[batreleaser]

The more I investigate this guy's music, art, and label (Fag Tapes) the more I believe he is a modern day American Noise renaissance man. His Sick Llama project and his bands like Odd Clouds and Slither (w/ Cotton Musueum) are all some of the most diverse out musics I've ever heard. The guy records at an astonishing rate but it seems like everything he's released is worth hearing because he ALWAYS hits a groove. It's the grooviest noise I've ever heard. I mean, live the guy just stands there drikin and getting stoned and touching knobs and there's just all these crazy sounds coming out of the speakers that recall a mega over-amplified droning Lee Perry dub composition recorded during one of his drug fits. Then the dude just starts blowing into his clarinet and the room is just engulfed with overwhelming freewheeling sound. I also am loving the double sax attack of Slither. I feel Moreland will branch out beyond the Noise scene and start to be thought of as just a great avant soundsmith all together. I would love to hear him do something with the likes of Keith Rowe or Conrad Schnitzler. He's a psychedelic muscician more than noise.

People on here love to talk shit on Wolf Eyes and the Michigan scene, I used to be one of them. But when I think of it, I love Wolf Eyes, and I love the Michigan scene. I love Wolf Eyes with Dilloway when they used to erupt into mega noise freak outs and Dilloway would raise hell with his synths, and even though he's sorely missed in the band, Mike Connely's guitar playing adds the band a refreshing sludgey-metal rock sound that pushes them into the realm of being a more conventonal Noise Rock band. I prefer the Dilloway version but I still would never pass up a Wolf Eyes live show. Then there's Demons and their glorious damaged Synth Noise. Hatred and their standard rock/drums/bass lineup and thier absolutely un-standard blackened Hell Noise. Graveyards and its unique blend of Free Jazz intensity, the volume of Noise, and the abstract silences of the great musique concrete composers. The volatile Borbetomagus after a weekend PCP binge of Wasteland Jazz Unit or Casket Sinkers (Dilloway/Olson). I also enjoy a whole ton of the Spykes and Dilloway solo records. Who could forget Hive Mind, who for a while was releasing the harshest shit out there. Then of course Mammal, with his rich and diverse heavy bass and abstract beat infused Noise and his more recent mega depressing, moody dirges. He has the distinction of being my fave of the whole state. And then of course there's a whole slew of lesser knowns of varying quality.


I'm not sure why I wrote this. I guess the main reason would be the fact that with all the lameness and shittyness and patheticness of today's music scene, why waste your breath talking shit on these dudes? Despite what you think about releasing 100 cdr's a year, the fact of the matter these guys are totally committed to the DIY aesthetic and the importance of making art free of mainstream influence. We might be looking at this Hanson/AA/American scene in the future as we look at SST now.