| MM | October | III |
Relive the past - visit our Flashes From The Archives Of Oblivion.
Autumn is a time of great change: new classes, new classmates, cooler weather and the inevitable "new fall line-up" of TV shows, movies, and record releases. It remains to be seen what impact (if any) Universal's decision to reduce the cost of new CDs will have on the rest of the industry. Will others follow suit? And if so, will this induce folks to start actually buying new disks instead of downloading them off the internet? Let's see: right now I'm getting this new music for free. Now, thanks to the loosening of your corporate greed-ometers, you'll only rip me off for $16.98 instead of $18.98. Hmmm? What's a music pirateer to do? Like, duh?!!?
Besides, you don't actually buy anything on their label anyway, do you? And if you are, say, a Bruce Springsteen fan (I know, I know, but apparently there are a few people out there who still think it's 1975 and if they keep wishing hard enough, he might actually make another LP on par with Born To Run instead of the bland, mindless pap he's been shoving at us for the past three decades - yeah...right), does this mean you're not going to buy his next release because Columbia is charging too much and didn't reduce their asking prices like Universal? Gimme a break....
In any event, here are a few releases that ARE worthy of your money, along with a few that should be avoided - no matter what their respective record companies are asking you to spend for them. Enjoy, and see you next month.
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Record of the Month |
Penny
Ikinger - Electra (Career)
www.CareerRecords.com
Messrs. Ron Sanchez and Denniz Tek over at Career continue their marvelous documentation of the (female) Australian underground scene with this fascinating release from one of rock's most impressive (and, in the US at least, scandalously unknown outside of a small circle of Aussie indie fanatics) female guitarists. It's clear from the blazing fury of opener "Poison Berries" that Penny is ready to take America by storm. Part Joan Jett, part Chrissie Hynde (whose viciously sweet warble is most evident on the title track), Penny's white noise, boffo-distorto six-string mayhem is particularly noteworthy on "Shipwrecked," which puts you right on the bow as that ship goes down headfirst to the bottom of the murky depths. It is the closest any female, hell, any human has come to replicating the virtuostic majesty of Hendrix. Upstairs, I'm sure the big guy is smiling.
The dramatically draining, emotionally exhausting 7½ minutes of "Maid of Orleans" (with a new "Prelude" composed by classical composer, Gregory Donovan) will be a welcome surprise to fans who may only be familiar with its original version on her 2001 "Songs from the Deep" EP (Independant). Ikinger's whistling sustains and howling vocals also propel the haunting "Andalusian Man" through the enveloping wall-of-sound production (from Ikinger and Craig Harnath), which plops our hero right into your lap.
Unfortunately, her vocals are buried under the gothic blues of "Stuck Inside," but it is nearly rescued by her blistering, swampadelic soloing. The gutwrenching soul dump of "The One I Sent Away" will no doubt draw comparisons with fellow Aussie crooner Nick Cave, although the dirty-assed, alcohol-fueled backing is more Crazy Horse than Bad Seeds. For those who like their wild women and their blues with a ballsy, punky aftertaste, Penny should be at the top of your " to do" list. And every copy of Electra should come with a XXX advisory sticker attached: "Warning: Contents Xceedingly hot and under Xtreme pressure; Xercize caution while listening to avoid serious injury!"
Angie
Pepper - Res Ipsa Loquitor (Career)
[Address
above]
If I paid any attention to the meaning of the title of Angie's debut solo album ("the thing speaks for itself"), I wouldn't have to write this review - I'd just tell you to go out and buy it and let it "loquitor" to you. But that would deprive me of the very pleasurable experience of describing why you should pick up this gem. From vintage 60's girl groups ("Baby Don't Go," which bears more than a passing resemblance to Jackie DeShannon's "I Only Want To Be With You") to the recently reformed 80's girl pop-rockers, The Catholic Girls ("Trying To Find Your Love," featuring a nasty guitar solo from Mr. Pepper, the Birdman of Bozeman, Deniz Tek), Angie's sound combines everything I love about the feminine mystique in rock and roll and then proceeds to tear the house down with some kick-ass assistance from Donovan's Brain, whose leader, Ron Sanchez - along with Tek - co-owns the Career imprint.
