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Flower of Evil is ironically her take on popular and quite palatble pieces while Melody Mountain was her take on, as Rune Grammofon claims, "difficult" songs. The command on all of these songs is beyond astonishing. The instrumental ingredients are so simple yet the sound is vast enough to get completely lost, wrapped up in the emotions. With this album on, all divided focus on extraneous matters vanishes, everything else becomes trivial. It includes her version of "Jailbreak," adding to my argument of Thin Lizzy over AC/DC, Black Sabbath's "Changes," and Prince's underrated Lovesexy track "Dance On," each executed with a delicacy and tenderness none of those authors I'm certain ever remotely envisioned.
What I want to know is this: who hurt Susanna so much that has driven her to such depths? I'm quite familiar with the words to Abba's "Lay All Your Love On Me" but to have them sung with such honesty makes me pretty much unable to ever hear this song the same way again. Her heart-wrenching delivery of lines like "I feel a kind of fear when I don't have you near / Unsatisfied, I skip my pride, I beg you dear..." has hundreds of times more weight than the Swedes ever gave us (and undeniably destroys Erasure). Her version of "Without You" with Bonnie "Prince" Billy (one of two with him on the disc) needs to be substituted in future DVD releases of Rules of Attraction for the film's only saving grace: that bathtub suicide scene. And most achingly, the Tom Petty classic "Don't Come Around Here No More" has been transformed from what I considered a rather upbeat and snarky tune (we all remember the music video homage to Alice In Wonderland) to a caustic manifesto upon a boyfriend or husband who must have just beaten her, where I'm sure she has changed the locks and called the cops.
My warning goes out to parents of awkward, uncomfortable, over emotional (which is pretty much -all-) teenagers: don't worry about hip hop, hardcore, or death metal... worry about Susanna. She has proven here that she is far more dangerous with her simple but direct execution.
samples
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I saw this line up of the Bonnie ‘Prince’ Billy band at a different concert on the same tour and listening back to them now, I still stand by my review of that night that the group’s performance of these songs old and (at the time) new surpassed the performances found on Oldham’s recorded output. Classics like “New Partner” and “Master and Everyone” are given perhaps their best renditions yet. Two less familiar songs, both covers, stand proud amidst Oldham’s originals. “Molly Bawn” is a haunting traditional song about a man mistakenly killing his wife to be and it is one of the finest songs that Oldham has lent his voice to. The other cover is by Harem Scarem themselves; “Is it the Sea?” is an achingly sad song in Oldham’s hands (although the version of it on Oldham’s other live album Wilding in the West does not do the song justice at all). Ruminations of an old fisherman on his life spent on the ocean (“Is it the hell I fear, is it the sea?”) segue into the familiar strains of “My Home is the Sea” which sounds like it was born to be played after “Is it the Sea?”
Some of the songs performed during this performance that would later emerge on The Letting Go are remarkably close to the studio versions despite the completely different line ups and instrumentation. It is likely that the songs were well finished being written by the time Oldham embarked on this tour (and from the timing, I imagine that the bulk of The Letting Go had been recorded in some form or other at this point) but still it is surprising that there is not more variation between the two presentations of these songs. I must admit that “Cursed Sleep” does sound a little empty without Dawn McCarthy’s distinctive vocals intoning the melody but aside from that, I would be hard pushed to choose between these versions or the studio ones as favourites. In any case, the versions here are certainly leagues ahead of the hardcore fan-only demo CD Wai Notes.
A couple of things that are missing from the recordings are the short bit that Oldham performed solo at the start and the encores. It is a pity that the whole thing was not included, although I am guessing this is a direct copy of a BBC broadcast. However, this album is still worth every single penny as it shows one of the greatest songwriters of the last century in top form.
