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Gomer Black
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sgt.null
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PostPosted: Thu Apr 19, 2012 7:21 am    Post subject: Gomer Black Reply with quote

let us now discuss and debate the labyrinthine, in-your-face, inrospective, esoteric, head-bobbing, fist-pumping, booty-shaking, genre-defying melange of Gomer Black's new opus : Copper Rose. born in riffage, living in riffage. like many other of their past albums, this offering suffers from its' own lexicon of ridiculous, impenetrable jargon. no longer immune to this disease,; the band abandons any search for a foolproof cure. no longer can they diagnose specific viruses or prescribe medicine. so behold Copper Rose; a shimmering, hypnotice, melodic dawn. Gomer Black's newest pledge to you, the gentle listener.

1] Deathdealer : pointy, sharp, unpleasant, angular.
2] Aught : really, really angular. almost coruscating.
3] Frequent Diamond Topspin Spintop : listenable, but i didn't like it.
4] Gravity Well : unlistenable, so i stopped lsitening to it.
5] Denial of Cohesion : seminal, so i'll pretend to like it.
6] Advent Arclight : a seminal, coruscating slab of minimalist pop.
7] Jackboot Symphony : a slab of greasy pop.
8] Pack Mule : danceably competant.
9] Grey Skies/Sub-Standard : beatlesque.
10] Copper Rose : radio-friendly.
11] Smoke Before Fire : anthemic, radio friendly.
12] Active Static Statues : jangly, fate intertwines.
13] Murmur : drops like a steamroller.
14] Fence-Line : wheels of steal.
15] Double Negative : lush, yet boring.
16] Jackboot Symphony : pretentious soundscapes.
17] Corrosion : conjures swirling, lush soundscapes of boringness.
18] Dead Weight : cerebral, smarter than you.
19] Conceptions of Conformity : cinematic.
20] Verbal/Non-Verbal : polka, blue grass, funk, death metal.
21] Needles In A Needlestack : not tonight. Huskeresque or Huskerish?
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PostPosted: Thu Apr 19, 2012 7:24 am    Post subject: Reply with quote

from Gomer Black

Elephant Sunday accrues a new front man.
by Roy Downs

Robert Agric has a privileged formation to place at the disposal centers with a taste in Bowie and the British pantheon of Curtis/Smith/Morrissey. Traveling through the 80’s by means of their horses. Founded in NYC and exploiting the volumes of association. The three years with difficulty which followed their received sunlight makes the basic rules. This paranoid decry is the acoustic skin of the Elephant. On this continuation they’ve traveled to the top considerably. Is it an atmospheric context or an offering of an abacus for lyrics?

Maintenance of this legacy will be Agric’s lodestone. Those Brazilian rhythms will be mounted with black Orphic runes enfacing literary indications. The manner of titles will be chosen for a traditional Russian indication. Lolita dustings and cinematographic mobility will compensate between the intellectual ambition and that which is artistic. Aficionados are forced into submission by a total art of the noises under their depression. Being fully staffed heightens dread and palpitates the impulses. With common enigmas we witness the creative genesis of the album. It is a leaden majority fix modeled after an Argentinean embellishment. Agric has at the house these exoticisms.

The invitation which fear prolongs is foreseeable as a club of night. Sirens and optimistic good mornings on mescaline form provocative grooves. Clowns pursue and give susceptibilities to Agric's lyrical embankment. The rhythmic backing has formed their company proudly. The band completely takes their influences to the ultimate endings. But they do not carry original ideas, finding sufficiency aiming at the mixture to avoid being more than various slaves. It is precious but this never aspires to best album status. I wanted it at a higher speed, fast and astonishing. It contains retro fashion, working static by the radio for two weeks. Not being in ice proceeding without comparisons and thus informs them. I’ve heard such, much wanted.

Agric is derivative and several volumes exploded in the courses and the interpose. but which are lyric here considerably mentally and the noises are very accessible. He maintains a balance remarkable. The opus contains dour exchanges sufficient to maintain a breather of the happy category. But it does not alienate that which estimates melodies might suggest. If they wanted or hated the basic rules, they could find the dour balance and reject it. With coarse noises of the treble, with its own bass personal and creative to be directed to one mix!

Contrary to be with sunlight it forms the manners paranoid. In which it seemed that it jumped some, a song centers here, around the days. They seem satisfied with the odd magic manners to receive such exposure; each material of provisioning. There are noises to influence to them that subsistence. They carry keys and excavators with them in a proper direction, to the front. They mesmerize with the saw; their attention held in each whole song. If you hear with the samples, you will buy it soon! This album gives the end, with an impact in comparison of their last album.
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PostPosted: Thu Apr 19, 2012 7:27 am    Post subject: Reply with quote

Treehugger is a fairly drastic but welcome departure from Gomer Black’s speed-of-sound sonic roar. The album exposes a folkier, more melodic and introspective, less abrasive side of their voice, music and personality. As on much of the album, acoustic guitars and a subtle string arrangement are at the fore here, with a neo-'60s melody and some fairly heavy lyrics breaking through the glimmering sound like the sun through storm clouds.

The Return: What might have happened if Usher had been on a mellow rather than manic kick while recording Twinning.

Echo & Narcissus: a banjo solo from space and a vocal that reminds me of orthoclase.

Empire State (the Intention): a loose fun romp.

