”Super heavyweight jams on heavyweight vinyl wrapped in a beautiful full color heaveyweight gatefold sleeve. The folks at Smeraldina-Rima spare no expense to bring you a very nice thing. Includes 18 minutes of music not available on the CD version. Only 600 copies available, artwork by Rachel Lowther. ‘Talibam! (Kevin Shea on drums, Matt Mottel on keyboards) and Peeesseye (Jaime Fennelly on electronics, Chris Forsyth on guitars and Fritz Welch on drums) have been pals and Evolving Ear labelmates for a while now, so it was only a matter of time before they all got together and let it rip. And rip this certainly does, driven on by the double-barrelled percussion attack, underpinned by Fennelly's drones and scribbled all over by Mottel and Forsyth, whose wild gonzo soloing is a happy and healthy reminder that one-chord jamming was part and parcel of American alt.rock before the word alt.rock even existed, back when Fugs roamed the Earth and Angus MacLise still turned up for rehearsals, back when these laddies were still twinkles in their daddies' eyes. Of course, it's not all one-chord rock —sometimes they dispense with chords altogether and dive headlong into the primeval murky soundpool, with scant regard for whatever sharp rocks and nasty beasties might be lurking under the surface. Loud, messy, dangerous and glorious.’” - Dan Warburton

New privately-pressed LP from the Peeesseye trio: “Today Evolving Ear presents you Peeesseye’s new LP, Pestilence & Joy, released in an edition of 300 copies. This is Peeesseye’s 19th release overall and 9th on Evolving Ear since 2003. It’s also their first full-length studio release by the core trio of Jaime Fennelly, Chris Forsyth, and Fritz Welch since 2008’s Mayhem in the Mansion Shivers in the Shack CD. Not that there’s been a dry spell: Pestilence & Joy follows the highly touted self-titled collaboration Peeesseye + Talibam! CD (Invada) and 2XLP (Smeraldina-Rima) earlier this spring and a stinking heap of cassette and CDR releases over the past couple of years on labels including Digitalis Industries, Giant Tank, Sick Head Tapes, and Golden Lab. Pestilence & Joy is based around a series of studio recordings made in Amsterdam in fall 2008, in the midst of Peeesseye’s European tour of that year. The studio sessions include contributions from Amsterdam-based folk dreamer Seamus Cater on harmonica, and Richy Midnight of Blackpool's own comedy reflux band Condor Moments on keyboards, vocals, and production. Concert recordings from 2006 through the fall of 2008 tour were later interlaced with studio material as a sort of Anthem of the Sun-styled combo meal, though it’s not likely that Billy Kreutzman would recognize it as such. The album collages the two heretofore distinct and separate tendencies in the Peeesseye approach - pieces composed in the controlled environs of the studio and documentation of the totally busted joy of their live shows. With lyrics plundered from William Blake, Black Flag and the Jason vs. Freddy screenplay, Pestilence & Joy gives us some of the most focused songs yet produced by the group. It sandwiches reams of psychedlicized guitar junk, hainted-and-tainted vocals and catastrophic percussion with harmonium & synth drone slabs, hemorrhaging feedback, and a righteous dose of group handclapping. There's even a taste of road burnt socially awkward on-stage interaction with Swiss music zombies. As per usual for a Peeesseye release, the album artwork is worth noting. The sleeve features two magnificent front covers, one an illustration by the English spiritualist and gay magazine illustrator, Ronaldo Wright, and the other a close up photo of a dripping Baphomet by the American sculpture team Jesse Bercowetz and Matt Bua. At least one printer passed on this sleeve job due to supposedly “objectionable” content. We have no idea what they are talking about.” – EE.

Archival muck documenting Fritz Welch and John Seden trying to extend the secretions. “I met John Seden at art school in Chicago in '87. We bonded instantly on weird art, The Residents, Shockabilly and Herschell Gordon Lewis films. We hung out briefly until i dropped out and moved back to Texas. Soon after, i moved to NYC and he formed Repulse Kava. We hung out whenever possible and collaborated on fucked-up videos, collages and music whenever we got together. 'Can Your Guinea Do The Dog?' was recorded in John's dank and mystical basement in 1995. As always we just plugged in whatever was to hand and folded reality a few times. But on this occasion it included a recording of my girlfriend's deceased guinea pig and john's dog got involved for zoomorphic balance. I listened to a cassette of this jam for years until i realized that it had the strong smelling odor of a Chocolate Monk release cuz it was a meeting of the minds, as well as the pelvis - the guinea was Priscilla, and the dog was Elvis!” -Fritz Welch. 

New album from guitarist Chris Forsyth, also a member of Peeesseye. This is a full-band recording, featuring members of D. Charles Speer, Sunburned Hand Of The Man and Mountains, and it expands on Forsyth’s great private press album Dreams, with a vision of electrified Americana that’s somewhere between Glenn Jones and Cul de Sac’s re-visioning of the music of John Fahey through a more overtly Minimalist take on the kind of euphoric guitar exchanges of Television, all assembled in hypnotic instrumentals that take off on vertical ascensions of microtone-heavy euphoria to the point that the marching hallelujah melodies morph into dense vibrating structures that flash in front of you in the air. The addition of pedal steel and organ situate the music deep within a roots-music background that, combined with Forsyth’s guitar tone, sounds a lot like Richard Thompson circa I Want To See The Bright Lights Tonight. Indeed if you can imagine Fairport scholars Television’s live rips through The 13^th Floor Elevators’ “Fire Engine” denuded of vocals and re-scored in the studio for maximum psychoactive effect then you’re close to the kind of endlessly riffing American Primitive appeal of this great LP. And unlike so much of the name-dropping that has happened in the wake of his passing, the dedication to Jack Rose on “New Pharmacist Boogie” makes a lot of sense.

New duo jams from Chris Forsyth of Peeesseye and Koen Holtcamp of Mountains. Guitar/synth jams that comes across like a more sci-fi addled Rother/Dinger face-off, with flat-lined motorik grooves, cosmo synth and the kind of progressive avant/garage string burn previously favoured by Heldon. Edition of 500 copies.