The marginalization of Snufmeg was, and continues to be, a worldwide conspiracy. From the onset, agents have sought to undermine and alienate the public at large from the near salvific creations under the banner of Snufmeg.
At some point during 1983, a campaign was launched against the community in the form of psychological warfare. A concerted effort was made to destabilize and atomize the members. One such attack came in the form of casual dismissal of Snufmeg, but the Cheese Mites in particular, for failing to embrace "Cultural Influences." This became hotly debated and served to initiate severances amongst interested parties. It was eventually determined by Phynqafis Himself, after a prolonged forum of cogitation over Snuff and Nutmeg, he pronounced the best practice was to use such elements against the enemies of Snufmeg. The community soon enthusiastically accepted.
What, however, was intended by "cultural influences"? The agents in the matter never revealed. But, by the guidance of Phynqafis a plan was concocted. What follows are examples from as early as 1983.
This collection created and compiled by Johnny B. Dub, with the title "DJ" preceding his name, introduces the use of computers and synthesizers into musical mix. The results are generally taut and enjoyable in a way which differs from the traditional modes produced in Snufmeg.
Of special note is the rendition of "Mutual Attraction." Like the selections included in "Themes, Motifs and Snufmeg," this song found itself covered by several Snufmeg related artists. Originally composed in (or around) 1985, the song has been found to be malleable enough to fit several stylistic interpretations.
Monday, May 11, 2020
Saturday, May 2, 2020
Themes, Motifs and Snufmeg
Culled from a thirty-seven year span of the Snufmeg Library, the album "Themes, Motifs and Snufmeg" explores the flowering of cogent and structured expression which lurked beneath the chaotic and harsh innovations from which Snufmeg, in general, and the Cheese Mites, in particular, sprang. Absent here are the loops and feedback. Echoes remain, but, then old habits die hard. The overall thread throughout is the presentation of versions of standards and others over the span of time.
Opening the collection is "Echo Song." This version captures the 'Mites at the crucial time where customary song forms were phasing out the riotous tone poems. The thematic phrasing of this song was dominant in the early "freak-out" performances, archived in as yet undisclosed versions. For tracks 11 and 14, these renditions, from as late as 2005 (although other sources date it in 2015), showcase the depth and deftness exclusively of Williwill's guidance, as he recreates "Echo Song" with brilliance and beauty only hinted at in the original. Track 6 is listed as "Untitled," which was the working title until "Echo Song" simply sufficed. This version is orchestrated by Johnny B. Dub. What we encounter is a comparison of the unique voices or sensibilities when juxtaposing the version by Johnny versus those by Williwill. They serve to establish how the two approaches work together, as well as the identifiable idiosyncrasies, in creating the broad methods and conceptualizations of the music of the Cheese Mites and much of the Snufmeg catalog.
The mono and stereo versions of "The Monkey's Gonna Get You," seek to pay respect in an homage to the "swinging Sixties." With an open, spacious production, the classic sound of early 60's hits is recreated, yet with Cheese Mites absurdity in a lyrical tale of alarm fitting for "Planet of the Apes."
Occupying tracks 3, 7, 10 & 12, "Out in the Sun" was one of the first major structured works by the Cheese Mites, and penned by Williwill. Track 3 is ambitious in its production esthetic, incorporating echoed guitars and French Horns. Conversely, track 7, is a simpler, two guitar version, with an almost rockabilly modality to it. While track 10 most likely predates the "official" recording (track 3), it nonetheless stands as a valid version, revealing a looser feel, probably due to the development of the song's themes. Williwill commands the production on track 12, featuring a tighter rhythm section, snappier up-tempo beat, and cleaner production than the lads had to endure in the old days.
Like "Out in the Sun," Williwill led the charge in professionally crafted pop masterpieces, and "Speak" was no exception. It contributed considerably in changing the course in Snufmeg, and for the Cheese Mites. Two versions are included here; track 4 from 1982, and a Johnny B. Dub produced remake (track 8) from around 2005. Though the latter version is cleaner, it does not possess the mood of the former.
