Archives by month/year

David Lynch – Crazy Clown Time

Sunday Best

Hey, who’s the new guy? He’s in his mid sixties. He’s got a good quiff. Meditates a lot. Smokes a lot too. Claims to not be a musician. Is he one of those Punk Rockers? Don’t think so. He’s a former Eagle Scout from Missoula, Montana. His father worked for the Department of Agriculture. Faced down some pretty scary times in Philly.

And so, here is the debut offering from new guy David Lynch. Coming hot on the heels of his recent high-profile [post=chrysta-bell-this-train text=”stint in the producer’s chair”] for the lovely Ms Chrysta Bell, he’s obviously making up for lost time in the music department. Crazy Clown Time it’s called. Clowns. Man, most people find clowns a little scary. Many people outright hate them. Crispin Glover, who worked with Lynch a while back – you remember Cousin ‘Jingle’ Dell,

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Throbbing Gristle – 20 Jazz Funk Greats


OK, quickfire ‘proper review’ bit – lovely re-issue with lovely packaging all put together in a lovely way with some additional pictures, re-mastering, general loveliness, a lovely essay from Jon Savage and a lovely live show being lovely. Worth buying? Oh yes. Very much so. Perhaps their most commercial record, which is a relative term, and has a lovely mix of the very studio-y 20 Jazz Funk Greats and a very lovely show live CD. Lovely.

I think it was said around the time of the TG24/ TG+ CD re-issues that Throbbing Gristle were two bands – there was the studio band with the headphone-friendly, queasy stereo pans and weird echo processing, and the bleak, grinding horror of their live shows. I’ve not got TG24 but TG+ is a really difficult listen. It’s not bad, but it’s unrelenting. Really gruelling to

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Nineteentwelve – Waiting For No One

Monty Maggot

Over the past year or so Monty Maggot have steadily been releasing high-quality albums including a marvellous [post=allies-and-clansmen text=”free album”] that could be seen as a taster for future releases. Its certainly a label that deserves support for the diversity of artists they are looking to put out. So what is there to expect from the album by Nineteentwelve? A lot of cracking tunes, that’s what!

“Nothing Again” is steady rock opener in very much a 70s vein with very catchy chorus and a slice of Mini Moog-sounding bit of lead that spirals away over solid guitars and Hammond Organ. A good opener, and a taste of what’s to come. Acoustic guitars give a big landscape feel to “Maybe I Lied” that wouldn’t sound out of place on the soundtrack to some American Indie movie. Tuneful fretboard work and crystal

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Acid Mothers Temple (live at Corsica Studios)

Corsica Studios, London 17 November 2011

I’ve probably seen Acid Mothers Temple play at Corsica Studios more times than any other venue in London and they always seem at home and relaxed on stage here. This I’ve sometimes felt is quite odd, as Corsica feels like one of those venues that is struggling to find its own identity. It caters for the Hip crowd but also puts on a blistering psychedelic commotion like the Acid Mothers. As always at Corsica when AMT are on the audience tonight is split right down the middle with its tie-dyed space travellers in blessed-out freak mode rubbing shoulders with the stroking beard hipster crowd. Tonight though, we were all about to witness two hours of space rock mayhem that makes Kawabata Makoto and the band so special.

Acid Mothers Temple

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Dead Voices On Air – The Bowles Given/MzMz LalaLa (20th anniversary collaborative 7″ singles)


To celebrate 20 years of Dead Voices On Air, Mark Spybey is in the process of releasing a series of 7″ singles in cahoots with a variety of friends and accomplices. The first appears under the name MzMz LalaLa, and consists of Spybey and Simon Fisher Turner.

