who wants to kill/electrocute yr cock 7"single

released in 2005 following our 1st tour, who wants to kill...was the genesis of big nurse and its totally fucked sound. who wants to kill? was recorded by ryan and john onto a four track cassette in late 2003, and the B side is a reinterpetation of electrocute your cock written by Richard Meltzer/Vom. the sleeve of this record is inspired by hardcore/crusty punk 7"s with shitty xeroxed covers. limited to 350 copies.


Provocative titles (only one of which belongs to the band) and cheap tinny rock-based noise thrills are all that’s really going on with Big Nurse, if this single is any indication. “President” goes on and on and on with no real relief in sight. He may die of boredom. They do a good job on the Vom cover though, capturing a lot of that track’s ur-stupidity and nihilistic good times.
(www.highdensityheadache.tk) [dusted magazine]

The wordplay of big nurse with big noise should be obvious, though I also like the connotation of noise being a bringer of health and a cleaner of wounds as well, if not a lot more. Noise as a cathartic experience, a cleanser of souls, something that burns the listener and then leaves him a better man (or her a better women, for that matter). I like that. I remember when The Lemonheads played in Vienna – which was back in the early nineties when they were still half good and Evan Dando was still a handsome posterboy – and asked the audience what to play next. “Luka” somebody shouted, and Dando answered “now c’mon, be fair”. And then somebody shouted “Cazzo di ferro”, which only brought smiles. And so they decided to just let go with some free noise, improvising and doing shit on stage for the last twenty minutes of the show. In that time Dando tried each and every combination of his effects pedals, the bass player unwound his strings completely and the drummer decided to leave the stage after half of whatever that was. No encore. Right on. Big Nurse surprised me with their self released debut album “american waste” done in wonderful DIY-fashion on their own label, which also hosts this seven inch, which is also done in true DIY fashion. Which also means that the cover is but a xeroxed sheet of paper and the recordings have been done in 2004. What took you so long to release this anyway? Aw, who cares, if it is being released at all. More importantly, I am not sure if the seven inch format really does give true value to their way of freaking out over a distorted riff and diving into a loop of bass-noise and improvising in a manner that is the complete opposite of what the best jazz-men do: by ignoring all rules and fucking shit up. On a seven inch the effect is definitely there, but it comes a little shorthanded. Over the length of an album side the trance or tripping effect is much higher. Anyway, this is wonderful noise of the kind that is filled with energy, fun and the great ways that accidents play into art. The track on side one plays around a simple bass riff, while the track on side two plays around a highly distorted (and I don’t use that easily) guitar riff. Imagine superhelicopter but without the structure. Wow, I never would have thought I’d use Superhelicopter as a reference with(!) structure once. Both tracks use some lines of vocals at the beginning, before breaking off into chaos and mayhem after some time. The instrument carrying the basic pattern usually holds out the longest, while all the others fall down in exhaustion and despair and chaos and immaturity and freedom and noise. The recording is poor, to say the least, but who cares if the drums sound like shit when the documentation of a culmination of energy and freakiness is in the centre of concern. Moreover, these are two interesting suggestions hidden within the titles of these tracks. Wonder what will happen to them? Also, I wonder what will happen to a band like this and if Nashville, Tennesse – “it’s the home of country music, on that we all agree” – is a place that will be able to hold these guys, let’s not even speak of enjoy or understand. But being understood is nowhere on the agenda of Big Nurse, I guess.

[note: we also got a review in the wire by byron coley, but i've misplaced my copy?? we also got a review in the coveted maximum rock and roll which went something like this: " the record, though a piece of shit, was at least an original piece of shit, and therfore was excellent." there was also some metion of the Jesus and Mary Chain cowering in a corner or something. overall it made my day