Robert Poss profile picture

Robert Poss

Distortion is Truth.

About Me

A reminder of what's still fascinating about the electric guitar. If you need a clear, clean refreshing blast of the basics, distortion is definitely truth.
— Nick Reynolds, BBC Radio
…Guitar genius, drone meister and ex-Band Of Susans member…Robert Poss is the master of treated and manipulated guitars along with distorted drum machines and synths.
— Tape Op
…Band Of Susans. What a glorious din of guitars, loops, wires and pedals that was….Chief Susan, real name Robert Poss, plugs back in to rekindle that old old amp magic.
— Thrust
This is highly innovative and highly melodic music for the experimental set. This is art, this is noise, this is feedback, this is blowing apart conventions, this is damn good songwriting. The guitar love affair continues and things just seem to be heating up.
— Lost At Sea
Adamantly arty, these New York subversives have since 1986 never lost faith in hypnotic guitar....Robert Poss and Susan Stenger prevail with dronefests rich in texture and heavy with stream-of-consciousness musings....The radical strategy pays off in music that is brainy, visceral and bracing.
— Rolling Stone
Unsung heroes in pops gender wars, The Band Of Susans have surpassed the challenges put down by successive Downtown minimalists: the No New York groups, composers Rhys Chatham and Glenn Branca. The result: the best guitar rock of the 80s.
— Mojo
Robert Poss [and Band Of Susans] strum power chords and tremoloes that resonate until they fill a room with overtones, octave upon octave, chiming and buzzing and shimmering with forceful grandeur.
— Jon Pareles, The New York Times
Poss' performance was a handsome demonstration of the relativity of the term improvisation. What might have initially seemed like random wailing quickly became an event that bore witness to the presence of a deep knowledge and control of the instrument....The result was a massive heaping of electronic sound, a synthetic sonic bundle that you could cut with a knife.
— Jacqueline Oskamp, De Groene Amsterdammer
Distortion Is Truth. In the beginning there was Burl Ives, Camelot, The Bangalorey Man, Pete Seeger, and the overture from West Side Story. My electric guitar obsession started in 1964 — with the look of Rickenbacker, Hofner, Gibson, Gretsch, Vox and Fender. I started playing bass in 1968. I think I had started to play lead guitar by the time I, a rabid fan, met Mike Bloomfield backstage one night in Buffalo, New York. He gave me some good advice about keeping it simple. It was the rich, complex simplicity of the blues that had the strongest pull. And along the way came the musical/spiritual guidance/inspiration of Ledbetter, McDaniel, Morganfield, Butterfield, the almost Biblical importance of Albert Kings guitar playing, the stately grandeur of Mick Taylor s legato lead melodies and the anarchic yet perfectly poised fretwork of Johnny Thunders on a good night. I loved the Stones Satanic/Banquet of mellotron pedal points and shehnais droning like tape loop tamburas — as if Charlie Watts had been a tabla player, and Nicky Hopkins had been listening to Steve Reich — while Keith and Brian repeated their rhythm and slide guitar mantras. I loved the way recorded music could have the aural equivalent of geologic layers of sediment, crystal, stone and fossil; I loved the sonic density of mysterious, half heard overdubs and subliminal musical suggestion....
Later there was the Clash in that first fleeting moment of glory — or was it allegory — and Pink Flag-waving Mission of Burma and Gang of Four and the connections I came to feel, often with the help of Susan Stenger, existed between Fred Rzewski and Fugazi, Tom Verlaine, Sam Lay, Joseph Conrad, LaMonte Young, Chuck Berry and David Tudor, David Bowie, Julius Eastman, Blind Boy Fuller, Garth Hudson, Javanese gamelan, Patti Smith, Poly Styrene, Bollywood pop, the Standells, the Kinks, Ma Rainey, Joan Jett and the lives of Ava Gardner and Malcolm Lowry, not to mention the magical syntax of Zimmerman/Osterberg or the fractured poetics and overloaded mic pres of Mark E. Smith or Willie Dixon.
Alvin Lucier stuttering the standing waves in a tape loop room changed my life in 1974; I never heard silence the same way again. Nicolas Collins added his pea soup fog of phase-shifted feedback, tutored me in the history and mysteries of musical electronics, and played me recordings of In C, Its Gonna Rain, and Violin Phase. Phill Niblocks dense sonics filled the room with a palpable ocean of radiant energy — a soundtrack for flowing blood and beating hearts; turn ones head a few degrees and the universe shifts. Years later, after my blues/punk sojourn in Tot Rocket (three 7-inch records) and Western Eyes (one LP), Rhys Chatham graciously showed me the way back to the essential, to grabbing the guitar by its roots in order to worship at the altar of its overtones. We toured Germany by bus.
What later became Band Of Susans started in 1985 as my own solo experiment — three layered looping delays, a drum machine and a new take on riffing, distortion, controlled feedback and the architecture of rock guitar. I enlisted some close friends and we formed a band. In 1987, music journalists and colleagues would scratch their heads or roll their eyes when Susan and I mentioned John Cage or Rhys Chatham or Phill Niblock or Christian Wolff. We offered touch stones; they wanted Blarney. I think John Peel probably understood it all.
In 1989, Leo Fender took Band Of Susans out to lunch; he had our Love Agenda poster on his office wall. For me that moment was twenty years in the making, a private audience with the Pope after years of devotion in the wilderness.
Band Of Susans broke up in 1995. We never quite got the hair and makeup part right — we could not take a good band photo to save our lives — nor did we strike the requisite underground hipster poses socially or intellectually, but we put more electric guitar on record than any band before or since. We followed our own musical instincts and they served us well....
Until recently I had nearly forgotten what it felt like to manipulate, trigger, sample and hold cascading oscillators, gates and resonant filters like I had first done in the mid-1970s (musical experimentation and patchcord macrame on a keyboardless Arp 2600, along with four-channel skipping record repeat pieces and putting contact microphones on pocket watches, electric motors and water fountains). Now, spending time once again in the thicket of patchcords and the blinking lights of temperamental analog modules is like a reunion with a long-lost lover...or pet.
So, now is now. This CD represents facets of my recent musical interests, some of which catch the light more than others, and is also a kind of retrospective of my post-B.O.S. experimentation and performance. Ultimately, its just another dream in which I stand before you at the end of the term — with a long history, a wealth of experience, but somehow still naked and unprepared.
— Robert Poss, from liner notes to the Distortion Is Truth CD
Currently: working on musical projects with/for Phill Niblock, Susan Stenger, Seth Josel, choreographer Sally Gross, an article for Leonardo Music Journal about my favorite guitar, and sooner or later, another solo CD or two. I may not have time to reply to mail sometimes due to my schedule but I will try to look in at it from time to time. Ditto for the Band Of Susans group page.
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My Interests