Together, the two sides of the 7″ offer glimpses of passing soundscapes in almost haiku form, so (seemingly) brief is their span – seemingly, as the A-side is in fact a shade of five minutes in length. “For Peace” features piano becoming progressively cut up and disrupted by snippets of words and sounds of warfare and/or crisis snatched from the headlines, and the rippling beats which slot briefly into place chug in with a confident swagger. But nothing is let to hold in place for long, as the wind-whipped recordings from the

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Figures of Light (live at The Bell House)

Norton Records 25th Anniversary All Star Spectacular, The Bell House, New York 11-13 November 2011

New York punk, we all know the story, right? It starts in the late Sixties when The Velvet Underground redefine popular music by deciding not to take the A Train, instead heading up to Lexington 125 in search of some serious narcotics and a life on the wild side; it continues in 1973 when the New York Dolls finish posing on the cold sidewalk outside the Gem Spa and start to mix androgynous clothing and trashy, thrashy guitar riffs, thus helping to lay down a major part of the blueprint for what will follow over the course of the coming five years; and it finally reaches critical mass at Hilly Kristal’s gaff at 315 Bowery when the Uplifting Gormandizers descend en masse to get involved in the

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Corrupted – Garten Der Unbewusstheit

Nostalgia Blackrain

From the opening chimes of “Garten,” it’s apparent that Corrupted have taken on what could almost be considered a upbeat and cheery atmosphere in their music making – if only by the very heavy sludge standards they have helped define, of course. For almost anyone else this track would seem crushingly powerful, especially once the bass guitar kicks in and the cymbals crash; but no, there’s no mistaking it – this is a very mellow record for Corrupted, while remaining doomily slow, for the first two-thirds at least.

Like Earth, Corrupted have eased back on the effects here and instead concentrate on the sounds of the instruments themselves, whether in a guitar strings plucked recursively as the bass amp reverberates or in the slow, deliberate sound of a close-miked acoustic sound board booming audibly in the mix on the doleful

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Cozmik Onion Express – Cozmik Onion Express EP


Cozmic Onion Express are one of those bands it would be far better to see live than listen to on this record. There’s nothing whatsoever wrong with it at all; in fact it’s a great introduction from one of the most zanily accomplished head-messing bands in London right now. The recording quality is fine, the dynamics are sharp, the energy conveyed is high – but they just need to be witnessed live, is the thing.

The sight of lead yelper and bassist Taishi Nagasaka (formerly of They Came From The Stars, I Saw Them and also just as essential to catch live in his even more wibbly Cosmetic Onion Shield guise, complete with silver-suited glow-stick dancing aliens), all gowned up in ceremonial robes and letting rip with a tableful of electronic devices while simultaneously giving the bass some is a start

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Mugstar – Serra (Distant Sun remix)


Taken – kidnapped, stripped, re-educated and reborn, even – from Mugstar‘s heavyweight slab of spacerocking goodness [post=mugstar-lime text=”Lime”] and given a thorough going over by Robert Hampson of Main and Loop fame, “Serra” reappears in a 39 minute extended format on clear green vinyl (split in two parts) and CD. And what a re-imagining this is. Hampson extracts the essentials, then reprocesses, extends, twists, unravels and distends them until he returns with something which has many affinities with Steve Stapleton‘s much-more-than-a-remix of Stereolab as the highly-lysergic Simple Headphone Mind.

There are quite often sounds present which are akin to radio static and disc-drive detritus interfering with the playback – and there are plenty of moments where a double-take on whether the fidelity of the audio reproducing equipment has been compromised. But it was always that way with Hampson’s work as Main

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The Fall – Ersatz GB

Cherry Red

“I had to wank off the cat/ to feed the fucking dog”

On their…John Peel…members…alcohol…living [if we must] ‘leg-end’…some bollocks about Germanic renderings…millionth…[cough]…returntoformbusinessasusuallwhydotheystillbother [delete as applicable]…wife…relatively…-uh…always the fucking same but fucking always fucking different…fucking…


“I had to wank off the dog/ to feed the fucking cat”

I very nearly decided to write this review as a review of reviews of The Fall. If anyone from any broadsheets is reading, I’ll happily write the next ten years of Fall albums reviews for you by tomorrow (and I’ll probably have time left over to grout Swindon)

The new Fall album is very, very good.

