It was not for nothing that Evil Dick used to call his label Polemic Music. This delusion that “good music” hovers above us sordid social animals like some unearthly pristine unctual anointment is a running sore which hurts us daily. In a false world, Truth becomes Polemic, not out of perverse itch of aggrandisement but simply by being true to itself. The proselytisers for “quality” are running stupid petty marketstalls whilst pretending they’re in a holy temple. Overturn the tables! Wreck the sales racks! In order to foreground the fact that all art is social (or anti-social!) statement, I wrote biographies of Zappa and Bailey – inspiral rubbishers of quality norms – but this “intellectual” approach got me the wrong audience. So I sent them over-educated suckers off to peruse Wire magazine, and tried something else: radio. After seventeen years, I’m glad to say I’ve gathered various Mitglieder (aka AMM All-Stars) and become a mite louder. Here is my most condensed and organised polemic yet, where I challenge you to tell the difference between: Blues, Freak Rock, Punk Rock, Free Improvisation, Politics, Entertainment and Poetry (with a little ugly something – probably called “Graham” – on the side …).
Evil Dick “The OTL Show Theme” 1:49
Evil Dick feat. Dave Jackson on tenor sax “Wolf Harbor” Mappa Zappa (Cordelia, 2018) 4:22
AMM All-Stars feat. Dave Black on bottleneck guitar “Glottal Bottleneck Folk Remedy” Combined and Uneven with Dipping Sauce 20-iii-2019 46:07>>52:08 6:01
The Blues Boys feat. Lonnie Johnson on violin “Memphis Stomp” 15-ii-1928 (Okeh 12″, 1928) 3:02
Mothers of Invention feat. Frank Zappa on sped-up guitar and Art Tripp on percussion “Nine Types of Industrial Pollution” Uncle Meat (Bizarre, 1969) 6:00
Derek Bailey and Min Xiao- Fen “Da Qing Ye (Woad)” 16-xii-1997 Viper (Avant/Disk Union, 1998) 4:38
Captain Beefheart and Frank Zappa “Orange Claw Hammer” (KWST, 1975) 4:50
I Digress Indeed/Out To Lunch “Selection from Homo Fludens” (SoundCloud, 20-iii-2019) 18:26>>23:08 4:38
Splash’n’Klang is a musical practice developed by Out To Lunch in response to various problems facing modern music. Over the course of the twentieth century, recording wrecked the old composer-score-musician arrangement, enabling advanced music to dissolve the distinction between documentary sound and composed score (see Derek Bailey, Iancu Dumitrescu and Frank Zappa’s “Wolf Harbor”). However, although they play by ear and could invent every note, thus making each performance unique and extending musical variety and delight into infinity, most non-reading bands survive by reproducing known quantities. In order to encourage the musicians of AMM All-Stars to suspend musical time and pay attention to the sounds immediately in front of them, Out To Lunch records Splash’n’Klang in his bathtub: running taps, rattling the plug, pouring water from jugs, making bubble sounds, and striking floating bowls and glasses with plastic chopsticks. These rituals are then played during the weekly improvisation session by AMM All-Stars which constitutes Late Lunch With Out To Lunch, a radio show on Resonance FM (2-3pm Wednesdays). Splash’n’Klang was partly arrived at through email discussions with guitarist I Digress Indeed about listening to records whilst washing up, and noticing that emancipated music (Sun Ra, Derek Bailey, Tony Oxley, Eugene Chadbourne, Music With My Insane Friend, AMM All-Stars) renders each kitchensink noise vibrant, delicious and beautiful (“the thud of a saucepan as it hits the zink” as Richard Evans put it). OTL wanted to find a way of injecting these beauties into his broadcasts. He also acknowledges that humans and animals delight in water sounds because they remind them of urination (see James Joyce’s Chamber Music), and also of time spent in the womb and ancestral memories of all life’s oceanic origins. On 12th February 2019, possibly due to the drama of freeing a pigeon brought in by his two cats (Brella and Sox), OTL recorded a record-length Splash’n’Klang, and realised his application to this instrument had reached some kind of peak. So the soundfile was offered to I Digress Indeed (guitarist of Music With My Insane Friend) and this duet (one of three) resulted: “I can now join the pantheon of my personal household gods, and die happy” quoth Lunch.
Out To Lunch – Splash’n’Klang, pigeon rescue I Digress Indeed – Guitar
The Dickster has done it again. Evil Dick, never one to shirk his responsibility to throw us all off the musical track, has created yet another exquisite red herring, Earthly Delights. Evil is a multi-instrumentalist of rare ability with a stunning imagination. A truly unique composer in a Varesian and Other Worldly tradition, whose music demands an attentive and serious, yet inquisitive and playful ear. A musician who never forgets to pose the question to the listener, in fact, to all of us, now living in an ever increasingly precarious world…
“Well, are you going to buy the fucking thing or what?”
This album was compiled between January and August 2018. It takes its name from the famous painting by Hieronymus Bosch; however, comparisons largely end there. The music has its own logic, taking the listener on a sonic journey through a mysterious and often unpredictable, phantasmagorical landscape. The full title of this album is Evil Tends to His Garden of Earthly Delights.
