From Denmark, this band (mainly consisting in Emil Brahe it seems) proposes here 3 totally dissimilar tracks, the first one being ambiant doom, the second extreme/experimental doom and the 3rd atmospheric doom. If, like me, you like extreme sonor experiences such as the ones Khanate or Skullflower gave us, you will adopt the second track as soon as you'll hear it. It's totally amazing. On the 3rd track, there is something of the last song on Oxbow's Narcotic Story that is quite surprising but impressive. You can get this gem via cassettes here, on free dl MP3 there, or take it here from mf. Go to their site here to help in buying what you can, this band really deserves it.
In October 1969, 4 months before the wonderful "Witch's Promise" single, the band had released another gem called "Sweet Dream", once again generously not an LP song although the albumStand Up, released during the summer of 1969 had been an incredible chart success (n°1 in UK, n°20 in the US) and could have provided many singles. But Ian Anderson was in his most prolific and genius period of his life and could write standards with a fascinating apparent facility. So "Sweet Dream", with its gorgeous chords arrangements, not far from the Barry & Paul Ryan's one, is a classic among classic and reached n°7 in the English charts. On the B-side another new track, very different from the usual Tull style but, will you believe me, great too. Not really easy to compare but I can't help thinking that in it there is something of the future Jacobites style (yes the Nikki Sudden's ones). It's one of the rare examples where the Tull could be classified in the Stones/Faces family. All in all, another extraordinary 7". Both tracks can be found on various compilations, but "17" is much less frequently included so it's a real forgotten song. More to come. Enjoy it here. PS. I think on the below pix they are at Père Lachaise cemetary. Didn't find any video for this song. Seems they did not play it on Top of the Pops or anywhere on TV.
Sorry to find almost every week an album that will feature in my top ten of the year (it was recently the case with Battle Path and Walk Through Fire) but once again, here there is one. It's the new Dark Castle. This band consists in the vocalist/guitarist and composer Stevie Floyd and drummer Rob Shaffer and their previous LP (Spirited Migration) was a gem that I promoted the best I could in the various media sources I was writing. Now, I'm confined to this blog and this new one is a complete masterpiece, varied as none would have believed and that is a new milestone in the doom/sludge march towards the glorious end of times. What is so fantastic here is that there is no more codes, barriers, taboos and that the duo decided to do what they were inspired to do. And it's totally amazing. I don't see anything on this album that is a concern for me. First, I was not totally convinced but it was only cos' I wasn't in the mood for a so deep and rich music. I wanted something unidimensional and somewhat archaïc which this album is not. If I post the LP here it's only to give a try but the band needs support and that you buy their stuff on any support you want (preferentially CD or vinyl on At A loss). Their myspace is here. Enjoy this total stunning piece of work there.
This is maybe my fave Tull's song, at least one of my faves, the melody is total magic, the instrumentation (this mellotron, this flute) classy as few are, and Ian Anderson sings it without the somewhat pretentious tone he will adopt the following year for the rest of his career. The song was a hit in UK (n°4). Released in January 1970, 3 months prior to Benefit was issued, it was a sign that the success of the Stand Up LP and the Sweet Dream single was not an ephemere phenomenon. On the B-side, there is Teacher, here in its first UK mix, maybe the version on the B-side of the single but I'm not quite sure. The thing is that it allows to propose a rare version of the song and not the trad. LP one (it is to note that this version is available only on the 20 years with Jethro Tull 3CD but not on the bonus tracks of Benefits, contrary to what is written on the rear cover). So here it is really the original UK mix. Enjoy this single here. Below some TV appearances during which Ian Anderson doesn't really try to mimic the playback but he sures likes mimics. The band was at these times fucking charismatic.
Witch's Promise. Lend me your ear while I call you a fool.You were kissed by a witch one night in the wood,and later insisted your feelings were true.The witch's promise was coming,believing he listened while laughing you flew.Leaves falling red, yellow, brown, all are the same,and the love you have found lay outside in the rain.Washed clean by the water but nursing its pain.The witch's promise was coming, and you're looking elsewhere for your own selfish gain.Keep looking, keep looking for somewhere to be, well, you're wasting your time, they're not stupid like he is. Meanwhile leaves are still falling, you're too blind to see. You won't find it easy now, it's only fair. He was willing to give to you, you didn't care. You're waiting for more but you've already had your share.The witch's promise is turning, so don't you wait up for him, he's going to be late.
