parodies by nacrowe
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i remember the moment i first heard PORNO FOR PYROS in middle school in NIGERIA at (oddly enough) my own surprise birthday party a NORWEGIAN female classmate threw at her parents' apartment. another classmate that was DANISH had brought GOOD GOD's URGE (WARNER BROS, 1996) on CD and i was blown away by the vocals on "TAHITIAN MOON." just utterly gobsmacked by how pure and angelic that voice sounded to the point that it almost defied gender. or even being human i had no idea that this was PERRY FARRELL, the same singer i heard in LOS ANGELES on the radio from his previous band JANE'S ADDICTION. i had utterly no clue about who FARRELL was or either PORNO FOR PYROS or JANE'S ADDICTION, i just knew that this was something unequivocally different than what i was used to.
and i've been going down the rabbit whole ever since.
GOOD GOD's URGE was the second record by PORNO FOR PYROS, who themselves are arguably the most prominent splinter group of JANE'S ADDICTION, made up of frontman PERRY FARRELL and STEPHEN PERKINS. the outfit was rounded out by the classically-trained guitarist PETER DISTEFANO. the other two members of JANE'S ADDICTION, bassist ERIC AVERY and guitarist DAVE NAVARRO, formed the short-lived ART ROCK project DECONSTRUCTION before moving on to other projects. lyrically GOOD GOD's URGE covers themes related to love, rebirth and renewal and was written largely on surf trips to POLYNESIA. the record features MIKE WATT on bass and special guests DANIEL ASH, DAVID J and KEVIN HASKINS (a.k.a. LOVE AND ROCKETS) as well as NAVARRO and FLEA on selected tracks. standout songs include the aforementioned "TAHITIAN MOON" as well as "PORPOISE HEAD," "KIMBERLY AUSTIN," "100 WAYS," "WISHING WELL" and "BALI EYES." the general vibe is relaxed with lots of tasteful ambient electronic production layered over acoustic tracks that young could totally imagine being sung at a campfire after a day of surfing in TAHITI or BALI. its a real departure in texture and mood from its predecessor which seemed about more about the claustrophobia, excess and cycles of exploitation that come with living and working in LOS ANGELES. GOOD GOD's URGE finds FARRELL in a more reflective, spritual headspace which is something he explored more in his later solo recordings and other groups like SATELLITE PARTY and KIND HEAVEN ORCHESTRA.
i remember hearing a rumor years ago that after his survival from cancer that there was a chance of PORNO FOR PYROS regrouping with DISTEFANO. that they even recorded material. my hope is that their reemergence will happen at some point. the band was totally underrated and are absolutely as seminal an ALTERNATIVE ROCK band as JANE'S ADDICTION.
after the first breakup of JANE'S ADDICTION, the band basically bifurcated into two camps. one included frontman PERRY FARRELL and drummer STEPHEN PERKINS which became PORNO FOR PYROS and the other was guitarist DAVE NAVARRO and bassist ERIC AVERY which resulted in DECONSTRUCTION.
out of all the splinter groups associated with the core members of JANE'S ADDICTION, DECONSTRUCTION is arguably the least known and most sonically experimental and lyrically complex. the pair only released one album, DECONSTRUCTION (AMERICAN, 1994), before NAVARRO went on to join the RED HOT CHILI PEPPERS and later the reformed JANE'S ADDICTION while ERIC AVERY went on to form POLAR BEAR and then produce solo records and perform as a touring bassist for GARBAGE among others.
when i discovered this record i was attending my junior year of high school in KUWAIT and felt extremely disconnected from my surroundings and my immediate community, which was quite hostile. there is an interiority and sense of self-containment to this record that really fit that moment for me perfectly, as i was constantly questioning my sanity during that period. wasnt sure it was me that was crazy, turned out it was that whole country. go figure. JANE'S ADDICTION was and is still one of my all-time favorite bands and i consider the second half of RITUAL DE LO HABITUAL (WARNER BROS, 1990) to be pure bliss, arguably one of the finest sides of any record ever produced. BEATLES, SMITHS, DAVID BOWIE, ZEPPELIN, LOU REED be damned. DECONSTRUCTION to my ears sounds like a continuation of that record, especially its more expansive, multi-part, rhythmically and compositionally complex moments.
it basically sounds like the JANE'S ADDICTION record that never was and cemented the importance of AVERY in my mind to the original lineup. those cyclical bass grooves that sound bigger than god are equally indebted to POST PUNK, AFRO BEAT and FUNK music. NAVARRO is also in top form here, adding textures upon layered textures that brings back to mind all those favorable comparisons to DANIEL ASH, ROBERT SMITH, JIMMY PAGE and the like. when i hear the deadpan solemnity of AVERY's oblique spoken-word poetry it brings back memories of PETER MURPHY and IAN CURTIS, which is quite the opposite end of the spectrum from PERRY FARRELL's gender-bending vocal pyrotechnics and singular bravado in providing a hagiographical narrative to the lyrics. AVERY to me sounds more tangible and approachable, like somebody sitting you down and leveling with you about the realities of life, albeit in a fairly expressionist manner.
i have listened to this record since my teen years and i am still blown away by it. some feel it is a bit bloated and not well-focused, but i believe it is an artifact created by two incredibly talented musicians that were at the peak of their powers and untethered by commercial pressures. this was their creative and artistic exhalation after the pressures of their previous band became to intense.
my hope is that at some point AVERY and NAVARRO will record something, anything, in the studio and release it. those bass grooves over his guitar texture is such a revelation. its a pity that that creative relationship hasnt been explored more over the decades.