Twenty Below: Dense layers of electric guitars, a drum machine and a cool acoustic guitar straight out of "Classical Gas."

A Letter: what it might sound like if Usher could hire his alter-ego to do guitar solos during acoustic gigs.

Test Pattern: A reminder of where this all came from. Loud, tight and very professional.

400: Samples from the cult movie "The Wicker Man" are just the beginning.

Sick: Sensitive chord changes, Gregorian chanting and squealing tires, it's karma.

Madison Avenue: Revved up, with big shout-along vocals, always a plus.

Power Outage: Layers and layers of crackling electricity.

Road to Nowhere: Fast, intimate with a passionate vocal.

Clown Pi: Gomer goes garage.

Dreaming Starts Now: A totally radical arrangement, using cello, piano, and mandolin. Chamber music, without the potential boredom factor. Beautiful.

Years of Cynical Spin: Sounds like a rehearsal around the fire.

Down: Pared-down, powerful guitar work and a vocal that gets at the heart of the song without being exploitive.
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Last edited by sgt.null on Fri Aug 31, 2012 7:54 am; edited 1 time in total
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PostPosted: Thu Apr 19, 2012 7:30 am    Post subject: Reply with quote

Gomer Black : Decompression

The newest Gomer Black record travels some lonely roads. The music is angry, aggressive industrial rock. The album acts as a long day's journey into catharsis. The rhythm of CJ Miller (bass/vox) and Dennis Hanson (drums) slams hard on the techno-grind that forms the bulk of this album. All the while Tommy Usher (guitar/vox) vents his tortured soul. "The more I'm here, the more faded I become" Usher rages in Faded which strafes the listener with blasts of pain-wracked intensity. The same is true for Deja Vu and the first single, Father, with Usher imploring amid a rapid-fire beat "Will you stand up for yourself, or stay on your knees?" The album is one long wake-up call.

They push the boundries of song form with The Five W's, a long primal scream. The song paints the picture of man's identity crisis with raw, uncomprimising urgency. Their sonic palatte extends from mournful piano on Abandoned to clanging metal percussion, brusing backbeats, computerized rhythms and darkly chanted vocals that explode into purgatorive howls. Usher uses the album to transcend his pain. 4 out of 5 stars
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PostPosted: Thu Apr 19, 2012 7:31 am    Post subject: Reply with quote

from Gomer Black.

They strongly crawl and deform with the light. The scholarly meager are seething with low fidelity. It is an energy deflagration; rocks of noisy wanderers. It See-saws and cuts at the station.

On the vulnerable ones this concentrates, as to regulate acoustics. Editors are forced to ensure that access is restricted to royalty who constitute the field.

The players have an incredible energy. Ushers are necessary to plead their case. You do it to insolate the melodies of garage smiths. If you are prepared they have a slope for leaning at the bottom.

We all use unfettered technical language. Noise distortion torches a nasty urgency of strong deflagration. The players see-saw and cut cables in the cosmic sector.

We are however vulnerable to the focused climber represented with acoustics. Our roots are attached to an opinion of the door. The chief attaches have an almost disheveled and curious presence.

The rate of the drums and some guitars are dispersed in the sector of untruth barriers. Hatred junkies occupy the barren sectors. Microphones and rotation tables are disturbed.

Notebooks of violent gazers are announced as four rails to the surplus order. Engineers use roasted ear-phones to note an obsessed hesitation. A final balance is arrived. A sensitive overload is observed.

Constant challenges are met. They are employed and dispatched, with difficulty unending in the modifications. Their faces are grim as the goal is notched under the masses.

The levels and the adjustments are confusing. Conversations ignite and roast. Well balanced important herbalists are outside in a weak light. They all disappear and they disappear in the seconds.

Forks of environment are bonded with progressive cords. They lie down in the sun and concentrate on a narrow crossing. An uninterrupted entry is opened. One breaks out of diamonds like paper bags.

Artists mix the music in the lyrical and of return in the ether. Your tools are turns, inexpensive hooks and not very important lyrics. Large melodies dissimulate in the clay of murderers.

A deep well is poisoned. There is none left downwards. Artists swim beyond that, each month or therefore. Creditors again put the best admissions in the failure of budgets.

The future is a doubt indeed if left inside. Whelk days are furcated. High energy makes jumpers of letters, songs and the quality of defeat. Muscled guitars and tears are raised by the changes in scant resources.

Vocally catchy harmonies are buried in the mixture. By far the good conditions of rates/rhythms are acted inside for a thudding return of impact. The thorough and sure musicians huddle in the corner.

Trumpets signal a regime formed a stage or two behind the remainders. They swing from reckless optimism to guarded pessimism. There is no go ahead from the producers with money.

The singers sing dirges both atonal and pessimistic. Scorching guitars are ruined by muddy base lines. Schemes are a mélange of fluid feedback and concrete line changes.

The vocals form a school of magic cacophony. Lyrical intelligence is burned by musical stammering. There is no hope for progressive album placement. Listen for the stunning conclusion.

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PostPosted: Thu Apr 19, 2012 7:32 am    Post subject: Reply with quote

from Gomer Black

Of Roaches.

This corner of jazz holds a robber gate. A list of the sentences published and compiled by a hidden baker. Which is this one? A list of the notes released from the metal jailer gate.

One is ordered by chronological order. Where the year is now returned to the day of general stops. All the elements are indicated differently in long plates.