I should caution you that your CD player is not skipping on "Rockslide" - that's drummer Nik Rieth and producer Dave Weyer looping Nik's highly syncopated backbeat. Elsewhere, Angie's at her sultry, bluesy best on the smooth grooves of "Cool Sea," and she's obviously having a lot of fun with the tribal beat of fellow Aussies, The Lipstick Killers' jungle garage classic, "Hindu Gods (Of Love)." The playful schoolgirl giddiness continues on "Humid Air," a song Blondie and The Waitresses would have killed for, and nowhere is her fascination with the girl groups of the 60s more evident than on "Doesn't Seem Right," which if nothing else (and don't get me wrong - there's a lot of "else" going on here), it had me reaching for my 30 year old Ellie Greenwich Let It Be Written, Let It Be Sung LP. Finally, "Kiss Me Sailor," which was a Top 30 hit for Diane Renay 40 years ago is resurrected from the girl group grave and once again deserves to be heard blasting out of every Top 40 radio station from here to Bozeman and Billings, Montana, where Res Ipsa Loquitor was recorded. Bringing back great memories of Jackie, Dusty, Marcie Blaine, Peggy March, Leslie Gore, Kathy Young...the list goes on and on...it' s 2½ minutes of perfect pop. And this album adds about ½ hour more of this classic stuff. Highly recommended to fans of Holly Golightly and everyone else in love with the rockin' femmes of yesteryear.
Cul De Sac - The
Strangler's Wife (Strange Attractors Audio House)
www.strange-attractors.com
I've long lobbied for filmmakers to take advantage of the marvelously cinematic breadth and enormously emotional depth of much of Cul De Sac's back catalog, so imagine my excitement when this soundtrack found its way to my inbox. Well, as they say: the best laid plans of music critics..., or more precisely, be careful what you wish for....
Besides the pretty, acoustic "Second Victim?" and ""That's Great Then, Isn't It?"" and one of guitarist Glenn Jones' finest compositions, the John Fahey-esque fingerpicking of "Mirror II (Mac and Elena)," this soundrack is little more than a collection of sound effects and electronic (often industrialized) bleeps and bumps-in-the-night, and is completely unintelligible without the visuals that the songs were composed to accompanying. "Second Victim (Shower)" is merely an fx-laden set piece that could be Hitchcockian, but that's just based on the title. Jon Proudman's drum solo is all there is to "Flashbacks," and if you recall my problems with Cul De Sac's last release, Death of The Sun, you know how much I despise drum solos in this day and age.
Elsewhere, Jonathan LaMaster's violin solos are completely buried within a couple of EPTs ("Pregnancy Test I (Will You Take Care of Us, Mr. Bear?)" and "Pregnancy Test II"), which at a combined time of 62 seconds are nothing more than quick snippets of catgut-scrapings. Much better is his tense, driving "Tailing the Strangler" and his mournful flourishes on the aforementioned "Mirror II," the album's longest (5:14) and best track, and the only one worth repeated listens.
With 14 of the 18 tracks clocking in at under 2:30 (and 5 of those under a minute!), the album doesn't congeal as a standalone piece without the visuals and, as such, can only be recommended to Cul De Sac completists and fans of haunting, ominous, albeit experimental electronics.
Harris
Newman - Non-Sequiturs (Strange Attractors Audio House)
www.strange-attractors.com
Along with Keith Christmas' Acoustica and Steffen Basho-Junghans' Rivers and Bridges (also from SAAH), this is the years finest acoustic album. While Fahey and Leo Kottke are always within earshot, Newman imbues these 11 tracks with his own signature. While technically brilliant, his fingerpicking style never overwhelms the warmth and nostalgia evoked throughout, particularly on tracks like "Bitten," one of the finest tracks Nick Drake never wrote! I was also impressed by the drum, bodhram, pandeiro, and lapsteel accompaniment from Bruce Cawdron, which adds a welcome variety to the collection, ensuring we won't drift off or become complacent while listening to a set of acoustic guitar instrumentals.
While New Agers with a hefty Windham Hill back catalogue of William Ackerman and Michael Hedges albums will no doubtedly find something to their liking with Newman's often meditational explorations, adventurous listeners willing to dig beyond the surface will be impressed by the occasional phrasings reminiscent of American virtuoso stringpickers, Jerry Garcia, Eric Weissberg (several of the lapsteel tracks have a distinct bluegrass vibe), and Paul Simon (the rollicking opener "Around About Thirty-Six" has an elegantly baroque, haunting air a la "For Emily, Whenever I May Find Her" about it).
