#sings a song about hating school and being an underdog( HAHA-) on his way to school

[frostedsketches]

Okay but doesn't the beginning of A Goofy Movie give the impression that it's going to basically just be a PG Disney appropriate version of Be More Chill?

[themusicjerk]

Captain Beefheart and his Magic Band - Trout Mask Replica

I was stopped once again on my way to Travis’ house to return his Sex Pistols CD. At this rate, I doubt he’ll ever get it back. He should be thanking me. My friend April saw that I was feeling pretty beaten up, and asked me what the matter was. “A Tribe Called Quest,” I told her. “They’re awful. It’s the same thing over and over again for an entire hour. And don’t get me started on the Sex Pistols.” She was surprised that I was even listening to music - me, the Music Jerk, who only knows three songs and hates all of them, and she said that if I wanted music that wasn’t afraid to try new things and go off the beaten path, I should listen to Trout Mask Replica.

I’m a little more willing to trust April, being of the fairer sex, after all. Perhaps listening to this CD will finally convince me that good music is out there. From my research, it seems that Captain Beefheart, Drumbo, Antennae Jimmy Semens, Zoot Horn Rollo, Rockette Morton, and The Mascara Snake got together because of their undeniable rock star names, and Beefheart locked them all in a mansion until the album was absolutely perfect. “Perfect,” “new,” “good,” I have high hopes for this record. April wouldn’t even tell me what genre it was. So here goes nothing.

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What in God’s good name is this garbage?????

So the first track on this album is called “Frownland” which seems to be exactly where I am being transported as I listen to this. Beefheart’s scratchy, off-key pseudoblues singing is a vain attempt to add melody or order to what I can only describe as a cat walking across a synthesizer and a guitar falling down stairs. As soon as “Frownland” ends, Beefheart begins sing “The Dust Blows Forward ‘n the Dust Blows Back,” without any support whatsoever from his Magic Band. Perhaps they all died in the great massacre that was “Frownland.”

I’ve listened to bad music before, but this is insulting. Dom and Travis at least had the good sense to give me CDs that I didn’t immediately recognize as instruments of torture. This is like a conversation with a homeless person that you didn’t know you were starting but that now you can’t escape from.

Off-beat drums and dissonant guitars return as Beefheart attempts to sing “Dachau Blues.” I say ‘attempt’ because the melody and rhythm are all over the place, and I cannot believe that anyone was locked anywhere in an attempt to make this perfect, unless of course they were so malnourished and traumatized by the whole experience that they forgot their original point. Then again, I would think trying to make good music would be akin to spinning gold from straw. The middle of this song has what sounds like the humming of an electromagnet, which I can only imagine is another way in which Beefheart is torturing his band.

Their tortured screams can be heard in “Ella Guru,” in fact even being used as what I can only suppose is supposed to be the chorus of said song. The scary bit is that I’m only seven minutes into this CD and there’s two of them. That’s right, April gave me this torture device and it comes with two discs. It will be a chore and a nightmare to try to even put the second disc in the player, but I will hold out hope that something here pulls back, says “haha gotcha,” and actually lays off my eardrums.

The squealing of elephants and deflated balloons that is “Hair Pie: Bake 1″ is not that, though. “Hair Pie: Bake 1″ is about the exact opposite of everything that a theoretical good music should be. Imagine you’re at the pier, and you hear the foghorn of a ship, but there is a booger caught in the horn and so the foghorn is whistling in and out of its tone. That’s “Hair Pie.” Halfway through, guitar and drums come in as if to try and convince me that this “song” has rhythm, but neither the guitar nor the drums are playing in time with each other. The best thing I can say about this “song” is that at least Beefheart isn’t trying to sing anymore.

Then, there’s about a minute of some guy rambling about an octafish, whatever that is. Dead air, um, dead air. This gives way to “Moonlight on Vermont,” which is the closest thing to an actual song I’ve heard all day. The drums and guitar are actually playing the same rhythm (for the most part) but Beefheart’s incoherent screaming still grates the eardrums like nails on a chalkboard. The guitar meanders and seems to confuse trying to find the right note with artistry. 

“Gimme that old time religion,” Beefheart repeats over and over with no regard to meter or rhythm. I’m having flashbacks to Johnny Rotten’s “Holidays in the Sun,” which, with all due respect is better than anything else on this record.

“A squid eating dough in a polyethylene bag is fast and bulbous, you got me?”

No, Beefy, I don’t got you.

“Pachuco Cadaver” is somehow the most generic song I’ve ever heard, as it sounds like it was written in an elementary school music class. It also sounds like it was played by elementary schoolers, because despite its very basic chord progression, we’ve again returned to none of the instruments playing in time, and Beefheart has given up any attempt to make a melody as he now rants about everything and nothing all at once on top of instruments playing whenever they feel like.

