From the sounds of their rather raunchy tune "Titties", these gals had us wonderin' if they might be horning in on Peaches' sexed-up pottymouth territory. "Yikes!" we exclaimed. And they are in a way, at least here and there, lots of sassy shit kicking tough girl action, and of course plenty of the f-word peppering The Trucks' lyrics, but as a whole, theirs is a much less abrasive and much more endearingly perky approach. Snappy, quirky synth pop / electro / indie jangle with vocals that alternate between pep squad (Go! Team), pre-teen soul diva (Smoosh) and indie popster (Mirah). Lots and lots of girlish fun fun fun! But with a definite dark undercurrent, in both the lyrics and the melodies. Beware to the boys (or girls) who might wish to do them harm, split up the group, or break any hearts. You will be dealt with, in song form: a wicked musical lashing. But even at their darkest and meanest, they still manage to make it fun. Judging from the photos, their shows must be crazy wild and over the top, and while the music is totally different, they seem like the perfect band to share a bill with party black metallers JonnyX And The Groadies!
As the title states, this is a new album by Ms Noriko Tujiko on her own. Following recent fine collaborations with the likes of Lawrence English and Aoki Takamasa, Solo offers up more unstructured gossamer wisps of Japanese electronica coupled with her Bjork-esque cooed vocals. Her albums are like flipping through old photo albums or alternately like looking out the window of a train, catching glimpses of faces and passing scenery. So nice.
Whoa, some of the most unwashed, ragged, loose, ass-slappin' garage rawk we've heard in a long time has just landed in our unexpecting laps with a sweaty how-do-you-do! Seattle's Unnatural Helpers are at your service for those times when you just wanna get down to the not so serious business of rawkin'. And if you dig the low slung, kick in the pants goodness of bands like Tight Bros From Way Back When and Hot Snakes, you'll do yourself and them a favor and take 'em for a spin. A rowdy, beer-goggled shot in the arm.
WARNING: These are all-region PAL (not NTSC) dvds. That means they'll play just fine in your computer, but not on your TV set, unless you've got a PAL-capable dvd player.
Ah, Uz Jsme Doma! (Pronounced ooje-May-Dome-uh). Nobody else like them. Heavy and hyperkinetic "Wagnerian ska", a horn-blasted punk/prog hoedown that mingles the folk melodies of Eastern Europe with the underground/avantgarde of the Rock In Opposition scene. Yep, nobody else like 'em. We at AQ have been fans of this crazy Czech crew for years and years. And we can tell you, it's about time for a release like this! A double dvd featuring both a live concert and a "behind the music" style documentary, yes!! This is awesome for two basic reasons. Firstly, anyone who has ever seen 'em perform can tell you, as incredible as their records are, they're even more astounding live on stage. So a live dvd is of course essential to any fan, and should make new fans as well. Secondly, as big into Uz Jsme Doma as we are, we confess there's many nuances to the band, conceptually, that escape us, simply because we don't understand the Czech language. The documentary portion of this dvd set, which features English subtitles hallelujah, is quite enlightening as it delves deeply into what Uz Jsme Doma is all about. And it's more than just music and lyrics with these guys. Costumes and artwork are equally important. In fact, maybe you remember a Uz Jsme Doma artifact we once sold here (now long gone), that was a cd packaged in an elaborate pop-up book, shaped like a house? Well if not, you'll see it here, the documentary uses it to organize its varied investigations into UJD's history (one of the first rock bands out of Prague, considered "antisocial" by the Communist authorities then in control), meaning, and methods. Their politics and philosophies. You'll find out about the punk scene in '80s Prague. About the band's obsession with seminal San Francisco avant-act The Residents. About why the color yellow was chosen for so much of their artwork. And plenty more. Fascinating for any fan, and again, a good way to get converted into one if you're currently unfamiliar with the band.
The live dvd, entitled 20 Flyears, was recorded at their 20th anniversary show at the Theatre Archa, Prague, October 13th 2005 and features 35 songs or bits of songs, the first half an immense medley with ex-members joining in, the second half featuring UJD joined by something called the MIKROCHOR choir. The documentary dvd, entitled "Pudding", features interviews with former band members, critics, friends, etc. and incorporates photos and footage from the band's own archives as well as from various film appearances and stuff from Czech TV docs as well.
