The first concert I went to after my son was born was Bauhaus at Lignano Sabbiadoro, and it was a very fine concert I tell you. Later I'll post something I recorded there, but for now my favourite compilation of dance music. I mean, the music I dance to.
Steve Albini was an unlikely choice for an Auteurs producer, but it all worked out very well as you will eventually hear.
My favourite british album of the year 1996 along with any of The Fall albums excluded since they are a category on their own.
The Auteurs: Luke Haines (guitar, harmonium, vocals); James Banbury (cello, Hammond B-3 organ, Korg synthesizer); Alice Readman (bass); Barney C. Rockford (drums).
Additional personnel: Marcus Broome, Eleanor Gilchrist (violin); Theresa Whipple (viola); Abigail Trundle, Ben Davis (cello); Andy Bush (French horn).
Following the double-disc reissues of Suicide's first two albums, Mute continued to slowly roll through the remainder of the duo's career. A Way of Life, produced by the Cars' Ric Ocasek and originally released in 1988 on Wax Trax!, undergoes remastering treatment from Martin Rev, and a second disc adds a recording of a London performance from December 1987. This release, along with the similarly treated reissue of 1992's Why Be Blue? (the lesser of the two), should hopefully detract from the widespread belief that the first two Suicide albums are the only ones worth owning. A seven-year gap between album number two (although plugged with some thrilling moments from Alan Vega's and Rev's solo albums) and this one didn't help, and the duo couldn't have possibly set the underground on fire as they had during the '70s and early '80s. However, any group inspired in the least by Vega and Rev would be proud to have made this. It's an update of their original sound, somewhere between the first two albums in terms of accessibility, with small traces of their adherents seeping through the cracks. The second disc adds value for fans who don't feel as if there's enough live material floating around -- several songs were being heard for the first time by the attendees. If Vega and Rev weren't as confrontational as they had been in the past, those in the crowd must've at least realized that they remained as powerful.
a way of life (expanded) - album credits
Ken Steiger Assistant Engineer
John Magnuson Assistant Engineer
Renaud Monfourny Photography
Bridget Davy Assistant Engineer
David Nobakht Design
Martin Rev Remastering, Instrumentation
Alan Vega Vocals
Joe Barbaria Engineer
Ric Ocasek Producer, Cover Photo
Suicide Main Performer
Oh how happy was I to find out that Tuxedomoon were once again and that they were coming to our little corner of the world. Followed by their first release in many years, Cabin in the Sky they came to Zagreb and did a memorable show in a club by the name of Mochwara (Swamp).
It was a dream come true because I really didn't expect to see them perform live ever. Now I think that everything is possible, since I also was in a luck to see Faust perform live. Isn't that the strangest possible event ever?
I am currently in a phase of constant listening to Chrome/Damon Edge/Helios Creed and this is the album that I couldn't find anywhere in the blogosphere out there so I thought that it would be nice to contribute a little. Ripped off a vinyl, sounds crappy at places but i think you won't mind. The album is a true classic.
Side A
The Need
Innervacuum
Perfumed Metal
Planet Strike
The Strangers
Side B
Insect Human
Out of Reach
Brain Scan
Blood on the Moon
All songs by Edge/Creed
Produced by Damon Edge, co-produced by Helios Creed
Released 1981.
BIOGRAPHY P. W. began his musical journey in Wig, back in 1989. After two years as their singer, P.W. decided to take things in his own direction and formed Mule with Kevin Monro and Jim Kimball. Mule's first, self-titled record was released on Quarterstick Records in 1992, followed by the Wrung EP. Mule was a live band to be reckoned with, and earned a reputation around the States as a three-man behemoth.
After the release of If I Don't Six in 1994 P. W. disbanded Mule to do his own thing as a solo artist. That didn't last long, however. After touring around doing acoustic shows on his own, he soon found himself hooking up with a new rhythm section (former Jesus Lizard drummer Mac McNeilly and a bassist by the name of Dan Maister) and bringing a whole new aesthetic to his performances. He would very often begin the set on his own, playing some songs solo, only to be joined on stage by Mac and Dan for a full-on assault. The trio (now christened P. W. Long's Reelfoot) recorded We Didn't See You On Sunday, a collection of songs that documented P. W.'s penchant for both the acoustic and electric sides of music, which was released on Touch and Go Records in 1997.
1998 saw the release of Push Me Again, a new collection of songs that found P. W. and Reelfoot dropping the quieter side of things in favor of a full- out assault. Reelfoot as a band had jelled, and with the addition of Mark Boyce's keys, they had never been tighter. P. W. even said that he felt that record was the closest he'd ever come to getting on tape what he had envisioned.
