Formed in 1978 in Washington D.C., Bomis Prendin are paragons of an as-yet-historically-unassimilated fringe musical phenomenon that seized on punk and post-punk's DIY ethic while refusing to curtail its countercultural freakishness or participate in the myopic disavowals of punk's year zero. From The Decayes to The Lemon Kittens, the notorious Nurse With Wound List of recommendations heaves with evidence of this unnamed tendency and among those included on that list that embody this stance, the post-Zappa/Beefheart and post-Residents/Ralph Records interzone that Bomis Prendin's initial two 9" flexi-discs from 1979 and 1980 occupy are prime exemplars. But while all of the original groups flying this kind of freak flag (barring the grandaddies of art damage, The Residents) have gone the way of the dodo circa 2012, Bomis Prendin happily still soldier on. This split LP with the hyper-prolific German avant garde sound artist Mama Bær (aka Andrea Katharina Ingeborg Hjuler) documents recordings of theirs spanning the years 1994-2005 and captures a moment when their aesthetic had morphed from the hermetically infolding song-forms and avant-pop elisions of their earlier era into dilated expanses of smeared and warping post-psychedelic action. Striated layers of delicately chittering and lysergically squalling guitar sounds (very Glenn Phillips-like on the latter) spin in strange loops within the amniotically thick atmospheres and intermittent interventions of ghosted and recessive song-form mutations offered as light relief.
Mama Bær's side-long "Das Dalai-Lama-Drittel-Retect" is another ball 'o wax entirely, evincing her immersion in the extremes of outsider sound art practice, with debts to the sound poetry recordings of Eugenio Miccini and the untutored musical improvisations of avant garde visual artists like Jean Dubuffet and Dieter Roth. It's a Dada/Fluxus/Art Brut-informed attack that lionizes the absurd, the awkward and the unnerving by way of shrill dictaphone recordings, sped up children's records, kleenex box percussion, low key vocal warbling and a single plucked string.