Music: Frothy Shakes "Killed by Death #11" LP

First the history: ostensibly a collection of South-Eastern US punk singles recorded between 1977 and 1982, from such never-knowns as Sexy Fits, Orgy Poppers, Curly Fries, Horny Toads, you get the idea... from Redrum Records, Norwegian curator of the original "KBD" compilations. Essay on the back describes the bands via session recording anecdotes from the (supposed) Producer of every track, one Bill "Smackroot" Jackson.

Real talk: this LP is the work of (and sole vinyl artifact of) 90s-Nashville, non-touring out-punkers, Frothy Shakes. Three of the twelve tracks on the LP are credited to them, but, like the other, fake bands, their description in the liners is the kind of inflated drug-babble you get from a Harmony Korine art opening.

Here's the thing: this record has been maligned by some of the three-chord, Chuck Berry-worshipping purveyors of "KBD", who also have gotten the facts wrong, but this only gives new credence to the trashily bizarre fucking music these guys were making circa 1996.

Side 1 is three songs: first one is tape-warp rambling, last one is simple Noise "Rawk", but in the middle is "Stay in Shape with the Orgy Poppers" (by the Orgy Poppers, duh,) a high, Fausty, pretty lengthy track of subdued maniacal spirit. It's all rambling drudge-chorded while singer David Russell convinces you completely of things he really isn't even saying. All nonsense insanity, your nodding in bewildered agreement turns into head-bobbing groove-getting-along-with. It's twisted waste-rock.

Side 2 starts with those "official" Frothy Shakes tunes. First (like with Side 1) an a capella loop titled "Sad Clown". "Pickup Truck" gets into the fiery 90s skuzz you probably love too, but "Benzene" is where we really hear the Shakes command of their potty-punk forte. Subdued four-beat and palm-muted power chords interfere with your brain waves while the bass adds dissonant commentary. Russell's vocals are conversationally (albeit party-conversation/ drunker than you,) sing speaking until the song's only hook: "Eh eh eh eh eh eh eh eh" falsetto God-gibberish. It's unspeakably beautiful.

The rest of the record continues in the same vein. Only "Ladies Home Urinal" (by Betty Binns, ostensibly) grips to some post-dated rock trope. Everything else is pretty much beauty-scuzz/true punk/non-rock.

The actual details about this release are fuzzy, but you can definitely still buy these directly from the Shakes here... Edition of 500(?) Highly Recomended!