Crazed Bunnyz – T.W.D.N.R.T.P.A.C.T.R.I.

Crazed Bunnyz
1989 Corpqii Productions

Futch – Guitar
Gadget – Electronic bass
Shaka – Vox
Boxx – Drums

Side 1:

  1. The Message
  2. Killing of a Race
  3. Shine, You’re Scrambled
  4. Physical Distortion
  5. Interview (Part 1)

Side 2:

  1. Interview (Part 2)

This is basically the very first demo recording by the Crazed Bunnyz (before Achtung: Musik Klirrfaktor) released after they were done, with an interview by Chris Yambar added. The interview was apparently also after the band was over. The recordings are rough, with a noticeable tape hiss. But they still manage to capture the general avant-garde feel that the Bunnyz were known for. “Shine, You’re Scrambled” is heavy influenced by Suicidal Tendencies “Institutionalized” to me, but I could be wrong. The interview is a very long, detailed look into the Christian Underground at the time mixed in with a lot of the extreme evangelical mindset of the time. I would guess both Marc and Mike don’t really think this way anymore – its pretty judgmental in many places. But there are also some good tidbits about the evolution of their various projects, and some mentions of other obscure bands like Dead to Sin.


Crazed Bunnyz – Live!

Crazed Bunnyz
1987 Corpqii Music (CM-7)

Shaka – Vox
Futch – Guitar
Gadget – Synth bass
Boxx – Drums

Side 1:

  1. Peter Almost
  2. The Message
  3. Killing of a Race
  4. Shine, You’re Scrambled
  5. Don’t Flick That Over Here
  6. U.F.O.
  7. Physical Distortion
  8. I’m Alright Now
  9. Futch introduces the band

Side 2:

  1. Futch raps some more
  2. Tapdancing Into Hell
  3. World Media

This is the long lost mythical live album from Crazed Bunnyz. Okay, maybe not long lost or mythical, but still hard to find. Most of these songs appear on their demos (mostly Achtung: Musik Klirrfaktor) except for “Peter Almost” and “I’m Alright Now.” “Peter Almost” is basically a cover of the “Peter Gunn Theme” that seems to get cut off because it is part of their sound check and they are working through equipment issue (a theme carried through several songs). “I’m Alright Now” is a slow song that is almost ballad-like. The sound quality is muddy, but you can still hear the songs.

Gunshots at 9:50 – Gunshots at 9:50

Gunshots at 9:50
Gunshots at 9:50
1990 (no label)
Central Hollywood, California, USA

Scottie Joel Cooper – Vocals
John Williamson – Instruments

Side 1: Scottie Joel Cooper and John Williamson

  1. Purgatory is Hell
  2. Just South of Wilshire
  3. The Southland
  4. Harlot Lover and Jew-Boy
  5. Working Class: Act IX
  6. A Thrash Song

Side 2: John Williamson solo

  1. [hello Scottie]
  2. Let Go
  3. Stew Dents
  4. Passing Property
  5. [reading a letter]
  6. Stalemates [spoken word]
  7. This Dirt Hurts
  8. [did you ever get my letter?]
  9. [bass jam]
  10. [randomness]
  11. Victoria Williams – Holy Spirit

This was another unreleased rarity from Scottie Joel Cooper. In June 1990, John Williamson of The Grape Vine ‘zine got together to hang out and record some jams together. This tape was the result of that. It’s pretty random and spontaneous. Side one is mostly Scottie singing and talking over John’s acoustic guitar. Side two is a tape that John recorded to send back to Scottie – it is even more random. It has some songs, some spoken word, a letter being read, John’s reaction to the latter, some bass guitar solo meandering, and then a Victoria Williams song at the end. There are probably a lot of these tapes out there – back in the 80s and 90s, people with even an ounce of musical desire would take “mix-tapes” to the next level by recording their own song ideas and ramblings on them to send to a friend or even different band members. Sometimes they did it to get attention for their talents, other times it was just to do something different other than write a letter. As a note, Scottie goes by “Harlot Lover” on this recording, and John was originally being called “Jew-Boy” on side 1. But on side 2, John says he won’t be using that name because he didn’t want people to think he was anti-Semitic. It was really a spontaneous idea that he decided to change after thinking about it. The “Gunshots at 9:50” name came from a real life situation – just before John arrived at Scottie’s apartment, there were gunshots in front of Scottie’s apartment. Then, just as he was about to leave (at 9:50 PM), there were more gunshots. They saw some blood on the sidewalk after that, and the stain was still there two months later when Cooper left California.

Bastion w/ The Emperor’s New Clothes – Mix Down One

Bastion w/ The Emperor’s New Clothes
Mix Down One
1988 (no label)
East Hollywood, California, USA

Scottie Joel Cooper – Vocals
The Emperor’s New Clothes – Instruments

  1. Drawn Black
  2. Helen Told Me
  3. Shall Sodom Burn
  4. Martin Luther King
  5. Valley of Bones
  6. Awake My Lover

This is an interesting rarity – Scottie Joel Cooper of Dethdoor/Erin Peacechild fame doing vocals over a Hollywood band’s music. This was a common thing back in the day when a band was looking for a new vocalist – they would record instrumental songs and ask singers to come up with lyrics and sing over the music. Velvet Revolver was one of the more famous bands that did this, with Michael Knott himself recording some vocals over three of their songs. This particular demo makes an interesting mix of a kind of funky alt metal band with Cooper’s unique vocals over the top of the music – with a Christian take on the vocals. The story goes that the band called Cooper up after words and made fun of him with all kinds of cusswords, claiming they were actually the band Fishbone (which of course, has had the same vocalist since they started). Needless to say, who ever they were, they were not interested in having a Christian as a new vocalist.

