- Michael Patrick Brady
- Albums and Singles
![](/../../../../brain/images/bukowski-drink.jpg)
Read More
- Administrator
- Albums and Singles
![](/../../../../brain/images/papa_m-three.jpg)
Read More
- Administrator
- Albums and Singles
![](/../../../../brain/images/parkercoping.jpg)
Read More
- Administrator
- Albums and Singles
Back before the Internet and World Wide Web allowed music junkies to connect with others and trade secrets, fans of bands in areas of the world far outside the band's nucleus had to rely on sources like magazines and books for the best information they could get on a group. Despite being a project from former Wire members, the experimental music contained didn't make it a title which warranted an in-print status and copies worldwide were rather scarce. As a young Wire fan, it had been on my personal wish list for years. When I finally discovered it in 1998 as a used record for $30 my heart jumped. I finally found it!Boutique
The excitement of owning it became more important than actually hearing it as by the time I got home and listened on my record player, the vinyl was so old, coarse, and poorly maintained that it was borderline painful to listen to. The collected recordings from Russel Mills along with Wire's Bruce Gilbert and Graham Lewis, recorded at a 24-day installation are a perfect example of one of my strong beliefs: quiet music is not meant for vinyl. In the same way that hearing Mirror's Eye of the Storm on CD for the first time (after being familiar with a vinyl version whose cracks and pops became louder than the music) hearing these recordings from the Waterloo Gallery matches—and might even surpass—my excitement of finding the record in a used bin. Wire split in February of 1980, and by August of 1981, Lewis and Gilbert already had a number of releases under their belt as Dome and Kupol. They wanted to do something more intense than simply release records and do an occasional performance, and this experiment in London's Waterloo Gallery, a former meat-packing warehouse. Over the course of 24 days, the three basically had a work-in-progress, changing rooms, creating sounds from trash, using PAs and microphones to record pubic reactions and filter them in, breaking down exhibits and building new ones. The resulting recording is two 21-minute recordings which covered each side of the original record, assembled in a multitude of movements, all with completely different sources and motives. While the recordings were the exhibition ambience, it's surprisingly unlike an ambient recording, as pieces are arranged together without the sense of lengthy, drawn-out pieces that go on way too long. From spacious echoes to whooping bird-like sounds, chiming metal and looped vocal samples mimicing radio static, hearing this without the clicks is heavenly. The accompanying booklet has a great interview about some of what went in to the performance as well as some public reaction. Photos are also included as they were for the original release along with some which weren't available the first time around. It's obvious that a good amount of care went into the reissue of this and I look forward to more obscure gems from the vaults to surface on this new division of LTM.
Read More
- Administrator
- Albums and Singles
![](/../../../../brain/images/goldchainsyoungmiss.jpg)
Read More
- Administrator
- Albums and Singles
![](/../../../../brain/images/coil-ans.jpg)
In addition to some suitably odd printed art cards and scrying mirrors,every live box set also includes a black plastic clamshell containingthis, a tour-only CD available at some of Coil's most recent shows. ANScontains three long tracks of about 20 minutes each, consisting solelyof tones made with the Russian ANS synthesizer. Invented by EugenyMurzin in 1938, only one ANS synthesizer has ever actually been built,and it sits neglected and obscure, collecting dust in the basement ofMoscow State University since 1958. Coil were given access toexperiment and record with the strange machine, and their experimentsare chronicled on this disc. ANS is a "photoelectric" instrument thatproduces music via a completely unique process. The user must inscribea series of line drawings that represent visible sound waves onto aseries of glass discs. The shape, location and nature of the drawingsdetermines the sound that the synthesizer produces, which encompassesthe entire range of audible sound, 720 pure tones. Unfortunately, thefascinating history and musical theory behind the ANS instrument isultimately far more interesting than the music Coil has managed to makewith it. While there are many dramatic points of convergence buriedwithin these abstract, long-form compositions, the overall effect is ofdilettantes noodling around with an unfamiliar piece of equipment thatreportedly takes years to properly master. Though there are some partsof ANS that are reminiscent of Time Machines, none of thesepieces has the trance-inducing intensity of that album's minimalistdrones. Reportedly, Coil are remixing and expanding ANS into anofficial double album release scheduled for later this year. Perhapswith a bit of the signature Coil touch added to these naked tones, thismaterial will come alive. As it stands, ANS is a fascinating but musically non-compelling tangent into the avant-garde realm of theoretical music.