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In the UK of the early 1980s there was an independent music chart published in the weekly music papers. The chart was important because it gave credence to labels and artists operating outside the mainstream and highlighted the importance of alternate views of the cultural world. When Seven Songs topped the chart the phrase 23 Skidoo cross-pollinated from literature, conspiracy theory and US slang. Simultaneously, a cult group for the ages was inscribed in the margins of popular music mythology, in pencil, obviously.
At the heart of 23 Skidoo are the Turnbull brothers. Since 1979 they have wed ancient Eastern and African interests to a restlessly modern tribal angst. The group have taken the opportunity to confound expectations whenever possible and have created an uncompromising and seminal musical identity: check the extent of their imitators. In the process, 23 Skidoo have illustrated how to retain relevance and integrity when threatened by hazardously close brushes with success in the music biz. Never a dance band their music has always resembled the neo-primitive urgings of a gang of aesthetics wandering a post-apocalyptic urban desert.
Once again, LTM's fabulous liner notes would be worth the price of this set even if the discs were blank. It's all here: the Jeet Kune Do philosophy, the rejection of major label advances, the identity destroying rip-it-up-and-start-again WOMAD appearance (of a quarter of a century ago), and more. However, on this occasion, with this music, I am not prepared to cherry pick tales for your titillation. Fuck the recession, go to the LTM website , stick your hand in your pocket and cough up some cash. The accompanying booklet details a history of spontaneity, confrontation and exploration that places 23 Skidoo accurately in the tangled milieu and family tree of pre and post-punk creativity amidst Can, Joy Division, ACR, Throbbing Gristle and others. The text is littered with references and quotes from journalists and musicians of the time (and from the Turnbulls themselves) which provide the perfect backdrop to this music—if any were needed. Another must read, elsewhere on the brainwashed site, are Jonathan Dean's comprehensive reviews of all the Ronin reissues from earlier this decade.
Seven Songs was produced by Genesis P-Orridge, Peter Christopherson, and Ken Thomas (who would later assist the Sugarcubes and Sigur Rós). This release also comes with two tracks released in 1981: the 7" single "Last Words" and (the ten minute opening staple of the band's live shows at the time) 12" EP The Gospel Comes To New Guinea, both originally on the Fetish label. In addition it also includes the four tracks of the 1982 12" EP Tearing Up The Plans.
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Given the context, it's not surprising that the first few songs deal with travel and looking backwards. He sings of world travel while a girl waits for him in California on "Border Tango," while he rides into a new town with only "a bloody rose in my lapel/whiskey in the jar" on "The Tune I Hear So Well." "Red Eye Blues" has him pining for someone he left behind, but on "Tomorrow," he's finally focused on the future and is convinced he's living in "Mythic Times." Although many of the songs are lighthearted, it's Williamson's emotional sincerity that gives them weight. The only track in which he gets a bit too silly is the cover of Lewis Harris and John Jacob Loeb's "The Maharajah of Mogador." Although it's amusing, the humor wears off after a few listens.
Williamson's Merry Band is a big key to this album's success. The exceptional musicianship of Chris Caswell, Jerry McMillan, and Sylvia Woods is evident on every track. Woods' harp playing in particular is elegant and enchanting, complementing this material perfectly. Yet it's Williamson's voice that remains the biggest draw. His nuanced manner of drawing out ordinary syllables or suddenly infusing them with emotion lends the songs an easy charm. This is also the case with the demo recordings included on this disc, ensuring that there's essentially little or no drop in quality.
Williamson's mix of tradition and contemporaneity gives these songs a surprisingly timeless nature. Journey's Edge is a remarkable album, one that's far more joyful and rewarding than its lackluster cover may suggest.
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Although they were completed a year apart, these two albums mine remarkably similar territory. The sparkling production values are noticeable, but the result is that all of the rough edges have been polished away, leaving a somewhat uniform sheen to even the most disparate tracks. Not helping matters are small things like field recordings that are too glossy to lend any real texture or canned drums and dated keyboard sounds that appear throughout these songs. Sometimes Martyn Bates' over-earnest singing borders on melodrama, and his upfront delivery doesn't change much from song to song. In smaller doses it's fine, but over the course of two albums, some sort of significant variation would have been nice.
