An Plastic-Surgical Guide For ‘Growing’ The Most Beautiful Labial Petals On Meatus

The Key For A Healthy, Blossoming Labial-T0-Meatus Graft Is Evil Moisture

As Andy Bolus’ friend, Andrew Sharpley, told me, “Andy is not really a noise artist. He is what the french accurately call a ‘plasticien,’ meaning he makes real stuff out of real stuff. It’s not a critical judgement. It’s just a factual term that has no real equivalent in English. [Something akin to] making ideas plastic.” It makes sense. If it doesn’t yet it should after this. All artwork in this article is produced by Andy. Check out his home page to follow-up and learn more about what he does, has done and good luck trying to guess what he’ll come up with next. You can also visit culinary arts blog, Slime With Worms.  And be sure to check out his soundcloud page. There you can download and digitally convert sonic amputations for a template for your own DIY meatus graft and evil moisture condensation chamber.

Andy Bolus

Andy Bolus

Decayke:  Did you get the question in the other email? Is that too boring a start? I can send you another question about your shoes and what kind of penis enhancements you’d do if you could, like surgically grafting a tiny vagina in place of your meatus? Maybe a nice labia? You can start with that one if you want.

Andy: Haha. No sorry just been busy and in a bit of a spaced out state…

Decayke: Spaced out = better. I recently had an emergency appendectomy and I came out of a pain killer haze and I’d completely rearranged my life. My bedroom was totally different. I scrubbed the baseboards in my closet even though you can’t see them, but I can’t hear the dust howl now. Anyway…Do you want to push this interview back to the issue after next? Would that be better for you?

Andy: Arghh I dunno, I’ll get on it in the next few days, promise!

Andy: I’m starting on it today, first question about voice crack. The meatus one, what was that? Ask again!

Decayke: How did you decide to play with meat? To use it as your instrument? Was Voice Crack an influence, using things like apples as sources for sound?

Andy: The use of meat came about through a need to have some visual element in liveshows. Originally the meat was my own, tyhen raw meat, ink, with a video camera projecting it as a sort of live action painting which also generates the sounds via electrodes in the meat attached to ‘bend points’ on various machines. It’s deliberately anti-geek, a bit of a ‘fuck you’ to all the twee circuitbending/gameboy/8-bit crowd and more referring to my friend Rudolf’s work, and the Vienna Aktionists before him. I’ve also done 2 shows replacing the meat with a girl’s flesh, the wonderful Laeticia Barbier. In Japan the meat was cooked and offered to the crowd after the show, so people were literally eating my instruments.

Voice Crack I discovered later. Things really started when I was about 8 or 9, I loved the whole ‘mad scientist’ thing. All I knew how to do was wire up a motor to a battery, or make a speaker crackle, and switch on lights, so I made these boxes with cardboard and tinfoil that looked like lab equipment. Also an old aquarium with a fake brain made of that latex stuff to blow balloons, with wires coming out and a light inside. A friend of mine about the same age was a certified nut; he lived in a trailer in the garden at the back of a barbers shop, and his grandfather used the garden as a junkyard. This kid had all sorts of weird junk he’d salvaged. I remember one time he attached wires to his arms, plugged into an old oscilloscope or broken ham radio gear, made me go out of the room and come back in, and he was having a kind of epileptic fit, drawing spikey lines on a long roll of printer paper. He also made a kind of go-kart from a petrol lawnmower with a car seat bolted on and various tubes that squirted water. I imagine he went on to be some sort of Jeffrey Dahmer type. Around this time another friends dad bought him a BBC computer kit so we built that. His dad was into building dragsters, so we went to Santa Pod a few times for the “run what ya brung” event. School science was boring except the experiment with a battery and frogs legs, making them twitch. We were more interested in stealing test tubes full of ether and chloroform and anesthetizing ourselves in Latin class.


Anyway, the circuit bending things, whetever they call it, I never really liked that term. I just started messing around with things, opening up tape players, radios, pressing parts of the circuit board to get squeaks and hum. Electronics came a bit later. One summer I got that Forrest Mimms book “Getting started in Electronics”, which is still pretty much my bible, especially the “100 circuits” part. The first things I built were more electro-mechanical, like rotating speakers with brushes to route audio, a record player modified into a device for switching between different tape players rhythmically and so on. I remember also building a crude burglar alarm (the ‘burglars’ being my parents nosing around my room) which had a delayed effect made with an egg-timer, so that the alarm would go off a coupla minutes after the door was opened, thus catching them in the act. A shrink would probably say that’s the reason I started building all this junk is because of an unfinished robotics kit which is still rusting in a box in my fathers garage.

