Slade - Know Who You Are / Dapple Rose (1970)

Released in September 1970, 2 months before their Play It Loud album, this single is maybe one of their most forgotten ones although the songs are not rare, both included on the album. In this single, the Beatles influence is very pregnant, but the Cream and Ten Years After influences are easy to find on "Know Who You Are". On the B-side, it's not being rude to say the song is a plagiarism of McCartney but with a Bee Gees flavour (the band of the sixties, not what they became once turned disco). All in all, a totally commercial miss but a testimony of the ability of the band not to be only a stomping and funny bunch of glamsters. To note that during these months, the band had a skinhead look that would have allowed them to play unnoticed during the punk's era. Enjoy it here. PS. The single was released without cover sleeve so I did one with a picture of the times


Funeral Mourning - Drown in Solitude (2006)

This Australian one-man band is actually, like Malefic for Xasthur, the project of Desolate, who seems to do almost everything on it. It's surely one of the most deep, intense and moving funeral doom LP ever released, at least to my ears, or should I say to my sadness, since this music can't be really judged like another one. What the fuck is to say that it's good or not when the only criterion is whether it touches your own despair. Despair is not an objective parameter. Of course, many can laugh and mock this obsession of digging black thoughts and depressive ideas. But we can't help being sad by the world and our own fatal condition can we? Let's wait for their agony's hour, they'll be less swanky. Meanwhile, there is here everything I like in this music when it's done seriously and with taste. To try to describe it is useless with o' so pathetic English. There are many sites who made more efficient panegyrics of this album over the last 5 years that I could ever dream to write. So, the best is that you drown your solitude, like me tonight, in this ocean of tears and distorsions here (as usual, it's 320 kb, found on mf). No news from Funeral Mourning since this LP. Too sad. Below, the 17th century engraving called "The Mirrour which Flatters not" by John Payne that provides the cover sleeve and many other ones.


The Only Ones - Trouble In The World / Your Chosen Life (1979)

The 4th Only Ones single (actually there was an EP between the previous and this one, with "Out There In The Night" on A-side and "Peter & The Pets" / "Lovers Of Today" on B-side (ie., the 1st single), but no real interest to post it here since the A-side was from the Even Serpents Shine LP and the B-side songs were posted with the 1st single there). Released in November 1979, 5 months before their last album (Baby's Got A Gun), the A-side was intended to place the band in the wake of the new wave invasion (worst than crickets' one) with an appropriate production (due to Colin Thurston). Appropriate to the period maybe, but not to the Only Ones since it rather ruined the song, as it would ruin the album. More dramatically, it was in vain cos' the single was not a hit. Note that the lyrics are maybe the blackest, doomest and most desillusioned of the history of singles, not a good way to reach the pop market. I think that most of funeral doom bands could make Perrett's words them without any change. On the B-side, there was a song that would stay unissued on the album, and a long time non included on various compilations for unknown reasons. Too bad cos' "Your Chosen Life" is a good one and would have deserved to be on the album more than some weak ones that finally found the path to the LP. Lyrically, this time it's maybe one of the rudest words told to a girlfriend ever written with the final "... sudden revulsion to think my mouth touched your stinkin', filthy cunt". Not the usual new wave lyrics content. The cover sleeve of this single has a strange history. Actually, it had to be the picture of the band around the table with the crucifix on the wall, but for a reason not quite clear, CBS didn't like it and preferred the parody of the Doors album (even without the song title on it). Bad idea, the former was much better. A third one, totally ugly, with the band in front of a sort of stone carvern, was also often found. That's why I chose the crucifix to illustrate the post (what a surprise?). Enjoy the Only Ones trouble here.

Everybody thinks that they're the one Everybody thinks they're stronger than everybody else They see what happens to their friends They don't believe that's how they're gonna end If you do happen to be stronger It only means you gonna take longer to go under That's the trouble in this world The trouble in this world The trouble is At first you got the upper hand When people warn you, you just don't understand You say it's an old wives' tale And everybody's gonna die anyway This marriage was doomed from the start She's don't wanna have money she just rips out your heart When you part, when you escape from The prison You say he wrote you a message You're superstitious, you know you shouldn't break the chain Don't be scared to have children Anyone would have thought it was pre-ordained If you do happen to be stronger It only means you gonna take longer to go under That's the trouble in this world

