GodIs My Co-Pilot Interview Excerpt and Reviews
God Is My Co-Pilot
excerpt from 1993 Janne Maki-Turja interview with
Getting Out of Boring Time,
Biting Into Boring Pie
Craig Flanagin and Sharon Topper that appeared in
Getting Out Of Boring Time 10" sounds very strange.
What "instruments" were used during the process of recording
that record? How did you get Quinnah Records to release it?
Quinnah Records were very excited to be able to release Boring Pie!
Go figure. The record is very special because it is one of a small
number of projects recorded at the legendary Plastikville studio.
The Larry 7 story. Once in NYC there was a man named Larry, a gentle
visitor to this time period from an earlier, analog era of history.
Larry was an electronic wizard, who could build or repair any type
of sound recording or producing device. His living room looked like
the main studio of a Czech radio station, as envisioned by Martin
Denny's art director. It was here that Boring Pie was recorded, on
equipment, mostly salvaged and refurbished by Larry, that was
completely state-of-the-art.. for 1952. In fact, Plastikville had
just gone stereo, and Boring Pie was the first project to be recorded
there utilizing this most modern of sound technologies. Sharon's vocals
were recorded on a number of specialized microphones, including a
beautiful old ribbon mic that Larry got from a man in Coney Island
who had been an engineer for RCA in the 40s. All reverbs heard on
the record were hand-built. The recording of the record is beautiful,
and I'm very happy with it. I had to look up a copy of the record to
see what sound sources we listed on it... "objects, machines, projector"
Not very helpful! None of the drums are real drums, but various things
that sounded good when we set them up and recorded them as drums.
The guitar was recorded through a number of novel amplifiers, including
an old 8-track tape deck on one song. The bass is an old Danelectro
with a body made of pressed cardboard. "Projector" means film projector,
which we recorded with contact mics. PZM mics were placed on a tabletop
to record things being manipulated on the table. At one point you can
hear a duet of a flour sifter and an 8-track tape being chewed up in
the machine. I think the only intoned instrument on the record is
the marimba on 2 tracks.
from Nice Slacks, issue #4, Summer 1993
written by Weasel Walter
(I thought for once I would finally get to beat Jordan "Hugs and
Kisses" Maimone to the punch on a God Is My Co-Pilot review. Not since
pre-Jordan Slacks #1 has this distinction been present!) If you
thought GodCo's previous releases were "weird" or "esoteric," uh, well,
um, this is, uh, "more of that." This record is an enigmatic
little sucker with different titles on front and back covers, reversed
labels and an abundance of inexplicable noises. I am told that various
wheezes and whalefarts on the album were made by an electrocuted film
projector. The bass guitar on "Stop" was supposedly run through an
8-track cassette deck, which was reputably chewing up a copy of
Foreigner 4 at the time. Didjeridoo, clattering junk percussion,
electric jaw harp and Gamelan-like plongs soar over convoluted samba,
mambo and retard funk anti-grooves. Make that stereo fuckin' jaw
harps! If this does not peak your interest, you are already dead,
my friendly reader. Getting Out Of... is one of those "What the fuck?"
records. A tres bizarre collection of nerve-damaged songs from facsimiles.
from Chickfactor, issue #3, summer 1993
written by Clarissa
The most difficult record yet from this musically hyperfertile bunch is
also their most soothing: it's nothing but dry and scratchy, but that's
how you get rid of itches. The instrumentation is more than a little on
the weird side (Craig Flanagin: "Oh, come on, that's the best film
projector solo on the whole record!"); the songwriting borrows
its organizing principles from the divine manufacture of air. This is
artiness justified by art, as unsettling and unpretentious as a WWII
from Yakuza, issue No. 4, August 1993
written by Dave McGurgan
This 10" slab is quite the departure for GodCo. Gone is the
formulaic minute long spazz $ banter, and in comes a plunge into
acoustic-whisper-schizophrenia. GodCo pulls off the sordid affair
w/ total composure. Finally we get to soak up some of Sharon Topper's
sweet foreign voices while the GodCo musical mania is kept under soft,
dynamic surveillance. This 10" is like a late 1960's genreless avant
garde album. The drums sound extremely shiny & full of timbre as the
dual femme vox careen off the soft metallic racket. "Sound" is the
operative word. Quite out there & suitable for your next introspective
whack-out in the privacy of your bedroom
from Feminist Baseball, issue #12, winter 93/94
written by Jeff Smith
I never took these GodCo folks to be serious druggies but this slab
makes me ponder it. The whole thing sounds like it was recorded in
their house and a lot of it could play as a Spike Jones/Mice?Magnetic
tribute record. They could be covering their children's room with
Sherwin Williams paint but I doubt they've got offspring. There's 14
songs here but they all run together into a dry fillip of Neufchatel
cheese logs made with Drano and cat food. I think their cat finally
shows up on a record and that sounds like it meowing on "Move The
Moon." The fact that someone will release this kind of stuff always
gives me great hope for the USA. Fans of "Revolution No. 9" and the
more comic Nurse With Wound will jump for joy when they hear "Sifter."
As is befitting a Gertrude Stein obsessed band they toss in some
"Lifting Belly" poesy updated to the post-Reagan 90's. A large number
of people would not consider this music but it comes with a paper
airplane for them to play with.
from Chicago Tribune, Thursday, September 2, 1993, section 5, pg 7
written by Peter Margasak
Biting Into Boring Pie, a 10-inch vinyl EP, dispenses with
rock as the band trundles through ill-conceived textural and rhythmic
explorations mated with Topper's nasal delivery of oblique lyrics.