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Gomer Black vs. Coz the Shroom

 
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sgt.null
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PostPosted: Sat Jul 26, 2014 3:44 am    Post subject: Gomer Black vs. Coz the Shroom Reply with quote

Gomer Black w/ Coz the Shroom - Coda/Graph

Concrete Wires / Virus (muzak - Usher / words - Coz)
Call it retro or call it vintage, nostalgia never goes out of style. this opening number is warm with melancholy edges. A ghost haunting the collective subconscious. Coz is emotive without being a drama queen.

Ancestor (muzak/words - Coz)
A song about Coz' ancestral homeland. A speck on a long-out-of-print and forgotten map. A town little more than a stop sign and a broken pop machine. We find Coz pining after a carbonated beverage. He embellishes further from that starting point.

Hell-Bent (muzak/words - Usher)
A layered mix of blues-infected, jazzy beats. Garnished with a mellow groove cushioning Usher's trademarked over-aggressiveness. In some spots energetic, in other ultra-soothing.

Battle Horn (muzak- Coz/Miller words - Coz)
Seemingly deep down in the dirt, amid the rot, roils the black heart of the epic song construct. A monochromatic battle fantasy. A gruesome tale of barbarian rage. A noisesome, grinding dirge. The clattering din of battle. Clashing swords and long dead kings. A craggy, overdriven sound that fractures and breaks in parts. Coz' lyrics focus on a leper Judas and the blind hero he betrays. Verdant fields and a volcanic finale. All barely contained by Coz and Gomer.

Arrogant (muzak/words - Miller)
Beginning with a pumping bass, CJ Miller exhibits an assured confidence and verbal dexterity. The song is wordy (for him) but at times too keen on being smart and puzzling. An avalanche of metaphors and half struck punch-lines. It begins as a single thought and explodes into a cloud of questions, considerations and contradictions. Allusions to illusions, a tour-de-force.


end of side one



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sgt.null
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PostPosted: Sat Jul 26, 2014 4:08 am    Post subject: Reply with quote

side two

Knife (muzak / words - Coz)
An odd disconnect. A song alone in unique strangeness. Coz by himself, alone with his guitar. Telling a tale of stabbing a painter. Morally ambiguous. He portraits as both innocent voyeur and active participant.

Tokyo (muzak - Miller/Usher/Coz : words - Coz)
A song of existential rage. Bigger than memory, sadder than the sea. Coz stumbles through the city on a mindless bender, thrashing at his past. He is unreasoning and disconsolate. Ubiquitous and unstoppable. He desecrates his legend as he fumbles about. He sounds more cogent than he appears. Unhinged and feral, unfettered. Coz makes you feel his sorrow and his anxiety. His anguish and his regret. Layered in crackpot urgency. He is both generic and omnipresent.

Distance/Thunder (muzak - Coz/Miller : words - Coz)
Now we get a full-tent revival. Coz shouting and shaking and sweating and testifying like a rural Pentecostal preacher on amphetamines. He handles the snakes while Gomer Black brings that old time religion. Locked and loaded, fully raging. Coz' voice hoarse as he rambles the words of an itinerant holy man.

Talking About Fire (samples/beats/sounds- Hanson)
Drummer Dennis Hanson solos on the awesome jam. He samples tons of other songs, throwing them together in this sweet mix. Backed with an infection backbeat. But don't miss out on the density of the "lyrics." The song navigates fluidly between jazz, hip-hop, trip-hop, neo-soul and old school funk. Chopped up and blended with some sweaty Delta blues.

Diogenes (muzak/words - Usher)
It already sounds time tested. Negotiating the path of musical dynamism past lyrical resilience. The music feels probing yet mellow while being exploratory. Still landing squarely the rubric of punk's better days. Gomer artfully meanders playfully - fully ambient and melodic - ignoring recent trends and styles. It is an unique, seminal, one-off tune. For fans of the earliest Thomas Slusher songs - it is a love letter and a dream come true.


end side two
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sgt.null
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PostPosted: Thu Aug 07, 2014 6:05 am    Post subject: Reply with quote

The other-worldly sounds of the newest washed-out album by Coz the Shroom. Pelican Death Cult delivers more dreamscapes.

Keeper of the ambient and executer of the reverb. Coz the Shroom recently took time out from his busy life (a brand new son!) to answer some questions. Coz' latest album features meditative electronic trances and chants, but also highlights various friends and family on live instruments. Coz spoke to me about the new album along with a bit of the history behind the project.

RD: Your music serves as aural poetry, pairing melodies and sounds to paint a picture of cerebral openness. When you first embarked on this project, what were some of your influences, musical and non-musical? What were some of the attributes of electronic music that you used, that in turn helped you to accomplish such a warm and dreamy environment?

