#Dan Vallor

[musiconanironingboard]

20 January 2024: Dead Center, Game Theory. (2023 Omnivore vinyl release of 2014 Omnivore expanded reissue of 1984 French Lolita compilation album)

Davis, California's Game Theory, and specifically frontman and sole constant Scott Miller, is on my list of all-time favorites. I've said it before and I'll say it again: I think Miller is in the same league of songwriters as Elvis Costello. He never got his full due during his life, and it wasn't until his 2013 suicide that the catalog of his band Game Theory was reissued to fanfare. (I'm still waiting for the catalog of his follow-up band The Loud Family to get the same treatment.)

The reissue campaign was overseen by Dan Vallor, Game Theory's original tour manager and sound engineer, with loving attention. I had some quibbles with its execution, but overall it provided me and countless others with the chance to revisit Miller's excellent 1980s work and it made for some of my most enjoyable listening for several years.

One of the oddball releases in the Omnivore campaign was their 2014 release Dead Center. This release was modeled after a 1984 compilation LP that came out only in France, under the same name. That original Dead Center was a bit of an oddity to begin with: it compiled some, but not all, of the tracks from the band's two EPs Pointed Accounts of People You Know (1983) and Distortion (1984) (including one written and sung by early member Fred Juhos), along with an alternate take of a song that previously appeared on a promo flexi (the title track "Dead Center") and a cover of the Box Tops' "The Letter." The French Dead Center came out before the band even had substantial distribution in the U.S.; I saw it in discographies throughout the pre-Internet years of my Game Theory fandom and was always baffled by it.

Rather than issue the original Dead Center as part of its campaign, Omnivore spruced it up to include an extra eleven songs including live recordings, demos, radio sessions, and the original flexi version of the title track. It came out on CD in 2014 and, so quietly that it happened without me even noticing, they released its first vinyl edition in August 2023. I finally learned about it while perusing the offerings in a recent 40%-off sale on the Omnivore site. I'm not sure why this was such an instant purchase; in comparison, I refused to buy a vinyl copy of the final item in the Omnivore campaign, the unpleasant 2020 compilation of death-throes Game Theory recordings Across the Barrier of Sound: Postscript from right before Miller formed The Loud Family. Unlike that album, I do love much of the content of Dead Center, and now I have an unexpected and possibly final "new" Game Theory release to enjoy when it finally rises to the top of my to-play stack. Why they issued this vinyl edition at a remove of nine years is beyond me; there was no other such gap in the rest of the band's reissue campaign.

Above are the front cover, hype sticker, and back cover. This is a single-pocket sleeve and there is no gatefold.

Below are both sides of the inner sleeve for LP one.

Next are the labels for LP one.

Next up are both sides of the inner sleeve for LP two.

And, the labels for LP two.

Here is a picture of the original French version of Dead Center from 1984, taken from Discogs. I still don't own and have never seen a copy.

[shoesandsocks]

Moving stuff off desktop before the power goes away....

This is from the first track of Supercalifragile. I was curious, so I reverse-reversed it.

(see)

[bestreasonstowriterecordreviews]

“...the perfect NZ supergroup with David Mitchell of Goblin Mix and the 3Ds on guitar, Peter Jefferies on drums, and The Rip’s Alastair Galbraith and Robbie Muir on guitar and bass respectively...it’s the familiar chemistry of these friends that gives Galbraith’s voice a more optimistic timbre than his solo work.”  - DAN VALLOR

XPRESSWAY PILE=UP, PART 13 by DAN VALLOR

PART 1: Intro and The DEAD C. “Even at its most structured, The Dead C. consistently has a sound so involving that it has a meditative quality.”

PART 2: THIS KIND OF PUNISHMENT “There are some fine moments on this release, but this is not the place to start with this otherwise exceptional band.”

PART 3: WRECK SMALL SPEAKERS ON EXPENSIVE STEREOS: “…bits of psychedelia similar to the Television Personalities from that era, but more prominent are elements of early-80′s Pere Ubu…WSSOES used electronics while avoiding the techno-pop cliches so prevalent in NZ and the international music scene at the time.”

PART 4: ALASTAIR GALBRAITH “…this is all pretty much a major work of art…in fact is among the most beautiful music I know…”

PART 5: XPRESSWAY PILE=UP “Perhaps it took a while for Russell to secure the rights for some of the earlier material, but it’s a blessing that he was clear enough in vision to revise Pile=Up into the important work it became.”

PART 6: I HATE PAVEL TICHY’S GUTS “A tiny review in Forced Exposure might have caused something of a stir as it was one of the first X/Way tapes to garner press in the states.”

PART 7: THE DEAD C “The Dead C. has followed countless musical paths since the release of The Sun Stabbed, but the EP represents some of the most distinctive. It is the document that vividly defines their early work.”

PART 8: THE VICTOR DIMISICH BAND “…favored something of a denser and darker sound than their southern Dunedin neighbors, expressed through a bleak vision and Velvet Underground inspired abandon…even in those early years, the brilliance of this band shone blindingly…”

PART 9: PETER GUTTERIDGE “…Gutteridge and Snapper have produced some beautifully hypnotic records…”

PART 10: ALASTAIR GALBRAITH & GRAEME JEFFERIES “This is a pinnacle of Xpressway’s brilliance, a tremendously spare and beautiful song…while they never lose control they do teeter now and then - only adding to the magic. Galbraith and Jeffries throw themselves at these moments with a glorious sense of spontaneity.”

