Anthony: Like, we'll die and 50 years later, everyone will be like "those dudes were fucking geniuses."
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Blake: i always said i'd never be appreciated fully until i was dead
Blake: fcr will be posthumous
Blake: that's for sure
Anthony: think about that.
Anthony: like what if we all die and then like CAPITOL RECORDS puts out this huge-ass FCR box set for like 80 bucks?
Blake: that would be really funny
Anthony: something that would finally make the money to pay off my debts from ASBfuckingD and i'll be too dead to enjoy it.
Blake: that's how it always works
Okay, I've had a particularly productive evening. And by productive, I mean I've been sitting around, doing nothing, and a bunch of random ideas have popped into my head. So here they are:
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Blake and I recently discussed the idea of an FCR sampler, possibly one that features rare and unreleased songs or alternate versions of previously heard songs. I think that it is high time we did something like this.
Similarly, I have thought for a long time that FCR should release an FCR tribute album. By this I mean we should release a compilation where each FCR act contributes one or two covers of songs by other FCR acts. An alternate, and possible less daunting task would be a split EP where just two FCR artist cover two or three songs by the other. Probably the ideal combo, simply for the differences, etc, would by Eric Condon Vs. The Brisk, because they would have a lot to contribute in the way of new interpretations of each other's songs.
Lastly, (and worse) this idea came up when I was talking to Rick earlier... FCR should put out a record by a supergroup of our dads. Like, I know that Eric's dad, Stan (Daniel's dad), and my dad have all messed around on the guitar a bit, Russ's dad played drums, and Rick said his step-dad played keyboards and sax. And I think Blake's dad has done some musical stuff too. I mean this idea, as insane as it is, could potentially really happen. Just think about that.
This day in FCR history: On January 30, 2000, Eric Condon composes "Hmmm."
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I just mention it, you know, just incidentally.
I just wanted to make sure that everyone knows about FCR's four newest releases.
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FCR-11: Bryan P Dominik- Dead Men Talk Less
FCR-12: Eric Condon- "Humored"
FCR-13: Anthony Bowman- Anthony Bowman is Still Okay
FCR-14: Batterie- Batterie
Please visit Flaming Chip Records' official website for more information and as always, we appreciate your patronage.
Cross-posted to my personal journal.
"I'm just really excited thats all, not that I'm signed, but that I'm on FLAMING CHIP RECORDS" - Richard P Chandler.
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Okay, I admit I've been thinking a lot lately, and that can never be good, but today in class, I had another idea:
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With all these new re-releases, it would be really cool if for the (Infinity) re-release, we put a bonus track on it, like either something old you all have unearthed, or EVEN BETTER a brand new XU song and then the re-release can be called (Infinity) + 1.
Yeah that would be awesome.
P.S. (Infinity) is meant to imply the sideways 8 that is meant to symbolize infinity. Duh.
Okay, so I have this idea...
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I played that little show last night and didn't make an ass of myself, so I've been thinking about how FCR acts NEVER play shows. SO, what if we got Russell to hook us up?
We could do an FCR unplugged night and Eric could play a bunch to support his new album, and I could play a few songs to open for him. And if anyone else (Blake, Bryan, whatever) wanted to break out their acoustic guitars, that wouild be cool too. And then, the more difficult part: we could do an FCRtronica night. LOMED could perform and, if Bryan could get something set up full-band-wise, he could play some Bryan P Dominik songs. I don't know.
Also, Kendall says she could set us up with a show in Owensboro, and one of the guys who also played last night asked me if I'd ever want to play around Louisville, so I might be able to hook something up there. WE COULD DO A TOUR. (Of just those 3 places.)
I don't know. What does everyone else think? I've been thinking and playing shows is the only way wew're ever gonna really sell any records...
I see that Dead Men Talk Less is now for sale on the FCR website. My only question is, "Where is my copy?"
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I have seven dollars sitting here in front of me, ready to be spent.
There are now purevolume sites for The Brisk, Plastic For President and Visions of Cody. I made these myself for the new FCR site, but I plan on handing the passwords to respective bandleaders so that they can maintain the sites themselves, if they desire. Later today, I paln on making a Yeshua East one, and at that point, we'll have one p for every artist that has digital music available to be placed on there. All we'll need is Eric and Xanthic Umbra, I think. Oh, I also found ASBD's purevolume site and put it up there. I got to hear their newer material for the first time and... wow. It's terrible, but not even in a funny way. It's just bad.
