#cuntry road

[ririiiii777]

🤠

repost if you love cocks ignore if you are a zoophile

[purebbyfawn]

[littlemoondarling]

I want to go HOME

[c4ndyperfumegirl]

Country Road🌳🌾

[madlysage]

i serve cuntry every single day and i fear that the people at my college do not see the song “rhinestone cowboy” by glen campbell when they look at me but instead see RAHAHAHA MERICCCAAA AHHHHH 🦅🇺🇸

… and this is a reality i cannot begin to reckon with

[lunar-sk1es]

cuntry roads🎀🩷🌸

[daisychainsandbowties]

cuntry roads take me home or whatever

[innovacancy]

Puscifer House of Blues, Boston, MA 28 June 2022 Click below for live review!

“Life is short. Create something with every breath you draw.” So goes the slogan for Puscifer, one of the longtime projects of Maynard James Keenan, and the only musical endeavor of his where he is technically the sole permanent member.  Keenan, first known for his roles as the vocalist of prog- and alt-metal titans Tool and A Perfect Circle, has by all accounts taken this philosophy to heart both on- and off-stage: not only is he the lyrical head of three bands, he’s an accomplished martial artist, and also heads up two different wine labels from the precariously-placed plateau that is Jerome, AZ, counter-intuitively wrenching ichor from the notably-harsh environs of the American southwest.

Fresh from a tour with Tool on the back of that band’s first album in many years, Puscifer are back at it after their own years-long break, hitting the road with the LA-based noise-rap outfit Moodie Black.  That three-piece, headed by Arizona native Kristen Martinez, starts a trend for the night by incorporating a projection screen in their performance, which by the end of the performance Martinez has torn down and wrapped around her like a fallen flag.  Puscifer goes even further in their transformation of the space, two TV-shaped screens mounted in the rear of the stage, and a scaffolding big enough for two people supporting a craning, complex lighting array that protrudes out from the very back wall.  There’s also a host of seven-pointed, honeycomb-style LEDs surrounding the stage.

More stunning than the technological setup is the central role Keenan plays in the pageantry that ensues over the course of the evening.  While he’s always opted for various costumes (or varying degrees of undress) across all his bands, Tool shows typically see Keenan take a position far from the crowd, crouching low and oscillating back and forth in shadow, as if channeling a particular energy.  Puscifer, the super-ego to Tool’s id, couldn’t be more different; as Keenan’s most freeform project it finds him often at the lip of the stage, fully in character as neurotic g-man Dick Merkin, face heavily made-up and hair gratuitously gelled back.  Keenan has played many characters throughout the Puscifer years, often with a country flair in keeping with the project’s jokey, parodic origins (see: ‘Cuntry Boner’).  But the shift to black suits and bald-capped alien agents isn’t totally out of the blue, as not only do Roswell and Area 51 call the southwest their home, but Puscifer itself has grown from a band issuing records called V is for Vagina into a project where Keenan expresses his winemaking-inspired reverence for nature, and now his thoughts on the chaotic state of the world, which he explores readily on their latest project, Existential Reckoning.

While the subject matter has gradually become more serious, Keenan has done anything but dispense with his sense of play in the stage show of this auteurial project – there’s just a few less ten-gallon hats milling around.  Keenan is joined onstage by longstanding Puscifer “Agents” Carina Round, Mat Mitchell, and Gunnar Olsen. Mitchell, in charge of synth and guitar, shaped the sonic direction of Existential Reckoning, and Round – present from some of the earliest days of the project – has always acted as a venerable vocal foil for Keenan, as well as a lead actor in all the choreography that takes places throughout the night as the band winds through all twelve tracks from Existential Reckoning.  Round supervises as, after the second song of the evening, a group of emaciated agents hoist from the photo pit an “onlooker” – dressed as one of Maynard’s other Puscifer personae -  who is recording the set on his phone, an act which has been strictly forbidden for the evening by the historically camera-averse Keenan – though his permission of professional photography suggests – as do the many signs posted around the House of Blues – that the issue is more with people abdicating their experience of the show for the sake of documenting it in terrible quality.  The aliens hoist the tan-suited figure backstage where, if the pre-show video featuring Dick Merkin is to be believed, he will be promptly recycled into America’s most ubiquitous mystery meat.