If one single would epitomize the mutation of Strawbs from a folk to a rock band, this would certainly be this one, although it failed to make any impression in the charts. But it's clear that Dave Cousins was inclining towards more rock and even more towards glam (funny to see on the picture below that only Dave Cousins and Blue Weaver could have fitted physically with this movement, the other members being not quite charismatic enough to be credible in glitter stars). Not surprising when you think that David Bowie and Marc Bolan were first folk icons, that Dave Cousins crossed the path of both, and that Tony Visconti, Mr T.Rex sound, was Strawbs arranger for a while. Listen to the acoustic intro and tell me if it's not under the influence of the sound Ken Scott did for Bowie onHunky Dory. The bad thing is that the song is not a winner, neither on the musical nor on the lyrical plans (these are maybe the worst lyrics ever written by Dave Cousins). But it's not a total disaster. The song never appeared on any official LP but only on various compilations and as bonus tracks on the reissued version of Grave New World. Here it is in its original element. The single was released to coincide with the summer tour promoting the Grave New World LP. The LP from which the B-side was driven, "Tomorrow", a (superb and raw) song about Rick Wakeman and the bitterness of Dave Cousins about this departure for Yes. Enjoy it here.
From Sweden, this band proposes one of the most deep and intense doom of our times. It's slow, very slow, but it goes so profoundly in your guts that it's difficult not to be moved by the sludgy grandeur of this music. It's apparently their second effort and it's a triumph (strange word for such a music but this is the one that comes to my mind). There is nothing of the sometimes forced atmosphere of UK or US most extreme doom. Here it's like the evidence of mourning was dripping from this music's blood. A must. Try it here and then buy the digital version at their bandcamp there to support them (and to have the booklet I've had voluntary not included in the file). Or buy the CD, it's the only way to listen in decent conditions to this music.
This is what everyone calls the "glam" or "glitter" LP of Kim Fowley. It's true that once in London, he certainly was influenced by the climax of the year (actually 1972) which was all for Bolan & Bowie. Since these 2 glam stars were an adaptation of Dylan, it's no surprise this album is what Kim Fowley tried to do with Dylan to produce his own glam identity. Actually, it's still very Dylanian and rarely goes in the real glam (except the T. Rex-influenced "Born Dancer" and "Dancing All Night"). But the fact is this album is surely his best (with Outrageous) cos' songs are really prime cuts and have supported the test of time more than many of those released at this period. It's true that Kim Fowley was backed and helped (for composition) by a strong team of musicians among whom Kerry Scott (where is this man, what has he done afterwards?) and Glen Turner, both on guitars. They provide a first class support and Kim Fowley seems exceptionnally concerned and focused. Only on the Ralph Shuckett co-penned "So Good Wish You Would", the madness Kim was used to, emerges again. But the most incredible song is "I Hate You", totally under the influence of Procol Harum, and most notably their Shine On Brightly period, with the doomest and darkest songs. The text is terrible (if you want to send a hate letter to an ex-lover, take it) and the song remains one of the highlights of the seventies. A perfect great forgotten song although it cannot be denied it's a Procol rip-off. Other gems are "World Wide Love" (a sure hit, why nobody released this on a single?), "International Heroes" or "Ugly Stories About Rock Stars", not forgetting "Something New", but actually there is no really weak track here. So, that nobody released this masterpiece on CD properly shows how the record industry only deserves to be despised until they die. Whereas Kim is alive forever. Enjoy it here. You can find many details about the album there.
Libellés : Kim Fowley
Sorry if you were waiting for some 70's old treasure (usually it's 2 old stuff for 1 doom/sludge), but I'm still in extreme sludge blackened metal today, notably with this great Canadian band called Ensorcelor and truly ensorceling. Something of Khanate (in particular the voice and the deconstructed parts here and there) mixed with black metal atmospheres and breaks (a growing trend these times), a sludge sound thickness and doom themas on guitar (eg. the 8th min of "Crucifuge"). The perfect mixtures for despaired nights. This band succeeds with 2 long tracks to install its style and to become one of the major acts of the year. The production is loud and powerful, it's never boring or self-indulgent (there is even nice passages with acoustic guitar, yes). In brief, it's great. Shame that on their bandcamp they don't propose any solid format (vinyl or CD). However, you can buy a vinyl version here or there. Dl it here to enjoy and then buy it there to support.
OMD (you don't think I'll pray god, the devil is more my interlocutor), 2 hours after a car crash (I'm fine, my car less), that's exactly what I needed to hear. I had this demo stored for some weeks now, but tonight I had a need to hear these crashing guitars fuzzling in my ears as was the rain on the steel of our cars collided one in another. This demo is the new project of Umesh Amtey, ex-member of the great Brown Jenkins (I must post some of their material here one day), and is totally instrumental. If you would have liked that Steve Albini made Shellac go in the doom or black metal atmosphere, this will please you. You may like more bass, maybe a voice, but I find the present options OK, and the choir on "All Your Stars Will Die" is really clever and efficient enough to make you shivering deep in the spine. This project is one of the most interesting of the year so far. Don't need to upload it since it's free on Bandcamp (here) and a link to mediafire is even proposed.