The only drawbacks are the annoying, hesitating silences (perhaps intentional?) that begin several tracks (e.g., "Feral Blues," "God Is In The Details," "I Fought The Lottery," "Forest For The Trees"), the often somber, downbeat mood that may turn off the more excitable listeners, and, particularly, the meandering, train-whistle drone of "God Is In The Details," which borrows too heavily from fellow Montreal performers, Godspeed You Black Emperor!
Listeners may also find their patience thoroughly tested by the 15-minute "Forest For The Trees," which is about five times longer than it needs to be, although it does develop a droning, minimalist, wyrdfolk charm for those who stick it out. But don't give up just yet, as you certainly won't want to miss the envigorating finale, an exciting lapsteel duet with the curious title of "Throwing The Goat." [A resequence to stick "Forest..." at the end would have helped.] Ultimately, a stunningly brilliant release and an essential listening experience.
In Gowan Ring - Exists
and Entrances Volume 3 (Lune)
www.InGowanRing.com
The third in a continuing series of self-released outtakes, live tracks, radio performances and assorted flotsam/jetsam centered around "that space when one is within a mantle of garlands," commonly referred to as In Gowan Ring. It is also predominantly the work of a single (and singular) individual known as B'eirth ("Bee" for short) and a revolving collective of friends that frequently includes Lincoln Lysager, Michael Moynihan, (ex-Amber Asylum violinist) Annabel Lee, Jesse Winters and/or Anthony Snow.
From the flute-driven instrumental opener, "Vernal Rising," which begins like an old medieval track by Gryphon and segues into a Camper van Beethoven-styled, ethnic-stringed workout (mandolin? balalaika?) to the Moondog-eared madrigal "Green Grows the Lilly" (recorded live on KALX in Berkeley, CA, which may account for its air of awkward incompleteness) to the poorly recorded, near-bootleg quality of the way-too-long and quite uninteresting "Play For Me Fiddler!" (recorded at Teatro Iberico in Lisbon, Portugal), this third collection of extras, outtakes, unused tracks and live performances from In Gowan Ring may be an indication that the well is starting to run dry.
Things are somewhat saved with the brilliant, seven minute "A Lock that ain't Worth Pickin'," a traditional-sounding (yet B'eirth-penned original) backporch folk tune complete with marvelous harmonica accompaniment. Few will pay much attention to the woofer-shattering percussive interlude, "Berzerka Murzurka I" or its room-clearing partner, "Light Rays and Smoke Shapes," a collection of instrument tunings and throat-clearing warblings recorded in Seattle with Brian Castillo. Portland, Oregon's Mizpah Chapel was the setting for "I Have A Friend," another live recording for completists only.
However, I did like B'eirth's use of water, a key ingredient in IGR's earthy c.v., in the field recording "Urn and Water" and the bubbling brew also figures prominently in "Sea Ritual" which fits perfectly with the rattling chains and clanging bells in this ominous, dirgy tale of death bells, and our protagonist's attempts to wash the blood off his hands. Perfect for that Halloween compilation tape. This segment was recorded live at KNMU in Albuquerque (presumably the University of New Mexico) and in spite of B'eirth's insistence that the waterbong sounds are from a homemade instrument, the vibe is just as effective. I'd like to hear more from this gig.
Finally, the cover of "The Black One" from Ingmar Nergman's "Seventh Seal" returns us full circle to the medieval playfullness of the disk's opening tracks. Recorded live at the Samhain festival in Port Townsend on the Olympic Peninsula in Washington state, it is a rare example of B'eirth's collaborations with Witch-Hunt, the project led by Michael Moynihan who, among other accomplishments, is the author of the definitive study of the Nordic Death Metal scene, Lords of Chaos. Oh, and I think he's on President Bush's "do not call" list, too!
Overall, a good example of the live In Gowan Ring sound and vibe, but a better selection of material would have made it a worthy successor to the first two volumes of this marvelous series (B'eirth tells me a fourth volume is nearing completion). As it stands, I can only recommend this one to completists.