Music:

Member Since: 8/14/2006
Band Website: distortionistruth.com/music.html
Band Members:

Note: This is the "official" Robert Poss myspace page.



Robert Poss fell in love with electric guitars and basses at an age when he still believed one plugged them directly into a wall socket. He memorized the Fender Catalog and passed through a succession of rock and blues cover bands before discovering punk in the late '70s and staring to write, record and release his own material. He joined Rhys Chatham's ensemble in the early '80s and remained a core member for several years. He also began performing and recording the music of eclectic electronicist Nicolas Collins, whom he had known since the mid-1970s.

Eventually Poss realized that the sound of feedback, distortion and ringing overtones was "the cake, not the frosting" and began trying new ways of writing songs by layering simple chord patterns over drones and looped riffs. It was his initiative that gave rise to Band Of Susans in 1986, and his early experiments became the foundation of their sound.

Band Of Susans went on to release two EPs and five LPs (all produced by Poss) before disbanding in 1995. Interviewed in The Wire magazine, Steve Albini stated that "I think Robert Poss...is an enormously underrated guitar theorist. A lot of his approaches to the density of guitar are completely overlooked in any discussion about guitar..The way he structures the song around the drone instead of finding a drone to fit into the song I think is wholly unique."

Poss has also performed and recorded solo, and with Bruce Gilbert, Phill Niblock, David Dramm, Alva Rogers, and Ben Neill, among others, and has produced records by The Meat Joy, Combine, Tone, Skulpey and Seth Josel in addition to Band Of Susans. In 2005 he began collaborations with choreographers Alexandra Beller and Sally Gross.