PART 11: PETER JEFFERIES & ROBBIE MUIR: “…this is perhaps the apex of Peter Jefferies’ lengthy career…sears like some sort of acid shanty.”

PART 12: THE DEAD C. PERFORM DR503b:  “…the resurrection of ‘(Beyond Help From) Max Harris’, a cacophonous strum and twang…an epic 12-minute masterpiece of varying layers and one-half of one of the greatest works never heard outside of their small community until this release.”

POPWATCH #9  Summer 1998 (page 51)

LESLIE GAFFNEY & MR. LESLIE GAFFNEY, Publishers & Editors

Previously on Fuckin’ Record Reviews:

The entirety of Dan Vallor’s Xpressway history is available in viewable form as a lovingly (i.e., much better than FRR’s) scanned PDF with one simple click…you’ll never believe what happens next!

DAN VALLOR is well regarded as a musician, archivist and all around good human by those who know. He’s the producer of those essential GAME THEORY reissues Omnivore put out the past few years, but also works under the name CLARINETTE/KLARINETTE and has a brand new long player coming out on Feeding Tube Records on 3/24/17!

Order CLARINETTE’s The Now Of Then at Feeding Tube orForced Exposure; Byron Coley summarizes Dan Vallor’swork: “In the 15 years since Thurston and I released the first Clarinette LP, Haze (Ecstatic Yod),Dan Vallor has continued to produce music unabated. Most of it has been released in very limited editions (on CDRs, cassettes and lathes), but it has been a consistently cool flow of drone accrual and invention from a guy we still sorta think of as pop-oriented. Dan’s best known work probably remains his archival activities inside the archives of the late songwriting genius, Scott Miller, although others may know him from his efforts to catalog the output of the NZ lathe underground.Clarinette is a long running solo project that began in the ’80s, then went dormant until early in the 21st Century. The music is largely based on electric guitar huzz and hum, but there are plenty of sound events that pop up throughout the record, disturbing and enriching the surface with sproings, rasps and groons. The pieces on The Now of Then are all fairly reflective, and probably more suitable to stoned drifting than freak dancing, but hey — it never pays to second guess audience reaction. If you feel the urge to freak, so be it. Clarinette’s music definitely twangs the freak register. Who are we to say you should remain seated?”(2017)

An overview of Bruce Russell’s Xpressway at Audio Culture: “’Bruce Russell’s catch cry was ‘we know what’s good for you’,” [Stephen] Kilroy says. ‘And he could talk to it in an intellectual or artistic kind of way and justify it. People knew to trust Bruce; if it’s on Xpressway it must be good’.”

[randomlicious00-blog]

HPE: Moral Code, The Ethics of AI

The implications and promises of artificial intelligence (AI) are unimaginable. But what’s possible today will be dwarfed by the great potential of AI in the near future. The responsibility to raise these questions does not rest solely on the shoulders of journalists and leading technology companies. Rather, it’s the responsibility of all engaged citizens.

Client: HPE

Agency: Digitas Studios Media Agency: Digitas LBi

Agency: Atlantic Re:think

Production Company: Dress Code (https://ift.tt/2N3yiiG) Director: Dan Covert Executive Producer: Brad Edelstein Head of Production: Tara Rose Stromberg Supervising Producer: Amy Dempsey Cinematography: Claudio Rietti Editor: Dan Covert Assistant Editor: Nick Stromberg Script: Dan Covert, Amy Dempsey, Jeremy Elias, Sarah Sherman, Tara Rose Stromberg, Robbie Tanner Art Director: Elena Chudoba Editorial Illustration Concepts: John J. Custer Design: Elena Chudoba, John J. Custer, John Lee, Rasmus Löwenbrååt Lead Animator: Rasmus Löwenbrååt Animation: Erika Bernetich, Po Chen Chia, John Lee, Vincenzo Lodigiani Color: Daniel Orentlicher

Music + Sound: YouTooCanWoo Cast: Beena Ammanath, Anita Schjøll Brede, Kirk Bresniker, Curt Hopkins, John Markoff, Tim Urban, Shannon Vallor

For the full post: https://ift.tt/2KJ7vvj Likes: 1387 Viewed:

The post HPE: Moral Code, The Ethics of AI appeared first on Good Info.

[whileiamdying]

The implications and promises of artificial intelligence (AI) are unimaginable. But what’s possible today will be dwarfed by the great potential of AI in the near future. The responsibility to raise these questions does not rest solely on the shoulders of journalists and leading technology companies. Rather, it’s the responsibility of all engaged citizens. Client: HPE Agency: Atlantic Re:think Creative Director: Jeremy Elias Associate Creative Director: Sarah Sherman Creative Solutions Coordinator: Robbie Tanner Production Company: Dress Code (https://ift.tt/2N3yiiG) Director: Dan Covert Executive Producer: Brad Edelstein Head of Production: Tara Rose Stromberg Supervising Producer: Amy Dempsey Cinematography: Claudio Rietti Editor: Dan Covert Assistant Editor: Nick Stromberg Script: Dan Covert, Amy Dempsey, Jeremy Elias, Sarah Sherman, Tara Rose Stromberg, Robbie Tanner Art Director: Elena Chudoba Editorial Illustration Concepts: John J. Custer Design: Elena Chudoba, John J. Custer, John Lee, Rasmus Löwenbrååt Lead Animator: Rasmus Löwenbrååt Animation: Erika Bernetich, Po Chen Chia, John Lee, Vincenzo Lodigiani Color: Daniel Orentlicher Music + Sound: YouTooCanWoo Cast: Beena Ammanath, Anita Schjøll Brede, Kirk Bresniker, Curt Hopkins, John Markoff, Tim Urban, Shannon Vallor For the full post: https://ift.tt/2KJ7vvj

