The Internet’s most NSFW outsider musician has a new album release out with the good people at Woozy Tribe. The title: Red Wine, which is aptly covered in a somewhat disturbing image of Tonetta himself adorn in a strangely fitting red dress. Like his past releases, Red Wine seems to be built out of songs from across the Tonetta catalog. There’s even a second version of the song “Drugs Drugs Drugs” on here.
A few oddly alluring ballads make it onto this release–specifically “Is There Any Meaning To Love?”–but I’m sure most ears will gravitate toward the throbbing, dance beat-backed tracks where Tonetta spills some of his filthiest lyrics. Enjoy!
Check a review for Tonetta’s 777 Vol. 1 below:
I just got turned onto this through our Facebook page, and I can’t believe I missed this. So, basically, this is a collaboration between two generations of self-recording enthusiasts. R. Stevie Moore has been releasing eccentric, homemade tracks and albums since the ’60s, and was a huge influence on the lo-fi pop, rock, and experimental music Ariel Pink would record decades later.
So, to see them both of them collaborating so publicly is a treat. They’re doing it in a big way, too. Parts of this album were released on SoundCloud last year, but it wasn’t made clear that the thirty tracks that were posted were only the tip of the iceberg–gorgeous cover, though.
This final Bandcamp version of the new collaboration holds sixty-one tracks, and varies greatly from straightforward rock tunes to some of the strangest musical ideas Moore or Pink has ever laid to tape. One track even seems to be a song from Pink’s Before Today reversed and topped with vocal snippets of this interview. Sure, there are some accessible moments here, but much of these tracks is basically oddballs being oddballs, and I wouldn’t have it any other way.
Every track is available for $29 on Bandcamp, but maybe hardcore fans should wait, because a double LP is rumored to be on the way. Viva la outsider music.
On his latest release, John Maus has brought a little more atmosphere into the fold when crafting the odd, bite-sized synth pop nuggets that fill his full-lengths. While tracks like “Believer” feel like grand bedroom rock opuses, other tracks fall by the wayside because of a lack of structure, memorability, or effort.
As a fan of R. Stevie Moore and Ariel Pink, I like this album and I see its appeals, and I think others will do the same.
If you’re digging on this LP, find it now on Upset the Rhythm.
Video: John Maus- “Believer”