DECAYKE: There’s an almost communion-like aspect to some of the things you’ve done live. I’m hesitant invoke anything religious or spiritual but when you put it context of the Aktionists, particularly Nitsch, it sorta makes sense. Your work zig-zags insanely along an unreliable tightrope threaded by  a blind person through kitsch kulture, dream symbolism and recontextualized pornography (like cut-up photos of sex organs) and is manifested both aurally and visually. It  seems at least partly satirical, but I also get a feeling of joy when listening to or viewing your work, albeit maniacal. Would you agree that there’s something akin to ecstasy involved here? And if so is it primarily satirical and a comment on consumer culture and devaluation of, well, pretty much everything?

Andy:  I suppose it’s ‘devaluation’ but in a positive sense, where you are free to use ANY material, and it’s all on an equal level (or any level you choose it to be), without the usual standards that pin everything down; this state occurs in dreams. Having the same feeling of terror from a Halloween toy as you would from a car accident. Food and porn. Something very dark and solemn drawn in a cheezy cartoon style. It’s really just putting everything in a blender and seeing how fragments join up, and emphasizing those until they become something new, like giving an abstract form the status of a new object. It occurs in audio collage, where every sound is pushed as far away from anything recognizable as possible, so you can almost draw it as a line of slime, spikes, deflating or inflating blobs, anything that stops you from naming a sound. Of course, there are clichés in ‘noise music’ / avant-garde etc just as in any music, and these should be messed with too.

In terms of source materials (both for sound collage and painting) wouldn’t say it’s any satire on pop culture, more like spewing out what’s already there as a sort of universal omelette. I tend to copy from or emulate things that I love, or at least hate with a passion. Its about deliberately confusing the figure and the ground, seeing how far you can remove something from it’s context while still keeping some of the ‘feel’ of where it came from, like a very small abstracted cube of flesh from a 70’s porn photo that still has a trace of its origin. Of course also playing with our tendency to recognize faces, limbs, etc and seeing how far that can be pushed. Then I think if you really peruse this, there IS a kind of occult aspect to it, because you get down to symbols and archetypes, and the whole idea of undoing and re-doing things as a way of freeing up thought and perception.


DECAYKE: Yeah, there’s definitely a “spewing” character about your work. I was trying to come to grips with a decent name for work like yours a few days back when I was writing up a short piece on Decimus. I hear what sounds like broken and/or circuit-bent electronics in his stuff, too. Whatever you prefer to call it. It kind of parallels culture jamming in that you’re using “junk” or repurposed materials to create what you do. Detritus. To my mind, though, it goes a step beyond that first level of culture jamming where media is stripped  of its usual context and then recontextualized to change its meaning. I think that’s an important distinction, especially since you brought up the idea of action painting. Your work functions more like an inkblot the same way action painting did. There’s just something really gleeful (that sounds corny, don’t it?) about listening to Evil Moisture. It’s intense, but there’s also that cartoonish element to it that sets your sound apart from everyone else’s. And speaking of that, you’ve been doing stuff now for, what, over 20 years? I know I bought the Stomach Ache 7″ when it came out in the early 90’s. What’s your take on noise now and who out there is doing interesting work to your mind? I feel like any day now I’m going to hear Merzbow soundtracked in a Chrysler commercial. That’s nothing against him. It’s just that I never thought noise would gain in popularity the way it has. Do you agree?

Andy:  Merzbow in a Chrysler commercial ? J G Ballard would be amused, I guess, but the day I hear an Evil Moisture track in a Burger King commercial, I’ll sew a mini-vagina onto the end of my meatus. I remember seeing a manga-esque life-size cardboard cutout display thingy of Maso Yamazaki (Masonna) in Tower Records in Shibuya and thinking “wow, this is really insane!”, but in retrospect it was just fun over-hype. I guess those words on the back of that SPK album about what is percieved as noise now will be percieved as information (music) in 20 years is (obviously) true. Well, you can hear bongos and stuff…but I think things will always remain quite rhthymic and tonal in popular music, whatever that may become. Possibly what sets me apart from the ‘culture-jamming’ stuff is that I’m really not interested in arguments about mainstream/underground etc, it’s not about quotation or commentary either. Well, ok, there’s that Killer Nuts cd with Sabrina samples etc, which was mostly just stuff I did for fun on my Amiga and wanted to get it released to get it out of the way, and to impress my Dad by getting a good review on the BBC website, but that’s my only foray into that territory, and even that was more about ruining things which were already crappy than about irony. Everyone needs a black sheep in their discography.
Recently some friends of mine who make terrible ‘commercial’ French chansons, pop ballads, hideous stuff which sells well, asked me into the studio when they were recording “to give criticism”; I refused by saying that about the only things I would suggest were slowing it down, playing it backwards, putting all the levels right up…or just deleting it. They laughed. I think that says it all.


