Note: This is the "official" Robert Poss myspace page.
Robert Poss fell in love with electric guitars and basses at an age when he still believed one plugged them directly into a wall socket. He memorized the Fender Catalog and passed through a succession of rock and blues cover bands before discovering punk in the late '70s and staring to write, record and release his own material. He joined Rhys Chatham's ensemble in the early '80s and remained a core member for several years. He also began performing and recording the music of eclectic electronicist Nicolas Collins, whom he had known since the mid-1970s.
Eventually Poss realized that the sound of feedback, distortion and ringing overtones was "the cake, not the frosting" and began trying new ways of writing songs by layering simple chord patterns over drones and looped riffs. It was his initiative that gave rise to Band Of Susans in 1986, and his early experiments became the foundation of their sound.
Band Of Susans went on to release two EPs and five LPs (all produced by Poss) before disbanding in 1995. Interviewed in The Wire magazine, Steve Albini stated that "I think Robert Poss...is an enormously underrated guitar theorist. A lot of his approaches to the density of guitar are completely overlooked in any discussion about guitar..The way he structures the song around the drone instead of finding a drone to fit into the song I think is wholly unique."
Poss has also performed and recorded solo, and with Bruce Gilbert, Phill Niblock, David Dramm, Alva Rogers, and Ben Neill, among others, and has produced records by The Meat Joy, Combine, Tone, Skulpey and Seth Josel in addition to Band Of Susans. In 2005 he began collaborations with choreographers Alexandra Beller and Sally Gross.
影響
Fellow travelers and stuff I like and/or listen to, in no particular order, and by no means comprehensive:
Phill Niblock, Rhys Chatham, Nicolas Collins, Alvin Lucier, Kato Hideki, Tom Verlaine, Johnny Thunders, The Standells, Bob Mould, Wire, Gang of Four, Mission Of Burma, Come, Ellas McDaniel, Susan Stenger, The Kinks, Big Bottom, My Bloody Valentine, McKinley Morganfield, A.C. Temple, Steve Albini, Jaap Blonk, Pina Bausch, Miya Masaoka, Shangri-La's, Mick Avory, Mike Bloomfield, When People Were Shorter And Lived Near The Water, James Fei, Tone, Jesus And Mary Chain, Sukandar Kartadinata, Dope Aviators, Sam Lay, Fugazi, Petr Kotik, Dave Davies, Hasu Patel, Holly Near, Charles Dickens, Norma-Jean Wofford, Charles Curtis, Wangari Maathai, the Maysles Brothers, Michael Clark, Bruce McClure, Hussein Chalayan, Kate Valk, Cat Tyc, Alexandra Beller, Zeena Parkins, Keith Levene, Fred McDowell, Anselm Kiefer, Busted Statues, Lee De Forest, Jamie Di Mare, Rafael Toral, Casey Nelson Blake, William S. Levise Jr., Head Of David, Gerald Casel, Band Of Ones, Ben Manley, The Blues Magoos, Margret Wibmer, Mick Ronson, Chris Brokaw, Lefty Frizzell, Kristen Nutile, Throwing Muses, Ulrich Krieger, Colin Lee, Blind Boy Fuller, Julius Eastman, Tot Rocket, Dan Evans Farkas, The Mekons, Manuel Mota, Sally Gross, Son House, The Fall, Jack Casady, Albert King, Wil Roberts, Skulpey, Dusty Springfield, The Negatones, Kustomized, Pan Sonic, Band Of Susans, The Meat Joy, David Dramm, Anne LaBerge, Seth Josel, Ben Neill....
A reminder of what's still fascinating about the electric guitar. If you need a clear, clean refreshing blast of the basics, distortion is definitely truth. — Nick Reynolds, BBC Radio
…Guitar genius, drone meister and ex-Band Of Susans member…Robert Poss is the master of treated and manipulated guitars along with distorted drum machines and synths.
— Tape Op
…Band Of Susans. What a glorious din of guitars, loops, wires and pedals that was….Chief Susan, real name Robert Poss, plugs back in to rekindle that old old amp magic.
— Thrust
This is highly innovative and highly melodic music for the experimental set. This is art, this is noise, this is feedback, this is blowing apart conventions, this is damn good songwriting. The guitar love affair continues and things just seem to be heating up.
