Now Let's Have a Chat About "Cultural Influences"

   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.

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).

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