A cassette album from 1985. 
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Alligator Wrestling

ALLIGATOR WRESTLING 1985 ERIC MUHS   Simple yet hauntingly beautiful electronic melodies set against steady, unobtrusive rhythms. Eric C. Muhs is the synthesist here, and his expertly produced tape boasts some of the nicest echo/synth guitar I've heard in eons, interweaving perfectly with Muhs' own synthesizer. For sheer depth and variety, ALLIGATOR WRESTLING is miles ahead of most 1-2-3-4 , 1-2-3-4 electronic molasses; I never had the feeling that Muhs was sitting back and letting his machines or riffs do the work. Even his inclusion of Billy Graham makes the evangelist seem wise and reassuring (this may not have been Muhs' intent, but it reflects favorably on his upbeat, spacey backing track.) One of the most satisfying independent tapes I've ever received.  DINO DIMURO, OPTION MAGAZINE, MAY/JUNE 1986  

Eric Muhs joins avant-gardism and danceability in a perfect union. Representing the wild west in this E-music whirlwind tour, Mr. Muhs creates his music in the Bay Area. ALLIGATOR WRESTLING, his 1985 release, is, according to the artist, " a collection of widely varied recording projects." Varied ? And how ! My Favorites include the Enoesque (Music for Films) texturing in ANOTHER CHILD, the ambient/industrial blending in THE RELATIVITY CONDENSER, and the gothic synth progression of OBEDIENCE. This last song effectively merges the text of a Billy Graham sermon into a New Order-like dance beat with dramatic effect. Still other songs on the cassette-only release are worth mentioning. MOON DESERT NIGHT DRIVING is a suite which begins with wolf howl vocalizing and ends in a grand orchestral synth wash. ARE YOU GETTING SLEEPY ? is simply a mad thing complete with devilish hypnotist and nightmarish sounds. Also, Mr. Muhs does great things with vocal effects and harmonizing in LIFE IS CALLING.   NEAL CALLENDER, THE REVIEW, OCTOBER, 1986  

This tape really runs the gamut from dark, brooding, pulsing electronic pieces to spacey bell sounds to some electronic trance music with a strong beat. There is one track, DISOBEDIENCE, in which the voice of Billy Graham is twisted and manipulated over a musical background. I found his voice an obnoxious intrusion into an otherwise very satisfying blend of musical styles, but perhaps that was the intended effect. Except for the aforementioned track, this holds up well over repeated listenings.   SALLY IDAWASSEY, SOUNDCHOICE, WINTER, 1987

  E.M. creates most of the sound on this 55 minute tape playing various devices, mostly electronic (guitars, synthesizers, percussion, other unascertained items.) In 3 of the recordings, he uses an "original 4-track tape loop system" (all quotes are E.M.'s). He gets help on 9 of the 14 cuts by 7 different people, 1 or 2 per recording, who add guitar, guitar synth.,bass, drums, and voices (usually modified, ie multitracked, echo, one Billy Graham dub with varied speeds). About half of this tape has a beat (a lot of which has an outstanding new-wave type pop rhythm) with offsetting collages of unusual background sounds. The other half consists of ambient type experiments, which produce impressions of placidity and eeriness. E.M. has 2 other tapes out. One features the FLAVOR PEOPLE, who appear on 2 tracks here, and another which is solo tape loop stuff. E.M. is "actively seeking live tape loop performance opportunities on the West Coast "   JAMES ALLCOCK, SOUNDCHOICE, APRIL, 1987 
 
 


Alligator Wrestling Side 2

Alligator Wrestling Side 1

A Cassette Album from 1986

BOY IN WUHAN READS WHILE TENDING FAMILY BUFFALO  1987 ERIC MUHS  
What more praise can be heaped upon the ever-diverse E. Muhs that has not already been heaped ? Very apt guitar multitracking and tape loop excursions (Sinking in Your Eyes, Sweet and Smooth as Sand). Strangely atmospheric and dangerous romps through silk crates and microscopic locations teeming with ugly things (Jupiter Winds, Fires), clever and cleanly executed examples of bands he has been associated with (Flavor People doing We Like to Go to Bed and Sleep, VXT doing Nightmare, Invisible Wilbur doing Life is Calling) Eric does amphetamine guitars, bass, lyrics, synth, drum programming, and just about everything else with verve.   BRET HARTE, SOUNDCHOICE, WINTER, 1987
 
 


Eric Muhs

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