“Cartoony”, yes, it’s always been about that more than anything, abstract cartoons…recently I’ve been getting as much into extreme stereo panning of mono sources as in editing, so things fly around even more, smashing from one speaker to another, disappearing into a hole in the centre, turning inside out, flailing around… and it gets even closer to drawing. A long time ago I tried to do the same with video collage and animation, but it doesn’t really work the same. It’s something you have to be really careful with. Maybe someone like Jeff Keen nailed it, kindof…
People working today? Well anyone who’s “keepin the creep” as Nate Young would say; Aaron Dilloway, Olson, actually I tend to like American Noise in general, I dunno why, something kinda beefy and raw about it, like the big gas-guzzling rusted old automobiles you guys have. Picture me, aged 14, cruising down the high street of my local town with Mad Mick, my girlfriends sisters boyfriend and the first punk in the town, complete with German stormtrooper helmet and leather jacket with swastika on the back (yep, back in the day when that meant ‘punk’), driving a Dodge 6 seater rusted old hulk, 3 miles to the gallon, 3 seats in the front, 3 in the back, with armrests with ASHTRAYS in them, holes cut into the back seats with 12” bass speakers bolted in, playing Einsturzende Neubauten “Drawings of Patient O.T” or whatever it was called, that he had taped off me…cruising alongside all the ‘spin-boys’ listening to Wham and Culture Club in their Golf GTIs, that might be why. Oh, and Daisy Duke was a total babe, Garbage Pail Kids, Wacky Packages and Nutty Initials ruled, I was a BMX-er with a cutoff denim jacket with a skull and crossbones and THIS IS IT! Painted on the back, and, well, there ya go, fun times. Still, gotta love Stockhausen too; he’s sorta ‘mainstream’, no? I mean, he gets to do concerts with string quartets in helicopters…


DECAYKE: Yeah, the string quartet helicopter thing was pretty cool…until the vocal parts kicked in. I’m still undecided on whether or not the vocal horror made it all better or not, but who cares? Helicopters. Enough said. Maybe if they wore denim jackets with the sleeves cut off while singing the vocal parts. And wore fake Lemmy mustaches. Yeah, that would have changed the entire context.

I like a lot of the American noise that’s happening these days too but I have no idea who this Aaron Dilloway woman you mention is. Is her work really that good? I’m still obsessed with David Jackman, so what do I know? But back to you, from what I understand you’ve now changed your setup and moved away from the meat(us) into something different. What are you doing now and is process more important to you than the end sound? I personally don’t get that feeling because your records are always really listenable, so long as I mentally transport myself to the top of a Dodge Dart with that crazy of neighbor that you had driving. I can’t help but picturing him driving off that pier in Brighton that has all the lollipop and ice cream vendors, dragging tourists underneath mag wheels leaving mop tracks of glistening entrails, blood that mysteriously spells “KILL THE PIGS”  and honest-to-god flame demons shooting out the dual exhausts. In that calculus I suppose Evil Moisture is the glass packs of the noise world.

Andy: 15 Ecranoplanes flying in formation over North Korean airspace playing dictaphone recordings of Lemmy’s wart-removal operation and a list of subsequent ebay bids. He’s the L Ron Hubbard of avant-garde. Ask Andrew Sharpley about the letter from Karlheinz regarding the Stock, Hausen & Walkman cd they sent him: “Keep up the good work!”.
Dillo is a cave person; (s)he –his sexuality is unknown since collaborating with Genesis P Orridge- was discovered in the Arctic pretending to be Bigfoot, studied Edison’s early recordings on granite blocks, reinvented the wire recorder as a large-scale chairlift for ski resorts and is currently working on turning the asteroid belt into a tape loop.


