Label: Marriage Records Release date: 06/04/10 Link:Official Site Marriage Records have taken a risk. Marriage Studio owner (and White Rainbow) Adam Forkner, D Reuben Snyder, Marriage owner Curtis Knapp, and a handful of other contributors make up Rob Walmart, a self-described anarchist music collective who have always been a gamble. Their releases vary from CDR to CDR, cassette to cassette, and MP3 only postcard to other bizarre method of delivery. And while it seems like a triple LP called Everybody Hurts (that has Rihanna on the cover) would be their hardest to grasp, instead it’s a treasure trove of music that exceeds expectations. Most songs are distinctly distorted or hiss-laden loops, driven by their own momentum or spoken word vocals, often treading the line between performance art and experimental electronic. Take ‘Lionel,’ for instance. It’s a song that seems to be about unofficial band figurehead Lionel Richie, and each line asks more and more weird questions. Then there’s the Kaoss Pad fuckery of ‘Baby,’ a song built around a skittish synth and gentle acoustic guitar…and heavily effected vocals that wouldn’t sound out of place on a Sun City Girls album or one of Jandek’s spoken word releases if Animal Collective got the stems. Even the record labels reflect the band’s ethos, blending the hilarious with the serious. Lionel appears with some circa-1995 Microsoft Word art that simply says DUBSTEP on a side that contains vocal manipulations and only one throbbing low frequency oscillator synth on one song. Hell, when you have Paris Hilton behind the words TAN BOOTH instead of a track list on your back cover, any listener or buyer knows they’re in for something special. By the time you hit sides 5 and 6 – oh yeah, this is a vinyl only release – there are extended jams like ‘Weenie Roast on Buttfuck Island,’ and the album’s 100% improvised recording history fully bares itself. Even the most down tempo moments yield memorable experimentations or melodies, and the band’s ear for sample manipulation (and Casio synths) shines through as much as their well developed sense of unity in improvisation. I’ll never remember scooting in a HoverRound with Lionel, or see Rob Walmart in a venue (they play out of their ice cream truck driving down the street in Portland, Oregon), but I’ll always be able to enjoy this album. And at just over two hours long, there’s a lot to like. Just be ready to feast with open ears, an open mind, and no presumptions. You’ll be rewarded. Photobucket