) ‘Take A Walk Boy’ could have just as easily been titled ‘The Whacky Screaming Noise-Art Song’, with its cacophonous howls and squeals and ranting vocals.
Mental Anguish’s (Chris Phinney) ‘I Don’t Care’ features guest vocals from Chris’ wife (at the time) Tawnya Phinney. Dreamily robotic New Wave electronica is peppered by a variety of whooshes, bleeps, and oscillating effects. Chris is getting good at these multi-layered keys. Tawnya delivers a spoken word/singing style, with lyrics that are as angry as Chris can sound.
Theatre Of Ice (Provo, Utah) contribute three tracks. ‘Tomorrow Never Comes’ starts off space-ambient before launching into a killer rocking song that’s like Hawkwind with sad boy New Wave vocals. ‘In The Coming Years’ is a more laid back, beautifully melodic, ethereal, space pop concerto, and with the same sad boy vocals. And ‘Dark Haired Lady’ is a similarly beautiful melodic tune but with a little more muscle.
X Ray Pop are the best pop band to EVER come out of France. Move over Françoise Hardy. Zouka’s seductive, lightly whispery vocals are both spoken and sung to sparsely spacey experimental pop backing music.
Barnacle Choir (Santa Cruz, California) brings to mind early Talking Heads, especially the punk-funk bass. Impressive use of electro percussion.
Tape #2
Alien Planetscapes (Brooklyn, New York) was a long lived space rock band headed up by the late great Doug ‘Dr Synth’ Walker. Their contribution delights with 16 minutes of very slow and drugged, drifting, floating space electronica, peppered and colored by a light parade of alien effects. Moody and atmospheric, it’s like a lost recording from Germany circa 1970.
Cancerous Growth (Mike Jackson) has a harmonica melody (probably a synth) leading the way, trailed by flowing, droning synth waves and effects that gradually build to a disorienting avant-orchestral cauldron. And all the while the harmonica plays...
Pierre Perret (France) contributes a creatively stitched up blend of field recordings and electronics. It begins with a native African song, electro tribal percussion, and a light aura of soundscapes, though after a while it transitions to a hallucinatory tribal church choir theme, with lovely melodic chants, water flowing, animal sounds, and bells.
Mental Anguish & I.T.N. are the duo of Chris Phinney and Jeff ‘Central’ Chenault. I like the contrasting combination of industrial groove, spacey synth melody, and fluttering soundscapes and effects that gets increasingly busy, multi-layered and intense.
Anatol Sucher runs the Warpt West Music label (Santa Cruz, California) that also produced Barnacle Choir and Asbestos Rockpyle. ‘Battleground’ is a beautifully melodic acoustic guitar instrumental with just enough dissonance to make it interesting. Sounds like it was recorded in a field of crickets. ‘Years Pass By’ starts off similar but with electric guitar, and it’s more upbeat rocking and grooving and includes intense voicings, sirens, and other effects. It ends up sounding like an experimental surf or 60s gangster film soundtrack with the bonus of collage fun.
Cool & The Clones (Cabin John, Maryland) are back with a really cool 13 minutes of lazily grooving psychedelic punk-jazz jamming with free-wheeling guitar solos, saxophone freak outs, fiery drumming, and avant-garde chamber music that includes wrenching all kinds of sounds from traditional instruments. This is freakin’ awesome.
Chuck (Greensboro, North Carolina) blast out a high intensity noise/metal/psych/drone guitar workout on ‘Chuck’s Realization’. ‘Helvis’ is completely different, sounding like an Elvis impersonator recorded live and then tape recorder morphed and mashed up to create some creatively wacky collage fun.
David Nikias (Greensboro, North Carolina) starts off with three brief minimal sound experimental pieces. Things get more interesting with ‘I Found A Place’, which sounds like a 50s pop song that Nikias used his tape skills to turn into a lysergic bit of space exploration. And ‘Process With Radio’ is just that, collaging radio samples with eerie droning minimal electronics.
