the trippo marx archive



1993-1994 This project is a condensed version of three hour long cassettes of 4 track mixes made under the name "Yngwie Mwowmstein". The first cassette, CHRONIC, was mixed July 5th 1993, the second cassette, ANYTHING CAN BE MUSIC, was mixed February 13th 1994, and the third cassette, TONGUE IN CHEESE was mixed March 18th 1994. A lot of this material appears in different forms scattered across several Trippo Marx albums, but this collection provides a sampling of the initial cassette mixes along with a few tracks from the cassettes that were subsequently remixed.


R. E. M. Speedwagon

1994 TRACY CHAPSTICK keyboards vocals
MANNHEIM JOINT ROLLER bass guitars keyboards kazoo vocals
YNGWIE MWOWMSTEIN guitars bass keyboards kazoo vocals
R.E.M. Speedwagon began its short life as a collaboration between Jason “Mannheim Joint Roller” Morris and myself. We never planned to be a “band” per se; we just liked making stupid recordings. We eventually wound up collaborating with his sister Melissa (“Tracy Chapstick”). Jason and I mixed a cassette’s worth of recordings in 1994, and when I remastered them ten years later, I added two tracks that never made it to the cassette.

Marxology 1

1987-1994 Marxology is a continually expanding & contracting anthology of demos, extended & alternate mixes, live recordings, sketches, improvs, and other various and sundry thingies that, for whatever reason, have not made it (yet!) to one of the Trippo Marx albums, or, tracks that appear on a Trippo Marx album in a truncated or altered form, or, tracks that were previously made available but pulled from one of the Trippo Marx albums for one reason or another. This first volume covers my oldest surviving recordings, up through the end of my use of the "Yngwie" psuedonym in 1994. Note: I have been making tape recordings since the late 70's, but unfortunately (or fortunately perhaps) my earliest surviving recording only dates to 1987.



1996 GENE POOLE percussion voices
RICKY STESIDUE synth voices guitar
TRIPPO MARX guitar voices synth
MissHappenstance came together by accident in the summer of 1996, stuck around a for little while, farted ignominiously, and left, leaving conflict and frustration in her wake. Nothing about this project went right, and yet everything went exactly how it was supposed to. This first outing was an impromptu jam in my tiny townhouse bedroom using whatever gear we had at our disposal.



1996 GENE POOLE percussion voices
RICKY STESIDUE acoustic & electric bass percussion violin
TRIPPO MARX guitar voices percussion acoustic bass synth violin
The second gathering of MissHappenstance occurred with more planning and instrumentation and was generally regarded by the group as the best of the three sessions. In 1998 we made two attempts to create a compact disc out of the session, but ultimately wound up abandoning the project.



1996 GENE POOLE percussion voices
TRIPPO MARX guitar voices
The third and final session has not yet been transferred from the original ADAT recordings, it is unknown at this time how much of the data has survivied or when a recovery will be attempted. I literally have not heard any of this material since the day it was recorded.


1995-1998 The second anthology spans the years 1995-1998, during which time I adopted the Trippo Marx moniker and produced my first digital recordings in the now defunct minidisc format.


They Chat Music

1999 SYLVIA TRENCH guitars bass keyboards percussion vocals
TRIPPO MARX guitar drum machine synth vocals
This was my online collaboration project with producer & multi-instrumentalist Ian Piirtola, who I met in the They Might Be Giants chatroom (and who used a Bond girl moniker for this project). The songs and pieces are meant to represent certain chatters. This project caused a bit of a stir and some ruffled feathers when it came out. Despite the fact that the album had 24 tracks, not every regular chatter was represented. We talked about doing another volume to try and calm things down, but never got around to it. My apologies to anyone who was offended. Neither of us realized anyone would care, we were just excited to be working on a collection of silly pieces about people we knew in chat and was in no way meant to be a comprehensive portrait of the group.


1999-2000 The third anthology spans the years 1999-2000, during which time I released my first two digital albums (HETERODOX & THE MOON IS ENGLISH FOR LUNA) as well as many mp3 singles through the original (1990s version, went belly up during the dot com bust).


