Tag Archives: Sissy Spacek

http://oblivionaccessfestival.com

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Various Artists
The Blorp Esette Gazette Volumes Three & Four 2xCD
Gilgongo Records

The history of the Blorp Esette, which chronicles the output of the Los Angeles Free Music Society and other entities in its orbit, dates back to 1977, with the release of Blorp Esette Volume One LP (soon to be reissued by Superior Viaduct) and Volume 2 2LP in 1980. Volumes 3 and 4 emerged in 1999, packaged in a boxset with the previous volumes. The Blorp Esette Gazette first appeared with Volume 1 & 2 in 2013. Intended to be an on-going series, it was paused after the passing of Transparency label owner Michael Sheppard who was co-releasing the CDs w/ LAFMS members. While the original Esette is an obligatory who’s-who of LAFMS (Doo-Dooettes, Smegma, Le Forte Four), the Gazettes have an even more sprawling reach. Compiled by Ace Farren Ford and Ju Suk Reet Meate, Volumes 3&4 features: Michael Uhlenkott, {AN} EeL, Ace & Duce, Control Unit, Sissy Spacek, Kommissar Hjuler und Frau Mama Baer, Million Brazillians, Lee Rockey, Trance Farmers, Keith Mitchell, Split Second, Mr. Foon, Electric Bill Robinson, Testing Vault, Donkey Flybye, James Dewey, Eric Zann, Threed, Purple Panther Ensemble, Lynn Carey, Collide Burger with Chicken Larry and Patrick Lubow, Dr. Amazon, Io, GX Jupitter-Larsen & Ace Farren Ford, Dan and Letha Rodman Melchoir, Harold Schroeder, Erica Rawlings. Art direction by John Wiese & Ace Farren Ford, with collages from Cody Brant featured throughout the release. Each “issue” of the Gazette features a visual artist (Vol. 1 was Ace Farren Ford, Vol. 2 was Rick Potts).

http://gilgongorecords.com

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Sissy Spacek “Mechanical Abstraction” CD (Helicopter)
Sissy Spacek “Threshold” CD (Helicopter)
White Gold “3” CD (Troniks)

http://helicopterdistro.bigcartel.com

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Sissy Spacek
Tempo Scalato LP
Second Sleep, Italy

Euro: http://secondsleep.org
US: http://helicopterdistro.bigcartel.com

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Sissy Spacek
Reslayer CD
Helicopter
H 129

1. Long Distance Vertical
2. Abundance of Caution
3. Madrigal
4. Ronco
5. See-Saw
6. Narrow Radiating Structure
7. Cavity

Sissy Spacek
Electric Field In Parallel CD
Helicopter
H 130

1. White Car
2. Kaleidoscope

Sissy Spacek
Blear CD
Gilgongo Records
GGGR-127

1. Things Take Time
2. Gang Reduction
3. Up A Tree
4. Garbage Matte
5. Tear Go By
6. Bonus Live KXLU

http://helicopter.bigcartel.com
http://gilgongorecords.com

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I have Sissy Spacek shirts and enamel pins left from tour!


Featureless shirt is available M–2XL.

Typewriter or Featureless design — SOLD OUT!

Enamel pin — $12ppd US, or add $10 to a shirt order.

Non-US add $20 shipping to the US ppd price.

Paypal — sadpsychics at gmail.com
send friend/fam only please!

Please include what you’re ordering, size, plus your mailing address and email address in the paypal note.

Thank you!

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Sissy Spacek Ensemble Tour 2022
All shows with No/Mas.

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Sissy Spacek
Radio Format 3xCD Boxset
Helicopter

“While we may live in an over saturated time of hi-definition, microwave-pulse paced images and video snippets, one format that has remained in play since the early 1900’s is that of radio. A format perhaps overlooked most in its ability to not only act as a conduit of audio, but also that of a uniquely non-visual live performance, facilitating a direct audio-only portal from performer to the imagination of the listener.

