Monday, April 30, 2007
'fib-o-'nach-ez EP (1982)
Fibonaccis - 1987 - Civilization and Its Discotheques
Stay Home [A?]
It took the band four years to properly follow up their Tumor EP, thanks to their ill-fated TerrorVision soundtrack and various troubles within the band. Ultimately, the album seems to have killed them. It’s not the masterpiece that one would hope for; for whatever reason, several of their best songs never made it onto here. Still, it’s a worthy release. Opener “March to Heaven” might be the poppiest thing they ever did, and it manages to strike an excellent balance between freakish and melodic.
Much of the rest relies more on charm and atmosphere than hooks, but there are hooks there, if you look closesly. “Crickets” actually sounds like a classic 70s prog song, somewhere between Genesis and Comus. “Old Mean Ed Gein”, about a teen’s rebellious fascination with serial killers, is one of the best. “Leroy”, the single, unfortunately is a novelty song without too much going for it musically. Amusingly creepy, though.
Brother to filmmaker Charles Band and son to veteran producer Albert Band, Richard Band is often similar to other film composers like Robert O. Ragland and Lalo Schifrin. The Band family has had a history of filmmaking. Richard's brother Charles, became a known executive producer when he founded Empire Entertainment.
Richard decided to take on making music for films for numerous production companies like Paramount, Universal, Film Ventures International and 20th Century Fox. During the mid eighties he scored music for all of his father's and brother's horror films including Re-Animator (1985), _Dolls (1986)_ , Troll (1986) and From Beyond (1986). After his brother's company collapsed, Band worked with numerous other filmmakers, and then returned to work for his brother and father in the early nineties. Richard Band's music scores are unique and fascinating and he has done music for over 50 motion pictures to date.
Rather like Siouxsie & the Banshees, the Fibonaccis were intelligent and technically accomplished musicians who explored dark themes, but they did so in a more cartoonish and satirical fashion. Their rendition of Bernard Herrmann's theme from Psycho was a favorite in concert. Their bizarre cover of Jimi Hendrix's "Purple Haze" is preceded by a snippet from a jailhouse interview of Charles Manson.
Sunday, April 29, 2007
Kilimanjarois a melodic and atmospheric blend of post-punk, new wave, neo-psychedelia and even a touch of new romantic. A must have for fans of early eighties music!
1 Ha Ha I'm Drowning 2:56
2 Sleeping Gas 3:46
3 Treason(It's Just a Story) 2:58
4 Second Head 3:10
5 Poppies in the Field 5:08
6 Went Crazy 2:40
7 Brave Boys Keep Their Promises 2:30
8 Bouncing Babies 2:28
9 Books 2:36
10 Thief of Baghdad 3:09
11 When I Dream 5:38
Thursday, April 26, 2007
Get it HERE.
Tuesday, April 24, 2007
Anubian Lights - 1998 - Let Not The Flame Die Out
1. The Fire Breathes (3:35)
2. South Of Dashur (4:43)
3. The Locusts Call (6:24)
4. One Eye To The Sky (5:12)
5. Ali Mamoun's Broken Entranceway (5:25)
6. Frequency Of Sand (7:13)
7. Mutashaker (Thank You) (5:31)
8. Our Man In Baghdad (4:16)
9. Atoms Of The Gods (1:37)
10. As Seen In 822 A.D. (3:52)
11. Sanctuaries Of Jupiter (4:03)
12. Nara-Yana (5:26)
13. Vision Of A New Homeland (5:14)
14. Let Not The Flame Die Out (6:41)
- Gilli Smyth / vocals (background)
- Simon House / electric violin
- Nik Turner / flute, saxophone
- Tommy Grenas / guitar, keyboards, Moog bass
- Doran Shelley / guitar, Arp Omni
For this 69 minute release from 1998, the Grenas/de Rio core of Anubian Lights is joined by guest appearances by Nik Turner, Simon House, Dorian Shelley, and Gilli Smythe (from Gong).
This music still bears the signature blend of Egyptian and space rock, indeed in a more concentrated form. Tighter and less tribal, the music draws from more modern roots, splicing dance, pop and space with airs of the Nile. Even the Middle Eastern influences possess a modern touch, bringing the ethnic edge into the present day. Truly a solid evolution for the band's sound. Throbbing electronics swarm, dodging sinuous E-perc and haunting guitar. Infrequent vocal comments pepper the songs, sampled snippets and chants.
If there are UFOs in the sky over Cairo today, they were lured there by this music.
