Crawling With Tarts ‎– Sarajevo Center Metal Doors

Realization Recordings ‎– RZD-019
CD, Album

Tracklist Hide Credits

1 1-8 Ideomotors
Performer [Clay Cups, Door Harp, Mountain Cup, Radio Grill, Tin Hoop On Brass Rod, Paw Chase, Truck-flattened Disk, Vent Bezel, Kinked Wire, Basket With Sheet Metal Can, Sawblades, Window Weights, 2x4 Marimba Bars], Claves – Suzanne Dycus-GendreauPerformer [Doughnut Mold And Steel Ball, Helical Steel Strap, Tiny Membranophone And Wire, Tube Roll On Drum, Tube Drum, Tin Disk On Stick, Lamp Shade And Insulator, Sawblades, Window Weights, 2x4 Marimba Bars] – Michael GendreauPerformer [Truck-flattened Disk, Ash Try Filter, Rock And Bolt, Funnel And Threaded Rod, Propellor And Paper, Peacock Harp, Spring And Insulator, Bamboo Washer, Sawblades, Window Weights, Palm Frond] – Ed Osborn
2 Motors
Performer [Motors, Metals, Wood, Strings, Radio, Game Board] – Michael Gendreau, Suzanne Dycus-Gendreau
3 Sarajevo Center Metal Doors
Bass Trombone, Harmonica, Performer [Nose And Throat, Tennis Ball, Gourd, Foot, Stones] – Eric BergkvistViolin, Accordion [Squeezebox], Performer [Bread Pan And Rubble], Tin Whistle – Catharine CluneWhistle [Interference], Turntables [Victrola], Performer [Pans, Fish Bowls, Chalices, Box Of Pottery Chips, Saw Blades, Flattened Tins], Cowbell – Suzanne Dycus-GendreauWhistle, Performer [Corrugated Tubes, Grill, Pastry Molds, Vent Screen Retainer, Tiny Membranophone, Saw Blades, Water Bottle, Pottery Chips, Prayer Stones, Beans, Bolt + Funnel, Stryofoam], Clarinet, Cymbal – Michael Gendreau



Track 1 recorded at Center For Contemporary Music, Oakland, California on November 24, 1991.
Track 2 recorded at Center For Contemporary Music, Oakland, California on March 3, 1992.
Track 3 recorded at Mills College Concert Hall on February 17, 1992.

Barcode and Other Identifiers

  • Mould SID Code: IFPI 6100
  • Matrix / Runout: L384 RZD019 B50206-08



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May 12, 2012
edited over 6 years ago
My CD player has had some real trouble playing this. Must be something to do with the opening title track being around the length of a CD ident - which is around 4 or 5 seconds I believe. Maybe they shaved it too close, who knows.
The remaining two pieces don't hurry themselves through their junk-yard journey. And it could possibly be this sense of easy confidence that makes the difference between noise and art.

CRAWLING WITH TARTS, who feel they have proved themselves musicians with one relatively commercial single, now feel they can indulge themselves in the extreme outer limits of experimentalism. And whether it's down to personal mood or not, I somehow feel that they've got it spot on this time.

They scape and grind and hum through a jagged landscape of coils, springs, corregated noises, lathes, metal sheets and all manner of post-Industrial detritus. And where it could itself be grating, there's a certain madhouse charm to it's explorations.Violin, brass and take the place of the metal for a while, combining and clashing in a minimalist journey.

This is an album full of lows and highs. I was sent two copies, neither of which seemed to play that well, so be warned. I guess this is Jazz, taken to extremes, with 'found instruments' and noises as the forefront instruments.

Originally reviewed for Metamorphic Journeyman.