Yet the real problem is that these albums lack any real urgency or excitement. Despite the strong, multifaceted arrangements and attention to detail in the mix, these songs take the safe road far too frequently and don't take enough chances. With too much of an emphasis on delicate atmospheres, yearning vocals, and strained beauty, noticeable tempo changes or even a tiny bit of genuine abrasion would go a long way toward making these albums more dynamic and fulfilling. The sameness in mood and execution simply wears thin.
Even so, there still are some enjoyable moments to be found on these recordings. From Summer Salt, "Whitening Rays" combines many of Gaza's best qualities and fuels anticipation for what follows, while "Antipathy Whisper" is probably this album's most upbeat and fully realized song. Despite their similarity, Subway Sun has slightly better tracks, yet isn't without its drawbacks. "Antiphony in Whispers" begins with great textures, but the excessive delay and reverb on the drums makes it sound like an experiment from twenty years ago. But "Zeal" possesses real purpose and exuberance, followed by the instrumental "One-Legged," which uses tapes and manipulated guitar to create the most engaging track of either album.
These albums are by no means terrible, just a bit too polite and boring. The lush yet undifferentiated production unfortunately makes the songs somewhat bland and forgettable, leaving me wishing for something with a little more bite.
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Not only does this compilation present a broad variety of styles, it also captures many different moods, like Fernando Vilches and Ramon Montoya's proudly insistent yet touching flamenco "Flor De Petenera," the kaleidoscopic "Lagu Kebiar" by Bali's Gamelan Gong, or the majestic drones of Jonuzi Me Shoket of Albania's "Vome Kaba." Keeping things light, most of the English-language songs reflect a sense of humor, such as Cliff Edwards' "I Ain't Got Nobody But You," Sam Mayo's "Things Are Worse in Russia," and Mighty Sparrow's "The Queen's Canary." Also funny is Vengopal Chari of Madras' impersonations of "Different Kind of Motor Car Noises." Disconcertingly unfunny, however, are his attempts at "Laughing."
Every track has some unavoidable sign of age, and the sound quality does vary a bit, but the sequencing creates enough continuity that it never distracts for long. The most noticeable example starts with the track that inspired the collection's title, Joseph Taylor's "Sprig O' Thyme." Since it's from 1908, some surface noise is understandable, but its poignancy lends presence before giving way to the eerie and haunting but even older and equally hissy "Seigaiha" by Tokyo's Imperial Palace Band from 1903. Then comes the whimsical organ of "My Darling Rose" from Mr. Ero of Georgia and Fatma Ben Meddah of Morocco's hypnotic "Zeza Barkak Melbeka," spinning heads so fast that small differences in sound quality are of little consequence.
This travelogue can be a whirlwind sometimes, but it's one that continually engages the imagination despite the lack of a specific theme. Sprigs of Time is dense but never heavy, and it only gets more fascinating with every listen.
samples:
- Fairuz - "Yo Honaina"
- Noubar Bey & Party - "Fantasie Maggiar"
- Sexteto Habanero - "Romantic Mujer"
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Disc one comprises the classic material, and from the first synth noises, ring modulated/spring reverbed drums and sneered vocals of "Kundalini" (produced by Genesis P-Orridge and Peter Christopherson), it’s easy to hear the parallels of contemporaneous Cabaret Voltaire, but with a more notable ethnic and tribal bent. This is unsurprisingly even more obvious in the Stephen Mallinder produced "Last Words" which, on the 12" mix here, links a tribal percussion piece with a sharp disco beat and dubby production elements, and later a chaotic bit of noise. This same beat pops up again on "Assassin (Shugyosha Step)," though in a more processed, delay heavy instrumental mix.
