{"title":"Debris","description":null,"products":[{"product_id":"debris-1","title":"Debris","description":"\u003cp\u003eChickasha, Oklahoma is not a place known for producing a lot of original proto-punk bands. In fact, there is, to our knowledge, only one: \u003cstrong\u003eDebris\u003c\/strong\u003e. Formed in 1975 by bassist Chuck Ivey, guitarist Oliver \"\u003cem\u003eRectomo\u003c\/em\u003e\" Powers, and drummer Johnny Gregg, the trio created some of the most art-damaged outsider rock ’n’ roll this side of MX-80 Sound.\u003c\/p\u003e\n\n\u003cp\u003eWhen a local studio offered the package deal of ten hours for recording and mixing as well as pressing 1,000 LPs and two-colour jackets, \u003cstrong\u003eDebris\u003c\/strong\u003e came in well-rehearsed—nailing all eleven of their songs in just one take. In April 1976, the same month as Ramones’ debut album, \u003cstrong\u003eDebris\u003c\/strong\u003e would release their lone record onto the world. Opener \"\u003cem\u003eOne Way Spit\u003c\/em\u003e\" could easily be mistaken for a lost KBD single—from Chuck’s bizarre count-in to the band’s trashy startstop rhythms, unfurling a Dadaist flag around Johnny’s visceral vocals.\u003c\/p\u003e\n\n\u003cp\u003eOn \"\u003cem\u003eTricia\u003c\/em\u003e,\" a reference to the then-current Patty Hearst trial, Oliver’s gruesome groans are sardonically juxtaposed with an electric saw. These LSD-tinged tunes are a potent mix of Beefheart-ian controlled chaos and the genuinely weird avant-rock associated with the mid-’70s Cleveland scene. Enhanced by analog synthesizers and electronic effects, the album sounds like Eno-era Roxy Music or Stooges’ Fun House buried deep in the red Oklahoma dirt.\u003c\/p\u003e\n\n\u003cp\u003eWhile punk would spark a handful of bands who boldly straddled the line between the primal and the experimental, the relatively unsung \u003cstrong\u003eDebris\u003c\/strong\u003e were one of the first to do so. \u003cstrong\u003eDebris\u003c\/strong\u003e had a standing invitation to play New York at Max’s Kansas City and CBGB in 1976, although they never made it out of Oklahoma. The private-press edition of their self-titled album (also known as \u003cem\u003eStatic Disposal\u003c\/em\u003e, which was actually the label name printed on the original front cover) has since become a collector’s item and is even namechecked on the infamous NWW list.\u003c\/p\u003e","brand":"Superior Viaduct","offers":[{"title":"LP - Black","offer_id":52593101209931,"sku":"R4149-1140","price":33.99,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0867\/1120\/6219\/files\/1a8b677b-0600-4068-55a6-b0d5db82f6ad_6083e9f3-13ee-4f9f-a944-188bb2d52816.jpg?v=1752258950"}],"url":"https:\/\/shop.roughtrade.com\/fr\/collections\/debris.oembed","provider":"Rough Trade","version":"1.0","type":"link"}