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Butte County Free Music Society
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Pentecostal Gymnast Trapped In Lime Jello

by Blood Lewiis

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about

Having released a couple split solo cassettes -- ...And The German Pillow Menu (Chocolate Monk 2013) and ...And The Antique African Neck Parts (Chocolate Monk 2015) -- the lizards of odd finally apply the auto-incorrect filter to their collective pathology on this thirty-nine-minute mingling of moon-cheese. Listen here, Ethel: this is some Big Gurn, a warm and twitching box of meat long-awaited (by someone somewhere, maybe) as a requisite for the passage of Blood Stereo and Bren’t Lewiis to the next stage in their mud-worshiping pupation. The bulk of the album consists of fried and munched decimations of recordings from live events in sunny Caledonia-Upon-Entrail, miscellaneous unincorporated villages throughout the backwoods of Lower Scotland’s Britain Minor region, and a handful of West Coast pear orchards in what is now known as California. Spookily hovering objects gently clang against one another in arenas of witchy ambience. Lo-fi reproductions of crushing rumbles hiss through passages of spastic regurgitation. Voices and mouth-hole-sourced noise-type audio jiggle and whither between swirling montages of home-made fweent, bent found sound, loops, and tape-manipulated jiggery-pokery. The gorp-meisters also disrobe for “Conversation With Bicycle Horn,” a graphic score composed in the early 1980s by Richard Sterling Streeter, who hails the first-ever recording of his work thus: “Exactly as annoying and monotonous as intended.”

credits

released February 18, 2016

Recorded in Manchester, Glasgow, London, Edinburgh, San Francisco, and Sacramento
Mixed and edited at Wino Lodge and at No Spray 205
Conversation With Bicycle Horn composed by Richard Sterling Streeter
Front cover by Karen Constance (of course)
Back cover by Paul Kirk

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Blood Lewiis Scotland, California

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