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The door to the frightening red and black world of BLDopens on a not particularly merry-go-round eight notechime whilst the nasty ones gurgle and gargle for abit. Next all hell breaks out with a bone shakingdrone monster on the loose in the form of 'Tones inRed', and bubbling rhythmic turmoil and rubblestrewing simple cement mixer loops keep revolving innightmarish ecstasy. In the haunted red house live thelikes of the bawling baby headed Foetor with hisabominable shuntings and the creepy big nosed NorbertH. Conduit who is damned for all time for trying toknock some sense into the Celestial Hives of Honshu...
Either that or these guys have been listening to waytoo much Non, Coil, Throbbing Gristle and Muslimgauzewhilst reading back issues of Fortean Times. Availablefrom: www.fflintcentral.co.uk
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While it's not my practice to review things nearly impossible to get, this CD deserves a mention. My first exposure to this Australian quintet was through their song on Fat-Cat's "No Watches.No Maps" collection of demo songs from bands they weren't going to pursue anything with at the time. What I heard can be described as somewhat derivative from an Aerial M/Tortoise/Fridge sound but their mastery of musicianship, songwriting and production skills are quite appealing. Inside the disc there was contact information listed, so I wrote to them and said I wanted to hear their album, with possible interest to send it to some friends at labels/distributors but I had no intention of writing about it.
After hearing their 37-minute six-song LP I can safely say I'm not surprised at the sound but pleasantly impressed with their abilities. It might still have that derivative quality which will most likely keep them from being picked up by any label outside Australia for a while, but there's something hard to put your finger on that you can just sense. It's the sense that these people are actually going somewhere and are off to a great start, and I'm interested in what's to become of next, even interested enough to possibly try and release this here myself if I wasn't so damned busy with everything else in my life. If you couldn't guess from the comparisons already, the music itself is instrumental, composed of conventional rock instruments with the occasional vibrophone. It's rock-based with an occasional nod to jazz, but never to the point of wankiness nor with over-the-top production. I don't know how you can obtain it, but there is a website listed at www.trifekta.com.au, or you can try to bug your record stores to carry it and perhaps their distributors will become interested. In my experience however, the web site doesn't work and record stores and distributors are pigs. Stay tuned however, as more developments on this band will be noted here as they're made.
 
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- Com.A - Digital_Ass_Mix
- Cex - Got to Get It
- Joseph Nothing - Gegege No Ge
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As Glasgow's Tramway building evolved from train station into arts space, Zoviet France were present recording the ambient sounds for use in their commissioned themes for the Scottish Arts Council. Though you'd hardly believe it from the mostly non industrial nature of these very comfortable soundscapes. Five tracks range between five and twelve minutes apiece and the remaining four serve as in-between filler. In "Something Spooked the Horses" a constant warm drone and panning scratchiness are overlaid with yearning strands of pedal steel guitar. "Electron Gate" gently pulsates a bass loop as microscopic bits click and fuzz. "Pyroclastic Flow" is noisier with some possible power tool abrasion honed into layered drones. "Spiiltek" is dancing plastic chips and electronic blips which relinquish to the deep bass waves beneath. "Light Abrasion" closes with a higher pitched wall of sound and occasional cricket like chirping. All in all "Decriminalisation.." is an engaging work of auditory art. And it's as suited for busy high brow art rooms as it is lonely late night bed rooms.
 
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- On the Old Mountain Radio
- Please Sing My Spring Reverb (i.s.a.n. catena remix)
- Please Sing My Spring Reverb (B. Fleishmann remix)
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Captured here is the non-polished side of the early line up : BarryAndrews (Vocals, Keyboards), Dave Allen (Bass), Carl Marsh (Guitar,Vocals) with Martyn Barker (Drums, Percussion).From their well-know material included is only the flip side version of"My Spine Is The Bassline" with complete different vocals layered uponthe basic track, from the 15 cuts here most have never been releasedbefore and only a few in different versions.
It's by no means an alternative "best of" - there already have beenseveral, busy repacked and redesigned during the 90's ( mostlyincomplete as the rights to their recorded output are spread between YRecords, Arista, Island and World Domination ) - more an addition whichcould also serve as an introduction, especially as Marsh and Andrewswhere asked to comment all the tracks which makes it even moreinsightful.
This is actually great stuff, get it while you can as double packincluding the nearly lost 'Naked Apes & Pond Life' album (even ifyou have to search shriekback.com for further details as no bookletcomes along with it). A very unspectacular one at first but it puts adifferent spell on you after a while, not to be compared with their1992 masterpiece "Sacred City" - an album I can't recommend too much.Dave Allen got lost again and Lu Edmonds came back for Guitar and Saz.Naked Apes & Pond Life originates arround 1995 but was not finallymixed nor published until 1999 (as no Record Company ever made too muchmoney with the approach of the Shrieks) when Martyn Barker took overand got involved in label work.
You can't say it's too long clicking in with a barely traditional LPlength of 42 something and a content of just 6 'proper' songs in midst8 mostly short instrumentals, but listening to the perfect 4:26 of"Everything's On Fire", shaped with elegance, sensuality and magic youknow that very well known acts would kill for songs like these and it'snot the total length that makes a release worthwile to obtain.
Don't expect anything. Discover.
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