Daniel Carter, George Lyle and Fritz Welch - “So Long Farewell Repair” Iorram KY276 (cd)
Olivier DiPlacido and Fritz Welch - “S/T” - humansacrifice HS0010 (cassette)
Fritz Welch - “Nothing To Offer” - Singing Knives Records (cassette)
Bravest Boat - “Bowed Beam” - Shadazz no. 14 (cd)
FvRTvR - “ Following Shapes to the Edge of a Drift” - Discombobulate Records BOB009 (LP)
F. Ampism and F. Welch - “shouting down the cosmogonic dreamhole” - HS009 (cd-r)
The Forgotten Voices of Unclean Men (D. Wright, D. Padden & F. Welch) - Beartown (cassette)
Jean-Luc Guionnet, Neil Davidson & Fritz Welch - “Adhesive Chameleon Shaded” (cassette)
Fritz Welch - “Crumbs on a Dumpster”, Chocolate Monk choc. 257, (cd-r)
Peeesseye - “Sci Fi Death Mask”, humansacrifice HS008 (LP)
FvRTvR - “Gobi Wow”, Never Come Ashore (LP)
Brittle Hammer Trio – “krimbo kard cd”, Giant Tank/Unverified (cdr)
fw/humansacrifice – “freeze dried speculative damnation”; La Sangre de Dios (cassette)
Brittle Hammer Trio – “Opportunity Knocks” ; Poot Records (cdr)
Ruben Lorch-Miller & Fritz Welch - "Small World Head Spins" ; Radical Documents (cassette/zine)
Peeesseye - “A Shadow in the Swamp”; Sick Head Tapes (cassette)
Ki - “Stops Dropping” ; Unverified Records (cd-r)
Peeesseye - “Pestilence & Joy” ; Evolving Ear (LP)
FvRTvR - “demon cycle 1-9” ; niente records (cdr)
Peeesseye & Talibam! - S.T. ; Invada (cd), Smeraldina-Rima (LP)
fw/humansacrifice – untitled ; humansacrifice presents (cd-r)
peeesseye - “Bloodspots in the Porridge”; Giant Tank (cd-r)
Ki - "Ki no Sei"; Chocolate Monk (cd-r)
peeesseye - "Robust Commercial Fucking Scream Vol. 1-6" ; Digitalis (cassette)
peeesseye - "i woke up and drank a bottle of Cheap Kojak"; Golden Lab Records (cd-r)
peeesseye - "untitled (Teton Trout)"; evolving ear (cd-r)
fw/humansacrifice - "Slow Burn, volume one"; deep fried tapes (cassette)
The Peeesseye - “Mayhem In the Mansion, Shivers in the Shack”; evolving ear (cd-r)
W!77iN6 - “Brotherhood of the Backwards Handshake”, evolving ear, (cd-r)
fw/humansacrifice - “Upsidedown Crossings” , deep fried tapes (cdr/zine)
peeinmyfacewithsurgery - “Urine Cakes”, 8MM, (cd-r)
peeinmyfacewithsurgery - “dAmnation rOad”, chocolate monk, (cd-r)
peeesseye - “commuting between the surface and the underworld” evolving ear (cd)
psi - “ArtificiallyRetardedSoulcareOperators”; evolving ear (cd)
psi - “Golden Showers”; evolving ear (7” record)
psi - “Black American Flag”; evolving ear (cd)
peeinmyfacewithsurgery - “PIMFWS” self released , (3” cd-r)
psi - “The ___ who had begun his career as a useful ____ of the ____ court later became the __of ___and the ___of ___.”, evolving ear (cd)
Irritating Horse Eye - “from beneath unborn feet”; humansacrifice (cd)
W!77iN6 - “Willing”; Apraxia (cassette)
W!77iN6 - “Another Headless Giant”; (cassette)
Bushwick Trio - “Please Be Kind to Your Human Host”, humansacrifice (cassette)
Music from The PsycheEye - compilation featuring Bushwick Trio - cast exotic archives (cd)
Bananafish Magazine, issue # 11 - compilation featuring Real-Speed-Artist (cd)
Ed Pinsent’s review of Nothing to Offer cassette
Another near-violent and primal piece of music-making from Fritz Welch, the American drummer who used to play in Pee-Ess-Eye, now exiled by Papal decree to Scotland for his various crimes of treason against the state. I find it hard work to describe what Fritz is getting up to on either side of Nothing To Offer (SINGING KNIVES RECORDS SK024), a cassette tape that documents two discrete live performances. It’s equally hard to listen to them, not because the music is bad, but because it seems intent on engaging the listener in a life-or-death struggle with metaphysical forces. And physical forces, come to that. At least once or twice I felt like I was about to be attacked in a bare-knuckle fist fight – the atmosphere is that tense.