— Lost At Sea
Adamantly arty, these New York subversives have since 1986 never lost faith in hypnotic guitar....Robert Poss and Susan Stenger prevail with dronefests rich in texture and heavy with stream-of-consciousness musings....The radical strategy pays off in music that is brainy, visceral and bracing. — Rolling Stone
Unsung heroes in pops gender wars, The Band Of Susans have surpassed the challenges put down by successive Downtown minimalists: the No New York groups, composers Rhys Chatham and Glenn Branca. The result: the best guitar rock of the 80s. — Mojo
Robert Poss [and Band Of Susans] strum power chords and tremoloes that resonate until they fill a room with overtones, octave upon octave, chiming and buzzing and shimmering with forceful grandeur. — Jon Pareles, The New York Times
Poss' performance was a handsome demonstration of the relativity of the term improvisation. What might have initially seemed like random wailing quickly became an event that bore witness to the presence of a deep knowledge and control of the instrument....The result was a massive heaping of electronic sound, a synthetic sonic bundle that you could cut with a knife. — Jacqueline Oskamp, De Groene Amsterdammer
Distortion Is Truth.
In the beginning there was Burl Ives, Camelot, The Bangalorey Man, Pete Seeger, and the overture from West Side Story. My electric guitar obsession started in 1964 — with the look of Rickenbacker, Hofner, Gibson, Gretsch, Vox and Fender. I started playing bass in 1968. I think I had started to play lead guitar by the time I, a rabid fan, met Mike Bloomfield backstage one night in Buffalo, New York. He gave me some good advice about keeping it simple. It was the rich, complex simplicity of the blues that had the strongest pull. And along the way came the musical/spiritual guidance/inspiration of Ledbetter, McDaniel, Morganfield, Butterfield, the almost Biblical importance of Albert Kings guitar playing, the stately grandeur of Mick Taylor s legato lead melodies and the anarchic yet perfectly poised fretwork of Johnny Thunders on a good night. I loved the Stones Satanic/Banquet of mellotron pedal points and shehnais droning like tape loop tamburas — as if Charlie Watts had been a tabla player, and Nicky Hopkins had been listening to Steve Reich — while Keith and Brian repeated their rhythm and slide guitar mantras. I loved the way recorded music could have the aural equivalent of geologic layers of sediment, crystal, stone and fossil; I loved the sonic density of mysterious, half heard overdubs and subliminal musical suggestion....
Later there was the Clash in that first fleeting moment of glory — or was it allegory — and Pink Flag-waving Mission of Burma and Gang of Four and the connections I came to feel, often with the help of Susan Stenger, existed between Fred Rzewski and Fugazi, Tom Verlaine, Sam Lay, Joseph Conrad, LaMonte Young, Chuck Berry and David Tudor, David Bowie, Julius Eastman, Blind Boy Fuller, Garth Hudson, Javanese gamelan, Patti Smith, Poly Styrene, Bollywood pop, the Standells, the Kinks, Ma Rainey, Joan Jett and the lives of Ava Gardner and Malcolm Lowry, not to mention the magical syntax of Zimmerman/Osterberg or the fractured poetics and overloaded mic pres of Mark E. Smith or Willie Dixon.
Alvin Lucier stuttering the standing waves in a tape loop room changed my life in 1974; I never heard silence the same way again. Nicolas Collins added his pea soup fog of phase-shifted feedback, tutored me in the history and mysteries of musical electronics, and played me recordings of In C, Its Gonna Rain, and Violin Phase. Phill Niblocks dense sonics filled the room with a palpable ocean of radiant energy — a soundtrack for flowing blood and beating hearts; turn ones head a few degrees and the universe shifts. Years later, after my blues/punk sojourn in Tot Rocket (three 7-inch records) and Western Eyes (one LP), Rhys Chatham graciously showed me the way back to the essential, to grabbing the guitar by its roots in order to worship at the altar of its overtones. We toured Germany by bus.
