mit einer empfehlung des hauses : : : 1 schippel possierliche kinderzimmermusik : : :
mit dank an das unverzichtbare UBU-web : : : die Briten Ergo Phizmiz & People Like Us mit herzerfirschender tonproduktion auf den werkeln mechanischer musik : : :
belang- und klangvolle Honeysuckle-Rose-dialoge – - – schamlos a-rhythmischer retro-soundklau unter vorspiegelung falscher tatsachen (Sad Waltz Because His Dog Died) – - – Fat Henry’s Mambo (wie der name sagt) – - – queres welz- und walz-karrusssell – - – wölfischer tango-heuler – - – lässiger Mack the What (eh’ scho wissen, betont aber eben ohne BBs messer-zähne) – - – klack-klack-a-bum-bum_und_klack_klack_a_bum-bum mit Enoch the Drummer – - – und schliesslich in die trybe atmosfäre hinaus : : : der schöne schlonz-schlender-schlenker on Harpo Boulevard.
N. S. : : : Boots. CD, Ubu 2006 | Recorded live at Quay Art, Newport, Isle of Wight, june 2006, performed on Dansette record players and vinyl dubplates, with piano, euphonium, horn, and accordian.
N. N S. (zitat Last.FM) : : : “Sonic explorer, experimentalist and wrongwriter, Ergo Phizmiz’s music jumps freely between pop, pranksterism, mutant-electro and just about everything in-between. Described by The Wire magazine as a “one man movement”, and by BBC Radio 3 as “one of the most inventive composers around…a musical equivalent to Chris Morris”, Ergo has developed a reputation as one of the most genuinely innovative composers working today.”
N. N. N. S.: (zitat BBC comedy guide) : : : “TV‘s ludicrous 1990s obsession with docusoaps and people-shows inevitably inspired several satirical spins (…), but the purest and finest spoof of the fly-on-the-wall documentary was this John Morton-written show that introduced viewers to the hapless filmmaker Roy Mallard. His attempts to be ‘merely an observer’ were doomed to fail – inexorably, often disastrously, always hilariously, PEOPLE LIKE US began life on BBC Radio 4. Also starring Chris Langham, and with John Morton and Paul Schlesinger running the production, there were three radio series [1995 - 1997], so by the time the series switched to TV – the radio scripts were adapted for the visual medium – the creative trio knew their product very well. It showed. Each half-hour was a miniature masterpiece, with every potentially embarrassing incident milked for its full comic potential, yet always in a subtle, understated way.”