[artwalktv]

The implications and promises of artificial intelligence (AI) are unimaginable. But what’s possible today will be dwarfed by the great potential of AI in the near future. The responsibility to raise these questions does not rest solely on the shoulders of journalists and leading technology companies. Rather, it’s the responsibility of all engaged citizens. Client: HPE Agency: Atlantic Re:think Creative Director: Jeremy Elias Associate Creative Director: Sarah Sherman Creative Solutions Coordinator: Robbie Tanner Production Company: Dress Code (http://bit.ly/2zRPyFS) Director: Dan Covert Executive Producer: Brad Edelstein Head of Production: Tara Rose Stromberg Supervising Producer: Amy Dempsey Cinematography: Claudio Rietti Editor: Dan Covert Assistant Editor: Nick Stromberg Script: Dan Covert, Amy Dempsey, Jeremy Elias, Sarah Sherman, Tara Rose Stromberg, Robbie Tanner Art Director: Elena Chudoba Editorial Illustration Concepts: John J. Custer Design: Elena Chudoba, John J. Custer, John Lee, Rasmus Löwenbrååt Lead Animator: Rasmus Löwenbrååt Animation: Erika Bernetich, Po Chen Chia, John Lee, Vincenzo Lodigiani Color: Daniel Orentlicher Music + Sound: YouTooCanWoo Cast: Beena Ammanath, Anita Schjøll Brede, Kirk Bresniker, Curt Hopkins, John Markoff, Tim Urban, Shannon Vallor For the full post: http://bit.ly/2uzCVuk

[eduardomarin90]

HPE: Moral Code, The Ethics of AI from Dress Code on Vimeo.

The implications and promises of artificial intelligence (AI) are unimaginable. But what’s possible today will be dwarfed by the great potential of AI in the near future. The responsibility to raise these questions does not rest solely on the shoulders of journalists and leading technology companies. Rather, it’s the responsibility of all engaged citizens.

Client: HPE

Agency: Digitas Studios Media Agency: Digitas LBi

Agency: Atlantic Re:think

Production Company: Dress Code (dresscodeny.com) Director: Dan Covert Executive Producer: Brad Edelstein Head of Production: Tara Rose Stromberg Supervising Producer: Amy Dempsey Cinematography: Claudio Rietti Editor: Dan Covert Assistant Editor: Nick Stromberg Script: Dan Covert, Amy Dempsey, Jeremy Elias, Sarah Sherman, Tara Rose Stromberg, Robbie Tanner Art Director: Elena Chudoba Editorial Illustration Concepts: John J. Custer Design: Elena Chudoba, John J. Custer, John Lee, Rasmus Löwenbrååt Lead Animator: Rasmus Löwenbrååt Animation: Erika Bernetich, Po Chen Chia, John Lee, Vincenzo Lodigiani Color: Daniel Orentlicher

Music + Sound: YouTooCanWoo Cast: Beena Ammanath, Anita Schjøll Brede, Kirk Bresniker, Curt Hopkins, John Markoff, Tim Urban, Shannon Vallor

For the full post: theatlantic.com/sponsored/hpe-2018/the-ethics-of-ai/1865/

[placerdiario]

HPE: Moral Code, The Ethics of AI from Dress Code on Vimeo.

The implications and promises of artificial intelligence (AI) are unimaginable. But what’s possible today will be dwarfed by the great potential of AI in the near future. The responsibility to raise these questions does not rest solely on the shoulders of journalists and leading technology companies. Rather, it’s the responsibility of all engaged citizens.

Client: HPE

Agency: Digitas Studios Media Agency: Digitas LBi

Agency: Atlantic Re:think Creative Director: Jeremy Elias Associate Creative Director: Sarah Sherman Creative Solutions Coordinator: Robbie Tanner

Production Company: Dress Code (dresscodeny.com) Director: Dan Covert Executive Producer: Brad Edelstein Head of Production: Tara Rose Stromberg Supervising Producer: Amy Dempsey Cinematography: Claudio Rietti Editor: Dan Covert Assistant Editor: Nick Stromberg Script: Dan Covert, Amy Dempsey, Jeremy Elias, Sarah Sherman, Tara Rose Stromberg, Robbie Tanner Art Director: Elena Chudoba Editorial Illustration Concepts: John J. Custer Design: Elena Chudoba, John J. Custer, John Lee, Rasmus Löwenbrååt Lead Animator: Rasmus Löwenbrååt Animation: Erika Bernetich, Po Chen Chia, John Lee, Vincenzo Lodigiani Color: Daniel Orentlicher

Music + Sound: YouTooCanWoo Cast: Beena Ammanath, Anita Schjøll Brede, Kirk Bresniker, Curt Hopkins, John Markoff, Tim Urban, Shannon Vallor

For the full post: theatlantic.com/sponsored/hpe-2018/the-ethics-of-ai/1865/

[malangtoday-blog]