Throughout the night, Keenan and Round perform all sorts of interlocking dance routines, both in the foreground of the stage and up on the scaffolding, the layout of which can be seen prominently in the band’s live video for ‘Bedlamite’.  During the thrilling ‘Apocalpytical’ they emerge from backstage wearing chest-plate-mounted microphones underneath their suit jackets, allowing them to move freely and control the mics solely with their center of gravity. They keep them on for ‘The Remedy’, the arrival of which elicits elated cheers from the crowd.  Both perform a series of robotic dances at different times, and Round is joined in a line by the thinly-veiled alien agents, who at other junctures come to the forefront with Geiger counter-like devices and squabble as they search for something unnamed.  After a second interlude – afforded to the band by pre-taped screeds in which Merkin alleges that nearly every famous person, including one Maynard James Keenan, are of extraterrestrial origin – Keenan returns as Billy D., the foul-mouthed, tan-suited figure who was so disreputably impersonated earlier in the evening. Billy D. notably has whiskey tumbler in-hand at all times, and during a few songs of this pseudo-encore segment the g-men – now fully transformed into aliens – come to the stage and refill the vessel with Maker’s Mark.  Round also has by this point traded her tailored duds for an all-black Victorian-era dress, and further changing the atmosphere of the evening, for the title track of Conditions of My Parole Keenan sings into a megaphone, a technique he’s often employed with Tool that lends a unique texture to the song.

Before the evening is over, Keenan discusses the plans for a few reissues, including the aforementioned V is for Vagina.  Feeling inspired, he leads the room in a chant of “Vagina!” as he walks across the stage, four times extending the mic in the direction of the audience and a quarter of the room shouting it on cue in turn. “Powerful stuff!” he quips before adding, “Some old fuckers kicked the hornet’s nest and they’re gonna find out…”, clearly in reference to the Supreme Court’s recent and tragic overturning of Roe v. Wade amid ruminations by Clarence Thomas that they aim to do far more damage in the future.  But ‘Bedlamite’ helps close the evening out on a somewhat optimistic note, with its pristine refrain that “it’s gonna be alright” – though speaking to Forbes Keenan acknowledged that it’s not a philosophy of inaction.  As a gesture of goodwill, he suspends the night-long cell-phone ban for this final cut, and as the song winds down he toasts the crowd from the top of the scaffolding, and fist-bumps Round on Mitchell’s final note.  The stage goes dark, but Merkin returns one time in a quasi-blooper reel, finding him playing a Bop-It! game with all the giddiness (and difficulty) of a small child.

[catofoldstones]

cuntry roads

[purebbyfawn]

if i was a cowboy, i’d be the queen ♡

[icebergvideo]

cuntry roads take me home. To the place. I belong

[holtbys-left-eyebrow]

💅 cuntry roads

[madeline-kahn]

hey, i just saw that gorgeous set you made about bria and i dont listen to their music but i want to start because i love their vibe. what songs /albums do you recommend starting out with?

Ahh yay and thank you!! I definitely listen to Cuntry Covers (Bria) way more than Basic Behaviour (FRIGS) because it's more my vibe. But they're both good! Personally I started with the Green Green Rocky Road cover since that was a song I was already familiar with and from there I got into the whole EP and listened to it all the time over the summer because it was perfect music for the really hot weather.

I think Gemini is a good transition into Basic Behaviour, my other favorites are II and Waste. I also really like the video store performances of Solid State and Talking Pictures

[radicalreliablerandomness]

Country hoe

Took my bro

Far away

*deep breath*

IN A UFO

[evildilf2]

Call me John Denver the way I’m serving CUNTry roads

[mossymandibles]

The hilarity of living in certain parts of the cuntry, is that you can see some Tron Legacy-looking souped up bullshit driving down the road except it’s, it’s a fuckin Ford truck