Finally, we have two versions (tracks 5 & 9) of "Pros Jam with Pros." Intended as a mock of "musicians wanted" ads, the song experienced iterations outside of the Cheese Mites, notably by Bulb, and The Little Engine (both to be examined in upcoming posts).
Opening the collection is "Echo Song." This version captures the 'Mites at the crucial time where customary song forms were phasing out the riotous tone poems. The thematic phrasing of this song was dominant in the early "freak-out" performances, archived in as yet undisclosed versions. For tracks 11 and 14, these renditions, from as late as 2005 (although other sources date it in 2015), showcase the depth and deftness exclusively of Williwill's guidance, as he recreates "Echo Song" with brilliance and beauty only hinted at in the original. Track 6 is listed as "Untitled," which was the working title until "Echo Song" simply sufficed. This version is orchestrated by Johnny B. Dub. What we encounter is a comparison of the unique voices or sensibilities when juxtaposing the version by Johnny versus those by Williwill. They serve to establish how the two approaches work together, as well as the identifiable idiosyncrasies, in creating the broad methods and conceptualizations of the music of the Cheese Mites and much of the Snufmeg catalog.
The mono and stereo versions of "The Monkey's Gonna Get You," seek to pay respect in an homage to the "swinging Sixties." With an open, spacious production, the classic sound of early 60's hits is recreated, yet with Cheese Mites absurdity in a lyrical tale of alarm fitting for "Planet of the Apes."
Occupying tracks 3, 7, 10 & 12, "Out in the Sun" was one of the first major structured works by the Cheese Mites, and penned by Williwill. Track 3 is ambitious in its production esthetic, incorporating echoed guitars and French Horns. Conversely, track 7, is a simpler, two guitar version, with an almost rockabilly modality to it. While track 10 most likely predates the "official" recording (track 3), it nonetheless stands as a valid version, revealing a looser feel, probably due to the development of the song's themes. Williwill commands the production on track 12, featuring a tighter rhythm section, snappier up-tempo beat, and cleaner production than the lads had to endure in the old days.
Like "Out in the Sun," Williwill led the charge in professionally crafted pop masterpieces, and "Speak" was no exception. It contributed considerably in changing the course in Snufmeg, and for the Cheese Mites. Two versions are included here; track 4 from 1982, and a Johnny B. Dub produced remake (track 8) from around 2005. Though the latter version is cleaner, it does not possess the mood of the former.
Finally, we have two versions (tracks 5 & 9) of "Pros Jam with Pros." Intended as a mock of "musicians wanted" ads, the song experienced iterations outside of the Cheese Mites, notably by Bulb, and The Little Engine (both to be examined in upcoming posts).
Friday, May 1, 2020
Video Collaboration with Fruzsi Nemes
Below is video art, "Metrometro," created by artist/film-maker Fruzsi Nemes, which includes The Cheese Mites' "Funk You" from "I Can Read About Any Book That Someone Gives Me".
https://vimeo.com/fruzsinemes
https://vimeo.com/fruzsinemes
Saturday, April 25, 2020
(She's My All Night) Penis Garage
Probably the most vexing song in the Cheese Mites catalog, "(She's My All Night) Penis Garage" (PG), this requires attention of its own.
Recorded most likely in 1990, it first appeared in the collection "Calling Doctor Death." It belongs in that pantheon of "early" Cheese Mites songs, along side "Vomit Your Senses" and "I Want to be Happy," though clearly dating outside of the "American Snufmeg Era," which closed in 1985.
It is as musically traditional a toe-tapping "hit from the Sixties" could be, with a light peppy beat, tuneful transitions, hummable melody all chugging away with a basic rock and roll band augmented by a chirpy Farfisa organ keyboard. The disarmingly catchy nature of the music, however, is seemingly at variance with lyrics, which continue to provoke responses of those incapable of laboring to scrutinize the underlying moral message.