On the first side, Fritz starts out quietly enough agitating and rattling parts of his percussion set-up in imaginative fashion, but before long he’s kicking a bass drum in ways that summon ominous doom, as if he’s found a doorway to Hell on earth and is now knocking hard enough to rouse Sir Satan from his fiery pit. Further dangerous actions follow. It creates the vivid image of Welch wrestling his own drum kit to the ground in a sweaty arena. When he starts wailing, groaning and belching out non-verbal grunts like a reincarnated Neanderthal man, you know we’re witnessing some pretty spooky earth magic right there on the stage. This monstrosity was recorded in Ivrea at a music festival, and the venue was a synagogue. No reports have yet surfaced of the Golem stalking this area of Italy at the time, but it’s only a matter of time before they do. You don’t need to ask how the Golem, that 16th-century clay giant of Prague, was brought back to life.
On the flip side, it’s no less primordial, but at least there’s more musical activity and warmth on offer than the somewhat bleak and awkward A side. I gather it comprises two separate pieces. Both are a mixture of percussion and vocals, with vocals competing for more attention as Fritz Welch hurls himself, with brutal instinct and naive passion, into the task of creating his own brand of spontaneous sound poetry. The label press may wax lyrical about avant-garde sound artists like John Cage and Henri Chopin, but those two creators seem quite effete and aesthetic compared to Welch, ugly forms emerging from his mouth-like orifice in a singularly unpleasant fashion. His percussive actions here are like an ironic send-up of cool jazz, an inverted Joe Morello transformed into an emaciated horse, and sentenced to eternal hard labour at a basket-weaving factory.
One listen to this uncanny release and you too will end up like the flayed figure drawn on the cover…a grotesque parody of a drawing by Andreas Vesalius, the anatomist…with arms like Popeye, tendons and veins exposed, stepping out of your own skin, breathing the flames of penitence through bared extended teeth. You will also become an unwilling hermaphrodite, a Father Tiresias figure of tragic proportions. From 14th September 2015.
notes about my percussion action in Hebron 23/07/2010
I visited Hebron on May 22 on invitation from Mich'ael of Heb2.TV. He has a rad community center and video studio on a hill in H2. My new friend, the musician and curator Eran Sachs (aka Zax), knew i was keen on visiting Palestine at some point during my jam-packed 2 weeks stay in Jerusalem. I was spending my days working with students from Musrara, making a sprawling junk sculpture (eventually titled “half a brain in a paper sack”) and most nights were crammed with the creative chaos of playing gigs and hanging out. Hebron was the perfect solution for getting quick exposure to the complexities and confusion of the Israeli occupation. It seemed crucial to spend at least a little bit of time there. Zax promised my brain would be scrambled and i wouldn't know which way was up. He was absolutely right.
I arrived in Hebron early and spent the day hanging out with Mich'ael, Ran from Digital Art Lab and the video artist Meir Tati. They were shooting video footage of Palestinian kids from Mich'ael's neighborhood assembling and flying model airplanes for Meir's flying project. It was a mellow and fun day with delicious coffee at every stop. At some point Mich'ael casually mentioned to me about maybe doing some kind of percussion performance on camera. He suggested we could do it at an old disused soldier's lookout post or in the olive grove. Towards the end of the day he said “Lets go. I have a possible site in mind.” We walked down the hill and through the deserted streets and arrived at the fork in the road just in front of Pharmacy Checkpoint. Mich'ael thought the metal doors on the store fronts of the ghost town buildings would be adequate resonate surfaces. I set out with make shift drumsticks to try to find the sound of the space. i have done percussive soundings in my own sculptural environments (see: http://www.youtube.com/watch?v=8AQ8FjaKL-0&feature=player_embedded) and in various public settings like kid's playgrounds but have never in such a volatile context. My abstract improvisation had immediate social implications and concrete repercussions, with the arrival of a gaggle of hyperactive and enthusiastic Palestinian boys and the consistent cruising of IDF soldiers checking it all out from their jeeps. The experience was eye opening on many levels not least the fact that we were in the end only minutes away from a potential riot!
