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The Other Thing: Press

These thoughts came to mind as I listened to "The A-Bomb-A-Nation":

From the first track there emerged the theme which was to dominate throughout and which transcends the limits of any specific creed or dogma. It embodied a basic principle of humanitarian inevitability, that is, the flowering of an extended degree from a kernel followed by a process of organic growth of composition. The first section could very well be marked
"allegro con brio" (lively, with vigor), and springs out of the rhythmic idea that dominates the rest of the CD. Out of this motive flowers the first
theme, the repitition, at different levels of the scale and with altered intervals, of the germinating rhythm. The strength of the succession springs from the singleminded persistance of the underlying idea being pursued. The bridge to the elusive related key of E-flat major is surprisingly fashioned out of this basic motive- thus achieving a much more compact bridge than the
leisurely transition of , say, Mozart's G-minor Symphony, and building as the tracks progress through the CD. The final exposition is rounded off with
a dramatic, if not preemptory development, with a short coda reaffirming the original schematic. The momentum seems to have been deliberately slackened
so as to allow for this building to evolve cylindrically against the upsurge of the recapitulation. This music will not be played in elevators until
after the revolution.
Simeon Coxe (Silver Apples) - Silver Apples
But for a scant couple of tracks, Evan Light's moog & bass distort so shrill you can hardly differentiate between the instruments. Trebly tremolo, throbbing blats & rumbles, tinnitus inducing cicada drone, buzzing guitar strings untuned so slack they're fused to the pickup magnets; the sound of broken glass being rubbed together and chucked at a Theremin. Din chases George Agetees' drums faraway and inconsequential, any melodic inklings forced to dart to & fro so as not to gel. Seen 'em live twice; first time sounded like they were playing in seperate soundproofed rooms devoid of any report. The second more cohesive show I overheard them accurately described as "Black Sabbath doin' improv." CD rests somewhere in between. Guest guitarists playing musical chairs include, among others, Phil Nolin (founder of my band American Devices 23 years ago), the CD's engineer Marc Montanchez (ex-Steak 72, now in Sonido), & Lawrence Joseph (ex Terminal Sunglasses). But they're hard to tell apart. Back in '80, improvised jamming hours on end was how we hunted down riffs & Phil could coordinate the most convoluted concoctions from these cacophonies. In The Other Thing, Phil does the scales like a fish outta water, more perplexed by his inclusion than anything else. Ornate wallpaper to Evan & George's plodding, Marc's feedbacking fuzz whammy-bar recalls classic acid rock. Least identifiable is Lawrence, so smitten by the "musique actuel" bug that he can sit an axe on his lap bouncing chopsticks up & down the frets dead serious (seen live Dec. 12, 2002). Now there's something to "fret" about. Noise...can't live with it, can't live without it. Nice Mavreas chest-burster on the cover. I drew the dragon (to come! -Ed.) while listening to My Windows Are Amazing.
Rick Trembles - Fish Piss #9