Before, it was more or less a dichotomy, separated into seriousĪnd comic music. Music before and after the Butthole Surfers can be considered two different Marked the history of rock music like the Butthole Surfers. (Translated from my original Italian text by Matteo Russo) Not awkward at all, and in fact quite accessible, the last Butthole SurfersĪlbum, Weird Revolution (2001), was an eclectic survey of well-playedĬliches, incorporating dance and rap music. Which contained some of his most explosive music ever. The last bang was in fact a side-project by Gibby Haynes, P (1995), Piouhgd (1991), Independent Worm Saloon (1994), The Butthole Surfers delivered two albums that were tighter and moreĬonventional, Locust Abortion Technician (1987) andĪnd then proceeded to achieve the impossible, i.e. Replacing their visionary and infernal imagination with slicker productions, The lysergic chaos of Rembrandt Pussyhorse (1986) was better structured,īut still amounted to an encyclopedic annihilation of 30 years of rock'n'roll. Pere Ubu's modern dance, the Cramps' psychotic voodoobilly and Turned out a hysterical, cacophonous nonsense that borrowed fromĬaptain Beefheart's apocalyptic blues, Chrome's delirious space-rock, Psychic Powerless (1984), one of the decade's most significant works, Sex Pistols' punk-rock, Red Crayola's acid-rock and Holy Modal Rounders'Īcid-folk on the mini-album Butthole Surfers (1983), a gallery ofĭemented anthems played in a grotesque and noisy frenzy. Gibby Haynes (vocals) and Paul Leary (guitar) brewed a synthesis of The foundations were laid by the demented hyper-psychedelic punk-rock of the Hardly a foreshadow of the following decade's psychedelic deluge.

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