Chicago trio Good Willsmith (Natalie Chami, Doug Kaplan and Maxwell Allison)
released several live free-form cassettes of ambient droning such as
Is The Food Your Family Eats Slowly (Hausu Mountain, 2012),
Continually Suffer from Watching your Garden be Destroyed,
and especially 14 Years Of Desperate Research (Umor Rex, 2012),
divided in the 23-minute Documents That You Don't Understand
and the 20-minute cosmic-psychedelic collage No-One Wants To End Up With Memory.
The latter upped the ante by incorporating more methodically
found sounds, electronic keyboards,
electric guitars, and treated acoustic instruments.
Aquarium Guru Shares The SecretTactic (Baked Tapes, 2014) contains the sitar-initiated Pyramid 1 - My Legendary Silver Triangle Wealth Pyramid.
and especially the noisy dissonant What I am is a Living, Breathing Example of How with a creepy female echo in the background.
Their albums adopted a more professional sound starting with
The Honeymoon Workbook (Umor Rex, 2014).
Now Shower Put on all Black begans in a videogame whirlwind and ends in a Terry Riley-ian Indian-tinged loop (the Riley-ian motif continues in Taking too Long to Text but ends in horror shrieks).
The creepy eight-minute My Body to Breath with mournful female vocals, bubbling background and chirping synth effects
leads to the derelict distorted drones and anguished lament of
If Anything Happens to me, my Password is Lady Lass.
Snake Person Generation (Hausu Mountain, 2015) mainly
contains the 18-minute Real Wet Feet Get Real Wet, which,
unfortunately, is mostly a trivial collage of dialogues with very little music.
Things Our Bodies Used to Have (Umor Rex, 2016) was an even more
tamed formed of musique concrete.
This time the pieces are too short:
A Disease You've Probably Never Heard Of Is Killing Kids packs
Stockhausen, Frank Zappa
and plunderphonics in two minutes.
The abstract electronic collage But Someone Else's Kids
segues into the molasse of voices and birds These Kids Aren't Alright.
The eight-minute What Goes In The Ocean Goes In You
begins with pensive drones but then it stages a crescendo of noise and density.
Its first part is typical of this trio's amateurish synth electronica, that
truly belongs to
the pioneering era of the Silver Apples and the
Tonto's Expanding Head Band,
not even worthy of
Mother Mallard's Portable Masterpiece,
but the second half is a torrential sonic puzzle of some substance.
Whales Sing Great Melodies With Fantastic Lyrics, another eight-minute
composition, is wildly ineffective in the way it blends free-form female vocals and guitar improvisation.
These albums of their "maturity" actually mark a regression from the
creativity of the early tapes.
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