Ketimbang The Revenant, Akting Leonardo DiCaprio di 5 Film Ini Lebih Layak Dapat Oscar

MALANGTODAY.NET – Hari ini merupakan hari ulang tahun aktor kawakan Hollywood, Leonardo DiCaprio. Sejak pertama kali berkarir sebagai aktor di industri perfilman, setidaknya sudah lebih dari 30 judul film yang ia mainkan. Kendati banyak sekali karya dan perannya yang bagus dan membuat penontonnya sampai tak bisa lupa, namun nyatanya Leonardo DiCaprio baru sukses menggondol Piala Oscar atas aktingnya di film The Revenant. Banyak yang mengatakan jika sebenarnya peran Leonardo DiCaprio di The Revenant tak lebih baik dari karakter-karakter dari film-film sebelumnya yang sejatinya lebih layak untuk mendapatkan penghargaan Oscar. Baca Juga: Akibat Diam-Diam Poligami, Jenazah Korban Lion Air Diperebutkan Istri-Istri Dilansir dari beberapa sumber, berikut beberapa film Leonardo DiCaprio yang ‘katanya’ lebih layak dianugerahi penghargaan Oscar.

Catch Me If You Can

[caption id="attachment_263779" align="alignnone" width="1068"] Catch Me If You Can @ Amazon[/caption] Ketik usia Leonardo DiCaprio hamper menginjak 30 tahun, ia memerankan Frank Jr di film Catch Me If You Can Bersama actor kawakan Tom Hanks. Ini bukan hanya film yang bagus. Tapi pada film ini, kita bisa melihat bagaimana DiCaprio mampu menjiwai karakter seorang berusia 15 tahun yang beralih ke usia 30 tahun hanya dalam rentang waktu dua jam saja. Di film ini, DiCaprio menunjukkan jangkauan karakter yang lebih luas daripada yang ia mainkan di The Revenant. Tak bisa dipungkiri bahwa Catch Me If You Can adalah salah satu karya terbaik DiCaprio.

The Departed

[caption id="attachment_263775" align="alignnone" width="1068"] The Departed @ AMC Networks[/caption] Dalam film ini Leonardo DiCaprio berperan sebagai Billy Costigan. Banyak yang bilang bahwa Billy Costigan adalah peran terbaik dari DiCaprio. Sebagai seorang polisi samaran yang memiliki jutaan masalah yang kompleks, Billy Corgan sanggup dimainkan oleh DiCaprio dengan apik. Ketegangan tensi yang sukses tercipta dari film itu tak lain berkat kepiawaan Leo. Ironisnya, film The Departed ini sukses menggondol empat Piala Oscar, termasuk Best Picture. Namun sayang, sebagai aktor utama Leo tak mendapatkan apapun. Baca Juga: Mahasiswa Wajib Punya NPWP, Menristekdikti: Mereka Potensi Pajak

Django Unchained

[caption id="attachment_263778" align="alignnone" width="1068"] Django Unchained @ NBC[/caption] Di film Django Unchained, Leo bermain sebagai Calvin Candie, seorang don juan perbudakan di Mississipi. Di film ini, tokoh jahat yang diperankan oleh Leo berhasil membuat penggemarnya semakin terkagum dengan kemampuannya berakting. Di film ini, karakter Leo sukses menakuti siapapun karakter lain di film. Dia tentu pantas mendapatkan pengakuan untuk perannya sebagai Mister Candie karena telah sanggup menyampaikan gambaran pemilik perbudakan yang keji. Sayangnya, Leo juga tidak memenangkan Oscar untuk karya ini.

Gangs of New York

[caption id="attachment_263777" align="alignnone" width="1068"] Gangs Of New York @ Screen Musings[/caption] Gangs of New York mengambil setting di tahun 1863, dimana Leonardo DiCaprio memerankan Amsterdam Vallon, yang kembali untuk membalaskan dendam kepada Bill the Butcher, orang yang membunuh ayahnya. Tidak hanya filmnya yang luar biasa, namun Amsterdam Vallor yang kerap bersinggungan dengan kematian; ketakutan dan kegetirannya berhasil dimainkan sangat rapi oleh DiCaprio. Salah satu karya terbaik Leo di film ini tayang di tahun yang sama dengan film Catch Me If You Can. Dan seperti yang telah diketahui bersama, Leonardo DiCaprio tak diganjar satupun Piala Oscar saat itu.

The Aviator

[caption id="attachment_263776" align="alignnone" width="1068"] The Aviator @ Spotern[/caption] Film The Aviator itu memang panjang. Tapi bagi siapapun yang detail melihat setiap epic yang disajikan oleh film ini, akan sangat mudah melihat betapa luar biasa penampilan Leonardo DiCaprio yang berperan sebagai miliarder bernama Howard Hughes. Memerankan miliarder muda, miliarder muda yang kotor, Leo secara brilian memerankan tokoh yang diangkap khayal dan tak mungkin, menjadi sangat mungkin dan bisa dipercaya oleh penonton. Baca Juga: Sering Cover Lagu SID, Jrx: Emang Via Vallen Paham Artinya? Kemampuan Leo untuk menunjukkan gangguan ini dengan cara yang sedemikian cemerlang menjadi sebuah pembuktian bahwa dirinya pantas diganjar dengan penghargaan Academy Awards di tahun 2004 silam. Namun tidak untuk Oscar. Sulit untuk melakukan hal gila tanpa sedikit lucu. Namun DiCaprio mematok sebuah karakter tragis ini dengan cara yang indah. Selamat ulang tahun Leonardo!

