Arising from the deepest part of the U.K.'s underground noise-rock scene, Terminal Cheesecake was perhaps best known for their connections to more prominent bands like Skullflower, Godflesh, and A.R. Kane. Similar in many respects to the former two, Terminal Cheesecake offered a spacy, droning brand of neo-psychedelic noise-rock, which also drew from the trance-rock of Loop, early industrial music (particularly Throbbing Gristle, Nurse With Wound, and Chrome), British post-punk, and dub. Much more than their kindred spirits, though, TC played up the drug connections inherent in psychedelia, wrapping their music in a haze of pot smoke and LSD hallucinations; their oddly processed vocals and sheer love of strange noises only underlined the esoteric drug references in many of their titles.

Terminal Cheesecake was founded in London in 1988 by vocalist Gary Boniface, who'd begun his career as a drummer with several rockabilly-revival outfits, then moved on to front the obscure Vibes and Purple Things. He was first joined by guitarist Russell Smith, a tangential member of the A.R. Kane/M/A/R/R/S axis. Accompanied by a virtually anonymous rhythm section, they signed to the fledgling British indie Wiiija and debuted in 1988 with the Bladdersack EP (also the label's first-ever release). Their full-length bow was 1989's Johnny Town-Mouse, which took its title from a Beatrix Potter story. It marked the first appearance of Gordon Watson, a guest guitarist who later joined the band officially. A second LP, V.C.L. (which stood for "Valium Chicken Leg"), appeared later in 1989 and featured a cover of Flipper's "Sex Bomb."

1990's Angels in Pigtails was the band's most fully realized album to date, featuring a stronger rhythm section of Watson on bass and Joe Whitney on drums. It was released on the Pathological label, which also showcased the band on a sampler compilation alongside grindcore acts like Godflesh, Carcass, and Napalm Death, as well as more experimental noisemakers like Coil and God. Russell Smith subsequently left the group, and joined Skullflower in 1992; he also played as a sideman with God from time to time. Watson took over his spot as guitarist, in front of a new rhythm section composed of bassist Steven "Fez" Fesinger and drummer Simon Doling. This core quartet would constitute Terminal Cheesecake for the remainder of their existence, starting with the 1992 album Pearlesque Kings of the Jewmost (for World Serpent). The group next signed with Jackass for 1993's Gateau d'Espace EP, which was followed by the full-length King of All Spaceheads in 1994. This proved to be the group's final album, as they disbanded the following year; Boniface, Watson, and studio engineer Johnno "Poppa" Newman immediately reteamed as Bud Alzir, which pursued a more dub- and techno-inflected direction on their lone eponymous album.

Johnny Town Mouse

Ben Davis - The Hushed Patterns Of Relief

Ben Davis, formerly of punk bands including Sleepytime Trio and Milemarker, has developed into a musician with diverse interests and influences. His solo career evolved from a quiet four-track project into a full band ensemble with over a dozen releases including singles, compilations, two full length CDs, and a new split with Des Ark. Davis has toured the US and Japan and frequently plays on the east coast After a year of performing solo, Lovitt Records released the critically acclaimed The Hushed Patterns of Relief in 2001, which was recorded at Salad Days by Brian McTernan.

Conceived as a stripped-down solo project, Davis' Hushed Patterns was a tightly knit collaboration of Chapel Hill musicians performing sparse pop pieces. Jonathan Fuller from Engine Down came aboard to record the drums and joined a studio band compromised of members of the Comas, The Mayflies USA, and the Poncho Holly Bullfight Party. A new back-up band including members of Fin Fang Foom and Des Ark emerged and toured to support the record. On this album, cello, lap-steel guitar, and piano accentuate the wash of guitars and full vocal melodies detailing recurring motifs that rise and swell throughout the record.

In the meantime, Davis' other band, Bats & Mice, got busier and he returned to writing new songs mainly on the piano in between tours. As a large collection of new songs accrued, he decided to utilize his vastly talented friends and bandmates to the fullest. Two years later, a collaboration between many friends resulted in his second release, Aided & Abetted. Sixteen musicians and six production gurus came from six states during four recording and mixing sessions to contribute to the album. Members from Engine Down, Milemarker, Denali, Zetamale, Des Ark, and Fin Fang Foom, among others, were involved in the performance of this scintillating work. The album underscores a marked maturity evolved since Hushed Patterns and is a calculated mix of melancholy rock and bright, textured pop.

2006 hearkens the release of Davis' collaboration with good friend and fellow Research Triangle resident, Aimee Argote, who performs as Des Ark. The Battle of the Beards, their 12-song joint effort comprising five songs each and two songs together along with a 20-piece orchestra, is a masterful revelation. The slow builds and soft confessionals of the Des Ark tracks play perfect counterpoint to Davis' pulsing songcraft. The split album shows the potential of alliance and the unspoken complements of friendship.

Davis has played with such artists as The Yeah Yeah Yeahs, Mates of State, Pinback, Ted Leo, The Rosebuds, and Rainer Maria with critical and popular reviews. He has toured Japan and the United States and performed on the Kennedy Center's Millennium Stage in September 2006.

d/l

HAPPY FLOWERS - MY SKIN COVERS MY BODY

The name of the album was taken from a section of a Childcraft book on health, and you probably can't find a better collection of childhood angst, phobias, and concerns. The drums pound and the guitars shriek and squall mercilessly, all while Mr Anus and Mr Horribly Charred Infant scream apologies/warnings/pleas like, "Pleeeeease don't spank me/I'm too big to be spanked!" Occasionally it congeals into something that resembles an actual song, as on "Not Fade Away" or "Jenny Tried to Kiss Me at Recess," but mostly the instrumentation just provides a backing track to these little slices taken from adolescent nightmares. Very disturbed, and a lot of fun...

D/L