I don’t find process to be that important, in fact the ideal is if I can’t remember AT ALL how the hell I did it when I listen to old recordings. I don’t like people around me when I’m working. I guess it has to be a bit important when playing live, but I usually feel like I’m not there, black out. Recently I told my girl that I was really happy with how my show turned out, and she said “Andy, you didn’t play!”, so, err, there you go.
The meat thing I did to death, it’s back to me(at) now (see below). Just means I have to deal with the little electric shocks in my mouth, but that’s bearable. Other than that it’s function generators and sweep generators all the way; you can never have enough of them. And sound-to-light boxes triggering 240v relays switching stuff.  I did one show at Dramarama fest I think it was, where the relays were switching the p.a. amp, mixer, a big guitar amp, and a little tiny guitar amp on and off, which meant that Evil Moisture gained a new member –the sound engineer- for most of the set. Dunno if I should write a list for the geeks…I could if you want. I do plan on using a live crab at some point. Peter Blasser did a tour with earthworms, that looked fun. Not wanting to get into the animal rights debate, but I do think there should be more of them onstage, alive or not.

Gearhead Solo Action Porn Booth
Current gear that is still working to one degree or another:
–       2 x Uher Stereo Report reel-to-reels (used to have 2 Revoxes
(Revii?) but Alan Boans took them apart).
–       Various cassette decks, 4-tracks
–       8-track cart player
–       3 different Wavtek function/sweep generators and a Texas Instruments
one with VC In.
–       Relay boxes
–       Modified walkie-talkies (used as oscillators)
–       Korg 800DV
–       Various sound-to-light units (like those in old Discos)
–       Modified toy karaoke with echo
–       6 microphone + oscillators (attached to drums in Super SS)

Interstice. I attempted to email a fart but the digital biological conversion unit isn’t advanced enough to electronically assimilate methane. Andy mentioned something about David Jackman and Hanatarash in his reply to my accidentally empty email. Then…

DECAYKE: Are they influential, Jackman and Hanatarash?

Andy: David Jackman was, yeah, because I assumed, incorrectly or not, that he built very delicately balanced and precarious contraptions in his garden shed to make instruments/debris auto-play, which got me interested in doing similar: motors vibrating strings, food mixer with hammer hitting petrol can, speakers bolted onto sheets of metal/springs etc, rotating stuff as I said above. Tim Moulder (long-time early participant in EM) and I tried to make a ‘track’ a bit like Scalextric but with speakers and mics instead of cars…that one never got finished. Tim built some wonderful instruments, like a 14-arm record player (the needles were real sewing needles) and a 6-arm one that was the envy of many a DJ, I guess, unknowingly around the same time RRRon was doing that too, except Tim favoured Rodger Whittaker and Klaus Wunderlich over Black Sabbath records. Another one was a ‘guitar’ which had an air pump feeding into 6 (I think) bottles of some gooey liquid with mics inside, a banjo-shaped thing which had a plastic snake which rotated, stirring a mass of plastic ants, and another ‘guitar’ that ended up on the cover of Boredoms “Chocolate Synthesizer”, cos we opened for them yonks ago. Hanatarash 2, what can I say except it completely blew my mind, and other stuff like P16.D4, Merzbow/SBOTHI collaborative LP (and other Merzbow ‘concrete’ stuff), anything  which has very rigorous (and analogue) tape editing and/or very ‘worked-on’ recordings, so also things like White Noise, Mimaroglu, Cage ‘Fontana Mix’, Mnemonists/Biota, Luc Ferrari, Brainticket “Cottonwoodhill”, Faust (of course), then a bit later Nurse With Wound, TG, all that…typical really. I can even add the token WTF-er, but I really do honestly love t.a.T.u.

DECAYKE: Biota/Mnenonists always stood out in my mind, the way they went about things. Nobody has ever sounded like them and they managed, when they wanted to, to sound more traditionally musical than a lot of their, um, uh, contemporaries? But the span of sounds and composition they managed is impressive when you consider a recording like Rackabones and then compare it to something like Tumble which was almost orchestral in contrast. Do you ever see yourself attempting to move into a more traditional direction? And do you ever envision incorporating anything digital/computer into your setup? Also, I assume that a lot  what you do is improvisation now. Or is it? Is there a framework of some sort of composition going on?

