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Silkworm
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The Silkworm (Bombyx mori) is the larva or caterpillar of a moth that is important because it makes silk. It is entirely dependent on humans and no longer lives in the wild; silk has been made for at least 5000 years in China. Silkworms eat mulberry leaves. They are native to northern China.
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The Silkworm (Bombyx mori) is the caterpillar of a moth whose cocoon is used to make silk; it is not a worm at all. This insect is ... called the silkworm-moth and the mulberry silkworm. It is native to Northern China.
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Silkworm caterpillars have six real legs, plus five pairs of pseudopods (false legs) on the rear of the body. The Silkworm is not a worm at all, but is actually a caterpillar.
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As a trio, Silkworm signed to Matador and in 1996 issued Firewater, a sprawling yet finely honed set which ranked as their finest record to date. Developer followed in 1997, and a year later the group jumped to Touch & Go to issue Blueblood. Around this time, the band finalized their re-location to Chicago. Lifestyle was released in mid-2000, and they toured into the following year to support the release. Italian Platinum followed two years later and featured vocals from Kelly Hogan and keyboard work from the New Year's Matt Kadane. 2004's It'll Be Cool would be their last album.
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In the last 15 years, Silkworm have moved above and below the cultural radar, occasionally peaking to be declared “next big things” before they inevitably sink down again. This is not due to a lack of quality or consistency in their music but rather because of the music itself. Silkworm not only refuse to adhere to conventions and expectations, they move forward relentlessly, exploring new possibilities whenever possible. The band’s signature sound, laced with an experimental approach to the formal elements of rock has made them equally loved and ignored, depending on various fashions. Thankfully... Silkworm has never bothered to respond to fashion, and its fans were rewarded last year with Italian Platinum, a stunning record that raised the band’s profile once again.
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Silkworm lyrics were always sort of not-veiled. Many of the best tracks were invectives, call-outs a la Dylan’s “Like A Rolling Stone” or “Idiot Wind” (which even contains a line that’s gruesomely applicable to details of Dahlquist’s tragic death: “Now everything's a little upside down, as a matter of fact the wheels have stopped.” And don’t even ask me to listen to Silkworm’s “I Hope You Don’t Survive,” from 2002, which begins an album by chronicling a crazy woman’s despair, to which the speaker responds, “Hope whatever got to her don’t crawl its way over to me.”) Silkworm was plenty snarky but they only half-bothered with fancy turns-of-phrase. Bottomless Pit opts for even less ornamental verbiage, as if no convenient rhetoric or articulate eulogy could accurately depict such loss and damage. Many lines are mumbled, some are intentionally inaudible due to lowered levels, and others are elided because either Midgett or Cohen move away from the mic in totally nontheatrical wincing agony. The humor present on Silkworm releases is understandably gone; surviving a scenario that renders Spinal Tap forever unfunny could be expected to yield artistic jokelessness.
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Silkworm