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Flaming Chip Records would currently like to extend its deepest gratitude to Mr. Bryan P Dominik for designing the new, improved, kick-ass FCR website. Not only does it look tight as hell, but now it's finally in a format that I can update on my computer without the endless obstacles of bullshit geocites pagemaker.
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Everyone go check out the site when you get a chance. It's so simple and streamlined, but guaranteed to knock you flat on your ass. Also, be on the lookout for more content in the coming weeks...
In honor of ASBD's passing, I'm looking around for Louisvile scene journals to post messages about "unearthing previously lost" copies of their early e.p. Everything Looks Prettier in the Movies. I posted to the "Louisville Shows" community, but if anyone on here is a member of any other Louisville scene communities that might have members interested in purchasing copies, either let me know and I'll post, or post for me. Just tell them to e-mail email@example.com with "A Suburban Blood Drive CD" in the subject line, so Idon't think it's spam. I hope this works...
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I FINALLY got around to updating the FCR site. Unfortunately, the company we paid for the domain (the company that I hadn't paid in over three years) also finally got around to taking our flamingchiprecords.com domain from us, but that's okay, because the site is still up through geocities. the link at the top of this page is accurate. The address is now simply www.geocities.com/flamingchiprecords.
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My parents got broadband, so it now takes less than five years for a web page to load on their computer, so I was able to update. I just did this on a whim tonight, so it's nothing fancy yet. It still looks like Megaman II, but it has a little bit of new text. Hopefully in the next few weeks, I'll do some drastic work. Hopefully this will help get certain people off of their asses to get some work done. (Eric.) If anyone has any ideas for the site or wants to help in any particular way, let me know. Thanks.
(Also, Eric, I want to talk to you about something sometime soon. I've got a proposition for you.)
Here's the basic breakdown of the round of tapes I got from Kyle over spring break.
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Them Thar Visions o' Cody (demo) (May/June 2000)
1. Badly Segued Dream Sequence
2. 83 Problems
3. In a Disco Song
4. Everytime I Call You
6. Everybody's Got Somebody But Me
7. I'm Not the One
9. Is This What You Wanted? (run-through)
10. Lost (run-through)
Nothing on this tape is releasable. This was an 8-song demo that Derrick and I made for Kyle to play along with when he joined the band, which we later appended with two songs from our early practices. These versions all suck. Mostly it's Derrick and me being goofy and not really trying to make anything "professional" like on The Visions of Cody FCR demo. "Badly Segued Dream Sequence" and "Lost" are just the same exact versions as on that tape, and "Everytime I Call You" is only negligibly different. Overall, this tape is pretty unremarkable. The only thing interesting is that it contains "Is This What You Wanted?" in an even rougher form than it appeared at GarageFest.
GarageFest 2000 (PFP/VOC) (June 2000)
1. The Piglicker
2. Crack is Wack
3. (I Wish) Martha Stewart (Was My Ho)
4. Geto Foreva
5. Finale (Fake Guitar)/Happy Birthday
1. Everybody's Got Somebody But Me
3. I'm Not the One
4. Everytime I Call You
6. Boys Don't Cry
8. Is This What You Wanted?
9. Sister Ray
I got a big kick out of this. I thought that this performance of "Everybody's Got Somebody But Me," the first song we ever played live, didn't get recorded at this show, but lo and behold, it exists, along with Plastic for President's all-too-brief set. Future renditions of the songs we played at this show would all improve upon these versions, but it's interesting to hear us do "Is This What You Wanted?" and a surprisingly tight "Hmmm" live, along with our infamously ill-chosen covers. (By the Way, the version of "Sister Ray" we did is only about six or seven minutes, contrary to what it may seem like.)
Baker's Party (September 2000)
1. I'm Not the One
2. If I Was
3. It's Not Fair
4. Radiant Abrasive
6. Swiss Army Knife
8. Everytime I Call You
9. Why Can't I Be Your Boyfriend?
10. The Nearness You Never Had
This is the one where "Everybody's Got Somebody But Me" didn't get recorded, which is fine, because it's not of as much historical interest as the previous one. This set obviously contains a lot of songs we never played again, including "I'm Not the One," "It's Not Fair," "Radiant Abrasive," "Why Can't I Be Your Boyfriend?" (which was dropped like, the day after this show), and "The Nearness You Never Had," along with "Swiss Army Knife" feat. Danny ("and Kyle really sucks at drums"). The version of "I'm Not the One" is better than the GarageFest version but it's vocals are almost inaudible, but "Lost" and "Insecure" appear here in arguably their best versions. "If I Was," of course, was still brand-new and hadn't yet opened itself up to the exploration that would characterize it so brutally at later shows. The infamous performance of "The Nearness You Never Had" doesn't quite live up to its mythic reputation, but I'm still happy to have a recording of it.
