This album is a forgotten gem of Pioneering free jazz improv punk rock fusion. Even though Greg Ginn is Greg Ginn I still think he’s a seriously underrated guitarist, especially by jazz fans. The instrumental tracks on the seemingly almost forgotten Black Flag’s Family Man attest to the brilliance of Ginn’s improv chops. Joe Baiza who more so than Greg Ginn bridges the gap between punk rock and free jazz is great. If you’re at all partial to this type of music his discography is essential. This is music that was highly influenced by Ornette and weed and probably most importantly 1980’s LSD. Somebody has to come to this record’s defense. It’s under appreciated because it doesn’t pay deference to punk or jazz. It’s irreverent music but the spirit and talent shine through. Some day this will be universally heralded as a cult classic masterpiece and you can tell all your friends you heard it here first.

“1.What is it made of, or its material cause?
2.What is its structure, or its formal cause?
3.How did it get started, or what is its efficient cause?
4.What is its purpose, or its final, or telic, cause?”

- Aristotle’s Big Four Questions

https://keithfullertonwhitman.bandca...album/epithets

1.What is it made of, or its material cause?

Epithets (2015) is a 12-channel, 44 minute electronic work released on cassette and digital stream.

2.What is its structure, or its formal cause?

Electroacoustic music in the tradition of the early pioneers of the 1950’s - 1960’s.

3.How did it get started, or what is its efficient cause?

Tony Myatt & Oli Larkin's "The Morning Line;" a 53-channel hybrid sculpture / Acousmatic space currently installed in front of ZKM in Karlsruhe, Germany.


4.What is its purpose, or its final, or telic, cause?”

An objection to dreadful events taking place under social anesthesia. To disrupt routines and to get people unyoked from their habits of mass media long enough to question what’s going on.

Going through PJJ’s discography is something FF is supposed to be doing. This one is available track by track thanks to a kindhearted youtuber.

It’s PJJ with these French dudes in a session in Paris ‘69. They’re trying to go cool and modal and even have a cellist soloing, which is the most engaging part of the record, but PJJ just keeps playing bop like he doesn’t give two ****s what they’re up to. At the time, it was probably pretty off putting to the typical jazz fan but in our post-modern minds it works pretty ****ing well.

Time for another Freak Fighter interview!

This time with the beloved Exo!

Exo, is it true you own a record store? If the word “own” exaggerates your position at the shop what are the exact deets?

I use the term "run a record store" because I don't have any ownership in anything.

Basically the owner opened a bookstore with a small record section. I found the store early and was a frequent shopper and noticed the record prices were either too high or in many cases too low. I offered my assistance to help price the records and long story short just never left and became the only "employee" the store has.

I control everything record related with the store and since he opened, the store has basically flip flopped into a record store with a book section which is fine because it saved the business. The owner, who is basically my partner/best friend now so I don't have that "authority" figure telling me what to do and when to do it. It's actually why we work so well together. He hates telling people what to do and I work very well by myself. So I basically built the record store aspect myself.

The store is a product of the both of us, but I pretty much manage and control the record aspect. I price, buy, and organize every record in the shop.

Having done so much for the well-being of the business don’t you feel like you deserve at least partial ownership in a legal sense? Things can change. Friendships can sour. Are you confident that your sweat equity is securely invested?

I don't want ownership at the moment. I'm perfectly happy with my salary which allows me to live in a nice ass neighborhood down the road from Stephen Colbert and Patrick Wilson while still being able to put money into savings and recently buy a new car outright.

Our building is a 100 year old former train station. That sh*t is expensive to fix. The roof is going and that sh*t will cost a fortune. I'm glad I don't have to foot any of the bills for taxes and repairs and all that. If I'm going to own a shop one day, it'd be my own. Partnership gets dicey when it's part ownership. Right now we're just business partners in the sense that we run the business together and he trusts me. Like a first mate to the captain of the ship. Except I can boss him around because we're very close.

He's a very interesting person. Gets upset at nothing. Has a sense of humor. Knows his limitations. Dude worked catering for years while hoarding books, dvds, records, cds, and vintage equipment. Doesn't know how to run a store properly. Likes that I do the dirty work. Gives me plenty of say in everything. It's a good relationship.

I spent almost all my disposable income on records and CDs until the internet made it possible for me to listen to what I want for free or a nominal fee. I’m never going to buy another record again. I actually remember record store cashiers looking at me with a sort of pity like for a heroin junkie. The loss of consumers like me brought down Tower Records and all the chains. In my mind it’s like you’re selling ice to Eskimos. How different do you think your typical customer is compared to my day? How do think not having people like me around has changed record store culture?

I have two types of customers...

- People who have always collected records and will never stop. Key word is collecting. Like baseball cards or comics. I fall into this category.

- People who are caught up in the fad or reliving old days. This includes kids who think it's cool to be into vintage stuff and older people who got rid of their old collection and want to start over again.

The only thing that has changed is you no longer have to buy a physical copy of something to hear it. You can listen on the internet for free for mostly anything. However, the idea of records being a collectible item and not just a way to ingest new music is the new norm.

My desire to find a first pressing of Coltrane's Blue Train is the same desire that as somebody looking for the first issue of Superman.