A little European tour with our friends The Melvins is happening in April. Dates are posted, should be a good one.

We just finished an album with Merzbow. Should be out within a couple of months.

After the tour we'll start work on a collection of songs that we are working on with our friends Dalek.

there ya go...

From the SF Weekly: Here


Lets Get Killed

Porn's seductive metal terrorism

By Jennifer Maerz - SF Weekly - Dec. 6, 2006

For one night last week, the Mitchell Brothers O'Farrell Theatre and the Great American Music Hall boasted complimentary offerings. While the former enticed customers with promises of gyrating bootie, the latter kept its statement truncated. Under top billings for the Melvins and Big Business, the Great American signage simply read "Porn ."

Of course, anyone familiar with Bay Area guitar aficionado/Melvins manager Tim Moss' disemboweling metal outfit knows there's nothing remotely T&A (even by Tenderloin standards) about his band. Alternately called Porn, Porn (The Men of), and The Men of Pornography, there is, however, plenty of coy teasing to be had before the group's money shots.

With his usual lanky metal-wizard visage covered in Santa Claus garb, from the stage Moss looked less Kris Kringle than a holiday burglar choking his hostage; he wrestled a guitar connected to a tangle of machinery designed to rough up the instrument's cries. Together with Melvin Dale Crover (or, I should say Elvis, as there were multiple wardrobe changes that evening) on drums, and a bassist I didn't recognize, Porn lumbered down a volumous path that knocked the tinnitus into our ear holes.

But Porn wouldn't give up the tsunami-riff momentum without some nasty flirtations first. The trio offered truncated chunks of Melvin-esque sludge; short tantrums that piqued the headbangers' interest and then fell away right when the crowd locked into the neck-loosening rhythm. It was a frustrating game .. Moss tossing a meaty low-end morsel our way, his buddies building on it, and the song collapsing into silence before it could be fully savored. But slowly the tracks gained girth, rewarding our needy patience with black-hole grooves that took us to a climax of burly, bass-heavy rumblings eviscerating all communication save maybe sign language. It was vintage Porn, Moss-style .. roiling feedback, dirty distortion, and obese beats like Motörhead loaded on Pink Floyd's Meddle.

The rest of the evening offered easy thrills in comparison. Big Business (whose powerhouse drummer Coady Willis played in three of the four bands that night) and the Melvins (whose Crover played with all four bands on the bill) performed like a bomb on continual detonation, the dirges getting louder and more momentous, the phlegmy cries growing more possessed, until you were released from standing in this cramped room of hoodied rockers and let your head twist in the ear-splitting murk. With the challenges of silence erased from the set, the Melvins' finale gave the room communion, groves of worshippers inciting whirling dervishes or simply thrusting their noggins toward the floorboards in time. It was a different grind than what I assume the dudes next door were getting from the Mitchell Brothers ladies, but escapism is escapism and there's something about that gutter-hued, mud-packed metal that offers a satisfactory release from time, normality, and maybe even the annoyance of an excitable fan flapping his elbows a little too close to your chest. Add to that the possibility that this music .. from Porn through the headliners .. offered something of an aphrodisiac to boot. While I can hardly say the bottom-heavy boom enters the bloodstream quicker than Spanish Fly, there was some kind of musty magic in the air that evening. After a pill-poppers' rendition of "Goodnight Sweetheart" (complete with backup singers dressed as monkeys) brought the cabaret to a close, I walked by not one but two horny metal couples mashing face outside the Great American. Ironically, the more overt offerings of the O'Farrell Theatre didn't bring on the same sidewalk display of affection outside its doors.

Sorry for the lack of Porn lately, everyone invloved has been busy with their other projects, and trying to get us all in the same room together has proved to be harder than my annual church confession. Here is what we are up to right now:

SXSW - Contrary to some we are not playing SXSW this year. We were asked for a couple of showcases but Billy will be in Argentina recording the new Natas album. Logistics.

