Rat Music for Rat People

The start of a Compilation Compost…

Not too long after I first began purchasing my own music, I stumbled across Rat Music For Rat People, a compilation album of U.S.* punk rock royalty playing live* in San Francisco, California between the years 1981-82*. The title excited newly minted, teenaged me. I had recently read James Herbert’s 1974 novel The Rats. My imagination ran hot at the possibility: Would there be songs about giant rats and their unwilling food sources?

Not as such.

But the band listing was almost as fascinating as the title: Black Flag, Dead Kennedys, Bad Brains, Circle Jerks… haha! A band named Flipper? Neat! D.O.A., Crucifix, TSOL, The Avengers*, and The Dils*.

– Rat Music For Rat People (Front), 1982 – Go! Records #GO 003

It was a risky purchase for this not so privileged thirteen year old of the inner suburbs. Money was tight. Influences even tighter. I had heard of four of the ten bands, but had only actually listened to two of them at that particular point. And it was a live album*. Even then I knew that live albums were never to be trusted.

Unless it was Johnny Cash. You could always trust Johnny Cash.

In the end, I swung the deal on the merits of the Dead Kennedys name. That was sure to irk my father, the hippie vampire. 

It ended up a wise purchase – and a sucker buy at the same time. The next four or five compilation purchases I would make were, for one reason or another, flat-out amazing…

– Rat Music For Rat People (Back), 1982 – Go! Records #GO 003

But that is neither Here, nor There.

For Mel.

Side One:

1. D.O.A. – America the Beautiful / Fucked Up Ronnie

2. Flipper – Life

3. Circle Jerks – Live Fast, Die Young

4. Bad Brains – How Low Can a Punk Get? / You

5. Crucifix – Steel Case Enclosure

 

Side Two:

6. Dead Kennedys – Forward to Death / I Am the Owl

7. Black Flag – Scream

8. T.S.O.L. – Weathered Statues / Sounds of Laughter

9. The Avengers – Cheap Tragedies

10. The Dils – Blow Up

Tracks 1 & 2 recorded live at the Elite Club, San Francisco, Oct 31, 1981. © Go! Records, © Insect Music
Track 3 recorded live at the Elite Club, San Francisco, May 24, 1982. © Irving Almo
Track 4 recorded live at the Elite Club, San Francisco, March 20, 1982. © Bad Brains/Go! Records
Track 5 recorded at Secret Studios, San Francisco, Aug 3, 1982. © Go! Records

Track 6 recorded live at the Elite Club, San Francisco, March 20, 1982. © Decay Music
Track 7 recorded live at the On Broadway, San Francisco, July 24, 1982. © SST
Track 8 recorded live at the Elite Club, San Francisco, March 20, 1982. © Decay Music
Track 9 recorded at Peter Miller Studios, San Francisco, May 10, 1979. © Go! Records
Track 10 recorded in San Francisco, 1977. © Go! Records

Bärkər’s One Year Anniversary Spectacular…

… in shitty WordPress oriented fashion (Part Two). 

Celebrating the one year anniversary of my excursion into noise pop (as Bärkər), I asked a former friend of mine to run a sit-down Q&A session with me. I figured that I could maybe shed more light on the motivations and accomplishments of this Bärkər thing, to allow a reversed timeline peek behind the curtain, so to speak.

Unfortunately, that gesture was undone by bad acting.

Yet I am going to continue to humor myself by thinking that the reader might find interest in me covering some releases.

There’s Something You’re Missing – 2024, Mayfly Records

Ghost of Rucker 的幽灵拉克 is a respected low-fi’er on the independent music scene. Besides an ever growing solo discography, Rucker has collaborated with Plains Desperate Symphony (Canada), Nadine De Macedo (Germany), and Nick Lang (U.K.). 

He asked if I wanted to work with him, and I jumped at the chance. 

He presented me an instrumental piece that could have been the lead track off any of his albums. The piece was everything one expects from Rucker; low-fi, melodic, and touching. He handed the track off and gave me free rein to do whatever it was I wanted. I am still honored by that.

There’s Something You’re Missing Back Cover

I added a 30 second prelude that I thought was pretty neat. I then put some effects on a straggler track, which bled through the mix to add interesting sounds. Finally, I took a bit from my prelude and processed it to sound ‘harmonium’, then wove it throughout 2/3rds of the piece. The ending instrumental was, well… Ghostly, almost translucent. 

The dialogue samples came from an anti-media outfit from the 1980s, these centering on how television (a metaphor for the ilk of today) subjected latchkey children to constant barrages of alcohol ads, sex, and television violence. I thought the finished piece (released October 25, 2024) rather poignant. It sounds different. The listener is taken on a pleasant journey, while still presented an opportunity to think.

I thought it would be a winner. 

Live: From the Basement – Kent, Ohio ’24 – 2024, Mayfly Records

Gimmicks, contrary to the connotations associated them (KISS? 🤮), can be powerful tools in the grand cause of Subversion.

Live: From the Basement (released October 8, 2024) is one of my personal favorites. Rather than pussyfooting around, as I had done for some time, I dove headfirst into the tape loop inspired avant-garde with this extended player (EP). 

Over a played soundscape, pre-recorded loops were triggered, cut up, and then manipulated/processed live. I greatly missed recording in this fashion. I did so with Linda Sharpe for close to two years and always had fun with it. When done ‘properly’, the improvisational aspect can be creatively rewarding.

There is a bit at the end of Not Completely Like Other People (@4’15”) that basically hypnotized me. I came out of it a couple of minutes later and hastily threw in a sample of Reverend Ernest Angley that I stretched and manipulated to interesting effect on, ‘Do You Believe?

I made VERY liberal use of Puremagnetik’s Ember micro collage plug-in when recording this. Ember can do some magical things. In live situations, it can also very easily escape its pen and do some damage to your petunias. You never know. 

Live: From the Basement original back cover