On Thursday the 18th of May 2006, Thee Comet Allotment staged their first ever public performance, the first in a continuing series of low key acoustic gigs, this one under a bridge in Windygates.

Featuring just vocals, guitar, shaker, the sounds of traffic passing overhead and the piss-stinking stream running by, the band ran through 6 previously unreleased songs, showcasing their love for the simple joys and hidden depth of traditional pop music.

"We're Going To Peru" is the theme song to a fictional television series of the same name, hosted by a post-drug-induced meltdown Mr Boon & features a fantastic gullet solo.

We're Going To Peru

In the special, special month of June 2006, Thee Comet Allotment decided to mark the occasion with their first full length acoustic live album, recorded over 2 consecutive nights at the magical, sandy and confusing sacred area of Fife where West Wemyss meets East Wemyss, in which they ran through 25 tracks, 21 of which were written especially for the occasion.

This selection, "Pride" concerns itself with the ideas of nationalism, patriotism, loyalty and even zealotry, without ever judging any. Featuring just vocals, guitar, shaker and subtle swishing and papfhing of the beautiful Firth of Forth, the song again showcases TCA's unique hydra-headed vocal interplay, while never straying far from the wonderful simplicity of traditional drug music (which the band may or may not have actually invented).

We hope you enjoy.

Pride

In late December 2006, the three core members of Thee Comet Allotment convened in East Wemyss, with the intention of once again summoning the magical energies of sound, tapping into the infinite subconscious knowledge of mankind and in the process charging themselves and the surrounding area with the collective perpetual inspiration of Now.

At midnight they entered a small wooden gazebo/hut, and armed with a 4-track port-a-studio, Dictaphone, guitar, melodica and a childs toy microphone with a reverb spring inside, they set out to pay homage to the Flaming Lips deathless Zaireeka! LP and the use of multiple sound sources found therein. Instead, they created a sprawling semi-improvised meditation on outer space, inner space, Mother Nature, the forces which brought our planet into being and the forces which are currently pulling it apart.

Unique in the bands discography, the uncharacteristic multi-tracking approach serves only to highlight the terrifying versatility of the collectives vocal interplay, from straight-up Sam & Dave styled call-and-response holler, to masses of swirling, wordless wailing, chanting and all things in-between, the multi-track production and arrangement gives a suitably epic sound for the lofty issues addressed within.

Channelling such greats as Stockhausens Stimmung, Black Sabbaths self-titled LP, and Autechres Gantz Graff, as well as the dubbier moments of Augustus Pablo, SUNSPLASH is undoubtedly Thee Comet Allotments most ambitious release, as well as being one of their most political and sociologically explicit compositions, and will be taught to children to warn them of the folly of mankind in the primary schools of the future.

The members of Thee Comet Allotment, past, present and future, love you all.

Sun Splash (stereo mixdown)

As the searing summer of 2006 simmered down into the crispy climat of a beautiful Fife autumn, Thee Comet Allotment temporarily withdrew from outdoor events and hunkered down in their psychedelic musical workshop so they could fucking cane it with drugs even harder.

The group's long-term experiments with soapbar and subconscious thought were now reaching a peak of intensity & over the mushy season regular T.C.A. multi-instrumentalist Alan developed a terrifying messiah complex. Spirits were high and several band members also strongly suspected he was the newest son of God.

This shared belief spawned the stone-cold-classic "I'm The New Jesus In Town" album, 12 tracks written and recorded in 2 hours ranging from psychedelic hymns, to solemn country laments, to furious mung-pop & avant-garde instrumentals, all of which were absolutely pie-eyed with insane messianic delusions.

Strictly Old Testament, "Immortal Super-Being" is a meditative acoustic lament reminiscent of Nick Cave on helium, which details all of Alan's miraculous powers, his immortality and warns non-believers of their imminent violent deaths.

Water into wine, lemon into lime, sorbet into sand, this is one of Scottish music's most preposterous albums of all time.

Immortal Super-Being

One of only a handful of single-track TCA live sessions, the band's 23rd August 2006 visit to West Wemyss beach yielded only this jarring spew-stomp sung from the perspective of the shoreline it was recorded on, as it looks back over the aeons it took to form.

Coming on like early Funkadelic vocalists fronting a retarded Slint-goes-acoustic-boogie-woogie hippy bar band from Stonehenge, this three-piece all-singing-all-playing-some-dancing Thee Comet Allotment line-up ramps up the syncopation & dissonance to accurately reflect the disconnect of the earth from the humans who have passed over it before concluding, having seen it all, ashes to ashes, dust to dust, ass into ass.

