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
Friday, May 1, 2020
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.
Thursday, October 10, 2019
Experiment in Stupidity (Part 2)
As with all focal points in history, those in artistic endeavors also invite debates. The inclusion of the "back four" songs in any Cheese Mites compilation referred to as "Experiment in Stupidity" arouses vehement and heated exchange. The songs "The Bad Fish," "We Two Three," "The Big Ocean," and "A Pond of Our Own," all from a session with Edmund as special guest on percussion and vocals from 1981, have been at the center of many discussions amongst Snufmeg aficionados. Nonetheless, they have been included in, at the very least, the online version of "Experiment in Stupidity" (see link at Sources).
Their inclusion was carefully considered on the merits of the first song (number 6, on EiS). "The Bad Fish," though instrumental, is significant for several reasons. The quasi-polyrthmic interplay of the guitar work of Johnny B Dub and Williwill eschews the noise and abandon of the "true four" ("Love", "Sex", "War" and "Music") and investigates a cerebral approach to the Mites creativity at this early stage. Likewise, Edmund's drumming performs as accent rather than traditional time-keeping. However, the choice for naming the song "The Bad Fish" invites the listener to explore the Cheese Mites in non-musical revelation.
From this time period, Johnny and Williwill had been assembling an ensemble for limited venture called The Bad Fish. More theater than music, this group was to provide the more accessible face of Snufmeg creativity. The perilously short-lived ensemble consisted of Johnny performing as "Electric Bass," Williwill as "Timmy Sardine," and collaborators Joe L, as "Marine Boy" and Edmund as "Fish Sticks." Tensions quickly surfaced. From the mundane complaints of Joe L at having to be called "Marine Boy" (though he did finish he duties), to Edmund's inability to accept variance of creative modes - a defining characteristic of Snufmeg in general and the Cheese Mites in particular - the enterprise was doomed. Beegs provided last minute rescue to Edmund's ousting as "Fish Sticks 2," though also to great complaint. The entire episode eluded capture for posterity, and nowhere in the song "The Bad Fish" is any of this alluded to, as it preceded the above incidents, it serves as a cosmic foretelling in musical form.
Their inclusion was carefully considered on the merits of the first song (number 6, on EiS). "The Bad Fish," though instrumental, is significant for several reasons. The quasi-polyrthmic interplay of the guitar work of Johnny B Dub and Williwill eschews the noise and abandon of the "true four" ("Love", "Sex", "War" and "Music") and investigates a cerebral approach to the Mites creativity at this early stage. Likewise, Edmund's drumming performs as accent rather than traditional time-keeping. However, the choice for naming the song "The Bad Fish" invites the listener to explore the Cheese Mites in non-musical revelation.
From this time period, Johnny and Williwill had been assembling an ensemble for limited venture called The Bad Fish. More theater than music, this group was to provide the more accessible face of Snufmeg creativity. The perilously short-lived ensemble consisted of Johnny performing as "Electric Bass," Williwill as "Timmy Sardine," and collaborators Joe L, as "Marine Boy" and Edmund as "Fish Sticks." Tensions quickly surfaced. From the mundane complaints of Joe L at having to be called "Marine Boy" (though he did finish he duties), to Edmund's inability to accept variance of creative modes - a defining characteristic of Snufmeg in general and the Cheese Mites in particular - the enterprise was doomed. Beegs provided last minute rescue to Edmund's ousting as "Fish Sticks 2," though also to great complaint. The entire episode eluded capture for posterity, and nowhere in the song "The Bad Fish" is any of this alluded to, as it preceded the above incidents, it serves as a cosmic foretelling in musical form.
Saturday, March 24, 2018
Experiment in Stupidity (Part 1)
The exact date of this debut compilation is hotly disputed amongst the faithful in Snufmeg. Ambitious chroniclers place it in 1979. Those with a more conservative view of events date it no later than 1981. Regardless of the precise date, this collection marked the beginning of the "American" era of the Cheese Mites, lasting until 1985.
The true collection, in cassette format, consisted of the songs: "Love", "Sex", "War" and "Music". These were created all within the same session. A later, modified collection included "Hey, Saul". The collection assembled for the Bandcamp website consists of the first four songs, the first official Cheese Mites recording of "Vomit Your Senses", and the regrettably low fidelity recordings, even by Snufmeg standards, of four more songs by the Cheese Mites with special guest Edmund (aka Fish Sticks), on percussion and voice.
It is upon the "true four," however, that Experiment in Stupidity earns it's merit. "Love" is a primal, reverb-soaked voice and drums assault with few comparatives in the Snufmeg canon. The lyrics are cloaked in effect, shrieked and croaked. Few words are comprehensible, save fleeting descriptions of decay and misery, when finally Johnny B Dub screams "And where is love?" One hardly gets the impression he is serious in his quest; not that he is mocking it, more like he has just given up. Propelling the song to it's merciful end at 1:33, Williwill pounds a jerky, untimed beat, accenting occasionally with a moan of mockery.
The ambience continues to drip with reverb, echoes and noise. A more subdued vocal performance follows with "Sex", although no sensual sensitivity caresses the ears of the listener. Echoed guitar, spastic drumming and squeals of feedback, the apparent hallmarks of EiS, complete the arrangement. The lyrics are a juvenile stab at a psuedo-poetic stream of veiled sexual innuendos, outright offensive imagery and a childish, backwards view of intimacy. Though free of obscenity, the redeeming value found here is that it was a cathartic exercise on a topic the participants had little to no business in examining.