Here's a bunch of really good music compiled for a really good cause by the really good-hearted folks at Three Ring Records! Ten dollars from the sale of each cd goes towards the Bay Area non-profit organization At The Crossroads which provides aid and care to homeless youths. This compilation cd featured twenty two tracks most of which are previously unreleased and/or rare including ones by Calexico, Rogue Wave, Creeper Lagoon, Bettie Serveert, Elephone, Rykarda Parasol, Scrabbel, Boyskout and Pink Mountaintops. Non-exclusives were contributed by The Faint, Minmae, Frankel, The Lonelyhearts, The Ebb And Flow, Ral Partha Vogelbacher, Two Seconds, D.W. Holiday, Thee More Shallows, Tom Thumb, The Harbours, The Scattered Pages and Scissors For Lefty.
We were first struck by the title. I, Mute Hummings. Very mysterious and provocative. Dark and abstract. But what really sealed the deal was the subtitle: "A Collection Of Drone Music And Dulcet Atmospheres" and the lineup: Keith Berry, Fear Falls Burning, Dronaement, Troum, Paul Bradley, Richard Lainhart and more. You had us at 'collection of drone music'...
So with that sort of high caliber collection of dronelords, we hardly need to tell you what a gorgeously dark, ominously rumbling, dreamily whirring selection of tracks this is, but what the heck, we will anyway.
Keith Berry starts things off with a warm, black tinted shimmer, densely layered, but seemingly weightless, a dark subterranean drift, laced with barely there, almost recognizable field recordings buried way down in the mix. Next up is maybe the greatest Fear Falls Burning track ever. Weird spacious affected guitars, not heavy or distorted, but instead glistening and prismatic, caught in a dreamy delay drenched loop, floating like some disembodied fragment of a long lost Morricone spaghetti western soundtrack, and nestled amidst long golden tendrils of lazy late afternoon fuzz.
Dronaement offer up a lengthy soundscape of simulated field recordings, record crackle and murky glimmer underpinned by a distant rhythmic whir and wrapped in a gauzy dreamlike atmosphere. Then AQ faves Troum take over with one of their most ominous pieces yet, a gurgling bass heavy cavernous trawl through some dark hellish underworld, still shimmery and soft focus, but with an ominous undercurrent and some super distorted, deconstructed riffing roiling amidst thick swells of foghorn low end, and all manner of abstract black ambience.
And the rest of the record is just as beautiful, continuing on in a similar darkdronedoom fashion, even the folks we didn't recognize (Jeffrey Roden, Steve Jolliffe, Column One) offer up some gorgeous slabs of bleak black drone dreaminess, so much so that it had us immediately seeking out more material by all of them...
Compilations of vintage French pop have a way of blossoming up much to our delight, only to vanish without a trace just as quickly as they appeared. Well good news folks, we just got a bunch of new-to-us collections that have proven to have some serious staying power. Hurrah! Here is the first of five volumes of the Sixties Girls series from Magic Records, France. Cup played all five back to back, and had a full-on giddy Francophone afternoon. This fine label has been reissuing music from the '60s for years now, and they've consistently done it up right! Each comp contains at least twenty tracks digitally remastered from the original master tapes and comes packaged with cover reproductions and liner notes. This one features Christine Lebail, Agnes Loti, Christine Delaroche, Francoise Hardy and Les Petites Souris avec Pussy Cat. The ladies are dishing out the sounds of kicky Ye Ye, dreamy lounge, sultry cabaret, perky go-go and sugary girl group pop. Sure to tickle you pink!
Psst, we've also gotten in a few titles by single artists of the pop and psych varieties such as Brigitte Bardot, Triangle, Les Variations and Pussy Cat. Mon dieu, we can't get enough!
Compilations of vintage French pop have a way of blossoming up much to our delight, only to vanish without a trace just as quickly as they appeared. Well good news folks, we just got a bunch of new-to-us collections that have proven to have some serious staying power. Hurrah! Here is the second of five volumes of the Sixties Girls series from Magic Records, France. Cup played all five back to back, and had a full-on giddy Francophone afternoon. This fine label has been reissuing music from the '60s for years now, and they've consistently done it up right! Each comp contains at least twenty tracks digitally remastered from the original master tapes and comes packaged with cover reproductions and liner notes. This one features Les Roche Martin, Liz Brady, Audrey, Les Twins and Cris Carol. These ladies are dishing out the sounds of kicky Ye Ye, dreamy lounge, sultry cabaret, perky go-go and sugary girl group pop. Sure to tickle you pink!
