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CURRENT 93, "HOW I DEVOURED APOCALYPSE BALLOON"
Currrent 93 live albums have always been a bit of a tricky proposition.There have been at least a dozen or so live albums released throughoutCurrent 93's long career, and they range from almost completelyunlistenable (Loony Runes and Hitler as Kalki), to pleasant but unremarkable (Halo and Live at St. Olave's Church).
Durtro Jnana
To me, the live albums always seemed like filler in the Current 93catalog, frequent stopgaps between studio material, meant to pleasehardcore fans and completists. The problem plaguing much of the pastmaterial, in my opinion, is that Current 93 just weren't a very goodlive act until very recently. Though they have performed many liveshows since their earliest incarnation, David Late Tibet and his merryband of apocalyptic folksters have frequently given new meaning to theterm amateur. Just listen to the Hitler as Kalki material withDouglas P. senselessly pounding away on the same chord he's beenplaying for twenty years, John Balance "playing" stick guitar and Tibetand Rose McDowall shrieking out of key, taking a massive shit all oversongs that sounded powerful and hypnotic on the proper studio album.Adding to the problem were bad PA systems and bad recording equipment.So, with all this in mind, I found myself pleasantly surprised by How I Devoured Apocalypse Balloon,a new double-disc live album featuring two full sets from last year'stwo dates at Toronto's St. George-the-Martyr Church on June 18th and19th. (By the way, I can't stop singing the title of this album to thetune of The Fall's "How I Wrote Elastic Man.") This is probably Current93's best live album, at least the best one that I've ever heard, as Iadmit to having skipped a few. Though the ensemble featured here is notquite as large and spectacular as that which was featured during thisyear's three-night run, the players still do a wonderful job ofcreating a fine musical accompaniment for Tibet's intense, crepuscular,poetic speak-singing. Though there are no liner notes which wouldindicate the personnel that performed at these concerts (and also,alas, no track listing), I think that I can hear and identify MajaElliott on piano, Joolie Wood on violin, and perhaps also Simon Finnand Ben Chasny on acoustic guitar at various times. The recordingquality is sparklingly clear, and the setlist chosen for both nightsfeatures of some of Current 93's best and best-loved material, drawnfrom as far back as Island and Imperium, all the way through Thunder Perfect Mind, Of Ruine or Some Blazing Starre, All the Pretty Little Horses, Soft Black Stars, Sleep Has His House and even a cut off of Bright Yellow Moon.Along the way are some surprising wild cards from the back catalog thatI've never heard performed live - including the haunting and powerful"They Return to Their Earth," "A Sadness Song" and "The Blue Gates ofDeath (Before and Beyond Them)," each faithfully rendered within a morelimited instrumental palette. The second features very effective usageof noise loops and live electronic voice manipulations, which I can'trecall hearing since the earliest phases of Current 93 live shows. Istill don't think I'll listen to this much beyond the few spins I gaveit before writing this review, but as Current 93 live albums go, thisone is truly definitive. - Jonathan Dean
Durtro Jnana
To me, the live albums always seemed like filler in the Current 93catalog, frequent stopgaps between studio material, meant to pleasehardcore fans and completists. The problem plaguing much of the pastmaterial, in my opinion, is that Current 93 just weren't a very goodlive act until very recently. Though they have performed many liveshows since their earliest incarnation, David Late Tibet and his merryband of apocalyptic folksters have frequently given new meaning to theterm amateur. Just listen to the Hitler as Kalki material withDouglas P. senselessly pounding away on the same chord he's beenplaying for twenty years, John Balance "playing" stick guitar and Tibetand Rose McDowall shrieking out of key, taking a massive shit all oversongs that sounded powerful and hypnotic on the proper studio album.Adding to the problem were bad PA systems and bad recording equipment.So, with all this in mind, I found myself pleasantly surprised by How I Devoured Apocalypse Balloon,a new double-disc live album featuring two full sets from last year'stwo dates at Toronto's St. George-the-Martyr Church on June 18th and19th. (By the way, I can't stop singing the title of this album to thetune of The Fall's "How I Wrote Elastic Man.") This is probably Current93's best live album, at least the best one that I've ever heard, as Iadmit to having skipped a few. Though the ensemble featured here is notquite as large and spectacular as that which was featured during thisyear's three-night run, the players still do a wonderful job ofcreating a fine musical accompaniment for Tibet's intense, crepuscular,poetic speak-singing. Though there are no liner notes which wouldindicate the personnel that performed at these concerts (and also,alas, no track listing), I think that I can hear and identify MajaElliott on piano, Joolie Wood on violin, and perhaps also Simon Finnand Ben Chasny on acoustic guitar at various times. The recordingquality is sparklingly clear, and the setlist chosen for both nightsfeatures of some of Current 93's best and best-loved material, drawnfrom as far back as Island and Imperium, all the way through Thunder Perfect Mind, Of Ruine or Some Blazing Starre, All the Pretty Little Horses, Soft Black Stars, Sleep Has His House and even a cut off of Bright Yellow Moon.Along the way are some surprising wild cards from the back catalog thatI've never heard performed live - including the haunting and powerful"They Return to Their Earth," "A Sadness Song" and "The Blue Gates ofDeath (Before and Beyond Them)," each faithfully rendered within a morelimited instrumental palette. The second features very effective usageof noise loops and live electronic voice manipulations, which I can'trecall hearing since the earliest phases of Current 93 live shows. Istill don't think I'll listen to this much beyond the few spins I gaveit before writing this review, but as Current 93 live albums go, thisone is truly definitive. - Jonathan Dean
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