The Royal Festival Hall South Bank Centre, London 27th September 2000
Performing for their 25th anniversary, Pere Ubu delivered such a marvelous performance as to bring me around to wondering why I don’t listen to this band everyday. And why are they not lauded as the one of the best of the last quarter century? Why is Pere Ubu not a household word? Just as well really, as they do inspire that very possessive cult underground sort of attitude among their fine stock of fans. Not many other bands since could dismiss their powerful influence, and most worth a shit have happily given credit where credit is due.
However up and down the reception of Pere Ubu has been over the last 25 years, the Royal Festival Hall definitely got a good dose of the up. Dave Thomas led the
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Royal Festival Hall South Bank Centre, London 19th September 2000
For their third live performance in a year after the seventeen of build-up, Coil arrive onstage dressed in unlaced grey strait-jackets, backed by a neon sign proclaimng the title of the night’s performance, Persistance Is All. The multiple possible meanings of this slogan soon becomes apparent, as the playback of Jhon Balance‘s spoken title beat which opens “Something” fills the “Royal” Festival Hall. The group are backed by a circling corona of fire on the projection screen which soon becomes the visual focus for the set, and this develops into a hypnagogic kaleidoscope show of the first water, trickling retinal patterns like the strongest hallucinogen to the trip-kicking music. Not that drugs are necessary; it’s far more a state of mind on offer through the combination of light and sonic
Continue reading Coil/Nectarine No.9/Foetus (live) [...]
Red Rose Club, London 16th September 2000
A night of drones on Seven Sisters Road, strangely light on traffic in the aftermath of petrol protests, but still teeming with North London’s variegated Saturday night fun seekers and the requisite fully made-up Goths on the 253 bus. The Red Rose is no stranger to the extremes of music, and the venue’s home as a noted comedy club is somehow appropriate to the onstage antics of Bajina. Two geezers in various stages of hand splatter-painted scruffiness, face paint and a “Police Line – Do Not Cross” headband (the fashion item de jour for the less publicly-supported kind of road protesters) behind a bunch of electronic kipple, making an unholy racket with all the glee of children set loose to their own anarchic devices.
It’s an enjoyable blend of guitar feedback, radio noise,
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Label: Chalice Format: CD,2LP
1. As I reclined in my sketchy little world and allowed the gasses to go to my head, I became overpowered with the notion that I was being carried away. Silly flashes of Communion-like images of alien beings lifting me and placing me against soft chrome and spraying my skin black metallic and an underlying fear that maybe, just maybe this could all mean harm. Deliciously un-bothered, past that first tiny stab, I relented and realized that my ideas of invasion and possession are only valid at the movies, or at least where the victim might be unwilling to participate. Still I knew that I was away
Continue reading Coil – Musick To Play In The Dark, Volume 2 [...]
The Astoria, London 7th September 2000
Ween are one of those bands who emboby the Indie dream, the American Dream even. Starting out as lo-fi geeks with too much time, dope and a four track recorder on their hands, they turned their undoubted talents to warped and wonderful ends over the last ten years, from cult act to near-Classic Rock inheritors of the dubious mantles of both Butthole Surfers and the Grateful Dead. So they don’t quite have the twisted evil natures of the former, nor the Hippy twiddles of the latter, but that’s all probably for the best after all. Nope, Gene & Dean Ween are good blokes on a mission to the heart of onstage excess and what might loosely be called a good time.
The Astoria is the venue for the last show of a gruelling tour
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Label: Universal Egg Format: CD
Part of the Universal Egg series in which Zion Train showcase some rare and out of print tracks in association with their favourite influential artists, The Inspirational Sounds Of Muslimgauze draws on the Staalplaat limited editions Jaal Ab Dullah, Izlamaphobia, Fatah Guerrilla, Mullah Said and Azzazin. And what a selection – “Azzazzin II” meshes Industrial clang with ominous analogue filters and some quite disturbing moans; “Shimmer Then Disappear II” has one of the grooviest Muslimgauze beat loops heard in a long time – naturally, taken to the cleaners and wedded to as much bass as the speakers can stand.
This is the pain and pleasure of each Muslimgauze release, especially those compiled from the numerous short-run records which emerged both before
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