Play the format, unless the re-exits are preceded by an asterisk. In these cases the numbers of catalogues plates play long. The expenditure is primarily and essentially the same ones.

Now after the existing is repeated all the releases are ahead. Since music is not formed we have the consequently special advertisement. Metal gates play as musicians of section and training.

On such notes are French singers in the Sixties and at the Seventy years beginning. Also it was included in some releases by Expose. Ethan France was a musical director in the late Sixties.

Anyone can place here suitable information at my disposal. Please in relation enter a notice that compilations of the differently existing materials are not recombined. Any general generals include in this list.

I would like to thank the following people for his assistance with this discography: Mexico cameramen marking trebly neglect. The stripes of Marco Solid. Robert Stamen arch of other places.

The installation of network compared to of the metal gates. In short: Britain, France, England, Japan, Switzerland, Yugoslavia, Spain, Italy, and different artists of Austria.

Television apparatus, television apparatus of Germany. The short films of document makers. The films and the films released. The films on video. Volumes of films. Document ravishers on film.

References require special releases with each possible addition and correction. Etc. Eh?


- Roy Downs
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PostPosted: Thu Apr 19, 2012 7:35 am    Post subject: Reply with quote

Lower Wolves is thick with electric guitars, dense samples, churning drums, and edgy bits of lounge and electronics. It is all high-wire tension and brilliant release. This entire album is extraordinary in design. No one else can navigate so eerily between trancelike pull and pure blinding intensity. Thomas Usher’s ear for melody, heartfelt lyrics and unique voice result in an intriguing collage. A moon hangs over the roses. He is obviously enjoying a new romance with electronics.

The shaded fraud vultures will be disappointed to find him in such good mental health. He mixes urgent acoustic guitar with moaning keyboards and slithering bass lines. All snapped to attention by a creepy, low-centered vocal delivery. This highlights one artist who simply becomes a magnet. Besides proving himself to be an accomplished songwriter, he shows his musical chops. He plays all the instruments here. The wire is a return to more rock solid song values.

The record features streamlined but powerful songs. Solid fluidity gives the record an overall feeling of cohesion. He leaves the acoustic guitar alone, for the most part, and plays with electric textures that hearken back to his days in Gomer Black. The result is a set of oblique melodies and angular poetics buoyed by dark guitar buzz that frequently plateaus into friendly pop.

Gomer Black was one of the quietly great college bands from Boston. The group's debut album was put out by a prestigious British label, 3D-Man. Gomer Black were the first American band to be released on that label. Gomer Black’s angular, anguished, mercurial sound had much to do with Usher’s singular obsessions as with the alchemical nature of artistic fusion. This was especially clear on early albums like Clown Tornado. Chalk Horse marked a break from the heaviness of the previous albums, with lots of shimmering pop gems penned both by Usher and Miller.

Creative tensions between the two songwriters rose until Miller left to play with August and ultimately formed Gutted Sow. That year Usher re-formed Gomer Black with drummer Dennis Hanson and released the band's fourth album, Karma Dogs. After that, Usher released a solo album and toured extensively, leaving fans to wonder about the status of Gomer Black. However, Usher, Hanson and bassist Bunky Lavigne released Wildcats, one of the band's most cohesive and accessible efforts. The acoustic album, Wildcats was quickly followed by Gumbo. The group's dissolution was announced soon after, with Usher continuing on as a solo artist.

Pencil Cup, a collection of rare earl Gomer Black material, followed. That spring Gomer Black reunited for a special event called the Garrison, which featured a set from Usher, Hanson, Lavigne, and guitarist Eric Carr. As well as a solo performance by Usher, short films by Hanson, and a picnic lunch hosted by the group. During three weekends, the trio got together to record another album; released the same day as Usher’s Low Picasso. Gomer Black (self-titled, just like their debut) was the group's rawest, loudest album. Miller provided background vocals and rhythm guitar on some of the songs.

A founding member of three of the most successful bands of the post-punk era, singer/songwriter CJ Miller was born in Brattleboro, Vermont. At the age of 16, he and Thomas Usher formed Gomer Black, which became the first American band ever signed to the influential British label 3-D Man. not only did Gomer Black’s dreamy, swirling guitar sound prove highly influential on many of the alternative acts to emerge in their wake, but they also made any number of unprecedented advances into the cooperation dominated world of underground rock.

The group was primarily Usher’s project, however, and Miller sidelined with Rocket Ship’s bassist Angel Toro in August, appearing on their debut Sheep. While originally designed as a forum for both Miller and Toro, the latter soon assumed control of the group and Miller exited both August and Gomer Black to form his own band, Gutted Sow. After issuing a pair of well-received EPs, Gutted Sow released their full-length debut Antivenin a superb collection of luminous, fairy tale-like guitar-pop songs. and for the first time in his career Miller earned commercial success commensurate to his usual critical accolades.

Not only did the record go gold on the strength of the hit single "Granite Quarry," but the band even garnered a Grammy nomination for Best New Artist. However, when Helicopter failed to live up to high expectations, Miller disbanded Gutted Sow to pursue a career as a solo artist; Coptic Seizure, his debut LP, appeared soon after. After a tour in support of the album, He and wife Amy took a break and traveled to Central America. Two years later, he and Amy welcomed a daughter. Fatherhood was now Miller's focus, but he still found time for music.