Libellés : The Ash Eaters
This is one of my fave testimony of Melanie playing live. First because the playing is tight and sober, maybe the presence of a second guitar player (don't know who, I put the picture of one of them below, maybe I've the chance that it's him) is for something in this, but also the presence of her 2 daughters on backing vocals. Second for the playlist, really different from most of the live sets recorded on albums. Rare to hear songs such as "Summer of Love" "Good Book" or "Something Warm" live, and even covers such as "Estate Sale", "Purple Haze" (fantastic version), "Silence Is King" (superb), "Arrow" or "These Nights" are rarely heard on stage, or at least have rarely been included in live set released on LPs. Even the unavoidable hits are provided with a supplement of soul here, just like if she was singing them for the first time. A good night actually. This concert has been released on a low-cost and cheaply wrapped double CD compilation called Her Greatest Hits Live & New, with an awful cover sleeve (it was the second CD, the first being primary Silver Anniversary extracts). Here it is in a more respectful situation, as a real live LP (and I think a correct sleeve). On the LP, they say this concert was recorded un 1992 but on a well-informed site (here) it is said that it is more likely to be 1995, so I considered this last date the good one. Enjoy it here.
Silence is King. She tests every word like a fine wine She holds every thought like her last dime You could hear a pin drop from miles away You could hear a heart stop as plain as day We live in land where silence is king whispers have all disappeared Cry for an echo you won't hear a thing Silence is king around here Silence is king around here Where are the dreams we were after Where is the joy and the laughter Were they only habits we were doomed to lose Or is destiny not ours to choose We live in world where silence is king whispers have all disappeared Cry for an echo you won't hear a thing Silence is king around here Silence is king around here Desperate measures come from desperate times I don't regret what I have done If my actions make you speak your mind Angry words are better than none We live in world where silence is king whispers have all disappeared Cry for an echo you won't hear a thing Silence is king around here We live in land where silence is king whispers have all disappeared Cry for an echo you won't hear a thing Silence is king around here Silence is king around here
Libellés : Melanie
This is the 3rd of the summer production of Thou, an EP strangely featuring 2 tracks from Summit and 4 (to my knowledge) previously unreleased tracks, in particular a cover of Nirvana's "Something In The Way" (although I'm not sure this song fits very well in Thou's universe but no matter). To have seen them recently, I know this band is a killer on stage, and it's fantastic to have such a great band in action. Since I have listened a lot to Summit and I'm not totally convinced by the Nirvana's cover, my preference goes to the 3 new tracks that worth the acquisition of this EP (in vinyl) and add some more gems to an extraordinary series. They are more in the doom mood than in the pure sludge one and "Bonnet Carre" is a true masterpiece. There is something particular to this band that makes him greater than anything else. They are not miming any code and bring some fresh air in a scene sometimes stuck on narrow formats. It's punk, it's doom, it's noise, it's sludge, it's Thou (& me). Enjoy it here.
Bonnet Carré. Heads shake at self inflicted misfortune. Hands wrung of responsibility. Ears covered from the ringing trumpets of fact. Father created from the black froth swept off the rim of the cauldron of creation. We are maggots, and we are worms writhing in the marshes of refuse. Flee! Flee! Sink to hands and knees. Crawl through the muck, shrunken genitalia beating against bellies and thighs. Wretched, disgusting beasts. That tree which no man knows has been hewn to it's roots and set ablaze. Our faces are bleached in its ashes.
A wonderful song from the strong Grave New World LP, recorded in November 1971 once Rick Wakeman had left the band for Yes, and Blue Weaver had taken the keyboards, not for the worse to my view, even if it was a rude shock for the band. The song is everything I admire in Dave Cousins. This ability to mix traditional melodies with a modern flavour, never sounding passeist or old-times lover, but succeeding in recreating the magical mystery emanating from this ancient music, adding new standards to old ones. The instrumentation is perfect (thx to Tony Visconti, to whom Dave Cousins is actually grateful). It was not a hit but it was maybe a little too much to ask since the song is not quite the model of the ones that excited the glam audience of the period. The B-side is the same than the abhorted "Witchwood" single, a non-LP song from John Ford. I did the cover sleeve myself, based upon a flyer from the US tour to promote the album. Enjoy it here (rs) or there (mf).