Radio is a place where live collaboration and conversation can occur not just between performers, but with that of the unseen and unheard. There is no immediately distinguishable audience reaction for the performer to intake or react upon. No other sounds or stimuli for the audio generator to realize other than that of which are produced from the point of broadcast. The listener however, collaborates deeply (and often unconsciously) in the listening experience dependent on their environment. A car radio stuck in loud honking Los Angeles traffic with the windows down. A live improv broadcast blasted on a boombox in the back room of a noisy, busy restaurant kitchen. A strange mix show heard only through an open window, intriguing a passerby with the small tidbit that is overheard, unaware of the content let alone the station or origin of the sound. This methodology forces new ways of listening as well as performing, and if there’s one unit evolving and dissecting audio that thrives in such an area of exploration, it is that of Sissy Spacek. The primary core of the ever morphing group here consists of John Wiese and Charlie Mumma, but as shown on these recordings and throughout their discography, Sissy Spacek not only includes, but more accurately incorporates a host of brilliant collaborators from many walks of life and realms. Here we find Sara Taylor (Youth Code), Sarah Bernat (Bad News, 16 Bitch Pile Up), GX Jupitter-Larsen (The Haters), and Damion Romero (Speculum Flight, Astromero) collaborating with the group on these utterly unique, live KXLU broadcasts (a Los Angeles station which Damion Romero himself hosts the decades long running Psychotechnics program that these very sessions appeared on).

Which brings us back back to perhaps one of the greatest tricks, traps, and aspects found in radio — What are we hearing? Who has made this sound and where does it come from? Do these sounds come from the radio room itself? Or are they a product of some crude tape recording forged in a bedroom and brought to be manipulated? Was the group together throughout these decisions or were they conjured individually? What was the vibe and time of day? Was the studio well lit, or draped in darkness for these mysterious sessions? Who is doing what and how? With the visual senses removed, and while simultaneously understanding that these were live radio performances, even a veteran listener is still left to be puzzled by the thoughts and sounds therein. May this collection mark a crucial chapter in the infinite sonic freedom that Sissy Spacek represents. An ability to wildly, freely, expertly navigate the ever changing waters of improvisation and experimental creativity. An appreciation for forms and formats new and old. A respect and reverence for the transmission of thought and sound in all forms, and for the powerful experiences that these methods evoke.” (Brandon Hill)

http://helicopter.bigcartel.com

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Secant

av John Wiese

”Secant” är ett videoverk där duovarianten av grindcore-bandet Sissy Spacek gör en hyllning till den konceptuelle konstnären GX Jupitter-Larsen. Hans projekt The Haters har gjort ökända performance-föreställningar där man sprängt kullar i Kalifornien med dynamit, krossat glas på klubbar och gjort allmänt upprorsliknande events.

John Wiese (f. 1977) är designer, konstnär och kompositör baserad i Los Angeles. Han är en legend inom den underjordiska noise-scenen och har släppt över 150 plattor, singlar och kassetter. Han har gjort mängder av samarbeten, turnerat världen över och är medlem i Sissy Spacek.

Video: John Wiese
Musik: Sissy Spacek och GX Jupitter-Larsen
Curator: Joachim Nordwall

https://fjardescenen.folkteatern.se/node/43

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Polar Visions Amplitude reviewing —

Sissy Spacek – Featureless Thermal Equilibrium

Released on September 4, 2020 by Helicopter

Reviewed format: CD album

Connected listening – there are various ways to order a selection of Sissy Spacek’s further discography. The Helicopter mail-order stocks various Sissy Spacek releases and solo works by John Wiese and associates, you can find it here: https://helicopter.storenvy.com/collections/924915-sissy-spacek

Sissy Spacek’s releases on both physical and digital format are also available from their Bandcamp page here: https://sissyspacek.bandcamp.com/music

For an overview of Charlie Mumma’s solo releases as well as the releases he’s featured on as part of various bands, you can check out Discogs here: https://www.discogs.com/artist/1491175-Charlie-Mumma

In a similar manner, Jay Randall’s solo and band releases can be found on Discogs here: https://www.discogs.com/artist/393304-Jay-Randall

Several solo releases by John Wiese are available on physical and digital format from his Bandcamp page here: https://johnwiese.bandcamp.com