Of course the classic "Coup" appears here in its original JLE Mix form, and it remains the funk behemoth of horns and jazz elements, looped Apocalypse Now samples, and the bass line that the Chemical Brothers borrowed that has a timeless James Brown meets proto-industrial vibe that could never quite be matched. "Vegas El Bandito" and "IY" both slap together tribal beats, funk influenced guitar and dubbed out bass into a compelling mix.
The Turnbull brothers’ love of martial arts and Asian ethnic music is clearest on "Language (12" Dub)" and "Kongo Do," the former being all percussion with Indonesian gamelan elements, while the latter uses traditional Japanese instrumentation in an untraditional song structure. "Ooze" however is a track that now sounds a bit dated (compared to the other pieces) with its traditional 1980s hip-hop beats, orchestra hits, and turntable scratches, putting it right next to Grandmaster Flash and Herbie Hancock’s "Rock It" in execution. Originally released in 1986, it was cutting edge at the time, but 20+ years later, it feels too traditional. Unfortunately, this is a definite precursor for what is to follow.
The second disc, originally issued as Just Like Everybody Part Two, compiles tracks issued as singles and EPs throughout the late 1980s and 90s that unfortunately don’t show the band as confrontational or groundbreaking as they previously were. Instead, they took their early flirtations with hip-hop to the next level and released a series of instrumental tracks, mostly built on a framework of rap percussion, but with the overreaching sonic textures being less unconventional and safer. “Roninstep” is a perfect example of this: traditional rap beats and vocal samples that are almost TOO hip-hop. However, the combination is an undeniable mix of cheesy and catchy.
The loops and synthetic horns of "Meltdown" don’t reach the same level, however. Instead, it feels like much of this disc does: background music. The slightly new age influenced tracks and hip-hop beats just feel too much like interstitial music that could be in any film, TV show, or video game. It’s not bad at all, “Return of the Dragon” even conjures up a twisted take on 1970s cop show funk, but it doesn’t feel as captivating as the early work, and presented in this format, the two discs will inevitably be compared.
Perhaps most interesting of all is the two tracks on the first disc that comprised the band’s first single: "Ethics" is a straight forward post-punk track that really eschews the ethnic elements of the later work for Joy Division influenced guitar music, in a good way. "Another Baby’s Face" takes the similar blueprint, but adds the early UK flirtations with reggae that bands such as the Police adapted to a much more commercial sound. It’s a very different set of tracks compared to the remaining 33 songs, but still an interesting historical post-script.
While the first disc does have a few missteps, it is far outweighed by the high caliber of remaining tracks. The second disc feels like a nice afterthought, but it doesn’t quite match the first in terms of variety or creativity. However, I think most will be happy with one superb disc and one adequate one compared to the mediocrity of many releases this day and age, and LTM once again have put together a package that celebrates the legacy of a band that has somewhat been forgotten in lieu of their contemporaries.
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Stars of the Lid-Music for Nitrous Oxide
compact disc, 79 minutes (sedcd023)
first pressing 1000 copies
History: This of course, was our first cd release from all the way back in 1994. Robert Ovetz (Ultrasound) mentioned this guy Adam who was doing amazing 4-track stuff at home. I think the name of the tape he gave me was called “Ombudsman”. The success of this release was a nice surprise and certainly having Joel at Cargo champion it, who was just getting Kranky going as well, certainly put us both out there. Ultimately, SOTL ended up at Kranky and are still making amazing recordings for them. Many say this is still their favorite Lid release, although I am partial to the “Ballested Orchestra” too. It certainly remains a powerful touchstone for and precursor to, the post-whatever independent music scene and sounds incredibly good still today.
Though Stars founder Adam Wiltzie has admittedly distanced himself from the release in terms of artistic terms he felt it was time to re-visit and re-fresh the work with a new mastering job, as well as having new artwork designed by longtime visual collaborator Craig McCaffrey. Sedimental has always kept the document in print in its original form with a remarkably steady stream of sales, but we welcomed the opportunity to update the release and make it more widely available to a new generation, so to speak.
