Yearly Archives: 2010

Boogie Knight — Paul Major on Toy Tiger, Hikes Point and points beyond

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(Photo by Jeff Winterberg)

A short interview I conducted with the one-and-only Top Dollar, aka Paul Major of Endless Boogie, ran in this week’s LEO Weekly. Check it out here:

Louisville native, record dealer and guitar genius Paul Major of Endless Boogie chats with LEO Weekly about growing up in Louisville and about Endless Boogie’s second full-length record, Full House Head, due out July 20.

LEO: Talk a little bit about what memories you have of Louisville, especially concerts you saw or buying records.

Paul Major: One of my earliest memories is the sadly gone Toy Tiger sign at Bardstown Road and Goldsmith Lane. I grew up near there. I was in grade school (when) I heard my first fuzz guitars in 1966. As a kid, I went nuts, and my entire gear shifted. So every Saturday with my lawn-mowing money, I’d head up Bardstown Road and go to the head shops and the used record stores. Like Rivertown Records, I remember being one of the first ones. Just went up there and bought every obscure, weird-looking record I saw that might simulate what it was like to be trippin’ out. I remember getting my first copy of (the 13th Floor Elevators’) Easter Everywhere for 27 cents.

But the main difference back then was radio. That was a time when every genre of music competed on Top 40 radio, and you’d hear Deep Purple next to Frank Sinatra next to the Mamas & the Papas next to Claudine Longet. I remember that (Texas International recording artist) Bubble Puppy had a No. 1 hit in Louisville with “Hot Smoke and Sassafras,” and that was kind of a dud elsewhere. I used to sit with the AM transistor radio with little notebooks, and I had all these different categories for tones of the fuzz guitars.

LEO: Tell us about the new record, Full House Head. It’s not a huge departure from the first Endless Boogie record, Focus Level, which means it’s a good rock record.

PM: (One difference with Full House Head), it builds up a little bit with the guitar parts. It’s a little more just being totally spontaneous, but then throwing in some other stuff, with a couple of catchier numbers on there. It’s on No Quarter, so we’re looking forward to that. I just saw the cover art when I got back from Europe. People that have heard it so far are enthusiastic. (It’s an) all-time record for Endless Boogie: only two years to get something done.

Full House Head comes out on July 20th, on No Quarter. The full transcript of the interview will be posted soon.

New Reviews at Still Single, June 18th

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A new batch of reviews I’ve written for Doug Mosurock’s Still Single column have been added to the tumblr site. Check ‘em out here:

City Center – Spring St. one-sided 12” EP (Quite Scientific Records)

Playing perfectly nice acoustic guitar-based pastoral pop from with occasional electronic flourishes, Fred Thomas’ City Center project makes some nice music that wouldn’t be out-of-place alongside similar artists such as Greg Davis, Mountains, and, hell, perhaps even Fennesz. Pretty decent, though not outstandingly great. Limited to 500, one-sided, screen-printed copies on clear vinyl. (http://www.quitescientific.com)

Steve Gunn – Boerum Palace LP (Three Lobed Recordings)


There’s been a lot of guitar players down the pike since the New Weird America became the same old shit, but Steve Gunn’s no joke. Former member of GHQ with Marcia Bassett (Hototogisu, Zaimph, Double Leopards, etc.), and occasional guest guitar grumbler with Magik Markers, Gunn doesn’t necessarily seem like the kinda guy to willfully approach the American Songwriter Tradition (with or without capitalization), but he does so with aplomb on Boerum Palace, his second full-length. The first song, “Mr. Franklin,” perfectly showcases Gunn’s approach, with its jaunty finger-picked guitar, slightly mumble-fied lyrics, and sweet pedal steel guitar that shows up towards the end (courtesy of D. Charles Speer & the Helix member Marc Orleans). Thankfully, Gunn’s got more than just one idea, and fills the album with lots of triumphant sounds. Though Gunn’s songs include flourishes of electric guitar and vocal melodies along with his acoustic figures, he in some ways is closer to the spirit, dare I say it, of John Fahey and Jack Rose due to the sheer joy his music provides. Edition of 823. (http://www.threelobed.com)

Hey Colossus and the Van Halen Time Capsule – Eurogrumble Vol. 1 LP (Riot Season) / Hey Colossus/Dethscalator – Vs. split LP (Black Labs)