…I read, ages ago, somewhere…what do you mean where? It doesn’t matter, it’s a fucking anecdote. For fuck’s sake…anyway. I read somewhere the MES gave a couple of talks to the James Joyce Society. Sometime in the

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Kevin Coyne – 1979 Live at WDR-Studio L Cologne

Blast First Petite

I never saw Kevin Coyne live despite being a fan of his unique work throughout the seventies. With the absence of any UK TV coverage at the time, it was only with the dawn of the internet age that I chanced upon bootleg footage of his appearance on the German Rockpalast show from 1979. It was a great performance that reinforced my enthusiasm for the man’s music and happily the show is now officially available, remastered from the broadcast tapes, on DVD thanks to Blast First Petite. Although the quality is slightly better than my old bootleg, 1979 transmissions hardly compare to today’s HD standard, but then I guess most Kevin Coyne fans are probably not technophile obsessives.

On record, Coyne comes over as the unlikely progeny of Max Miller and Memphis Minnie, and the visual element actually emphasises

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Throbbing Gristle – The Second Annual Report/Throbbing Gristle’s Greatest Hits


Following the final termination of Throbbing Gristle, the surviving members have revived Industrial Records with the aim of presenting their recorded legacy with all the care and attention it deserves. Each of the studio albums have been lovingly re-mastered by Chris Carter and are repackaged in lovely card sleeves. All the CDs come with a second disc, selecting live highlights from the period of the respective album, along with any stray singles.

> Print this

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FM Einheit and Irmler – No Apologies


Klangbad’s series of Spielwiese releases involves label boss Jochen Irmler inviting interesting collaborators to his Scheer studio and simply recording the results. This particular meeting between the frenetic engine driver of eighties period Einstürzende Neubauten and the convivial klangmeister of Faust was always going to provide rewarding results, and their debut live appearance at the 2010 Klangbad Festival was certainly a highlight of the weekend. No Apologies was actually recorded slightly before that but took a while to sneak out into the world – Swabian time bears only the most tenuous connection to the rest of us after all.

In fact the idea for the collaboration stretches back decades, to when the two were neighbours in Hamburg, Jochen running an electrical shop and Mufti involved in a local café. Some things take time though, and the two eventually met up at

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Aidan Baker – Noise of Silence

Essence Music

A welcome re-release in lavish packaging for Aidan Baker‘s 2007 CDR-only effort, complete with remastering at the hands of the deservedly legendary James Plotkin. Noise of Silence finds Baker in muttering loopy mode once again, with ominous, faintly mechanical sounds trilling, sussurating and billowing around what could be misinterpreted as the rambling voices heard trickling through central heating systems and fluttering down the chimney stack during a windswept 3am morning reverie. As the words gather in volume if not clarity, so the nearly tangible taste of bitter metal synesthestizes from the electronics, like blood in the mouth as the teeth clench with a growing sense of terrible unease.

But this is no mere gothic horror show, nor is it even particularly darkly ambient – the music has too much presence, and imposes itself on the listener in a way that

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Feersum Ennjin – Feersum Ennjin

Dissociated Press

I was originally going to try to write this review in the narrative voice of that Bascule dude from Iain M Banks‘ masterful science fiction novel of nearly the same name, but had a bit of a think about it and decided that a) I really couldn’t be arsed to do all that translating of my own stuff and b) nobody else would be arsed to read it. Which would have been a shame, because this album’s rather good and I’d like you to know why.

Feersum Ennjin is the eponymous first full-length album of Tool founder and onetime bassist Paul D’Amour, also of Lusk and Replicants. Since Tool cast such a bloody great shadow over all things prog-metal, industrial and awesome, let’s get the Tool stuff out of the way right at the start. There are things about this

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