ANUBIAN LIGHTS are an electro-lounge outfit from L.A. masterminded by Tommy Greñas and Len del Rio. Continuously exploring space rock's possibilities, they mix sci-fi kitsch with acid-rock, spaced-out electronic and world-music, building their songs layer by layer and then filling their hooky loops with subtle details. This groove-driven (and outright danceable) material is progressive in a way, although not in the 'prog' sense per se. With the use of sampling, synths, drum machines and deep pulsating bass, they churn out some playful and infectious foot-tapping, hip-shaking numbers, creating hypnotic landscapes à la CAN and KRAFTWERK. At times rubbing shoulders with members of HAWKWIND, Greñas and del Rio have covered a lot of ground over the years, creating a string of other ambient beat bands such as CHROME, FARFLUNG, The BRAIN, ZERO GRAVITY and PRESSUREHED.
Their debut album, "The Eternal Sky" (1995), is an ambitious blend of space trance and slick Middle Eastern percussion with soaring synths, electric violin, electric guitar and robotic, bizarre chants. Conceived with a larger budget, "Let Not the Flame Die Out" (1998) boasts a better production and is a natural progression to their first; it also features two HAWKWIND members in Nik Turner (flute and sax) and Simon House (electric violin). Their third album "Naz Bar" (2001) is yet another percolating mix of krautrock, bellydance, hallucinetic grooves and bewitching vocals;
Saturday, April 21, 2007
1. Why Does the Rain
2. Skeleton Staircase
3. Lonely Street
4. Your Door Shines Like Gold
8. On a Tuesday
9. The Canal and the Big Red Town
10. Up the Hill and Down the Slope
The Loft was one of the early bands on Alan McGee's Creation label. The band started out as the Living Room in 1980, with singer/guitarist Peter Astor, drummer Dave Morgan, bassist Bill Prince, and lead guitarist Andy Strickland as members. Upon realizing that they shared their name with a venue run by McGee, the Television-inspired band changed their name to the Loft. After meeting up with the club owner, they began playing there regularly and wound up on his label. The single "Up the Hill and Down the Slope" won the group and the then-fledgling label a good amount of attention, winning the group a spot on The Oxford Road Show, a television program on BBC2; along with the Jesus & Mary Chain's debut single, it also upped Creation's profile during their early lean period.
While on a tour opening for the Colour Field, a major rift between the group grew extremely deep; there was the Morgan/Astor half and the Prince/Strickland half. Perhaps, not surprisingly, the former half was the second half to join upon the band's inception. Prior to a major show opening for the Colour Field at the Hammersmith Palais, Astor informed Prince over the phone of his wish to sack him and Strickland and continue with Morgan under the same name. After Prince told Strickland of the call, Strickland demanded that Astor be present for the gig. Astor showed; prior to the final song of the band's set, Strickland foiled the singer and told the packed crowd that the Loft would be no more after that show.
Almost immediately after the dramatic public split, Astor formed the Weather Prophets with Morgan (he also released solo records and formed the Wisdom of Harry later on). Strickland and Prince went on to play in a couple of minor bands and also continued working sporadically as music journalists; Strickland also ended up managing the Dotmusic website. Once Around the Fair, a compilation of the Loft's material, was issued posthumously by Creation. ~ Andy Kellman, AMG
Wednesday, April 18, 2007
01 Top Secret Man
02 Digital Watch
04 I Am Plastic
05 I Wanna Be Plastic
06 Can I Help Me ?
07 Too Much Information
08 Welcome Plastics
09 I Love You Oh No!
12 Last Train to Clarkesville (Monkees cover)
Chica Sato - vocal
Toshio Nakanishi - vocal, guitar & percussion
Hajime Tachibana - guitar & vocal
Masahide Sakuma - keyboards, guitar & bass programming
Takemi Shima - rhythm box
Plastics or, alternately, The Plastics were a short-lived Japanese pop group prominent in the late 1970s and early 1980s. Though they were short lived, their music was a major influence on Japanese pop music and have been covered by many bands, most notably Polysics, and Pizzicato Five (covering the song "Good" from Origato Plastico). The bands Talking Heads, B-52s, Devo were big fans of Plastics, and may have helped get their albums released in the US. Their mainstream exposure began when Toshio Nakanishi designed a tour program book for Talking Heads and slipped David Byrne a tape of Plastics demos. Byrne promptly sent it to the B-52s' manager who offered to represent them internationally.
