Friday, April 23, 2010
Mister Fuckhead - "333"
Mister. Fuckhead is an experimental music artist working out of Chicago. His latest work is called "333." Here's more info on this release from the man himself...
I wrote the first beginning from this album at candlelight in 2003, while I was living in a 2nd floor closet, squatting in a rat-infested house that only had power in one outlet, all the way in the basement. This was for my first performance at a public venue. I have reworked these tracks over and over again, spending 15-20 hours at a time drinking fake absinthe doused with wormwood oil, to make individual pieces for each performance up until 2007. It took me some time to be completely happy with the whole album as a cohesive, perhaps timeless, breathing entity that takes on a life of its own, and the incredibly patient Clayton Counts mastered it in a stretch of about 5 8 hour long days, while we meticulously went over every detail. The 60 minutes of material culminates a series of compositions I made specifically for live performance, then spent a lot of time fine tuning or expanding afterwards. It is composed entirely from a Yamaha RM1x sequencer, utilizing various carefully crafted haywire anomalies that were featured in Dead Tech/Circuit Bending type of art gallery events, and much experience from performing with live bands or making beats for hip hop artists, among other things. The cassette is limited to an edition of 99, across 3 different color cassettes, with 3 different label designs, a 3 panel, two sided, full color insert, and a color transparency.
Here are three MP3 samples: Excerpt 1 / Excerpt 2 / Excerpt 3
You can buy this very special release for $9 in the US, and $12 elsewhere (paypal to misterfvckhead [at] yahoo [dot] com)
You can see and hear more from Mister Fuckhead at myspace.com/misterfuckhead
Scroll down past the image below for an expanded bio of Mister Fuckhead...
Located in Chicago, having lived in 25 different homes around the area by the time I was 23.
I was originally focused on visual art until a combination of events happened.
First, I went to Columbia College after high school in 1999, out of my own pocket with a job as a dishwasher and no financial aid, dropped out half way through the semester because my figure drawing teacher consistently told me that what I had been doing since I was 4 was entirely incorrect. I told him that if I wanted an opinion, I will get it from someone who didn't settle for a teaching job and walked out. The following summer I worked as an apprentice at a youth program called "Gallery 37", where my my preliminary sketches were sold for $500 a piece and I was told privately that I was the best in the group. I quit that when they wanted me to reproduce paintings on benches shown in magazine advertisements rather than the Dali, Van Gogh, or Aidan Hughes paintings I brought in as a suggestion. After that I looked at art as little more than an advertisement, and coincidentally focused more on the abstract. I'm very private with visual work that I do now, and almost any work I have done has been specifically for someone or incidentally given away to friends, or stolen. I have done a series of very obscure, crude, xerox zines, most of which I would put between the pages of random books I liked at book stores, on pages I find to be significant.
Some of that is up here.
I had been an untrained drummer in a theoretical band without a practice space, and at a certain point, they put the 3 components of the Elektribe series in front of me while I was on LSD for one of the first few times I did it. At that time, my understanding of experimental music did not reach far beyond Einsturzende Neubauten, Atari Teenage Riot, and Ministry. I spent 9 hours straight in front of these machines making completely otherworldly music and thinking somehow that it was more than remotely dancable even though it was completely inane and more organic than anything. I liken it to a hybrid of The Residents and Coil being made by a little kid.
I left my parents before I was 19, had been homeless twice, I have had 49 different jobs in my life, and at some point I bought a yamaha RM1x sequencer, which functioned well as a portable composition tool, and maybe a modern version of the broken down acoustic guitar. I would also spend a lot of time doing studio work at a friend and collaborator's studio, Nikola Vasilic. I've used my sequencer in punk bands, an "Electro Cabaret" band called the Walkie-Talkies, and Loto Ball Show, headed by the former singer of Phantom Limbs. I've also done very off kilter hip hop beats for Sharkula and Minotaur, but only until this spring have I learned anything substantial about music.
For more info on Mister Fuckhead check out his blog at nopartofit.blogspot.com