Oh goodness, they have somehow managed to combine saxophones with geese, my two least favorite noises in the world. Next time a fascist regime seeks to take over the world, they should hire these guys as interrogators. I would talk so fast.

To April’s credit, this is unlike anything I’d ever heard. At this point, though, I’m no longer surprised by it. I’m just waiting for it to be over. There is nothing here that could be construed as pleasant or exciting. To call it listenable is an overstatement.

“Oh lady look up in time, oh lady look out of love And you should have us all or you should have us fall”

My favorite bits, if favorite is even the right word to use, are when it sounds like he’s finally shutting up, like at the end of “Bills Corpse,” but the disorganized alarm tones of “Sweet Sweet Bulbs” prove that he’s not done yet.

“Neon Meate Dreams Of A Octafish” makes about as much sense as the title does. Beefy has now taken a step further away from melody. Now, he is literally just shouting gibberish in my ear while the guitar and drums do their own independent things. This is what it would sound like if Jack Torrance made a record. All work and no play makes Jack a dull boy. All work and no play makes Jack a dull boy. All work and no play makes Jack a dull boy. All work and no play makes Jack a dull boy. We’ve brought back the elephants. Is there no end to this torture?

“China Pig” sounds like it was recorded from a bathroom. Even the recording engineer couldn’t stomach this and had to retreat and record from a distance. Maybe this album would sound better if I retreated and listened from a distance, by which I mean, put the album to continue playing in my room while I run as far away as possible and disassociate myself with my exfriend April.

Maybe that’s a little harsh, but if April, or Travis, or Dom, or any of you had my best interests at heart, you would not be torturing me like this. I’m not a big sports guy, but I “get” sports. I see the appeal of sports. It’s competition, it’s hometown pride, it’s a way for local underdogs to become massive heroes, and it’s exciting to see how it plays out. If music is just people angrily shouting over people who don’t know how to play instruments, like everything I’ve been listening to over the last few days, then I must confess, I don’t “get” music. I was sort of hoping, honestly, that this project would open my eyes, but it really hasn’t. It’s just confirmed what I already knew.

Oh, “My Human Gets Me Blues.” I guess the engineer is out of the bathroom. Let’s see, what can I say about this? Uh. It has no melody and I don’t know what the guitar and drums are trying to do. I could probably fake my way through the rest of this album just saying that about every song. But maybe, I’ll suffer whatever aneurysm possessed the band to record this album later on and suddenly I’ll become a music fan.

“Dali’s Car” is a guitar solo, which is good, because it means that there are no drums or vocals for the guitar to be playing out of time with. Though, I should clarify: “Dali’s Car” is not a guitar solo which is good. Commas are important. It, like everything else on the record, seems to be dissonant chords and random notes at random times. And that’s the first disc.

It didn’t even end. The randomness of the notes means that the last note on the first disc sounds like the middle of a phrase. I just... I have to listen to the second disc. I need to know *what* April could possibly hear in this. Give me a minute.

First disc reflections: It’s awful. This is what schizophrenia must feel like. It should be illegal to call this music. This makes the Sex Pistols look like talented men, and A Tribe Called Quest poetic. Is that what music is? Listening to music so bad that you can apologize for music that is less bad? Seems like a situation with no winners. Is the only way to win to not play the game? And yet I’ve committed to this, and the last note of “Dali’s Car” has not given me any sort of satisfactory resolution. Here I go. Disc two. Wish me luck.

“Hair Pie: Bake 2???” Was the first one not bad enough??? At least this one doesn’t have so many elephants and deflated balloons. Actually, this one doesn’t sound too bad. I think it’s happening. The aneurysm is happening. Maybe I need to go run laps or something. Focus. Wow. That jarring key change just knocked me out of whatever hypnotic trance they just placed on me. Make no mistake: this is bad. It is clear and evident that the band have no idea what they are doing.

If I hear the phrase “fast and bulbous” one more time I swear I’m going to start saying it too.  When a hostage or prisoner begins to develop a friendly relationship with their kidnapper, that is called Stockholm Syndrome, which seems to be developing in my brain in a “fast and bulbous” manner. I did not ask to be here, but here I am, stuck.  

Oh my goodness. “Pena” is the Spanish word for “pain” in the metaphorical “pain-in-the-neck” sort of way. Well, that’s what the song “Pena,” is. Gone is any possible inkling that this music might be good. The tortured squealing of whoever-this-is has returned me exactly to where I was on the first disc. It’s like they knew that prisoners become numbed to torture, so they’re still thinking of new ways to break me.

Beefheart singing “Well” sounds like a song a prisoner might sing - sung by my jailer, it is both painfully ironic and borderline abusive. 

“Thick black felt birds a-flying With capes of solid chrome With feathers of solid chrome And beaks of solid bone,”

Did these words mean anything when Beefy wrote them or were they always word salad?