samples:
Read More
- Administrator
- Albums and Singles
![](/../../../../brain/images/coil-megalithomania.jpg)
With each box set, Coil includes a CD-R of their performance at theMegalithomania! Festival. This disc cannot be purchased separately, andis available only as part of the limited edition box. It's a very nicebonus indeed, as this performance is unique among Coil's live history,and marks a sort of turning point for the group. Megalithomania!was a celebration of sacred sites and standing stones as expressedthrough history, folklore, art and sound. Basically, everything thatJulian Cope was on about in his mammoth tome "The Modern Antiquarian."For this special event, Coil performed a long, drawn-out permutation on"The Universe is a Haunted House," turning the piece into a slowlyevolving ambient sound sculpture involving the ghostly sound of waterdroplets, quietly droning synths, and a particularly spectral vocalimprovisation from Balance. As reported by many people who attended theevent, there seemed to be a strange rift between Balance and Sleazy,evidenced by John's agitated screaming: "Why are you here? Why are youhere?" Balance's statement that "we are the alien" could be read as atribute to the extra-terrestrial builders of Stonehenge, or as afurther statement of his growing alienation from his long-time partner.A few days after this performance, Peter and John announced that whileCoil would continue, they would no longer describe themselves as acouple. Sad, indeed, but these personal matters cannot overshadow avery unique and powerful performance. As the tension and mutationcompounds over the 40-minute length, Balance's alien incantations fightfor prominence with Thighpaulsandra's thick slabs of stoned-Druidsynthesizer. The recording is spotless, highlighting all of the ghostlyminutiae of this one-of-a-kind Coil show.
samples:
Read More
- Administrator
- Albums and Singles
![](/../../../../brain/images/coil-live_special_edition.jpg)
LIVE THREE
This documents a Spring 2002 show performed inBologna. It was an interesting period for Coil performances, asThighpaulsandra temporarily left the line-up to tour withSpiritualized. To make up for his noticeable absence, Peter and Johnenlisted Mike York and Cliff Stapleton to fill in with hurdy-gurdy andBreton pipes. This new, exotic instrumentation adds an unstable,organic element to the performance that works well with the setlistchosen for these shows. The disc opens with the ritualized workout of"Anarcadia: All Horned Animals." If you've heard The Remote ViewerEP, these ethnic-inflected drones will sound very familiar, notentirely dissimilar from Taj Mahal Travellers or The Magic Carpathiansat their most psychedelic. "Amethyst Deceivers" is here again, one offour slightly variant versions available in the box set. The classictrack "Slur" from Horse Rotorvator is given a faithful rendition, butBalance's voice is not quite equal to the job of singing this one, andMarc Almond's backing vocals are sorely missed. Balance dedicates "ACold Cell" to all the prisoners of the world, as well as those "inprisons of their own making." It's always been a haunting song, and thelive version enhances its lonely, melancholic atmosphere. Track six isan accomplished recreation of "Paranoid Inlay" from Musick To Play in the Dark 2,even though the tracklisting on the back of the digipack omits itcompletely. "Sick Mirrors (Version)" is a meditation on the concept ofremote viewing utilizing dense Middle Eastern melodies. The songseamlessly segues into a frighteningly intense version of "A.Y.O.R.,"the second of three songs in this set that may have been destined forCoil's long-promised-but-never-delivered Nothing Records album, nowreferred to as The World Ended a Long Time Ago. "Backwards"ends the set, a joyous psychosexual EBM bacchanalia, with Balanceuttering some of his most transgressive lyrics: "Fuck me inreverse/Normal is perverse/Everything's backwards." This disc would beperfect were it not for a rather nagging problem with the mixing, whichseems to favor Balance's vocals and pushes much of the music into amuddy, nebulous background. Even with the technical difficulties, Live Three is an essential chronicle of one of Coil's most inspired shows.