Who do you think you are? You can't get away with The kind of things you're saying Must be something wrong with you Remember who you're talking to Nobody's ever treated me that way And escaped unharmed Escaped unharmed The first thing you learn Is people Aren't always half They all could be Go back to your chosen life You shouldn't venture this far I think your bluff lasted it now He opens his mouth And everybody falls to the floor Don't think I'm complaining I've got the feeling for what I hunt If there's a sudden revulsion To think my mouth touched your Stinkin', filthy cunt


Iron Witch - Single Malt (2011)

Happy to see these English release a full lenght-EP after their demo posted on this blog with cheers (find it here). They carry on with a mix of EyeHateGod, UpsideDownCross and Buzzov.en that seems really to come from the moisty climate of Louisiana but comes from the smoggy UK. It's first class, first choice hatred, exactly what I needed tonight, being full of disgust for human species, specially specimens living in my country, my city, my workplace, and even those who say to be my friends and beloved and who let me leave in complete solitude. What the price of affection or love if you leave those you say to love rot in their loneliness. Don't know if it's what are singing about these guys but this is exactly what their music tells me. No contest it's the best sludge record of the year. Find their bandcamp here and please buy their stuff on CD or support in dl the mp3 against some cash. Before, try it here.


Vrangsinn - Phobia (2009)

Vrangsinn has a long history in the black metal world, and notably with Carpathian Forest (but also more than 10 different bands). This Norwegian is much more than a simple bassist of black metal bands, but a versatile artist (writing, filming, drawing) not afraid to be also a character, what our times are lacking so much. Profoundy anti-religious (welcome to the club, I can say that since I'm older than he is), here he offers a totally strange and unexpected album which has nothing to do with metal, but has more to do with Nick Cave. But although I don't appreciate our famous Australian icon, here I find the proposed songs totally my taste, since they have the despaired and delericted flavour that you won't find in Cave's work, who is in the classic artist format. What is the most striking in this LP, is that Vrangsinn often sounds vocally as a drunken Robert Smith, and I can't imagine any Cure's fan, specially of the most delirious periods of the band, not caught by this album. This music is like a poison. You can find it a little bitter for a while, but soon you listen to it again and this bitterness begins to taste sweet. If I post this album now, it's also because we're waiting for his new album, and the some songs that can be heard make me think it will be quite a masterpiece. Meanwhile, enjoy it here. Lyrics included in the rar file. More on this LP there. The whole album was associated with videos you can watch below.


Head of the Taurus - self titled (2011)

This band from Germany offers one of the strongest warrior sludge doom (don't ask me what it means, I invented this expression for this band) I heard for a long time. Something of High on Fire and Sleep (something of Mike Pike in other words) but totally recreated, with an atmospheric Neurosis flavour (I'd said Omega Massif since I'm a fan of this latter band). This is a must-hear for all the amateurs of this post-rock instrumental sludgy doom that provided so many mediocre bands and some exceptionnally good as is this one. I appreciate particularly the absence of grandiloquence, so frequent in this genre. Here they keep their feet in the rawness and muddy ground of sludge and don't adopt the usual larger-than-life attitude of so many of their colleagues. A band to count on. It's an EP but I hope it will be successful enough to allow them to record a full LP on a label. Their bandcamp here. Their facebook page there. Enjoy this fantastic EP here.


Chartreuse - You Really Got Me / Rock And Roll Rules (1977)

Today, quite a rarity I think, and a really forgotten song. Actually, not the song since it's a cover of one of the most famous one in history, the Kinks' "You Really Got Me". But this cover is usually not cited in the lists of bands having played it. Chartreuse is the band created by 2 ex-Cockney Rebel members, bassist Paul Jeffreys and keyboardman Milton Raeme James, after being briefly in Bebop Deluxe in 1975 (but never recording anything with Bill Nelson). This single was issued quite late, since in 1977, the glam times were over. I must say I was quite enthusiast when I saw this single in 77, but deeply deceived listening to it. Belonging to no clear style, there is something of Devo and Sparks in it, but rather weak, even on the original B-side song. The band will be short-lived, and both musicians (other members of Chartreuse seem to be those of the band Violins, Jeff Faulkner on guitar and Malcolm Ashmore on drums with vocalist Rob Elliott) would form the also unsuccessful Warm Jets the next year, a much more punk and new wave band this time. Ironically, the "You Really Got Me" cover by Van Halen would be a massive hit the year after. This difficult to find and expensive to buy 7" has never been issued on CD or on MP3 before I think. I ripped my vinyl for this post. I think the sound is quite good. A document for completists of music made by various Cockney Rebel members. Enjoy it here. There was no cover sleeve on the original issue so I created one, based on my interpretation of the Chartreuse beverage and physical love described in the lyrics of the song. There is no available picture of this band neither.