Emil Beaulieau (Lowell, Massachusetts) is another cut-up/collage artist. His oddly titled ‘Fontana Blues’ creates a non-stop barrage of noisy yet creatively montaged samples.
Finally, White Hand (Fremont, California) offer up two tracks. ‘Overland’ is an ambience and sound exploration. It’s very sparse, creating the feel of walking alone through a long hallway with the sound of the sea nearby. ‘Marsek’ is different, creating an intense electronic wave that pokes, pulsates, and pierces.
INTERVIEW with Chris Phinney by Jerry Kranitz
JK: Judgement Day was a 2-tape set. Was that just because you had so many submissions?
CP: I wanted a double C90.
JK: There’s a different image on each tape cover.
CP: Tape #1 is the door to a mausoleum. It’s got metal grates. Tape #2 is a mausoleum and every one of those round things holds a casket. I think the one over to the left, almost in the middle, it looks like it’s deteriorated… I think that’s possibly the one I stuck my camera in to get the skull image on the Viktimized Karcass “A Matter Of Principle” tape (HR019).
JK: You’ve got Roger Moneymaker’s Swinebolt 45 solo project. For Mental Anguish you included ‘I Don’t Care’ from the Crying Shame tape. And there’s a new band called Theatre Of Ice from Provo, Utah.
CP: Theatre Of Ice was a good rocking band from Utah.
JK: One of their songs I described as like Hawkwind with sad boy New Wave vocals. They were pretty cool.
CP: Oh yeah, they did some good shit. I released a tape of theirs, Live Beyond The Graves Of Utah (HR080).
JK: And you’ve got X Ray Pop, which I’ve long considered one of the best damn pop bands ever.
CP: Good poppy electronics.
JK: One of the things I loved about them was they used the cheesiest sounding keys but they made it sound so cool.
CP: Their cheesy keys were different. Much different from Jimmy Lee. You compare Jimmy Lee with X Ray Pop and you get nothing sounding near the same cheesy key-wise. I had a cheesy ass Casio man. I used the damn thing. It’s just the way you use it. And what you hook up to it. What kind of effects you hook up to it.
JK: You’ve got Alien Planetscapes on there. Was that your introduction to Doug Walker?
CP: I had been trading with him. That track is on another Alien Planetscapes tape. ‘Rodan Part 1’ is on Judgement Day and there’s a Part 2 on some Alien Planetscapes tape. And I’m not sure if that’s Doug and Carl Howard or Doug and Louis Boone.
JK: I was going to ask you about that. It’s clearly not the full band Alien Planetscapes, so this is probably during the time he was doing various duo lineups.
CP: Yeah, he was doing either by himself, or with Louis Boone or with Carl. And maybe Reginald Taylor.
JK: Cancerous Growth, you’ve got one of the tracks from the Remission tape (HR030). But you’ve also got a lot of new artists. Pierre Perret from France. And you’ve got another from the Warpt West label in Santa Cruz, California, Anatol Sucher.
CP: He’s the singer for Asbestos Rockpyle.
JK: Ok, you said he sang for Barnacle Choir too. A band I really liked is Cool & The Clones, from Cabin John, Maryland.
CP: Doug Walker put me in contact with them. Freeform jazz band.
JK: There are two artists listed in the contacts. Both are listed in the same zip code in Greensboro, North Carolina but at different addresses. David Nikias and Chuck.
CP: Chuck is a band with David Nikias and Murray Reams.
JK: I’m jumping ahead but the notes I made about them on the New Society tape (HR037), the music and them being in Greensboro made me wonder if Chuck was Eugene Chadbourne.
CP: They were here. They warmed up for Eugene Chadbourne. We played, then Chuck played, and then Eugene Chadbourne.
JK: In Memphis?
CP: Yeah, at Cynthia’s Place. Mike Jackson rented out Cynthia’s Place. Eugene Chadbourne was the headliner. And Chuck was the warm up. And Viktimized Karcass was the warm up.
JK: That sounds like one hell of a triple bill.
CP: It was a cool show. Chadbourne had the birdcage and all that shit.
JK: Did he have the Rake?