Penulis: Swara Mardika Editor: Swara Mardika

Source : https://malangtoday.net/inspirasi/film/soal-oscar-5-film-leonardo-dicaprio-ini-lebih-layak-dari-the-revenant/

MalangTODAY

[facualva]

HPE: Moral Code, The Ethics of AI from Dress Code on Vimeo.

The implications and promises of artificial intelligence (AI) are unimaginable. But what’s possible today will be dwarfed by the great potential of AI in the near future. The responsibility to raise these questions does not rest solely on the shoulders of journalists and leading technology companies. Rather, it’s the responsibility of all engaged citizens.

Client: HPE

Agency: Digitas Studios Media Agency: Digitas LBi

Agency: Atlantic Re:think Creative Director: Jeremy Elias Associate Creative Director: Sarah Sherman Creative Solutions Coordinator: Robbie Tanner

Production Company: Dress Code (dresscodeny.com) Director: Dan Covert Executive Producer: Brad Edelstein Head of Production: Tara Rose Stromberg Supervising Producer: Amy Dempsey Cinematography: Claudio Rietti Editor: Dan Covert Assistant Editor: Nick Stromberg Script: Dan Covert, Amy Dempsey, Jeremy Elias, Sarah Sherman, Tara Rose Stromberg, Robbie Tanner Art Director: Elena Chudoba Editorial Illustration Concepts: John J. Custer Design: Elena Chudoba, John J. Custer, John Lee, Rasmus Löwenbrååt Lead Animator: Rasmus Löwenbrååt Animation: Erika Bernetich, Po Chen Chia, John Lee, Vincenzo Lodigiani Color: Daniel Orentlicher

Music + Sound: YouTooCanWoo Cast: Beena Ammanath, Anita Schjøll Brede, Kirk Bresniker, Curt Hopkins, John Markoff, Tim Urban, Shannon Vallor

For the full post: theatlantic.com/sponsored/hpe-2018/the-ethics-of-ai/1865/

[ozkamal]

The implications and promises of artificial intelligence (AI) are unimaginable. But what’s possible today will be dwarfed by the great potential of AI in the near future. The responsibility to raise these questions does not rest solely on the shoulders of journalists and leading technology companies. Rather, it’s the responsibility of all engaged citizens. Client: HPE Agency: Atlantic Re:think Creative Director: Jeremy Elias Associate Creative Director: Sarah Sherman Creative Solutions Coordinator: Robbie Tanner Production Company: Dress Code (https://ift.tt/2N3yiiG) Director: Dan Covert Executive Producer: Brad Edelstein Head of Production: Tara Rose Stromberg Supervising Producer: Amy Dempsey Cinematography: Claudio Rietti Editor: Dan Covert Assistant Editor: Nick Stromberg Script: Dan Covert, Amy Dempsey, Jeremy Elias, Sarah Sherman, Tara Rose Stromberg, Robbie Tanner Art Director: Elena Chudoba Editorial Illustration Concepts: John J. Custer Design: Elena Chudoba, John J. Custer, John Lee, Rasmus Löwenbrååt Lead Animator: Rasmus Löwenbrååt Animation: Erika Bernetich, Po Chen Chia, John Lee, Vincenzo Lodigiani Color: Daniel Orentlicher Music + Sound: YouTooCanWoo Cast: Beena Ammanath, Anita Schjøll Brede, Kirk Bresniker, Curt Hopkins, John Markoff, Tim Urban, Shannon Vallor For the full post: https://ift.tt/2KJ7vvj

[inneres]

Clarinette: Endles But Also Ending On Celebrate Psi Phenomenon

[bestreasonstowriterecordreviews]

“...Gutteridge and Snapper have produced some beautifully hypnotic records...” - DAN VALLOR

XPRESSWAY PILE=UP, PART 9 by DAN VALLOR

PART 1: Intro and The DEAD C. “Even at its most structured, The Dead C. consistently has a sound so involving that it has a meditative quality.”

PART 2: THIS KIND OF PUNISHMENT “There are some fine moments on this release, but this is not the place to start with this otherwise exceptional band.”

PART 3: WRECK SMALL SPEAKERS ON EXPENSIVE STEREOS: “…bits of psychedelia similar to the Television Personalities from that era, but more prominent are elements of early-80′s Pere Ubu…WSSOES used electronics while avoiding the techno-pop cliches so prevalent in NZ and the international music scene at the time.”

PART 4: ALASTAIR GALBRAITH “…this is all pretty much a major work of art…in fact is among the most beautiful music I know…”

PART 5: XPRESSWAY PILE=UP “Perhaps it took a while for Russell to secure the rights for some of the earlier material, but it’s a blessing that he was clear enough in vision to revise Pile=Up into the important work it became.”

PART 6: I HATE PAVEL TICHY’S GUTS “A tiny review in Forced Exposure might have caused something of a stir as it was one of the first X/Way tapes to garner press in the states.”

PART 7: THE DEAD C “The Dead C. has followed countless musical paths since the release of The Sun Stabbed, but the EP represents some of the most distinctive. It is the document that vividly defines their early work.”