The six-member UK-based outfit Hey Colossus brings a whole mess of noisy rub n’ tugging on Eurogrumble Vol. 1. While the opening number “The Question” plows through the same post-Flipper fields that a number of their American cousins do, Hey Colossus manages, on their fifth full-length, to throw in a couple of substantial riffs, with some strange atmospherics, totally indecipherable vocals on top, and what sounds like samples here and there (so ‘90s, fellas!). Hell, some moments such as the riff-tastic “Shithouse” might described as downright metal, in a gloom way (nothing here approaches Van Halen whatsoever, despite the name). The title track starts off side two much more quietly, with some banjo scraping and synth-work which gives in to more metallic pummeling. Over the course of the side, pounding gives way to more formlessness, but returns now and again in varying degrees of intensity without any break. The eleven-minute long side-ender “Wait Your Turn” turns up the aggravation a notch, capping what feels like a side-long suite. On the split with Dethscalator, released on Riot Season’s “sister” label Black Labs, Hey Colossus present about the same sound as the full-length, while Dethscalator take a much more straight-forward approach, if aping the Jesus Lizard counts as straight-forward. Not really my kinda thing, but not unenjoyable either. Both releases limited to 500 copies. (http://www.riotseason.com) (http://www.myspace.com/blacklabsinc)

Giuseppe Ielasi – (Another) Stunt LP (Schoolmap/Taiga)

Part of the fun (for me, not necessarily for you, the reader) of reviewing records for Still Single is receiving new releases about which I have no earthly idea. Such is the case with (Another) Stunt, the new LP by Giuseppe Ielasi, who apparently is some sort of Euro turntable guy. And by turntable guy, I don’t mean just another hip-hop “turntablist” out to wow the crowd with his behind-the-back scratch skills, as Ielasi is rooted in what used to be called “glitch” music, of intentional skips, scrapes, and wheezes, micro-popularized at the turn of the century, by a group of almost-always-European artists such as Fennesz and Thomas Brinkmann. The impressive feat – that these acts managed to break into new audiences, impressing even more than just dudes with tiny glasses and receding hairlines – brings us to this Ielasi disc: there’s nothing happening here musically that wasn’t going on a decade ago. While it’s a completely pleasant listen, I’m not sure that it’s possible for anyone to be nostalgic for glitch just yet. Edition of 500. (http://www.schoolmap-records.com) (http://www.taigarecords.com)

Magik Markers/Sic Alps – split 12” EP (Yik Yak)

For most people, Magik Markers are an either/or proposition: you either love ‘em or you hate ‘em. I’ve never been anything but an unabashed fan, even through their more recent “melodic” period while recording for Drag City. However, it definitely took me a while to warm up to Sic Alps, despite their music being theoretically the sorta thing all thirty-something record nerds would go for. By the time of last year’s West Coast tour with Magik Markers, for which this split 12” was released, I’d put the skepticism aside and jumped on board the Alps train, which of course moves in fits and starts, is incredibly noisy and occasionally off-putting, but nonetheless is quite the thrill ride. On the Markers side of the split, things mellow out even more, but that’s not a bad thing. If you’re a fan of both bands, and you don’t have this yet, go ahead and spring for it. (http://www.yikyak.net)

Gil San Marcos – Domes LP (Bombay Cove)

Domes is touted as “the definitive recordings from Gil San Marcos, who spent a few years performing, touring, and cultivating the sound” heard within, which ranges from spare glitch, to sweet drones, to noisy assaults. As if to prove that no sound present was made with an actual instrument, the sleeve lists the devices used for each track – it’s almost as long as the thank-you list! Stand-outs include “Every Clock and Wristwatch,” which includes both angry clouds of noise and a subtle background drone, and “Mass Grave (Live in Nashville),” recorded live at Grimey’s in Music City, U.S.A. If you listen closely, you can hear Conway Twitty rolling over in his grave. Colored vinyl. http://www.bombaycove.com)

Various Artists — Does Your Cat Know My Dog? (Three Four)

On this compilation, curated by the staff at a restaurant/venue somewhere in Switzerland that apparently hosts music fests, there’s a pretty wide range of styles, and names both familiar and unknown. Bonnie “Prince” Billy starts off the proceedings with a live version of “Love Comes to Me” which starts things off on a somber, sober note. The rest of the side features a bunch of similar sounding no-names, along with a collaboration between Carla Bozulich and Ches Smith, the former being a vocalist whose music I’ve never, ever been able to enjoy. Sorry. On the flipside, Sunn O))) and Sonic Youth are the only other marquee names, and aside from their tracks (neither of which are that essential), nothing much sticks out here, either. Edition of 650. (http://www.three-four.net)