Naturally, the title and refrain are unrepentantly repellent in their provocation, which to the lazy and casual observer see it as nothing more than merely lasciviously tantalizing and offensive. However, knowing the historical use of humor and agitation (for it's own sake) as Johnny & Williwill have established throughout their career, even to this point, allows, for those with stronger intellectual prowess, one to see the song and lyrics for what it is: fun and funny. Humor, as is often held, is a chief component in the expression of higher mental functions. Insults intended.
They call him the dark lord of the Underworld
But, he is my pal.
I've learned all the tricks of Anton Levay
And they got me my gal.
She's my all night penis garage
She makes things so very convenient for me.
Recorded most likely in 1990, it first appeared in the collection "Calling Doctor Death." It belongs in that pantheon of "early" Cheese Mites songs, along side "Vomit Your Senses" and "I Want to be Happy," though clearly dating outside of the "American Snufmeg Era," which closed in 1985.
It is as musically traditional a toe-tapping "hit from the Sixties" could be, with a light peppy beat, tuneful transitions, hummable melody all chugging away with a basic rock and roll band augmented by a chirpy Farfisa organ keyboard. The disarmingly catchy nature of the music, however, is seemingly at variance with lyrics, which continue to provoke responses of those incapable of laboring to scrutinize the underlying moral message.
Naturally, the title and refrain are unrepentantly repellent in their provocation, which to the lazy and casual observer see it as nothing more than merely lasciviously tantalizing and offensive. However, knowing the historical use of humor and agitation (for it's own sake) as Johnny & Williwill have established throughout their career, even to this point, allows, for those with stronger intellectual prowess, one to see the song and lyrics for what it is: fun and funny. Humor, as is often held, is a chief component in the expression of higher mental functions. Insults intended.
They call him the dark lord of the Underworld
But, he is my pal.
I've learned all the tricks of Anton Levay
And they got me my gal.
She's my all night penis garage
She makes things so very convenient for me.
She's my all night penis garage
She makes things so very convenient for me.
She makes things so very convenient for me.
She used to be so shy
Now all that has changed
With the devil's helping hand
Her mind's been rearranged.
She's my all night penis garage
She makes things so very convenient for me.
She makes things so very convenient for me.
She's my all night penis garage
She makes things so very convenient for me.
She makes things so very convenient for me.
I am Lucifer's desciple
She is Satan's slave
Our love will last forever
Way beyond the grave
She's my all night penis garage
She makes things so very convenient for me.
She makes things so very convenient for me.
And yet, some people take that seriously and are offended!
For those who require hand-holding - come along. We are presented with a tale of a "Mister Lonely," an In-cel, of sorts, desperate for human contact in the manner which dates back ages, to wit: the hand of a girl. So at a disadvantage in life is he, that he will go to any lengths to catch the attention of his desire, even if it means dabbling in the "dark arts."
At the chorus we hear that all of his wants, especially those of a carnal nature have, indeed, been satisfied. So, we press on. The girl, it seems, was of a reserved and reluctant nature. Her will to resist, however, was no match for his chosen machinations of the most diabolical sort, and she has succumbed. Perhaps, Mister Lonely doesn't deserve her affection? It was for that reason he resorted to the most underhanded of methods.
The message thus far is, contrary to the gasping reaction of the prudes and Puritans of our age, that it is precisely the walled thinking of such prudes and Puritans, who deceive themselves with their artificial tolerances, which must be overcome. The power of love is beyond the grasp of such people, though, the substance here is presented in the manner of a fun-house mirror. We find, at the bridge, that our lovers have embraced each other, and their emotional bond transcends the coarse judgement and phony moralism of our cultural mandarins.
This song is, in its own very peculiar and idiosyncratic manner, a protest for Love. And that just wrangles some people.
For those who require hand-holding - come along. We are presented with a tale of a "Mister Lonely," an In-cel, of sorts, desperate for human contact in the manner which dates back ages, to wit: the hand of a girl. So at a disadvantage in life is he, that he will go to any lengths to catch the attention of his desire, even if it means dabbling in the "dark arts."
