This live concert in, no surprise, Rome sees David Tibet joined by Maja Elliott on piano and John Contreras on cello. Performed around the same time as Tibet was creating the first installment in his Aleph trilogy. However, as the line up suggests, this was not the ferocious psychedelic rock that Current 93 were unleashing in the studio. Instead, the group play through a quiet, tender set of old favorites and (at the time) new compositions.
Beginning with a cover of Bill Fay’s "Time of the Last Persecution" (a staple of Current 93 live shows at the time), the mood is unsurprisingly apocalyptic for this performance. Tibet claims the song as his own and indeed the lyrics fit perfectly with his own exhaustive eschatological musings with spooky consonance. Running through a selection of new and old classics, including stupendously beautiful renditions of "Niemandswasser" and "Alone," the trio give their Italian audience something to remember.
The middle section is devoted to songs from the then forthcoming Black Ships Ate the Sky album. Stripped down compared to the studio versions or the live cuts found on Birdsong in the Empire, the songs sound here like a bridge between the delicate introspection of albums like Soft Black Stars and Sleep Has His House and the Aleph albums that would follow. While "Sunset" follows the same trajectory as the common acoustic guitar version, its sister "Black Ships Ate the Sky" is a very different song in this format. Elliott’s piano creates shafts of moonlight to act as spotlights for Tibet’s lyrics. It is every bit as ominous as the familiar heavy rock variations but feels like a completely new piece here.
The remainder of the set is given over to fan favourites like "A Sadness Song" and "A Gothic Love Song (for N.)" though I could have done without "Oh, Coal Black Smith" which I have never warmed to. However, one disagreement on the set list is no great upset for me. Especially not when there is such an enjoyable version of "The Bloodbells Chime" present and even "Oh, Coal Black Smith" has a fire to it which at least lifts it above its usual level.
While the performance itself is wonderful, the recording quality is not the best. And When Rome Falls sounds like it is sourced from an audience recording; at times the noise off stage, though hushed, is louder than Current 93. It is not the worst recording I have heard (and many of Current 93’s other live albums suffer from a similar problem) and I feel it would only keep a casual fan away. Considering I have yet to meet one of these mythical casual Current 93 fans, I imagine it will be of little consequence to those purchasing this album. Importantly, the group put their heart and soul into giving life to Tibet’s visions and that transcends all but the very worst recording techniques.
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