THE WEB, PHANTOM FAMILY HALO, SOFTCHEQUE at The Vernon Club, Saturday, June 12th

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THE WEB
PHANTOM FAMILY HALO
SOFTCHEQUE

Saturday, June 12th
at The Vernon Club
1575 Story Avenue
9 PM, $6, 18+
“No Dicks”

Details about the show from Noise Pollution:

Completing their slow reemergence from the abyss, enigmatic Louisville legends THE WEB will be releasing their (very, very) long awaited third album, Clydotorous Scrotohendron, on June 12th. The seven song album will be released on LP with letter pressed covers by Dexterity Press. Clydotorous Scrotohendron will also include a free digital download of the album with purchase of the LP.  This will be The Web’s first release in twelve years (and only third show in the same timeframe) and features the core lineup of Andrew Willis, Jason Hayden, Steve Good, Tony Hoyle and Gary Pahler.  The release show will take place at Vernon Club (1575 Story Ave) on Saturday, June 12th and marks The Web’s return to (at least) semi-active status. Opening for The Web will be two other incredible Louisville bands Phantom Family Halo and Softcheque. Doors at 9pm. Cost is $6. 18 and over. As huge fans of The Web for many years, we are thrilled and honored to have them on the label.  Azuza!

UPDATE, 6/9/2010: LEO Weekly ran a short feature by Mat Herron on The Web, including details on the new album, in today’s edition. Check it out here: http://leoweekly.com/music/follow-plant.

V/A, Reportage: Spela Själv (Unknown Label)

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My review of the Reportage: Spela Själv bootleg LP ran in this week’s LEO Weekly:

Among many forgotten musical innovations of the 1960s, perhaps the most obscure was that of audience-driven free improvisation. Groups such as Musica Elettronica Viva (consisting of American expatriate composers living in Italy) encouraged attendees at their gigs to become part of the performance, and more “out-there” psychedelic rock groups such as The Red Krayola and Cro-Magnon invited non-musicians to join in. Some of this music is only successful as an experiment in democratization, yet some can be fun to listen to. Reportage: Spela Själv (which translates to “reportage: play yourself”) is such an album. Edited and compiled by Swedish composers Bo Anders Persson (who also played in Trad Gras och Stenar and Parson Sound) and Solvieg Bark, the album consists of many outdoor jams, akin to a rural, Swedish-folk influenced Amon Duul, interspersed with the sounds of children.

Buy it from Fusetron here: http://www.fusetronsound.com/index.php?whomlab=Unknown.

Download it here: http://www.mediafire.com/?ytmmwjgmyv0.

New Reviews at Still Single, May 13th

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A new batch of reviews I’ve written for Doug Mosurock’s Still Single column have been added to the tumblr site. Apparently they just missed the cut for the latest Dusted column, presumably that means they’ll be present in the next one. Anyway, without further ado, check ’em out here:

The C&B, 1991 Pre-Shadow Ring Recordings 7″ (Siltbreeze)

It is almost completely impossible for me to articulate to the uninitiated my love the Shadow Ring, why they were one of the best live bands I’ve ever seen, and why they were so crucial to the dialogue of music in the ‘90s. Frankly, if I play Put the Music In Its Coffin or City Lights for anyone who hasn’t heard them before, and doesn’t know what they’re about, I’m usually challenged with the canard that what we’re listening to is “retarded.” Offensive language by philistines aside, the relative musical ineptitude with which the Shadow Ring confronted its listeners was kind of the point: decades past punk’s exhortation to do it yourself, the Shadow Ring were able to take absolutely stark musical elements (monotone vocals, poorly tuned guitar, abrasive percussion, absurd tape manipulations) and meld them into an expressive whole, far greater than the sum of its parts. Thankfully, many years past their demise as a group, Siltbreeze has released this single of early recordings by Shadow Ring founders Graham Lambkin and Darren Harris, under the name the C&B (short for the Cat & Bells Club). Stylistically, these recordings are just a small step removed from what would become the Shadow Ring’s sound, and indeed, I suspect the riff from “Kent Cluster” was recycled more than once afterwards, but for a fan that only adds to its charm. Edition of 300. (http://www.siltbreeze.com)

