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about

"This record is a little outside what I usually cover in these roundups, but I wanted to give it some attention because 1. releases like LBB’s Popped Music on Iron Lung have clarified that some hardcore punks can get down with experimental and avant-garde music and 2. I fucking love it and can’t stop listening to it. Judge Schreber's Avian Choir is a very large ensemble: according to the label’s description, “15 bowed string players, a heavy metal rhythm section … and … overdubs on reeds and guitar.” There are no vocals and the four tracks here aren’t pop songs, rock songs, or even avant-metal songs, but a hybrid of experimental orchestral / chamber music and heavier, metal-informed drone music. The only things I’ve heard that it resembles are the 70s Belgian group Univers Zero and the Japanese composer / playwright J.A. Seazer, but I’d be surprised if too many Sorry State readers are jamming those. Anyway, the music on Bleed is expansive, encompassing spacious drones, skittering, insect-like organic rhythms, mournful and moody microtonal harmonies, heavy rock riffing, and wide open, Ornette Coleman-meets-Darkthrone sonic catharsis. While it’s wildly creative, it never feels difficult or arcane. I think that’s because this record doesn’t trample over the boundaries between genres, but offers us a window into an alternate universe where those boundaries don’t exist. If you’re an adventurous listener with an ear for this kind of wide-angle, symphonic grandiosity, I encourage you to pick this up."
--Daniel Lupton, Sorry State Records

credits

released October 9, 2019

violins:
Libby Rodenbough, Zach Aliotta, Lalia Mangione

violas:
Dan Ruccia, Justin Blatt, Ashley Overby

cellos:
Nora Rogers, Chris Eubank, Emma Dunlap-Grube

string basses:
Vattel Cherry, David Menestres, Matt Nelson, Wood Robinson, Christopher Scully-Thurston

electric bass:
Jon Ferrell

drums:
Mike Isenberg

reeds, guitar, arrangement, riff-forging:
Crowmeat Bob

composed by:
Judge Schreber's Avian Choir

recording engineer, mixing:
Nick Peterson

engineering assistant:
Alli B

mastering:
Todd Rittmann

recorded at Fidelitorium, Kernersville, NC in 2018

art:
Adam Pernell Deal

layout:
Jer Warren

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about

Crowmeat Bob Raleigh, North Carolina

Bob is self- and friend-taught on guitar and reeds, composes for many different kinds of ensembles, and plays in many bands and in improvised or otherwise situations with hundreds of musicians over the years. Most importantly, he provided sax for the John Goodman man-scaping scene in "Righteous Gemstones". Also, bass clarinet for the Kenny Powers Freakout scenes in "Eastbound & Down". ... more

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