HR070 - Body Sounds — C90 — 1988
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Side A:
Prescott/Bohman - Whispering Wendy
John Hudak - Mouth
Indian Rope Burn - Flat Tire
Minóy - Open Wide
Mental Anguish - Cough
Cephalic Index - A Jab In The Ass'll Make You Come
Side B:
The Haters - Spanking
Semantics Could Vanish - Voweledge Accessory
If, Bwana - Body By Bwana
Die Rache - No Body
Odal - Nobody
blackhumour - dit dit dah isophate
M.A.P. - Love Mr. Bunny
spit surprise
Prescott/Bohman - Whispering Wendy
John Hudak - Mouth
Indian Rope Burn - Flat Tire
Minóy - Open Wide
Mental Anguish - Cough
Cephalic Index - A Jab In The Ass'll Make You Come
Side B:
The Haters - Spanking
Semantics Could Vanish - Voweledge Accessory
If, Bwana - Body By Bwana
Die Rache - No Body
Odal - Nobody
blackhumour - dit dit dah isophate
M.A.P. - Love Mr. Bunny
spit surprise
REVIEW by Jerry Kranitz
Chris Phinney’s requirement for contributions to the Body Sounds compilation was that only the sounds of the body could be used. Effects were permitted but no instruments. And I must say the artists rose to the challenge with always interesting and sometimes fascinating results. No surprise that the most utilized body sound is the voice, but these artists were clever…
David Prescott (Boston) and Adam Bohman (UK) kick off the set with 14 minutes of efx’d voices that are like a mix and morph of demonic possession, alien radio transmission, and something from an early Residents album. The duo concoct an impressively creative collage cauldron, mashing up the voices in a choppily flowing stew, augmented by a parade of bleeping and screechy effects.
John Hudak (Del Mar, California) creates an interesting cheek pucker and/or lips exercise, with breath providing the ambience. It doesn’t sound like any other effects were used so good job John!
Indian Rope Burn was a band that included Mike Crooker of GGE Records (Kent, Ohio). They utilize zany voices and a minimal wavering drone which is propelled by a water dripping groove.
The late sound sculptor Minóy’s entry sounds like a coven of witches gathered in a cavern to create a humorously spacey voice collage. Actually it sounds like he might have incorporated dog barks, anguished cats, and balloons losing air at high speed, among other effects, and brings them together in creatively freaky ways.
Mental Anguish (Chris Phinney) creates an intriguingly rhythmic piece that amusingly coughs its way through the track, nudged along by variably sped oscillations.
Cephalic Index (Mike Jackson) sounds like he might have taken advantage of having had a cold, with its inevitable sniffles and nose blowing for his recording. Another interesting use of tape manipulation and oddball effects.
The Haters, aka GX Jupitter-Larsen (Vancouver, Canada), does something similar with squeaky squeals and slapping percussion.
Semantics Could Vanish, which included Miekal And (Madison, Wisconsin), contributes a cut-up collage of pucker sounds, shattering effects, various weird voices at sped up and slowed down speeds, some of which sound like chipmunk chattering and hen clucking. This is a fun one.
Sound of Pig label honcho Al Margolis offers up one of his If, Bwana sound exploratory and effects stews, with an ambience and rhythmic bit of scratching and gurgling.
Die Rache (Germany) do something similar, creating what sounds like an aged spacecraft struggling to start and keep running. Vrooosh-chugga-vrooosh-chugga-vrooosh-chugga…
Odal (The Netherlands) is also somewhat similar, sounding like a noisily spacey kling-klang and squalls symphony, with an interestingly choppy drumsticks on the pipes rhythmic flow.
blackhumour (Vancouver, Canada) offer up a garbled/sped up spoken word that sounds like Max Headroom meets the Chipmunks. Over 11 minutes it evolves through craftily tape efx’d acid trip conversation, and I eventually settled in like I was a fly on the wall at some alien cocktail party.
M.A.P. is Chris Phinney’s daughter Molly Ann Phinney and something of a Harsh Reality mascot. Molly creates a mélange of repetitive voice bits, honks, and insect swirls for some minimal collaged voice effects fun.
Finally, a brief uncredited piece called ‘Spit Surprise’ serves up some skrocking, chuck ‘em up creative voice silliness that closes that set.
By the way, the woman on the cover is a prostitute Chris Phinney photographed in New York City.
Chris Phinney’s requirement for contributions to the Body Sounds compilation was that only the sounds of the body could be used. Effects were permitted but no instruments. And I must say the artists rose to the challenge with always interesting and sometimes fascinating results. No surprise that the most utilized body sound is the voice, but these artists were clever…
David Prescott (Boston) and Adam Bohman (UK) kick off the set with 14 minutes of efx’d voices that are like a mix and morph of demonic possession, alien radio transmission, and something from an early Residents album. The duo concoct an impressively creative collage cauldron, mashing up the voices in a choppily flowing stew, augmented by a parade of bleeping and screechy effects.
John Hudak (Del Mar, California) creates an interesting cheek pucker and/or lips exercise, with breath providing the ambience. It doesn’t sound like any other effects were used so good job John!
Indian Rope Burn was a band that included Mike Crooker of GGE Records (Kent, Ohio). They utilize zany voices and a minimal wavering drone which is propelled by a water dripping groove.
The late sound sculptor Minóy’s entry sounds like a coven of witches gathered in a cavern to create a humorously spacey voice collage. Actually it sounds like he might have incorporated dog barks, anguished cats, and balloons losing air at high speed, among other effects, and brings them together in creatively freaky ways.
Mental Anguish (Chris Phinney) creates an intriguingly rhythmic piece that amusingly coughs its way through the track, nudged along by variably sped oscillations.
Cephalic Index (Mike Jackson) sounds like he might have taken advantage of having had a cold, with its inevitable sniffles and nose blowing for his recording. Another interesting use of tape manipulation and oddball effects.
The Haters, aka GX Jupitter-Larsen (Vancouver, Canada), does something similar with squeaky squeals and slapping percussion.
Semantics Could Vanish, which included Miekal And (Madison, Wisconsin), contributes a cut-up collage of pucker sounds, shattering effects, various weird voices at sped up and slowed down speeds, some of which sound like chipmunk chattering and hen clucking. This is a fun one.
Sound of Pig label honcho Al Margolis offers up one of his If, Bwana sound exploratory and effects stews, with an ambience and rhythmic bit of scratching and gurgling.
Die Rache (Germany) do something similar, creating what sounds like an aged spacecraft struggling to start and keep running. Vrooosh-chugga-vrooosh-chugga-vrooosh-chugga…
Odal (The Netherlands) is also somewhat similar, sounding like a noisily spacey kling-klang and squalls symphony, with an interestingly choppy drumsticks on the pipes rhythmic flow.
blackhumour (Vancouver, Canada) offer up a garbled/sped up spoken word that sounds like Max Headroom meets the Chipmunks. Over 11 minutes it evolves through craftily tape efx’d acid trip conversation, and I eventually settled in like I was a fly on the wall at some alien cocktail party.
M.A.P. is Chris Phinney’s daughter Molly Ann Phinney and something of a Harsh Reality mascot. Molly creates a mélange of repetitive voice bits, honks, and insect swirls for some minimal collaged voice effects fun.
Finally, a brief uncredited piece called ‘Spit Surprise’ serves up some skrocking, chuck ‘em up creative voice silliness that closes that set.
By the way, the woman on the cover is a prostitute Chris Phinney photographed in New York City.