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H gim sinkle-stirtch rimramlandin abbleblandr dr-iz ia is a processiioon of wormdevilsritl'n vester tried trim tranders trimtwist train tourniquet triangulating terraplasty which subjects historical sentiment to the fickle, grinding jaws of technology's undiscerning consumpto-mutation. Time Bear is an open-collective controlled under the covert Machiavellian/Maciunasian strangle-hold of J.R.R. Ryken. Interested in genres that are up-their-own-asses, TB surplants the pretention of historical modes of improvisation with live and post-action cut-up methodologies, as well as the slack-jawed and mealy-brained audacity of 70's/80's pop-rock indulgence (from Abba to ZZ Top), and back again. The process seems to invariably come out at the other end as some pathetic retroactive 90's epilogue, a grunge-dirge which barely abdicates itself from the lingering fetishization of Pacific Northwest American self-styled 'Doom-Rock' bands. Try as he does to avoid this, our directorial-despot suffers from the arrested aesthetic development he blames on a preoccupation with the unsung glory of 90's indie-cum-alternative American musical subcultures/genres which he was infected with in his adolescence. "I am from Alaska- you cannot be more Pacific Northwest American than that," quips our proto-antagonismic wunder-shaman without a besmirching wink towards ironic admission. This flacid regurgitation of a bygone era- filled as it is with the psychological indulgences of a reactionary, post-cold war American liberalism- nonetheless succeeds in forming a psychoactive substrate for an imagined age of excess, a sonic-mythos for a teeming golem metropolis, redolent with the exasperation and private self-annihilation of William Burrrrrrrr rrrrrrrrrrrrrrrrrrrrrrrrr rrrrrrrrrrrrrz rrrrrrr rrrr rr rrrrrrrrrrrrrrrrrrnn rrrrifoplastinizationrrrrrtimetamtrilytomtwodons grabby-grabsasalamanderictlyricalistenicsrrrifrfirfirfiiriffriff riff. Riffs.