FLACCID MOJO - Loose Jacks - VINYL LP
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Aaron Warren and Bjorn Copeland have been playing music together since 1999 nineyears as FLACCID MOJO and twenty-six years as Black Dice. This partnership has been aramble, a supply run through the wasted landscape of contemporary music. Stacking upthe dumb, the muffled, and the used-up, the pair consistently create unbalanced,breathtaking mutant constructions. The latest example is Loose Jacks, FLACCID MOJO'ssecond full-length. Made from free phone apps, fractured youtube videos, andcracked-screen electronics-the scorched and crumpled sediment of thestreaming-industrial complex-Loose Jacks is the wide, hysterical grin of finding treasurein the end days.FLACCID MOJO's songs are built for live performance, with a modular arsenal of rhythms,stabs, and payoffs all at the ready. It's their way of centering the physical; of ensuring thebodily dictates of each song's composition reassert these commands on everyone in theaudience. The satisfaction of a loop that runs until it's in your blood, the basslinesculpted into a shove, the snare hit as sharp as a stranger's elbow. You can feel like aghost passing through some other band's record, but Loose Jacks is all brick wall,weighted blanket, strong hands launching you atop a pile of bodies. It's a liberatory,unspiritual experience. A carnal one.As with their debut LP, FLACCID MOJO (released 2022 by Castle Face), Loose Jacks wasrecorded by Chris Coady, whose been at Black Dice shows since the nineties. It's goodto work with people who get it, who aren't going to argue about key or Inchthe grid.InchSimilarly, Loose Jacks was mastered by Sarah Register, whose band Talk Normal shareda wall with the Black Dice practice space. Album Tracks 1. Conversational Excess 2. Creep Meter 3. Bang Your Chain 4. VHS Motherfucker 5. Milk and Bones 6. Born Dumb 7. Cold Roller 8. Infinity Upgrade
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- GenreDance and electronicDescriptionAaron Warren and Bjorn Copeland have been playing music together since 1999 nineyears as FLACCID MOJO and twenty-six years as Black Dice. This partnership has been aramble, a supply run through the wasted landscape of contemporary music. Stacking upthe dumb, the muffled, and the used-up, the pair consistently create unbalanced,breathtaking mutant constructions. The latest example is Loose Jacks, FLACCID MOJO'ssecond full-length. Made from free phone apps, fractured youtube videos, andcracked-screen electronics-the scorched and crumpled sediment of thestreaming-industrial complex-Loose Jacks is the wide, hysterical grin of finding treasurein the end days.FLACCID MOJO's songs are built for live performance, with a modular arsenal of rhythms,stabs, and payoffs all at the ready. It's their way of centering the physical; of ensuring thebodily dictates of each song's composition reassert these commands on everyone in theaudience. The satisfaction of a loop that runs until it's in your blood, the basslinesculpted into a shove, the snare hit as sharp as a stranger's elbow. You can feel like aghost passing through some other band's record, but Loose Jacks is all brick wall,weighted blanket, strong hands launching you atop a pile of bodies. It's a liberatory,unspiritual experience. A carnal one.As with their debut LP, FLACCID MOJO (released 2022 by Castle Face), Loose Jacks wasrecorded by Chris Coady, whose been at Black Dice shows since the nineties. It's goodto work with people who get it, who aren't going to argue about key or Inchthe grid.InchSimilarly, Loose Jacks was mastered by Sarah Register, whose band Talk Normal shareda wall with the Black Dice practice space. Album Tracks 1. Conversational Excess 2. Creep Meter 3. Bang Your Chain 4. VHS Motherfucker 5. Milk and Bones 6. Born Dumb 7. Cold Roller 8. Infinity UpgradeArtistFLACCID MOJOTitleLoose JacksFormatVINYLLabelPost Present Medium
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Aaron Warren and Bjorn Copeland have been playing music together since 1999 nineyears as FLACCID MOJO and twenty-six years as Black Dice. This partnership has been aramble, a supply run through the wasted landscape of contemporary music. Stacking upthe dumb, the muffled, and the used-up, the pair consistently create unbalanced,breathtaking mutant constructions. The latest example is Loose Jacks, FLACCID MOJO'ssecond full-length. Made from free phone apps, fractured youtube videos, andcracked-screen electronics-the scorched and crumpled sediment of thestreaming-industrial complex-Loose Jacks is the wide, hysterical grin of finding treasurein the end days.FLACCID MOJO's songs are built for live performance, with a modular arsenal of rhythms,stabs, and payoffs all at the ready. It's their way of centering the physical; of ensuring thebodily dictates of each song's composition reassert these commands on everyone in theaudience. The satisfaction of a loop that runs until it's