[pe138]Alan Sondheim / Azure Carter / Luke Damrosch
LIMIT
[pe137]Collision Stories
Those Missing Will Complete Us
[pe136]Ghost In The House
Second Sight
[pe135]Henry Kaiser / Alan Licht
Skip to the Solo
[pe134]Peter Aaron / Brian Chase Duo
Purges
[pe133]Alan Sondheim / Azure Carter / Luke Damrosch
Threnody
[pe132]Ou
Scrambled!
[pe131]Many Arms & Toshimaru Nakamura
[pe130]Ben Bennett / Jack Wright
Tangle
[pe129]Period
2
[pe128]Music For Hard Times
City of Cardboard
[pe127]Tetuzi Akiyama & Anla Courtis
Naranja Songs
[pe126]Massimo Falascone
Variazioni Mumacs
[pe125]Auris + Gino
Rub
[pe124]Honnda
Fantasy Remover
[pe123]Azure Carter & Alan Sondheim
Avatar Woman
[pe122]Various Artists
The Unscratchable Itch: A Tribute To Little Fyodor
[pe121]Nels Cline / Elliott Sharp
Open The Door
[pe120]Pretty Monsters
[pe119]Cactus Truck
Brand New For China!
[pe118]Belcher / Bivins Double Quartet
EXO
[pe117]Normal Love
Survival Tricks
[pe116]Ron Anderson / Robert L. Pepper / David Tamura / Philippe Petit
Closed Encounters of the 4 Minds
[pe115]Philip Gayle
Babanço Total
[pe114]Dino Felipe
Sorta' Bleu
[pe113]Ydestroyde
Synzosizer
[pe112]Pilesar
Radio Friendly
[pe111]Little Fyodor
Peace is Boring
[pe110]Courtis / Yamamoto / Yoshimi
Live at Kanadian
[pe109]Bob Marsh
Viovox
[pe108]Tartar Lamb
60 Metonymies
[pe107]Shelf Life
Ductworks
[pe106]A Tomato a Day
The Moon is Green
[pe105]D + D
[pe104]The Mighty Vitamins
Take-Out
[pe103]Smut / OVO
Split 7"
[pe102]Bill Horist / Marron
Sleephammer
[pe101]Richard Trosper
The Ocean
[pe100]Shinyville
No Sleep till Babylon
[pe99]Lisi
Damn It!!
[pe98]Poormen
[pe97]Emily Hay / Marcos Fernandes
We Are
[pe96]The Machine Gun TV
GO->
[pe95]Monotract
Live In Japan
[pe94]Mike Pride
The Ensemble is an Electronic Device
[pe93]Jorge Castro
Cinética
[pe92]Yagihashi Tsukasa
Automatic
[pe91]Eftus Spectun
The Tocks Clicking
[pe89]Amy Denio
Tasogare
[pe88]Eric Cook
Asymptosy
[pe87] Onid & Isil
[pe86]Autodidact
Devotional Hymns for the Women of Anu
[pe85]Che Guevara Memorial Marching (and Stationary) Accordion Band
[pe84]Day / Boardman
One to Seven
[pe83]Knot + Over
[pe82]Shifts
Vertonen 9
[pe81]Blue Collar
Lovely Hazel
[pe80]Mogami
[pe79]Jesse Krakow
Oceans in the Sun
[pe78]Diaz-Infante / Forsyth / Scherzberg
A Barren Place of Overwhelming Simplicity
[pe77]Angels
[pe76]Khoury / Shearer / Hall
Braille
[pe75]Renato Rinaldi
The Time and the Room
[pe74]Masami Kawaguchi
Live in December
[pe72]Watch the Stereo
Presents...
[pe71]Modern Day Urban Barbarians
The Endless Retreat
[pe70]The Bunny Brains
Holiday Massacre '98
[pe69]Jack Wright & Bob Marsh
Birds in the Hand
[pe68]Free From Disguise
[pe67]Jad Fair & Jason Willett
Superfine
[pe66]Baker / Baker / Bloor
Terza Rima
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Pilesar - Radio Friendly
CD (Washington, DC)



-it's a surprise
-crazy with you
-no good for eyeballs
-dog walkin'
-you know i hate okra
-umbrella
-tofu dynamite
-frank and verner
-slipping on eggs on the floor
-hit the door
-my friend sunshine
-slight case of clown
-dicyclomine
-began the ham
-gator wrasslin'
-casa de pepe
-much obliged fer diggin' taters with you




Pilesar is Jason Mullinax - Percussion, Vocals, Guitar, Keyboard, Bass, Toys, Loops, Tapes etc.

