(The rollercoaster of death) "would be a meaningful death: For the faller, it is a painless, whole-body engaging and ritualized death machine,” says Urbonas, who believes death has become “divorced” from the cultural life in Western society and could be made more significant by a ritual adapted to the contemporary world”.

Grow up?- Never-never-!
Like existence itself
Which never matures
Staying always green
From Splendid day to splendid day-
I can only stay true
To the stupendous monotony
That’s why I’ve never abandoned myself
To happiness,
That’s why
In the anxiety of my sins
I’ve never been touched
By real remorse.
Equal, always equal,
To the inexpressible
At the very source
Of what I am.

A secondary text written about...

by a computer?
who are these men, who thought so little of themselves, to write about....

St. Johnny Live 1994 KXLU-FM....

jim roberto - lead gtr, wayne letitia - drums, jim elliott - bass, bill whitten vocals, gtr

Grand Mal Maledictions

Revisited/Rereleased/Remastered/08/27/13 on Mercury Records



Bill Whitten

They record in a rat-infested East Village room, are dressed by Bowery thrift shops and make the kind of glassy-eyed racket that gives music a
good name: rock'n'roll.
Associates of Mercury Rev, former members of Dwarves, NY's Grand Mal warp their heritage-New York Dolls, Stones, Mary Chain-with evil intent. A (very) wasted youth. A single and album are due out on London in March.

not to have a political point of view is like having no soul

We fictionalize our future, and, unless we are heroically devoted to truth, we fictionalize our past, refashioning it to our taste. We do not study other people; we invent what they are thinking, saying, and doing. Reality provides us with some raw material, just as novelists often take a theme from a news item, but we envelop it in a fog in which, as in all fiction, values are reversed, so that evil is attractive and good is tedious
go my songs, seek your praise from the young and the intolerant - ep

He gestures to the computer sitting on the table at his elbow. "This is the result of 10,000 years? Really? We have microphone, laptop, this technical society – that's all? This is sad, and very disappointing. After so many geniuses in the human story from Leonardo to Einstein, from the Buddha to Endre Szemer├ędi, these are fantastic figures, and their work is unbelievably important and we cannot do anything with it – why?"


“If I take death into my life, acknowledge it, and face it squarely, I will free myself from the anxiety of death and the pettiness of life - and only then will I be free to become myself. ”  - Lou Reed

ST. Johnny 1989

Seated: the mighty Wayne Letitia
Finger pointing down (like a curse) at the inevitable trajectory of SJ: Tom Leonard, he of the effulgent guitar.
Standing, presenting his left profile,  uncharacteristically grinnning: Bill Whitten
Leg up on (unseen Peavey amp) golden locks glimmering, ladies' man: Jim Elliot

I believe that literature must correct History
Danilo Kis

Maledictions Revisited/Rereleased/Remastered/08/27/13 on Mercury Records


London Camden Monarch

Bill Whitten
Put it this way, you don't have to be Sherlock Holmes to guess where they're from. There are five of them, including a guitarist who's heard hair cleans itself after a while and a singer whose face is so thin it could squeeze through prison bars. Three songs in, and they're having a stab at the ultimate junkie's anthem 'Chinese Rocks', just in case anyone hasn'e guessed yet.Comprising various ex-members of St. Johnny, Dwarves and 16 Deluxe, Grand Mal are from New York City. All needle chic and nasty attitude, they're the living embodiment of every rock'n'roll cliche' ever to have crawled out of that town, but none the worse for it.
Their new album, 'Maledictions', was produced by Mercury Rev's Dave Fridmann, but still sounds exactly like you knew (and hoped) it would: a note-perfect smack-rock collision of Johnny Thunders and The Jesus And Mary Chain, with a little Happy Mondays thrown in just to confuse people.Tonight, they do the Mary Chain part. Specifically, 'Superstars', 'Out On Bail', and 'Whole Lotta Nothing': three songs that rattle forward with the same car-crash guitars and keyboard drones, before collapsing into dense, spinning feedback. You've seen it all before, but so what? To pull it off this well requires a special sort of genius. Just not necessarily your own.

James Oldham

Grand Mal Maledictions Revisited/Rereleased/Remastered/08/27/13 on Mercury Records

Music Week
Nov. 21, 1998

Bill Whitten

London's confidence in trying to break new US signing Grand Mal in the UK before the States is gradually appearing justified.
Their New York Dolls/Suicide influences-evident on their debut album Maledictions (released early next year), which was produced by Dave Fridmann (Flaming Lips, Mercury Rev, Jane's Addiction)-shone through at their first London date at Camden's Monarch last Tuesday during a fleeting visit.
And their Radio One Evening Session play/Xfm playlisting was last week compounded by daytime play for their debut limited edition single, the Dinosaur Jr-sounding Whole Lotta Nothing (released November 23) byRadio One's Jo Whiley.