Bren’t Lewiis Ensemble, Three Christs of Ypsilanti LP (Siltbreeze)

Hot on the heels of the super-limited Butte County Free Music Society Induced Musical Spasticity 4xLP box set comes this related platter on Siltbreeze. Because of the notable guitar droning and occasional industrial noise present, fans of the ‘Breeze may liken some moments on Three Christs of Ypsilanti to Harsh 70s Reality in spots, though there’s hardly anything on it that approaches the Dead C.’s more rock moments, which isn’t a bad thing, of course. What’s even more notable about this Bren’t Lewiis Ensemble recording – aside from its decidedly rural origins in Chico, California – is its completely cut-up methodology, which places Three Christs alongside such almost-contemporaries as Throbbing Gristle, Smegma, or Nurse With Wound, yet without the name-brand cachet. (http://www.siltbreeze.com)

Nudge Squidfish, 20,000 Leagues Under Nashville LP (Columbus Discount/Old Age No Age)

Despite the horribly prescient title, as Music City USA recovers from terrible flooding this past May, this “25th anniversary reissue” of solo recordings by V-3/Mike Rep and the Quotas member Nudge Squidfish is oddly satisfying, and a good companion piece to the two mysterious, recent appearances on LP of Vertical Slit’s Slit and Pre-Slit and that V-3 bootleg. Of course, there are plenty of stylistic differences between this release and those of Shepard’s. For instance, “Drinking for Christmas” could surprisingly fit in with C86 bands of the same period, while songs such as “Goodbye Princess” recall Big Star if Chris Bell was high on Whip-Its. “The Stranger” and “Backlot of Gilligan’s Isle” anticipate The Pod-era Ween (that’s a compliment). Elsewhere there’s tearjerkers like “City of Sorrow” and “Wonder Where You Been,” tributes to fellow Ohioans such as “They Call Me Mike Rep,” two otherwise-unrecognizable Shepard covers (“Metal or Meat?” and “Signals & Warnings”), some spoken-word nonsense, and an overall vibe of loner weirdness that probably couldn’t be replicated in any convincing way today, even if anyone had the balls to try. (http://www.columbusdiscountrecords.com)

Various Artists – Æsjo LP (Escho)

These days, it’s very rare for compilations to hold my attention, unless they’re filled with sidelong Afrobeat jams. Knowing absolutely nothing about Æsjo, or the Escho label that released it, my apprehension towards reviewing it was high, until I actually gave it a spin, and my apprehension turned to dread. Presumably filled with Danish artists, the record begins with songs that reside somewhere between lush pastoralism akin to Morr Music releases from a decade ago, and fart noise wackiness a la DAT Politics. Then, abruptly, a fiercely lame rock song (“Kimberly Shyboy” by KloAK – yes the mis-capitalizations are intentional) that sounds like a throwback to the great major label grunge signing sweepstakes of the early 1990s, makes an appearance, and the mood changes from “whimsical but tolerable” to “just plain bad.” A Six Organs of Admittance rip-off and some other jointless messes finish off side A, and the flip doesn’t redeem the session, as the wackiness continues with some sub-Gang Gang Dance nonsense and gets worse from there. Still, the packaging is fairly nice, as it comes with 32-piece “memory game,” ironic in that the comp is not that memorable. (http://www.escho.net)

As always, you should check Still Single for the latest reviews of all sorts of interesting vinyl, written by all sorts of interesting characters.

ARBOURETUM, SHEDDING, and PONTIAK at SKULL ALLEY, Wednesday, May 19th

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ARBOURETUM (from Baltimore, Maryland; on Thrill Jockey)
SHEDDING (from Louisville, Kentucky)
PONTIAK (from Baltimore, Maryland; on Thrill Jockey)

Wednesday, May 19th
at SKULL ALLEY
1017 E. Broadway
8 PM, $5, ALL AGES!