Coz: My musical influences are all over the map. Captain Beefheart, Pink Floyd, David Bowie, Syd Barrett, the Velvet Underground - all of which contributed to the sound of Pelican Death Cult. But for this specific project the biggest genres that informed my process were trip-hop and shoegaze music. I was really inspired by the collage-like quality of trip-hop production by bands like Taskmaster and Vibrant Sphere. And for this record my vocal owes a lot to Mermaids Bury Visitors and Susan Blondage, my favorite shoegaze bands.

as for my non-musical influences? I got very into photography around the time I was writing/planning the album and I spent loads of time on the internet looking at photography sites. The saturated, analog film look was starting to get bigger (and bigger) and that had a major influence on a more date-worn down sound - not unlike a Seventies' Polaroid picture. And all during this I was reading tons of poetry; ee cummings, Ezra Pound, TS Eliot, Wallace Stevens, Vachel Lindsay, Thomas Lux...

RD: I found this album to be heavily informed by the library and informational sciences. Did your seeming love for research and information aid you in becoming so well versed with the various forms of electronic music?

Coz: The interest and research in general were a huge part of Pelican Death Cult. I could not imagine being able to work the way I did pre-internet. First and foremost, I am a self-taught musician and music producer and I have had to learn everything on the go as a matter of necessity. And for this album I sourced almost all of the samples and sounds from my own record collection. What I didn't have I found on various websites and music forums.

Here on our mountain I am isolated from most forms of interesting music. So research online was supremely important for developing my current tastes and gathering ideas and inspiration.
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Last edited by sgt.null on Thu Aug 07, 2014 7:47 am; edited 1 time in total
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PostPosted: Thu Aug 07, 2014 7:11 am    Post subject: Reply with quote

continued...

RD: It has been noted that Pelican Death Cult includes sounds that lend themselves to more of a rock vibe that you are so steeped in. Fans of pure electronic music may well be startled by the inclusion of guitar-bass-drums. What was it like creating this record, and how was it different in processing with a full array of effects?

Coz: Well, as I should have mentioned above about the importance Pelican Death Cult band was how much I leaned on them during the process. I had minimal experience playing with them and promoting the record was paramount to me. I wanted to take what I had first learned playing live with Lisa Suckdog and had continued with bands like Dogfish and Girl Robots. I wanted to rely less on the electronics and more on traditional instruments. More than anything it meant for me a different way of working live than what I had created in-studio. I learned and the band learned a lot in this process. I feel that I am much more capable of approaching record making from various degrees of angles now.

RD: Can you introduce us to the band?

Coz: Of course! The lovely Phyllie Mae Hawley is on drums. She of course is my wife. She also does various keyboards and percussions as some of the songs are done by drum machine. Robert Hope handles bass duties. And my daughter Arumas lends her talent on background vocals and rhythm guitar. Arumas is also my opening act, just her and her guitar! I am so proud of her and really excited to get to watch her every night. And of course playing with Phylie and Arumas every night is the entire reason for the tour.
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PostPosted: Thu Aug 07, 2014 7:41 am    Post subject: Reply with quote

continued...

RD: I am most certainly impressed in how you have transferred and translated your songs into a live context, while still remaining true to creating a celestial atmosphere and highlighting the layers upon layers upon layers that are in your music. What were some of the key components that allowed this to happen in your live shows?

Coz: Performing live electronic music with a band is very challenging - and it only recently that I've started to wrap my skull around it. Unlike all of my previous bands where we just plugged in and played, I now have to go through an amazing amount of pre-production that has to happen to ensure that all of the varied electronic elements are under control and working together.

Processing of all of the varied sounds is also extremely important. And thus much different than any mundane rock band. So it helps that in St. Francis I have a front-of-house engineer who can help me achieve the varied effected sounds from the record. Just for one instance, my desired vocal sound is accomplished through quite a mix of effects. The difference in my vocals being too wet or too dry is a very fine line indeed.

RD: St. Francis engineered Pelican Death Cult...

Coz: He also co-produced the album, as well as playing various guitar and keyboard parts. And he added some background vocals.

RD: I am very intrigued by the title of your album - Pelican Death Cult. It seems so utterly random, while your overall sound contains a detailed imaginary world that has its own history, language and geography. All of it seemingly derived from an experience during childhood that continued over a very long, indeterminate amount of time. At this point in your creative life as you create music, is this real or imaginary for you? And what is the escape that music ultimately provides?

Coz: I had moved into a new recording studio around the time of the genesis of this record. And I think it became a bit of a primitive shelter for me. It represented a very safe place for me that was very far away from the world of Corporate Rock and the risk of becoming a drone for the Music Conglomerate. And of course all of the noise and confusion that comes with being their slave. For me at least, creativity comes from a very personal/sacred place/space that is the exacting polar opposite of that artificial world. So it really and honestly and truly felt that my wife and I had escaped to a remote corner in our own vast world. And the music that is Pelican Death Cult is forever married/connected to that ideal.

RD: Thank you for your time, and more importantly for your music.