At the chorus we hear that all of his wants, especially those of a carnal nature have, indeed, been satisfied. So, we press on. The girl, it seems, was of a reserved and reluctant nature. Her will to resist, however, was no match for his chosen machinations of the most diabolical sort, and she has succumbed. Perhaps, Mister Lonely doesn't deserve her affection? It was for that reason he resorted to the most underhanded of methods.
The message thus far is, contrary to the gasping reaction of the prudes and Puritans of our age, that it is precisely the walled thinking of such prudes and Puritans, who deceive themselves with their artificial tolerances, which must be overcome. The power of love is beyond the grasp of such people, though, the substance here is presented in the manner of a fun-house mirror. We find, at the bridge, that our lovers have embraced each other, and their emotional bond transcends the coarse judgement and phony moralism of our cultural mandarins.
This song is, in its own very peculiar and idiosyncratic manner, a protest for Love. And that just wrangles some people.
Friday, April 24, 2020
Calling Doctor Death
This collection has the distinction of presenting material from both the "American" and "Global" Snufmeg eras, particularly for the Cheese Mites. The details of which will follow. Contained here is evidence of an increasingly varied approach to styles and arrangements, hinted at previously. From loop and feedback mayhem to tone poems and traditional songs, the Cheese Mites flex here curiously with their most standard, if you will, modes as well as ventures into new territories.
Opening with "Rarities and Friends," we are confronted with a stilted, jagged mock of song structure, but complete with the Cheese Mites sensibilities of chaos and humor, with their signature inattention to detail and charming shoddiness. Clarinet accents add a funky flavor to the herby-jerky rhythms.
"Calling Doctor Death" steps the 'Mites back from their traditional instrumentation. A purely vocal piece, it mixes loops with live vocals, all saturated with echos and reverb. Less a song than an audio experience in mania, it has odd musical moments.
"Quiet Loud Song," dated from approximately 1983, is a nearly serious attempt at tone poem form. Unironically, the song starts gently and quietly, building in slightly over two minutes to a screeching, pounding climax!
What follows is the 1990 recording of "(She's My All Night) Penis Garage." Recorded from possibly the same sessions as "Rarities and Friends" and "Calling Doctor Death," although some sources place those two pieces at an earlier time, possibly 1988. Though from such a late date, it is not to be misunderstood that they waited so long to attempt another traditionally structured song. Surely, other similar attempts were made, in fact many were, but this particular song is of special note. As it was created after 1986, when the 'Mites split up, merely geographically. Throughout the "Global Snufmeg Era," Johnny and Williwill continued to collaborate, but only via virtual and long-distance modes. These three recordings were of that limited body of in-place collaboration, as will be illustrated in later posts. Additionally, this particular song will require it's own analysis and commentary in another post.
From 1981, "I Can't Stand My Artistic Mind" stands out as possibly the companion long-form tone poem to "Music" from "Experiment in Stupidity." These two compositions, separated by a few years, establish the attributes (loops, feedback, echos) which defined much of the Cheese Mites early body of work,
Opening with "Rarities and Friends," we are confronted with a stilted, jagged mock of song structure, but complete with the Cheese Mites sensibilities of chaos and humor, with their signature inattention to detail and charming shoddiness. Clarinet accents add a funky flavor to the herby-jerky rhythms.
"Calling Doctor Death" steps the 'Mites back from their traditional instrumentation. A purely vocal piece, it mixes loops with live vocals, all saturated with echos and reverb. Less a song than an audio experience in mania, it has odd musical moments.
"Quiet Loud Song," dated from approximately 1983, is a nearly serious attempt at tone poem form. Unironically, the song starts gently and quietly, building in slightly over two minutes to a screeching, pounding climax!