I Once Was A Grain

As the searing summer of 2006 simmered down into the crispy climat of a beautiful Fife autumn, Thee Comet Allotment temporarily withdrew from outdoor events and hunkered down in their psychedelic musical workshop so they could fucking cane it with drugs even harder.

The group's long-term experiments with soapbar and subconscious thought were now reaching a peak of intensity & over the mushy season regular T.C.A. multi-instrumentalist Alan developed a terrifying messiah complex. Spirits were high and several band members also strongly suspected he was the newest son of God.

This shared belief spawned the stone-cold-classic "I'm The New Jesus In Town" album, 12 tracks written and recorded in 2 hours ranging from psychedelic hymns, to solemn country laments, to furious mung-pop & avant-garde instrumentals, all of which were absolutely pie-eyed with insane messianic delusions.

"Über-Christ" is the meditative final track, a sombre distillation of the albums messages which shocks the listener with it's mantra-ish lyrical austerity. TCA offer no reasoning or persuasion, just madeningly repetitive statements like "Alan is Jesus, Alan is Jesus, Alan is Jesus". Also "He's on the righteous path, he's on the righteous path, he's on the righteous path" and tellingly "You're a total wank, you're a total wank, you're a total wank" before the track fades out into radio static and sumblinal satanic messages. Deep.

Über-Christ

From Neil Young to Katy Perry, the moon has always been a source of great inspiration for the true deep thinkers of art and music, and Thee Comet Allotment as you would expect were no exception.

On 29/06/06 T.C.A. embarked upon their epic multi-location field recording event/album'moon ritual "Pimp My Tide".

Beginning at sea level and at low tide, the band relocated their specially commissioned 3-piece heavy line-ip to higher and higher sites as the tide rolled in, as a mystic physical metaphor for their mental state and the moon's gravitational mind-fuckery.

Wisely eschewing any overtly lunar subject matter, the band took the opportunity to turn their focus outwards to their surroundings. For "Wet Ballerina" they clambered atop an auspiciously large and onion-like boulder in the shallow water of the Firth of Forth and sang it's praises heartily, before retreating to the rocky beach to improvise the unremarkable "Who Makes The Sea Move?"

As the tide ushered them higher and higher the band rested in a small woodland patch to sing of foliage in "Three Way Handshake (With The Earth)".

After the experimental vocals & percussion suite "Song In A Forest" in which the band jumped up and down on recently felled trees for percussion, and a reprise of the classic "Energy Cave Train" from the East Wemyss Cave EP, the band finally settled atop a 100-foot cliff overlooking the whole shoreline and all the locations their journey had taken them.

Here they would work up a frantic groove with their modified digeridoo drum and loonge bottle snare entitled "Iraqi Tear Dust". With rare T.C.A. ferocity, the guitar dive-bombs atonally and the backing singers weep hysterically.

In just three lines Thee Comet Allotment paint a dazzling picture of real Iraqi grief that's oddly moving to even us westerners. "Bombs falling! Voices calling" they wail, and as the backing vocals build the grief becomes too much to bear and the band call out to Sundh repeatedly until the song's close.

"Iraqi Tear Dust" rounds off the album on a strangely melancholy note, a psychedelic tsunami of unconscious emotion released, but with the simplicity and clarity of thought to teach and wonder. Deep.

Iraqi Tear Dust

In the first months after the formation of Thee Comet Allotment as a group, the members soon, through experimenting in music, art and the collective unconscious, came to believe that their efforts in these fields were being guided by some unseen force. Through further experiments and with the aide of copious amounts of drugs, the group soon determined that this unseen force was a mythical being known as Sundh, a giant man-mammoth with four tusks who communicated with the band through seemingly convenient coincidence and subconscious. The band came to believe this being was very important to them and their work, and at various times hailed him as a religious figure or as their muse.

Excited by this “discovery”, the band decided to record a double A-side single in dedication to Sundh, to be released in Easter 2006, Easter specifically chosen because it is a special time of the year in many religions. The recording of this double A-side single proved to be the first formal recording sessions in the small wooden hut that the band named themselves after.

The first of these sessions took place at late night, and produced the gentle, hymn-like ballad ‘Sundh’s Welcome’, which explicitly described, and sang the praises of their new muse-God. Delighted with the results, the band reconvened the following morning and, as if harnessing the creative power exploding big-bang-like from the previous night’s new ground, they spewed forth the insane Dada-esque howl of ‘Aga Coker’.