DECONSTRUCTION is definitely worth further investigation by any fan of POST PUNK, ALTERNATIVE ROCK, INDIE ROCK or mind-expanding ROCK N ROLL. highly recommended.
its difficult to verbalize how mind-altering and identity-shifting this JANE'S ADDICTION record was for me when i first heard it as a MIDDLE SCHOOL student living in NIGERIA. NOTHING'S SHOCKING (WARNER BROS, 1988) is an absolutely classic record by a seminal band. in my heart the only bands that match them are DEVO and THE SMITHS: that is my holy trinity.
often credited along with FISHBONE and FAITH NO MORE (among many others) with trailblazing in the late 1980s what would become the 1990s ALTERNATIVE ROCK scene, JANE'S ADDICTION had an eclectic sound that ranged from GOTH ROCK and POST-PUNK to HARDCORE and even THRASH METAL. for me the music begins and stops with the mantra-like, hypnotic, circular and criminally underrated bass grooves of ERIC AVERY. these grooves on tracks like "SUMMERTIME ROLLS," "MOUNTAIN SONG," and "UP THE BEACH" are eerily reminiscent of AFROBEAT to me, which is the context i first heard them in, and provide the foundation for the rest of the band.
JANE'S ADDICTION is an example of a band where all the sum of all the parts is much greater than each individual member. in fact, there have been so many side and splinter groups (PORNO FOR PYROS, POLAR BEAR, SATELLITE PARTY, DECONSTRUCTION, THE PANIC CHANNEL, BANYAN and countless solo projects) of varying combinations of members that it really makes listening to NOTHING'S SHOCKING and its follow up RITUAL DE LO HABITUAL (WARNER BROS, 1990) that much more intriguing. there really is an alchemical reaction going on there that hasnt been touched since.
what drew me initially was the voice of the shamanistic PERRY FARRELL, who i thought sounded like an alien. i literally couldn't place in my mind when first fearing "UP THE BEACH" whether it was a woman or man singing. his voice was beyond gender and seemingly sonically beyond space and time or any other human construct. i think lyrically there is a distinctly romantic worldview and sense of childlike amorality throughout his lyrics. in songs like "JANE SAYS" and "SUMMERTIME ROLLS" there is a sense of escapism through romantic love and being in the moment. that this deeper bond is what sets us free and makes us human. HENRY ROLLINS once made a prescient point about the band when he stated that "they pointed it out without pointing to it," which i implicitly agree with. lyrically NOTHING'S SHOCKING covers a lot of ground from the manipulating potential of mass media ("TED JUST ADMIT IT...") to the quiet banalities of daily life ("STANDING IN THE SHOWER...THINKING"). it all adds up to an emotional and intellectual range that is rarely witnissed historically in rock music of any age.
while i contend that the bass grooves of AVERY and the lyricism, mystique and vocal idiosyncrasies of FARRELL are the two main ingredients for this band, i would be remiss to not mention the stellar rhythm section of DAVE NAVARRO and STEPHEN PERKINS. i should start by saying that i am biased in this regard since NAVARRO along with JOHNNY MARR are my two favorite guitarists ever. NAVARRO is both an acolyte of the songwriting and lyrical guitar playing of 70s classic rock musicians like JIMMY PAGE and DAVID GILMOUR, as well as deeply indebted to the sonic experimentation of 80s POST PUNK musicians like ROBERT SMITH and DANIEL ASH among others. with this knowledge it is deeply interesting to see the interplay of those influences throughout his career, which finds him using everything from e-bows, delay effects and even dildos to create a lush sonic landscapes while also creating crushing riffs that any self respecting CLASSIC ROCK musician would enjoy. in essence, when i think of the sound of ALTERNATIVE ROCK, i think of that interplay within the guitar work of NAVARRO.
i think the drumming of PERKINS is criminally underrated but vastly essential the the group's success on NOTHING'S SHOCKING. from his signature use of steel drums on "JANE SAYS" to his pounding, kinetic METAL inspired pummeling on "MOUNTAIN SONG" "PIGS IN ZEN" and "OCEAN SIZE," there is a range at play that makes everything appear cohesive and ultimately authentic, no matter the genre being utilized at any moment. tribal drumming is now considered a cliche that has been adopted (and abused) by the METAL scene, but i would also credit PERKINS and his love of AFRICAN polyrhtms for help create such intoxicating, mantra-like textures in songs like "UP THE BEACH" and "SUMMERTIME ROLLS" and basically the second side of RITUAL DE LO HABITUAL.
easily one of my all-time favorite records that i clearly know i am not doing justice. suffice to say it is worth checking out as it is one of the most transcendently great rock albums of all-time.