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Fyrce Muons
Fyrce Muons
12 Tracks
Over thirty years and fifty albums of eclectic psychedelic music.
fyrce muons began life in the spring of 1979 in Salt Lake City, Utah. samyul vaddyllac was a composer who began with an acoustic guitar and a battery of old tape players, an echoplex, a variety of metals and materials, and some songs. After relocating to Guthrie, Oklahoma he had to live in a 2010 foot real estate office downtown and since he had no money, at night he would roam the humid streets collecting frogs by the dozens and stealing vegetables from peoples gardens in order to survive. He would bring the frogs back to the office and cook them in an electric hot dog cooker. He would sleep during the day, and forage the downtown streets at night. vaddyllac became the pricipal writer, vocalist, and found instrumentalist. It was in Guthrie that he met monica ruhl, a native of Wurtemburg, Germany who was working as an exotic dancer posing as a transvestite at a local OKC club called Tonys. She was trying to work her way through med school with the goal of becoming a plastic surgeon so she could perform her own sex change on film. She percussed. christian verger was the son of a wealthy oil man from North Dakota who had lost several fingers in an oil rig accident outside of Elk City. His style of playing violin with reduced digits intrigued vaddyllac who immediately signed him up to play rhythm guitar. No one else wanted a crippled guitar man. Once they decided to create an experimental band, they moved to Oklahoma City where they met an odd keyboard playing japanese dwarf named t20 iogami, making sandwiches at Schlotskys. He was to be the final piece of the random music quartet-diminuative, urbane, shy, he had refused hormone treatment in his youth growing up in Nagasaki. the muons began rehearsing one night in a motel room and the next night played for Michael McGee, who was the chief engineer of local recording studio Producers Workshop, and head of Cynykyl Records. McGee fell in love with the band and brought them into the studio to record the next night. Night after night after night. The lyrics always came first. Either a piece was presented by Samyul and the other members picked their instruments and began playing, or the band created a song and Samyul would dig out of his notebook one of the pieces he had written and start vocalizing. Music never sat without vocals for any amount of time. The band was never concerned with playing something wrong, only with not playing well. There was a big difference. And if there was a mistake, it got incorporated and riffed on by all. I am still sure there was never a night that they played straight. Lots of acid, mescaline, peyote, massive quantities of weed were consumed. Once they started playing, they played all night. Never stopping for breaks until dawn when the paying customers wandered in. With all the weird time signatures you would think they would get lost, but they never did. One particular night they each played three tracks each with completely different signatures to create an intense raga that only completed a cycle four times in seven minutes. One take, all the way through. Solos were one take, no practice. On the other hand, there were times Christian would do the song over and over again to get a particular guitar riff right and the rest of the band would play the song differently each time. Didnt matter to them. They were just not going to play the same song again. Funny though, playing live they stuck to their completed recording format. Never did figure that one out, but nobody could. Michael McGee
Have you performed in front of an audience?
Your musical influences
John Cage, Velvet Underground, Pink Floyd, Captain Beefheart, Brian Eno, Faust.
What equipment do you use?
1962 Fender Mustang, 1965 Mosrite, Washburn Acoustic, Davison 5 string bass, Rosol Sitar, Ebow, Over 300 different types of synth, hundreds of types of drums, thousands of found sounds and tape loops.
Anything else?
Random and non-rehearsed music.
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