ARBOURETUM first began in late 2002 as a vehicle for singer/guitarist David Heumann’s songwriting. Since their debut album, Long Live the Well-Doer, there have been several lineup changes that have included musicians such as Ned Oldham (Anomoanon), Walker Teret (Cass McCombs’ band), and Jennifer Hutt, as well as drummers Mitchell Feldstein (Lungfish) and David Bergander (Celebration). The sweeping, atmospheric textures of the first record soon gave way to a more visceral, elemental approach. Amplifiers were turned up, drums were hit harder, and songs crescendoed into spiraling, noise-soaked climaxes on the second full-length, Rites of Uncovering. Released on Thrill Jockey in early 2007, the record garnered much attention and critical acclaim. Recorded at Lord Baltimore Recordings by Rob Girardi over two months in the fall of 2008, [their latest album] Song of the Pearl is ARBOURETUM‘s third full-length and the first to feature the same core band on every song. With Dave Heumann on guitar and vocals, Corey Allender on bass, Daniel Franz (also sometimes seen with Beach House) on drums, and Steve Strohmeier on guitar, Song of the Pearl is more earthy and direct than the band’s previous efforts.

Watch the video for ARBOURETUM‘s “Down By the Fall Line” here: http://www.thrilljockey.com/vault/vimeo/vault_Arbouretum.html.

SHEDDING has been a solo project for Connor Bell since 2001, though in 2009 Tim Furnish (Parlour, Crain, Cerebellum, Papa M, The For Carnation) and Joey Yates (The Loved, Parlour, Sapat) joined as the rhythm section in SHEDDING’s new lineup. Solo, SHEDDING has already released a few albums, and the new band lineup plans to release a 7″ in 2010.

In the era of single song downloads, PONTIAK create records meant to be heard in sequence in its entirety. Van, Lain, and Jennings Carney of PONTIAK share a mom, a dad, and a Virginia farmhouse studio. They record themselves, book themselves, hold complex day jobs, and know their way around a working farm as well as an instrument. They like it loud and they like it dirty. A lifetime of shared experiences certainly informs the three Carney brothers playing as a band. Jennings’ bass or Lain’s drums often finish the thoughts of Van’s guitar. This is a level of musical communication that most bands are only able to achieve after years of touring and recording. It also may account for their staggering productivity.

Read Mat Herron’s interview with PONTIAK in the May 12, 2010 edition of LEO Weekly here: http://leoweekly.com/music/southern-%E2%80%98living%E2%80%99.

Check out the Facebook invite here: http://www.facebook.com/event.php?eid=115177391855939.

For more information, check https://othersideoflife.wordpress.com. To join our email list, send an email to hstencil@gmail.com.

Omar Khorshid, Guitar El Chark (Sublime Frequencies)

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My review of the new Omar Khorshid 2LP on Sublime Frequencies, Guitar El Chark, ran in yesterday’s edition of LEO Weekly:

This fantastic new collection highlights the mid-1970s work of Egyptian guitarist Omar Khorshid, whose music bridges the gap between the propulsive energy of 1960s American “surf guitar” (itself an invention of the half-Lebanese Dick Dale, known as the “King of the Surf Guitar”) and the engaging melodies of traditional Middle Eastern music. After finding fame in Egypt as a guitarist and actor, Khorshid moved to Lebanon to record for the Voice of the Orient label, from which these songs are licensed. The entire album is chock-full of Khorshid’s gorgeous melodies on guitar and synthesizers, accompanied by hyper-furious percussion. Recalling an idyllic yet cosmopolitan age before the Lebanese Civil War, Khorshid’s music conjures both nostalgia and a limitless future. Released in a gorgeous, double-vinyl gatefold edition with copious liner notes, Sublime Frequencies has once again excelled at re-introducing the obscure beauty of Middle Eastern music to Western audiences.

Buy it from Sublime Frequencies here: http://www.sublimefrequencies.com.

The Endtables, s/t (Drag City/Alien Intelligences)

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LEO Weekly ran my review of the new retrospective of Louisville’s own Endtables today:

I thought we were modern, sings Steve Rigot at the beginning of “Trick or Treat” by the Endtables, a perfect statement on life in Louisville circa 1979. Arguably the first punk band in town, their music utterly reflects the anxiety of growing up “punk,” modern, in a thoroughly unmodern place. Songs such as “They’re Guilty,” “The Defectors” and “White Glove Test” exude a nervous energy that’s hard to match. But after self-releasing one four-song single, the band broke up, with their music known to only a handful. This long-overdue collection corrects the historical record by presenting the six songs they recorded while active (on the new 12-inch EP), along with an unedited take of “Process of Elimination,” as well as six live songs — five of which were never recorded, and three video clips of the band in action (on the CD only).