Joe Murray’s review of Crumbs on a Dumpster on Radio Free Midwich
Fritz Welch – Crumbs On a Dumpster. Here’s another scene report from Chocolate Monk’s ‘Well Sliced Breath’ series, dedicated to capturing essential vocal-based compositions from some of this world’s most fancy cats. Fritz delivers a confident volume 5 made up of two squelched tracks; ‘The Triangulated Stumps’ and ‘Open the door Doctor West!’ OK…’Stumps’ first. This is a well mixed mousse (with lumps!). Kinda like finding popping candy in your sweet n’ sour sauce but not complaining…it all goes down the same hole right? For your crisp fiver you’re getting a very deliberate mix of strung out chimes with vocal chirrups all folded over into themselves to form stiff peaks of ‘wassat?’ A narrative is whipped together for a few seconds then a swift rug-pull leaves you flailing for hand holds or other points of reference. The dry mouth prevails so don’t expect any sloppy lippings here; it’s all about the hiss and the sigh, the grain of breath in miniature rather than cheek-popping gob-farts. Unmistakably a drummer’s album, this propels itself forward briskly with tight focus, neat edits and clear crisp resolution. ‘Doctor West’ is a more live-sounding affair with warm and clunky rolling tape-thunder merging into more glottal schlops and skinks. The paranoid whispering continues with sanity edges rubbed clear until I can see something moving inside. By the 8 minute mark there seems to be a malfunction in the occult space behind my ear, lodged like a curse. A backwards vomiting sound upsets the forest dwellers within who seek to appease me by blowing bubbles through black milk. Mists clear with the familiar Dictaphone burble, jagged jump-cuts, radio chatter about UFOs and my next-door-neighbour beating a dull tattoo against my eyelids. Not to mention the Triffid cock-knocking! Of course it’s all about the composition…sure the elements are fine and dandy but the placement and timing turn this from random Crayola scribble into Eva Hesse master-stokes. There is a submissive element to this kind of listening; you have to offer up some time and brain space to let the clotted sounds wander at random, picking up lint between stubby fingers and glaring accusingly at you. Another essential release on the Well Spliced Breath series…like Pokemon…you gotta catch ‘em all.
Joe Murray, Radio Free Midwich "Vomit Pink" May 25, 2013 7:45pm http://radiofreemidwich.wordpress.com/?s=with+lumps
Clare Quilty’s bio + notes
Clare Quilty is a master ceramicist and woodcarver who lives and works in the farthest corner of the Trans-Atlantic Basin. He received a PhD in Trans-Molecular Rehydration from MIT Mexico City School of Economics and Cosmic Studies. At present his practice employs a two pronged strategy utilizing The Paranoiac Critical Method and Pre-Columbian Anarcho-Futurism. Depicted in countless extremely provocative examples, the demonic imagery is a metaphor meant to rip the viewer out of complacency in order to raze the past and begin anew.
convenient ceramics use inflatable mudguards but language pastries obscure the spectacle of the day!
our doctrine circumnavigates transcendental meditation to disembowel language by drawing a line in the sand of time.
it was the transcendental spectacle of Peter Ustinov, practically inflatable in size & buoyancy, that drifted mudguardless to the surface, creating a meditation for the conveniently assembled art audience in a shabby subterranean storeroom or something definitely not a flughafen, & definitely not by day. A common language, not doctrine emerged drawing the viewer into nervous fascination that had absolutely nothing to do with pastries & ceramics.
in keeping with a view now prevalent , let us inflate the drawing in which the mudguard
language of ceramics is carried out with the name 'convenient'. as part of 'Flughafen' we
count transcendental meditation , together with its pastries and doctrine.Thus 'Flughafen'
is ranked among the values which ceramics prizes and towards which, out of a variety of days it
directs its spectacle.
16/06/2009 score for performance adendum at Kuma
Kuma Galerie- Novalisstraße 7 – 10115 Berlin
score for Kuma non-performance/drawing action/addendum to be enacted by Chris Heenan on june 16 2009 at 13:30
he ended up doing it on july 3rd - now the show is done. thanks Chris!
-one bottle of beer
-roll of clear packing tape
1.go to that nice falafel joint nearby that we went to w/ clare & clayton
2. get a nice falafel sandwich.
3. go to Kuma. eat the falafel and save the wrapping paper - wet, sloppy and oh so gooood. drink some beer.
4. light the hanging cigar (do not take it out of the string lasso) and smoke it for a bit. sorry i hope this ain't gonna gross you out. drink more beer. save the beer bottle when finished.....
5. take iodine and drip it down from the bottom most perimeter line of the Congenital T-Shirt figure in The Passenger down towards the floor. it would be good to have iodine w/ an eye dropper built into the top of the bottle. the iodine should flow down in uneven unmanipulated lines. we can talk via skype about how to do it and how it should look....
6. smoke the cigar a little more....
