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creepjoint  kill the head
A Sonic Blitz Like No Other Accompanying
A Timeless And Skewed Lyrical Narrative
Set Against The Evolving Backdrop
Of Whatever May Occur Anywhere You Like
At Any Given Time!
 

From "noizeitalia" by "living rain"

A mixed one of psichedelia, electric and atmoshperes rarified is how much there comes proposed from the eccentric Creepjoint. In reality it is not discussed of a band to the first arms but of the project put in foots from Tim Harrington, former limb of Masters Of Reality, The Bogeymen and Master Frequency and His Deepness, which with the collaboration of Scott Schimpff (The Frogs,) Bobby Budd (lovelorn) and Andy Walton (Wallmen) given seen to this interesting diskette of debut composed from nine tracks.
Psichedalia we said, in how much effects make listen to recalls above all the same Masters Of Reality, but holding in how much consideration fact in past from the Pink Floyd of the era Syd Barrett and to the days ours from Flaming Lips and Dead Meadow. Bizarre sights and odd arrangiamenti therefore, conditi from frequent electric inserts (the bizarre and nice on "Billy Goat" is a perfect example) and melodies beatlesiane (the acoustic "Pieces of Tommy,") everything played on the wave of an eclettismo to ecessive times but to the end of the accounts quite beyond the sufficiency.
The acid guitars of "Kill the Head" remember the ambientazioni solariums and lisergiche of the better Dead Meadow, "Whyte Hot" could find well place on the next work of the Queens Of The Stone Needles, while "Jihad" noises of its harmony condisce psicotropi and crazy. For the remainder "Black" stuns with its paranoid rhythms, "Earthbound Sister" unites to the perfection riff sabbathiani and scores mesmeriche, and "Krynoutloud" hits in the mark with its appeal "piacione" and carefree his melodies.
A cards from visit nothing badly this "Kill The Head," comfort advised to all the ones which seek from the strong music feelings and above all outside head.
 

Tim Harrington's impressive career first blossomed during the Reagan administration.

"I'm 8-foot-6 and weigh 500 pounds," quips the Creepjoint front man, deliberately misinterpreting the question of how "big" he is. It's a lie, of course: The singer-guitarist hasn't packed on much meat since leaving legendary Syracuse act Masters of Reality in the late 1980s. But as for his renown, yeah, it's big. "There's a whole subculture of people that were aware of the {Masters}," Harrington says. "I was online recently and I typed my name into a search engine, and all these fan sites for the group came up." Kill the Head (independent) is the third album helmed by Harrington since the original version of MOR imploded. Shadows of that band still linger, in the assed-out, bottom-feeding opening riff of "White Hot," for example, or the sneer-faced melodicism of "Krynoutloud." Yet Creepjoint's vibe is more diverse. "It's a pop type of songwriting, blended with heaver sounds and tones," he says. "I try to write melodies and lyrics that have something to latch onto." The song's topics cull as much from Harrington's world weariness as everyday experiences. "Jihad" is a jab at the herd mentality of followers of religion, while the title track--a monstrous, eerily melodic slab of doom--compels us to question the "talking heads of the media." The opening track, "Psychic Gangster Reading," is a transcript of a reading Harrington had done 20 years ago by the late local mystic Ron Dunn. "He had this weird way of go ng in and out of character, saying certain things with a certain inflection of his voice, then another, almost like a schizophrenic," he remembers. (Excerpt: "It's almost like in other lifetimes, I believe you were called a failure...I'm not a failure, I know what I'm doing, no, no no no no...") Gypsy guitar and demented whistling find their way into "Pieces of Tommy," inspired by the mysterious exodus of one of Harrington's former neighbors. "One day he just moved out in a hurry, and all this stuff he left at the curb wound up blowing all over the neighborhood. Nobody really knew who he was; a business card from the vicar of priests was actually laying in the street." A similar aura of anonymity surrounds the band, from the lack of credits in the disc's packaging to Harrington's almost perpetually distorted vocals, to their lack of live appearances as of late. ("We're hoping to play more consistently in the fall," Harrington promises.) But the front man is definitely known: As a guitar tech he rubbed shoulders with Billy Corgan and David Pajo for their band Zwan, during last year's recording of its debut disc, Mary, Star of the Sea (Reprise). "They wanted me to help craft the guitar aspects of the record," he recalls. "They had all this top-of-the-line stuff, the newest this and newest that. It was weird, working on that record and then coming back to my attic. Like, 'Wow, what a difference a budget makes!'"Still, Harrington coaxes mean sounds out of his own 12- and 16-track equipment for Kill the Head, lending a sinister, proto-industrial vibe a la Killing Joke or Big Black. Andy Walton's drumbeats crawl through cough syrup, while the distortion on Harrington and Bobby Budd's axes leaves little in its wake but pulsating sonic plaster. Scott Schimpff breathes rhythms into it all, while Harrington works his voice like a coherent Ozzy around cryptic lyrics such as the title track's "Lines slowly form on faa-aace/ love-an unconscious embraa-aace." Former Masters bandmate Chris Goss has lent his studio hand to everyone from Queens of the Stone Age to the Stone Temple Pilots, but Harrington's interests still remain on the opposite end of the soundboard. "I feel like I really want to still play," he comments. "In a way, if you start to go down {the production} road, people start typecasting: It's like, 'Oh, he's not a songwriter.' I just want to stay relevant to myself as an artist." Purchase Kill the Head at the Sound Garden, 124 Walton St. For information, visit www.creepjoint.com.
 