NME Live Reviews - London Kentish Town Forum - Maledictions Reissued

London Kentish Town Forum

December 14, 1999

Some things you just can't fake....

Grand Mal Maledictions
Grand Mal ooze cool, in the sort of sulky, attenuated way only true urban malcontent rock'n'rollers can. They don't play their instruments so much as they sling them, staring into the patchy early-evening crowd with thinly veiled disinterest. "Aaw, you're too kind," drawls frontman Bill Whitten in sarcastic response to some timid applause. Kindness isn't valued too highly in the ranks of Grand Mal. A few things about them. They're from New York City, they associate with Mercury Rev (Grasshopper's keyboard skills grace their debut 'Maledictions' LP), and they have a song called 'Fun Fun Fun' that runs, "Saturday night and I just got killed... I feel like Dracula's teenage son" over a vertiginous slide of greased-up guitar noise. Their reference points are unmissable - the Mary Chain, Primal Scream, New York Dolls - and they foster an attitude of lazy, narcotic nihilism spiked  with alcoholic euphoria. So, 'Superstars' is all Primals' razor-edged soul, 'Stay In Bed' - though anaemic compared to the album's Death In Vegas remix - is a fantastically sleazy paean to idle counterculture, and 'Out On Bail' is all feverish bar-room Hammond glide and careering ("the night is young and dumb and unstable") chorus. Essentially, good old adrenalised rock'n'roll, then, played by impossibly skinny men with the sort of thrift-shop chic Brett Anderson would sell his rhyming dictionary for. You can't get much better than that.

Maledictions Revisited - NME Album Reviews - 4/19/99

NME Reviews
April 17, 1999


It wears shades at noon. It doesn't care about you, baby - it just curls its lip at your love and takes a drag of its life-giving cigarette...

Bill Whitten

It's got Johnny Thunders riffs for a heart, Suicide's appetite for destruction for a soul, and its head is filled with the fevered drone of the city that never comes down off its speed jag. It's a clichid beast, New York scuzz rock - but one too attractive to care. Grand Mal are grown men who have spent the last decade ruining their prospects in various dissolute rock outfits. Like a cargo cult that time has passed by, they remain strung out on this superannuated musical formula: witness 'Fun Fun Fun' (so Stooges it hurts) and 'Superstars' (slick with brutalist glam). But elsewhere, they've dosed the nervy '70s prototype with a massive injection of grooviness. 'Stay In Bed''s slacker soul could almost be Primal Scream, while Grasshopper from Mercury Rev tinkles keyboards with warm flesh at every turn. In fact, the Rev's space-rock bliss seems to have infected the Mal's none-more-black hearts, making 'Picture You (As Always Falling)' into a love song of sorts, and 'Sucker's Bet' a knowing quip at their gutter roots. Grand Mal, then. Sick and wrong, but at the same time, just right.

Melody Maker Dec. 15-21, 1999

Melody Maker Dec. 15-21, 1999
Grand Mal
Grand Maledictions
OUT NOW 3 1/2 stars out of 5
Just what the world needs: a French tribute to flamboyant Seventies football manager "Big Mal" Allison. Surely the music/football crossover banwagon has trundled too far.
Er, no, actually. Grand Mal are in fact unashamedly retro New York sleazers whose favorite facet of Seventies revivalism would appear to be primetime Rolling Stones-a cocksure swagger and effortless wastedness imbuing every single track. They inhabit a world of romantic squalor, cheap smack, seedy, stained hotel rooms and wraparound shades, all symbols of their nihilistic nonmanofesto that's most succinctly summarised in "Stay In Bed" (Let's get drunk on cheap wine/Let's stay in bed").