Slade - Shape of Things to Come / C'mon C'mon (1970)

When you look at Slade's look in the beginning of 1970, you could believe a skin or an oi band from 1977. Now managed by Chas Chandler, they are in their skinheads period and release this Mann/Weil song from the Wild in the Streets motion picture. It was not a hit (in March 1970) but they had a TV exposure on Top of the Pops. The version is rather good, quite Cream inclined. The B-side is totally under the Beatles influence with its "Paperback Writer" riff, and once again, it's rather good although it seemed unlikely that the band may make long lasted impression with a so 60's music. Here enjoy this piece of history.


Jethro Tull - Hymn 43 / Locomotive Breath (1971)

If there was a sign that Jethro Tull was no more a singles-band, the messy released of 7" driven from their Aqualung LP was one. Released in March 1971, and a great success in both the UK and US charts between March and May, one will have to wait until July to see a single out of it. More strikingly, this single will change according to the countries with almost a different B-side by country and sometimes the A-side being the B-side. For example, if "Hymn 43" (the song most commonly found on A-sides, although one of the weakest on the LP) was backed with "Locomotive Breath" in UK, it was "Locomotive Breath" that was on the A-side backed with "Hymn 43" in France (the single I listened to when I was a child, see the orange cover below). In the US, it seems that "Mother Goose" (another LP track) featured on B-side, when in other countries it was "Up To You". Even "Aqualung" was released in Asia on A-side. So, apparently, the band had not real interest in the content of singles and left each country act as they want. Here I chose the UK official release but of course, for me, "Locomotive Breath" will always be the Hit. Enjoy it here.


Imber Luminis - Life As Burden (2011)

3rd post for this one man side-project I particularly appreciate, although I don't really know why. Fletus is actually a 30 min track I listened to very often this year, and I don't find the same pleasure in this new LP or in the previous compilation of unreleased tracks released some weeks ago under the name of A Cold Distance (both on this blog) But however, this is still a music I can't help to find moving and efficient for creating a special inner feeling that extracts you from this world. And that's what I ask to music now. And that's what is difficult to find when you listened for decades to music. This Belgian musician succeeds to do it and I love his way not to play the "artist" and to keep it simple and modest. What I like less in these records than in Fletus is surely the fact that now there are voices. Not that they are bad, but I really would prefer to be carried by the music only and I don't think the vocals add anything to it (except maybe on the gorgeous "Suicidal Crisis"). But that must not preclude anyone to listen and buy this great depressive and slow piece of doom. Enjoy it here.


Slade - Wild Winds Are Blowing / One Way Hotel (1969)

Quite a change of style with the previous posts I agree. But there is quite a time I want to post the first singles by Slade. I'll stop around 1973, but I think these little vinyl circles showed that Slade was much more than a stupid stomping band for teenagers and that their Beatles heritage made them composed and played really good songs that they often put on B-sides. Not on this first single (at least the first under the Slade name, since before they were the In-Be-Tweens and then Ambrose Slade and had released some singles and one album), released in Oct. 1969, the B-side will be included on their further album (Play It Loud), released one year later. It's a great song and deserves to be not forgotten. The A-side is a little more dispensable and failed to chart. In late 69, Slade was still a somewhat skinhead band (see the video and the pix below) and not yet this successful bunch of working class glam boys that they'll be 2 years later. Enjoy this first shot here (the version of "One Way Hotel" seems a little different that on the album actually).

They asked me to sleep on the floor The people were running galore They asked for the time to make a number of changes and I let them I sat on my case in the hall The window and ceiling looked tall How long does it take to make a number of changes when you let them The case of another man was open and the contents were lying on the floor I could tell by his face he's a man like myself that's for sure I was there for a fortnight or more The place is full up to the door My mind was deranged and my habits were changed since I let them I finished my job nine till four I thought that my boss knew the score It makes you feel sick when you think of the tricks they get up to The locks on the windows were made by yourself not to open (by yourself not to open) Come to think of it now that if I were a child they'd be broken I've now spend a year behind this door The doctors would see me no more They asked me to sign with a pen on the line I was done for


An Autumn For Crippled Children - Everything (2011)

