Yelping yappy bratty punk rock? Nah, lost the thread on that one, Cocaine Piss? Well she shouts a lot, been meaning to say something about the band from Belgium for a few weeks now, besides their dreadfully (gloriously?) dumb name, they are rather likable, bit of Butt Trumpet about them, shouty messy punk rock. Punk rock should be shouty and messy, nothing clever about cocaine, idiot powder, tediously dumb name for a band, glorious band. Cocaine Piss are a car crash of a band, keep going back for another look at the chaos, the beauty, the mess, rather pleased they crashed in to our in-box, we do listen to everything in the in-box, there might not be time to answer everyone, but we do listen to everything, every single little thing, every generic punk pop band churning out the same old same old, every bland next-big-thing indie beard-growing band, every bit of neo-prog tedium or generic heard it all before death black whatever metal, everydamnthing, Cocaine Piss and their flip you energy, the antidote to the latest “eclectic metal band based out of Seattle” or whatever the next generic “you’ll love this one” press release is going to say. Yelping yappy bratty punk rock, love it, great name, great noise, relentlessly yappy, tune in, shout out, piss off….
According to that fountain of goodness Sir Weasel Walter, David Buddin’s new release “Piano Album Book III” is now available on bandcamp. “thirty minutes of rigourous modernism, just the way you like it!” so said yer man Weasel, he’s right yet again….
Released January 13, 2016 – Piano Album Book III – “This piano album ought to be understood as a unified narrative wove form the divergent musics of the second and fourth pieces. That is to say, a busy, goal-directed way of writing on the one hand and a sustained, prolonging way of writing on the other where busy material is dwelled on, repeated, expanded, and turned into resonance.
These two short pieces (2 and 4) provide a collection of traits that I scatter across the other pieces to shape their forms. The first piece weighs the two textures fairly equally. The third is concerned with broad sonorities and repeated notes. The fifth piece juxtaposes and superimposes such prolonging gestures with rigid two-part counterpoint.
The five pieces of Piano Album Book III are meant to be played as a continuous piece. However, if the pieces are played individually they should be called:1.Lydia Lunch, 2.Weasel Walter, 3.Dominika Michalowska, 4.Yuan Liu, 5.Tim Dahl (If the piano is amplified, put the microphone near the high strings)”. David Earl Buddin, January 12, 2016, Brooklyn, New York.
Here’s a new video from London’s rather agreeable Sulk, a track called Black Infinity (Upside Down)