Suckin 70's 2 - Small Stone Records - We are doing a song for this, with a special guest vocalist, who's from one of my favorite bands of all time. Should be really cool. Recording session is next month.

New Album(s) - We are also in the middle of working on the next few albums... One of them is our next release from the "Experiments in..." series...

Another is an album with some friends of ours from NYC, Dälek. If you get a chance to check them out, do. I'm not really sure how to describe them, but they share the same mindset we do (noise and feedback), and this project is something we're both very excited about. Songs have been sent up to them and we are awaiting the return of the reels.

We are also at work on songs for the next song-oreinetated album. Recording sessions for these start this Spring.

Touring - Again, logistics...  Between Billy's Producing sessions, Dale and the Melvins, and Moss' Tour Managing (Fantomas, Melvins, High on Fire) working out the Touring is proving to be harder and harder.  We are planning on some West Coast shows to work in the new songs for the next recording sessions, and then full tours, both US and Europe will be planned just as soon as the next album(s) come out. sorry about the cancelled Europe tour last year, circumstances beyond our control.....

Well... that's about what we've been up to...

Billy Anderson
Dale Crover
Tim Moss

ROADBURN MAGAZINE Wine, Women and Song are three of the Devil's playthings, says the cover and inside page of the new Porn record. I guess we could add the slide guitar and volume are two more of the Devil's playthings. The part of the Devil will played for this review by Tim Moss, guitarist, founder and guiding force of Porn. It's really easy to cast Moss in this role, I mean, there's just something inherently creepy about all the music that he's made, whether it was with Ritual Device or The Men of Porn. Moss just exudes dark seediness, both with his voice and with his guitar sounds. On his newest release, there is obvious veil of maleficence and sickness. This is evident before you even open the CD case. The cover is a pallid, bloated boy/cherub done in chiaroscuro style reminiscent of the old Italian masters. The painting style serves to enhance the cherub's sickly/sweaty sheen, and the fact that it's reclining in some of post-coital or heroin-induced bliss provokes deeply unsettling thoughts. Once you've actually put the CD on, the lyrics bring overt drug references, satanic references, and much more unsettlingly, the refrain from "Last Song", during which Moss states repeatedly "I saw you looking out my window last night." This is made even lewder by the fact that the production places him behind you and leaning very close to your era while he says it. The vocal production makes the most of Moss' somewhat limited singing ability by moving him all over the mix to alternately maximize his howling and his more personal speaking/incanting style. Devil Moss clearly ] channels the dark side, but he's also a relentless innovator and maximum volume hound, both of which are traits I admire. His latest backing band is the all-star team of Billy Anderson on bass [and production] and Dale Crover on drums. Calling them rock solid is no hyperbole. Moss takes this behemoth [and consistently interesting] rhythm] section to the furthest reaches of space and stoner rock and then sends back twisted and plaintive missives with his nearly human sounding slide guitar howls. "Wine, Women and Song" moves from these deep spacey jams to sharp, angular riffing with complete ease. There is a tremendous amount of ebb and flow on the whole record, with long quiet builds setting up supremely satisfying riff bashing. Throw in some great songs, stellar production and a monster rhythm section, and you have that most elusive of records, familiar enough to be easily digestible, and complex enough to listen to over and over. In contemporary terms, this record thouches on Ufomammut, Kyuss, Jesus Lizard, Melvins and Fuckemos. In classic terms there are traces of Black Sabbath, Hawkwind and Pink Floyd. A very tasty melange indeed, all served up with super loud and heavy production destined to destroy iPod headsets the world over. This has the hallmarks [earmarks?] of an album with tremendous staying power, it's consistently heavy and consistently interesting. So good it's sinful! Drew Webster- Roadburn Magazine - December 22nd, 2004 -------------------------------------------------------------------------------