What follows is the 1990 recording of "(She's My All Night) Penis Garage." Recorded from possibly the same sessions as "Rarities and Friends" and "Calling Doctor Death," although some sources place those two pieces at an earlier time, possibly 1988. Though from such a late date, it is not to be misunderstood that they waited so long to attempt another traditionally structured song. Surely, other similar attempts were made, in fact many were, but this particular song is of special note. As it was created after 1986, when the 'Mites split up, merely geographically. Throughout the "Global Snufmeg Era," Johnny and Williwill continued to collaborate, but only via virtual and long-distance modes. These three recordings were of that limited body of in-place collaboration, as will be illustrated in later posts. Additionally, this particular song will require it's own analysis and commentary in another post.
From 1981, "I Can't Stand My Artistic Mind" stands out as possibly the companion long-form tone poem to "Music" from "Experiment in Stupidity." These two compositions, separated by a few years, establish the attributes (loops, feedback, echos) which defined much of the Cheese Mites early body of work,
Thursday, April 23, 2020
Your Overlords Want You to Hate the Cheese Mites
The collection, "Your Overlords Want You to Hate the Cheese Mites," continues the development of the Cheese Mites. Recorded over the years 1982 to 1985, but probably more accurately 1983, the 'Mites maintain their basis of their sonic palette of feedback and loops, but with increasing maturity. "Oriental Mysticism" is a swirling mix of haunting vocals and rattling percussion, with muted fuzz tones randomized punctuations. In contrast, "Can I have My Slippers?" is four minutes of throbbing loops, graced with cascading arpeggios and buzzing tones.
What follows is the absurdly brief blast of tremulousness - "The Alignment Signal" - and then, back to staccato motifs looped under the name "There is No Good Rocking This Evening." While loops are the theme in this album, "Last Words" finds Johnny & Williwill in a echo-drenched duet, where one guitar taunts the other, as two stumbling drunks would sloppily maul and berate one another.
Repetition by way of digitized loops, however, returns in the colossally epic, 18+ minute long "The Calculus of Sentimentality." Here we find as complete a departure in sound, yet with virtually all of the same elements. Based upon a coda of gentle, lilting strings, and Johnny's echo-soaked voice seems to be disclosing closely-held secrets in a dreamy fog, yet intelligibility remains foreer cloaked, while Williwill weaves patterns of melancholy on a nakedly unprocessed guitar.
There is growth in this collection, over the frenzied lunacy of earlier recordings. True, traditional song structure has only been dabbled in elsewhere, yet the evolving sense of "tone poems" continues to be revealed in the sophistication of execution.
What follows is the absurdly brief blast of tremulousness - "The Alignment Signal" - and then, back to staccato motifs looped under the name "There is No Good Rocking This Evening." While loops are the theme in this album, "Last Words" finds Johnny & Williwill in a echo-drenched duet, where one guitar taunts the other, as two stumbling drunks would sloppily maul and berate one another.
Repetition by way of digitized loops, however, returns in the colossally epic, 18+ minute long "The Calculus of Sentimentality." Here we find as complete a departure in sound, yet with virtually all of the same elements. Based upon a coda of gentle, lilting strings, and Johnny's echo-soaked voice seems to be disclosing closely-held secrets in a dreamy fog, yet intelligibility remains foreer cloaked, while Williwill weaves patterns of melancholy on a nakedly unprocessed guitar.
There is growth in this collection, over the frenzied lunacy of earlier recordings. True, traditional song structure has only been dabbled in elsewhere, yet the evolving sense of "tone poems" continues to be revealed in the sophistication of execution.
Wednesday, April 22, 2020
I Can Read About Any Book That Someone Gives Me
The eight song collection, probably from 1984, entitled "I Can Read About Any Book That Someone Gives Me", finds the Cheese Mites in two configurations. The first of these, Johnny B Dub & DJ Williwill, provides the four songs "The Rock Slide Rap," "Row Your Book," "Mega Funk," and "Jungle Fiasco." Building upon the frantic primitivism of "Experiment in Stupidity," the Cheese Mites recede from overt song craft, and regroup around improvisational oriented compositions. "The Rock Slide Rap" pays lyrical homage to the song "Rock Slide," originally recored by Sin, but also recorded by other forms of the 'Mites. The relentless tape looped drum beat both hypnotizes and drills into the psyche, providing an unsettling and pulsating figure over which echoes, vocals and a proto-funk bass line collude in twelve minutes of irritation, a trademark of much of the 'Mites recorded output. "Row Your Book" continues twelve more minutes of the motifs established by "The Rock Slide Rap." At this stage in their career, they were hellbent on daring the listener to stay.
