Mum and Dad play sax and drums respectively, but conservatively, while the kid (the talented one) freaks out on psych feedback noise blasts courtesy of his twin necked Gibson and far too many Boss Metal Zones as his parents look on with a mixture of admiration and disgust for the potential damage to their child's hearing. It won't last of course; these things never do - somewhere between the second court case for possession and the kid's 37th tantrum they split angrily on stage leaving a bemused and chin scratching selection of hipsters to ponder what could've been.
Clem Spangles and the Ultraviolet Catastrophe
Clem just wants to wear his netmesh body stocking and sing 70s country ballads (with a light dusting of prog rock bombast), while the Ultraviolet Catastrophe are an all synth retro new wave cold wave 80s neo futurist manifestation who over power everything Clem does with dark Germanic coldness, creating the sort of drones that Nico could only dream of. You had to be there.
moid wrote:Clem Spangles and the Ultraviolet Catastrophe
Clem just wants to wear his netmesh body stocking and sing 70s country ballads (with a light dusting of prog rock bombast)
Clem Spangles and the Angle of the Dangle
(Because just like the NFL commissioner, Clem deserves a happy ending)
After Clem parted ways with the Ultravilot Catastrophy, he put together the Angle of the Dangle from Nashville’s elite studio pros. Their cover of “Rebel Rebel” defined the “swishy Western swing” sound. Pedal steel wizard Dory Feldt’s mercurial licks over Chauncey “Cooter” Langley’s tasteful Mellotron truck driver gear changes drove the crowds wild. . “Country glam” was what Elvis was talking about when he told us to do the clam. Clem Spangles and the Angle of the Dangle spent eight weeks at #1 with their original “Do Your Nashville Curtains Match The Drapes?” The Ultravilot Catastrophy was last seen at the Ramada Inn on Route 17 playing Bauhaus covers.