Psst, we've also gotten in a few titles by single artists of the pop and psych varieties such as Brigitte Bardot, Triangle, Les Variations and Pussy Cat. Mon dieu, we can't get enough!
Compilations of vintage French pop have a way of blossoming up much to our delight, only to vanish without a trace just as quickly as they appeared. Well good news folks, we just got a bunch of new-to-us collections that have proven to have some serious staying power. Hurrah! Here is the third of five volumes of the Sixties Girls series from Magic Records, France. Cup played all five back to back, and had a full-on giddy Francophone afternoon. This fine label has been reissuing music from the '60s for years now, and they've consistently done it up right! Each comp contains at least twenty tracks digitally remastered from the original master tapes and comes packaged with cover reproductions and liner notes. This one features Les Roche Martin, Liz Brady, Christie Laume, Anne Kern and Ria Bartok. The ladies are dishing out the sounds of kicky Ye Ye, dreamy lounge, sultry cabaret, perky go-go and sugary girl group pop. Sure to tickle you pink!
Psst, we've also gotten in a few titles by single artists of the pop and psych varieties such as Brigitte Bardot, Triangle, Les Variations and Pussy Cat. Mon dieu, we can't get enough!
Compilations of vintage French pop have a way of blossoming up much to our delight, only to vanish without a trace just as quickly as they appeared. Well good news folks, we just got a bunch of new-to-us collections that have proven to have some serious staying power. Hurrah! Here is the fourth of five volumes of the Sixties Girls series from Magic Records, France. Cup played all five back to back, and had a full-on giddy Francophone afternoon. This fine label has been reissuing music from the '60s for years now, and they've consistently done it up right! Each comp contains at least twenty tracks digitally remastered from the original master tapes and comes packaged with cover reproductions and liner notes. This one features four single-named gals Clothilde, Cleo, Celine and ZouZou. They're dishing out the sounds of kicky Ye Ye, dreamy lounge, sultry cabaret, perky go-go and sugary girl group pop. Sure to tickle you pink!
Psst, we've also gotten in a few titles by single artists of the pop and psych varieties such as Brigitte Bardot, Triangle, Les Variations and Pussy Cat. Mon dieu, we can't get enough!
Compilations of vintage French pop have a way of blossoming up much to our delight, only to vanish without a trace just as quickly as they appeared. Well good news folks, we just got a bunch of new-to-us collections that have proven to have some serious staying power. Hurrah!
Here is the fifth of five volumes of the Sixties Girls series from Magic Records, France. Cup played all five back to back, and had a full-on giddy Francophone afternoon. This fine label has been reissuing music from the '60s for years now, and they've consistently done it up right! Each comp contains at least twenty tracks digitally remastered from the original master tapes and comes packaged with cover reproductions and liner notes. This one features Christine Pilzer, Elsa Leroy, Vetty and Elsa. The ladies are dishing out the sounds of kicky Ye Ye, dreamy lounge, sultry cabaret, perky go-go and sugary girl group pop. Sure to tickle you pink!
Psst, we've also gotten in a few titles by single artists of the pop and psych varieties such as Brigitte Bardot, Triangle, Les Variations and Pussy Cat. Mon dieu, we can't get enough!
Super limited, ultra deluxe reissue of a compilation that came out last year, and that somehow completely slipped beneath our radar. Hard to believe considering how amazing this is. All you need to know is it's a tribute to Judas Iscariot, a USBM institution, and features the elite of what might be considered the second wave of USBM cover classic JI tracks: Xasthur, Leviathan, Nachtmystium, Krieg and more! Holy shit!
After 10 years, Judas Isacriot hung it up in 2002, but they still manage to influence countless legions of musical minions. Most of the bans here owe no small debt to Akhenaten and his Midwestern metal outfit, which is obviously why they're here paying their respects.
The mighty Xasthur covers "The Cold Earth Slept Below...", the result is an incredibly lo-fi, brittle washed out smear of fuzzy guitars, stumbling dirgelike drumming, the whole thing so hissy and buzzy it's almost dreamlike, with some gorgeously mournful melodies that would make it sound downright poppy if it weren't so frosty and harsh. So fucked and hauntingly pretty it had us digging out our old JI records to hear the original. AQ fave Leviathan takes on "Where the Weather Beats Incessant", nearly 12 minutes of moody depressive midtempo blackness, with some strange droney interludes, super harsh distorted vocals, and strange drawn out guitar parts, the whole thing epic and majestic and almost post rock sounding. Krieg cover "Babylon", a furiously fuzzy, ultra lo-fi burst of muddy murky black buzz, guttural vocals vomited up from the depths, blasting beats, amazing lightning speed riffing, but the melodies buried in the mix are haunting and again strangely lovely....
