Bezonked, high/low-grade crud from Aaron Dilloway, Nate Young, Joachim Nordwall, and party- rock hero Andrew W.K. as The Gagmen - recorded in a tiny NYC basement in 2012 and now finally seeing light of day on Nordwall’s unstoppable iDEAL Recordings.
Put three of experimental music’s gnarliest dudes, and their pals, in a room and this is what you get; 40 minutes of charred and gungy electronics with tormented vocals that sound like they just crawled out of a Brooklyn sewer. If you’re remotely familiar with anyone on board, or their various actions between the charts and the gutter, your expectations will be met side-on with engrossing levels of raw tape manipulation and throttled analog synths masticated and spat out in four parts that hark back to their respective pinnacles of this era;- from Nate Young’s now classic ‘Regression’ seshes, to the body gurns of Dilloway’s ‘Modern Jester’, and Nordwall’s crushing ‘Monstrance’ collaboration with Mika Vainio.
A Swedish newspaper wrote “What the hell is this?”, in a review of The Gagmen’s debut gig in a posh Stockholm hotel, but keener ears will surely recognise the calibre of grot on offer from these dons of the trip metal underground. The mode is slanted and pharmaceutically enchanted, with Andrew W.K. sounding like he’s partied too hard on his pair of severely blunted vocal contributions, while Dilloway, Young, and Nordwall’s noise supergroup vent crankiest spleen in tortuous tangles of ferric buzz and machine howl, all grungily gelling into anxious, burned-out industrial dub rhythms.