PART 8: THE VICTOR DIMISICH BAND “...favored something of a denser and darker sound than their southern Dunedin neighbors, expressed through a bleak vision and Velvet Underground inspired abandon…even in those early years, the brilliance of this band shone blindingly…”

POPWATCH #9  Summer 1998 (page 50)

LESLIE GAFFNEY & MR. LESLIE GAFFNEY, Publishers & Editors

Previously on Fuckin’ Record Reviews:

Pure was reissued in 2013 on deluxe double vinyl by the Chaos In Tejas people, who also have something to do with the 540 Records label. Buy it here.

Gerard Cosloy’s review of Pure from CONFLICT #50 (Fall 1989): “Peter Gutteridge is a big deal Dunedin pop icon…[with] a knack for the grayer, more repetitive side of things that we haven’t heard previously…Marty rev counterpart, maybe, except there’s no phobia towards guitars or manually played percussion if need be…”

Farewell to Peter Gutteridge (5/19/61 – 9/15/14) fromhonor harger

The entirety of Dan Vallor’s Xpressway history is available in viewable form as a lovingly (i.e., much better than FRR’s) scanned PDF with one simple click…you’ll never believe what happens next!

DAN VALLOR is well regarded as a musician, archivist and all around good human by those who know. He’s the producer of those essential GAME THEORYreissues Omnivoreput out the past few years, but also works under the name CLARINETTE/KLARINETTE and has a brand new long player coming out on Feeding Tube Records on3/24/17!

Order CLARINETTE’s The Now Of Then at Feeding Tube or Forced Exposure; Byron Coley summarizes Dan Vallor’s work: “In the 15 years since Thurston and I released the first Clarinette LP, Haze (Ecstatic Yod), Dan Vallor has continued to produce music unabated. Most of it has been released in very limited editions (on CDRs, cassettes and lathes), but it has been a consistently cool flow of drone accrual and invention from a guy we still sorta think of as pop-oriented. Dan’s best known work probably remains his archival activities inside the archives of the late songwriting genius, Scott Miller, although others may know him from his efforts to catalog the output of the NZ lathe underground. Clarinette is a long running solo project that began in the ’80s, then went dormant until early in the 21st Century. The music is largely based on electric guitar huzz and hum, but there are plenty of sound events that pop up throughout the record, disturbing and enriching the surface with sproings, rasps and groons. The pieces on The Now of Then are all fairly reflective, and probably more suitable to stoned drifting than freak dancing, but hey — it never pays to second guess audience reaction. If you feel the urge to freak, so be it. Clarinette’s music definitely twangs the freak register. Who are we to say you should remain seated?”(2017)

An overview of Bruce Russell’s Xpressway at Audio Culture: “’Bruce Russell’s catch cry was ‘we know what’s good for you’,” [Stephen] Kilroy says. ‘And he could talk to it in an intellectual or artistic kind of way and justify it. People knew to trust Bruce; if it’s on Xpressway it must be good’.”

[bestreasonstowriterecordreviews]

“...the resurrection of ‘(Beyond Help From) Max Harris’, a cacophonous strum and twang...an epic 12-minute masterpiece of varying layers and one-half of one of the greatest works never heard outside of their small community until this release.”  - DAN VALLOR

XPRESSWAY PILE=UP, PART 12 by DAN VALLOR

PART 1: Intro and The DEAD C. “Even at its most structured, The Dead C. consistently has a sound so involving that it has a meditative quality.”

PART 2: THIS KIND OF PUNISHMENT “There are some fine moments on this release, but this is not the place to start with this otherwise exceptional band.”

PART 3: WRECK SMALL SPEAKERS ON EXPENSIVE STEREOS: “…bits of psychedelia similar to the Television Personalities from that era, but more prominent are elements of early-80′s Pere Ubu…WSSOES used electronics while avoiding the techno-pop cliches so prevalent in NZ and the international music scene at the time.”

PART 4: ALASTAIR GALBRAITH “…this is all pretty much a major work of art…in fact is among the most beautiful music I know…”

PART 5: XPRESSWAY PILE=UP “Perhaps it took a while for Russell to secure the rights for some of the earlier material, but it’s a blessing that he was clear enough in vision to revise Pile=Up into the important work it became.”

PART 6: I HATE PAVEL TICHY’S GUTS “A tiny review in Forced Exposure might have caused something of a stir as it was one of the first X/Way tapes to garner press in the states.”

PART 7: THE DEAD C “The Dead C. has followed countless musical paths since the release of The Sun Stabbed, but the EP represents some of the most distinctive. It is the document that vividly defines their early work.”

PART 8: THE VICTOR DIMISICH BAND “…favored something of a denser and darker sound than their southern Dunedin neighbors, expressed through a bleak vision and Velvet Underground inspired abandon…even in those early years, the brilliance of this band shone blindingly…”

PART 9: PETER GUTTERIDGE “…Gutteridge and Snapper have produced some beautifully hypnotic records…”

PART 10: ALASTAIR GALBRAITH & GRAEME JEFFERIES “This is a pinnacle of Xpressway’s brilliance, a tremendously spare and beautiful song…while they never lose control they do teeter now and then - only adding to the magic. Galbraith and Jeffries throw themselves at these moments with a glorious sense of spontaneity.”

PART 11: PETER JEFFERIES & ROBBIE MUIR: “…this is perhaps the apex of Peter Jefferies’ lengthy career…sears like some sort of acid shanty.”