MONOLITH (Greece) Chapter Three of the Porn (The Men Of) adventure. If you think that "Wine, Women and Song..." is a collection of drink songs, then go to the doctor first, and ask him if you're healthy enough: because you'll have to handle the hardest stuff. OK? Right. Now, you can call your women and buddies, put the record, play it loud and get ready for a bad hangover. Three guys and not the least for that third LP. Once again, Porn's founder, brains, vocalist and guitarist Tim Moss (Ritual Device) summoned two colossus of the heavy rock scene. Tim shows a certain talent for that. After Joe Goldring (ex-Swans), Guy Pinhas (The Obsessed, Goatsnake, Acid King), Brian Hill (Buzzov-en, Acid King) among other talented guests, it's now the turn of Dale Crover (Melvins, Nirvana) on drums and tympani, and Billy Anderson (Melvins, Splith, but mostly well-known as the "you can't get away from him" producer of the Melvins, Neurosis, Sleep, High On Fire...), on bass, organ, piano, backing vocals and engineering, to join the Porn's Brutish Beasts Club. OK, that's not fair this time. Even so, "Wine, Women and Song..." is subtler than just a destructive, loud explosion of a massive wall of sounds: this is just one of the main components of the hairy Porn's style. Subtle...you doubt? So what about the rest... A heavy primitive fuzz guitar playing monster riffs and feedback (listen to that de-generated quasi-human feedback line echoing like a sick mocking laugh in the second half of "Succulento", or to that insane guitar yelling in "Last Song"... there's a smell of paranoia, isn't there?) a boggy-like-sludge rhythm section (that's not entertainment with Dale and Billy, masters of density… their thickness abilities are as huge as they want to be), lead Pornster's harsh voice vomiting rare but totally depraved lyrics, an early 70's Pink Floyd-ish pedal steel, like on the salutary meditative part of "The Five Books Of Theaeneas" (that reminds the beautiful Atom Heart Mother's track "If"). All those ingredients are mixed into something that is not only a devastating heavy stoned metal magnum opus. Meditative and noisy experiments also confer an "intellectual" (some words have sometimes to be said) dimension to that record. Don't get me wrong; what I mean is that Porn should be listened to, not only with your ears and body, but also with your mind wide open. So is that kind of Porn. Rate: 11/13 -------------------------------------------------------------------------------

SAN FRANCISCO BAY GUARDIAN If you've ever crossed paths with Men of Porn mastermind Tim Moss, you know he looks like a fucking metal wizard and plays like Lucifer. The towering, long-haired, long-bearded Bay Area resident once described for me the pleasure he took in performing live "D sets" – one song tortured to its last nerve for 40 minutes – and he christened the covers he recorded of Motörhead's "Sister" for Porn's Experiments in Feedback EP "Valium Mix" and "Nod Mix." This is a man skilled in compacting your skull like the trash collector, rattling gray matter with seriously psychedelic sludge and repetitive riffs thick enough to abbreviate your lung capacity. On Wine, Women, and Song ..., Moss teams up with bassist Billy Anderson and Melvins drummer Dale Crover to perform black-lit magic. The mostly instrumental songs throb like phantom limbs, with Moss's droning guitar doom cascading over a sinister rhythm section that could crack concrete. When Moss does deem a track worthy of vocals, he spews a gravelly bile about narcotics, neurosis, and nasty habits. But otherwise it's a dirgy Sabbath-Melvins bath where even the cleanest-sounding song – the 15-minute, five-part "Five Books of the Aeneas" – sounds hatched from Pink Floyd's Meddle-ing acid flashbacks. Jennifer Maerz - www.sfbg.com - Dec. 01 - Dec. 07 2004 • Vol. 39, No. 09 -------------------------------------------------------------------------------