samples:
LIVE TWO
Coil's Moscow performance in the Fall of 2001is documented here, soon after their brief stateside visit. Like theNYC show, the Moscow performance went under the banner "ConstantShallowness Leads to Evil," a tight, energetic performance highlightingCoil's most confrontational material. This is my personal favorite ofthe four periods of Coil's live shows, simply because Coil seemed atthis stage to be perfectly in control of their audience, skillfullyheightening tension and confounding expectations, all the whilesubliminally projecting their bizarre brand of personal empowermentpropaganda onto the unwitting observers. This Moscow performance seemsto be the absolute zenith of the "Constant Shallowness" show, which iswhy the bad mix on tracks like "What Kind of Animal Are You?" is verydisappointing indeed. The officially sanctioned bootleg CD-R recordingof the NYC show actually boasts superior audio, which is surprisingconsidering Coil's usually scrupulous attention to their productionfidelity. Still, this performance is very impressive, especially thepitch-perfect rendition of Horse Rotorvator's "Blood From the Air." Thefinal, apocalyptic blowout of "Constant Shallowness Leads toEvil" begins with Balance satirically answering some vicious rumorsprinted in a Russian publication: "We've heard that some of you mayhave read that we eat human flesh. However, we only do this onreligious holidays." Coil then launch into a lengthy noise assaultspecifically formulated to exorcise you of demons and brainwash you ofall your previous learning,leaving you vulnerable for Coil's subliminal psychobabble. "God pleasefuck my mind for good!" screams a wrecked Balance, stealing a line fromCaptain Beefheart's "Making Love to a Vampire With a Monkey on MyKnee." If you manage to make it to the end of this exhausting set withyour sanity intact, you may truly grasp Coil's final motto "Persistenceis All."
samples:
LIVE ONE
The last in the live series is a 2-CD set beautifully packaged in afoldout digipack. The two discs document the first two Coilperformances of the new millennium, focusing on their Time Machinesmaterial. It must have been terribly exciting for the audience at theRoyal Festival Hall in April of 2000 to hear the opening tones of"Everything Keeps Dissolving," this being Coil's first true liveconcert other than some sallow, abortive attempts made in the early80's. Coil no doubt practiced for months, as they show no signs ofunease in unveiling their polished live presence. Disc one originallysaw limited release as Time Machines Live only available with mail order copies of Musick to Play in the Dark 2.It's swell for this material to be widely available, as it is truly agreat concert and a flawless recording. At this early stage in Coil'sperformances, John Balance had not yet adopted the dancing, screaming,extroverted lunatic personality he was to unveil in later shows.Therefore, the three tracks that make up the London show contain nolive singing, just a series of enraptured electronic oscillations thattwist around the brain, wiping out all thought but an extreme sense ofdislocation and confusion. "Queens of the Circulating Library" utilizessamples of Thighpaulsandra's opera-singing mum Dorothy Lewis, togetherwith digital arpeggiations and sexy purrs from a wounded synthesizer."Chasms" flirts close to Tangerine Dream territory, a swirlingcirculation of warm synthesizer tones that unfold like a Russianscience fiction film. Disc two comprises Coil's terrific performance atBarcelona's Sonar festival in June of 2000. It repeats the same songsfrom disc one, but adds three new songs to the setlist, including thefourth and final permutation of "Amethyst Deceivers." Bill Breeze playsviola throughout the entrancing set, adding some beautifulneo-classical flourishes. "TheUniverse is a Haunted House," a line taken directly from Burroughs' Naked Lunch, is present in a much more nascent version than the one heard on Live Four.Unfortunately, this disc suffers from two problems. First, the audiosource used for this release was not made from the soundboard, but israther a recording by a member of the audience. While pains have beentaken to clean up the sound, the audio does suffer from the technicalproblems inherent in bootleg recordings, including annoying audiencechatter and trebly distortions. Second, although the digipack lists sixtracks, the CD only contains five tracks, the last two apparentlyhaving been accidentally merged. Still, this is a rather impressivebootleg recording, and these problems can easily be forgiven and theconcert still enjoyed. We hear Jhon Balance step to the front for thefirst time, delivering a series of blood-curdling screams on "Elves,"once again making a play for the title of the most warped vocalist inmusic today.
