Described forty years ago as an "undergrounder by design," Jack Wright is a veteran saxophone improviser based mainly in Philadelphia. In 1979, after an academic career teaching at Temple University (European History) and activist politics, he returned to the instrument of his youth. Almost immediately he discovered free improvisation, virtually unknown at the time and still obscure. He is one of the few who have played this exclusively since then, one of the originals of the 80s era. He plays mostly on tour through the US and Europe in search of interesting partners and playing situations. Now at 80 he is still the "Johnny Appleseed of Free Improvisation," as the late guitarist Davey Williams dubbed him back in that earlier era, continuing to inspire musicians, playing and organizing sessions and gigs with visiting and resident players old and new. His Spring Garden Music House has been around since 1977, for the past sixteen years housing only improvisers and providing space for private playing sessions.

He has avoided the standard career aimed at visibility and prestige, seeing it as a hindrance to musical growth. The partners he's preferred over the years have also been mostly unknown to the music press, and too numerous to list here. His current focus is sound-oriented, mostly associated with the underground known as noise music. His main partners the past several years have been Zach Darrup, guitar,Ben Bennett, percussion, Evan Lipson, double bass, and Ron Stabinsky. keyboards, the personnel of Wrest, Minimal Disturbance, Roughhousing, Never, and RAWL.

Jack is what used to be called a "musician's musician," yet unschooled in music, learning through interaction with partners and private discipline. He's said to have the widest vocabulary of any, and still expanding--leaping pitches, punchy/precise timing, the entire range of volume, intrusive and sculptured multiphonics, vocalizations, and obscene animalistic sounds. The past dozen years he's come back to more physically engaged playing, but with a phrasing and variable sound unique among sax players.

GENESIS AND BEYOND: The Boyd Rice Christmas/Hanukkah Extravaganza

“Boyd Rice is a black pimp.” —Charles Manson

“Boyd Rice was my mentor." —Marilyn Manson

“Boyd is an iconoclast!” —Anton LaVey, Church of Satan

“Boyd Rice could be the next John F. Kennedy or Jesus Christ.” —Kim Fowley

“(Boyd Rice) is a bad influence.” —Der Spiegel

Leader of the music group The Ugly Janitors of America, John Trubee has given his life to entertain the unwashed masses by way of recorded music, prank phone calls, poems, cartoons, and evocative performances. 

Best known for creating the most famous song poem of all time, the 1984 novelty track "Peace & Love" (more commonly known as "A Blind Man’s Penis"), recorded by Ramsey Kearney. The country-western track penned by Trubee is one of the most deranaged dada/surrealist recordings of all time. 

The Ugly Janitors of America, Trubee released the cult favorite 1984 album The Communists Are Coming to Kill Us! which contains prank calls, vile noises, and experimental jams. The record is disturbing, hilarious, and thought provoking all at once.

Trubee's crank calls are perhaps the most influential avant-garde phone pranks to have been recorded, with Longmont Potion Castle citing Trubee as one of his biggest influences. Trubee's pioneering efforts in the genre can be found on his Call to Idiots cassettes Vol. 1 - 4.

Trubee is still producing quality entertainment that can be found, and purchased, at the link below, or if you'd rather avoid the middle man, please paypal 25 USD per LP desired to [email protected] or write to:

JOHN TRUBEE
BOX 4921
SANTA ROSA, CA 95402

https://johntrubeeandtheuglyjanitorsofamerica.bandcamp.com/

“Any effort which helps the powerful will be elevated and amplified, while any effort which inconveniences them falls into an empty void.” -Caitlin Johnstone

NN (c. 1970) is a self-described “psychedelic gangster”; an untamed sexual psychonaut and holy war occultist who has cheated death more times than even he can recall. Operating consistently at or beyond what most would likely regard as being the extreme fringes of society, he began his non-career as a pre-internet non-commercial amateur pornographer, quickly realizing that there are some very real and less than fortunate consequences that can (and do) occur as a direct result of flowing either against or apart from the societal infrastructures of power and officialdom. 

Despite being met with varying degrees of resistance, NN fearlessly continued to defy conventions of logic, humor, and taste as well as the bounds of legality itself, most often in the guise of music. His work typically operates within his two favored idioms of “modern classical death metal” and “psychedelic noisecore” (perhaps most notably with bands such as To Live and Shave in L.A., To Live and Shave in L.A. 2, and Hatewave). Nevai went on to further develop and refine his own forms of what he refers to as KLASSIKILL, AKTION, and DANGER MUSIC.

On this episode of The Exile Hour we throw back more than a few with Nevai and discuss matters related to his uniquely hallucinogenic worldview, as well as his recent four (potentially five)-part deluxe CD digi-book series "The Price of Frontier." The books—which include outlandish personal tales as well as intensely bold/lurid photographs, letters, graphics, and illustrations—function as part memoir and part audio archive documenting his sundry musical releases spanning over three decades (each book contains four full-length CDs). The varied musings, rumblings, and howlings of a nomadic outsider—the kind which only this strange, beautiful, and high-stakes gamble of a country/empire can seemingly produce.

“Boyd Rice is a black pimp.” —Charles Manson

“Boyd Rice was my mentor." —Marilyn Manson

“Boyd is an iconoclast!” —Anton LaVey, Church of Satan

“Boyd Rice could be the next John F. Kennedy or Jesus Christ.” —Kim Fowley

“(Boyd Rice) is a bad influence.” —Der Spiegel

Referred to by some as “The most dangerous man alive”, Boyd Rice (c. 1956) is a pioneering American artist, occultist, prankster, mystic, social critic, archivist, and provocateur whose impact & influence has penetrated nearly every level of global underground culture; a remarkably brazen and polarizing figure who has courted endless controversy worldwide over a span of more than four decades. Rice initially came to prominence in the 1970s as one of the founders of the “Industrial Music” genre and as one of the first artists signed to Mute Records. He quickly gained a reputation for starkly ritualistic live performances that were regarded as being the most abrasive, minimalistic, dangerous, and blisteringly high volume concerts ever staged. As early as 1980, he was already being hailed as “The Godfather of Noise”.

Since then, Rice—a high school dropout raised in a Southern California trailer park—extended his creative pursuits to innumerable fields including visual art, film, literature, photography, acting, interior decoration/design, and culinary arts (taking first prize in the 2012 Denver County Fair Jello molding competition) among other things; something of a Renaissance Man for an age of decadence and decline. 

In his own words:

“My life is a testament to the idea that you can achieve whatever the hell you want if you possess a modicum of creativity, and a certain amount of naivete concerning what is and isn’t possible in this world. I’ve had one man shows of my paintings in New York, but I’m not a painter. I’ve authored several books, but I’m not a writer. I’ve made a living as a recording artist for the last 30 years, but I can’t read a note of music or play an instrument. I’ve somehow managed to make a career out of doing a great number of things I’m in no way qualified to do.”