"Favoring chaotic squalls of guitar noise and avant textures over the dynamics of conventional songcraft, the New York-based Band of Susans formed in 1986 around the core duo of singers/songwriters Robert Poss and Susan Stenger, longtime friends who reunited only after pursuing dramatically different musical paths: while Poss became a fixture on the N.Y.C. punk scene in the Clash-inspired Tot Rocket before joing Rhys Chatham's guitar ensemble, Stenger relocated to Prague, where she studied the theories of John Cage. Originally, Band of Susans featured Poss on lead guitar and Stenger on bass, rounded out by guitarists Susan Tallman and Susan Lyall (hence the outfit's name) and drummer Ron Spitzer; four months after forming, they issued their debut EP, Blessing and Curse.
In 1988, Band of Susans released their first full-length album, Hope Against Hope; both Tallman and Lyall departed soon after, and were replaced by Page Hamilton (a former student of Glenn Branca, a frequent Susans reference point) and Karen Haglof. After 1989's Love Agenda, Hamilton too left the group to found Helmet; he was replaced by Mark Lonergan, and following Haglof's exit, Anne Husick stepped in for 1991's The Word and the Flesh, which employed a more focused attack, typified by a lesser emphasis on reverb and feedback, to arrive at a more accessible sound.
Without the usual attendant line-up changes, Band of Susans issued 1993's dense, droning Veil, followed two years later by Here Comes Success, a uniformly strong collection of lengthy pieces including the instrumental "In the Eye of the Beholder (Song for Rhys)," a tribute to Poss' mentor. In mid-1996, Band of Susans dissolved, although Stenger and Poss continued working with Wire's Bruce Gilbert in the trio GilbertPossStenger in addition to mounting other projects. - J Ankeny
Git
A really great record.
ReplyDeleteI need to dig out my copy...
So, guys (girls) etc:
ReplyDeleteI was raised in PR in the 60's and 70's (Mayaguez and Ramey). There were very few of us into Bob Marley in 1976, and fewer still into the Ramones. I remember my favorite Arto Lindsay's DNA making so much sense to me, but not being the crowd pleaser I had hoped it would be. "'Mano, apaga esa mierda. Mira, pon esto, el nuevo de Journey". By 1980 I had to leave for good as it was obvious I could not exist only on beautiful women and beaches and great food. I am curious about your story, the where and when. I fucking get the why. Great music here. Art Ensemble, Augustus Pablo, and Andy Moor (I hope of the EX)...all three all-time favorites, all three life-changing concerts...and that's just the ones with the letter A! Escribame: sasscer1@bellsouth.net
I once put on Arto Lindsay's bossa records to a make-out session thinking of myself as smooth, only to get a "quita esa musica sexy, que carajo es esa mierda?"
ReplyDeleteThanks for the kind comments man!
ReplyDeleteVery cool blog. Gracias de Brasil!
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