After touring and eventually ending their run as Reelfoot, P. W. disappeared for a while, only to emerge in 2001 to play as part of the Shellac-curated All Tomorrow's Parties in Camber Sands, England. His performances that weekend captivated the audiences and sparked a fire in P. W. that lead him to record his latest effort, Remembered. Recorded in Texas, Remembered finds P. W. softening the rougher edges of Reelfoot and exploring a more melodic side of his songwriting. P. W.'s music has always come from the heart, and on Remembered, the blood pours. The lyrics resonate with the voice of someone who knows he's made mistakes, but underneath it all, there's a faint hope of redemption.
We Didn't See You On Sunday
Dan Maister played bass
Mac McNelly played drums and sang some too
Jeremy Jacobsen played organ
Casey Driessen played fiddle
Recorded by Steve Albini and Josh Kramer
Mixed by Steve Albini
I am basically a Touch & Go fan. Everything ever released by this label is good enough to make me wanna listen to it. And here is one of the major reasons why.Allthough it was released on Quarterstick label, Mule was in truest sense a Touch & Go band, and the injustice was made right later when P.W. Long Reelfoot was signed to them. Mule's original line up consisted of Laughing Hyenas rhythm section aka Kevin Munro on bass and Jim Kimball on drums who later became a member of Jesus Lizard and of Dennison Kimball Trio. But the real weapon here is P.W. Long. Allthough allegeadly very envyous on Duane Dennison who is considered as the best noise rock guitar player there PW had nothing to be envyous about since his style was and still is so distinctive that you really can't go wrong and mistake him for annother.If I were to pick my favourites, it would be him or The Butthole Surfers' own Paul Leary. Here's my first in series of several P.W. Long releases. Other two will be P.W. Long Reelfoot's "We didn't see you on sunday", and "Push me again". Note about the albums that I post: I own these CD's and if you like them too, go buy them as well. Support the bands. Many of these people stop making music since they cannot afford it. They have to take crappy daytime jobs to support themselves because they are not able to make enough money by playing music. And as we saw on T&G 25 years show, they still can rock. They still rule. But you have to eat, your family has to eat, and if you can't support them, music has to stop. That's reality and that sucks.
No, this is not a new album of CHRISTIAN DEATH, but some kind of compilation of material from all the periods of the band. „Rozz Williams“ tracks like „Cavity“ and „Sleepwalk“ are featured „Live ´99“, some others are re-recordings I guess. We find classics like „This Is Heresy“, „Ashes Part 2“ and „Strange Fortune“, not so wellknown tracks like „Malus Amor“ and „Alpha Sunset“ and some more like „Zero Sex (Live ´99)“, „The Nascent Virion“. Newer ones like „Washing Machine“ and so on.
You know it is funny how some bands are not to be seen live to be appreciated. I utterly hated their Ljubljana concert, and was drawn away from all of the Valor made albums. But then years after the concert faded away from my memory I started to listen to some of their albums and found them fairly enjoyable. It's the same thing that happened to me with Blue Oyster Cult. After seeing a video of their concert with Black Sabbath, I couldn't help but to start disliking them in many ways, especially the singer. You can add Styx there as well, the way they act on stage and look like is a disaster, allthough I find myself enjoying some of their albums. The only thing I have to do is not to look at them, just listen and everything is allright.
Christian Death are miles away from these two bands, they are cool yes, simply because of the fact that they have a bass player/singer/Valor's wife Maitri, who performs without her panties! You gotta love that
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It's either love it or hate it with Christian Death. If you love the original Christian Death , than this new Valor Kand's incarnation of the band is somewhat in a lower league. But if you were to listen to them without knowing who the hell is that playing, you'd probably say that finally there is a goth metal band without crappy vocals. And that is what this Christian Death is all about. It is a more than decent goth metal band. As for the Old Christian Death, first two albums are masterpieces in any book and by any standard, but this, this is whole different band. If they recorded this under some other name they would be much more appreciated.
I found this and other 3 albums on a Cristmass discount at my favourite record shop. And what a strange way to feel a Cristmass spirit this is...
Anyway the music is made to be listened to and if you can forget about Rozz-Valor dispute, forget about offensive material, forget about the unnecessary obligatory over the top visual image of the band, and just listen to the music. It's fine allright. Especially the Rozz penned tracks... And oh, yes if I were to make a decent album of the remaining three I bought I guess I would only end up with an ep or maybe mlp if I felt generous...
