The first 50 copies include a signed & numbered insert. First ed. Of 1000 copies in a smoking hot 5 color deluxe 8 panel digipack with two recordings from summer 2004 Portland, OR. almost representing a transition between "He's Crying Look" and "City Calls Revolution". Here we have another chance meeting of the Green Milk trio hanging with the Zig Zag man and smoking out two improvised, one take, no over dubs, recorded straight to glorious analog tape jams. “KillMeKillMeKillMe” leans toward the Rock In Opposition/Avant Rock space (fans of La STPO take notice). Speaking of space, “Away” continues GMftPO’s exploration with space, and the sounds in between said space until the THC kicks in and this my friend is where the psych fades in, blows smoke in your face and slowly drifts away.
ALL SONGS IMPROVISED BY GMFTPO RECORDED AND MIXED BY DOUG KREBS AT DIG STUDIO, PORTLAND, OR JUNE 2004. MASTERED BY RANDALL FRAZIER AT HELMET ROOM. ARTWORK BY WITCHBEAM.COM. ART DESIGN AND LAYOUT BY CHRIS. GREEN MILK FROM THE PLANET ORANGE: dead k, GIBSON SG & VOCAL T, FENDER JAZZ BASS A, DRUMS
<p> Terrascopic - Originally recorded in 2004, the two tracks on this short (30 minutes) album were both improvised in one take, with no overdubs or studio trickery.
Track one “Killmekillmekillme” is a fine slab of avant-garde playfulness featuring chattering percussion, slow bass marauding, and some wonderful vocal skronking, all of which brings to mind La STPO, Sun Ra, or some of the more experimental moments from early Gong. Over six minutes the musicians slowly raise the intensity with vocalist Dead K feeling every nuance, the band seemingly telepathic in the way they move together towards the sudden stop.
Track two sees Dead K strap on his Gibson SG for some serious guitar mangling as the band explore inner visions over 24 minutes of prime-cut psychedelia. As the piece begins the musicians take up the influences of early Floyd or Tangerine Dream, the music slow and spacey, sounding as though it was recorded in a sacred cave deep below the ground. At five minutes in the music almost stops, some whispered chanting keeping the faith as shaman paint pictures on the walls of the cave, the whole universe seemingly holding it’s breath, before a lone guitar chord and a rumble of bass signals a sudden change in the ritual. From here on in the band settle into a Can-like lazy groove, the bass and drums (of T and A, respectively), offering a solid, yet warm, foundation for some mesmerising guitar work that slowly peters out into a brief flurry of improvisation, before the band pick up the beat and fly into outer space on the wings of a wah-driven solo that really hits the spot.
For those amongst you who like guitar driven psychedelia mixed with improvised madness this is a rare treat and should be heard as soon as possible, as should the band's 2005 full-length album “City Calls Revolution” which is another excellent slice of space psych, and one that somehow slipped through the Terrascopic net when it was released. (Simon Lewis).</p>
Green Milk From The Planet Orange - You take me to the World [Beta-lactam Ring - 2006] Japanese psychedelic dada prog weirdo’s offer up their sixth release You take me to the world, which gives us tow tracks of odd jabbering dialogue, spacey shrills, building atmospheric & some rocked-out moments. Their set up is relative striped down compaired with most prog bands only been straight 3 piece of; guitar, bass , drums and vocals. Impressively enough they real managed to tease and pull all manner of sound and atmopsphics out of their primal rock tools, as well as very inventive use of vocals. First we have seven minutes of killmekillmekillme- with it’s mix of bassy runs, percussive controlled chaos and all manner of vocal strangeness from almost sad jabbering, to manic shouts, screams, whistling and strange whining, making a bizarre track that works rather well and a fitting prelude to the last track. Next we have the strange hovering ambient prog meets rocked out tones of the twenty four minute Away. Starting with all manner of space craft and psychedelic hovering that wouldn’t have been out of place on a very strange 60’s tripped out movie, were it not for the strange chattering and mumbling of vocalist and guitarist Dead K. Then they masterfully build the track up into a more active bassy rock groove, with Dead K sweetly singing along over the top. Though Before long we're tiped back into the odd void with all manner of spacey string rustles, strange percussive space matter and Dead K’s now jabbering mad man vocal. Before once more the bassy riff builds up , but this time it just keeps building getting more heavy with some impressive freak out guitar playing. A very refreshing and inventive take standard rock tools sound- that keeps the listening wondering what unearth they'll throw at you next. It’s all toped off with a splendid foldout psychedelic Digipak full of skulls and cats!. Roger Batty
Just as their weird eccentric band moniker indicates, this is a strange-ass band. Following up their impressive “City Calls Revolution”, Green Milk From the Planet Orange dives head-first into a post-punk version of King Crimson. With all of their songs completely improvised, the group recorded with Doug Krebs at Dig Studio in Portland. Their members having once been part of the Japanese grindcore scene as part of the band No Rest For the Dead, the group dived into some more psychedelic and hazy realm of progressive post-punk art noise. The result? Fucking staggering noisy improvs that mere mortals aren’t supposed to be able to muster on their own.
This album is much more an improvisation, starting with some more free elements, while slowly opening up, which includes emotionally orgasmic becoming mad vocals in Japanese, and bass/drums mostly, on the first and shortest track. The second track, “Away” starts with mumbling Japanese vocals and distant sounds, very far-out and very ‘far way’. This calm breathing tension last for over 7 minutes, until the rock instruments start to appear more clearly (guitar, bass, drums), making a slowly moody improvisation (which includes vocals), before falling back on, what becomes a chorus, this strange world of mumbling and distant echoing sounds, until the band comes in a second time with renewed energy, and this time much faster drumming, tensions, and the liberation of the Gibson guitar, adding also some heavy fuzz distortion to the jam, ending with a last section in a more jazzy approach. Even though this track was over 24 minutes it would not have been disturbing if this would have been much longer, because it gave the effect as if this was only a slow beginning.. http://progressive.homestead.com/prog10.html#anchor_145