#vulcher

[blue-genius]

Day 1749 Metal Vulture #daily #characterdesign #bird #vulcher #metal #robot #scythe #cloak #art #drawing https://www.instagram.com/p/CCrcGUVDov2/?igshid=5e1lz5w0pqft

[vla-len]

スパイダーマンホームカミングよりヴァルチャー

[coffeenuts]

Sunset | Africa by Thomas Heaton http://flic.kr/p/peKKV7

[chippersweetaloy]

[feelingsgoulash]

Three Amigos 🤷

Original Photography © @feelingsgoulash

[digitalta]

A b!rd hit a window and the poor thing passed away instantly, I’m so excited for its bone structure

[skotydoesntknow]

Really fun making this #protestthehero album art recently for a gentleman’s first one, thanks again for looking #blaclandgrey #bng #albumart #vulcher #highstreet #columbus #shortnorth #oh #ohio #tattoo #tattooer (at High Street Tattoo) https://www.instagram.com/p/Bo-gMiHHmNT/?utm_source=ig_tumblr_share&igshid=1lohf3gvh1na7

[bestreasonstowriterecordreviews]

“Crawspace is a band that’s seemingly controlled by forces mightier’n artistic knowhow, expantionary sonic-prowess, or spelt-out expressionary explanation...the listener’s gotta let them blaze a path all their own, and whether original or not, it’s somehow self-blazed.”

CRAWLSPACE review by MIKE KINNEY, Editor

OSMOTIC TONGUE PRESSURE #5 page 45 1996

From the Crawlspace Facebook page: “Home-recorded (on 16 track) LP which introduced a collective-improv approach to Crawlspace. Cover photo of Clara Bow. Released April 1997. Recorded 1993-1996. Edition of 500 copies. With Eddie Flowers, Joe Dean, Dave Fontana, Greg Hajic, Todd Homer, Larry Robinson, Les Greenfield, and Paul Fontana.”

Fred Mills, Magnet magazine: "Some tracks here involve the cut-up, paste/splice aesthetics of serious Burroughs disciples, while others invite squinty-eyed comparisons to Ornette Coleman, Faust, and even the Beatles. The small symphony squawkings of 'Scungilli' could be misheard as outtakes from old cartoon soundtracks; the dada-esque twang and marching kazoo band thump of 'Another Fine Mess' sound like the Godz playing Beefheart."

Chris Sienko, Vulcher magazine (2018): "For fans who stuck with the band for a long time, it would be hard to imagine the surprise that The Dark Folds of Infinity Grow Pink with Desire would have been for them. After years of rock and roll, jamming, solos, extended improvisations, and psychedelia of all hues and varieties, suddenly the whole thing turns inside out. Now, it’s all compact pieces, many of which could only loosely be called “songs,” each of them with wildly different instrumentation and texture, helmed by various permutations of an unstable group. But most crucially, fans who have gotten used to a certain level of 'chops' from the group must surely have been shocked by the deliberately primitive music-making on display here. 'Mud In Yr I' features pulsing synths (by Eddie), buzzing bass by Joe, some chimes, and a genuinely new vocal style by Eddie, a far-off shout-sing that resembles nothing in the Crawlspace canon so far. 'Catherine & the Earthquake' drops heavy drums and squealing noise guitar and layers it with syncopated percussion. The jaunty 'A Pig Is Not a Motherfuckin’ Cop!' has some boppin’ drums, groaning bass, and Eddie’s gloriously unlearned guitar styles. 'I Wish It Would Pour' is almost entirely made up of tapes of farm animals (some from the opening seconds of the Beatles’ 'Good Morning, Good Morning' and credited to “The Elastic Ono Martin Symphonic Experience & All-Animal Choir”) along with live barking from Cootie the dog, who is credited as a member of Crawlspace on the album jacket! 'Scungilli' is basically a duet by the Fontana brothers, Dave on multi-tracked guitars, Paul on multi-tracked clarinets (?!?!). And both 'Splooge' and 'Another Fine Mess' feature some downright funky hip-hop style drums (the former by Greg Hajic, the latter a sped-up loop of John Bonham) over which everything from guitar to bagpipe chanter are overlaid. Phew!"

VULCHER!

OSMOTIC TONGUE PRESSURE originated from San Diego and then Portland, Oregon. Jay Hinman posted the cover of OTP #3 at Dynamite Hemorrhage

Thanks to KC Schiele for the OMT #5 excavation and share