As I mentioned in the previous Polar Visions Amplitude review on this blog, 2020 has proven to be quite a fruitful year for both new Noise releases as well as reissues of classic Harsh Noise albums, mentioning the recent Helicopter / Troniks batch of CD releases and today we’re going to start diving into these with a review of one of the most recent Sissy Spacek albums, Featureless Thermal Equilibrium. Sissy Spacek is a John Wiese formed band which as being one of his most well-known projects not only carries a very prolific discography of a big number of albums, EPs, singles and many miscellaneous releases but is also an ever-changing line-up of extreme music artists and performers from various directions of experimental and contemporary music. This makes Sissy Spacek a rather versatile band with the kind of music / Noise you’re going to get on every release being quite unpredictable at times as this could vary from monolithic Harsh Noise to gritty Noise filled Grindcore to free-wheeling electro-acoustic cut-ups of instrumental and vocal recordings created by John Wiese. On Featureless Thermal Equilibrium we get to listen to Sissy Spacek as a raw power filled anarchist Grindcore unit which is continually blasted through with screechy Noise courtesy of John. Sissy Spacek’s core of John Wiese’s streams of Noise (and vocals in this case too) and Charlie Mumma’s fiery thunderous drums and vocals is strengthened here with Jay Randall (of Agoraphobic Nosebleed and various other terror-filled extreme Grindcore and Harsh Noise themed projects) providing particularly aggressive and appropriately screechy screamed vocals to the general energy-filled chaos that is this 24-minute new album. The album is one hell of a ride of dissonant murky noisy sonic energy that blends John Wiese’s screechy layers of Noise with surprisingly crisp sounding vocals and drums which in the case of this album still have quite a dynamic and roomy sound to them, creating some kind of balance in what in other cases could end up being more of a wall of Noise with all elements blending into eachother. Before we dive into this speedy album, it’s good to mention the neat looking presentation of Featureless Thermal Equilibrium, designed by John Wiese. The CD version of the album comes in a sturdy thick 6 panel digipak featuring some great minimalist artwork. The cover artwork is quite striking with its eerie grainy image of a face (which looks familiar but I can’t quite place where I saw it before) with the name of the band and album title set in some quite classy looking serif type. It has quite the classic LP sleeve look to it which purely based on the cover could suggest that the music contained within would be more like Hard Rock or Metal but its grittiness does express the actual music rather well. Other than the cover artwork the imagery on the digipak and CD face feature mostly grainy undefined composed textures that do very well carry that visualised Noise look that best expresses the crumbling shapes of texture that Noise can often conjure up in your mind when you dive into it and start to notice its many subtle variations. John Wiese’s signature type-writer style typography is looking great on the album’s digipak as always with the spine featuring the more recognisable all-caps Sissy Spacek “logo” with wide spacing and while the extra dirt John applies to the letters to make them look more degraded (again matching the music) can make some text a bit harder to read, especially in the credits listed on the back of the digipak, the design looks excellent and adds to the experience of the album’s raw power in visual form. Besides the artwork itself looking great, I also want to point out that the artwork is also printed in very cool looking silvery metallic ink making all art reflect and shine in a subtle manner, giving it some premium edge and the attention to detail that I appreciate a lot in the design of music releases even when it’s extreme music which often carries a much rougher, dirtier and at times lo-fi edge to it which might make it seems like premium artwork isn’t fitting its aesthetic that much. Now that we’ve looked over the presentation of Featureless Thermal Equilibrium, let’s dig into the album itself.

Just like what I found to be often the case with Grindcore or Grindcore related albums, Featureless Thermal Equilibrium is best to be listened in one go as being one long track as the 13 listed tracks are actually split up into at least 40 separate tracks especially about half-way into the album. It’s pretty much blast after blast after blast of raw and particularly rough power rooted in almost absolute dissonant chaos that with its relentless energy over so many blasts becomes an exhaustive but especially thrilling 24 minute ride that keeps the group on point throughout and proved to me that length doesn’t matter that much with this kind of album as it’s better not to let the band burn out after its first half but keeps things as consistent as Sissy Spacek are here. Amusingly the track titles (Fffff Eeeee, Aaaaa Ttttt, Uuu Rrr Eee) directly seem to reference the choppy nature of the blasts as well as spell out the album title, pointing out how Sissy Spacek themselves also point out that the album is like a continuous 24 minute recording rather than a collection of tracks recorded over several weeks or months (this is also confirmed on the back of the digipak as this album was recorded in a single day). Whilst this album is really best enjoyed by rocking out wildly to the energy blasts the band provides to let it all out, listening to this album on headphones does reveal some nice shifts in the separate layers that make up the bands sound on this album. Let’s start with the Grindcore layers of vocals and drums. The vocals are made up of these murky groaning lava like rumbling screeches with the “lead vocal” (most likely Jay Randall) driving the tracks themselves with rough gravel like screechy grumbling in words that are mostly quite indiscernible though you could guess mostly along the lines of “you motherfuckers” and related aggressive words thrown at us, as I heard. The lead vocals vary in intensity throughout with the shorter blasts being moments when the grumble layers take over at times with the lead vocals quickly returning with further bursts of grit but what I generally noticed from the album as a whole is that they form a bit of a circular pattern, starting off intense, falling a bit in intensity in the middle until rising again the most right at the end of the final track, Equilibrium as being a final screechy Harsh Noise finale to burn up the last remaining drops of fuel into a sparkling explosion. The drums in the pieces are somewhat between rumbling bass layer and an almost Free Improvisation like acoustic edge to the tracks, varying from blast-beats to many different often cymbal filled fills. The first few tracks showcase Charlie Mumma’s tumbling but tight drum performances with some surprisingly clean sounding tom tom and aforementioned hi-hat fills that also literally fill in most of the stereo field within the mostly centred noise and vocals that have a rougher more mono sound to them. The short blasts obviously mostly feature very fast blast-beats but after the lengthy sections of short blasts Charlie returns to the more free-flowing mixture of slower blast-beats and drum fills at the end of the album, but definitely blasting away at the finale of the last track however. The noise layer within the pieces never changes that dramatically, being quite like a gritty hazy mass of extra lava that drives the sonic mayhem forward however it’s noticeable that it does shift from screechy, mid / high frequency focussed sharp lines of Noise to lower rumbling streams during the short blasts until reaching a critical state at the finale of the last track. Interesting to notice is how most of the time the sources of the Noise are pretty hard to discern but within the first few tracks a few notes and even bass tones can still be heard throughout the continuous streaming screeching, giving away how the Noise within is created on this album. In the end I can say that Featureless Thermal Equilibrium showcases Sissy Spacek’s strengths especially in its focussed thunderous dissonant energy and excellent interplay between the performers but also does offer some rewarding subtle variations within the screeching streams of manic gritty sound which make for an enjoyable listen on the performance level too. This is another entry within the ever-growing Sissy Spacek discography of ever-inspired sonic freedom and anarchy, a recommended listen for fans of Grindcore, Noise and Sissy Spacek’s other (noisy) albums and with awarding this album a Polar Visions Amplitude of 90 dB I do recommend this album very strongly.