If the band themselves intended another calm, reflective ode to Sundh, then Sundh himself must have had different ideas, as they instead created a surreal, oompah-riffing, dissonant rant about All-And-Everything.

Taking inspiration from sources as disparate as Kyuss, John Lee Hooker and the cut-up lyric technique of David Bowie, Aga Coker is a plastic-smashing visceral puke-boogie of Mount Rushmore sized proportions.

Aga Coker

As the searing summer of 2006 simmered down into the crispy climat of a beautiful Fife autumn, Thee Comet Allotment temporarily withdrew from outdoor events and hunkered down in their psychedelic musical workshop so they could fucking cane it with drugs even harder.

The group's long-term experiments with soapbar and subconscious thought were now reaching a peak of intensity & over the mushy season regular T.C.A. multi-instrumentalist Alan developed a terrifying messiah complex. Spirits were high and several band members also strongly suspected he was the newest son of God.

This shared belief spawned the stone-cold-classic "I'm The New Jesus In Town" album, 12 tracks written and recorded in 2 hours ranging from psychedelic hymns, to solemn country laments, to furious mung-pop & avant-garde instrumentals, all of which were absolutely pie-eyed with insane messianic delusions.

The title track keeps up the holy gloating with funky acoustic rock-pop with backwards wah-bass and exceedingly un-Christian threats like "Get out of my realm, I'll turn your eyes to wine".

I'm The New Jesus In Town

On Friday the 19th of May 2006, Thee Comet Allotment staged the second in their continuing series of low key acoustic gigs, this one on East Wemyss beach.

Featuring just vocals, recorders and sticks and stones as percussion, the band ran through 5 previously unreleased songs, experimenting with their most obviously cryptic-tribal-jazz sound to date.

"Identity" is a dark tale of perception, crooked cops, perspective, and identity crisis, condensed into 10 words blurted between Fun House-esque free-form recorder tooting.

Identity

In the special, special month of June 2006, Thee Comet Allotment decided to mark the occasion with their first full length acoustic live album, recorded over 2 consecutive nights at the magical, sandy and confusing sacred area of Fife where West Wemyss meets East Wemyss, in which they ran through 25 tracks, 21 of which were written especially for the occasion.

A truly heartbreaking tale, "Hernan Crespo" tells the tale of a man who's gambling addiction has caused him to neglect his garden.

Hernan Crespo

In the special, special month of June 2006, Thee Comet Allotment decided to mark the occasion with their first full length acoustic live album, recorded over 2 consecutive nights at the magical, sandy and confusing sacred area of Fife where West Wemyss meets East Wemyss, in which they ran through 25 tracks, 21 of which were written especially for the occasion.
 
"The Tide" cleverly inverts the typical looking-out-to-sea-thoughtfully song format by looking out to sea and not thinking at all. Un-deep.


The Tide

Cast your mind back to the scorchio summer of 2006. Remember that one week where it was really, really hot? Remember that one particular day when it was ever-so-slightly noticeable that it was slightly hotter than all the other days? Do you remember what you were doing on that hottest day of the year? Chillin? Kickin back on the beach? Eating ice cream and getting pissed on cheap cider?

Well, none of these feeble pastimes for THEE COMET ALLOTMENT, who decided instead to grab that special day and make it their own by smoking lots and lots of dope, driving down to Leven while recording an improvised one-chord mono-jam (released as the Sappy Journey single, 2006), then staging an impromptu gig on the crowded beach to enhance everybodys already glorious day.

If you were lucky enough to be thrust into the presence of this uber-happening by Sweet Lady Fate, then youll probably remember such classics as The Sky Is Full Of Liquid, Limbs, Panda Een and in particular Bees In My Flute, TCAs rock n roll retort to those who would try to harness natures sacred ways for their own honey-gain. Dont get it? Ask your cousin.

Bees In My Flute

As the searing summer of 2006 simmered down into the crispy climat of a beautiful Fife autumn, Thee Comet Allotment temporarily withdrew from outdoor events and hunkered down in their psychedelic musical workshop so they could fucking cane it with drugs even harder.

The group's long-term experiments with soapbar and subconscious thought were now reaching a peak of intensity & over the mushy season regular T.C.A. multi-instrumentalist Alan developed a terrifying messiah complex. Spirits were high and several band members also strongly suspected he was the newest son of God.

