Drumm/Walter/Lonberg-Holm

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Three years ago we released the Weasel Walter’s recording Tribute to Masayuki Takayanagi (GROB 208). In addition to Walter (drums, guitar, mix, artwork) and Fred Lonberg-Holm (cello), Jim O’Rourke (guitar) also participated in the sessions. This secured the recording a certain popularity and provoked furious reactions. Since Tribute to Masayuki Takayanagi certainly does not stand for the finely engraved music that has made O’Rourke popular worldwide. The recording was free improvised Death Metal, a committed transformation of the early noise music of Takayanagi (this first Japanese noise guitarist had his important phase in the 70’s) into the present. More than a few critics saw this as disrespectful towards Takayanagi. Weasel Walter, earlier in Chicago, now in California, is, however, a master of, if you will, meta-disrespectfullness. What would happen if the energy and impact of Takayanagi could only be mediated today by overdoing it? Honoring a great role model means kicking him in the shins. The (journalistic) rejection could really only lead to making a further Tribute to Masayuki Takayanagi album and to work out even more concretely the presumed disrespectfullness. The first album was indeed one session, the trio Walter/Lonberg-Holm/O’Rourke existed only as long as the recording; the second album was supposed to be a worked-out studio production. Walter grabbed Lonberg-Holm and his ideal guitarist Kevin Drumm, brought them in a Chicago recording studio in the Summer of

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