Featureless Thermal Equilibrium is available on CD and as a download from the Helicopter Bandcamp page here: https://helicopter.bandcamp.com/album/featureless-thermal-equilibrium

via https://www.instagram.com/polarvisions/

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Sissy Spacek
Collateral Dilation
7-inch
Helicopter, H 96
Numbered edition of 25

K2/Sissy Spacek
Bee Slave
7-inch
Helicopter, H 97
Numbered edition of 25

Sissy Spacek
Besiege
CS
Helicopter, H 101
Numbered, stamped, and water colored edition of 33

Sissy Spacek
Prize Closet
CS
Helicopter, H 102
Numbered, stamped, and water colored edition of 53

Available May 1, 2020
http://helicopter.bandcamp.com
http://sissyspacek.bandcamp.com
http://gorejet.com

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Sissy Spacek
s/t
LP
Helicopter
H 93

20th anniversary edition of Sissy Spacek’s first album, first ever LP edition. Frantic, violent, destroyed music.

“Probably the world’s first plunderphonic grindcore record. Although in this case all of the plundering is self inflicted and self directed as they record their own blasting grind record and attack it with a razor blade and spit out a garbled, sputtering, stuttering no-wave masterpiece. Think Oval, if he only scratched Drop Dead and Crossed Out CDs. Nice.” —Aquarius Records

Sissy Spacek
Scissors
2×7-inch
Helicopter
H 94

20th anniversary edition of Sissy Spacek’s second album, first reissue since it’s original release. Incomprehensible, discombobulated.

“This four-track explosion of sound had my jaw agape from the first note to the last. With minor
percussive breaks between sizzling hard-wired damage, this wasn’t at all what I expected. Instead John Wiese has offered tracks that intensely re-align your senses for their fifteen minutes of “insane”. It’s not until we get to the final track “Please Don’t Sleep While We Explain” that the wash of colorful collision is tempered and muffled to conclusion. It’s a scream-fest, jazz jam with fire to spare. Not for the weak hearted.” —TJ Norris

http://helicopter-la.com/
http://helicopter.bandcamp.com/
http://sissyspacek.bandcamp.com/
http://john-wiese.com/
http://john-wiese.com/zine/

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Warren, MI

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https://canthisevenbecalledmusic.com/sissy-spacek-silas-hedman-moana-toms-diner-a-formal-horse-and-politess/

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Sissy Spacek
Crypto-Termination b/w Predator Capitalist
7-inch
Mistake By The Lake
Release date: November 13, 2019

Mike Du Bose/Chris Goudreau/Charlie Mumma/Jay Randall/John Wiese

https://mistakebythelake.bigcartel.com/
http://helicopter-la.com/

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