!M.O.O.B | He Goatan

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He Goatan

by !M.O.O.B

Before 9/11, they were called BOOM! After 9/11, they were called !M.O.O.B. This unique combo of guitar, bass, drums, and LAPTOP have recently discovered, remixed, and remastered a few of their best tracks from New York City's underground art scene.
Genre: Rock: Punk
Release Date: 

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  Song Share Time Download
1. Cheese
3:19 $1.69
2. Billyburg Ho
4:16 $1.69
3. Burning On Fire
4:08 $1.69
4. Interlude (Cheese)
0:28 $1.69
5. The Milli Vanilli Song
2:45 $1.69
6. Serf
4:27 $1.69
Downloads are available as MP3-320 files.


Album Notes
Before TV on the Radio, the Yeah Yeah Yeahs, Interpol, Fischerspooner, or LCD Soundsystem, there was !M.O.O.B. The musicians who floated in and out of the band were actually artists who had gravitated to the Williamsburg neighborhood of Brooklyn before it became a trendy place to live. !M.O.O.B disappeared under the pressure of gentrification with only this recording as their legacy despite influencing so many bands that followed them. Here is their story:


In 1998, Williamsburg, Brooklyn was very much a place where artists and musicians were able to thrive because of the availability of studio spaces at well below market rates. Pop-up venues would occur weekly in raw factory spaces for gallery shows, music, and dance parties or a combination of all three.

It was at one such party, that Marc Peckham and Drew Kidd went to see their friend Eben Dodd’s band playing. The show was amazing. People danced well into the wee hours of the night. However, after playing live for 4 solid hours, the band decided to take a break. At that point the party was winding down, and Eben invited anyone that would like to come up and jam. Drew and Marc wasted no time taking the instruments, but quickly realized that they had no material. Not wanting to go into a blues jam, Drew took a guitar effects box and created a sound loop. Then Drew and Marc began playing music within the structure of a “collage of sound.” A drummer from the crowd came up and joined them. And then...BOOM! The results were amazing! The party which was dwindling, suddenly came back to life and continued until sunrise. It was then and there that BOOM! became a band.

BOOM! began with Joel Saladino on drums, Drew Kidd on bass, and Marc Peckham on guitar. This line up lasted roughly 6 months. They played one gig at The New Ship’s Mast. It was an interesting mix with each member creating sound loops and all three jamming to the “sound collage.” However, the experimentation aspect did not fulfill Joel’s idea of a structured band, and he moved on to pursue other solo projects.


Drew grew dissatisfied with the “band format.” They were committed to being a “live” act, and he suggested that each member of the project also be a visual artist. The shows should not be limited to just a band playing a nightclub, it should create an organic audio/visual environment much like jam bands, yet keep the “Sound Collage” mantra.

BOOM!! Enlisted the help of Pat “Showboat” Mason. Pat was one of the best drummers in Williamsburg, a noted painter, with an extensive background in Set Design and Film. Pat was a perfect fit. BOOM!! went on to play DUMBOFEST, CBGB’s Downstairs, and various underground pop-up venues in Williamsburg and DUMBO. BOOM!! now incorporated film projecters, lighting, stage, dance, and of course “Sound Collage.”

It was during this time that BOOM!! began to meet with dj’s and other art/music collectives. One such collective was SPONGEWORTHY, a two man live music act featuring Richard Douglas and John Parker. Marc and Richard had played in the same music circles for years going back to the days that they were both art students at the University Of Georgia. Richard was one of the pioneers of live music venues in both Williamsburg and DUMBO. He established the first open mics at several clubs, singer-songwriter circles, and promoted many pop-up venues including a legendary Thursday night at Between the Bridges where Marc, Drew, Richard, Pat, and John would hang out and talk about music.

Richard Douglas was hands down one of the best guitarist on the scene and could seamlessly switch from Blues to Rock to Trance in addition to playing with dj’s “live.” SPONGEWORTHY (http://www.eyekhan.com/earcon/spongeworthy.html) was unique in that it had a guitar/ laptop computer set up. After seeing Richard and John perform at the Lunatarium in Dumbo, Drew immediately asked John to come to the BOOM! rehearsal space to contribute loops with his laptop while they rehearsed. John Parker was a former Olympian and now a painter, sound-artist, and sculptor in Williamsburg. Drew saw the potential of having the Sound Collage move forward from the background. He also thought of John being perfect to contribute to BOOM!! in large part because he was also a working artist.

After a few rehearsals inside an old manager's office of a Williamsburg factory on South 1st Street which was perfectly positioned as a practice space because it 'floated' between two floors, John joined BOOM!! The line-up now consisted of Drew Kidd, Pat Mason, John Parker, and Marc Peckham. They began working with “Dok” Gregory of Amoeba Technologies integrating their “live” sound with the visual and sonic assault that made Amoeba famous. It was during this time that a “BOOM!! Basement tape” was recorded and led to BOOM!! playing at some off site warehouses with the various Williamsburg artist collectives.