Fellow Midwesterners Nachtmystium tackle "Gaze Upon Heaven In Flames", a super loud, in the red blast of relentless buzzing black metal, the riffs and the drumming a blinding blur, until about halfway through where the song breaks down into a strange, lurching half time almost-groove with creepy melodies and a odd timed hiccuping rhythm. Frostmoon Eclipse offer up their version of "Spill The Blood Of The Lamb" the grimmest and frostiest of the bunch so far, murky and muddy, but thick with buzz and thrash, the vocals a hateful demonic gurgle, the whole thing a buzzing snarling beast. The rest of the lineup holds their own nearly as well, offering up their own varied takes on classic Judas Iscariot material. Eternity Of Darkness, Sign Of Katu, Arkenstone, Merrimack, Dead To Earth, The Black Death, Carving To Nenia, Martyr and Birkenau.
The strange thing is, that as buzzing and black, as hateful and harsh, as dreary and depressive as these tracks are, we had almost forgotten how pretty some of the Judas Iscariot stuff really was...
Comes packaged in an oversized A5 style digibook, with killer artwork, a booklet with liner notes and photos, stickers and a mini-poster. And of course, EXTREMELY LIMITED!! ONLY 150 COPIES. WE WILL NOT BE ABLE TO GET MORE ONCE WE RUN OUT!!
Well, that just does it, doesn't it?! In case their existing catalog, which includes reissues of Selda, Jean-Claude Vannier, Yamasuki Singers, Mustafa Ozkent and Bruno Spoerri, didn't already do it, the Finders Keepers label's decision to release the soundtrack of this awesome early '70s Czech New Wave film (one of Cup's faves) totally confirms that they rule... or at least confirms that they share our taste in music and movies!
Now, we all know that a soundtrack can be an integral, transformative power in a film, no question, but when one can stand alone sans visuals it takes on a whole 'nother life. Needless to say, we're not talking about those recent lazily compiled nostalgia-button pushing collections of familiar pop songs. Seventies films and their soundtracks were a breed all their own. Valerie And Her Week Of Wonders is a perfect example.
A mesmerizing motif-heavy procession of flutes, tinkling bells, harpsichord, organ, and vocal interludes, Lubos Fiser's soundtrack contributes to the establishment and intensification of the nightmare / dream atmospheres of Jaromil Jires' film. At once lulling and unsettling, recurring timorous prepubescent choral incantations are startled by ominous organ exclamations. On its own, the melange of the carnivalesque, music box-y and chamber drones totally captures a distinctly haunting, pixie-dusted delirium.
Sound good? If so, you need this now, and of course see the film as soon as possible (it was recently released on dvd)! Definitely for those who were spellbound by the soundtracks to The Wicker Man (the original movie and not the recent Nicholas Cage remake!) or Suspiria. Yes, three very different works, but all equally affecting. Absolutely recommended!
The first Vulture Club cd-r was the ultimate man vs. machine battle royale, with the machine winning. A record where the instruments called the shots, an army of guitars and amplifiers, marching across a blackened bloody battlefield littered with the corpses of musicians, the masters now bone and blood, the guitars and amps allowed to ring out, reverberate, to unfurl epic swaths of rumbling, crumbling feedback flecked drone. And we loved it!