Barnyard Bash II (April 2001)
1. Everytime I Call You
2. It's Over Now
3. Everybody's Got Somebody But Me
5. If I Was
This final set is characterized by the curious decision to move our usual set-opener to the middle of set and to move "Everytime I Call You" (here in indisputably its best version) to the top. I sort of remember this being a last-minute decision that would've probably carried onto later shows that never happened. This set also famously featured two versions of "If I Was," the second of which didn't get recorded, which is probably just as well, since it's hard to imagine that we could've topped the one on the tape, an absolutely furious reading of the song that pounds its coda out for what feels like five minutes. As for the other songs, "Insecure" is strong but its vocals are barely audible over the two guitars, but "It's Over Now" is I'd say one of our best live performances ever, even if it is obscured a bit at times by Russell's extraneous blabbity-blab during the second verse.
And so, if I may humbly propose this idea for a live compilation...
1. Everybody's Got Somebody But Me (GarageFest 2000)
2. Hmmm (GarageFest 2000)
3. I'm Not the One (GarageFest 2000)
4. Everytime I Call You (Barnyard Bash II)
5. Insecure (Baker's Party)
6. Radiant Abrasive (Baker's Party)
7. Lost (Baker's Party)
8. It's Not Fair (Baker's Party)
9. It's Over Now (Barnyard Bash II)
10. Why Can't I Be Your Boyfriend? (Baker's Party)
11. Is This What You Wanted? (GarageFest 2000)
12. The Nearness You Never Had (Baker's Party)
13. If I Was (Barnyard Bash II)
Comments? Suggestions? Proposed changes in the running order? (This is about the most balanced flow I can come up with, considering how imbalanced we were toward slow songs.) What do you guys think?
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I went to Russ's tonight, and he found a tape... I thought it was Opie Loves Gundam, but when I got home and looked at it, it's Another Ruined Holiday... I don't know if you need this one too or what.
Another Ruined Holiday- Another Ruined Holiday
1. Asymmetrical Angel.
3. It Doesn't Mean That Much.
4. Was It So Bad?
5. Ferris the Sausage King of Chicago.
|Mood:|| shrimp stampede|
Alright, since last year we were all discussing a big kind of FCR archival blitz project, I was wondering what everyone thought about the stuff I recovered from Derrick's house last week. Coupling all that I retrieved from there with what I already had, here's what we're looking at for releasable material.
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Suburban 9 - The Kevinian Tapes (January 1998)
This tape contains "Swimming in the Ocean," "I've Just Got a Sign," "We Mustn't Dwell," and the instrumental "L.S.W."
Suburban 9 - Pyromaniac (February 1998)
This tape contains "She's the Only One," "Pyromaniac," "One for Her (My Girl)," "That's the Way I Am," "Five Minutes to Zero Hour," and and untitled, hidden instrumental.
Suburban 9 - Indifference (May 1998)
This tape primarily contains "Soccer Ball," the original version of "As Morning Breaks," and "Polaris." It also contains the same version of "Not Again" that would later appear on Block the Fader, so that's moot. An alternate, instrumental version of "Not Again" does exist, however.
Yeshua East - Block the Fader (October 1998)
As most everyone knows, contains "Vacate," "Drunkmonkey," "Not Again," "I Wanna Stand," "There," "Airplane," "Distance From Me," "As Morning Breaks," "Sell Your Soul (For 10$)," "Manhole," and "Vacate Reprise" in completed versions.
Yeshua East - 3 (June 1999)
The tapes that make up the whole of this project contain all 14 songs in finished or near-finished form, along with some oddities like "Boat" and an early demo of what I believe to be "The Tale of the Lost Bohemian." Of the 14 album tracks, only "Hindsight of Hollow," "Some Other Day," "Heterodyne," and "The Other Side" are missing vocals.
Xanthic Umbra - (infinity) (June 2000)
Contains "That's Really Great (Anthony)," "You're My Perfect China," "Bunnies," "Green," "Wait," and "The Longest Night in the Balance," all in completed form.