POPWATCH #9  Summer 1998 (page 51)

LESLIE GAFFNEY & MR. LESLIE GAFFNEY, Publishers & Editors

Previously on Fuckin’ Record Reviews:

The entirety of Dan Vallor’s Xpressway history is available in viewable form as a lovingly (i.e., much better than FRR’s) scanned PDF with one simple click…you’ll never believe what happens next!

DAN VALLOR is well regarded as a musician, archivist and all around good human by those who know. He’s the producer of those essential GAME THEORY reissues Omnivore put out the past few years, but also works under the name CLARINETTE/KLARINETTE and has a brand new long player coming out on Feeding Tube Records on 3/24/17!

Order CLARINETTE’s The Now Of Then at Feeding Tube or Forced Exposure; Byron Coley summarizes Dan Vallor’swork: “In the 15 years since Thurston and I released the first Clarinette LP, Haze (Ecstatic Yod),Dan Vallor has continued to produce music unabated. Most of it has been released in very limited editions (on CDRs, cassettes and lathes), but it has been a consistently cool flow of drone accrual and invention from a guy we still sorta think of as pop-oriented. Dan’s best known work probably remains his archival activities inside the archives of the late songwriting genius, Scott Miller, although others may know him from his efforts to catalog the output of the NZ lathe underground.Clarinette is a long running solo project that began in the ’80s, then went dormant until early in the 21st Century. The music is largely based on electric guitar huzz and hum, but there are plenty of sound events that pop up throughout the record, disturbing and enriching the surface with sproings, rasps and groons. The pieces on The Now of Then are all fairly reflective, and probably more suitable to stoned drifting than freak dancing, but hey — it never pays to second guess audience reaction. If you feel the urge to freak, so be it. Clarinette’s music definitely twangs the freak register. Who are we to say you should remain seated?”(2017)

An overview of Bruce Russell’s Xpressway at Audio Culture: “’Bruce Russell’s catch cry was ‘we know what’s good for you’,” [Stephen] Kilroy says. ‘And he could talk to it in an intellectual or artistic kind of way and justify it. People knew to trust Bruce; if it’s on Xpressway it must be good’.”

[bestreasonstowriterecordreviews]

“The band were very much a group of free-thinking art freaks who had done so much jamming they’d nearly graduated to an insightful sense of improvisation.” - DAN VALLOR

XPRESSWAY PILE=UP, PART 14 by DAN VALLOR

PART 1: Intro and The DEAD C. “Even at its most structured, The Dead C. consistently has a sound so involving that it has a meditative quality.”

PART 2: THIS KIND OF PUNISHMENT “There are some fine moments on this release, but this is not the place to start with this otherwise exceptional band.”

PART 3: WRECK SMALL SPEAKERS ON EXPENSIVE STEREOS: “…bits of psychedelia similar to the Television Personalities from that era, but more prominent are elements of early-80′s Pere Ubu…WSSOES used electronics while avoiding the techno-pop cliches so prevalent in NZ and the international music scene at the time.”

PART 4: ALASTAIR GALBRAITH “…this is all pretty much a major work of art…in fact is among the most beautiful music I know…”

PART 5: XPRESSWAY PILE=UP “Perhaps it took a while for Russell to secure the rights for some of the earlier material, but it’s a blessing that he was clear enough in vision to revise Pile=Up into the important work it became.”

PART 6: I HATE PAVEL TICHY’S GUTS “A tiny review in Forced Exposure might have caused something of a stir as it was one of the first X/Way tapes to garner press in the states.”

PART 7: THE DEAD C “The Dead C. has followed countless musical paths since the release of The Sun Stabbed, but the EP represents some of the most distinctive. It is the document that vividly defines their early work.”

PART 8: THE VICTOR DIMISICH BAND “…favored something of a denser and darker sound than their southern Dunedin neighbors, expressed through a bleak vision and Velvet Underground inspired abandon…even in those early years, the brilliance of this band shone blindingly…”

PART 9: PETER GUTTERIDGE “…Gutteridge and Snapper have produced some beautifully hypnotic records…”

PART 10: ALASTAIR GALBRAITH & GRAEME JEFFERIES “This is a pinnacle of Xpressway’s brilliance, a tremendously spare and beautiful song…while they never lose control they do teeter now and then - only adding to the magic. Galbraith and Jeffries throw themselves at these moments with a glorious sense of spontaneity.”

PART 11: PETER JEFFERIES & ROBBIE MUIR: “…this is perhaps the apex of Peter Jefferies’ lengthy career…sears like some sort of acid shanty.”

PART 12: THE DEAD C. PERFORM DR503b: “…the resurrection of ‘(Beyond Help From) Max Harris’, a cacophonous strum and twang…an epic 12-minute masterpiece of varying layers and one-half of one of the greatest works never heard outside of their small community until this release.”

PART 13: PLAGAL GRIND “…the perfect NZ supergroup with David Mitchell of Goblin Mix and the 3Ds on guitar, Peter Jefferies on drums, and The Rip’s Alastair Galbraith and Robbie Muir on guitar and bass respectively…it’s the familiar chemistry of these friends that gives Galbraith’s voice a more optimistic timbre than his solo work.”

POPWATCH #9  Summer 1998 (pages 51 & 52)

LESLIE GAFFNEY & MR. LESLIE GAFFNEY, Publishers & Editors

Previously on Fuckin’ Record Reviews:

The entirety of Dan Vallor’s Xpressway history is available in viewable form as a lovingly (i.e., much better than FRR’s) scanned PDF with one simple click…you’ll never believe what happens next!

