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Lesbian Chicken Maggot Blasters - 'Let The Beef Out'

from Various Artists - Towson​-​Glen Arm Freakouts: 1992​-​1999 by Nuns Like To Fence

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about

late 1993 or early 1994
(originally self released/self produced by Eli Jones on Lesbian
Chicken Maggot Blasters' self-titled debut full length tape, 1994; reissued by Craig Jakubowski, summer 1995;
reissued by Full Tilt Distribution, winter 1996)

Eli Jones....the name's poetry seems to recall a colossal American legend whose reputation is perpetually re-energized by phantasmagoric hyperbole. In reality, Eli Jones was an artistically gifted kid living and struggling through the growing pains of adolescence just like any other American teen in the 1990's. Stuck in the culturally vacuous routine of Cockeysville, Md. - a deceptively peaceful suburb only about a half an hour north of Baltimore city - Eli was surrounded by upper middle class youth with an excess of spare time and allowance money, an excess whose main by-product was the grotesque potluck of time killers which became manna to many kids there (i.e., recreational drug abuse, vandalism, hormonally charged irresponsibility, ad nauseum) Despite his easy access to all of this sordidness, Eli valiantly avoided any lemming-like peer assimilation while still attempting to make a meaningful connection to the bored teens around him. To understand what bold pursuit inspired Jones to rush headlong into Cockeysville's molten core of youthful embarrassment you must first understand what is maybe the only title more mythical than the Eli Jones name itself: Lesbian Chicken Maggot Blasters!

...Jones' sonic adventures...really took off around age 14 when he acquired a Vestax four track cassette recorder. The young artist soon figured out exactly how to fill this compact machine with an infinite menagerie of other-worldly vibrations and melodies mostly created with an ever expanding selection of damaged electronic effects pedals he amassed via late night trips to the dumpsters of local music shops throughout Baltimore County, which is most likely where he also found his four track. Eli Jones could rescue all kinds of busted gear from oblivion and he even managed to salvage electric guitars often repairing these with an unorthodox formula involving duct tape, parts of other discarded instruments, and the copious but surprisingly helpful use of well chewed gum in lieu of soldering equipment. Pitch shifters, delay pedals, every variation of fuzz and distortion imaginable, wah wah and similar tone bending effects, the psychelicizing chorus, flanger, and phaser pedals - you name a sound effect that could be made with electronic circuits, vacuum tubes, or magnetic tape and Eli would bury his music in as many of those as he possibly could without ever compromising the emotionally charged melodies and dynamics that defined his work... - Mike Apichella (note: a much longer version of this article is featured in the 40 pg. booklet which accompanies the cassette version of Towson-Glen Arm Freakouts.)

credits

from Various Artists - Towson​-​Glen Arm Freakouts: 1992​-​1999, released February 28, 2013

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