Erin Peacechild – Erin Peacechild

Erin Peacechild
Erin Peacechild
1988 Key Records / Bloodless Sacrifice Communion Records
Pensacola, Florida, USA

Scottie Joel Cooper – Vocals and instruments

Side 1:

  1. About Erin Peacechild
  2. The Least of These
  3. Dethdoor Introduction
  4. Industrial Generation
  5. Excerpts from Hellfire
  6. Ecstasy
  7. Hellfire
  8. U2’s New Year’s Day
  9. Song for Timigen
  10. Under the Sun
  11. This is for You
  12. Metaphysical
  13. Human Fear
  14. Amazing Grace
  15. When I Awoke This Morning
  16. Shall the Voice of the Prophet Die
  17. Ecstasy
  18. Ivory Statues
  19. Let the Voices Flow Within Me
  20. Is It Not Written?
  21. I Climb the Stairway
  22. Birth of Venus
  23. Satisfaction Satisfaction
  24. There is Hope [new version]
  25. Keyboard Playtime

Side 2:

  1. DeathDoor (parts 1 and 2)
  2. You’ll Never Make It
  3. Banshee (Hear the Cry)
  4. Running (007 Type)
  5. Reflections on This Tape
  6. Life in Suburban-land 1
  7. Suburban Rap Song
  8. DeathDoor (part 3)
  9. Childhood Bliss
  10. Random Samples
  11. There is Hope
  12. Prayer
  13. Keep Your Vision
  14. Army of Martyrs
  15. I’m not a Neo-Nazi
  16. All the Earth Will Vomit It’s Degenerates
  17. Moaning and Groaning
  18. Scottie Talks About the Orthodox Church
  19. About Erin Peacechild
  20. Death is an Open Door to Me
  21. One’s Death
  22. How God Works in Mysterious Ways
  23. Prayer for Mercy
  24. Children’s Prayers and Songs
  25. This My Family
  26. Industrial Generation and Dedication to Erin

This tape basically serves as a compilation of all of Scottie Joel Cooper’s work up until this point, with some new tracks added. This was released jointly with Key Records, so it probably saw some circulation in the tape underground. None of the tracks here are named, so I did my best to match the names here with those from past projects. In some cases it was hard, as some tracks have been split up into smaller pieces and spread out. It was a long process to digitize this one, as each side is 45+ minutes long. Since many of the songs on here are a tape copy of a tape copy, there is significant tape buzz on most tracks. But every one of Cooper’s solo tapes, Dethdoor, and Timigen are all represented here – along with many new tracks such as a rap track set to a Michael Peace accompaniment track.

The Shockin’ Holy Saints – Lamentations Concerning the Five Sorrows of Love

The Shockin’ Holy Saints
Lamentations Concerning the Five Sorrows of Love
1991 (no label)
Croydon, England, United Kingdom

Vince Millett

Side 1:

  1. Lamentations: Prelude
  2. Lament for an Irish Princess
  3. Love is Stronger Than Death
  4. The Toymaker’s Dream
  5. Lament for the Sorrows of Love

Side 2:

  1. Crossing the Sacred Wilderness
  2. Lament for the Daughter of Prophecy
  3. Lamentation: The Tracks of the Poet’s Snowshoes
  4. Lamentation: The Hour of White Roses

This was a side project by Secret Archives of the Vatican. Stylistically, I am not sure there is a huge difference between this and SAotV, except that it seems to be more ambient and… medieval? The song titles seems to imply a kind of “ancient times” tie in to me at least. Also not as much world music influence on this one (at least, not as obvious). The last two tracks would probably be my favorites, especially “The Tracks of the Poet’s Snowshoes” with its chanting Benedictine monks (before it was cool, I believe).

Marc Plainguet – Amebas in Love

Marc Plainguet
Amebas in Love
1986 Corpqii Music (CM-1)
Los Angeles, California, USA

All music and text was written, produced, and performed by Marc Plainguet

Side 1:

  1. Amebas in Love
  2. This Science
  3. Afterlifestyles
  4. Barbie’s Lament
  5. Gaia
  6. The Mountain

Side 2:

  1. Binary Life
  2. Cubist
  3. Chemical Dreams
  4. The Plumber’s Nightmare
  5. The Desert
  6. The Uncle Sammy Show

This is where is all started for Marc Plainguet and Corpqii Music. Well, as far as I can tell. The sound is what you would expect from Plainguet – quirky, trippy experimental electronic music that takes a sarcastic look at the ironies of modern life (as of 1986) through a Christian lens. Many people felt Marc was outside of mainstream Christianity in his lyrics. Sometimes that is true, but at many other times this is not the case. It all depends on where your beliefs fall, of course. This tape seemed to set the standard and style for dozens of future experimental underground electronic Christian releases to follow.