in your blood, the basslinesculpted into a shove, the snare hit as sharp as a stranger's elbow. You can feel like aghost passing through some other band's record, but Loose Jacks is all brick wall,weighted blanket, strong hands launching you atop a pile of bodies. It's a liberatory,unspiritual experience. A carnal one.As with their debut LP, FLACCID MOJO (released 2022 by Castle Face), Loose Jacks wasrecorded by Chris Coady, whose been at Black Dice shows since the nineties. It's goodto work with people who get it, who aren't going to argue about key or Inchthe grid.InchSimilarly, Loose Jacks was mastered by Sarah Register, whose band Talk Normal shareda wall with the Black Dice practice space. Album Tracks 1. Conversational Excess 2. Creep Meter 3. Bang Your Chain 4. VHS Motherfucker 5. Milk and Bones 6. Born Dumb 7. Cold Roller 8. Infinity Upgrade
Vinyl LP pressing. Born from a desire to rip up the garage-psych hymn sheet under which Arp and Kristian met and embrace a new eclectic sound; Loose Meat have achieved that rarest, golden musical moment the new! A leap into the open-ended void of the now, via cherry-picked nuggets of the past; the making of Loose Meat involved joyous and carefree manoeuvres inside the world of analog synthesizers and old school drum machines whilst drawing on Capitol K's modern electronic nous. Arp's stream-of-consciousness lyrical narratives are delivered by Brazilian artist Cibelle, with Viva contributing. Vocal tracks are often manipulated and multi-layered, while the music at times morphs into largely unidentifiable rhythm-scapes and electrifying sonic shifts. Album Tracks 1. Human Motivation 2. Edge of Love 3. Octopus 4. Circular Motions 5. Regulator 6. MDRNLV 7. Harbour of Your Heart 8. I'm Burning Up 9. Inside the Sun 10. Daisy Chain
Twin giant towers of amps grinding out minimal beat bloop, the transient sound molecules smell of burning gear and the floor of the pit-this is organic, electronic music at it's finest. Dance? Why not. Freak out? For sure. Brothers from a different mother (Bjorn Copeland and Aaron Warren) à la two-thirds of Black Dice have come together with this fantastic debut [Flaccid Mojo] for us. These are mean beat vipers, spitting and tumescent on the abattoir floor.I would call it drug music, but I'm not sure what drugs these humans consume. Stem cell and adrenal gland cocktails I'm guessing. Futuristic and primal it is, beats from the Thunder-Dome, fight music for fuckers. I've seen them on two separate occasions blow the power for an entire building. Baller move, boys. Produced perfectly by Chris Coady (look him up to be impressed). This record is a burning car in a field and I love it.InchFor fans of Black Dice, Container, Whitehouse, Negativland, Ralph Records, minimal beats à la Profan, vintage Japanese noise, Severed Heads, windburn and chapped lips.Inch -John Dwyer Album Tracks 1. Moonwalk the Tomb 2. Dyslexic Uptalk 3. Striped Pants 4. Straight Arrow 5. Slow Psychics 6. Garbage People 7. FM Drive 8. Fried Muscles
MEAT JOY formed in late 1982 amidst the vibrant Austin, TX post-punk music scene. It's core members were Mellissa (Cobb) DeMille, Tim Mateer, John (Perkins) Hawkes, Gretchen Phillips, and Teresa Taylor (aka Teresa Nervosa). In April, 1983, Meat Joy played the Houston leg of the InchRock Against ReaganInch tour headlined by the Crucifucks. That autumn, Taylor left to join the Butthole Surfers. Jamie Spidle joined the band in November, cementing it's permanent lineup. In the coming months Meat Joy played shows with The Meat Puppets, Husker Du, The Dicks, The Mydolls, and The Big Boys.Meat Joy recorded and released an album in 1984. The LP featured eight different front covers, designed and silkscreened by the band. The back covers were each individually hand decorated by the band and friends. The record was distributed by Rough Trade and Dutch East India, and received critical praise internationally. The first run quickly sold out, as did the second. Today they're collector's items and command exorbitant prices. The band was also featured on two compilation LPs, InchMetal Moo CowInch and InchBands On The BlockInch alongside Scratch Acid and a host of Texas bands.Touring the Midwest in the summer of 1984, playing shows with CH3, Sun City Girls, Jodie Foster's Army, Tales Of Terror, and many others, the group was voted InchBest Avant-Garde/Experimental BandInch in the 1984-85 Austin Chronicle Music Poll. The Chronicle Poll and the award show that followed laid the groundwork for what would become the SXSW Music Festival.Meat Joy was difficult to categorize. They were a leaderless collective. Often improvisational, they moved fluidly among many genres seeking joy and truth. Their sound was alternately queer and straight, dark and funny, heartfelt and biting. Loud soft fast slow beautiful ugly music, sometimes all in the same song.The band played their last show at Austin's
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