1979 Copy/Robot (45)
1979 Welcome Plastics (LP)
1980 Origato Plastico (LP)
1980 Welcome Back (US Released as "Plastics")
1980 All Across the USA 80 Live
1988 Forever Plastico (CD)
Monday, April 16, 2007
1. Baby Better Look Out
2. ...And now, the moment we've all been waiting for
3. Go Get 'Em, Kid!
Saturday, April 14, 2007
All ten songs on The Affectionate Punch are nearly swollen with ambition and swagger, yet those attributes are confronted with high levels of anxiety and confusion, the sound of prowess and hormones converging head-on. It's not always pretty, but it's unflaggingly sensational, even when it slows down. Having debuted with a brazen reduction of David Bowie's "Boys Keep Swinging" to a spindly rumble, multi-instrumentalist Alan Rankine and vocalist Billy Mackenzie ensured instant attention and set forward with this, their first album. Mackenzie's exotic swoops cover four octaves, from the kind of isolated swagger heard in Bowie's "Secret Life of Arabia" to a falsetto more commonly heard in an opera house than a bar. (Dude sounds like a diva, so proceed with caution if you'd much rather hear a voice in line with PiL's John Lydon or Magazine's Howard Devoto.) Though the subject matter of the duo's songs would later veer into the completely inscrutable, there's some abstract wordplay here that scans like vocal exercises or Scott Walker at his most surreal: "Stenciled doubts spin the spine, Logan time, Logan time"; "If I threw myself from the ninth story, would I levitate back to three"; "His jawline's not perfect but that can be altered."
Meaningful or not, there's always a sense of great weight. When Mackenzie runs through the alphabet in "A," he could be singing in code about the butterflies of love. Rankine, with help from drummer Nigel Glockler and a background appearance from then labelmate Robert Smith, covers most of the other stuff, specializing in spare arrangements that can simultaneously slither and jump, crosscut with guitars that release weary chimes and caustic stabs, as well as the occasional racing xylophone. Two years later -- a year after the genius run of bizarre singles collected on Fourth Drawer Down and the same year as the high-drama overdrive of Sulk -- Rankine and Mackenzie partially re-recorded and completely remixed this album to spectacularly layered and glossy effect. Get both versions.
by Andy Kellman AMG
DOWNLOAD IT HERE
Friday, April 13, 2007
1.Birth School Work Death
2.If I Only Had Time
3.Tell Me Why
4.It's So Hard
5.When Am I Coming Down
6.Cause I Said So
9.Just Like You
11.Love Is Dead
Peter Coyne - vocals
Chris Coyne - bass
Kris Dollimore - lead guitar
Mike Gibson - guitar
George Mazur - drums
The Godfathers missed the British punk revolution by a decade and were a few years too early before loud guitars became fashionable in England again. Consequently, the group's 1988 LP Birth, School, Work, Death is often overlooked. Released during the U.K. rave craze of the late ‘80s, ^Birth, School, Work, Death must've seemed completely dated in the barrage of pulsating electronic sounds that enveloped Britain at the time. Wearing Mafia suits and skinny ties, the Godfathers had a mean look that matched their name. And their sound was similarly tough: brass-knuckled punches in the form of menacing, explosive riffs; venom-spewing, nihilistic vocals; body-slamming percussion. Yet the Godfathers never forget the importance of the hook. The bleak title track -- with its gloomy shouted chorus of "Birth, School, Work, Death" -- has head-bobbing basslines and a toe-tapping drum beat. "I cut myself but I don't bleed/'Cause I don't get what I need/And it doesn't matter what I say/Tomorrow's still another day," Peter Coyne spits, the bile in his voice bringing back memories of Johnny Rotten's snotty rage in the Sex Pistols' "God Save the Queen" as well Roger Daltrey's adolescent anguish in the Who's "My Generation". "Birth, School, Work, Death" is followed by two other rockers, "If I Only Had Time" and "Tell Me Why", that are equally catchy and filled with ticked-off confessions such as "If I only had time/I'd think of the perfect crime." But the Godfathers are from being one-dimensional. "Just Like You" is an upbeat love song and on "When Am I Coming Down" guitarist Kris Dollimore helps illustrate an acid trip gone wrong with swirling, disorienting guitars that recall Jimi Hendrix' moments of sonic transcendence. Coyne's spoken-word bit in "When Am I Coming Down" is chilling, told from the point-of-view of someone who has just overdosed on drugs. The production by Vic Maile is clean yet it doesn't soften the Godfathers' two-fisted attack.
~ Michael Sutton, All Music Guide
Wednesday, April 11, 2007
In the 1980s The Gun Club released a number of albums. The first, "Fire of Love" is still widely regarded as the band's most fully-realised work, and contained several songs that won critical acclaim, above all "Sex Beat" and "She's Like Heroin To Me". The next two albums, Miami and The Las Vegas Story, are highly original, the music being a unique mixture of punk, country elements and blues. Later albums depart somewhat from the swamp-punk template in favour of more reflective, melancholic moods.