“When Big Joan Sets Up” is the culmination of everything terrible about the album, with offbeat instrumentals and an extended goosaphone solo. I’m three minutes into this song and it sounds like the guitarist is just trying to end it already, but the bassist wants to keep playing for some reason. The geese are getting angry. I don’t like angry geese.

“Is she a boy?” No. Next question.

“What do you run on, Rocket Morton?” “I run on beans. I run on LASER beans.”

Sure you do.

I will not lie, the bassist on “Fallin’ Ditch” is actually making an effort to play something with a melody. If only the guitarist, drummer, and singer were on the same page. As it stands now, we have a decent bass line - not great, but something you might hear on People’s Instinctive Rhythms and the Paths of Melody - now being tortured by the strangling mess that is the rest of this album’s production.

“Sugar ‘n Spikes” again features an attempt at a hook. I think I know what Beefy’s game is, and why April thinks this is a good album. The first disc is so bad that no matter what they throw at me in the second half, it has to sound better by comparison. “Big Joan” and “Pena” notwithstanding, I must admit that I am much happier than I was half an hour ago. 

But then I think about listening to “Ant Man Bee” on purpose. I think if I ever heard this by itself, on its own accord, I would have post-war flashbacks. The other albums I’ve listened to were bad, this is traumatic. This upsets my brain chemistry. When this album ends and I can see the world in color again, I’ll wonder how I ever smiled listening to the insane ramblings of a man with a terrible name. But even the saxophone has started to become a familiar edge to hang onto for me. Oh, saxophone that sounds like a deflated balloon, we’ve been through so much, you and I. Remember that time on “Hair Pie (Bake 1)” when you were the worst thing ever? Good times, good times.

If I listen to “Orange Claw Hammer,” enough, my vocabulary will become fast and bulbous. Havin’ t’ shine a wallet f’r a hamm’r, ‘llbe my career. Man with olives f’r eyes off’rs me a chicken f’r my troubles, but th’ chicken won’ stop singin’.

Hold on, you mean to say you can’t even pronounce the word “licorice?” No, no, no. I’ve still got one foot in reality, and I will stand my ground. I’ll not be pulled into the vortex that is the gibberish dream of Captain Beefheart. Remember “The Dust Blows Forward ‘n The Dust Blows Back” when this was the worst thing ever? Good times, good times.

No! Not good times. I will not have this aneurysm. Not today. Objectively, there is nothing good about any of this. I should never have started calling him “Beefy.” That’s where this all started. There is no difference between “Wild Life” and “Frownland” except that “Wild Life” has more geese. But it’s become familiar, now. I’ve been trapped here, listening to Trout Mask Replica for so long that it has become the only life I’ve ever known.

You know what, besides Captain Beefheart, is fast and bulbous? Cancerous tumors. That’s the best comparison.

“She’s Too Much For My Mirror,” is introduced as ‘famous,’ because at this point, had I not one foot in reality, I might actually believe that this song is well-known, well-liked, or well, anything. If April is trying to brainwash me, or hypnotize me, or I don’t know what, I swear to Beefy that I will put her in a chokehold and make her listen to an entire CD of me reciting Mad Libs over a Casio keyboard drum loop because only then will she understand the psychological torment that this album is putting on me.

hobo chang ba hobo chang ba hobo chang ba hobo chang ba hobo chang ba

“it’s the blimp, Frank! it’s the blimp!” Time is nothing. My room is nothing. There is no anything. All there is a trout, a mask, a replica, and a blimp. A mothership.

“Steal Softly thru Snow” and “Old Fart At Play” are the same sort of thing. It’s been almost eighty minutes and now I am craving to hear Beefheart talk about farts because it is the only remote pleasure I know in this torture chamber that is Trout Mask replica. When I am finally freed from this war camp, I will need to be entirely reeducated on proper human etiquette and civilization. How April manages to uphold herself as a functioning human being after listening to this, I don’t know.

The only outcome I can imagine where this album does not cause a human to become a stark raving lunatic is one in which the hypnotic spell of the goosaphone does not affect the brain. And if the brain is not affected, how anyone could enjoy or recommend this advanced instrument of psychological warfare is beyond me.

“Veteran’s Day Poppy” slowly decays into a complete wall of noise, before the guitar and drums slow down, and then, if we weren’t hypnotized yet, play the same cacophonous riff over and over again, getting more and more aggressive until the end of the record. And just like that, it’s over. I’m done. I hear birds chirping outside my window.

Whew, boy. I don’t think April is getting this back. I think this is going straight into the shredder where it belongs.

Captain Beefheart died, tragically, in 2010. I’m gonna dig him up and kill him again. One death is not enough to suffer for this crime against humanity. While I’m out, I should probably give Travis his CD back, and apologize for the mean things I said about his music. I had no idea.

If you think music is good, send me music, and I will tell you why you are wrong!