David
Bowie - Reality - (ISO)
www.columbiarecords.com
The Chameleon is one of those old school performers who, like The Stones, Dylan,etc. have been doing this for nearly 40 years and still refuse to get off the stage and let the kids have at it. In an attempt to revitalize a stagnant career that has failed to release anything of import in over 20 years (since Scary Monsters), Bowie reunited with the knob twiddler behind some of his greatest triumphs (Tony Visconti) for last year's Columbia debut, Heathen. Having failed to raise any eyebrows, the two are back to try again on Dave's 22nd (I think) studio release and the results are as underwhelming as expected.
Opener "New Killer Star" shamelessly steals the riff from the old Peggy March classic "I Will Follow Him" and then proceeds to run it into the ground under a barrage of annoying backing vocals. And speaking of stale ripoffs, what the hell was he thinking attempting to cover Jonathan Richman's "Pablo Picasso?" He knows damn well that John Cale has already done the definitive cover, making this version nothing more than filler, not to mention that it is unintelligible, totally loses the tongue-in-cheek humor of the piece and is as flat as week-old soda pop.
Bowie mumbles and screams through "Never Get Old," which might have been enjoyable if he sang the ironic lyric with his tongue in his cheek and a knowing wink in his eye. Instead, he sounds way too serious and pathetically sincere. Face it, Dave, in spite of the ridiculous cartoon drawing on the cover, you're old! "The Loneliest Guy" is a pretentiously boring snoozer, wherein Bowie sounds like a cross between Anthony Newley on 'ludes and the Cowardly Lion with a mouth full of marbles. And having the balls to write a song called "Bring Me The Disco King" and then sing and arrange it like something off Joe Jackson's Cole Porter tribute Night and Day or an outtake from Elvis Costello's neverending tribute to Burt Bacharach is just sad.
Only "Looking For Water," "She'll Drive the Big Car," and the obvious choice for leadoff single, the immensely bouncy, toetapper, "Days" recall the vibrant energy from seminal Bowie/Visconti recordings, such as Diamond Dogs, Young Americans and Lodger. Otherwise, it all goes to prove once and for all the common advice applicable to hockey players, porno stars and musicians: they should all retire at 40. Unfortunately, they don't make Viagra for lounge singers.
I think it's time these arrogant washups who've long passed their sell-by dates listen to the playback in the studio and face reality (funny title, that one, as this album is anything but), and perhaps take a tip from their counterparts in the porno industry, where old schoolers like Paul Thomas long ago realised that it was time to get out from in front of the camera and pass the baton (as it were) to the up and coming (as it were) new generation of young 'uns. Perhaps Bowie has a future in the studio mentoring some new projects and taking the production reins to guide them in the early stages of their careers. I just can't take any more of these embarrassing disasters that threaten to wash the memory of his early genius out of our minds forever. Please STOP STOP STOP!!!
Neurosis
and Jarbot - s/t (Neurot)
www.neurotrecordings.com
From the panting, chanting deathwish of the opening track, "Within" (sample lyric: "If God wants to take me, he will"), it's clear that the former vocalist of one of the heaviest, gloomiest and doomiest bands of all time (Swans) is perfectly suited for the metallic crunch of San Francisco's Neurosis. "His Last Words" highlights the Gothic Wagnerian pomp and circumstance of much of Neurosis' rock show (perhaps Godflesh is a good reference point for those unfamiliar with their previous efforts), and Jarboe does a credible Nina Hagen impersonation on the equally dark "Taker."
The collaboration should appeal to fans of the more melodic, cerebral aspect of the Goth metal scene, and while Jarboe's histrionics on tracks such as "Receive" and, most particularly, "Erase," (wherein her strangulated banshee wailing is just about the most verocious speaker-shredding shreik this side of John Lennon's primal scream therapy on "Well, Well, Well") may take some major attitude adjustment, your patience will be richly rewarded.
Not as depressingly suicidal as Swans (although "Seizure," the final 12½ minute duet between Jarboe and Neurosis mainman Steve Von Till comes damn close), nor as comic-book silly as Ministry, Nine Inch Nails or White Zombie, this is a welcome addition to both artists' discographies and will appeal to the Gothic punks, ambient metalheads, and Batcave dwellers of all ages.