SF WEEKLY Though the band got lumped in with the stoner-rock movement when it first emerged in the late '90s, the feedback-laden noise blasted out by Porn (The Men of) smacks of something far more extreme than crushers sucked from a 5-foot bong. Creating the aural equivalent of shooting heroin while peaking on blotter acid, founder and guitar mastermind Tim Moss stirs up a molasses-thick soup of Floydian space-rock and galloping Motörhead-style thunder on the group's latest. Backed this time around by Melvins drummer Dale Crover and noted producer/engineer Billy Anderson (who has worked with the likes of Mr. Bungle, Neurosis, and Sleep, to name a few) on bass, piano, and organ, Moss conjures titanic, swirling waves of fuzzed-out distortion that unfold slowly and deliberately on the nearly 12-minute opener "Succulento" before finally kicking into overdrive. Briefer salvos "Mastadon Entrée" and "Glory Will Be Mine" touch on more typical rawk bludgeoning, but it's the expansive excursions into drone and skull-cracking riff chaos heard on such epics as "The Five Books of Aeneas" and "Last Song" that will have fans of left-field heaviness genuflecting at the altar of this band. Dave Pehling - www.sfweekly.com - December 15, 2004 -------------------------------------------------------------------------------

DETROIT METRO TIMES Metal is supposed to be brutal, and Porn (The Men Of) understands this. But when it's also experimental, that's when things get really hairy. For the Bay Area band's latest Small Stone offering, lead Porner Tim Moss is joined by bassist/Producer Billy Anderson and Melvins drummer Dale Crover for a journey through proto-Sabbath sludge, intellectual stoner rock (yep) and bewildering musical gray matter. Its midsection consists of concise tracks built from bottom-feeding bass, trudging riffs and Moss' coarse, atonal vocals. But Wine, Women and Song's real draw are three 10-minute-plus set pieces that twist the metal brainstem in exciting, dangerous directions. They act as platforms for Moss' array of guitar effects, but never count out the rhythm section's absolutely manic force. At one point a pedal steel peels into earshot, wandering meditatively over gentle percussion. But it's only a lull, a rest stop on the way to a thrash of tortured vocal and double-time precision drumming from Crover. The nearly 12-minute opener "Succulento" is another highlight, ripping between a galloping lead section and detours into frightening feedback genius. There's just no escape. Wine, Women and Song is a heavy metal tractor beam, and it's sucking dark thoughts right out of your head. Johnny Loftus – Detroit Metro Times - October, 20th 2004 ------------------------------------------------------------------------------- DETROIT METRO TIMES REVIEW

HELLRIDE MUSIC Listening to Tim Moss's voice makes me think of someone who would dress up in a Bugs Bunny costume and lure young kids into his rape van. All stinky breath from cigarettes and bottom-shelf bourbon. But the man sure knows how to do weird shit with a guitar. Tim Moss unleashed is a thing to see. Those that have seen Porn live know what I’m talking about. Those signature atonal whelps he ushers from that guitar are legendary and the way he makes those Orange amps his volume bitches…, With Wine, Women and Song..., Tim is joined by Melvin's drummer Dale Crover and noted producer/musician Billy Anderson who also co-produces and engineers. People that have read my prior reviews know that I’m no huge Billy Anderson fan when it comes to any band that has vocals, but here the sound DEVESTATES. I kept thinking of what Meantime-era Helmet would sound like if they recorded on Ketamine. The sound on Wine, Women… is massively dense and percussive. The mix is loud to begin with… this is a true volume junkie’s recording. As for the Porn material, it's the same drug-blues and meth metal found on their seminal American Style release mixed with the Albini-ish feedback experimentalism found on… well… Experiments in Feedback. I swear to God, some of this stuff sounds familiar. None of the song titles match up with any of the other stuff and I'm too lazy to go get the prior Porn CDs to check. Either way, the production on this monster beats the other two hands down, so I guess it's a wash. I mean, the SOUND. Massive, denser than Osmium. Moss's lyrics always hover on the slightly paranoid dark side. Nothing is gonna beat that song about 'Teabaggin' ” though. That's the best. Good stuff. We've waited a long time for Moss to get back in the studio, and this was worth the wait. Edgy, eardrum-busting, paranoid drug-metal. Chris Barnes - Hellride Music - October 2004 ------------------------------------------------------------------------ HELLRIDE MUSIC REVIEW

Going in this weekend for the final day of mixing the new album "Wine, Women and Song..." Smallstone Records will be releasing in the Fall. Work on the already recorded next album will start thereafter.