Artist: God Is My Co-Pilot
Genre(s):
Indie
Discography:
Straight Not
Year: 1995
Tracks: 26
A loosely-formed assembling of downtown New York City players built around the openly-bisexual husband-and-wife duo of singer Sharon Topper and guitarist Craig Flanagin, God Is My Co-Pilot emerged as one of the to the highest degree crucial voices in the underground music residential district of the 1990s. Exploring themes ranging from sexuality to radical government to religious nirvana over a soldierly squall channelling the hard liquor of no-wave noise, hard-core thrash, post-funk and avant jazz -- along with the occasional touch of Middle Eastern jump rope chants and Finnish tribe music -- the mathematical group was both amazingly fecund and breathlessly passionate; as declared in their anthemic "We Signify," "We're co-opting rock, the language of sexism, to address sex identity on its have footing of complexity. We're here to instruct, non to distract. We won't take your attention without giving some back."
Topper and Flanagin founded God Is My Co-Pilot in 1990 after finding themselves more and more disoriented from modern music; in true D.I.Y. intent, Flanagin bought his first base guitar and shortly developed a self-taught improvisational technique denying the very beingness of chord progressions or other accepted patterns. With a rotating battery of percussionists, he and Topper -- a noteworthy vocaliser capable of stop-on-a-dime shifts from bouquet to savagery -- began playacting end-to-end New York, becoming favorites at the noted avant-club the Knitting Factory. The first in a ostensibly endless series of GodCo releases was the 1991 EP Four Steps Down the Road to Trouble, issued on the group's own Making of Americans label; their first full-length, the 34-song I Am Not This Body -- a wildly eclectic free-for-all -- followed a year after. Once the floodgates opened, they never stopped-up; the group's massive recorded output was itself a all important factor of their polemical stance, a address challenge to the recognized notions of music diligence production and consumption.
In 1993 unequaled, GodCo issued about ten-spot disunite releases, in a mixture of formats (the full-length live CD Sloshed Like Fist, the EP When This You See Remember Me, and the cassette-only What Doctors Don't Tell You) on a string of different labels (including Knitting Factory Works, Dark Beloved Cloud and Shrimper, respectively). In 1994, their long affiliation with John Zorn's Jewish Culture Series resulted in the dismissal of Mir Shlufn Nisht, a straightforward assembling of traditional Hebrew and Yiddish songs; in guardianship with the Orthodox directive that the word "God" non be written down, the mathematical group even altered their advert to understand G-d Is My Co-Pilot. By 1995, along with common hustle of new releases, they besides began aggregation early singles and EPs with the two-volume set The History of Music; other noted subsequent releases included 1995's Snatch 02, 1996's The Best of God Is My Co-Pilot and 1997's Excuse Me, Don't Squeeze Me, a collaboration with Melt-Banana. Catch Busy followed in 1998.
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