People today probably recognize Epicurean composer, electrician, and skateboard enthusiast Lonnigan O. Lochinvar Mozert (1548-1697) best for his musical drama about overweight Italian opera singers, I Eata; or perhaps for his oratorio about automobile mechanics, Car Men. But all of that may be acqua sotto i ponti ("the Pontiff is green"), as they say, given several startling new finds. Dr. Karlheinz Klopweisser of the Arkham Institute for Arcane Musicology (Miskatonic University) recently unearthed two new lost Mozert manuscripts, although having found them, the manuscripts are obviously no longer lost and are certainly not new. Moreover, these newly discovered no-longer-lost lost old manuscripts may only be the beginning of a veritable treasure trove of Mozert music soon to be revealed. Thus, the scores we have here might not be the last of the manuscripts Professor Klopweisser uncovers; they might just be the last ones he found. Or they might simply be the first of the last lost but no-longer-lost lost scores. Such is the fascination of modern musical scholarship.
Anyway, as you know, young Mozert rose to prominence in the early 1640's through a whirlwind courtship with German national archery champion Kathoid Everlast, but the romance broke up. This was understandable, of course, as it was the Baroque age. Following the breakup, Mozert fell back into obscurity, fracturing several ribs and a pinky finger in the process. Still, it didn't stop him, and he continued pursuing his life's dream of working in his stepfather's knight, rook, and pawn shop, a dream, alas, like his love, unrequited. Still later, he took over editorship of the local newspaper in Wiley, North Dakota, The Wiley Post. And from somewhere came the menacing pocketa-pocketa-pocketa of the new flame-throwers.
Controversy surrounds the manuscripts, found by Professor Klopweisser tucked beneath an Egyptian mummy mask at the Luxor Casino in Las Vegas, Nevada. Were the manuscripts really lost, or were they temporarily misplaced for several centuries? Were they Mozert's magnum opus, or were they a shopping list for his daily groceries? Were they the great man's final words on the subject of musical composition, or is it possible, as many ancient astronaut theorists believe, that they are fragments of the Gospel of St. Mark? The mystery has only increased over the past four hundred years since no one actually knew that the manuscripts existed.
|Sir Nigel Twitt-Thornwaite|
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As for the album's miserable sound, we must blame the producer and recording engineer, Jonathan O'Konnell Edwards, who is obviously an idiot. Anybody who would make an album as offensive as this one must also beat his wife, drown small puppies, and murder neighborhood children. He is clearly a wretched pile of.... (Ed.: John, you can't say these things about people. Mr. Edwards could sue you for slander. Interpol could come to your door and drag you away. John? John? John?)
To listen to a brief excerpt from a completely different album, click here: