Usually slotted as part of punk music’s “post-punk” development during the 1980s, the Meat Puppets have surfed atop the rise and fall of that movement, riding beyond it into the “grunge” rock boom of the 1990s. Given such a history, it’s not surprising that critics have spent a decade arguing over the correct term for the band’s music, taking their cues from the mutations occurring from one Meat Puppets album to the next. “With each of their five albums,” Simon Reynolds wrote in Melody Maker, “the Meat Puppets have not so much made a giant leap forward as a perplexing step sideways; each time hitting on a totally new, totally original sound that any other band would have milked for 10 albums.” While Kurt Loder called them a “thrash band” in Rolling Stone in 1984, other critics later commented on their distance from the conventions of hardcore punk. One of the effects of such a resistance to tidy categorization has been the Meat Puppets’ reputation for forward-looking music—for anticipating and spearheading changes in musical style.
As teenagers, Cris and Curt Kirkwood and Derrick Bostrom, who would later create the Meat Puppets in the late 1970s, had grown up in the open spaces surrounding their hometown of Phoenix, Arizona. Brothers Cris and Curt arrived in Phoenix from Wichita Falls, Texas, in 1965, when Cris, the younger sibling, was about five years old. The Kirkwood family’s income came from racehorses that they owned. Bored with how little the city had to offer, the two brothers found recreation in using drugs amid Phoenix’s desert landscape. “Punk rock began as an urban phenomenon,” Ivan Kreilkamp wrote in Details, “a musical response to miles of concrete and industrial noise. The Meat Puppets were the first group to adapt punk to the twisted landscapes and open spaces of the American Southwest.” Curt Kirkwood told Kreilkamp, “There’s no trees, there’s no real society. It’s easy to get into drugs there because there’s nothing to do.” Their hallucinogenic experiences would eventually be credited with shaping the distinctive sound of their music. Kreilkamp, for example, speculated that “The Puppets’ music is rooted in the experience of three kids, heads throbbing with LSD-induced visions, riding motorcycles on a canal bed in the Saguaro desert.”
After a brief effort at the University of Arizona in Tucson in 1977, Curt returned home. Having had some musical training, including classical study, he and his younger brother started playing house parties with area bands. They also played in local cover bands, with Curt on guitar and Cris on bass. After one of the more successful local bands, Eye, broke up in 1979, the Kirkwood brothers decided it was time to do something on their own. At that point, Derrick Bostrom came on board to play drums. Bostrom had a practice space in which the Meat Puppets could shape their sound, already heavily influenced by an odd jumble that included the Grateful Dead, the Sex Pistols, Johnny Cash, and Iggy Pop. The group had no particular venue in mind, simply a desire to see what kind of music they could make. “I came to hardcore through experimental music,” Curt told David Fricke in a Melody Maker interview. “I started getting into Edgar Varese, when he was composing things that sounded like raindrops. I didn’t give a shit about composing anything. But I thought if I hooked up a couple of fuzzboxes to my guitar and turned it up real loud, and played faster than anybody could think, what was going to come out was going to be heavily impassioned.” Curt quickly emerged as the band’s major force, lending a compelling character on vocals and guitar, as well as his odd skill as a songwriter; Kreilkamp referred to him as the trio’s “chief visionary.” Jas Obrecht, writing for Guitar Player in 1994, described Curt as the “master of the enigmatic lyric and monotone delivery.”
While critics have often suggested the dual influences of drugs and the desert landscape on Curt’s style, the musician himself also attributes it to a specific childhood experience: “I had encephalitis when I was nine,” Curt told Reynolds, “my head swelled up, I was in a coma for a long time. After that I started to daydream an awful lot, I was able to pick and choose what I wanted from my imagination.” Reynolds dubbed the three “modern visionaries who liberate the flux of experience from the grids with which we attempt to structure and manage time and reality.” From: https://www.encyclopedia.com/education/news-wires-white-papers-and-books/meat-puppets
