revolution 9 at the firesign theater; otherwise, we 2 boys were deep into classic pop and acid rock - how did we possibly know about musique concrete torture via tape manipulation?
Sounds Like
stockhausen's varese meets throbgris' parents on the corner of ryman auditorium and mausoleum, pricey mortician in attendance.
AMG REVIEW: Although R. Stevie Moore and Victor Lovera spent most of the early '70s creating sweetly catchy soft rock tunes and quirky pop-rockers, Moore in particular has always had an experimental streak a mile wide. Recorded in Nashville TN 1971 and 1972, when Lovera and Moore were in their late teens and early 20s, All Twenty Minutes is like a head-on collision between Frank Zappa in his Lumpy Gravy phase, and John Cage at his most random and anti-musical. This is not music at all, but eight lengthy pieces of what Moore quite rightly terms "extreme audio torture." Snatches of random conversation, stoned-sounding babbling, blasts of feedback and amelodic noise that even Throbbing Gristle would find excessive, and the occasional snippet of a recognizable Lovera or Moore composition from this period (bits of a solo acoustic demo of Moore's "Radios" crop up on "Two-Tone Part 1") are stitched together Frankenstein-like into an often-overwhelming whole. This one's for the brave.