Tim Herrington

Tim Harrington

Master Frequency And His Deepness
(Triple X) Many of you probably remember Tim Harrington in the late Eighties as the original guitarist for Masters Of Reality and the Bogeymen, a timeless, soulful player over-looked in a see of big-haired noodlers and Power Ballad losers. On his debut solo album, Harrington comes off like a modern day Jeff Beck- kickin' out Seventies-style metallic blooz chock fulla Nineties arrogance and attitude. "Backward Prayer" sounds like a freaked-out Mahavishnu John McLaughlin on a bad dope trip. "Cake Boy's Catwalk" is real-life Beefheart with a phunky backbeat. "Grey Skies" cranks like old-style Black Sabbath or new-jack Monster Magnet with all the psychodelic trimmings, while "Coming On Again" is vintage Syd Barrett-era Pink Floyd. Master Frequency... is real, heartfelt Rock expressionism with a serious groove.
Get on the snake.

Steven Blush
 

Translation of an Italian review:

The chitarrista Tim Harrington lascio` the Masters Of Reality after the first album and formo` the Bogeymen with the drummer Vinnie Ludovico. There' s Not Such Thing As (Delicious Vinyl, 1991) e` pero` little piu` that a tour de force personal of the chitarrista. Harrington alone has then coined with Master Frequency And His Deepness (Triple X, 1996), in particular Signify and Grey Skies , the version blues of the aggro, or the version aggro of the blues. Its guitar burns to slow fire on the strascicate cadences of the drum machine and the sintetizzatore. But the method is lend also for others, evocative, excursions: the psicanalatico drama of Material Outcast , expanded and deformed from sparuti agreements spaces them, the world-music of Backward Prayer , for tintinnio of percussions and droni of flauto, the ballad nocturnal of Pet Theory , one swing slowed down until dying and infarcito of stranianti samplings and violent noises, the languida psichedelia of Coming On Again , to funeral and caress step from Middle Eastern litanie. The disc ends with an instrumental one, Drink It Up , that it joins one glacial partitura of vanguard and one nostalgic fisarmonica brilliant slow combustion stove and suggella "fusion" the atemporale one of the artist. Piu` that brani they are collage of sounds "finds to you". The composition happens through the sampling piu` that through ritornelli and riff. Harrington above all succeeds to transform its virtuosismo of agreement in atmospheric painting. The cherry on the represented cake e` from the fact that its experiments are berthed to the blues, than e` then the mother of all these musics.
Shinola (Delicious Vinyl, 1996) e` a disc a lot piu` conventional of blues-rock from classifies.