Sorry if you read this one before but this album will feature in my Top 5 of the year, or won't be far to be in, since there are on it some fantastic tracks (eg, "Forever Never Fails", "Nothing / Everything"). This band received some very severe critics and despises from black metallers who listen to music through their narrow-minded classification, and since it's actually not true black metal (but to lie to classification is something every musician should tend to) and even not really black metal, they can't appreciate the extraordinary beauty of this music when the band reaches the peak of it's style (cos' there are some weaknesses, notably the use of some synth-sounding keyboards not very inspired). Based on a style developped by Celest and early Katatonia, they take it to a higher level since it's never repetitive, boring or self-indulgent and since melodies are most of the times present and interesting. Of course, Xasthur's influence is also easy to detect, and Sigur Ros, Echo &the Bunnymen, the Cure and so many more. What's important is that AAFCC make all this theirs and offer a great piece of work that you'll play over and over again as I do for the last days. Quite different from their previous (and first album), more solar, more heavenlish than hellish, it's still a music to hang oneself on, don't be afraid. You can really feel to fly when listening to this record, not a common sensation when, like me, you've listened for so long to music and lost this capacity to be caught by music that we all have more easily younger. From Nederland, this is a band that'll make our year less boring for sure. Enjoy it here and then don't forget to buy the LP, these bands need support to go on and enchant our lives. Their myspace here.


The Only Ones - You've Got To Pay / This Ain't All (It's Made To Be) (1979)

Released in February 1979, just a month prior to the wonderful Even Serpents Shine LP, the A-side seems not to have been the band's choice, and first the John Perry's, who didn't like it. But it's true that, with it's Elvis Costello flavour, it was a possible hit. Actually it was not (but lyrics about the fact that you'll have to pay for the love you'll get, and the complexity of the used language, were not an additional advantage for such a public success). The single is often cherished first because of it's classy cover sleeve, quite doom actually, and seconf for it's rare B-side, a song totally under the double influence of "Sweet Jane" and of "Baba O' Riley" for the riff. But by the Only Ones, it's something else, although far from their best, but with a fantastic John Perry on solo. Let's not forget this single that illuminated this year, the last of the punk's period. Enjoy here.

You've Got To Pay. I had to choose, which one to lose I couldn't do it for they each had their use It was so hard, tearing apart Now I know you gotta get it right at the start I learnt my lesson now I learnt it the hard way If you wanna be in love You've gotta pay and pay and pay After the pain that was suffered in vain The dark roads we travelled, with nothing to gain And though the pleasures, will always be treasured It's a shame it came to such drastic measures Indecision, lack of conviction Slurred diction failing what you're trying to say If you are a slave to love You're gonna pay and pay and pay Our flightpath's a gradual descent, from the firmament I can tell by the tone of the letters you sent What was once sacred, is now full of hatred How come such love can be dissipated? I've had enough of all this poison and decay If you wanna come face to face with love You've gotta pay and pay and pay


Lifelover - Erotik (2007)

One year after their superb Pulver (here), Lifelover released this second LP, not far from being better, maybe less adventurous, more The Velvet Underground and Jesus & Mary Chain gone Dark Gothic and Black Metal (of course the influence of 80's gothic rock à-la Sisters of Mercy is quite pregnant, more than on Pulver). Listening to it yesterday, I was thinking that bands like Lifelover, Frequency of Butterfly Wings (there), Gosdtopper (there) or the late Xasthur (there) are maybe making old rock obsolete. Maybe it's the end for monolithic bands (even those I love) who offer music easy to classify, linear, afraid to mix styles, in other words pre-calibrated music, at least most of the existing bands. Maybe we'll have again these album that we loved in the 70's such as the Todd Rundgren's, Captain Beefheart's, Steve Harley's or Kim Fowley's ones, full of unexpected "mélanges". Maybe I'm wrong but this was the impression I had. I hope that more and more bands, from more and more countries on the planet (in the 4 examples, one is from Sweden, one from Iran, one from Canada and one from the USA) will pursue in this way and give us not only a musical flower on each album, but a bunch. So here is the fantastic second LP from this unusual band.