2001-2008 The fourth anthology is rather spare and covers the "empty" period between the release of the last three digital albums at and the release of RHESUS PIECES through CD Baby in 2009. During this time most of my energy was spent finishing BLEEDING HEAD GOOD, HEALED HEAD BAD & WATER DAMAGE (despite the fact that I had no venue to release them digitally other than my own website) as well as working on various > Greater Than projects.
The 20th Anniversary Show




This project was inspired by the acquisition of a Boss GT-10 effects processor. The looping capability of this unit has fueled many of the improvisations I have recorded over the years. In the first session I recorded three test improvisations, which included some early demo versions of some of the INSIDE THE FRAME material as well as one of the themes from BLEEDING HEAD GOOD, HEALED HEAD BAD, which eventually congealed into the solo guitar performance Daze (featured in the Trippo Marx Show 2011-2012). I then edited the improvs down to feature the more interesting sections (they were quite disjointed in their original form) and mashed them together (with some extreme pitch shifting effects added) to create a monster backing track for a cover version of Pink Floyd's Interstellar Overdrive (the improv section of this song eventually became the backbone for the AT LAST THE LIE CAN BE TOLD project). I chose the show material based on my practice repertoire from 1989, as well as some of the SMELLO demos from my first multitrack sessions that same year.


2009-2010 During the sessions for INSIDE THE FRAME, I got into some habitual improvisation for a few years, which was responsible for all of the material that appeared on BLUSTERING TUNNEL PUPPETS, and some of the material on PLAYA IN TWILIGHT & BOX NOT INCLUDED. This fifth anthology covers the work of just 12 months (December 2009-November 2010) and has a running time of over three hours.


2011 The sixth anthology covers all of the improvs & demos I recorded in 2011, some of which were included on BLUSTERING TUNNEL PUPPETS.


2011-2012 This project is a collection of selected rehearsal performances and nine of the ten live performances I did in 2011-2012 (I was unable to record the first performance for technical reasons).


2012 The seventh anthology covers all of the improvs & demos I recorded in 2012 while I was working on the Trippo Marx Show, playing with Infernal Garage, and producing PLAYA IN TWILIGHT.


2013 The eighth anthology covers all of the improvs & demos I recorded while I was playing with Infernal Garage, and producing AT LAST THE LIE CAN BE TOLD.


2014 The ninth anthology covers all the improvs & demos I recorded while I was producing BOX NOT INCLUDED.
The 25th Anniversary Show




I was so busy putting BOX NOT INCLUDED together in 2014 that I neglected any sort of 25th anniversary hoopla, save for this day-late/dollar-short, under-rehearsed, impromptu live-in-studio performance. The set list contained a track from each of the thirteen albums I had released, plus a bonus 14th track of an unreleased number, Lépreux.


2015-2016 The tenth anthology covers the beginning of my "lost years". In 2015, I was planning to take a year long break from working on Trippo Marx projects to focus on some other things. One of those things turned out to be my health, which was unexpected, and I spent most of that year recovering from a mild stroke. I lost most of the momentum I had built over the previous three years, and I would be further diverted by caring for my dementia-suffering mother starting in 2016 until her death two years later. Both the quality and quantity of my recordings suffered during this period, but there are a few rough diamonds in the mix.


2017 I have been working on a sequel to AT LAST THE LIE CAN BE TOLD for many years now. It has taken a variety of forms and I'm not ruling out any of them. During 2017-2018, I recorded some improvs intended for use in a sequel album, but as of this writing nothing has been created from the sessions. In the story I had imagined (spoiler alert!), the Herruberrubberduck is the successor to First World Emperor Johnny Nukular after his brief and violent reign ends in his death due to complications from his "super-soldier" injection. The Duck looks like a man in a giant rubber duck costume, but no one is sure if it's just a costume or if the Duck is some kind of mutant or alien. The Duck is paranoid, controlling, extremely immature, uncontrollably angry, hopelessly fixated on the prurient, fundamentally incompetent, and speaks in an aggrandizingly irritating voice (sound familiar?). Eventually I may bring this sordid tale to life, but for now there are only a few teasers to be found on my forthcoming 15th album CAPTAIN SMARTYBRITCHES.


2018 This second series of "Duck" improvs are performed on a tiny keyboard called a stylophone. The notes are played by touching a stylus to a metal plate that is laid out like a keyboard. Stylophones were originally marketed back in the 1960s and discontinued, but recently a few companies have started producing them again.
Anniversary Daze



AUDIO: Part 1 AGENT X Part 2 TUBULAR SMELLS Part 3 "30"

The 30th Anniversary Hoopla started in 2019 with the digital re-release of the first nine albums and the release of my first new album in six years, BEFORE/AFTER. This test performance is the next phase (as a preparation for potential livestream shows in 2021) and was featured in TRIPPOVISION #3.