The ultimate doomdrone sound, no riffs, no rhythms, just the sound of steel strings vibrating, amplified, played back at incredible volume, in turn causing the strings to vibrate, and the cycle continued... Another one of those sounds that is practically perfect unadorned, we could listen to an E chord ringing out through a wall of Marshall stacks FOREVER. But at some point, the amps and guitars that make up Vulture Club, decided more could be done with their buzz and drone, so they did the unthinkable, they recruited players, musicians, they chose not to give up their freedom, but to work together with their former masters, to create a new world of sound, a world where the guitars and the amplifiers were still in control, but the musicians were able to coax certain sounds from the guitars, to gently bend necks, stretch strings, fret certain notes, and thus, we have Live Young, Die Fast And Leave An Exquisite Corpse. The sound is still dronedirgedoomsludge but just like the debut, that sound is stretched to its absolute limit, a soundworld where notes and chords mean less than timbre and tone, melody is supplanted by power, you can feel the sound more than hear it. BUT, for this new disc (a real cd this time), the action ante has been upped just a bit. Instead of letting the guitars just buzz endlessly, the droning distortion is more dynamic, with percussive attacks, and extended decays, notes and chords barely visible in their flatlined form, the sound pulsates and throbs, creating unintentional rhythms, guitars unleash simple tones which are wrapped in layer after layer of distortion, and allowed to slowly crumble to bits, revealing all the secret tonal color inside. It's all very subtle, this still sounds like a room full of amps cranked to ten, with guitars run through distortion pedals and leaned up against the amps, the sound a glorious low end cacophony, but repeated listening, deep listening, reveals an amazing amount of subtle sonic variation beneath the glacial whirs and buzzing blur. Vulture Club is the sound of SUNNO)))'s and Earth's colliding, the music of black holes, the sound of guitar and amplifier joined in the unholiest of unions, an absolutely glorious sound indeed!
A Sandwich Short is the second album from the pairing of British eccentrics Andrew Liles (who on occasion has graced the stage as a member of Nurse With Wound) and Tony Wakeford (the grim troubadour behind Sol Invictus and Death In June). Where their first album shuddered with a Victorian ghostliness, A Sandwich Short is downright odd. The opening number centers on a desolate noirish piano score that's not dissimilar to Coil's infamously rejected soundtrack to Hellraiser, but with sustained yet scratchy violin drones replacing Coil's Fairlight synthesizers. Soon afterwards, jauntily plucked guitars and a tentative gamelan assembled from kitchen utensils forms the background to the stolen narrative of several drunks in a bar whose camaraderie quickly dissolves into near violence. As charmingly surreal as these moments are, it's Wakeford and his tightly wound recapitulation of British folk through an occult lens that keeps A Sandwich Short from pulling itself a part. The centerpiece of the album is in fact a reprise of an old Wakeford number, "Lucifer Before Sunrise" which had first appeared on his collaborative record with Steven Stapleton The Revenge Of The Selfish Shellfish. His gravelly voice alternates with the cold recitations of Alice and Helen Potter amidst Wakeford's Spartan, depressive guitar melody and Liles' electronic splutter and whir. Given how many (including us) had remarked that the first Wardrobe album resembled that Wakeford / Stapleton album, it makes perfect sense that Wakeford would return to the song and twist it into something equally as disturbing albeit wholly different with the help of Mr. Liles.
Who else for the cover of this new issue of our favorite magazine of "hip-hop, jazz, funk, & soul" than the late great James Brown? Inside, a remembrance of Brown from his friend Alan Leeds, and a 2004 interview with the Godfather himself.
Plus, features on Terry Callier, Minnie Ripperton, Chess Records, and "the story of Planet Rock" among other grooviness... as usual, lots of amazing photos and awesome album covers too...
Oooooh, we sorta feel like exclaiming, "Welcome back Lucinda!" We're gonna be completely frank... we were kinda scared (terrified!) to press 'play' on this one. In our humble opinionification, Lucinda Williams' recent track record has left something to be desired -- veering from over-produced AOR alt-country to live performances of near-hysteric roots rawkin' that blistered the tender ear canals like the coarsest sandpaper...ouch. BUT we did press 'play', and we're so happy that we did! Because West, her eighth album, is excellent! It reminds us why and how much we love her so. Such a stellar Americana songwriter, Williams is truly back in fine form. Few can capture the essence of hard luck and heart-sickness like she can with just her impassioned voice and guitar. Here we get that and so much more courtesy of a new collaboration and production union between her and Hal Willmer. Yes, surprising, refreshing and just darn great.
It's that time again. Another batch of far out sounds from all over this wide world, courtesy of the modern music adventurers at the Wire. On the cover this month, Nick Cave's new band Grinderman, inside: percussionist Paul Burwell, Polly Shang Kuan Band, Robert Horton, global ear on Mongolia, sculptor / soundmaker Ray Lee, Invisible Jukebox with Rachid Taha, looking for the roots of electronica in Cairo, Van Der Graaf Generator's Peter Hammill and of course the usual array of record reviews, show reviews live happenings, book reviews as well as a back page Epiphany from Peter Rehberg.
