group comprised of 2 carbon based lifeforms, show glimpses into a literal, brutal & TRUE world.
Sounds with heavy concepts behind them, mostly focused around the lack of of “true fun” interpreted in various ways and/or various sources.
Some maybe uncomfortably naked, bare, raw.
Others smushed up in the crowded subway car, rush hour.
Not for lovers of anything truly “fun” or even a vague interest in a “a rad new band, i think i’ll check it out!”
PURE.
TRUE.
Not at all “right”
Post Non-Music.
MEMBERS: |
CONTACT/BOOKING: |
| Mat Rademan | breathmint@breathmint.net |
| Jonny Wray | Zobnoba@gmail.com |
additional assistance & collaborations with:
| Kevin Esposito | Todd Lynne | |
| Dan Fitzgerald | Slow Owls | |
| Keith Abel | Noah Anthony | |
| CSection | Jared Burak | |
| Fag Christmas | Rick Weaver | |
| Head Molt | ||
| Josh Plotkin | ||
| Lance |
Discography
2010
untitled (aka a taste of early FUN) 5XCDr boxset
untitled CDr
Glassworks II CDr
untitled MCS (90)
Glassworks I CDr
untitled CDr
untitled CS (12)
untitled CS
2009
Automatic Confessional Tape 12 MCS/mp3
“Automatic Confessional Tape 11″
“Automatic Confessional Tape 10” mp3/mcs
“Automatic Confessional Tape 9″ mp3/mcs
“Automatic Confessional Tape 8” mp3/mcs
“Automatic Confessional Tape 7” mp3/mcs
“Automatic Confessional Tape 6″ mp3/mcs
“Automatic Confessional Tape 5″ mp3/mcs
split with Form a Log CS (12)
with Slow Owls “SLOWFUN” CDr
“The Future Is A Video Zine #1″ DVDr
“Destroy All Sports” Anti-LP + CDr
“Plays Huey Lewis & the News ‘Sports’ LP” CDr
“Destroy All Destroy” CDr
2008
Live Performances
2010
Microshow in Micro
BLOODFEST 8
same old dirthole, just a new name
two year anniversary performance
International Noise Conference USA Tour 2010: Philadelphia
A few days late, and few dollars short
2009
Winter. North Philadelphia. ZRadio hosts a show at their house. A small group congregates in the kitchen, making small talk and trading banter. Everything’s normal. Newton stands next to the stove, holding a donut. The banter continues. Someone strolls into the kitchen, pointing at Newton’s open palm and congratulating him: “Nice donut, man!” At this instant the donut leaps out of his hand and into the air. Everything stops. The room watches the donut in midair. Newton tries to catch the hapless pastry, it hitting his palm so that he’s essentially juggling the donut. He juggles it again with his other hand, still unable to secure a grasp on the doughy snack. Then, as luck would have it, the donut tumbles to the floor. However disappointing that it had fallen on the ground, the donut was eaten without hesitation, as it should have been.
Perceptive readers will note that the sheer mention of the donut appeared to make it jump out of Newton’s hand. Pastry self-preservation? Jumpy nerves? What the fuck happened, and why couldn’t I stop laughing? Besides being a truly hilarious moment for those who witnessed it, the donut has a different, more significant meaning, one only realized while I composed these notes of introduction: FUN is that donut.
Like the donut, FUN combines elements of surprise and confusion. Examples abound: an air horn blown in the back of a crowded room at full blast and not stopping until what seems like minutes later, signaling the end of both the performance and many cochlear hair cells’ lives; a mic mashed into a blender while simultaneously making, then eating, toast and popcorn, leaving in their wake the disgusting odor of burnt plastic and corn kernels; or just crawling on the floor in large green sacks, making things weird and uncomfortable for those witnessing the scene.
If FUN continues to surprise viewers at each appearance, it is because the group truly excels in the sheer invention of their actions for live performances. Serious consideration is given to the construction of each performance, where heavy concepts are tackled through a vernacular of rumbles, clatter, and respiration. Beyond showing genuine creativity in the execution of their performances, FUN acts as a harbinger of an anti-music existence—go ahead and count how many records they broke over their heads during one show in a characteristically antagonistic gesture of musical annihilation. But most importantly, you can count on them to clean up after themselves. This is FUN.
- McCord