Buy it from Drag City here: http://www.dragcity.com/products/the-endtables.

JOSEPHINE FOSTER, CATHERINE IRWIN, STATE CHAMPION at SKULL ALLEY, Friday, May 7th

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JOSEPHINE FOSTER (from Colorado, on Fire Records)
CATHERINE IRWIN (from Louisville, member of FREAKWATER)
STATE CHAMPION (from Louisville/Southern Indiana, on Sophomore Lounge Records)

Friday, May 7th
at SKULL ALLEY
1017 E. Broadway
8 PM, ALL AGES!
$8 in advance, $10 day of show
Tickets available at ear X-tacy or online here: http://skullalley.indieticket.com.

Over the course of just a few years, Colorado native JOSEPHINE FOSTER has captivated audiences & critics alike through a magnetic patchwork of recordings ranging from broken spirited balladry as one half of Born Heller, fiery psych rock gestalt with her rock outfit The Supposed to the voice of an outsider folk siren. The one constant is the utterly overwhelming strength and seductive unease of her voice & the bravery of an iconoclastic spirit. “You might call Ms. Foster’s eerie warbling old-fashioned, except that is evokes a scrambled past that exists only in her own vision: mountain songs that never were, spaced-out hybrids that never will be.” —New York Times.

CATHERINE IRWIN has called Louisville, Kentucky home, or at least her home base, all her life. She began performing by playing guitar in punk bands “and not caring a bit about country music,” she says. Still, the seed for her band Freakwater was inside her: “Most of the country music I heard on radio, I hated. But I loved the Carter Family, the way they would approach songs about death and dying or being saved and rejoicing the same way. That kind of music seems to age better. I can’t see myself playing punk anymore, but this kind of music I can see playing the rest of my life” (Chicago Tribune). Her songs are just packed with sapience, despondency, and wry wit, though you don’t have to look past “Louisville Lip” or “Dirty Little Snowman” to see she’s one of America’s greatest living songwriters. Even so, she remains humble, even self-depreciating: “If I had a master plan, it’d be trying to get people used to the idea of frumpy middle-aged losers singing music” (Boston Phoenix). She will be joined at this show by fantastic Louisville guitarist Michael O’Bannon, formerly of Blinders, Antman, and current member of 1069.

STATE CHAMPION started in 2006 as a moniker for the early acoustic experiments of Ryan Davis. It has since evolved into a rock n’ roll band with a Chevy van and a vinyl record. Having created a sound that is a product of its upbringing, with Sweetheart of the Rodeo on the radio, Bleach idle in the tape deck, and a Smog song stuck in its head, Davis & Co. drive through forty minutes of sincerely howled, sloppily executed, stripped down garage-country on their full-length debut, Stale Champagne (released this year on Sophomore Lounge Records). “The band is an under-the-radar phenomenon in the making, the classic style of quality band that Louisville overlooks… The tone is just right for this type of subtle rock. A bit earnest, a bit funny, a bit smart.” – Joseph Lord, Velocity Weekly.

Check out the Facebook invite here: http://www.facebook.com/event.php?eid=109505479085276

For more information, check https://othersideoflife.wordpress.com. To join our email list, send an email to hstencil@gmail.com.

Burning Star Core, Papercuts Theater (No Quarter)

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Today’s LEO Weekly includes my review of the new Burning Star Core record, Papercuts Theater:

Burning Star Core main man C. Spencer Yeh of Cincinnati embodies a mutant combination of musicians Tony Conrad, Yamatsuka Eye and Klaus Schulze with his sophisticated violin, electronics and vocal histrionics filtered through his own distinctly 21st century sense of angst. On this collage of live recordings spanning more than a decade, Yeh is joined by Lexingtonians Robert Beatty and Trevor Tremaine (both of Hair Police) and various other nutters, including a horn section on the wonderfully disturbing third section of its four long sides. Overall, Papercuts Theater is a fiercely chaotic yet multifaceted tour de force constructed out of a myriad of seemingly disparate parts; almost if Yeh took Conrad’s classic 1972 album with Faust, Outside the Dream Syndicate, threw it in a blender, smashed the remaining bits to even-tinier bits, then meticulously glued the pieces back together.

Buy it from No Quarter.