Pierce recorded a solo album, "Wildweed" in 1985. To general surprise, it was an accessible, melodic and occasionally danceable work, with the tenderly devotional "From Temptation To You" displaying his (perhaps surprising) flair for soul-searching love songs. A reformed Gun Club then made 1987's "Mother Juno", generally cited second only to "Fire Of Love" as their finest work. Typically punkish efforts "Thunderhead" and "Araby" co-existed with startlingly melodic compositions "Breaking Hands" and "Port of Souls". As Pierce later said, "We envisioned an album that sounded like ocean waves". ~Wiki
Monday, April 9, 2007
The Enraged Will Inherit The Earth + Rarities (1989): Coming off the back of the controversial single Should the Bible Be Banned -- actually a song against censorship rather than religion -- McCarthy continued their sugar-sweet anarcho-pop campaign. This album is slicker produced than its predecessor, I Am a Wallet, but is in much the same vein with jangly guitars, great pop drumming, and Malcolm Eden's less-than-powerful vocals. Tim Gane's search for the perfect pop tune leads to greater invention in both music and tempo, particularly in the tirade against endless love songs "Boy Meets Girl So What." Most controversial, and also a single, is "I'm Not a Patriot But," which contrasts British left-wing support for Sandanista with the condemnation for the IRA. Enraged Will Inherit the Earth's sales ensured that McCarthy remained at the heart of 1980s indie pop. Get part one HERE, and get part two HERE.
Banking, Violence, and the Inner Life Today (1991): The final album by McCarthy sees no letup in the search for the perfect pop tune. Tim Gane begins to display the hypnotic layering that would become his trademark in Stereolab. However, Banking is still characterized by jangly guitars and up-tempo pop drumming. Malcolm Eden's nasal vocals are backed by Laetitia Sadier, future Stereolab singer and Gane's future wife. This album displays some of the most adept left-wing lyrics on offer. Never a band to indulge in political airheadedness, on "Use a Bank I'd Rather Die" McCarthy pours scorn on hippie idealism, whereas new age beliefs are rounded upon in "The Well-Fed Point of View." The uncaring attitude so prevalent in the Thatcher/Reagan era is solidly attacked on "And Tomorrow the Stock Exchange Will Be the Human Race." Always keen to court controversy, support for the IRA is espoused on "Take the Shortest Way With the Men of Violence." Banking, Violence and the Inner Life Today displays McCarthy at the height of its powers; unfortunately, sales never propelled the band to the heights of some of its lesser-talented contemporaries. Get it HERE.
Get it HERE.
Thursday, April 5, 2007
02 Any Noise is Intended
05 The Gotthun
Zone Six is a totally improvisational group from Berlin. They have existed for many years and features current and past members of Liquid Visions. This is the second studio CD they have released. This material was recorded in a studio in 2000 but only just now released on the new German Label Sunhair. I saw the band live back in 1998. The past couple of years the band has not played that may gigs but this year looks like they will play more. The CD begins with the long 20 minute track called "Score Trek". It begins with some spaced keyboards and loads of bizarre sounds and echoed guitars, etc. before it builds its groove up. It remains slow and spacey for 10 minutes or so. Now things start to happen and a great Ozric tentacles like jam fest begins. Great stuff. "Any Noise Is Intended", the title track, takes us back out into space for another 14 minutes but this time the journey is long, slow and spaced out to the max! "Psss..." follows and is a strange soundscape more than a real song. "Bauchfellhavarie" begins with some strange sounds and a voice saying "Hello" and then everything gets phased and wobbly and very strange. Who put acid in my coke? "The Gotthun" closes the CD and we are back to songs and this one is much more like what the band have done in the past but the synths play a greater role and sound great. This is a great CD to chill out and take a journey with. The most spaced out stuff the band have ever done, in my opinion. A great way to start a new label, with a first class space rock release.
~Reviewed by Scott Heller
For more information you can visit the Zone Siz web site at:
Wednesday, April 4, 2007
Even with a body of work as wide-ranging as Fred Frith's, this is an odd one. Half art-pop songs, half brightly colored sonic experiments, Frith recorded this at home on a cheap four-track, playing most of the instruments himself apart from some prerecorded drum loops. The result is a whimsical carousel of an album that sounds like the mischievous younger sister of Eno's "Another Green World." My suspicion is that a major inspiration and impetus for Frith's creation of this album stems from his meeting, several years earlier, with genius one-man-band home-taper R. Stevie Moore (the phone conversation between Frith and Moore in which they arrange to meet at Frith's East Village apartment appears on RSM's 1979 cassette release "Quits."), especially given that RSM also often had a unique method of working with prerecorded drum tracks. And like much of Moore's work, Frith's "Cheap At Half The Price" is an album whose theme is the simple joy of music making.