Bill Whitten

The early Nineties is as modern as things get here, coming in the form of the "Honey's Dead"-era Mary Chain grind of "Sixteen" and the Swervedriveresque-but-still-good "I'm In Trouble". Things only go wrong when they go all Semisonic-plodding on "Picture You".
"Malediction" isn't going to win any prizes for gound-breaking originality, but then as Travis have discovered, that isn't what sells records. Pas mal, as the French say.
Abit like? Royal Trux with a bloke singing.
Phil Mongredien

Maledictions Revisited

As much as Maledictions' sneering rock & roll and decidedly glam bent give the band a retro vibe.there is a quirky, psych-pop vibe informing these songs that makes the group occasionally sound like the Flaming Lips playing scuzzy barroom rock.     
Time Out NY
reissued 8/27/13

Maledictions Revisited - Theater of Seedy Scenarios



This New York foursome's time-capsule nostalgia sounds a lot more quaintly charming than they probably intended. Channeling the glitter-flecked polyester pose of Mott the Hoople and T. Rex through the junkie punk of Richard Hell, Johnny Thunders, and maybe the Only Ones, songwriter Bill Whitten (late of the St. Johnny) and his young dudes have made an album that's absolutely disposable -- and often fun as hell to listen to. Which, if we've learned anything from Ian Hunter and Marc Bolan, is probably the point.
The Bowie/Iggy-esque opening track, "Superstars," pretty much nails what's in store: Grand Mal's is a cheap wine-and-Ecstasy world of "neon boys," "broken androids," and Whitten sneering and feeling "like Dracula's teenage son." This theater of seedy scenarios is backlit by a lot of flashy production -- shuffling Madchester percussion, fuzzed-out Jesus and Mary Chain guitars, and little electronic noises that tell you it's a '90s recording. The wholesale Pavement ripoff "Picture You (As Always Falling)" is only one of the best things I've heard this year, and the equally blatant Stooges cop "Fun Fun Fun" is the kind of tune D Generation would give their leather jackets to have written.

Maledictions Rereleased/Remastered 08/27/13 Mercury Records

A peek at the notebooks of your favorite editor

It's easy to forget that there was a time when great rock'n'roll bands came down the pike reasonably often. Who remembers that joy of discovery, when your ears first grokked the significance of Roxy Music, or Television, or the Velvets or the Dolls? Consider the case of GRAND MAL, an intriguing post-glam quartet from N.Y.C. that embodies everything great about New York bands. On its third release, 'MALEDICTIONS' (Slash/London, 3/7; a previous EP and album appeared on indie label No. 6), the band's '70s- referenced androgyne slouch and junk-rock swagger combine with a serpentine guitar attack to form one of this year's great early surprises. Ergo, bridge-and-tunnel mook rock a la KISS this ain't. But if you jones for complex electric-guitar-based rock with the kind of tuneful but world-weary choruses that sound like they'd be great to sing along to from the back seat of a beater Buick at daybreak after a night of aggressive club-hopping, this here's your ticket. Grand Mal, whose members' c.v. includes stints with Agitpop, St. Johnny, the Dwarves, the Meices, 16 Deluxe and Crown Heights, is augmented on 'Maledictions' by Mercury Rev keyboardist Grasshopper, whose Eno-meets-Suicide tones add fine texture to the band's glam references. Adding to the Mercury Rev connection, 'Maledictions' was co-produced by Dave Fridmann, the Rev founding bassist who also plays with Flaming Lips; the album was recorded at Tarbox Road Studios in upstate Cassadaga, where Mercury Rev cut its current work of brilliance, 'Deserter's Songs' (V2). An added plus is the bonus track that follows song #12, two versions (at 3 and 18 minutes) of an eerily looped vocal sample of singer Bill Whitten's dad crooning "They're all dressed up to go dreaming," mated to a trip-hop track. Play loud. (Griffith) 4. MOST COLORFUL BAND OF THE WEEK:


Maledictions Rereleased/Remastered 8/27/13 on Mercury Records

reissued 8/27/13
CMJ Review
Maledictions - SLASH
From the pages of the CMJ New Music Report, Issue: 608 - Mar 8, 1999

Bill Whitten, whose former band, St. Johnny, mixed the slacker, indie rock style of Dinosaur Jr with the jokey self-consciousness of Ween, is the driving force behind Grand Mal. On the flamboyant Maledictions, though, Whitten dives headlong into glittery guitar rock, taking every last bit of his tragically hip, smart-aleck personality with it. Imagine J. Mascis fronting Mott The Hoople (!) and you'll be alarmingly close to the sonic feel of Grand Mal. As dangerously clever Whitten and the band sound, they still create thoroughly rewarding rock songs. Maledictions' riffs chug       along with the decadent laziness of '70s rock superstars mixed with the grit of long-time punk rockers. Glam rock has always been terribly self-aware -- Grand Mal just gives it a much-needed, ironic smirk.
-Cheryl Botchick