Visions of Cody miscellany (December 1999-April 2000)
The first item in this set is the tape labeled Songs from Blake's Basement, recorded December 26, 1999. This tape contains very, very rough demos of "Lost," "You," and "Everybody's Got Somebody But Me," along with an unidentified Derrick composition, the newly-unearthed Blake song "Passing By," and a long, irritating argument. This tape is very transitional, and it could be well argued that it belongs more with Yeshua East, but chronologically (and in terms of song overlap), it fits with VOC. Next up is The Acoustic Demo, which sounds as though it dates from about March 2000. Unfortunately, most of this tape has been recorded over with Derrick's sister acting stupid. The only complete songs that remain are demos of the ultra-obscure "Strawberry" and "The Laurel Song." Incomplete portions of "Lavender," "Deja Vu (Do It Again)," and another unidentified Derrick song are also present but unusable. Next, there's The Visions of Cody, a demo Derrick and I made for FCR in probably April 2000. It contains "Badly Segued Dream Sequence," "Hmmm," "Midnite Dream," "Everytime I Call You," "Color Me Grey," and "Lost," and is the closest thing we ever came to a professional recording. On each song, Derrick plays drums and if I'm not mistaken, Russell makes a guest appearance playing bass on "Color Me Grey"(!) After that, there's another demo Derrick and I made for Kyle around late May 2000, but its contents escape me at the moment, as it is in Kyle's possession; all I remember about it is a version of "I'm Not the One" featuring Derrick singing operatically and me playing banjo. After that, there's the New City Sound Rehearsal (August 2000), which contains studio-recorded instrumental versions of "Insecure" and "If I Was," as well as a complete alternate version of "Wrong Way" featuring Daniel singing and me again playing banjo. Finally, there are live recordings of GarageFest 2000 (June 2000), Baker's Party (September 2000), and Barnyard Bash (April 2001). Many of these set lists are interchangeable, some of the material (i.e. covers) are unreproducable, and much of the sound quality may be poor, but these recordings do exist.
So what do you guys think?
The search goes on for the following missing tracks: Yeshua East's "Derailed," "St. Insane," and "Spinning in Circles," recorded August 1998; Yeshua East's "Dune," recorded December 1999; and Xanthic Umbra's entire "Musique From the Overseer" ep. Anyone with information about the whereabouts of any of these recordings should contact Flaming Chip Records immediately.
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Outside the Boxes: a look into the many musical faces of Daniel Robison
Daniel Scott Robison has what some people might consider “musical schizophrenia.” It has been less than ten years since Robison began his public career as a musician, and in that brief period of time, he’s gone through more changes than most musicians go through in a lifetime.
Robison started his career by writing humorous songs to make his friends laugh while he was only an eighth grader at Hazelwood Junior High in New Albany, Indiana. At that point, he liked the idea of having a band, and although he was the sole songwriter and the only person performing on the recordings that he made in his basement, he credited two friends as having played bass and drums, and called the comical “death metal” band Bloodee (sic) Apocalypse. As Bloodee Apocalypse, Robison made about twenty copies of a cassette with four or five songs on it. The cassette, which was known as The Red Tape, because each cassette was wrapped in red duct tape, became a favorite among his group of friends and received extensive play at parties and other friendly gatherings.
Although Robison was enjoying his local success, it didn’t take long for him to decide that he could enjoy much more artistic freedom and write a much wider variety of music if he changed his band’s name and moved away from the whole “death metal” joke. Bloodee Apocalypse quickly became Plastic For President and soon Robison dropped all pretenses of the “band” being anything other than a solo project and creative outlet for his sometimes quite demented sense of humor. Plastic For President had four official releases (PFP EP, PVPVII, Delightful Chili Supper Moments With Shopping Cart Cuties and Asian Truck Driver Lovers, and The Sweethearts’ Collection Vol. I), and at least two unofficial releases (The Great Outdoors and Raritease or Bewarities) in his catalog in a period of about four years. Each album contained a mixture of weird recorded clips from phone conversations with friends and funny songs with titles like “Pancake Playa,” “The Knee Dance,” and “Sucks to be You Homeless Guy.”