Benedictus. The wanderer has far to go Humble must he constant be Where the paths of wisdom Distant is the shadow of the setting sun. Bless the daytime Bless the night Bless the sun which gives us light Bless the thunder Bless the rain Bless all those who cause us pain. Yellow stars may lead the way All diversions lead astray While his resolution holds Fortune and good will will surely follow him. Bless the free man Bless the slave Bless the hero in his grave Bless the soldier Bless the saint Bless all those whose hearts grow faint.
This Akem Manah is the US one (from Oregon), not the more gothic one from Belgium. They play a back to the roots (historically and metaphorically) death-doom that reminded me Autopsy when they slowed the pace, or to the old school doom à-la My Dying Bride 1st period. Except for the totally ruined version of Electric Wizard's "Funeralopolis" (where the drummer had put his drums sticks to play so out of pace?), the rest is dirty and sludgy as I love it (in particular the themas that are exceptionally finely developped and easy to remember such as the splendid one of "Creatures in the Wall"). A kind of good old times perfume, except that this lost heaven was the one we lived in cemetaries among living-deads. Taste the thrill here and then go to buy the CD there. It worths it. Their site is here. After Melanie, quite a contrast I admit, but this is the cyclothymic way I feel.
This concert has probably been recorded in July 1970, some days prior to the Queen Elizabeth Hall one that gave the Antiques & Curios LP. Didn't find the precise day. Think it was before Roy Harper. What's important is that it is almost better than the QEH set, and features more songs on the record. What's better is the sound (the bass and percussions are less prominent and they were a little cheapy I think) and the versions are tighter and more focus than some days later. It's also much better than the concert recorded 1 year later (here) with a laid back and prog attitude that didn't fit what I love the best in this band. This set has been released in 2006 under the name of Recollection with a rather dull picture sleeve that I changed. A little more from this band I cherish more and more with age. Enjoy it here.
That Which Once Was Mine. If in some capricious moment I should give you cause to fear Then you have but to remember That my being here is mere fortune For the rules have laid down To guide the thoughts of those who stray. If in some deserted hour We should murmur last goodbyes With the snowflakes falling softly As the tears well in your eyes Then we kiss but once and walk away Never turning round And the snow falls on our footsteps Leaving nothing to be found. And my life is yet determined By the span of what it holds And the span grows ever shorter As my lifetime folds away.
This band from USA mixes so many genres that it would be too long and tedious to name them all. Let's say that you can hear black metal, doom, sludge and post-rock but much more. This seems to be the mark of the new generation of bands that appeared in the later years (recently the excellent Deafheaven) and that I post on this blog. This way of not being stucked in one style is a welcome evolution and provides albums much more pleasant to listen to than many of the great ancients that honestly were a little unidimensional. Here the band seems to have ecological ambitions in their lyrics, and also music. I'm not sure it's what I like the most, there is always the risk to sound pompous and emphatic. But I don't think it's the case here. What's clear, it's that one of the best thing to have been released these recents weeks (and I listen to a lot of things, most being quite boring to my ears). You can find their site here and then dl freely their album there. Support the best you can, they deserve it. And dl the album here if you don't want to do it on bandcamp.
Subway Sect is surely one of the bands who was the most victim of the stupidity and the incompetence of one man: Bernie Rhodes, more interested in promoting the rock'n'roll-as-usual stuff of the Clash (never been a punk band although what everybody says, shit, I lived that period) than the genius of Vic Godard. Everybody knows now the incredible story of this first Subway Sect LP never released by the above named individual, and that Godard had to re-recorded some years ago in order to allow his fans to hear the songs that were on it. Some (but not all) of these songs can be found on various compilations. But here, I gathered the 2 Peel Sessions recorded by the band during this sad times. When I say "the band", it seems there were 2 bands: the almost original line-up for the 1977 session, but a completely new one for the 1978 session. Unfortunately, I didn't find the names of thi session's musicians so I didn't write anything on the rear cover sleeve I created. When you know that What's The Matter Boy? released some times later was recorded with a 3rd line up, you see that it was quite hard to follow. What's easy to follow, is Godard's music since these songs are as fresh and palatable than at the time of their creation. No many in that case. So, enjoy here or there these 8 songs captured in their half-live incarnation. Versions of the What's The Matter Boy? LP are much better here to my eyes. The sound is very good and the versions stunning. I respected the order of the tracklist played, actually I respected what's written on the BBC site. Below some clips from the band in this period. Interesting even if the sound is shitty. One is a nice video montage with pictures of Anna Karina in Vivre sa vie from Jean Luc... Godard, on the Peel session version of "Chain Smoking".