I stare out the window, everything is so bleak Old wounds, unclean dusty wounds I shall repress it all Sterile, distant buildings, a thousand endless fucking streets,roads to the last unwilling breath Memories and melancholy, despair and depression The endless hall of omission Fuck this, I don't care


Frequency of Butterfly Wings - The Butterfly Effect (2011)

This is exactly what I expect from an album these times. Something that constantly surprises me, that reinvents things so that I can't even say in which sub-tribe you can classify it (fed up with all the assholes listening to music with their taxinomic glasses, hating if not doom enough, black metal enough, stoner enough, they are parasites and it would be a relief if they could quit writing on music anywhere). This band has succeeded in providing such a thing here and it's an album you'll have to count on when time will come to decide what's has been important this year. Yes indeed, this band from Iran (yes), shows to all their occidental fellows what it's to be free in music (shit, I can't find the right way to say what I'm thinking, really a bore to write in English really). In 11 tracks, they cover such a large palette of styles that really it's impossible to recomment listening to this LP to anyone in particular. There are some weaker parts (at least to my ears, particularly due to some approximation in the drumming and the production) but it doesn't really matter since this is the kind of album you listen as a lot and not for specific songs. It's sometimes like having in the same album Xasthur and TV Personalities. All I can say is that I think it's a sort of masterpiece and that it will surely feature with Dark Castle, the Unthanks and Corrupted in my top 5 of the year. Enjoy it here. You can read the lyrics there. Their facebook page here.

I'm sitting down on a chairtall walls surround me i feel i'm blind, it seems i'm deaf i tried to scream but no one hears there is no light, where is the sun? nobody's alive, people cry can't you hear? i won't pay attention to this pain in my heart i can't breath anymore darkness swallowed me i'm sure a rush of blood falls from my eyes i won't birth anymore


The Only Ones - Another Girl Another Planet / Special View / As My Wife Says (1978)

OK, can't say that "Another Girl Another Planet" is a forgotten song, I know. But what is often forgotten is the fact that the single was released in 2 versions. The most known with "Special View" on the B-side, and one much rarer, with "As My Wife Says", another non-album track, on the rear side. Although both songs were rather secondary according to the band's standards (very high actually), it's important not to forget them. "As My Wife Says" rarely featured on compilations and has been added in the reissued version of the first album 2 years ago. Since I didn't want to chose between the 2 single versions, I post one file with the 2 B-sides on it. Blink 182 fans that would have lost their way and ended on this blog might have a try on them and they'll see that the Only Ones could play faster songs than AGAP that their heroes have butchered to my old-ass-half-deaf-ears. Note that the song was not a hit at the time of its release but was only some years later. It's now a classic and although some find it dated musically, it's my way to consider playing great music so I don't care. College rock is really a pale ersatz of what I consider rock music. Enjoy here.


Mandy Morton - Valley of Light (1983)

I won't hide that after the fabulous Magic Lady (there) and the great Sea Of Storms (here), Valley of Light is quite a deception. Don't really know what Mandy Morton wanted to do there, but it seems she tried to be a mainstream ROR & adult rock icon and it was a failure. The band is totally new but plays rather dully and arrangements are often terrible (these ugly moogs and synthetisers that ruin several songs), although Mike Kemp is the official engineer. More dramatic, Mandy doesn't sing with this particular and unchallenging charm she had on her previous offerings. Listen to her vocals on the pseudo-rocker "No Reason" and you'll doubt it's the same artist than on Magic Lady. Even the cover of Grace Slick's "Somebody to Love" is bad. But, however, it's Mandy Morton and impossible not to find some pleasure in this album. Some songs have some inner quality such as "Time Machine" (except the awful moog solo on the final) or "Chosen Few", the only track reaching the level of her previous work, and it's a shame all the LP was not all this good. A mention to the final song, "Born Natural", with something of Steve Harley era Timeless Flight in its arrangements (and something of "Celluloid Heroes" of the Kinks in the melody of it's closing). No picture of her from this period so I don't put any. This was her last recording (at least released). Not really surprising if you remember the environmental musical landscape in the 80's. Sad but that's it. This last offering here.


Forks of Ivory - s/t (2011)

Sorry, nothing to do with the previous post. It's not because there was an elephant on the cover sleeve of Preacher's last offer that I post tonight the Forks of Ivory. No, it's only because this duo plays a fantastic sludgy noise (unleast it's a noisy sludge). With only drums and guitars, they give you the impression you're trapped in a washing machine program spin-drying. Most of time instrumental, we are here somewhere between Tweak Bird and Lightning Bolt (and even Shellac) but with a sludge and doom imprint that you don't find in these bands and a lot less based upon virtuosity (it's sometimes rather simplistic but I don't dislike). A great mixing of atmospheres that deserves to be supported. In times where blogs tend to overestimate a lot of new bands that don't offer anything new or enjoyable (at least to my ears), here's one real interesting thing. Enjoy it here. And then go to their bandcamp here to buy it or their reverbnation site there to program them in your town or village.