samples:
Read More
- Administrator
- Albums and Singles
If "prog-esque overblown, overlong self-indulgent wankery" sounds like a bad thing or if comparison with Tales From Topographic Oceans carries un-cool implications then this CD may not be for you. I doubt that there remain many Brainwashed readers who still subscribe to the NME's Exclusion Principle, i.e. that to like The Fall you have to revile Yes, and it is to those thus enlightened readers that I'd recommend Just Drums.
Fever Pitch
Think instead about a more important principle: there never was a truly great band with a less than excellent drummer. While many a band has achieved true greatness with ho-hum guitarists, challenged singers or uninspired keyboard players, none achieved that level with a mediocre drummer. So it's really only fair that the drummers should have a CD of their own from time to time and this is one: seventeen drum solos from masterful drummers in diverse corners of the muso-sphere. Kicking things off is Gregg Bendian, respected improviser and leader of the Mahavishnu Project, with an expansive workout through fusion topography. Even for non-drummers and people who, like myself, know absolutely nothing about drumming, it's fun to play the reminds-me-of game. Though we may not understand them, the game works because perhaps drums dominate the musical world we live in and we learn subliminally. Bendian's flamboyant, rollicking, colorful and bewilderingly complicated playing reminds me of, appropriately enough, Billy Cobham. Laura Cromwell, former God is my Co-Pilot drummer, has a short, kind-of Jon Hassell moment. Victor Delorenzo's straightforward but seriously swinging piece backs less than 100% convincing singing (presumably his own); evidence in support of that more important principle. Dylan Fusillo's contribution is a beautiful fusion of African and more western styles, initially a vertical form elaboration of a driving tonic beat it beaks away into a real but brief drum solo on that same basis. Gerry Hemingway has impressive credentials and I've enjoyed his work since way back but hadn't kept track of his more recent activity. Here we find him working with electronics and extended technique—most of it is beautiful except that the squiggly electronic sounds (mere electronics) rather annoy me. What I never liked was a jazz drum solo. These seemed to be aiming specifically for maximal confusion of the meter, often through gratuitous acceleration and deceleration. This detestable effect ruins John Hollenbeck's otherwise lovely effort as well as Payton Macdonald's. So it's surprising that I enjoy William Hooker's piece—it sounds like a jazz drum solo but has enough form, tension and energy to hold it together for fully eleven and a half minutes. I've run out of space so the last word goes to Nandor Nevai and his explosive "Nonillion, 10 to the 13th Power" that, in a mere 90 seconds, is a gem of power, anger and sonic brilliance. It has something of the seductive impact of Lightning Bolt, if you ever caught them live.
- Gregg Bendian - One Million
- Dylan Fusillo - Omo Leyin
- Nondor Nevai - 10 to the 13th Power
Read More
- Administrator
- Albums and Singles
![](/../../../../brain/images/beaulieau_vermont.jpg)
Read More
- Administrator
- Albums and Singles
![](/../../../../brain/images/heckerrrose.jpg)
Read More