No Doctors
| No Doctors | |
|---|---|
| Origin | Minnetonka, Minnesota, United States |
| Genres | Experimental rock, art rock, avan-garde |
| Years active | 1998–2008 |
| Labels | Freedom From GoJohnnyGo, Cock of the Rock, No Sides, Yik Yak, Not Not Fun |
No Doctors was an American rock and roll band based out of California's San Francisco Bay Area. Their music drew from a wide range of styles and traditions, most prominently noise, punk, blues, metal and jazz. Members included guitarist Elvis S. deMorrow, Chauncey Chaumpers on guitar, Mr. Brians on drums, Mr. Clopez on drums, and CansaFis Foote on saxophone, with vocal duties distributed amongst its members in a socialist-collectivist fashion.
Chauncey Chaumpers, CansaFis Foote, and Elvis deMorrow began creating music together in Minnetonka, Minnesota in 1998. A cast of revolving sidemen were to come in and out of the band throughout their early career. Prior to playing as No Doctors, Foote and Chaumpers had created experimental noise recordings for the purpose of psychic investigation, while deMorrow had distributed cassetteworks under the names of "Peyote Tax Return" and "F*ck Your Yankee Bluejeans," created together with an artist now known solely as "Devilman" (RIP).
Still teenagers, the boys began playing sporadic live shows around Minneapolis-St. Paul, inspired by much of the underground noise scene as documented by local record labels E.F. Tapes, Destijl, Fusetron, and the local fanzine Muckraker.
They were soon approached by CEO Matthew St-Germaine with the idea of assisting with a record label, called Freedom From. Much of their early years as a band were influenced heavily by the diverse and radical roster of artists that was quickly cultivated. The Argentine avant-space trio Reynols was to have an exceptional influence on philosophy when the boys accompanied the band on their first American tour, where they explored Minecxio and the role of the No-Mind.
The year 2000 saw No Doctors moving to Chicago to begin work on their debut album. At this point the band expanded into a consistent sextet, with the additions of Mr Brians on drums, Patrick Fogarty on bass, and W Cłøpŝkí on subtle whispers. Numerous other sidemen appeared as well, including the notorious Kevekev. Several distinct copies of the album were initially circulated, as noted by critic Liz Armstrong of the Chicago Reader. The album's deft integration of Minnesotan völk-noise inflections into rock's idiom curried little favor from elite urban critics, but secured the band's place in the American noise underground.
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