CP: Yeah, he had the Rake too.
JK: You had this other artist, Emil Beaulieau, and the contact says c/o RRRecords.
CP: That’s Ron Lessard, the owner of RRRecords. He was Emil Beaulieau.
JK: Another new one I liked was White Hand.
CP: White Hand, he’s AMK (Anthony King) out in California.. He sent me a cut up. He cut up a bunch of bits, put them on a piece of cardboard and put a hole in it and played it at 45 speed. Or you could play it at 33 if you wanted to. It was just a bunch of cut up flexi bits from flexi ads, all glued to a piece of cardboard, a round cardboard the size of a 7”. Me and Mike Jackson did a collaboration with White Hand called White Cancerous Hand Growth. It was released by Merzbow on his label in Japan and I re-released it later in the Harsh Reality catalog (HR265).
Tape #1
The submissions must be coming in hot and heavy because Judgement Day is an epic 2 x C90 tape compilation.
Viktimized Karcass (Memphis) defies all stylistic expectations by cranking out a song that is space rock and punk pandemonium, but is also impressively complex in its guitar and bass interplay. Guitar and bass weave intricate riffage and solos while electronics swarm like locusts, vocals rant, and all kinds of other synth action colors the proceedings.
Peach Of Immortality (Washington, DC) are back yet again, taking what sounds like classic Delta Blues and shoving it through a tape recorder cut-up collaged noise and effects drenched salad shooter. Think I hear bits of AC/DC’s ‘For Those About To Rock’ too.
Menticide were Mike Jackson and San Francisco based Barry D'Alive. I love it when homemade artists use cheap gear like Casios and playing plinkity drum machines. This minimal yet grooving ditty combines a repetitive horn, bass (maybe) and beats, later adding toy symphonics to create some majestic Romper Room fun.
H.W.K. (Mike Jackson and Jimmy Lee) contribute a simple yet cool and fun minimal synth and soundscape meditation. The last few minutes are the best as it evolves into a nifty floating space excursion.
Asbestos Rockpyle (Santa Cruz, California) return with three cool tunes. ‘When The Sun Shines’ is a pop-metal space age love song. ‘America Song’ is a zany lo-fi punk cross between The Residents and Walls Of Genius. There’s actually a lot happening here. Impressive. And ‘Chaos In My Head’ is a humorously heavy driving punk-metal pop rocker with 80s political commentary.
Corn For Texture (Memphis) indulge in spaced out sound experimentation with whacked out Sun Ra synths and a churning engine room vibe.
Swine Bolt 45 is a Roger Moneymaker (Memphis) solo project. ‘Sockets’ is a darkly ominous yet ethereal and image inducing atmospheric piece that packs a heap of emotions into less than three minutes. ‘Schemes Of Derived Origin’ is more noisy and cacophonous yet equally alluring. I like how continually sweeping electronic waves roll, pulsate and grind in a way that is noisily meditative. And it’s made all the more fun by tape manipulation collage fun. And ‘In Every Room’ features tribal rhythms, hallucinatory transmutated electronic textures and symphonics, and montaged vocals and samples that make for a space ambient collage experience. Nicely creative tape stitching.
Cephalic Index’s (Mike Jackson) ‘Take A Walk Boy’ could have just as easily been titled ‘The Whacky Screaming Noise-Art Song’, with its cacophonous howls and squeals and ranting vocals.
Mental Anguish’s (Chris Phinney) ‘I Don’t Care’ features guest vocals from Chris’ wife (at the time) Tawnya Phinney. Dreamily robotic New Wave electronica is peppered by a variety of whooshes, bleeps, and oscillating effects. Chris is getting good at these multi-layered keys. Tawnya delivers a spoken word/singing style, with lyrics that are as angry as Chris can sound.
Theatre Of Ice (Provo, Utah) contribute three tracks. ‘Tomorrow Never Comes’ starts off space-ambient before launching into a killer rocking song that’s like Hawkwind with sad boy New Wave vocals. ‘In The Coming Years’ is a more laid back, beautifully melodic, ethereal, space pop concerto, and with the same sad boy vocals. And ‘Dark Haired Lady’ is a similarly beautiful melodic tune but with a little more muscle.
