A while back, me and Dan Svizeny from Cough Cool had this project called Scissoring, where we just got weird. We put out a cassette on No Kings, then this cassette on Skrot Up, and we’re actually still sitting on our final (and best) piece of work, which will finish out our trilogy and everyone can shit on their own heads and fuck off and all that.
Here’s this one, No Dreams / No Regrets. You can stream this, download it, or buy a physical copy, I believe there’s like 9 left or something.
You can now purchase almost everything that’s on my bandcamp. High-quality wav, flac, or mp3 files. Whatever the fuck a flac is. Not tape rips, original source audio type shit. There’s some stuff that was super limited edition, that you can totally own (digitally) if you’re into that kind of shit. It’s all there. You can stream it, see what you think, then give me money.
More Gremlynz material, On Pagan Frost — this was the last stuff I ever recorded under the name — I think. Can’t be positive. The image is some shit I stole from the net, some drawing of Dead from Mayhem, that I edited.
“…William Cody Watson has made a whole record dedicated to the man himself, which is heavy on static-filled rainfall, haunted organ drones and steers clear of any Bobby Brown-style raps concerning the plot of Ghostbusters II. Divided into eleven segued movements over two sides of vinyl, Bill Murray is full of powerful and gorgeous atmospheres, with just enough grit to maintain attention, rather than drifting along in the corner like innumerable underwhelming ambient works. The movements themselves are helpfully titled along the lines of “Burning Cloud”, “Warm Neck” and “Lost Again, Demon” which in theory could all be about Ghostbusters, but the somewhat melancholic sweep of the ambience suggests that the music is more inspired by the Bill Murray seen in Sofia Coppola’s movies rather than Caddyshack. Perhaps I’m just not dialled into Bill enough, but I’m having a bit of a struggle understanding the artwork and tying the music in with the man. But whether or not specific films were used as inspiration doesn’t feel a relevant issue; Watson is simply trying to capture the essence of Bill.”