In between raising a child and weekend trips to the studio, he issued the Blizzard EP. A month later, his long-awaited sophomore effort, Indigo Is Blue, was released. The Mustard EP was Miller’s first foray into the realm of the acoustic performer. The four new songs on this EP (two of which would later appear on his debut full-length, Coptic Seizure) give a glimpse of a songwriter emerging from the shadow of his former bands with confidence and identity intact.

While not a radical departure from the infectious pop songs he wrote and performed with Gutted Sow or Gomer Black, it's inevitable that this material would sound different. The best example of this is "Fireworks," the lead track that opens with Miller whispering "Carnage for the evolved" before the song explodes into a wash of drum machines and synthesizers. What really makes this EP worth the ducats, though, are the two ballads, "Amy" and "Pedal Steel." With their simple arrangements laden with weepy strings, organ, and pedal steel guitar, these are two of the singer/songwriter's best tunes, and make this EP a must-own for any Gomer Black or Gutted Sow fan. — Roy Downs
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Last edited by sgt.null on Thu Apr 19, 2012 7:41 am; edited 1 time in total
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PostPosted: Thu Apr 19, 2012 7:35 am    Post subject: Reply with quote

from Gomer Black

These cuts were a project of Dark Surroundings by Thomas Usher. You could put to sleep your preferences. Minimalist bumblebees somberly flew to bed; beyond atmospheric causes. If your clay was in general musical without varied experiments; you would have difficulty borrowing earlier works of Gomer Black. Their music could be addressed to either the background, or the foreground.

Dark Surroundings were a subgenre of music. They were from soundings which emerged in the Eighties and the Nineties. Years that saw the opening of new technologies, specimens and synthesizer electronics. Years that saw new musical genres and technical progressions in music. The Dark Surroundings were a very different category. It all was dependent frequently and even narrowly on ethereal vagueness. And sometimes it was like metal in industrial music and noises. But it could be free of possible descriptions and connections in other genres or kinds. Designations were used in general during derangement. Some others found for each possible form of music; surrounding damages of announcing overtones. Many found ominous correspondents in such genres.

The category did not have a particular innovating musician, or people who invented designations or genres. It developed in a little autonomous manner. The roots of Dark Surroundings can be seen in several early Glum Tenthrower collaborations. They had a clearly dark edge or not-corresponding main index of metal. This was a co-operation with Robber Trip; rough guitar reconfirmations with pieces surrounding the second half of the Bowties Lower Fourth World album.

Industrial projects surrounded such bands. Lolita – self billed as developers of the reel, murderers of desire. The Soviets were night missioners of French industrial music. During the Eighties some former artists stayed outside and watched the musical soundings sink to causes everywhere. In the later years and at the beginning, the Nineties held vague ethereal tendencies merged in rogue movements. The Dark Surroundings then folded in directions of atmospheric pieces with difficult mutagens. There were jangle places with small keys of rocks. Ethereal wave were the project of noted self-adhesives. Such an example was the volumes of Black & Blue Girls. The musical cognate mainly widened their soundscapes surrounded with difficulty mutagens.

Many artists worked in the genres of Noise, Industrial, Dark Surrounding, Ethereal Wave, Ill-Being and Isolationism. And others worked with Dark Standards surrounding their appearances. Among these artists were: The Autopsies, Vincent Omaha, Daniel Mince, Cuts of Rest, Reason to Be, Lord Insomnia, Nerf Heaven and Shinjuku Robbers. The Dark Surroundings used time and the sameness of variety to form contemporary classical music. One example of this one would be the Aquarius Project or the solo works of type-setter Vladimir Stag.

In general, the music folds generally would only mention feelings of isolation, melancholy, restriction and localization. The main topics in the musical folding were always dark in nature. Some artists created organic soundscapes on which misanthropic tendencies preyed. Examples of such productions were those of Zoophobia, City Cable and Pre-Klaus.

While Dark Surroundings were mainly downwards of musical soundings; it was closely related to industrial music. Dark Surroundings received the designations of darkness and the dark topics which were frequently described in Industrial. Feelings of the industrial nature were always present. Old abandoned factories, original apparatuses and noises. The darkest music men had realistic feelings that only gave Dark Surroundings its fear and localization. A good example could also be taken by Sky of Yogurt; an excellent participant that collected the respect of fellow musicians.

Noise music was regarded frequently as dark or opposite as a set category. Or it is used within the surroundings. Noise was regarded as a rabblement and too dark, unlike the Dark Surroundings.

Some artists of noise caused soundscapes almost sounding pop; like Paddle, Junkie Lover, Moss, Daniel Mince, Kiyoshi Mountain, Iconoscope and Marabou. Some others like Colonoscopy, made their success with the soundings on the side. Also included are others like Limbs Satisfy, Them and Third Album. Both genres were compared for their intelligent lyrics. Much was compiled from bumper stickers. Releases like Amuse-Zen were lauded for their soundings and noise. Many bands lacked the combination of both and more still taken before the guard.

As with some bands who considered Dark Surroundings; concrete music was dependent more in the direction which it frequently used the natural tones which were collected and seized during admissions.

Many agreed that Black Metal was sounding contrary to use of minimalism in its different widths. Even to the point of being with nothing. The metal ribbons were blackening a metal quantity specifically. Many bands had side projects; in which they produced Dark Surroundings, experimental noises or other types of music. Many volumes mixed the soundings in their albums and caused slightly more tension.