Additional contributions by:
Mike Coleman - Guitar & Vocals
Rob Day - Bass & Keyboards
Eugene Erickson - Keyboards
Spence Madsen - Drums
Ashleigh Mullinax - Vocals
Sean K. Preston - Banjo
Logan Rainard - Bass
Tex Santos - Guitar and Vocals

Cover art by Joel B. Floyd Jr.

Reviews:
(Sound Projector) Radio Friendly (PUBLIC EYESORE PE112) is an energetic set of crazy songs delivered roughly in the lo-fi, unkempt and noisy post-new wave Dinosaur Jr / Sebadoh style from Pilesar, an American confluence of talents which clusters around the pale thin body of Jason Mullinax, who wrote all the songs, plays most of the instruments and sings – joined on some tracks by guest drummers, guitarists, keyboard players and remixers. Pilesar’s lyrics are printed in full on one panel of the colourful digipak, and a quick survey of this word-salad reveals there isn’t much content with intended lasting import outside of the absurd, the zany and the cheerful mixing-up of assorted lowbrow references. In imparting this grab-bag of information, Mullinax’s singing voice evokes that of Mark Mothersbaugh at his most affected. Come to that the whole album gives off the fascinating vibe of a lost cassette-band from the wrong side of 1995 that is still content to make xeroxes of Devo LPs, but this isn’t to deny Pilesar’s talent for sheer melodic fun and wayward noise expressed in tiny packages of quirky pop-song brevity; most lasting less than two minutes, these little ditties just fly past in the fast-moving party atmosphere, and the radio-friendly boast of the title may not be completely ironic, in spite of the determination to record and produce every single track with the weird-o-meter bouncing in the red. Aye, almost every sound is wobbly and peculiar, but thankfully not over-processed with digital interference, and we hear good-natured ramshackle keyboards played in The Residents mode, sightly punk-rocked loud guitars and clattery percussion, each player tearing into each song with the fervour of insects burrowing into a rotten tree trunk. Only the cover pictures feel uncertain, with their jumble of ill-fitting photos (some of them very strange, some utterly banal family pix) and a slightly disconcerting cover painting that shows Pilesar is still clutching for an image of itself it feels comfortable with. One photo shows Pilesar attempting to foster an aura of menace like one of The Residents newspaper men; only problem is he’s wrapped in childish pink birthday paper with fluffy panda bears. Pix aside, a nifty item! - Ed Pinsent

(Dead Angel) This is weird and avant-garde, yes -- no surprise, given that it's a Public Eyesore release -- but it's also surprisingly accessible, and while it's probably really not quite as radio-friendly as the title would suggest, it's still immensely catchy. Led by Jason Mullinax in conjunction with a long list of collaborators, the eighteen tracks here frequently sound like pop songs that have been perverted through strange aesthetic decisions, the unorthodox use of instruments, and a tendency to use whatever recording equipment happens to be available. Despite the avant-garde roots, Ween is actually a useful reference point; Mullnax appears to share that duo's quirky sense of humor and urge to hopscotch from one musical genre to the next (not to mention their tight songwriting chops). There's a heavily rhythmic element to the album (especially in the form of percolating synths that pop up on tracks like "Umbrella") that definitely sets it apart from most PE releases and contributes heavily to the album's accessibility, a sensibility that reaches its apex on "Gator Wrasslin'," where an infectious synth rhythm and complex beat is joined by an otherworldly guitar that manages to be noisy and melodic at the same time. The accompanying poop sheet (for reviewers only, so sorry) references Frank Zappa, The Residents, and Boredoms, all of which are obvious influences, and should go a long way toward hinting at the sheer bizarro factor involved here. Still, for something so deeply weird, it comes awfully close to living up to the title, assuming we're talking about a radio station on Mars. - RKF

(Aiding & Abetting) A collection of pieces that Jason Mullinax has put together over the last twelve years or so. While certainly on the unusual side of things, this is one of the more conventional Public Eyesore releases I've heard. Mullinax goes at his songs with both fists, and sometimes they survive. Striking. - Jon Worley


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