There's just something about doom that is so soothing. To us at least. And we're of course not just talking about regular old doom, we're talking doom, with multiple 'o's, the more the doomier!!!
Wraith Of The Ropes is a duo from Ohio of all places, who practice a sort of horror funereal doom.
The core sound is slow, lumbering, downtuned, depressive, a massive plodding crush, all minor key misery and slow motion propulsion. With little flurries of wild double kick drum and moaning low end rumble. The sound of huge furry beasts trudging through some subterranean swamp in the pits of hell. Majestic and epic as well as depressive and miserable. And then the vocals... surprisingly un-doomlike, almost more like death metal vocals, raspy and guttural and wrapped in all sorts of effects.
But where the band really deviate from the traditional funereal doom path, is the unlikely addition of piano, and the sort of cinematic vibe that permeates all of these tracks. The piano parts are pure creepiness, minor key and tinkling in thick fields of fuzzy reverb, it ends up sounding like a doom metal Goblin, which is a very good thing! This stuff would be the perfect soundtrack to the next Dario Argento movie, you can almost see the screaming nightgown clad teenager, running through the woods in the dead of night, being pursued by some mysterious figure, or a young girl running hysterically though some huge old house swarming with insects. The massive swaths of downtuned guitars, the delicate pianos, the raspy roar, the haunting Halloween like keyboard melodies, how fucking scary is this stuff!! These guys should definitely be scoring some serious fright films. But odds are you stopped reading this review way back, cuz if you're anything like us, we had you at "doom metal Goblin"!
We loved the most recent Xela disc so much, last year's The Dead Sea, that we figured we oughta check out the one that came right before, For Frosty Mornings And Summer Nights, an older Xela disc, that just so happened to have just now been reissued with bonus tracks.
Xela, the musical outfit of Type label head honcho John Twells, laps up all the glitchy fuzzy pop goodness that we can't seem to tire of and turns it into something all his own. Labels like Gooom and Lampse, groups like Machinefabriek, Jasper TX, Gultskra Artikler, are all redefining pop music, taking classically catchy songs, and using all manner of digital and organic manipulations to obscure them, to cloak them in distortion, to wreathe them in buzz and fuzz, to make the hook, the pop, less of the focal point and more of a hidden gem, the oft chewy center, something less obvious and hitting you over the head, a pop music that requires close listening, songs like dirty windows on old houses, they need to be peered into before the shapes and sights beneath the grime and murk reveal themselves.
For Frosty Mornings And Summer Nights finds Xela at an early stage, where the sound was based on beats as much as texture. A dreamy blissed out laid back electronica. Autchre-ish skitter woven into warm swells of sound, thick swaths of muted melody chopped up into shuffling hiccupping IDM shapes. Boards Of Canada are definitely a reference point. But Xela seems to have a bit of a hip hop vibe, as subtle as it is, the beats definitely sound influenced by hip hop, and the songs are laced with little vocal ticks, the ubiquitous "uh huh"s and "yeah"s, a la Timbaland, looped into the mix.
There is still plenty of glistening shimmer, lots of thick whirring drones, clouds of crackle and whir, soft expanses of blissed out ambience, but this disc is definitely about beats, even when they are muted and buried in the mix.
Fans of Boards Of Canada, Autechre, Chris Clark, B. Fleischmann will seriously dig this stuff. And all you Pop Ambient headz, and fuzzy pop kids, and buzzy, droney dream rockers, you might dig this too, as long as you're not averse to some serious beats. And if for some strange reason you are, check out Xela's The Dead Sea instead...
Modern noise rock match up, one side noisy, the other side not so. The A side features AQ faves, PDX based SF expats Yellow Swans, who dish up a thick wall of corrosive guitar and damaged electronics. A serious squall, dense swells of grinding buzz, and thick streaks of almost full on white noise, keening feedback, ultra aggro super distorted synth squiggles, stuttering rhythms buried WAY down in the mix, this is the 'Swans at their fiercest and most furious. And we like it!
The B side features Devillock, aka Tone Filth records head honcho Chris Meyers, who counters with, not noise, but some dreamy blissy drones. A live recording, reprocessed and reshaped into something downright pretty. What begins as a crumbling wall of high end skree, quickly stretches out into a near static upper register shimmer, a blissy slow motion drift underpinned by barely audible slow shifting drones and distant whirs.
Packaged in a striking super simple black on grey silkscreened sleeve. ----* ----* Compilations : ----*