Andy:  Well they were classically trained anyway, I think? That shows in stuff like Horde and Gyromancy…super dark. I didn’t really get into their more musical output, dunno quite why. Neither the earlier stuff like Some Attributes of a Living System, kind of noodling freakout jams, I dunno…I guess I have a problem with recognizable sounds (piano, guitar, sax, whatever) because it sortof stops you listening directly. Unless it’s black metal or something, and then it’s fine, of course…[so] I feel like I’m going in an even less musical direction…I keep wanting to make things that are completely inhuman, not like HNW, more like two hours of silence, then a small sound, then…I dunno, something that’s not music at all.    My recording process usually consists of building the machines (thus there’s a kind of structure inherent, because they are designed only to make sounds I like), recording a lot with them (not sure I’d call it improvisation, more like going through all the possibilities), and subtractively editing; so a one hour recording may end up as a few minutes, or almost nothing. I don’t really use effects other than the inherent qualities of the machines and recorders. Panning and volume (and most editing nowadays, although earlier stuff like GAK, Yerm Flowers, Creem-lube Romantic Storage System, etc, were entirely made with ¼” tape splicing) done with Cool Edit Pro, but I try to stay away from effects or noise reduction. Hiss is not silence. I’d like to see how a Radio France sound technician spends days making a plugin that sounds like a pause button on an old Sony. I like the idea of visual scores as a sort of comic book that would accompany a tape, on a very long strip of paper which you could follow in real-time whilst listening. Then you could play back the audio in your head just by looking at the score. Vomit Lunchs and I started a collaboration with this in mind, but he seems to have disappeared from civilisation and is now in a forest hanging out with the buffaloes, last time I heard. Also, I suppose you can say that a recording of anything IS a composition (of ferric oxide on plastic or whatever).

DECAYKE: Not doing music at all…That also calls to mind Jackman. I love those recordings he’s done of WWII machine guns and airplanes. To be perfectly honest I have no idea what he did to them, other than perhaps loop the sounds in a particular way. Maybe some old-style physical phasing. I also love the way he refers to his stuff as a “collection of sounds” rather than music. Is it even important to call what you do music? Noise (and all of its subgenres or whatever) often seem more analogous to visual art like sculpture. You get down into the bare bones characteristics of sound and work from there. How important is the visual component of your work to give rise to the aural?

Andy:   An ex of mine saw the way I work and started laughing, saying it’s like pattiserie or plumbing. I dunno, unfortunately terms like ‘audio sculpture’ and ‘soundscapes’ sound pretentious and calling it ‘music’ has its provocative side for some people. If someone asks the dreaded question and just seems interested in pigeonholing me I’ll say ‘electronic’ and agree when they ask “oh, a bit like Aphex Twin?”. Otherwise I don’t mind saying I build my own stuff and that usually gets them interested, at least shows some technical ability, and something to see onstage and wonder about instead of the usual bunch of pedals…but in the end it’s what it sounds like, fukkit. It’s always a problem live, not just to have some bodies onstage, so there’s the sort of theatrical solution like Rubber O Cement, Crank Sturgeon, etc, and I/we went a bit down that route early on, but we ain’t no GWAR. In the end I’m happy if there is some visual connection between the sound and something happening onstage (like the meat shows, which had a small camera projecting onto the wall as I said above). It might sound obvious, but I really don’t like the idea of just throwing on a horror film and playing in front of it. Actually that could be ok, but not a bunch of fractals.  In terms of the objects I’ve made, I think it’s clear that I like being in between categories, like it’s not exactly a toy, not exactly a sculpture, not exactly a musical instrument…same for lines between ‘comics’ and ‘painting’, and so on. I’m not to be deliberately ‘difficult’, more to break categories so that people see it for what it is. Even a what the fuck reaction is great.