X Ray Pop are the best pop band to EVER come out of France. Move over Françoise Hardy. Zouka’s seductive, lightly whispery vocals are both spoken and sung to sparsely spacey experimental pop backing music.
Barnacle Choir (Santa Cruz, California) brings to mind early Talking Heads, especially the punk-funk bass. Impressive use of electro percussion.
Tape #2
Alien Planetscapes (Brooklyn, New York) was a long lived space rock band headed up by the late great Doug ‘Dr Synth’ Walker. Their contribution delights with 16 minutes of very slow and drugged, drifting, floating space electronica, peppered and colored by a light parade of alien effects. Moody and atmospheric, it’s like a lost recording from Germany circa 1970.
Cancerous Growth (Mike Jackson) has a harmonica melody (probably a synth) leading the way, trailed by flowing, droning synth waves and effects that gradually build to a disorienting avant-orchestral cauldron. And all the while the harmonica plays...
Pierre Perret (France) contributes a creatively stitched up blend of field recordings and electronics. It begins with a native African song, electro tribal percussion, and a light aura of soundscapes, though after a while it transitions to a hallucinatory tribal church choir theme, with lovely melodic chants, water flowing, animal sounds, and bells.
Mental Anguish & I.T.N. are the duo of Chris Phinney and Jeff ‘Central’ Chenault. I like the contrasting combination of industrial groove, spacey synth melody, and fluttering soundscapes and effects that gets increasingly busy, multi-layered and intense.
Anatol Sucher runs the Warpt West Music label (Santa Cruz, California) that also produced Barnacle Choir and Asbestos Rockpyle. ‘Battleground’ is a beautifully melodic acoustic guitar instrumental with just enough dissonance to make it interesting. Sounds like it was recorded in a field of crickets. ‘Years Pass By’ starts off similar but with electric guitar, and it’s more upbeat rocking and grooving and includes intense voicings, sirens, and other effects. It ends up sounding like an experimental surf or 60s gangster film soundtrack with the bonus of collage fun.
Cool & The Clones (Cabin John, Maryland) are back with a really cool 13 minutes of lazily grooving psychedelic punk-jazz jamming with free-wheeling guitar solos, saxophone freak outs, fiery drumming, and avant-garde chamber music that includes wrenching all kinds of sounds from traditional instruments. This is freakin’ awesome.
Chuck (Greensboro, North Carolina) blast out a high intensity noise/metal/psych/drone guitar workout on ‘Chuck’s Realization’. ‘Helvis’ is completely different, sounding like an Elvis impersonator recorded live and then tape recorder morphed and mashed up to create some creatively wacky collage fun.
David Nikias (Greensboro, North Carolina) starts off with three brief minimal sound experimental pieces. Things get more interesting with ‘I Found A Place’, which sounds like a 50s pop song that Nikias used his tape skills to turn into a lysergic bit of space exploration. And ‘Process With Radio’ is just that, collaging radio samples with eerie droning minimal electronics.
Emil Beaulieau (Lowell, Massachusetts) is another cut-up/collage artist. His oddly titled ‘Fontana Blues’ creates a non-stop barrage of noisy yet creatively montaged samples.
Finally, White Hand (Fremont, California) offer up two tracks. ‘Overland’ is an ambience and sound exploration. It’s very sparse, creating the feel of walking alone through a long hallway with the sound of the sea nearby. ‘Marsek’ is different, creating an intense electronic wave that pokes, pulsates, and pierces.
INTERVIEW with Chris Phinney by Jerry Kranitz
JK: Judgement Day was a 2-tape set. Was that just because you had so many submissions?
CP: I wanted a double C90.
JK: There’s a different image on each tape cover.
CP: Tape #1 is the door to a mausoleum. It’s got metal grates. Tape #2 is a mausoleum and every one of those round things holds a casket. I think the one over to the left, almost in the middle, it looks like it’s deteriorated… I think that’s possibly the one I stuck my camera in to get the skull image on the Viktimized Karcass “A Matter Of Principle” tape (HR019).