This shared belief spawned the stone-cold-classic "I'm The New Jesus In Town" album, 12 tracks written and recorded in 2 hours ranging from psychedelic hymns, to solemn country laments, to furious mung-pop & avant-garde instrumentals, all of which were absolutely pie-eyed with insane messianic delusions.

"Infinitely Better Than You" is a freebasing juggernaut with inappropriate Hendrix chords and sub-sub-sub-stoner riffings, underpinning a deranged vocal that manages to be both smug and inconsolably delirious at the same time, building to a deranged dissonant mantra finale. Holy, holy, holy.

Infinitely Better Than You

As the searing summer of 2006 simmered down into the crispy climat of a beautiful Fife autumn, Thee Comet Allotment temporarily withdrew from outdoor events and hunkered down in their psychedelic musical workshop so they could fucking cane it with drugs even harder.

The group's long-term experiments with soapbar and subconscious thought were now reaching a peak of intensity & over the mushy season regular T.C.A. multi-instrumentalist Alan developed a terrifying messiah complex. Spirits were high and several band members also strongly suspected he was the newest son of God.

This shared belief spawned the stone-cold-classic "I'm The New Jesus In Town" album, 12 tracks written and recorded in 2 hours ranging from psychedelic hymns, to solemn country laments, to furious mung-pop & avant-garde instrumentals, all of which were absolutely pie-eyed with insane messianic delusions.

Although musically mellow, the lyrics of "Messiah Me" open the album with the kind of aggressive force that creates genuine converts out of die-hard atheists. Alan is praised to the sky while other religious figures are insulted in the kind of language usually reserved for disobedient household pets and is frankly bang out of order.

Messiah Me


As the searing summer of 2006 simmered down into the crispy climat of a beautiful Fife autumn, Thee Comet Allotment temporarily withdrew from outdoor events and hunkered down in their psychedelic musical workshop so they could fucking cane it with drugs even harder.

The group's long-term experiments with soapbar and subconscious thought were now reaching a peak of intensity & over the mushy season regular T.C.A. multi-instrumentalist Alan developed a terrifying messiah complex. Spirits were high and several band members also strongly suspected he was the newest son of God.

This shared belief spawned the stone-cold-classic "I'm The New Jesus In Town" album, 12 tracks written and recorded in 2 hours ranging from psychedelic hymns, to solemn country laments, to furious mung-pop & avant-garde instrumentals, all of which were absolutely pie-eyed with insane messianic delusions.

"O Alan" begins the album's solemn mid-section of hymns and songs of worship and ramps up the devotion with holy choir-vocals and frankly outstanding lyrics.

O Alan

As the searing summer of 2006 simmered down into the crispy climat of a beautiful Fife autumn, Thee Comet Allotment temporarily withdrew from outdoor events and hunkered down in their psychedelic musical workshop so they could fucking cane it with drugs even harder.

The group's long-term experiments with soapbar and subconscious thought were now reaching a peak of intensity & over the mushy season regular T.C.A. multi-instrumentalist Alan developed a terrifying messiah complex. Spirits were high and several band members also strongly suspected he was the newest son of God.

This shared belief spawned the stone-cold-classic "I'm The New Jesus In Town" album, 12 tracks written and recorded in 2 hours ranging from psychedelic hymns, to solemn country laments, to furious mung-pop & avant-garde instrumentals, all of which were absolutely pie-eyed with insane messianic delusions.

"Die For Your Own Sins" is another audio-pamphlet for the Church Of Alan, distinguished by it's possible implication that Jesus was a "munger".

Die For Your Own Sins


On Friday the 19th of May 2006, Thee Comet Allotment staged the second in their continuing series of low key acoustic gigs, this one on East Wemyss beach.

Featuring just vocals, recorders and sticks and stones as percussion, the band ran through 5 previously unreleased songs, experimenting with their most obviously cryptic-tribal-jazz sound to date.

This track seems to be a variation of the classic I'm-some-kind-of-crawling-sea-creature-and-I'm-pining-for-my-missing-sticks-and-jacket song format, with fucking excellent results.

Sentimental


In spring 2006, an expanded 4-piece line-up of THEE COMET ALLOTMENT gathered in a cave underneath mythical MacDuff Castle and performed a short set of acoustic guitar and percussion-based songs, expanding on their previous successes in Windygates and East Wemyss beach; their only two previous live excursions at this time.

