U.S. Maple - Long Hair In Three Stages (1995)

I don't know why I came into work today ...I should be eating meat and drinking beer in honor of those who have served this crazy nation. Though I don't know how anyone can eat meat after hearing about what happened in Miami this weekend. And while I can't imagine what would be going through my head if a naked man was eating my face, I can imagine the soundtrack to such a scene sounding like U.S. Maple's Long Hair In Three Stages.

This is a band that no one sounded like before and no one will sound like ever again. They formed with the express intention to deconstruct rock music. All the key elements are still there; melody, harmony, rhythm. But there isn't any chorus you can sing along to, as vocalist Al Johnson wheezes and coos unintelligible lyrics. Years ago, my brother likened his singing style to cartoon character Snagglepuss talking with his tongue cut out... and I still think that's pretty spot on. There are no major or minor chords in the guitars ...they squeal, meander and buzz in a drunken and mechanized, insectile anger. The rhythm section is probably the most conventional element to the band, keeping the insanity of the guitars and vocals grounded into something discernible as rock music. 

If you're at all into dissonant bands like Brainiac or The Jesus Lizard, you might like this. Not for everyone's tastes but worth a listen if you want to hear something new and strange.

Produced by Jim O'Rourke, who has produced records by Sonic Youth, Smog, and Wilco... among many other greats.

U.S. Maple - Long Hair In Three Stages

WET PAINT DMM - DMM (2009)

Wet Paint DMM are a now defunct Seattle 3-piece who are too good to not share with you, though I'm having difficulty describing their sound in a non-convoluted way. I keep wanting to say "deconstructionist post-punk performance art" but then I immediately want to punch myself in the mouth.

Their sound is minimal - one drummer, one guitarist, and one singer - but what they achieve is quite dynamic.

The drums provide a brutal, dark and tribal canvas over which the guitarist paints strange and dissonant colors. At times, like on "IT IS THERAPEUTIC"  and "LION TAMER", the guitar sounds like it's being played through circuit-bent effects processors. The most striking element of Wet Paint, however, is their powerful vocalist. Her dramatic delivery is just that: part poetry, part performance. At times she sings, but mostly it's a very animated and urgent one-sided conversation that sometimes devolves into moaning or animal noises ... like she's either having an orgasm or killing someone. Maybe she's doing both. Her contribution alone would put Wet Paint's non-existant record into the "Kabuki theater performed in an insane asylum" section of the record store.

Long and short of it is... Wet Paint's sound is dichotomous and treads lines between art and rock; sex and nightmares; blood/soil and extraterrestrial mechanics. It's intellectual meets visceral, the line between which lies the heart. It's postmodern, I suppose, but without pretension because what they achieve is very authentic and full of heart.

This is aortic music ...bubbling up from a prehistoric stew.

Wet Paint DMM - DMM