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liner notes (to a nonexistent LP SLEEVE) (this might make more sense if you had the album. . . ) INTRO/OUTRO In mid-2001, we both became obsessed with the riff from 'war pigs.' Duh-NUH. . . .(pause ) NUH! NUH! NUHHHHHHH-nuh!!!!!!! (dee-DOOP) Yeah. Then we started thinking of different musical quotations to put in the pause/drumfill section. Our ambitions for 'the pause' became more and more grandiose, as we realized the pause was what MAKES THE RIFF SO GREAT. Eventually we (meaning schultz) had the bright fucking idea to put THE ENTIRE ALBUM inside the riff-pause. The ultimate tribute. thorax, ho!! After the AMINO ASSHOLES debacle (you know, where Schultz's 20 minute long arrangement of the 'Meow Mix' theme was rehearsed for 10 minutes right before the show, the video camera failed to document the performance, and yeah, only 2 people showed up), Kocol decided that it would be a "great idea" to not let the most horrible guitar tone EVER CREATED BY ANYONE to not go to waste This particular tone was created for the AMINO ASSHOLES project, and it's fuckedosity, as it were, was comprised of the following variables: 40% pitch-shifting (not quite in tune enough to be up a full octave), 40% flange (where the flange alters the pitch of EVERYTHING not quite ½ step +/- the original tone), and 20% distortion (EQ-ed specifically to tear holes through ones eardrums). This whole song was composed around the sonic monstrosity oh yeah, and there's glockenspiel, too. Schultz adds, "it's important to note that an integral component of THE SOUND is Jason's utterly beatific facial expression and crucified posture throughout the whole song."
When Gilman Street (the East Bay punk club) had it's 15th anniversary, they decided to commemorate the event with a video: a camera's-eye-view of the Gilman sewer line. A 60 foot fiber-optic cable operated by a Germano-american technician named Hyko was inserted down the toilet. We were assigned the awesome responsibility of designing a soundtrack for this video. Rather than take the 'easy way out' and compose original music, we found it necessary to 'hell of jack' an old Don Henley tune. Or Glen Frey. Or whoever. I mean, both those guys are ex-members of that old Gilman Street band.
In order to capture the true nausea of the Fantastic Voyage down the poop-chute (in musical form), each synthesized track was randomly pitch-shifted to varying degrees throughout the entire recording, back and forth, back and forth, back and .. EUHHHHHHHHLLLLLPPPP
It lost.
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