7. drip iodine a little more... it should start to look like the bottom edges of a Herman Nitsch painting - lotsa flooow...
8. smoke a little more, finish the beer and then shape the falafel wrapper into roughly the same shape as the cigar and stuff it into the empty beer bottle. use the tape to attach the beer bottle to the cigar. use the entire roll.
9. move the black coffee table directly under the cigar/beer bottle hybrid.
10. put all the extra magazines onto the table.
Shiraishi Tamio lyrics translated from Japanese
2009/04/23 Shiraishi Tamio
( ) :: translation
[ ] :: additional/comment/explanationUMI YUKABA
(when [you] go sea)
[lyrics by Ohtomo-no-Yakamochi
... about 1000years ago.
This song used as a funeral music for Japanese Army till WW2.
For me, this is a new song.]
umi yukaba mizuku kabane
(when [you] go sea, [you see] drenched dead bodies)
yama yukaba kusamusu kabane
(when [you] go mountain, [you see] weeds-grown dead bodies)
[.....actually after this, lyrics continue like
(pleased to die for emperor...)
but I did not and will not sing those parts.]
KAMIKAZE TOKUBETSU KOUGEKITAI
(kamikaze special attack mission)
[lyrics by ?
written in 1944, when Japan was desperate at WW2.
This song are favored by far right wing in Japan.
But the melody of this song is stupidly optimistic. very funny.
I sing with completely different tune.]
munen no hagami koraetsutsu
machi ni machitaru kessenzo
(now, long waiting decisive battle)
imakoso teki wo hohurannto
(it's time to destroy enemy)
(stirred up young cherries)
kono issen'ni katazareba
(if we will not win)
sokokuno yukute ikanaramu
(how could be the future of our country.)
gekimetsu seyo no mei ukeshi
(have ordered to destroy)
kamikaze tokubetsu kougekitai
(kamikaze special attack mission)-----------------------------------------
naruna yakuzani katagini nareto
(please do not live as yakuza)
kawai anokono nakigaoni
(tearful face of my cute love [is begging to me])
dakedo oiraha kataginya narenu
(but I cannot be a respectable)
yakuza toseino girigaaru
(I owe moral obligation as yakuza)
ai no hitomoji kokoroni simai
(hide one character "love")
[with Kanji-character, love is one character]
giri no nimojiwo mamorinuku
(keep two character "moral obligation")
[it's two character in Kanji]
tsurai mondaze gokudou monwa
(living as yakuza is hard)
hanpa monnniwa tsutomaranu
(frail guys cannot stand as yakuza)
[famous popular prisoners song,
you can find this in the list of KARAOKE shop]
haruni haruni owareshi
(chased by the season of spring)
kisu hike kisu hike
(drink and drink)
(live drunken life)
douse oirano yukusakiha
(only my destination is)
sononamo abashiri bangaichi
(prison at abashiri)
kirari kirari hikatta
(a solitary star)
(is in far north)
seiwa daredare nawa daredare
sononamo abashiri bangaichi
(prison at abashiri)
january 1, 2009
welcome the first utterance of the shuffleboard insignia credenza humansacrifice! the mung pile of my everlovin' creative outcroppings is revealed here thru exorcized methods of willful irregularity. every line, stain, lump, gurgle and wheeze signals a jumping off point to the next wheelbarrow full of cultural dream dross. from the exploded vat of aching back mulled wine on a rubbery floor to the dancing goats swaying in perpetual pestilence. the leaping leotard's lamebrains are emblazoned on blazin' lace and drool. leathery faces facing feces off to the races. humansacrifice won't take it away without giving back a dollop of compassion to the needy and downtrodden. maybe there is no future in subharmonics but a soul on ice blends well against a mountain of freeform misconceptions.
word spew for Eran Sachs & Fritz Welch gig at Bard
The duo of Eran Sachs and Fritz Welch is a holler and resonating tree stump with a fridge magnet holding down the fort like a quick dive under cold water on an amplified horse case.
Brooklyn gigs summer 2010
really psyched i got to play w/ Ki twice in Brooklyn. Both gigs were even more incredible thanks to the awesome evilnuss of Eran Sachs playing both sets and the weirding mysteries of Matt Bua at The Death by Audio show!
Ki (pronounced "key") is a japanese word with many homonyms, such as tree, mind, gas, opportunity, period, etc. it is also a ripping trio featuring mico (no neck blues band), tamio shiraishi (fujitsusha) and fritz welch (peeesseye). on this special occasion they will be joined by israeli mindbender eran sachs of cadaver eyes, lietterschpich, special olympics, ect