[pe33]Carlos Giffoni
Lo Que Solo Se puede Expresar a Traves Del Silencio y Una Mirada de Ayer
[pe32]Luv Rokambo
[pe31]Inu Yaroh
Takede from Nostradums Live
[pe30]Noring / Day
[pe29]360 Sound
A Scratch on the Surface
[pe28]Hair and Nails
III
[pe27]Shlomo Artzi Orchestra
Pizza Little Party
[pe26]Kangaroo Note
Soundness
[pe25]Fukktron / Hair and Nails
[pe24]Jorge Castro & Carlos Giffoni
Guitarras del Olvido y Pensamientos Dimensionales
[pe23]Naoaki Miyamoto
Live at 20000V
[pe22]Various Artists
Analogous Indirect
[pe21]Prototype Earthborne / Wren & Noring / EHI
Audio Cleansing
[pe20]Cornucopia / Musique:Motpol
60 Years
[pe19]William IX
Dawn Variations
[pe18]Zanoisect / Sistrum
Day Fills Night The Way I Walk / Furukizu
[pe17]Jorge Castro
The Joys and Rewards of Repetition
[pe16]Prototype Earthborne
Wiseman Flux Disintegration
next


Pilesar - Radio Friendly
CD (Washington, DC)



-it's a surprise
-crazy with you
-no good for eyeballs
-dog walkin'
-you know i hate okra
-umbrella
-tofu dynamite
-frank and verner
-slipping on eggs on the floor
-hit the door
-my friend sunshine
-slight case of clown
-dicyclomine
-began the ham
-gator wrasslin'
-casa de pepe
-much obliged fer diggin' taters with you




Pilesar is Jason Mullinax - Percussion, Vocals, Guitar, Keyboard, Bass, Toys, Loops, Tapes etc.

Additional contributions by:
Mike Coleman - Guitar & Vocals
Rob Day - Bass & Keyboards
Eugene Erickson - Keyboards
Spence Madsen - Drums
Ashleigh Mullinax - Vocals
Sean K. Preston - Banjo
Logan Rainard - Bass
Tex Santos - Guitar and Vocals

Cover art by Joel B. Floyd Jr.

Reviews:
(Sound Projector) Radio Friendly (PUBLIC EYESORE PE112) is an energetic set of crazy songs delivered roughly in the lo-fi, unkempt and noisy post-new wave Dinosaur Jr / Sebadoh style from Pilesar, an American confluence of talents which clusters around the pale thin body of Jason Mullinax, who wrote all the songs, plays most of the instruments and sings Ė joined on some tracks by guest drummers, guitarists, keyboard players and remixers. Pilesarís lyrics are printed in full on one panel of the colourful digipak, and a quick survey of this word-salad reveals there isnít much content with intended lasting import outside of the absurd, the zany and the cheerful mixing-up of assorted lowbrow references. In imparting this grab-bag of information, Mullinaxís singing voice evokes that of Mark Mothersbaugh at his most affected. Come to that the whole album gives off the fascinating vibe of a lost cassette-band from the wrong side of 1995 that is still content to make xeroxes of Devo LPs, but this isnít to deny Pilesarís talent for sheer melodic fun and wayward noise expressed in tiny packages of quirky pop-song brevity; most lasting less than two minutes, these little ditties just fly past in the fast-moving party atmosphere, and the radio-friendly boast of the title may not be completely ironic, in spite of the determination to record and produce every single track with the weird-o-meter bouncing in the red. Aye, almost every sound is wobbly and peculiar, but thankfully not over-processed with digital interference, and we hear good-natured ramshackle keyboards played in The Residents mode, sightly punk-rocked loud guitars and clattery percussion, each player tearing into each song with the fervour of insects burrowing into a rotten tree trunk. Only the cover pictures feel uncertain, with their jumble of ill-fitting photos (some of them very strange, some utterly banal family pix) and a slightly disconcerting cover painting that shows Pilesar is still clutching for an image of itself it feels comfortable with. One photo shows Pilesar attempting to foster an aura of menace like one of The Residents newspaper men; only problem is heís wrapped in childish pink birthday paper with fluffy panda bears. Pix aside, a nifty item! - Ed Pinsent

(Dead Angel) This is weird and avant-garde, yes -- no surprise, given that it's a Public Eyesore release -- but it's also surprisingly accessible, and while it's probably really not quite as radio-friendly as the title would suggest, it's still immensely catchy. Led by Jason Mullinax in conjunction with a long list of collaborators, the eighteen tracks here frequently sound like pop songs that have been perverted through strange aesthetic decisions, the unorthodox use of instruments, and a tendency to use whatever recording equipment happens to be available. Despite the avant-garde roots, Ween is actually a useful reference point; Mullnax appears to share that duo's quirky sense of humor and urge to hopscotch from one musical genre to the next (not to mention their tight songwriting chops). There's a heavily rhythmic element to the album (especially in the form of percolating synths that pop up on tracks like "Umbrella") that definitely sets it apart from most PE releases and contributes heavily to the album's accessibility, a sensibility that reaches its apex on "Gator Wrasslin'," where an infectious synth rhythm and complex beat is joined by an otherworldly guitar that manages to be noisy and melodic at the same time. The accompanying poop sheet (for reviewers only, so sorry) references Frank Zappa, The Residents, and Boredoms, all of which are obvious influences, and should go a long way toward hinting at the sheer bizarro factor involved here. Still, for something so deeply weird, it comes awfully close to living up to the title, assuming we're talking about a radio station on Mars. - RKF

(Aiding & Abetting) A collection of pieces that Jason Mullinax has put together over the last twelve years or so. While certainly on the unusual side of things, this is one of the more conventional Public Eyesore releases I've heard. Mullinax goes at his songs with both fists, and sometimes they survive. Striking. - Jon Worley


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