The mercy of songs half the length in time as the previous two is little detected in "Mega Funk" and "Jungle Fiasco." A study of the production technique indicates the possibility of these two songs stemming from a separate session from the former two. Feedback washes, echoes, loops and unforgiving repetition, however, the hallmark of early Cheese Mites recordings, is not discarded with these recordings.
The second configuration in this collection is manifest in the four songs closing the tracklist. Joined by Flip (later to be in the Snufmeg related project, The Little Engine), the Cheese Mites sound more like a live band, than other, more recordings of a layered quality. For "Amen," "Are We Their Yet?" and "Ja Only Knows," Flip guests as drummer, competently providing a rhythmic foundation which Williwill tonally completes on bass. Unchecked by concern for melody or structure, Johnny's feedback and echo laden guitar provide harsh counter-balance. For "Funk You" Johnny and Flip switch roles, the result of which is the most traditional and tuneful piece in the entire collection.
The mercy of songs half the length in time as the previous two is little detected in "Mega Funk" and "Jungle Fiasco." A study of the production technique indicates the possibility of these two songs stemming from a separate session from the former two. Feedback washes, echoes, loops and unforgiving repetition, however, the hallmark of early Cheese Mites recordings, is not discarded with these recordings.
The second configuration in this collection is manifest in the four songs closing the tracklist. Joined by Flip (later to be in the Snufmeg related project, The Little Engine), the Cheese Mites sound more like a live band, than other, more recordings of a layered quality. For "Amen," "Are We Their Yet?" and "Ja Only Knows," Flip guests as drummer, competently providing a rhythmic foundation which Williwill tonally completes on bass. Unchecked by concern for melody or structure, Johnny's feedback and echo laden guitar provide harsh counter-balance. For "Funk You" Johnny and Flip switch roles, the result of which is the most traditional and tuneful piece in the entire collection.
Tuesday, April 21, 2020
I Want to be Happy
While debates rage on about the date of "I Want to be Happy" authorship, what is not debated is the unquestionable craft which is evidence in this song. Released as a vocal A-side/ instrumental B-side in 1981, this song signals an undoubted maturation in song-craft and woefully overlooked genius in recording/production execution.
Captured at the legendary Liberty Road Studios, IWtbH crackles with wit and mayhem, swirled together in a lyrical paean of authenticity, a bare dive into the absolute bliss of unfettered existence. Mastering overdubbing techniques, instrumental tracks are layered up from Williwill's sinewy bass & Johnny's frenetic drum battery, to the guitar battle between Johnny's roaring rhythm versus Williwill's solo of ferocity, and capped with another battle where Johnny's raw-throated wail vies for attention against Williwill's time-keeping tambourine. A tale of hilarity from the session goes: Williwill's furious tambourine skills proved so loud during recording that he had to be sequestered and stifled in a closet.
The blaze of energy crackles slightly over two minutes. A forgotten gem, to be sure.
Captured at the legendary Liberty Road Studios, IWtbH crackles with wit and mayhem, swirled together in a lyrical paean of authenticity, a bare dive into the absolute bliss of unfettered existence. Mastering overdubbing techniques, instrumental tracks are layered up from Williwill's sinewy bass & Johnny's frenetic drum battery, to the guitar battle between Johnny's roaring rhythm versus Williwill's solo of ferocity, and capped with another battle where Johnny's raw-throated wail vies for attention against Williwill's time-keeping tambourine. A tale of hilarity from the session goes: Williwill's furious tambourine skills proved so loud during recording that he had to be sequestered and stifled in a closet.
The blaze of energy crackles slightly over two minutes. A forgotten gem, to be sure.
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