Debris' - Debris' - VINYL LP
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Chickasha, Oklahoma is not a place known for producing a lot of original proto-punk bands. In fact, there is, to our knowledge, only one Debris'. Formed in 1975 by bassist Chuck Ivey, guitarist Oliver InchRectomoInch Powers and drummer Johnny Gregg, the trio created some of the most art-damaged outsider rock 'n' roll this side of MX-80 Sound.When a local studio offered the package deal of ten hours for recording and mixing as well as pressing 1,000 LPs and two-color jackets, Debris' came in well-rehearsed-nailing all eleven of their songs in just one take. In April 1976, the same month as Ramones' debut album, Debris' would their lone record onto the world.Opener InchOne Way SpitInch could easily be mistaken for a lost KBD single-from Chuck's bizarre count-in to the band's trashy start-stop rhythms, unfurling a Dadaist flag around Johnny's visceral vocals. On InchTricia,Inch a reference to the then-current Patty Hearst trial, Oliver's gruesome groans are sardonically juxtaposed with an electric saw. These LSD-tinged tunes are a potent mix of Beefheart-ian controlled chaos and the genuinely weird avant-rock associated with the mid-'70s Cleveland scene.Enhanced by analog synthesizers and electronic effects, the album sounds like Eno-era Roxy Music or Stooges' Fun House buried deep in the red Oklahoma dirt. While punk would spark a handful of bands who boldly straddled the line between the primal and the experimental, the relatively unsung Debris' were one of the first to do so.Debris' had a standing invitation to play New York at Max's Kansas City and CBGB in 1976, although they never made it out of Oklahoma. The private-press edition of their self-titled album (also known as Static Disposal, which was actually the tag name printed on the original front cover) has since become a collector's item and is even namechecked on the infamous NWW list.
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- GenreRockDescriptionChickasha, Oklahoma is not a place known for producing a lot of original proto-punk bands. In fact, there is, to our knowledge, only one Debris'. Formed in 1975 by bassist Chuck Ivey, guitarist Oliver InchRectomoInch Powers and drummer Johnny Gregg, the trio created some of the most art-damaged outsider rock 'n' roll this side of MX-80 Sound.When a local studio offered the package deal of ten hours for recording and mixing as well as pressing 1,000 LPs and two-color jackets, Debris' came in well-rehearsed-nailing all eleven of their songs in just one take. In April 1976, the same month as Ramones' debut album, Debris' would their lone record onto the world.Opener InchOne Way SpitInch could easily be mistaken for a lost KBD single-from Chuck's bizarre count-in to the band's trashy start-stop rhythms, unfurling a Dadaist flag around Johnny's visceral vocals. On InchTricia,Inch a reference to the then-current Patty Hearst trial, Oliver's gruesome groans are sardonically juxtaposed with an electric saw. These LSD-tinged tunes are a potent mix of Beefheart-ian controlled chaos and the genuinely weird avant-rock associated with the mid-'70s Cleveland scene.Enhanced by analog synthesizers and electronic effects, the album sounds like Eno-era Roxy Music or Stooges' Fun House buried deep in the red Oklahoma dirt. While punk would spark a handful of bands who boldly straddled the line between the primal and the experimental, the relatively unsung Debris' were one of the first to do so.Debris' had a standing invitation to play New York at Max's Kansas City and CBGB in 1976, although they never made it out of Oklahoma. The private-press edition of their self-titled album (also known as Static Disposal, which was actually the tag name printed on the original front cover) has since become a collector's item and is even namechecked on the infamous NWW list.ArtistDebris'TitleDebris'FormatVINYLLabelSuperior Viaduct
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Chickasha, Oklahoma is not a place known for producing a lot of original proto-punk bands. In fact, there is, to our knowledge, only one Debris'. Formed in 1975 by bassist Chuck Ivey, guitarist Oliver InchRectomoInch Powers and drummer Johnny Gregg, the trio created some of the most art-damaged outsider rock 'n' roll this side of MX-80 Sound.When a local studio offered the package deal of ten hours for recording and mixing as well as pressing 1,000 LPs and two-color jackets, Debris' came in well-rehearsed-nailing all eleven of their songs in just one take. In April 1976, the same month as Ramones' debut album, Debris' would their lone record onto the world.Opener InchOne Way SpitInch could easily be mistaken for a lost KBD single-from Chuck's bizarre count-in to the band's trashy start-stop rhythms, unfurling a Dadaist flag around Johnny's visceral vocals. On InchTricia,Inch a reference to the then-current Patty Hearst trial, Oliver's gruesome groans are sardonically juxtaposed with an electric saw. These LSD-tinged tunes are a potent mix of Beefheart-ian controlled chaos and the genuinely weird avant-rock associated with the mid-'70s Cleveland scene.Enhanced by analog synthesizers and electronic effects, the album sounds like Eno-era Roxy Music or Stooges' Fun House buried deep in the red Oklahoma dirt. While punk would spark a handful of bands who boldly straddled the line between the primal and the experimental, the relatively unsung Debris' were one of the first to do so.Debris' had a standing invitation to play New York at Max's Kansas City and CBGB in 1976, although they never made it out of Oklahoma. The private-press edition of their self-titled album (also known as Static Disposal, which was actually the tag name printed on the original front cover) has since become a collector's item and is even namechecked on the infamous NWW list.
The songs comprising Keeley Forsyth's debut, are, she states simply, Inchlike blocks of metal that drop from the skyInch. Minimal arrangements place that elemental voice front and centre. Nerves are quietly frayed over it's running time; an intimate document of personal change, we're held in limbo until the final note is left to ring. Debris explores the darker corners of domestic life, balancing the need to create with the responsibilities that come with a family, a partner and a career. Seismic ruptures behind closed doors. InchThere was a lot going on in my life that was heavy and hard,Inch she adds. InchSongs were made under that moment.Inch Born and raised in Oldham in the north-west of England, Forsyth first made her name as an actor. Her enigmatic voice is so indelible even she is sometimes provoked to refer to it as a third person, like the characters she's inhabited as an actor, this time populating songs sharing tales of the high and low tides, of freedom and entrapment, and of hard-won triumphs. InchThey've been in my mind for a while,Inch she concludes. InchI have sung them to my children, and at home alone, and making this album has been an opportunity for me to discover the voice and being who sings these songs. It has changed me, and will continue to. I recognise my life again.InchA1. DebrisA2. Black BullA3. It's Raining A4. Look To YourselfB1. LostB2. ButterflyB3. Large OakB4. Start Again
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