Hello, my name is Judas Gutenberg and this is my blaag (pronounced as you would the vomit noise "hyroop-bleuach").
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Like my brownhouse:
Monday, January 6 1997 In the early afternoon I purchased two used CDs: Pod by the Breeders and Chaos A.D. by Sepultura. The latter was an especially rare and beautiful thing; one never finds Sepultura in the used section. But then again, someone appears to have liquidated a metal collection lately. Lots of Ozzy, some Megadeth, and cheesie stuff like late Def Leppard. If there was ever any Metallica you can bet it was snapped up quickly. I probably scooped up all the Pantera.
Pod, the Breeders' CD, came out in 1990 and has a strong proto-alternative sound. Being the musically naive poser neophyte that I am, I come to an appreciation of the Breeders late through an appreciation of such Nirvana albums as Incesticide. Hearing Pod (particularly track 6, "When I was a Painter") it becomes readily apparent where Kurt Cobain picked up much of his guitar style (though I actually still prefer the noisy abandoned "fuck if I care" sound of Kurt's guitar). Furthermore, this album sounds very like a Pixies album, which is no surprise since the Breeders are really just a variant on the Pixies membership (though later Breeders albums sound unlike the Pixies). Being a Guided by Voices nut, of course, I pick up on similarities between the Breeders and GbV (since they both come from Dayton Ohio and know and like each other). And there are more similarities than I've been told to expect (listen to "Opened," track 9, which lurches between both the sounds of Guided by Voices and the Pixies and "Metal Man," track 12, which, with the exception of Deal's voice, could be a GbV tune).
Now as for Sepultura, I have to give Chaos A.D. (1993) credit for being one of the heaviest albums I have ever heard. The vocals are exceptionally good (I love the ring Max Cavalera gives his "Rs"), and the rythms, while occasionally repetitive, do exactly what needs to be done. Flipping through the novella-sized liner notes, I was struck by how politically motivated (verging on and then surpassing punk) many of the lyrics are (for the most part I'd made the lyrics with which I was familiar into dreamy surreal poetry). I was entertained to discover that the words read like the way Cecelia the Brazilian Girl speaks, bearing the peculiar staccato poetry, machine marks and artifacts of translation from Portuguese.
Bored, I continued on to the Bakery, where Peggy had just come with a carload of friends. These were two female friends from the Philadelphia area, stopping in Charlottesville on their way back from Texas: Jaleelah and Joanna. The Joanna is the same one who drives around in a van with her boyfriend Forrest (the most interesting story about her is that she likes somewhat older men and once had a torrid affair with Jamie Dyer back in late 1994 in the early days of the Malvern invasion). We chatted about a number of things, including that Sara Poiron is donating her eggs to the fertility industry. By the way; Sara Poiron left a long message on my phone mail stating that my Big Fun in Philadelphia had gotten her in trouble with her housemates and that she might know a Christin who knows me. She sounded like she wanted to talk endlessly but the machine was all that was listening. In other things, Peggy said that she was moving back to Philly for awhile. That would be the last of the Malvern Girls to finally abandon Charlottesville.
I temporarily augmented the Bakery sign with some long stale loaves of Italian bread.
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