Many songs were singled and their presentation was similar to that of Noise bands. Such bands as; Ulcer, Another Metal and Functioned. Some other bands were New Black Goliaths and others in the sounding subgenre. Some were quieter in their regards to black metal. It was frequently related to the ideology in slightly Black Metal and related to various forms of Atomism. Artists bonded with this kind included; Of Vestigial, Convene the Blood of North, Karma, Won Graven, Arbutus, Neptune of Tests, Barium and Azusa.
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PostPosted: Thu Apr 19, 2012 7:36 am    Post subject: Reply with quote

from Gomer Black

Natural Mystique: The line of poles is rather deep to agitate a car which palpitates directly in your heart.

Exodus: the pole sitter rolls up. Before he does not result like a clown. He digs then in dirtiness and the movements which are ahead, while the song proposes.

Hammer: It strikes and returns around the sector. With a keyboard the vampire is apprehensive during final times of the light. This is the pole song in a movement.

Vanity of Maintenance: The under work selected. It has light little stutter. It is, but never turns however thin at an easy line.

They Live Themselves at Top: A pleasant partner. One small number of the damage balances. Before now it was not appropriate in a strong sample.

Their Bellies Are Full: One of the rare melodies in which the pole receives a melody of the beginning to present this one then. This finds much a melodic groovy melody.

You Raise or Are in the Top: A funky keyboard launches initially the echo of the poles. A family wants a well of walls. A ball of medicine it is however. And then perhaps largely flock of heat and like the sun.

Shock Costive: It has largely and slowly such a good hook to which you could hang. The lyrical goes to the keys are only unnecessary. Although a note of the percussion would be pleasant.

Draw the Representative from the Moon: An excited and palpitating pole informs that beginning. Before then it is not appropriate in a groove. You seem somewhat uncomfortable in the worms, which I said. And the choral society proves an iconic small illustration.

Direct It Upwards: The masterpiece of this one spouts out. It is a subject of poles almost disputed. Two stages it takes, idle and floating. This changes a small number and accelerates. It is then a poem of songs in oneself.
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PostPosted: Thu Apr 19, 2012 7:37 am    Post subject: Reply with quote

Gomer Black – Continue With Exodus

Can an acid trip produce future shock? Gomer Black thinks so. The Vermont band’s newest album stakes out a middle ground between conflicting classic sounds – punk, garage, gutbucket blues and the digitized sheen of the 21st century.

“Continue with Exodus” isn’t likely to earn them any radio play; but it does reestablish their intent to convert the masses to the gospel of art house rock and roll.

The opening track “Out in the Woods” marks their territory early. It is all primal chords and sympathetic rhythmic explorations. Then they get progressive with the atmospheric fuzz and wobbly funk of “In the Gates my Friends”. Singer/guitarist Thomas Usher is full of wide eyed paranoia and revulsion as he scream “Kick down the doors, they wait for you!” His shrieking caterwaul owes something to a rusty power mower.

Gomer Black keeps up the high-strung racket for most of the first side. They zip through broadsides like “Charcoal Filters Dig Deep” and “Junk Oboe.” The latter which rails against microwave ovens and Bohemian resale shops!

Thomas Usher treats his guitar like a percussive instrument, filling the songs with all sorts of clanging, crashing and thudding. CJ Miller augments this assault with a plodding bass line. Dennis Hanson manages to hold it all together with an apocalyptic backbeat.

The next song offers another secret weapon; pop melody. “Concept of Questions” is all dreamy Floydian psychedelic dream imagery. And in “Along Walls Implanted” Gomer Black quiets down for a hushed lullaby. Usher cooing “The void is where love lives.”

“Heliocentric” is seven minutes of tension that finally releases in a blur of subdued fury. “Ten Pence Falling” offers a groovy tribal beat that melts into a spazzy collage.

With a shuffling, loping beat ferocious power chords and vocals that wallow in the Mississippi Delta “Crystal Avatar of the Tenth Plane” is the undisputed highlight of the album. Guest vocalist Matt Kidd rants, sneers and snarls like a punk rock kewpie doll with Tourettes. He does all this fronting the most sticky-sweet melody that Gomer Black has ever written. It’s an anthem about a good girl who goes on a weekend bender.

She stays up late, solving complex math problems and exacting her revenge on everyone who’s ever doubted her. The song is clearing echoing Gomer Black’s struggle with the mainstream music media. It starts out defiant “All I wanted was the order” and quickly turns vicious: “Solving problems in my head, never figured to be in your bed.”
The music is easily the band’s catchiest on the album.

Matt Kidd provides swelling pipe organ as the band offers a frenetic coda backed by a soaring, sing-along chorus. “Keep temper tempered blind drive-by ambition.” It is strychnine disguised as bubble gum.

For a band that has always pushed the modern limits the confined ghetto that is “alternative” rock; this album is a revelation. And it is the listeners chance to see how deep feigned simplicity can go. Very deep it turns out.

