- Side A by Oneida
- Side B by PCWS
Oneida, one hopes, needs less introduction than other bands. Nearly eight years of idiocy that has earned them the grudgingly accepted title of "that old Brooklyn band that all the other bands like"; at least seven albums and countless ancillary releases full of manic delight and spastic paranoia; an army of crazed preadolescent children poised at the ready to do their unearthly bidding; Oneida is living the dream, and that dream has finally taken shape as Brah Records.
Brah will be all things to all men, as long as those men - yes, and women - are searching only for the overlooked and the underthought. The Oneida hivemind will brook no fashionable diversions, no studied insolence - only pure music with no hope of escape will see the light of day on Brah's watch. So welcome to step one in the program: a vinyl-only split record that will leave the speakers weeping.
Oneida's contribution, "Prehistoric Maze" was recorded at Rare Book Room in 2004, during the original and now legendary "Thank Your Parents" sessions. A small hardwood fire was kindled in the studio brazier on Friday as recording commenced, and with periodic attention it had become a heaping mound of coals and ash by late Saturday night. Sometime in the smallest, stillest part of that night, it was deemed appropriate to sing a hymn to the coals, saluting the passage of the flames into memory. Just before dawn on Sunday, "Prehistoric Maze" was tracked in a flurry of ukuleles, hexoleles, and homemade drums. Studio tyrant Nicolas Vernhes joined the band in their unsettling ceremony, contributing an outstanding familiarity with pre-Christian celtic and druidic rites, and by the time a rainy, cold dawn arrived, the song was completed.
Oneida felt that the sound of "Prehistoric Maze" and the singularity of its genesis were reason enough to release it standing apart from the rest of their work; the Plastic Crimewave Sound's "End of Cloud" was deemed a perfect counterpart, and so Oneida is proud to inaugurate Brah Records with this haunting piece of blasphemy.
Their first major release in over a year, Plastic Crimewave Sound's 18 minute uber-krautpunk dirge "End of Cloud" is a fuzz-soaked dusseldorf drone-rock opus, and the epitaph of departed guitarist Cat Chow, who lends space-vixen vocals to the fray. Studio fuckery, motorik drumming, blasts of electronics, rolling bass waves, and wig-flipping fried guitar duels, "End of Cloud" is guaranteed to cause devotional nirvana, or at least the rolling of multiple blunts.
Chicago's premier acid-punk primitivists Plastic Crimewave Sound have been lauded by MOJO, Wire, Julian Cope, Arthur, etc., have toured with Acid Mothers Temple, Comets on Fire, Oneida, the Ponys, Gris Gris and others, and often garner comparisons to Chrome, Can, Yo Ho Wha 13, Sonic Youth, Hawkwind, High Rise and even the Cramps - and all that is just fine by them!
They have a full length LP on Eclipse Records (released in the UK by Rocket Recordings, home to Oneida's "Anthem of the Moon" LP), a split 7" with 60's MN fuzzgod Michael Yonkers (with a full LP due soon), and a double LP conceptual dark opus that will see daylight on Eclipse this fall.
Crimewave also does the hand-drawn underground psych mag Galactic Zoo Dossier for Drag City (expect a new double sized issue this summer), and sets up the international avant-psych Million Tongues festival; bassist Mark Lux was part of the embryonic Temple of Bon Matin line-up; electronics guru Andy Ortmann heads up the fine Nihilist label and noise miscreants Panicsville; and Lawrence Peters is also a fine country singer and washboard genius, playing in numerous noise rock and country combos over the years.
The 12" features art by Plastic Crimewave, who has also done record covers for Drag City, Birdman, Locust, Eclipse, and others.
(JAGBR001 released: 09/06/05)