Robison had never intended Plastic For President to be anything more than an inside joke among his friends. He made about forty copies of the PFP EP and they were distributed during passing periods at New Albany High School to friends and friends of friends over a period of a few months. With each subsequent release, however, Robison began receiving more and more requests for albums. His listening audience soon consisted of more people who didn’t know Robison personally than people who did. Each album sold better than the one before it, with The Sweethearts’ Collection selling more copies in its first week of release than the previous album had sold to date. Ultimately, The Sweethearts’ Collection ended up selling over three hundred copies, which is astoundingly well for an inside joke among a small group of friends in a medium sized school in a small town. Especially considering that Plastic For President was only publicized by word of mouth. Eventually the New Albany High School newspaper, The Blotter, did a story on Plastic For President and afterwards, took to reviewing each new Robison release.
Robison’s progress with each subsequent Plastic For President album was odd because his popularity increased and his musical talent grew with each new album he released, but at the same time, with each album he grew more and more restless. Musically, Robison began to experiment more and more, bringing in a constant barrage of new and different elements into each album. Paradoxically, each new album sounded more and more forced with regards to the lyrical content. It was still funny, and listeners still laughed along with each song, but where the earlier songs had a spontaneous feel, the new ones often came off sounding contrived. And this was not without reason. Much of the early Plastic For President material was recorded in one take with Robison not deciding on the song’s subject and lyrics until after he pushed the record button on his four-track recorder. The later songs would go through countless revisions before finding their way onto an album.
Each Plastic For President album would be received by rabid, eager fans, desperate to know what “that Plastic For President guy” was up to. Unfortunately, each Plastic For President album suffered the same fate that most humor-based or novelty-type music deals with. Within a few months of the albums release, fans would already be asking for new material. The jokes had no staying power, and as soon as they got old, people needed more to stay interested. This was torture for Robison, who loved it when people thought his music was funny, but hated the fact that he was being forced to be funny at the expense of his art. Robison found it more and more frustrating that he was being rushed in his creative endeavors. In the last year or so of Plastic For President’s existence, it became increasingly clear that Robison was growing bored with being a “funny band,” and between Plastic For President’s third and fourth albums, Robison started a new project called The Brisk and recorded a demo album with a limited pressing.
The demo album, humbly entitled The Performance of a Lifetime: (Live from Analog Tape) 04/08/67 clocked in at just around 19 minutes but contained 15 songs. The date in the title was decades before Robison’s own birth and suggested that the music on the album had existed for decades or centuries before Robison was able to capture it and reveal it to the public. Performance was a big step away from the work of Plastic For President, but not necessarily in an immediately describable way. Performance still contained Robison’s quirky use of drum machines, random changes of beats and tempos, and driving, pounding keyboard work. But any listener following Robison’s instructions in the liner notes—“Just give me 19 minutes. All in one sitting, and totally attentive.”—would immediately hear the difference. Basically, it was what Plastic For President should have developed into if it had been given the chance. It was a way for Robison to make music in his own terms, without the pressure of being Plastic For President. Though the lyrics are still cryptic at best, one gets the impression that with Plastic For President, Robison was writing weird lyrics for the sake of being weird, but with The Brisk, Robison’s lyrics are weird in the way that some of the best poetry is weird, or cryptic in the way that much of Bob Dylan’s lyrics were cryptic. The most obvious change is that it feels as though for the first time, Robison is writing songs for himself, rather than the entertainment of his friends and fans, for better or for worse. And thankfully, it’s better. Much better.
The Brisk quickly became Robison’s passion and everyone knew that Plastic For President’s disappearance was inevitable, but Robison promised the fans of his work as Plastic For President one last album before hanging up his Plastic For President hat for good. Originally, the final album was to be called Plastic For President is Dead. Robison even wrote a song with the same title, which described his death and dismemberment by a Rogues Gallery of wild animals. Ultimately, Robison chose to make the end much less definite. He changed the album title to The Sweethearts’ Collection Vol. I, which suggested that at some point there might be a volume two, and he omitted the song “Plastic For President is Dead” from the final track listing.
During the last half of his time as Plastic For President, Robison was also playing lead guitar for another local band, Visions of Cody. Whereas Plastic For President and The Brisk relied heavily on multiple layers of sounds and electronic equipment including drum machines, synthesizers, and various instrumental and vocal effects, Visions of Cody was a simple four-piece garage rock outfit along the lines of The Velvet Underground. Robison didn’t write much for the band, but definitely made use of his time with the band to hone his skills on the guitar, and he enjoyed the musical change of pace. Also during this time, Robison worked briefly with several other local acts including the electronica duo Spy Versus Spy and the Magic Eight Ball, the indie rock band Lenny and Okay, a friend’s solo project.