BOOM!! debut as a polished unit was at “Rockstar Bar” in Williamsburg. They continued to play with collectives with perhaps their biggest crowd at OUT!, the eviction roof-top party at the Gretch Building No.4, when over 1500 people celebrated the last night and morning of one of the most successful art colonies in Williamsburg.

As BOOM!! continued playing to larger and larger crowds their landscape began to rapidly change. Williamsburg and DUMBO were becoming more desirable places to live on the planet Earth. Rents were rising and the results were forcing many to leave the area, some faced with an extreme of leaving New York City all together. Drew moved to Coney Island. Marc moved to Sunnyside, Queens. It became very hard to hold things together, but they did. And then 9/11 happened.

The bottom fell out. Drew was forced out of New York completely, as was Richard Douglas. BOOM!! was now reduced to John Parker, Pat Mason and Marc Peckham. The first thing they did was regroup. BOOM!! no longer felt appropriate as a name. They decided to turn things around and reverse the name to !M.O.O.B. You can call it a play on Leonardo DaVinci’s Codex, a tongue and cheek joke. The initial reaction to the phonetic sounding !M.O.O.B was generally met with hysterics, a welcome lightness in the wake of 9/11.


!M.O.O.B debuted in “Otto’s New Music Showcase” at Rocky’s in Williamsburg. Upon arriving at the venue, none of the other bands, bar staff, and management knew what to make of this 3 piece or their unique demands on stage. Guitar, drums... OK, but as John set up his laptop and wanted to plug into the main sound system... it left a lot a people scratching their heads. Then the inevitable, “what do you guys call yourselves?” After their set, the reception was an eruption. !M.O.O.B began to generate a buzz.

!M.O.O.B was now streamlined with John providing bass lines along with his unique “soundscapes”. Offers to play top venues began to pour in. Their name, still a point of humor, garnered new support when “South Park” featured their band called “MOOP”. (Is this just a coincidence...?)

!M.O.O.B was again becoming hard to hold together. John was becoming quickly recognized as a local leader in the “Sound Art” field. His work was now exhibited in some leading galleries. The demands were beginning to tax John. He was now performing both solo and together with !M.O.O.B and a new project, The Man from Planet Risk, as well as continued exhibitions and installations. Pat was receiving offers from other local bands. Even though !M.O.O.B was Pat’s priority, scheduling conflicts began to occur as other band’s vied to make Pat a permanent member. Pat also voiced his dissatisfaction with playing along with a bass track, something that came into focus after playing with other groups.

Then Marc lost his job. The place he had worked for the past 8 years was suddenly scheduled to shut down. With no income, Marc would have to leave NYC. This led to a meeting of the guys to decide the band’s fate. It was decided to honor their last remaining gigs, bring in Cave Precise (Ron Ramey) from Man From Planet Risk to play base guitar (filling out the low end of the “live” show), and record the best material from their catalog. Marc said he would commit the remaining earnings from the last days of his job to fund a few hours to record what they could in a professional studio.

Cave Precise was no stranger to !M.O.O.B. John and Ron had been working together for quite some time as Man From Planet Risk. Ron was a modern “Brian Jones” in that he could virtually pick up any instrument and/or music software and master it. He was a welcome addition to !M.O.O.B.

Now the line-up was Pat Mason, John Parker, Marc Peckham, and Ron Ramey. They decided to play live back to back gigs culminating with the main stage at CBGB’s (the only band to ever play with a laptop as the main instrument). Things were so dire with the band that they failed to show up to their third and last gig at CBGBs just days before that legendary club shut down and was transplanted piece by piece to where it is now situated in perpetuity, Las Vegas. Instead, with Marc clutching a wad of bills, they went straight into the studio.

!M.O.O.B recorded with Tim Hatfield, engineer/producer at Cowboy Technical Studios. The list of first class acts that have worked with Tim is endless, but his work with Keith Richards is legendary. The band was allowed to record with Tim as a personal favor by Marc’s long time friend, music industry leader, Todd Alan. The experience of working with Tim had a profound effect on all members of !M.O.O.B that can be experienced in this recording.

It was during these sessions that produced the tracks of the current CD. The tape reels disappeared for almost ten years with some forever lost and damaged. Released for the first time, the preciousness of these only remaining recordings became apparent during litigation over the catalog, copyright, licencing, and music distribution. Fortunately that has concluded, and now one can experience the “sound scape” live performance of the band called !M.O.O.B.

Special thanks to John Aguilar from Diskmakers for his efforts to push the project through. Ursula Grobler for her design to hold things together. Heather Glassberg for permission to use her photo; Carley Cohen for offering her great candid shots. To all the past members not on this recording but present through influence. Finally for Ron to not be so grumpy and Pat, where are you?



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