June 12th, 2014 § Leave a Comment
June 12th, 2014 § Leave a Comment
October 19th, 2013 § Leave a Comment
The latest project from EPi is a two-person collaboration between Laurie Steelink and Tony Product that combines analog electronics and acoustic instrumentation including voice and flute. Improvised, experimental, abandoning traditional song structures in favor of melodic mechanical noises, vague beats, and flute-drone. Frute has been accused by obdurate DJs of deliberate obscurity. Though always obscure, Frute is never deliberate while adding femininity to the third mind, or a prosaic soundtrack to freeways.
Frute’s first collection appears as a CD-R, which may be obtained in a hand-printed and folded cover. Inquiries encouraged.
Play the Frute.
Search for Frute on WFMU:
April 3rd, 2012 § Leave a Comment
Here’s The Anser!
The Anser’s “Parking Lot” available NOW from the EPi shop (click on link to left). Deluxe CD + 80 page paperback book w/lyrics and souvenir press release is $16 US. Shipping is free.
For international orders please inquire at firstname.lastname@example.org.
Digital downloads of the Parking Lot EP are available through iTunes and Amazon.
March 17th, 2012 § 1 Comment
Klipp från den kommande dramadokumentären om effekterna och arv av den sena beklagade år 1980 bandet The Anser, bara för att ha utfört live i Sverige och angränsande länder. Titeln “Skull är Cheap” det kommer att vara i begränsad utgåva april 2012.
February 26th, 2012 § Leave a Comment
February 16th, 2012 § Leave a Comment
February 16th, 2012 § 1 Comment
October 16th, 2011 § Leave a Comment
EPi RELEASES THE ANSER’S LIVE 1987 CONCERT RECORDING, “PARKING LOT” – APRIL 2012.
In 1982, a trio of Baltimore teenagers with rockstar ambitions made their way to Boston and took up cheap instruments: a primitive drum machine, a microphone, and a bass guitar held together with duct tape: The Anser was born. At this time, Boston was in the thrall of post-punk acts such as Throwing Muses, The Pixies, and Mission of Burma, but the Anser were interested only in upholding American head-banging in the tradition of the Australian band AC/DC. Practicing in a basement beneath a former beauty shop, they drove out the squatters living there previously with their unschooled approximations of rock and roll. In spite of having almost no musical abilities, the trio began booking live shows. The Anser’s debut on a Monday night at Lipps Underground, a heavy metal club, was greeted by hostility and bottle-throwing. Confused by this reaction, the band subsequently decamped to Sweden, where they performed for small crowds in abandoned factories. Over time they developed an enthusiastic following who bootlegged recordings of their shows. No studio recordings are known to exist. Their success in Norway, Sweden, and Denmark is unaccountable since the live recordings are so lo-fi that the lyrics are barely intelligible, and references to American drug store chains would seem obscure to a Scandinavian audience. Additionally, odd neologisms of the group —on songs like Defriended—were suggestive of a social media age that had yet to emerge.
In June of 1987 the Anser played their first stadium show in the town of Sölvesborg, which later became host to the annual Sweden Rock festival. Less than an hour after the booking was announced, the show inexplicably sold out. Accounts of the event diverge wildly but all agree that a massive crane appeared onstage for no clear reason. Attendance was staggering: all of Sölvesborg appeared emptied of its residents. Contemporaneous photo documentation reveals an age-diverse crowd wearing the leather pants that had become a hallmark of The Anser’s true devotees, some with customized t-shirts bearing the lyrics “Make it Stop” and “Forget the Night.”
This searing, 22-minute recording is believed to be the 1987 Sölvesborg show. It was found amongst a group of Certron cassettes in the trunk of an abandoned Volvo in a wooded area outside Copenhagen. Shortly after their discovery, EPi (Eager Product International) obtained the cassettes through an online auction site. Parking Lot represents just one tape from this trove. Sadly, some time in 1988 all three members of the band mysteriously disappeared – rumored to have fallen into a fjord while trekking to a rock and roll camp. Known only by their adopted stage names, the Beast, Stalker, and the Hand, efforts to verify the band’s true identities have left even the most intrepid music journalists confounded.
The music captured on this disc reveals the The Anser’s penchant for a sound both epic and minimal. An unlikely cross between Silver Apples and mid-career Ozzy Ozbourne, by this time the Anser had found their own unique voice. Though Stalker’s erratic bass playing has been called everything from incisive to numbingly lazy, his lines remain surprisingly catchy while navigating some baffling chord changes. The Hand, responsible for programming the elephantine drum machine (it was said to be roughly twice the size of a conventional drum kit), was reportedly a tall, slouching figure with a genius for rudimentary beats. And Finally, last seen near Sölvesborg unashamedly sporting a unitard, The Beast was reputedly in possession of a four octave vocal range, though barely one is audible here. To what do we attribute The Anser’s brief but unlikely popularity? The Anser were grating, enervating, and yet uncannily engaging. Until the mystery of their sudden disappearance is resolved, or their identities are confirmed, EPi (Eager Product International) is proud to honor their little-known accomplishments.
Here, as part of EPi’s Documents series of paperback books, we offer their work in a limited edition to an American audience that has, until now, overlooked them.
September 24th, 2011 § Leave a Comment