Below are excerpts from the original press release which still seem quite relevant and accurate:
Sedimental announces the first CD from Austin drone stars Stars of the Lid, an amazing 4-track recording that is created in the spirit of Eno, Main, and Spacemen 3. Produced without keyboards, this lo-fi ambient journey employs predominately guitar, avoiding typical rock elements while still possessing the “home” recorded feel of so much independent music.
Being based in Austin, a town loaded with so many heavy guitar bands, one wonders how they came to make such hypnotic and engaging sounds. Especially when Stars mastermind Adam Wiltzie is involved with so many “rock” bands himself, having recorded Ed Hall’s Motherscratcher and its forthcoming release, the Flaming Lips Peel Sessions, as well as running sound for Bad Livers, and Doo Rag tours. Citing Cage, Spacemen 3, Robert from Main and Loop, nitrous oxide, and Bedhead as artistic inspirations, he also comments the group is a reaction against the “muscle” rock and C&W that dominates the Austin music scene and a way to withdraw from it.
Despite their current unknown status, we at Sedimental were so impressed by the music of Stars of the Lid , we felt it worthy of our first CD release. After giving this a few listens(especially the brilliant trio of tracks 7,8, and 9), we are sure you will think they belong on the same plateau as EAR, Labradford, Main, and Organum.
www.sedimental.com
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Artist: Prurient
Title: The Black Post Society
Catalogue No: CSR85CD
Barcode: 8 2356644892 1
Format: CD in jewelcase
Genre: Black Industrial / Power Noise
Shipping: 27 November 2008
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"The Black Post Society" embraces and accepts the depression of not having anything left to hunt. The mask without a face to hold. The depression of the hunter after the deer is killed. It is better to be hungry than to have eaten. As fantasy shatters under the whip of reality, erotic malaise settles in the nest of the mind inverting this dormant fuel to rekindle the endless cycle of sexual chaos.
Black Industrial / Power Noise from this highly respected US act!
Tracks: 1. Specter Of A Child | 2. Forever Hate | 3. Domina Milking | 4. Egyptian Bondage | 5. Rose Comet |
6. Wooden Weapons | 7. Mask Of The Boys | 8. Months Lengthening Into Years
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Title: Infernal Procession... And Then Everything Dies
Catalogue No: CSR111CD
Barcode: None
Format: CD in 6-panel sleeve
Genre: Shoegaze / Drone / Doom / Fortean Electronics / Dark Ambient
Shipping: 27 November 2008
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Split release from Canadian Shoegaze / Droners Nadja (Aidan Baker and Leah Buckareff), Manchester Doomers Atavist and UK Fortean Electronics / Dark Ambient act Satori.
Released to coincide with their UK joint tour.
Ltd x 1000 copies in a 6-panel outsized sleeve.
Tracks: 1. Nadja - 'Time Is Our Disease' | 2. Atavist - 'Certitude' | 3. Satori - 'Abyss'
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Title: Contemptus Mundi
Catalogue No: CSR113CD
Barcode: 8 2356647152 3
Format: CD in jewelcase
Genre: Fortean Electronics / Dark Ambient
Shipping: 27 November 2008
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Brand new CD from UK Dark Ambient / Fortean Electronics act Satori - Neil Chaney (Pessary) and Justin Mitchell (Cold Spring boss). This is a collaboration between Satori and Magus Peter H Gilmore, High Priest Of The Church Of Satan. Satori provide their trademark deep, underground, pounding electronics, here with a ritualistic dark soundtrack atmosphere, while Gilmore bestows a seething tirade against the weakness of the modern world!
Two 20+ minute tracks, the 2nd being a deeper, instrumental mix of the title track.
Tracks: 1. Contemptus Mundi | 2. Contemptus Mundi (Nameless Wrath Mix)
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