RANCHO DIABLO formed in February 1993.Melody Maker tipped them as the Stars For '94, describing them as a "swaggering combination of electro-noise and guitar debauchery" whilst the NME declared them to be "sleazy noiseniks".
In October 1994 the band emerged, ravaged and demented after five months of studio madness, bearing their debut album, "CHICKEN WORLD". The album, containing 10 chunks of vehemence, is a surreal insight into the extraordinary, seething and grotesque world that is RANCHO DIABLO.
They are probably the closest any British band came to sound of Ministry.Allthough it sounds a little flat at times, it is a great album which would benefit greately by little bit of remastering. Pity is it didn't sell all that well back in 95 when it was released, so I don't think that it ever will be remastered. You'll just have to turn it a bit louder than, wouldn't you?
Band members:
STEPHEN MARTIN -vocals.
ADAM D. JOHN - lead guitar.
AD JONES - rhythm guitar.
GERAINT T. ROBERTS - bass
M. Gira: "One summer, in the midst of a debilitating heat-wave, Ulan Bator and I (complete strangers to each other at the time) locked ourselves up in a tiny recording studio in a village just north of Florence, Italy, for 18 hours a day for three weeks. We got to know each other pretty quickly! Of course I'd heard demos of the material that eventually became the songs on this recording, and I'd heard (and been a fan of) their earlier records, but as we started to work it became obvious to everyone that we had to be open to anything, to be willing to start from scratch in some cases - just throw everything out the window and make something happen right now if we were going to rise to the potential of the moment. So, much (though certainly not all) of this music was written and/or (re)arranged on the spot, as we worked, under increasingly intense pressure. Adrenaline, stress, heat, chaos, and panic, combined with the lanuage barrier (they're French, the engineer was Italian), forced us into places we never expected to end up in, which to me, was incredibly elating. In some cases the basis for the song started with just a groove, or an electronic sound, or a vocal idea, or an accidental noise, and was eventually wrestled into the final version you'll hear on this CD (though other songs are re-arranged versions of material they'd previously worked out). To watch them play, cramped up in the miniscule (about 8' x 12', as I recall) recording booth - bass, drums, guitar and amps included - strangling the groove out of their instruments with completely uncynical and unselfconscious commitment (and this from unrepentant, intellectual "art rockers" - a breed I usually find to be pretty anemic, at best, and merely clever, or "hip", at worst), was a joy I'll never forget. Their musicality and their dedication to making something powerful and clear out of whatever raw materials were at their disposal at the time ( sometimes a grand piano, for instance, or other times a piece of looped digital feedback), coupled with their immense knowledge and enthusiasm for the music they love that's gone before them - from the Beatles and Beach Boys to New York No Wave to Krautrock to experimental electronic music - combined to make this, I think, a great "experimental rock" record - or whatever genre you want to call it. To me personally, it's one of the most rewarding records in which I've ever been involved, and it's an honor to be able to release it on Young God Records. I think if you listen to it with even a fraction of the pure enthusiasm of its intent, you'll find much to enjoy here. As for the lyrics being sung in French: Tough luck, they are French."
- Michael Gira /Young God Records/Angels of Light/Swans
This is what Michael Gira had to say about the band and their music. I just want to add that they are still around playing gigs and sounding utterly tremendous. Go check them out, it's a great live band. As for the other releases are concerned, go for the albums released after the year 2000.
Crunch! Riff! Roar! Have you ever stopped and thought that it would be really easy to play in a heavy band? Well Volt show that sometimes the best playing comes from fighting outside the box. Not fast enough to mosh to; not enough detuned crunch to headbang to; vocals that are more unnerving than anything you would mouth along to - Volt play music with Balls.
Though these kinds of descriptions are often useless, in this case, it has to be said, they sound a lot like Dazzling Killmen or Lightning Bolt - because of the tremendous intensity you know. If that means anything to you, you'll be heading out to buy this right now, and if not, then you probably won't care anyway.
Just saw these guys play live and bought their new cd. It was awsome, nearly blew me away. It has been long time since I really enjoyed a show like I did with Volt. I wanted to buy a T-shirt but the drummer told me: "Buy a CD, 'cause it's all about music." And you know what? He's right, I forgot what's important.
If you like what you hear here, you should buy the album. It's not about the t-shirts, merchandise and stuff.... it's all about the music.
Go see them live if you can, it's the best show I saw this year.
Svirali smo s njima u Menzi, i razbili su nas, baš su nas pojeli, a nije baš da smo kamilica...
