Solo 78/79
Privately pressed at the end of the ’70s, Smegma member Ju Suk Reet Meate’s LP was lost to all but a handful of the early avant mash-up enthusiasts. The CD reissue will undoubtedly garner more listeners this time around, with a readymade audience of bedroom noise-oiks eager to absorb anything from the Smegma collective.
Much like an actual Smegma release, it’s pointless to label this record in terms of any strict genre. John Olson’s NOISE CLIFFSNOTES (his term for liner notes) basically confirm this, opting to identify each of the elements/ingredients folded into the mix without necessarily classifying them. That said, Meate’s roots in bluesy rock and roll are more apparent here than on Smegma’s recordings, and the early signs of plunderphonics are here, with passages stacked amidst vocal tape experiments and acoustic bass, kneaded together like a string of dough.
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Solo 78/79
Solo 78/79
Privately pressed at the end of the ’70s, Smegma member Ju Suk Reet Meate’s LP was lost to all but a handful of the early avant mash-up enthusiasts. The CD reissue will undoubtedly garner more listeners this time around, with a readymade audience of bedroom noise-oiks eager to absorb anything from the Smegma collective.
Much like an actual Smegma release, it’s pointless to label this record in terms of any strict genre. John Olson’s NOISE CLIFFSNOTES (his term for liner notes) basically confirm this, opting to identify each of the elements/ingredients folded into the mix without necessarily classifying them. That said, Meate’s roots in bluesy rock and roll are more apparent here than on Smegma’s recordings, and the early signs of plunderphonics are here, with passages stacked amidst vocal tape experiments and acoustic bass, kneaded together like a string of dough.
Original: $12.00
-65%$12.00
$4.20Product Information
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Shipping & Returns
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Description
Privately pressed at the end of the ’70s, Smegma member Ju Suk Reet Meate’s LP was lost to all but a handful of the early avant mash-up enthusiasts. The CD reissue will undoubtedly garner more listeners this time around, with a readymade audience of bedroom noise-oiks eager to absorb anything from the Smegma collective.
Much like an actual Smegma release, it’s pointless to label this record in terms of any strict genre. John Olson’s NOISE CLIFFSNOTES (his term for liner notes) basically confirm this, opting to identify each of the elements/ingredients folded into the mix without necessarily classifying them. That said, Meate’s roots in bluesy rock and roll are more apparent here than on Smegma’s recordings, and the early signs of plunderphonics are here, with passages stacked amidst vocal tape experiments and acoustic bass, kneaded together like a string of dough.