- Roy Downs
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PostPosted: Thu Apr 19, 2012 7:37 am    Post subject: Reply with quote

from Gomer Black

Vile/Live/Evil/Veil

Fingers for Gumby
Perhaps
Clown Tornado
Sugar Buzz/Kill
714 Lemons

Rhythm Theory (REM)
head full of bees
Toxic Lemon Crush
Trumble Thru Aether
St.All

the Shining WIre
J Drift 43
the Empty Field
L.4D
Light Trespass

Rhythm Theory (REM)
Rogue Sans Arome
Gutters Have Gravity
Bog rd
... Let the Rain Settle It
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PostPosted: Thu Apr 19, 2012 4:28 pm    Post subject: Reply with quote

Fingers for Gumby / Perhaps / Clown Tornado / Sugar Buzz / 714 Lemons / Rhythm Theory (REM) / head full of bees / Toxic Lemon Crush / Trumble Thru Aether / St.All / the Shining Wire / J Drift 43 / the Empty Field / L.4D / Light Trespass / Rhythm Theory (REM) / Rogue Sans Arome / Gutters Have Gravity / Bog rd / ... Let the Rain Settle It

A blast of fury and anger. A non-stop barrage of uncontrolled emotion. Gomer Black's Vile/Live/Evil/Veil is a live album that trashes mercilessly along for over an hour. It contains twenty (20!) songs that are glued to each other Floyd-style, one song's fading out chord being the first chord of the next. As a full-throttle assault it's nearly incomparable, but as a collection of songs it seems rather flawed. While some songs may have recognisable hooks and clever lyrics, the horrible sound obliterates our chances of ever finding that out. Most of the songs ("Fingers for Gumby," "Clown Tornado," "Sugar Buzz," "head full of bees") just sound very similar, as you only hear crashing drums and cymbals, rumbling bass and a guitar that's being controlled by an insane maniac.

Being a non-native speaker may be my disadvantage, but of some of the songs I only recognize words that also appear in the title. Still, some songs (well, about two of 'em) are out of step: "Rhythm Theory (REM)" sounds loud and fast, but also angular, if you know what I mean, as if they were covering a song by Throwing Muses or the Breeders. "Light Trespass," also present on the band's first studio album Blind Man's Bluff, is immediately recognisable because of the intro and its tight aggression. The album's closer, "... Let the Rain Settle It," however, slows the tempo down and is by far the most lengthy and interesting song on the album. Moreover, it's the only song of which I can understand all the lyrics. Luckily, it's a great song, dealing with a (future – though it's not far-fetched to presume the boys were talking about modern-day) society in which all weather is centralized, enabling a 1984-system of total control. Musically, it's also easily the most impressive song, plodding thunderously along, and the best part is the frighteningly intense climax before the last chorus, with all three members singing"...Let the rain settle it." A primitive but apocalyptic song, bursting with uncontrolled energy. . Despite the messy sound and the often messy playing (although that's hard to know for sure, given the non-existing production value), the fact that this outfit was capable of reaching bigger heights was a sure thing. We just had to wait another few years and deal with some transitional albums before witnessing that.

- Roy Downs
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PostPosted: Sun Apr 22, 2012 6:08 am    Post subject: Reply with quote

from Gomer Black

And the new guitarist is CJ Miller. Did anyone realize that Eric Carr quit the band? CJ is an old acquaintance from my old days. We were in the band G-Strength (beginning of the nineties.) that was when I worked in the zone of guitars. CJ was friends with John Blazon and that noted shredder, Morgan Lavigne, back when they were then the whole new wave heroes on guitar.

Rather strangely, I can remember our gigs backwards in the year 2004. I was offered a slot in Acid Cool Blues, where Matt Hobbin continues to play. CJ has an old adjustment as he has been missing cues. He has been blaming others, to leave over outside. (It is not!) I last connected with CJ in the year 2005 in the last year, and he had an e-mail impact with that noted director of jams, Morgan Lavigne. I know the whole movement is maligned, be it on the left or on the right! (CJ still chooses to make horrible solo albums of axe grinding, he means well regarding it!)

In his e-mails CJ blames harassment for his failure to really pursue concept albums. Has he kept too many gigs? The simple axe functions are beyond CJ. At a part, we must ask "which is here and which are outside here?” As I said, CJ Miller has joined The Authority.

CJ e-mailed me and said that he recommends the new album for anyone who longs for the day of the axe. Then now, what is not communicated is put to its place. Speculation runs rampant, why was Eric Carr fired? A person divides their thoughts of the others, such thinking amuses me. It is fact then that rumors have begun and cannot be specified. (And it creates more problems for everyone.)

As is at the suitable time more information will be given. Faithfully we hope to be able to shift later as soon as possible. Up to then we bore ourselves with you, we may envy you and become you. Be it as it may, as soon as we can, we will. So thanks for all the friendship, patience and agreement. Buff them guitars and oil your picks. And see here the review in the NYC Stop Watch.

Friday was the concert of that night. Those were only exhibitions of axes. So at the Mailbox Hall we got our hammers of stone. On the stage CJ was in a preheated showing, for the European trip there will be an increase in volume. (Tour begins May 25 in Madrid) It is fair, in order to assume the fact that the exhibitions of larger theatres were a healthy and more effective art scene. We will see more clearly the voice of CJ, it seemed to be strong even in its higher six boring cries. But the volume did not spend much the preheated time to experiment.

Set list? The entire list of duets they hired plus the exhibition of the present/immediate album. Axes implemented and confected so enough came. They played only the easiest different versions of the volumes before four years in the last trip. Danny Slider is the only original member left in quintessential volume of hard rock of the 80s and it is the case since 1997.

The newest of the seven musicians were on stage, which Danny supported. CJ is just one of its three guitarists. Nick Lopez likewise admits under the name Trumble Foot. (One of their guitars had planned in order to resemble deep in a foot, with a pummeled ache.) I have a real love for the exhibition and the nice action easily over it! They take the role of the pyrotechnic deliberators, which was evacuated in the year 2004 by the guitarist Bryan Shovel.