Visions of Cody ended up breaking up at around the same time that Robison was closing up shop on Plastic For President, and Robison briefly attempted to develop The Brisk into and actual band, but ultimately opted to stay with his solo approach, finding that he could work in a band only when it wasn’t his band. When it came to Robison’s own compositions, he couldn’t stand to rely on others to do it the way he intended. Robison chose the “if you want it done right, do it yourself” approach.
With The Brisk, Robison has given himself only two rules: “number one, write each song for yourself and only yourself and number two, ceaselessly experiment and look in new musical directions.” Robison has recorded two albums in the past few years as The Brisk, Tennis and Index. Tennis expands on Robison’s ideas on Performance, moving The Brisk from a half-cocked idea to a full-blown musical force.
Ever enigmatic, Robison sets up a curious connection between Plastic For President’s Sweethearts’ Collection and The Brisk’s Tennis. On Sweethearts’, Robison includes a song, “Cheetah Cheese,” which is a keyboard and drum machine instrumental that sounds like it may have been an outtake from The Brisk’s Performance demo. Then, The Brisk’s Tennis contains “Thought I Grew Up?” which is, for lack of a more delicate description, a song about farts. It seems as if Robison is pointing out to his listeners that the problem with Plastic For President was that every song had to fit into the category of “Plastic For President song” that his listeners had created. Robison was not encouraged to venture too far from the well-beaten path of midget jokes and rap parody that he had created for himself. With this strange connection, Robison seems to be saying that all of the music by Plastic For President and The Brisk are Daniel Robison compositions, and because he is both Plastic For President and The Brisk, any song released by one of those bands will be partially “created by” the other band, too. You can’t have one without the other.
With The Brisk’s most recent album, Robison finally seems to bring everything together. Index finally marries the Daniel Robison of Plastic For President with the Daniel Robison of The Brisk into the one person that it has always been. The songs are new and interesting. Robison experiments both musically and vocally. And lyrically, the album is funny, but in a dark and disturbing sort of way that Plastic For President never could have done. The difference is that the songs are funny not because Robison is trying to be funny, but because he is funny.
The development of Robison as a songwriter and a musician over the past decade brings up a lot of questions about the effects of audience response on songwriters. Many people in the world of popular music would probably say that audience opinion should one of the most important determining factors in a songwriter’s development. Audience satisfaction is a highly valued commodity and the only way to achieve audience satisfaction is to follow what the audience says, some would advise.
Robison’s development goes against this ideal entirely. When Robison focused on what his audience thought, his music suffered. During his career as a musician, Robison has repeatedly chewed his way out of one box only to find himself in another box. A slightly larger box, sure, but a box nonetheless. Bloodee Apocalypse’s death metal niche was much to restricting for Robison, so he expanded to the slightly more comfortable realm of Plastic For President, which worked for a while. Eventually, however, Plastic For President started to feel a little cramped and Robison found himself moving on to, literally, bigger and better things. Eventually, it’s possible that The Brisk will start to hold Robison back, though it seems impossible that Robison could need more musical freedom. Plus, he has plenty to keep him busy. Right now, Robison is working on writing and recording a new album as The Brisk. Robison says he’s been writing songs on the Grand Piano at the Evansville University music building and plans to lay off the electronics on this next album. Also, he’s been toying with some new ideas for a band called The Noun, which play what he calls “ugly music.” The exact direction of Robison’s musical career in the future may be unclear, but that very lack of clarity is what makes the journey more exciting for Robison, and he hopes, for his listeners too.
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xanthic umbra/spy vs. spy and the magic 8-ball split 7"????????
let's do it.
I'm totally gonna make a new community:
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How weird would that be
I want to do some new music with a partner. I want it to be supported by FCR. Lets make it simple and just do it.
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Last year, the domain expired for FlamingChipRecords.com expired, and everything was falling apart with the company, so I didn't renew it. For some reason, it stayed up for a whole year, but they figured it out and sent me an email asking if I wanted to renew the domain, so I did. FlamingChipRecords.com is up for another year at least. Hallelujah!
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FCR Fact No. 3
In the song "Your Baby's Mama," Daniel of Plastic For President says "I'll be doing this 'til the end of time." Ironically, The Sweethearts Collection ended up being Plastic For President's last album, though it was intended to be.
If anyone else has any interesting facts, please feel free to post them. I know some people were in places that I wasn't, and some people have a much better memory than I do (Eric).