Suddenly, the tone shifts. The quasi-martial introduction to "War" oozes in mockery. An apparent musical sense was adopted for this song, although shortly after establishing on one theme, another is selected. The lyrics are, again, virtually undecipherable, yet, there sounds as if there is an urgency underlying the vocalization. Then, for no apparent reason, the song ends softly, with a jazz inflection.
The fourth song, ironically titled "Music", is an epic length (17:25) excursion with guitars, drums, feedback squeals, tape loops, echoes, and reverb. For all of the "experimentation" and dissonance, "Music" never truly repels or alienates the listener, so long as one puts aside an expectation of traditional harmony and melody - of which there is none. There is a continues sense that something is going to happen, a quarter hour of foreplay.
Departing from the "true four" of the EiS collection, but continuing as directed by digital compilations, is the Snufmeg standard "Vomit Your Senses." Although, often erroneously credited as a Cheese Mites original, this song found its first iteration on the "Live at the Lyle Garage" collection by Sin from 1978. As often was the case for the Cheese Mites, restatement and repurposing became a mode of creation, and it was first established with this cover of VYS. Where the Sin original intended to establish a rock type song with traditional style and credibility, though falling well short, the Mites version built upon the mode of the EiS true-four with noise and chaos, and paired it with (questionably) traditional song structure. The inclusion of VYS in this early collection broadens the scope of what the Cheese Mites were to later venture into. From a free/noise structureless base, they now pointed to standard song form.
The final four (the back-four) songs of the digitized collection were originally from an unnamed compilation. Culled from a session with special guest Edmund, these incredibly poorly recorded songs showed the Mites in a less frantic mood. There was still a loose, free-form manner. The pretense of poly-rhythms make the continuing thread throughout "The Bad Fish," "We Two Three," "The Big Ocean," and "A Pond of Our Own."
This will be continued in the next installment.
Sources:
https://thecheesemites.bandcamp.com/album/experiment-in-stupidity
The true collection, in cassette format, consisted of the songs: "Love", "Sex", "War" and "Music". These were created all within the same session. A later, modified collection included "Hey, Saul". The collection assembled for the Bandcamp website consists of the first four songs, the first official Cheese Mites recording of "Vomit Your Senses", and the regrettably low fidelity recordings, even by Snufmeg standards, of four more songs by the Cheese Mites with special guest Edmund (aka Fish Sticks), on percussion and voice.
It is upon the "true four," however, that Experiment in Stupidity earns it's merit. "Love" is a primal, reverb-soaked voice and drums assault with few comparatives in the Snufmeg canon. The lyrics are cloaked in effect, shrieked and croaked. Few words are comprehensible, save fleeting descriptions of decay and misery, when finally Johnny B Dub screams "And where is love?" One hardly gets the impression he is serious in his quest; not that he is mocking it, more like he has just given up. Propelling the song to it's merciful end at 1:33, Williwill pounds a jerky, untimed beat, accenting occasionally with a moan of mockery.
The ambience continues to drip with reverb, echoes and noise. A more subdued vocal performance follows with "Sex", although no sensual sensitivity caresses the ears of the listener. Echoed guitar, spastic drumming and squeals of feedback, the apparent hallmarks of EiS, complete the arrangement. The lyrics are a juvenile stab at a psuedo-poetic stream of veiled sexual innuendos, outright offensive imagery and a childish, backwards view of intimacy. Though free of obscenity, the redeeming value found here is that it was a cathartic exercise on a topic the participants had little to no business in examining.
Suddenly, the tone shifts. The quasi-martial introduction to "War" oozes in mockery. An apparent musical sense was adopted for this song, although shortly after establishing on one theme, another is selected. The lyrics are, again, virtually undecipherable, yet, there sounds as if there is an urgency underlying the vocalization. Then, for no apparent reason, the song ends softly, with a jazz inflection.
The fourth song, ironically titled "Music", is an epic length (17:25) excursion with guitars, drums, feedback squeals, tape loops, echoes, and reverb. For all of the "experimentation" and dissonance, "Music" never truly repels or alienates the listener, so long as one puts aside an expectation of traditional harmony and melody - of which there is none. There is a continues sense that something is going to happen, a quarter hour of foreplay.
Departing from the "true four" of the EiS collection, but continuing as directed by digital compilations, is the Snufmeg standard "Vomit Your Senses." Although, often erroneously credited as a Cheese Mites original, this song found its first iteration on the "Live at the Lyle Garage" collection by Sin from 1978. As often was the case for the Cheese Mites, restatement and repurposing became a mode of creation, and it was first established with this cover of VYS. Where the Sin original intended to establish a rock type song with traditional style and credibility, though falling well short, the Mites version built upon the mode of the EiS true-four with noise and chaos, and paired it with (questionably) traditional song structure. The inclusion of VYS in this early collection broadens the scope of what the Cheese Mites were to later venture into. From a free/noise structureless base, they now pointed to standard song form.
The final four (the back-four) songs of the digitized collection were originally from an unnamed compilation. Culled from a session with special guest Edmund, these incredibly poorly recorded songs showed the Mites in a less frantic mood. There was still a loose, free-form manner. The pretense of poly-rhythms make the continuing thread throughout "The Bad Fish," "We Two Three," "The Big Ocean," and "A Pond of Our Own."
This will be continued in the next installment.
Sources:
https://thecheesemites.bandcamp.com/album/experiment-in-stupidity
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