“MWMIF meets the Japanese-born female improvisor “Casio Loopy”, who is known for her improv’s using just a Roland “Dr. Rhythm” drum machine (controlled via a modified game console), and no-input digital delay. Recording was taken from a pre-concert sound check (date unknown?). This night, MWMIF draws strongly from their back-catalogue, while “Casio Loopy” shadows their performance surfaces with matching transient crosshatches and skittering counterpoints unique to her Onkyokei-inspired rig. Extra-musically, and for no explained reason, there were three pink crows in the rafters for entire set.”
For as to happen fucking probably the great! Huge! It!
What displayed music upon!
Spelling improvised but being. Not advanced having every start with an end drum bone “play like” on musicianship. Read more… “SHIT ME “A” SLASH THEME APPLICABLE”
Have only one main objective; work on your self esteem. Fiercely eliminate any people from your thoughts. Be careful about moving beyond your station; you might suffocate. Don’t be too rough with others, unless you enjoy being alone. Eliminate any blockages with people who no longer care for you. Think only of yourself. Nothing wrong with giving yourself a pat on the back once in while. Don’t think about it you deserve it. Read more… “CUT UP”
Be it may we talk and I as I, in theory, am the OK man. Ideas, the Chakrabarty. Wow! Record it new and read. Plank, perhaps, realism. Bite off political IDEAS. Make subject the state. Not dismissing individual will less the “in” way to where deep is stored. Relative instincts talk against capitalism, individuals, nations, by definition class historicity. Within no state struggles. Their posturing points to totality. The fucking working guys incorporate the “us” approach. Luxemburg, even artists it seems, inconsequential, where the last anti-individual think tank is embroiled. Yeah… time. An ongoing personality show! Their modern mourning comes normally. Read more… “THEIR MODERN MOURNING”
Times since then though I’m only guessing that he was my friend King? She was black as well!! I am certain that after we had been lighting grass fires on the plain and I was doing some electrical work she first showed me the record player. I was smoking cigarettes, think he might have been in jail. Read more… “SHIT AND FRUIT”
“Why the fuck did I say that? Like I thought my choice of words and views raised and general conversation was relevant and even interesting. The way I brought in those asides. When I took a more dominant status in the conversation that was OK too. In fact I thought I did well steering the discussion at that particular moment. And I was being a good listener too. And the way I drew person X into the conversation and sought to clarify what they meant by that subject that I know they are very interested in. I thought it was ok. Except when I said “ZZZ ZZZZ XXXX ZZZZ” what was I thinking! For fucksake. That would have surely changed their opinion of me! I was probably going quite ok up until that point? What comes over me that I have to make trite comments like that? Spoils everything I had said for the whole discussion. No wonder these people rarely choose to engage with me or ask me over for a visit. They just know that I am going to say something stupid and reveal that my intelligence is, you know, so so. That although not a bad guy can be annoying. Says a lot of stupid things. Really I should just listen more and not fucking say anything.” Read more… “WHY THE FUCK DID I SAY THAT?”
like… when you’re at the dentist… do you ever try and check out the dentist’s teeth? Or think of him with a fucking big mirror and a drill? Or think of him calling another dentist and asking “Can I make an appointment?”
Or what about a dentist getting a fucking tooth ache…
Mine are starting to crack up..
I’m starting to fall apart Jim!
What about a chemist? Does he go to another chemist to get his script filled or just grab what he needs off the shelf?
No worries; I’ll will do my due diligence next time and find a slide virtuoso. Someone who has a micro-bevelled custom finger-size fit tempered glass slide. Someone who has not only studied the Robert Johnson method of what is often ignorantly referred to as accidental clanking noise when the player’s slide hits a fret awkwardly, but someone who can also faithfully reproduce that sound at a specific velocity as dependant on the weight of dynamics and harmonic movement in preceding bars. In fact a slide guitar virtuoso who can guarantee that all collateral noises, buzzing, fret rutting, dead string sounds and accidental note clips in their performance are deliberate and backed up with notation and transcription examples showing their historical context. I knew I should have got someone like this from the start. Precision at all costs, particularly with those incidental sounds. I understand that there is a ratio of incidental mechanical noises based on tempo and true note density and should have realised that only someone who has a thorough technical understanding of these ratios would be appropriate otherwise the music will inevitably have little true substance. Did you give much thought to the historical context of that buzzing sound? Have you any peer reviewed written evidence that a true slide master would have played what you played in the last half of bar 10, chorus 14 in the context of this songs harmonic movement and tempo? Have you actually written any papers examining Son House’ use of incidental slide noises in a spirtual context or as metaphorical good vs evil survey? No, I didn’t think so. Read more… “I’m such a shit slide player. Sorry about that.”
“It’s very direct, very melodic, and it sounds like a bunch of demos recorded by visitors from outer space who have just encountered jazz and are demonstrating what they’ve found to an interplanetary alien space station crew of investigative analysts.You see, what kills music is THEATRE, the sequencing of brute effect according to narrative … Wagner, Pink Floyd, Cornelius Cardew’s The Great Learning, David Bowie. What I crave is collective union of attention to musical detail: to the intricacies and intimacies of players’ establishing harmony and rhythm; unstitching the inherited garment and playing with frayed edges and weird worlds of thread. Or, to change metaphors, what I hear in COFFEE AT MILANOS is the dissecting scalpel of player intelligence cutting through the skin surface of “music” to expose pumping arteries and zinging nerve cells and replicating blood corpuscles. Close focus on the stuff of music itself.”