Influences:

Fellow travelers and stuff I like and/or listen to, in no particular order, and by no means comprehensive:

Phill Niblock, Rhys Chatham, Nicolas Collins, Alvin Lucier, Kato Hideki, Tom Verlaine, Johnny Thunders, The Standells, Bob Mould, Wire, Gang of Four, Mission Of Burma, Come, Elias McDaniel, Susan Stenger, The Kinks, Big Bottom, My Bloody Valentine, McKinley Morganfield, A.C. Temple, Steve Albini, Jaap Blonk, Pina Bausch, Miya Masaoka, Shangri-La's, Mick Avory, Mike Bloomfield, When People Were Shorter And Lived Near The Water, James Fei, Tone, Jesus And Mary Chain, Sukandar Kartadinata, Dope Aviators, Sam Lay, Fugazi, Petr Kotik, Dave Davies, Charles Curtis, the Maysles Brothers, Michael Clark, Hussein Chalayan, Alexandra Beller, Zeena Parkins, Anselm Kiefer, Busted Statues, Rafael Toral, Casey Nelson Blake, Head Of David, Band Of Ones, Ben Manley, The Blues Magoos, Margret Wibmer, Mick Ronson, Chris Brokaw, Lefty Frizzell, Kristen Nutile, Throwing Muses, Ulrich Krieger, Colin Lee, Blind Boy Fuller, Julius Eastman, Tot Rocket, Dan Evans Farkas, The Mekons, Manuel Mota, Sally Gross, Son House, The Fall, Jack Casady, Albert King, Wil Roberts, Skulpey, Dusty Springfield, The Negatones, Kustomized, Pan Sonic, Band Of Susans, The Meat Joy, David Dramm, Anne LaBerge, Seth Josel, Ben Neill....


Record Label: Trace Elements/Blast First
Type of Label: Indie

My Blog

Choreographer Gerald Casel

I am working on original music for the Gerald Casel dance company’s upcoming performances at the Joyce Soho on May 15 - 18, 2008. ...
Posted by Robert Poss on Sun, 30 Mar 2008 09:36:00 PST

The Pleasure Of Stillness

Albert Maysles & Kristen Nutile's latest documentary SALLY GROSS - THE PLEASURE OF STILLNESS upcoming screenings:International Festival of Films on ArtMontreal Cananda, March 6-16, 2008 10th Thessalon...
Posted by Robert Poss on Mon, 03 Mar 2008 01:33:00 PST

Suicide Box Set

I had the pleasure of doing the tape-to-digital transfers of these rare concert recordings. Blast First Petite is now taking pre-orders and has further information. Susan Stenger and I worked with A...
Posted by Robert Poss on Sat, 26 Jan 2008 08:06:00 PST

Photos from Dijon, France

(Feedback link)From Left: Yvan Etienne, Nicolas Thirion, Robert Poss. Artwork by Steven Parrino....
Posted by Robert Poss on Wed, 17 Oct 2007 04:18:00 PST

Leonardo Music Journal 17 - The Joy of the Gizmo

The new LMJ is out: My Favorite Things: The Joy of the GizmoContributions by Bert Bongers, Eric Leonardson, David Toop, Peter Blasser, Michael Duffey, Charles Stankievech, Juraj Kojs, Stefanie Serafin...
Posted by Robert Poss on Tue, 08 Jan 2008 08:14:00 PST

1989 Rhys Chatham Retrospective at The Kitchen

From Jon Pareles, The New York Times, February 17, 1989:Rhys Chatham, the Kitchen, 512 West 19th Street (255-5793). If he had to draw lines, Rhys Chatham would probably call himself a classical compo...
Posted by Robert Poss on Mon, 10 Dec 2007 07:40:00 PST

Gilbert Poss Stenger GilbertPossStenger GPS

This collaboration among Wire's Bruce Gilbert and Band Of Susans' Susan Stenger and Robert Poss grew out of BOS's long-standing friendship and association with Wire, dating to 1988.Review of GilbertPo...
Posted by Robert Poss on Sun, 02 Dec 2007 12:37:00 PST

Gavin Bryars Mode Records Release Concert November 8, 2007

at Roulette/Location OneFrom Timeout Magazine:"Two intriguing new releases from the invaluable new-music label Mode are brought to life tonight by the performers who recorded them. The Berlin duo of g...
Posted by Robert Poss on Fri, 19 Oct 2007 09:27:00 PST

Two Photos From Le Cylindre (France) taken by Tetuzi Akiyama

With Hervé Boghossian:
Posted by Robert Poss on Wed, 31 Oct 2007 01:03:00 PST

The Sketch Gallery, London

Soundcheck: Susan Stenger and Robert Poss at The Sketch Gallery, January 20, 2007 Interview with Phill Niblock(Photo courtesy Mathieu Copeland)...
Posted by Robert Poss on Sun, 21 Oct 2007 07:15:00 PST