Coz: Thank you. And I hope that everyone who comes to our shows can become part of this wonderful experience.
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PostPosted: Thu Aug 07, 2014 8:58 pm    Post subject: Reply with quote

Summer of Orion by Coz the Shroom

Coz the Shroom - vocals, guitar, bass, keyboards, electronics
Phyllie Mae Hawley - drums, percussion, keyboards, electronics
Arumas - guitars, vocals, bgv's
Matthew Kidd - guitars, electronics
St. Francis - guitars, bgv's, keyboards, electronics

Gomer Black is...
Thomas Usher - guitar, bgv's, keyboards
CJ Miller - bass, guitar, bgv's
Dennis Hanson - drums, percussion

1} Never Never WonderLand : Where Coz plays good guy pop star awakened from his slumbering hiatus. Gomer Black backs him in all their pompous arena rock band glory. Coz swaggers through, boasting of his "axe" prowess - shredding any preconceived notions his critics held. A ready made anthem by Coz, just added Gomer.

2} Sunday, the First : A confessional. As Gomer plays out a pastoral scene, aided with sublime fretwork by Matthew Kidd. Coz sings here of regret, setting the stage for our hero's quest. Seeking redemption for past sins and crimes, he must face himself.

3} Escape Hatch : With erratic blast beats, crashing guitars and off-kilter drumming. Coz, Phyllie and Arumas muscle through this instrumental. It is chaos and intensity captured in a soundscape.

4} My Name is Your Name : Gomer plays this like a trashcan fire. While Coz' surreal lyrics buzz through your skull, rattling around amidst the dust and cobwebs. He sings of ellipses, eclipses, pharmaceuticals, mishaps and Truth or Consequences, New Mexico.

5} All Hell : Slowly paced, Coz delivers his lyrics in a flat monotone. A story of foregone conclusions, forgotten lovers, ungrateful children and the search for salvation. Gomer colors the canvas with a similar aesthetic. We are only allowed a brief respite during a soaring middle featuring Phyllie and Arumas singing of hope before returning us to a humbled, more vulnerable Coz.

6} Mirror Error : A song about circumstances, hopes, deferred visions and dreams being actively pursued. Counter-set against a musical landscape provided by Coz, Phyllie, Arumas and Matthew Kidd. A place where sorrow and joy stand hand-in-hand.

7} Skull of Venom : Wherein Coz experiences the epiphany of tedium. Performed all on electronics as Coz finds meaning in odd bits of fabric, paints, prints and metallic buttons. His stream-of-unconsciousness rambling both hypnotize and mesmerize. This sounds like a track that could have been left off of Pelican Death Cult.

8} "I Am A Story In Transit" : A modern, retro spin on traditional blues-folk. A mirror-as-thought exercise. With Coz regressing to some form of lake horror staging. Full of pretty lights provided by Gomer Black and Matthew Kidd. Also features a beastly guitar solo by St. Francis.

9} Levity : Coz mutters his refrain over and over again ("their eyes are open but they are dead eyes - there is a guy who worships false idols")
Meanwhile Gomer blisters the landscape in seeming abandon, untethered by convention and form. Layering the audience in layers and layers of darkness. This time St. Francis reveals a more restrained solo.

10} Worn Over the Eyes : A death hoax in two chord form. Coz' eloquent words choked and falling silently. Gomer sputters along, uncast and adrift. Absurdity captured in the dying refrain that skips and loops us to the end.

hidden track : (Nomad Fuzzbox) A strange instrumental featuring Coz by himself. The sound of his amp dying in squeals and pitches as he strums absently...
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PostPosted: Sat Aug 09, 2014 7:49 am    Post subject: Reply with quote

the video for Squall by Coz the Shroom

Imagine if it were the late 70's and you were a wunderkind film artist a bit embarrassed about your zealotry for space-opera kid's Saturday morning shows. So you went out and hired yourself a Great Actor to class your film up. Some aging and nearly forgotten former screen legend dolled up like a disco gladiator. that tradition alone is as god an explanation as any for the gorgeous, genius and gloriously strange opening moments of Gomer Black's latest opus - the over thirty minute video of their newest classic masterpiece that is Squall.

Directed by Gomer friend and recent contributor Coz the Shroom. He casts the production as an Euro-American science fiction cluster-bomb, too messy and too weird to have hit back in the day of halcyon disco era cultness, but too inventive and accomplished to lay festering in a dank vault for too long. It is too bold to be allowed to shamble towards the shadows to become rotten and silent in its decrepitude and half-life decay.

It opens with a panoramic sweep of an alien desert under a greasy smear and smudge of a blob of a sun, swollen with betrayal. Then two robed, Jedi-like figures square off, space western style. One in a Reagan era brown robe and the other in wickedest black. The dude in brown reveals himself to be Abraham Mosher. (according to the screen title that pops up.) We can only hope that the actor (unknown to me) playing Abe was rewarded with a bucket full of cash for his bravery in taking the role.

end part one
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