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“(the band) is kinda heavy on the Australian water stick, which I usually like but, they really over do it.”

“It’s like someone put a bag over my head and beat me with a Stooges stick”

“I started listening to Neil DIamond because of Killdozer.”

“Doris Day had nothing on Julie London”

“Frank Zappa has a new CD out? I thought he retired?”

“Records are awesome! I don’t have many, I’d rather buy video games.”

“This record is exactly like this other one but different”

“I’m into real ‘out there’ music. Ya know, like Weird Al”

“You don’t have to worry about being right , you just don’t have to care about being wrong.”

Five stars might seem generous, and admittedly, it is. However, provided that the context for the rating encompasses even SOME of the current mainstream music menu, these recorded flavors are to be savored. Nels Cline should no longer need introduction, and I’m a bit disappointed that the title he does seem to receive most recognition for is lead guitar for that pleasant and harmless (perhaps read as non-stimulating, but I know that’s my own perspective) little group, Wilco… C’est la vie. Those who have submersed themselves into Cline’s sound world have experienced the eclectic and disparate tastes that he brings to every project and group; written composition and incidental improvisation. G.E. Stinson I know considerably less about. He’s done a number of Bay area impro-one-offs, one of which, L. Stinkbug, included Cline (and on a parenthetical side note, Stinson was also a six string slinger on Cline’s Atavistic sonic bomb “Destroy All Nels Cline”). Apart from that, he apparently spent time in Shadowfax, a band I know nothing about. Together on this recording, the two coalesce again to form an electro-gurgle in subatomic HI-FI resolution. The microcosms of amoebic squiggles and slurred tectonic distortions seem to be recorded as pristine as one can get. I have yet to get through this with headphones, so I didn’t hear if they were hard-panned or what, but it sounds as though they’ve assimilated into a single guitorganism, if you will. Actually, in my opinion, this is not unlike the “Banning + Center” recording with Cline and Jeremy Drake melting together with how much sympathy they have as collaborative players. As a utilizer of the guitar myself, there is simply the concept of manipulation and exploration within the confines of the instrument that has me pulled into this recording; and while that and the fact that this is, in a crude summation, a long free-form piece, are maybe only going to subscribe to an esoteric bunch, its an entire galaxy of tastes for that small cluster of us to enjoy…

- Cooper