Utilizing the caves wonderful reverb, the quartet improvised a set of cave-inspired gems showcasing T.C.A.s recently acquired full-size Australian didgeridoo, including the stand-outs Limey Nights (Stalagmites), the classic Energy Cave Train, Diplodocus and Neanderthal, the latter taking visual prompting from the genuine prehistoric cave paintings on the walls to create a strong mental image of those times in the listener.

With genuine time-eroded ambience and cavey auras, this is an important document in the history of recorded music of Scotland by people with brain damage and full-time drug habits. Not to be missed.


Limey Nights

On Thursday the 18th of May 2006, Thee Comet Allotment staged their first ever public performance, the first in a continuing series of low key acoustic gigs, this one under a bridge in Windygates.

Featuring just vocals, guitar, shaker, the sounds of traffic passing overhead and the piss-stinking stream running by, the band ran through 6 previously unreleased songs, showcasing their love for the simple joys and hidden depth of traditional drug-pop music.

I Got A Feeling (Drowning)

The Bible

Who Made The Rice

Radio Jingle for Chris Moyles

Maggot Pop

In spring 2006, an expanded 4-piece line-up of THEE COMET ALLOTMENT gathered in a cave underneath mythical MacDuff Castle and performed a short set of acoustic guitar and percussion-based songs, expanding on their previous successes in Windygates and East Wemyss beach; their only two previous live excursions at this time.

Utilizing the caves wonderful reverb, the quartet improvised a set of cave-inspired gems showcasing T.C.A.s recently acquired full-size Australian didgeridoo, including the stand-outs Limey Nights (Stalagmites), the classic Energy Cave Train, Diplodocus and Neanderthal, the latter taking visual prompting from the genuine prehistoric cave paintings on the walls to create a strong mental image of those times in the listener.

With genuine time-eroded ambience and cavey auras, this is an important document in the history of recorded music of Scotland by people with brain damage and full-time drug habits. Not to be missed.

Energy Cave Train

What would surely have been the towering centrepiece of the lost THEE COMET ALLOTMENT VOLUME 3 album, Who Made The Rice is a 3-part improvised banjo/guitar/cabasa free for all recorded live to 2-track in summer 2006.

Feeling that their music had become too laid back in the summer months, the band decided to live on nothing but rice and marijuana in the 2 weeks prior to this recording in the hope of creating the most intense performance they possibly could. The resulting Who Made The Rice session was a 24-hour celebration of all foods and a vitriolic denouncement of whoever it was that made the rice.

No doubt due to it's catchy melodies, excellent lyrics, spirited vocal performances & a virtuoso banjo performance from Callum, Part 3 was isolated from the rest of the 20 minute song and earmarked for a 7-inch single which sadly never materialised.

Unreleased until now, this is a truly monumental moment in the history of recorded music.

Who Made The Rice (part 3)

Celestial

Foliage

Wet Ballerina

No At Aw

Song In A Forest

She's A Peach

Energy Cave Train (Forest Version)

Thee Comet Allotment: The greatest improvisational drug-pop group of all time.

Righteous, visionary, humble and operating only for a self-imposed 10-month period in 2006, Thee Comet Allotment were a 100,000% focused hydra-headed psychedelic travelling musical unit of mythical proportions.

Ranging from anywhere between two and six members at a time, they formed around a shared belief in experimental living. In their 10 month lifetime they each learned multiple musical instruments from scratch and partook in the the kind of sustained experimental drug use that only true kings have the stamina for.

Initial recording sessions in their small workshop soon expanded into full-on improvisational field recording events as the band focused on visiting the finest natural spaces of Fife and filling them with beautiful sounds, ugly yelping and hunners of dope smoke.

From the psychedelic childlike daydreams of the Live In Windygates EP, through the long- form mantras of Who Made The Rice & Sappy Journey, to the dense & environmentally concerned Sunsplash single/dvd/boxset, Thee Comet Allotment never settled for anything less than white-hot unconsciously holy mung-pop.

The single most relentlessly creative band in the history of Scotland, they made full percussion sets from shingle and driftwood, fashioned strange discordant wind instruments from broken rifles, manipulated mini-digeridoos into bizarre mouth drums.

Through song, they invented and documented a whole mythology around their drug-induced vision of Sundh, a giant mammoth man who served as the band's muse and they improvised many hymns to him.
Later they recorded a full album about how one of their members was the newest son of God, entitled "I'm The New Jesus In Town".
 
But through all this, they never strayed from their crystal clear utopian musical vision and the simple joys of traditional drug-pop, which the band may have actually invented.

Come visit Thee Comet Allotment, where shit turns to gold 24 hours a day.

Thee Comet Allotment

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