JK: You’ve got Roger Moneymaker’s Swinebolt 45 solo project. For Mental Anguish you included ‘I Don’t Care’ from the Crying Shame tape. And there’s a new band called Theatre Of Ice from Provo, Utah.
CP: Theatre Of Ice was a good rocking band from Utah.
JK: One of their songs I described as like Hawkwind with sad boy New Wave vocals. They were pretty cool.
CP: Oh yeah, they did some good shit. I released a tape of theirs, Live Beyond The Graves Of Utah (HR080).
JK: And you’ve got X Ray Pop, which I’ve long considered one of the best damn pop bands ever.
CP: Good poppy electronics.
JK: One of the things I loved about them was they used the cheesiest sounding keys but they made it sound so cool.
CP: Their cheesy keys were different. Much different from Jimmy Lee. You compare Jimmy Lee with X Ray Pop and you get nothing sounding near the same cheesy key-wise. I had a cheesy ass Casio man. I used the damn thing. It’s just the way you use it. And what you hook up to it. What kind of effects you hook up to it.
JK: You’ve got Alien Planetscapes on there. Was that your introduction to Doug Walker?
CP: I had been trading with him. That track is on another Alien Planetscapes tape. ‘Rodan Part 1’ is on Judgement Day and there’s a Part 2 on some Alien Planetscapes tape. And I’m not sure if that’s Doug and Carl Howard or Doug and Louis Boone.
JK: I was going to ask you about that. It’s clearly not the full band Alien Planetscapes, so this is probably during the time he was doing various duo lineups.
CP: Yeah, he was doing either by himself, or with Louis Boone or with Carl. And maybe Reginald Taylor.
JK: Cancerous Growth, you’ve got one of the tracks from the Remission tape (HR030). But you’ve also got a lot of new artists. Pierre Perret from France. And you’ve got another from the Warpt West label in Santa Cruz, California, Anatol Sucher.
CP: He’s the singer for Asbestos Rockpyle.
JK: Ok, you said he sang for Barnacle Choir too. A band I really liked is Cool & The Clones, from Cabin John, Maryland.
CP: Doug Walker put me in contact with them. Freeform jazz band.
JK: There are two artists listed in the contacts. Both are listed in the same zip code in Greensboro, North Carolina but at different addresses. David Nikias and Chuck.
CP: Chuck is a band with David Nikias and Murray Reams.
JK: I’m jumping ahead but the notes I made about them on the New Society tape (HR037), the music and them being in Greensboro made me wonder if Chuck was Eugene Chadbourne.
CP: They were here. They warmed up for Eugene Chadbourne. We played, then Chuck played, and then Eugene Chadbourne.
JK: In Memphis?
CP: Yeah, at Cynthia’s Place. Mike Jackson rented out Cynthia’s Place. Eugene Chadbourne was the headliner. And Chuck was the warm up. And Viktimized Karcass was the warm up.
JK: That sounds like one hell of a triple bill.
CP: It was a cool show. Chadbourne had the birdcage and all that shit.
JK: Did he have the Rake?
CP: Yeah, he had the Rake too.
JK: You had this other artist, Emil Beaulieau, and the contact says c/o RRRecords.
CP: That’s Ron Lessard, the owner of RRRecords. He was Emil Beaulieau.
JK: Another new one I liked was White Hand.
CP: White Hand, he’s AMK (Anthony King) out in California.. He sent me a cut up. He cut up a bunch of bits, put them on a piece of cardboard and put a hole in it and played it at 45 speed. Or you could play it at 33 if you wanted to. It was just a bunch of cut up flexi bits from flexi ads, all glued to a piece of cardboard, a round cardboard the size of a 7”. Me and Mike Jackson did a collaboration with White Hand called White Cancerous Hand Growth. It was released by Merzbow on his label in Japan and I re-released it later in the Harsh Reality catalog (HR265).