What later became Band Of Susans started in 1985 as my own solo experiment — three layered looping delays, a drum machine and a new take on riffing, distortion, controlled feedback and the architecture of rock guitar. I enlisted some close friends and we formed a band. In 1987, music journalists and colleagues would scratch their heads or roll their eyes when Susan and I mentioned John Cage or Rhys Chatham or Phill Niblock or Christian Wolff. We offered touch stones; they wanted Blarney. I think John Peel probably understood it all.
In 1989, Leo Fender took Band Of Susans out to lunch; he had our Love Agenda poster on his office wall. For me that moment was twenty years in the making, a private audience with the Pope after years of devotion in the wilderness.
Band Of Susans broke up in 1995. We never quite got the hair and makeup part right — we could not take a good band photo to save our lives — nor did we strike the requisite underground hipster poses socially or intellectually, but we put more electric guitar on record than any band before or since. We followed our own musical instincts and they served us well....
Until recently I had nearly forgotten what it felt like to manipulate, trigger, sample and hold cascading oscillators, gates and resonant filters like I had first done in the mid-1970s (musical experimentation and patchcord macrame on a keyboardless Arp 2600, along with four-channel skipping record repeat pieces and putting contact microphones on pocket watches, electric motors and water fountains). Now, spending time once again in the thicket of patchcords and the blinking lights of temperamental analog modules is like a reunion with a long-lost lover...or pet.
So, now is now. This CD represents facets of my recent musical interests, some of which catch the light more than others, and is also a kind of retrospective of my post-B.O.S. experimentation and performance. Ultimately, its just another dream in which I stand before you at the end of the term — with a long history, a wealth of experience, but somehow still naked and unprepared. — Robert Poss, from liner notes to the Distortion Is Truth CD
Currently: working on musical projects with/for Phill Niblock, Susan Stenger, Seth Josel, choreographers Sally Gross, Alexandra Beller and Gerald Casel, Austrian artist Margret Wibmer, an article for Leonardo Music Journal about my favorite guitar, and sooner or later, another solo CD or two. I may not have time to reply to mail sometimes due to my schedule but I will try to look in at it from time to time. Ditto for the Band Of Susans group page.
It's been a minute and since you last heard from Pacific Soul Records in Oct we've dished out several new "Uncle Ray's Psychedelic Soul" podcast radio shows...if you haven't checked them out, put yourself on and enjoy this phat radio show. Especially listen in on shows #8 & #9 "Vinyl" Part 1&2 with special guests. You are going to dig these shows, the music selection is not to be missed ya' heard!! here is the link to all of them, ENJOY! http://xraydusa.podbean.com/
23.00 – 00.30 Uhr - Mike Litt 00.30 – 02.30 Uhr - Santos 02.30 – 04.30 Uhr – Andre' Hommen 04.30 – Open End - Platinchoc
Jeweils am 2. Samstag im Monat findet die Neue House Party im Alten Wartesaal statt! Mike Litt der bekannte Journalist und DJ bei dem Kölner Radiosender 1Live gestaltet das musikalische Musikkonzept für das Publikum.
free released for your look+listening as DVD+CD / .iso files / mov+mp3. DOWNLOAD -> www.myspace.com/ryutakwbt
DVD/mov is including two "table-top guitar" solo, two duo performance,
some kinetic studies and some more. 104.min Stereo. duo with Celebrante in Una Casa Buenos Aires,
Ryusaku "Rutang" Ikezawa in YahiroHIGHTI, Tokyo.
CD/mp3 is including a recording of acoustic resophonic guitar solo. It is a contemporary local blues that has sewwt tone. 21.min Monoral.
Catch the auditory hallucinations and modulations caused by chain of movement and interference without no computer in this works. it is magical and beautiful. hope to enjoy, sincerely.
Thanx for finding me! I've seen Niblock's 'One Large Rose' at Kampnagel in Hamburg. That was great! Do you'll make a Tour in Europe/Germany with 'Stosspeng'? Please inform me, if so! Greetz from Hamburg, Alexa
16€ + postage Pour plus d'informations concernant le paiement et les frais de port, contactez-nous : laformelente@gmail.com For more details about order, payement and shipping, feel free to contact us : laformelente@gmail.com
A
4 track EP, titled Call Signs, it provides the perfect introduction to
the band prior to the release of their debut album, Grappling Hooks, in
early 2010.