Composer David Earl Buddin Can Totally Relate to Lindsay Lohan

Categories: Weasel Walter

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Tim Dahl
Definitely not LiLo: David Earl Buddin with Karlheinz Stockhausen's muse, Kathinka Pasveer (r) and (from left) Dominica Michalowska and Virginie Batista
In 2012, the Voice doled out honors to David Earl Buddin, tabbing him New York's Best Composer for very good reason: he's a beer-swillin', chain-smokin', gloriously prolific pioneer of electronic music and ringleader of the honky tonkin' trio of high rolling drunkards, American Liberty League.

As soon as Buddin relocated to Brooklyn in 1999, he immediately fell into cahoots with a band of likeminded misfits including old college pal Tim Dahl (of jazz-mongering noiseniks Child Abuse and American Liberty League's synth splatterer) and from there valuable alliances would ultimately form.

See also: Weasel (Walter) Nation: On the daringly avant label ugEXPLODE

BJ Rubin, mastermind of lounge-weirdo act Puttin' on the Ritz, serves as Buddin's manager, putting out his intrepid music via his Pukepos and Dick Move labels. And the composer appears regularly on Rubin's ingeniously wacked TV show, improvising terrorist Weasel Walter released the electronics sprawl Canticles via his ugEXPLODE label and Buddin's newest venture is experimental trio Nebadon with Talibam! drummer Kevin Shea and vocalist Dominika Michalowska.

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Valentine's Day Special: The Soundtrack of Love, Behold... The Arctopus Style

Categories: Weasel Walter

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Behold... The Arctopus: Have we told you lately that we love you?
Along with nomadic klassi-killing virtuoso Mick Barr, prog-metallic shape-shifters Dysrhythmia and death skronking punk-jazz unit Child Abuse--those meticulous magicians of tech-metal brutality, Behold... The Arctopus--have helped usher in Brooklyn's experi-metal renaissance into kingdom crush.

See also: The Best Metal Concerts in NYC This Month


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ugEXPLODE Musicians Mary Halvorson, Jessica Pavone, Ava Mendoza, Sandy Ewen And Damon Smith On Shredding, New York Vs. The Bay Area, And Houston's Improv and Drinking Scene

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Mary Halvorson.
This week, the Voice rounded up Weasel Walter's nationwide community of avant-gardist outsiders who both record for his boldly avant-garde label ugEXPLODE and collaborate with the iconoclast-about-town. The names are staggering and represent the most intrepid of musicians working in the experimental and jazz orb today: Brooklyn guitarist Mary Halvorson, Normal Love's Jessica Pavone, Oakland avant-blues guitarist Ava Mendoza and Houston improvisers Sandy Ewen and Damon Smith. Extended versions of the Voice's chats with them follow.

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Download: Weasel Walter's Playful, Punchy Improvised Duet With Mary Halvorson, "Let's Get 'Em"

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Andy Newcombe/Flickr
Ever since Weasel Walter relocated to Brooklyn a few years back, no wave's ambidextrous enfant terrible has been almost obnoxiously busy. His countless performances at Death By Audio, Zebulon and Issue Project Room have single-handedly made our loft-punk and freak-jazz shows exponentially uglier, meaner, more violent, more savage and more awesome. As a performer, Walter values speed, volume and venom, all of which are amply present on Ominous Telepathic Mayhem (out now via ugEXPLODE), his collection of high-velocity freestyles with some of New York's most bleeding-edge improvisers (Peter Evans, Mary Halvorson and Darius Jones) and London's Alex Ward. Walter is obviously adept with the Joey Baron-style jazzblast that usually makes his wall-of-sound improvs bustle with bile, but presented with only one sparring partner at a time, his sputterburst is both violent and fragile. On "Let's Get 'Em," he teams with YIMBY grad Mary Halvorson in front of the stage at Zebulon for a slapstick blur of punches, stabs and Beefheart grindcore.

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"It Has To Do With Eating Fucking DIRT, Not Graduating From A Liberal Arts College": Weasel Walter Holds Forth On No Wave, Grudgingly Lets You Listen To No New York

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Pic by Nondor Nevai
Brash, beloved experimental/jazz/noise/etc. drummer Weasel Walter, who moved to Brooklyn not too long ago to "fuck shit up," has a fine mini-essay on discovering No Wave in the mid-'80s, and the herculean, charmingly antiquated methods (libraries! mail-order! record stores!) he had to use to actually hear it. He concludes by passing along a link to somewhat rare and frequently deified genre comp No New York, while simultaneously lamenting that hearing it is now that easy:

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