Last year Sissy Spacek celebrated its 20th anniversary with a US tour, Japan tour, and an array of new albums. Each activity broadened the scope of the project in a unique way and we are extremely appreciative of the many people who contributed to it’s success. After crossing this threshold, our next undertaking is to release a series of collaborations with The Haters, Hijokaidan, and Smegma. Anyone familiar with Sissy Spacek will understand the depth and importance of these collaborations to us.
SHIPPING JUNE 25, 2019:
—The Haters/Sissy Spacek “Multifactorial Dynamic Pathways” CD
—Hijokaidan/Sissy Spacek “Entropic” LP (Colored Vinyl)
—Sissy Spacek/Smegma “Ballast” CD
Plus (exclusive to the first 100 preorders):
—The Haters/Sissy Spacek “Scraping Glaze” CS (c-40)
—The Haters/Sissy Spacek “Geo-Numeric” CS (c-40)
—Sissy Spacek plays GX Jupitter-Larsen “Secant” 7-inch Flexi
—4 button set (The Haters, Hijokaidan, Smegma, Sissy Spacek)
—Sissy Spacek sticker
—Additional flyers and inserts
Until the release date, these will only be pre-sold as a complete batch. After the release date the three CD/LP’s will be available for sale individually. The tapes, flexi, etc. will be not be sold separately…
The Haters/Sissy Spacek “Multifactorial Dynamic Pathways” CD
Despite many collaborations among these artists over the years, this album represents the first proper meeting of The Haters and Sissy Spacek. Often stuttering around a particular sound source or technique, the tracks on this collaboration are partitioned into precise 10-minute increments for an orderly shifting palette.
Formed in 1979, The Haters have explored many forms of entropy over their span, continuously broadening their approach through various mediums including recorded works, conceptual performances, radio, and video. In 2019, The Haters celebrate their 40th anniversary.
Sissy Spacek (comprised of Charlie Mumma and John Wiese) celebrated their 20th anniversary in 2018, touring extensively throughout the United States and Japan, with a number of releases expositing their broad range, including a new grindcore album on Nuclear War Now! Productions, and experimental works on labels such as Gilgongo Records, New Forces, Dotsmark (Japan), and Daymare Recordings (Japan). They begin their 21st year with a series of collaborations with longtime friends.
Hijokaidan/Sissy Spacek “Entropic” LP
On the verge of their 40th and in the midst of their 20th anniversaries, respectively, Hijokaidan and Sissy Spacek merge in Tokyo for their first collaboration, featuring Jojo Hiroshige, Junko, T. Mikawa, Charlie Mumma, Futoshi Okano, Tentenko (guest), and John Wiese.
Hijokaidan formed in 1979, marking the first wave of groups in Japan exploring extreme noise. Sissy Spacek formed in 1999, often playing in large ensembles of players, and frequently exploring grindcore as a base for creating extreme music, often while eschewing the notion of music altogether.
During Sissy Spacek’s 20th anniversary tour in Japan, the recordings of “Amok Time” and “Seven Directions” were made with Hijokaidan in collaboration. While Hijokaidan’s sound has been described as a continuous climax of your entire progressive rock collection, Sissy Spacek’s “Twenty-Five Fragments” is a sequence of peak chaos from their 2018 tour, recorded on walkman for maximum effect.
Additionally, the CD edition contains Hijokaidan’s full live set at Akihabara Club Goodman.
Sissy Spacek/Smegma “Ballast” CD
Ace Farren Ford, Dennis Duck, and Ju Suk Reet Meate (three original members) are joined by Rock ’N’ Roll Jackie (35 years in the band), John Wiese (approximately 10 years), and a cast of others form the current third phase Smegma. Personnel of this album, “Ballast”, consists of this line-up plus Charlie Mumma, a member of Sissy Spacek since 2008.
The source material of “Ballast” was recorded at home and on the Los Angeles radio station Dublab, but what we hear is not exactly Smegma and Sissy Spacek performing together as a live group. Wiese’s production of the recording is a kind of un-doing of the live group playing, forging it into a new collage of sound. It reminds us of genome editing which results in diversity, and sometimes in mutation, of organisms.
The title of the album, “Ballast”, refers to a weight on a ship which improves it’s stability, but it is also a term for an electrical component that regulates electricity so as to not destroy the other components. It’s double meaning fits between the cover art and the collage process which is constantly partitioning and interrupting the elements of sound.
—Takuya Sakaguchi, from the liner notes