To certain points in the exhibition, they included some interrupted and not accompanied Solos. CJ accelerated, which impressed at fast chromatic races. CJ likewise played a certain precious language and Barrett influences of the blues. Why the songs have a tripper level of this volume is now the ornament. CJ plays wizardly and his Guitar listens at all little clear remainders that are required. It is everything regarding the volume! The few trusted songs were really kind of familiar. In fact that means the album has shifted by volume and tempo. The modulated tone is natural. which was in the production for a large part of the last decade and for the release was not always programmed.

In rather simple forms of some from its songs are found in the concert. The bluesy song Madagascar and the stumper Demise Canary were both found in time there. Tired Internet was enclosed. They were destroying the demos, fleeing the sound check. Tapers were illegally producing phase remarks and noted new songs like: Going Through Yesterday, I’m Through With You, See-Saw and In Some Days. (The new bootlegs I just received yesterday!)

I know that many fans of Eric Carr will protest in order to be in the volume. But the solos still have an Eastern façade. But as humans play, the possibility of change has been noted. Just as there was a time for Carr, miracles of a career may happen for CJ. As every time it took place that he traveled to Chicago, his shows were sold out! Humans have muses, CJ must a life make.

How he will make it is by honesty, if I were offered such a gig with high profile, I would also take it! Congrats at CJ, good luck man. I hope that he sets up everything for you.

- roy Downs
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PostPosted: Sun Apr 22, 2012 6:15 am    Post subject: Reply with quote

Gomer Black... from my notes

entertaining the nervous heads, Gomer Black continues to hopscotch behind the alternative bandwagon. their sonsistant commercial failure can be attributed to their refreshing sound. they are influenced by psychedelia, revamped with a sodden groove. they are multi-dimensional in a flat screen world. their style is shcizophrenic and complicatedly beautiful. they are impressive, dramatic and absolutely stirring. a must listen.

on stage Gomer Black have the right touch of ragged rawness and crucial madness.

no comparison can adequately describe the soulful reverb of Gomer Black.

Gomer Black draws inspiration from the ground. musical styles on display as varied as bagpipe to easterm mysticism. the sound emerges in a wild display.

Gomer Black announces its the end of summer. last minute ego trip. heart-pounding mental tango.

Tom Usher is an epic instrumentalist, introspective and engaging. his thoughtful arrangements confirm his songwriting skills. thrashy guitar breaks pepper his songs. friendly pop lyrics brighten the mood. songs so catchy, mesmerizing break-beats, mid-tempo drums, challenging samples and groovy analogue bass runs. hypnotic.

CJ Miller writes classic rock anthems disguised as indie gems. folk pop juxtaposed with electronica. a raw energy permeates his songs. sprawling themes abound.

all excerpts from Anthem : life with Gomer Black by Roy Downs.
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PostPosted: Sun Apr 22, 2012 6:18 am    Post subject: Reply with quote

Gomer Black

the Zen Zealot Scribes a Full-Throttled Critique : Roy Downs

theories of kith and kin abound, sounding a summer anthem. cost cutting replaces cost effective. the thrill of the trill is to render asunder. quaver in the hollow, verdant osmosis. peripheal to the solstice lies an obscuring of our oddysey. a lyrical dirge, oddly nostolgic. a bittersweet exultation for the urban pariahs. a quiet harrowing before a slow harvest. with the confidence of dream logic we trudge into the half-light of dawn.

salvaging technical manuels to learn acumen, sacrificing precision for emotion. idiot savants lost in the sun. virtuosos gather at atonal echo chambers. slowing standards to a crawling shuffle. cutting tempo and dropping exhuberance. bombastic poly-rhythms wedged with concrete fills. the universal vibration filtered for individual consumption. the convergence of harmonics on tape delay. convential ballads are syncopated complications. the cacophony fades into apathetic cool, melodies are acid-etched into our subconscious. dissonant tone scales, thrift store harmonies. a rhythm section in non-linear double time.

the lead stutters and stalls, clutching at half-formed lyrical allusions. forms are formulaic, working best as background muzak for insomniacs. the encore features fast beats, barked vocals, power chord riffs and cliched lyrics culled from the stratosphere. nothing indicates a career path much longer than any of the myriad solos. bubblegum pop that has lost its flavor, paint by numbers done in roll-on primer. harmonic scales rendered in primary numbers. choruses drawn out in binary. a concept album coded in dadistic subtitles, in receded braille.

save for a rainy day and pray for the sunshine.
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PostPosted: Sun Apr 22, 2012 6:19 am    Post subject: Reply with quote

the magic words

pushout: warning! the reader may experience turbulence. regret leads to regression.
burnout: a cold calculation. reset your mindset. playing zen riddles at full volume.
boredom: corruption settles from the top. dropclothes can not hide the rust marks.
restless: work more. honor bound, a glory hound. searching for the perfect chemical imbalance.
ambition: playing charades in the dark. simming against the mainstream channel.
antidepressants: strike a minor chord. visualize your happily-ever-after.
payback: a square, a circle, a roundabout, a roustabout. the combustable engine as prototype.
tacklebox: ditch croaker serenade. line your cage with textbooks, it is still a cage.
deafness: a grueling meditation schedule. laminated and billfold sized.
futility: keep ahead of the sunshine. struggle to telegraph those you left behind.
redemption: a mixture of sand, soda ash, borax and limestone - set to care.
logic: fiber-optimism cables buried undersea. easily rattling the industrial complex mindset cages.
holdout: press shuffle and begin the menial. the 12th time you have started over.
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PostPosted: Sun Apr 22, 2012 6:24 am    Post subject: Reply with quote