DAN VALLOR is well regarded as a musician, archivist and all around good human by those who know. He’s the producer of those essential GAME THEORY reissuesOmnivore put out the past few years, but also works under the name CLARINETTE/KLARINETTE and has a brand new long player coming out on Feeding Tube Records on3/24/17!

Order CLARINETTE’s The Now Of Then at Feeding TubeorForced Exposure; Byron Coley summarizes Dan Vallor’swork: “In the 15 years since Thurston and I released the first Clarinette LP, Haze (Ecstatic Yod),Dan Vallor has continued to produce music unabated. Most of it has been released in very limited editions (on CDRs, cassettes and lathes), but it has been a consistently cool flow of drone accrual and invention from a guy we still sorta think of as pop-oriented. Dan’s best known work probably remains his archival activities inside the archives of the late songwriting genius, Scott Miller, although others may know him from his efforts to catalog the output of the NZ lathe underground.Clarinette is a long running solo project that began in the ’80s, then went dormant until early in the 21st Century. The music is largely based on electric guitar huzz and hum, but there are plenty of sound events that pop up throughout the record, disturbing and enriching the surface with sproings, rasps and groons. The pieces on The Now of Then are all fairly reflective, and probably more suitable to stoned drifting than freak dancing, but hey — it never pays to second guess audience reaction. If you feel the urge to freak, so be it. Clarinette’s music definitely twangs the freak register. Who are we to say you should remain seated?”(2017)

An overview of Bruce Russell’s Xpressway at Audio Culture: “’Bruce Russell’s catch cry was ‘we know what’s good for you’,” [Stephen] Kilroy says. ‘And he could talk to it in an intellectual or artistic kind of way and justify it. People knew to trust Bruce; if it’s on Xpressway it must be good’.”

[bestreasonstowriterecordreviews]

“The Dead C. has followed countless musical paths since the release of The Sun Stabbed, but the EP represents some of the most distinctive. It is the document that vividly defines their early work.” - DAN VALLOR

XPRESSWAY PILE=UP, PART 7 by DAN VALLOR

PART 1: Intro and The DEAD C.: “Even at its most structured, The Dead C. consistently has a sound so involving that it has a meditative quality.”

PART 2: THIS KIND OF PUNISHMENT: “There are some fine moments on this release, but this is not the place to start with this otherwise exceptional band.”

PART 3: WRECK SMALL SPEAKERS ON EXPENSIVE STEREOS: “…bits of psychedelia similar to the Television Personalities from that era, but more prominent are elements of early-80′s Pere Ubu…WSSOES used electronics while avoiding the techno-pop cliches so prevalent in NZ and the international music scene at the time.”

PART 4: ALASTAIR GALBRAITH: “…this is all pretty much a major work of art…in fact is among the most beautiful music I know…”

PART 5: XPRESSWAY PILE=UP: “Perhaps it took a while for Russell to secure the rights for some of the earlier material, but it’s a blessing that he was clear enough in vision to revise Pile=Up into the important work it became.”

PART 6: I HATE PAVEL TICHY’S GUTS: “A tiny review in Forced Exposure might have caused something of a stir as it was one of the first X/Way tapes to garner press in the states.”

POPWATCH #9  Summer 1998 (page 50)

LESLIE GAFFNEY & MR. LESLIE GAFFNEY, Publishers & Editors

Previously on Fuckin’ Record Reviews:

The entirety of Dan Vallor’s Xpressway history is available in viewable form as a lovingly (i.e., much better than FRR’s) scanned PDF with one simple click…you’ll never believe what happens next!

DAN VALLOR is well regarded as a musician, archivist and all around good human by those who know. He’s the producer of those essential GAME THEORY reissues Omnivoreput out the past few years, but also works under the name CLARINETTE/KLARINETTE and has a brand new long player coming out on Feeding Tube Records on3/24/17!

Order CLARINETTE’s The Now Of Then at Feeding Tube or Forced Exposure; Byron Coley summarizes Dan Vallor’swork: “In the 15 years since Thurston and I released the first Clarinette LP, Haze (Ecstatic Yod), Dan Vallor has continued to produce music unabated. Most of it has been released in very limited editions (on CDRs, cassettes and lathes), but it has been a consistently cool flow of drone accrual and invention from a guy we still sorta think of as pop-oriented. Dan’s best known work probably remains his archival activities inside the archives of the late songwriting genius, Scott Miller, although others may know him from his efforts to catalog the output of the NZ lathe underground. Clarinette is a long running solo project that began in the ’80s, then went dormant until early in the 21st Century. The music is largely based on electric guitar huzz and hum, but there are plenty of sound events that pop up throughout the record, disturbing and enriching the surface with sproings, rasps and groons. The pieces on The Now of Then are all fairly reflective, and probably more suitable to stoned drifting than freak dancing, but hey — it never pays to second guess audience reaction. If you feel the urge to freak, so be it. Clarinette’s music definitely twangs the freak register. Who are we to say you should remain seated?”(2017)

An overview of Bruce Russell’s Xpressway at Audio Culture: “’Bruce Russell’s catch cry was ‘we know what’s good for you’,” [Stephen] Kilroy says. ‘And he could talk to it in an intellectual or artistic kind of way and justify it. People knew to trust Bruce; if it’s on Xpressway it must be good’.”