Snufmeg Radio is Here!

    Now you can enjoy a randomized selection of the Cheese Mites, DJ Williwill and more of the Snufmeg family of artists, 24 hours a day, with the occasional live program, online at -

https://zeno.fm/radio/snufmeg/

and, here - 

https://zeno.fm/radio/raw-mommies-radio/

My Existence in the Shrubbery of Phantoms

   This enigmatic collection of recordings, dated from the late 1980's or early 1990's, became an audio "object of wonder" to the Snufmeg community, and ultimately the world. From intense creative sessions, fueled assuredly by copious influences of snuff and nutmeg, DJ Williwill marshaled the artistic prowess of two lesser-known Snufmeg luminaries: Brian Fripe and the Master Cylinder, in a collaboration of dazzling innovation and mouth-watering brevity. 

   In under seven minutes, the trio weave aural insights of far-away terrains, distant planets and imaginary landscapes. Each tone poem a spectacular post-card. 

   The scarcity of output from either Fripe or the Master Cylinder only contributes to their mysterious and sublime place in the archive of the Snufmeg catalog.

DJ Lunar Canine - Dance SIngle

    In what can only be considered a business coup on a colossal, global scale, Williwill arranged for the release of the DJ Lunar Canine two song, 12 inch single consisting of a remix of the Cheese Mites' song "(She's My All Night) Penis Garage" and the original "The New Dance Music Craze."

   The remix of the Cheese Mite's classic is given faithful Snufmeg treatment. Most of the original recording is intact, until the point of tension in comprehending what is at play. A sudden change of course is established and the material is discarded for a juxtaposition against literal descriptions of Satanism (culled from radio personality, Dave Emory), as implied in the song, with canted beats and treatment in inimitable Snufmeg style.

   The B-side, "The New Dance Music Craze, takes the applied Snufmeg philosophy just as far afield. A pounding, thudding beat establishes the introduction, which over the course of the track morphs into stark and jarring stabs , evoking the suffocating isolation of modern times.

   Guaranteed to clear the dance floor of all but the most dedicated at your next celebration!

Rights and "Free" Music

   Recently, Snufmeg revoked access to songs on the FMA. 

   "We didn't want to seem mean, heartless or uncaring to those who enjoy rights-free access to Snufmeg music, but things are simply too chaotic for us," Phynqafis said. "We are, as you say, a boutique operation. We make art for the ears, which suit primarily our own aesthetic. If others enjoy it, we certainly do not want to stand in anyone's way. Our issue comes down to aligning all of our content under one manageable mode of care."

   It should be noted, he seemed under the more extreme effects typical of a heavy binge of Snuff and Nutmeg ingestion. A new Cheese Mites release is anticipated soon.

The Cheese Mites - Table Manners

   The "Universal Snufmeg" era was, and continues to be, fraught with confusion. Although Williwill and Johnny explored musical paths on separate continents, collaboration took on different forms, depending on factors peculiar to each particular instance. As a result of the bi-continental paradigm, much work was completed often under a variety of names, some of which manifest themselves enough to warrant their own legacy. Some of those include the Raw Mommies, Bulb, the Little Engine, solo DJ Johnny B Dub & Williwill, Speed Blimp, DJ Big Pretzel, DJ Lunar Canine, Brian Fripe, the Master Cylinder, Top Ranking Officials, Jerry Vile, Top o' the Mornin', and the Vanilla Penis Explosion. Others, such as Alternateen, Scrounger, the Snufmeg Kru, and the Danicing Bears found their material cannibalized by the Cheese Mites. The reason for much of the absorbtion was the overwhelming quality of what it "meant" to be the Cheese Mites, especially in light of the fact that much of it was, ultimately Johnny & Williwill. Collaboration took on the form of material being solely created by one or the other, and in the more traditional fashion of live or long-distance technological enhancement by both parties.

   "Table Manners" reflects the multi-dimensional approach to collaboration. The collection opens with the misanthropic "Invaders Have Landed on Martian Soil," originally intended for Scrounger in the late 1990's, and then for Alternateen shortly thereafter but reworked for the Cheese Mites by 2010. "Rock DIcks Melody" was intended for the Rock Dicks, but repurposed for the Cheese Mites in 2012. "And I Think of You" was a 1984 "American Snufmeg" era production, revealing a

   "Table Manners" takes on the "establishment" pomposity of modern, academic electro-acoustic music, in a way hinted at by the early Cheese Mites audio terror experiments. Owing a great debt to mid-Twentieth Century electronic music, "Table Manners," like "Between Spaces," "Front and Back," "New Man," "Stellar," and "Teeth" express the true spirit of electro-acoustic music in a way that utterly devastates the effete pretentiousness of the dreadful and uninspired creations from the SEAMUS/ICMA affiliated "hallowed halls" of modern accredited experimental drivel. The Cheese Mites reclaim electronic music from the precipice of the affected insular intellectuals and make it a near-folk music for the ages of electricy.

Bulb

The release of "Bulbs and Whistles" by Bulb (1990), is often overlooked for it's importance in the "Universal Snufmeg" era. Though a brief compilation of songs, it is both a forward and read-view-mirror nexus of artistic elements and personalities, like few other artificats in the Snufmeg catalog. The material iteself is comprised from some staples of the Snufmeg index: "The Truth Comes Out," "Pros Jam with Pros" and "Clarinet," all find new interpretions (and not the last time they are rendered), plus "Barriers." Notable, however, is the arangement of Johnny B Dub and Scott D, who later appear in the Raw Mommies. A special provocative guest appearance is made by DJ Williwill on "Pros Jam with Pros" with a vocal message of chastisement.

For further information on the Raw Mommies see https://rawmommies.blogspot.com/

Doug B

The early days of the post-1985 "Universal Snufmeg" era saw an expanse in the names of collaborators in the Snufmeg experience. From approximately 1990, Johnny B Dub briefly worked with Doug B to produce the "Charity" EP. An accomplished songwriter and musician, Doug contributed three songs for treatment in Snufmeg style, as exemplified in this collection. Recorded over several sessions, Doug's gifted creativity proved to be flexible enough for the forward/retro exploration which was becoming ever more developed in the growth of the Snufmeg environment.

Snufmeg in the Second Half of the 1980's

Snufmegology often references the totality of Snufmeg production in regards to two periods: those of the pre-1985 "American Snufmeg" and post-1985 "Universal Snufmeg" eras. The "American" period saw the origination of Snufmeg and the Cheese Mites, specifically, the "Universal Era" saw an expansion of not only the names of creators in and associated with Snufmeg, but a broadening of the aesthetic of what it means to be Snufmeg. While experts wrestle over the precise qualities which saitsfy to define it, the community of those who passed through the Snufmeg milieu grew as a result of the "Universal" experience. In this post, two wildly divergent examples of post-1985 Snufmeg production are presented. First, the one-off "reunion" of Sin for a re-working of the Snufmeg repertory classic "Vomit Your Senses." Second, is the Johnny B Dub production of Baritone's (the late Dwayne Francis) "Brownskin Girls" demo, which continues the trajectory established in the "Persuasion" collection in the previous post. Both recordings were undated, but most circumstantial evidence places them between 1987-1989.