DECAYKE: That’s a great answer because you’re doing what you do well when there’s no easy label to throw on it. Even as someone who’s written music “criticism” for over a decade, I still fucking cringe at the great majority of descriptions I see of music. They’re often lazy or just plain stupid or a combo splatter of both, so I’m usually pleased when I can’t find the right word. “What the fuck” is a great reaction (for me it’s often tantamount to mystery, the uncategorizable and possibly iconoclasm or transcendence, whatever the hell that is) and you your stuff always functioned as a catalyst to that higher state for me. That’s one reason I keep coming back to it.  You do work within a (or multiple) context(s) and it’s a parallel aesthetic to some of the artists associated with Le Dernier Cri. How did you get hooked up with Pakito and that group of artists?
Andy: That’s why your writing appeals to me. Ditto for Bananafish reviews, where it was a given that certain things were considered dumb, like reviews which consist only of namedrops of other groups, or what gear was used (okay, I did above, so wot) and all these worn-out genre clichés…sitting down and actually trying to describe a sound is something else altogether, and in a way also shows the futility of doing that (as opposed to listening to the damn thing), so it becomes a piece of creative writing in itself…if not it’s just how many  times you can use the word ‘brutal!”, no?.
The “What The Fuck” moment is the best, where you suddenly feel that something defied some law of physics, or for a split second you get some insanely ‘gleeful’ feeling that takes over and you retreat from it because it scares you, or a sort of deja vu but not for an event in time, more like a series of thought images that defy any logic but leave a trace behind. When some set of sounds become so vivid that they are like a drawing and you can ‘see’ the whole of it, not just the part of it that’s occurring. It’s connected with insane laughter, fear, pain…
When editing, I find that things structure themselves, likewise often with painting, I’m not really doing it, it’s predetermined…and then it’s out there to be percieved in all sorts of different ways. I’m kind of happy that I can’t explain all this any better, that there aren’t really words for it. Good.  I was introduced to Pakito years ago by Eva Revox, I think it was when Le Dernier Cri was still based in Paris, and when DC books were still printed with inks containing trichlomic solvents, so working there you felt like a glue-sniffer with migraine. I have the ultimate respect for his manic energy, which I know firsthand from printing up the Group Sex Explosion and Deathneyland books; coffee and calvados at 6am, then off to print, fueled by pastis and cheap red wine. This summer I’m off to Marseille again to set up an expo with Fredox and Valium, and print my new book, which, of course, Pakito wants to have 666 pages, in a format like “Elvifrance” comics (a big influence on me, as you can tell).
DECAYKE: Wrote some gibberish about fate, then the words curiously formed a uniform ant line and silently made a rear entry into my ersatz digital biological converter. The room slowly filled with the horrible stench of methane that spread like black ink in water. I found myself writhing on the floor with the tips of my fingers of both hands kind of miming a rolling ball and repeating to myself, ‘there are tiny people rotating inside my hands, there are tiny people rotating inside my hands.’ I love this machine.
An hour or so later, recovering.

DECAYKE: Living in Paris must be inspirational. What are some of the strangest things you’ve seen there. I just opened a fortune cookie that reads, “You will win the respect of your pears.”
Andy: Don’t really have much to say about that; like any country, it has its problems and, you know, DON’T MENTION THE WAR!, but I’m definitely happier here for a number of reasons. I did a ‘comedy’ routine at one placard headphone festival called “Fuck France”, where I used stuff from the black book of colonialism and generally compared everyone to characters in a Jaques Tati film. Did you know that in French there’s a tense which doesn’t exist in English? Present subjunctive imperfect. It means they can talk about themselves even more. It’s generally a pretty racist, sexist language, and there are plenty of archaic terms still in everyday usage. More words for lying and stealing than Eskimos have for snow. What is now an Arabic cultural centre is on rue Lauriston, the old HQ of the French Gestapo. Dig up that parquet floor in the main dome, and you’ll uncover a mosaic of a black sun. In the catacombs, there are well-preserved toilets, one German, one French…throughout the entire war they didn’t know they were shitting right next to each other. Of course, all the old bunkers along the Atlantikwall, which stretches right up to Norway are pretty fascinating, back in the days when you could spend months building huge structures out of reinforced concrete without anyone noticing. Strangest things, really there are so many…one must be the old French perversion of “soupçonner” (means “suspecting”, but it’s a play with the word “soupe”), where guys would leave half a baguette in a public pissoir and come back to collect it at the end of the day. It’s a country where ladies can still wear fur without getting red paint thrown at them, and you can take that how you will.
DECAYKE: The idea of Frenchmen and Germans shitting right next to each other, well that’s inspirational. Just think of their offspring commingling in the sewer pipes and not being forced to hate each other just because of where they came from. Turns out Romeo and Juliet might not have had to have a tragic ending after all. Hope is all around us if we only choose to see it, you know? I get so gosh darn fed up with people who only laugh at it all. As if! So what are your plans for the near future? Are you coming back to the States that you know of and finally, I just know in my gut that when you turn 60 you’re going to put out a jazz record. Will it be free jazz or standards?
Andy: Sewer pipes are already jazz instruments. Those musicians will realise they don’t need instruments, they can use the sounds of their intestines and sphincters. German Oom-pah already progressed a bit in this direction with the integration of sausage-making machines into their orchestras, but look at the music lesson scene in Funky Forest (see below) for how far this can go. Borbetomagus “bells together” is to be commended, and nothing against the hallowed ground of Sun Ra, but Zorn and all other jazz except in Jess Franco films and Herman Nitsch rituals sucks farts out of dead cats.
I’d love to come back to the States.

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