Absinthe Makes the Heart Grow Fonder
Rhymes With Clown

side one
1) Fingers For Gumby
(it don't matter to the sun)
2) Triphammer
3) 3 Forms of...
(tower in my mind)
4) Aerodynamic
5) Bittertwist {the Other Dog}

side two
6) What I Did On My Summer Vacation
7) Drop D, Variations On A Theme
(some are outside)
*) Turn To Surf
(imagine that)
9) Et Tu/ Marsh Armstrong
10) ...Let the Rain Settle It

1) Fingers For Gumby
rap-core? yes, the clown wades into the angry whiteboy genre. if your expectations are modest, then it works. with its repetitive structure (blank up the hook up it's a blank) and offbeat chorus ("fingers for Gumby? you're a puppet! anarchy clown! you can't stop it!) it shocks the system. but what does it all mean? they ain't telling. should be fun in concert.

a) it don't matter to the sun
taped in a coffee house. (Rathskeller by the liner notes) a seeming poke at the post hippie song craft. "that the moon don't shine." would like to hear all the song, maybe on a single?

2) Triphammer
back to the aggression. a more fleshed out take on Red Brick. turns down the speed from 11 to 10, but cranks up the power. from what i can make ("punch-in, punch drunk, punch out, punch punk) it's not altogether sophisticated. but were the Ramones? we need a lyrics sheet Clown!

3) Three Forms Of To/Too/Two
like Do Not Hammer On Car, it;s a strange trip. while someone (a highschool English teacher?) drones on about a paradox of English language, the Clown bounces in and out of a strange groove. it's more tolerable than Hammer, and thus becomes more effective. the Clown has promised a radio edit and an MTV eorthy video. can't wait!

b) tower in my mind II
the Clown won't say how many parts there will be, but here is part two of the cut and paste. and it doesn't seem to fit with part one. stay tuned.

4) Aerodynamic
a galloping instrumental. using found instruments like metal pots, and a fan blowing. takes a clever idea to its max and dumps it rather quickly for the same song done in studio. i'll let you decide what one you like better.

5) Bittertwist{the Other Dog}
sounds like an intro for a longer song. makes mention of a Purple Toxic Dog, Mr.Mean Dude and Never Tease A Weasel. All those being works by the Clown. also has a clip from Watership Down. seems like an attempt to start a mythology, ala Phish. but i am intrigued!

6) What I Did On My Summer Vacation
might have been better in conception...

7) Drop D, Variations On A Theme
just what it says, instrumental for obsessive fans only.

c) some are outside
Couch is back! more paranoid rantings of the madman.

*) Turn To Surf
so begins the salvaging of side two. starts out as your typical surf turn. but it is saved by some dark lyrics. ("hold you forever or till they break down the door") and some mighty fine guitar work. it's as if Poe settled on the beach. proof the the Clown can be convential at times, but still remain true.

d) imagine that
and no for an uneeded break...

9) Et Tu/ Marsh Armstrong
Et Tu is a latin version of 3 Forms...how clever and how unecessary. Marsh is cute, a tv theme for a fictional network. one that would run a bad art investigation team. (should have been a b-side)

10) ...Let the Rain Settle It
Hotel, Stairway, Free - get it? it's epic and defining and should be burned into your psyche.

- roy downs, New Hampshire Sunday News
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PostPosted: Fri May 04, 2012 2:59 pm    Post subject: Reply with quote

Sarge, I wish you would review some real bands. I think it would be brilliant. However, this is just brilliantly impenetrable, to be honest; although it is evident you have expended considerable energy and a rich store of scintillating turns of phrase.
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PostPosted: Sat May 05, 2012 2:53 pm    Post subject: Reply with quote

deer of the dawn wrote:
Sarge, I wish you would review some real bands. I think it would be brilliant. However, this is just brilliantly impenetrable, to be honest; although it is evident you have expended considerable energy and a rich store of scintillating turns of phrase.


http://kevinswatch.ihugny.com/phpBB2/viewtopic.php?p=270260&highlight=husker#270260

a couple there.

thank you for the review of Gomer Black. did you get any sense of the band?
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PostPosted: Sat May 05, 2012 4:58 pm    Post subject: Reply with quote

sgt.null wrote:
deer of the dawn wrote:
Sarge, I wish you would review some real bands. I think it would be brilliant. However, this is just brilliantly impenetrable, to be honest; although it is evident you have expended considerable energy and a rich store of scintillating turns of phrase.


http://kevinswatch.ihugny.com/phpBB2/viewtopic.php?p=270260&highlight=husker#270260

a couple there.

thank you for the review of Gomer Black. did you get any sense of the band?


Ahmmm.... seminal? Rolling Eyes

Actually, in that you were successful, if verbose; it was every psychedelic garage funk metal band I ever heard on college radio stations deep at night and the dj was too high to remember who they just played. Maybe it was the backup band for the musical duo in Salman Rushdie's The Ground Beneath Her Feet, even. Smile
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