bomis prendin: seconds too late

Further to an earlier piece here on Richmond\’s Karen Cooper Complex, travel directly to WFMU to avail yourself of Jason Sigal\’s concise overview on the experimental scene which existed in Virginia and Washington DC between 1970 and 1981.

As archived on the previously lauded FMA, DC\’s Bomis Prendin was born of a \”mutating collective\” originally entrenched in Richmond, VA; sonic terrorists Titfield Thunderbolt and Big Naptar walking point on reconnaissance. 1979\’s \”Test\”, and its successor \”Phantom Limb\”, elicited praise from Jandek and eventually earned Bomis Prendin an entry on the Nurse With Wound list.

A mythical Grail of sorts coveted by those blistering in the shadows.

Do not fail to click the play button on Keith Chambers\’ video reel homage to Karen Cooper Complex while you loiter.

Bill Altice – guitarist in both Bomis Prendin and KCC – alerted me to its existence back in April. I had just been watching a documentary on survivors of Hiroshima and Nagasaki – HBO\’s \”White Light / Black Rain\” – and Keith\’s cut up to \”Jerkin\’ Pretty\” prompted a snow of fallout on the same retina burn. Dislocated and hypnotic, it made me feel like I was back in the classroom in 1970; chasing through Olive to Gold on the teaching apparatus which was SRA.

The following, \”Doppler Shift\” – the second serving – is a closed percussive groove which might have come via The Cryptic Corporation. One listen to it was all that was required to convince me that Sheffield\’s Cabaret Voltaire might have been exposed to it during their early tenure at Geoff Travis\’s Rough Trade.

BOMIS PRENDIN: THE DOPPLER SHIFT from \”Phantom Limb\” 9\” Eva-Tone Soundsheet Flexi (Artifacts/yclept) 1980 (US)


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