Get it HERE.
Tuesday, April 3, 2007
01 Brace Yourself
02 A Mass
03 Midnight Will
04 Winter Veil
05 A Dirge
My Black Fate [7'']
01 My Black Fate (Live)
02 Lost in Emptiness (New Version)
Hail Hail Hail [7'']
01 Hail Hail Hail
Get the Above 3 Singles Here
1998 - 2003: Limited 500 copies Box-set
Containing 3 vinyls with the 3 first albums, 1 Digi pack CD with live tracks
& 1 digi pack CD with exclusive versions
part I ~ part II ~ part III
Nighttime Nightrhymes 1999
02 I Crave For You
03 Lion Serpent Sun
04 Sól Ek Sá
05 In The Colours Of Night
06 The Substance Of Simplicity
07 Raven Chant
08 She With Whom Compar'd The Alpes Are Vallies
10 Wintry Mantle
11 Nighttime Nightrhyme
Emptiness Emptiness Emptiness 2001
01 Lost In Emptiness
02 My Devotion Will Never Fade
03 In A Robe Of Fire
04 Algir Naudir Wunjo
05 Silver Rain
06 Gal Anda
07 Here's To Misery (A Toast)
08 Can I Erase The Demon?
Algiz (Digi pack CD) 2003
01 Gal Anda
(Previous unreleased version)
02 I Crave For You feat. Matt Howden
(Version from 'I Crave For You' 7" 2001)
03 In A Robe Of Fire
(Version from 'I Crave For You' 7" 2001)
04 Sól Ek Sá
(Previous unreleased version)
05 My Devotion Will Never Fade
(Version from 'Lichttaufe 2' compilation CD 2001)
06 Lost In Emptiness
(Version from 'My Black Fate' 7" 2001)
07 She With Whom Compar'd The Alpes Are Vallies
(Version from 'Bringing Light & Darkness' split 12" 2001)
Hagalaz (Digi pack CD) 2003
01 Raven Chant
02 Gal Anda
(Recorded live at Hau Ruck! Festival - The Monastary - Austria, Wien 02.11.02)
03 Lost In Emptiness
04 Silver Rain
05 I Crave For You
06 Lion Serpent Sun
(Recorded live at Magnifiosi - Netherlands, Lisse 13.10.02)
02 Nær Skóg Nær Fjöllum
03 Megin Runar
04 Followe Thy Faire Sunne Unhappy Shaddowe
05 Time Time Time
06 Let It Be Ever thus
07 Reficul II
OF THE WAND AND THE MOON (actually billed as :OF THE WAND AND THE MOON:) is the solo vehicle of guitarist Kim Larsen from Danish Doom merchants SATURNUS and Black Metal outfit BLAZING ETERNITY. The 1999 debut 'Nighttime Nightryhmes' employs traditional folk instruments such as violin and flute. SATURNUS drummer Jesper Saltoft also guests.
Much to Larsen's dismay he was cited in a right wing magazine as having empathies with pro-nazi causes causing anti-nazi protestors to attend early gigs in protest. Larsen vehemently denied any association.
The band formed part of an alliance with TRIO NOIR, MATT HOWDEN and UNVEILED for a rare split vinyl album. Other OF THE WAND AND THE MOON releases included scarce limited edition singles. The 7" Sól Ek Sa' release, restricted to 666 copies, was issued by Austrian label WKN and the 10" single 'Midnight Will' emerged in June of 2000 courtesy of German concern Eis & Licht.
A further 7" limited edition single was issued in June of 2001 by Prophecy Productions comprising of a previously unreleased version of 'I Crave For You' including MATT HOWDEN of SOL INVICTUS and SIEBEN as session guest and an alternate version of 'In A Robe Of Fire'. OF THE WAND AND THE MOON would also donate an exclusive variant of 'My Devotion Will Never Fade' to the 'Lichttstark 2' compilation album. During November of 2000 Larsen would relinquish duties with SATURNUS but maintain membership of BLAZING ETERNITY.
Larsen would follow this effort up with 2001's 'Emptiness, Emptiness, Emptiness' album and a European tour in September and October in alliance with DORNENREICH and TENHI. During this period, Larsen, Saltoft and SATURNUS bassist Brian Hansen were also operational with Gothic Rock project THE LOVELESS.
OF THE WAND AND THE MOON returned in October 2005 with the 'Sonnenheim' album released through Heiðrunar Myrkrunar. ~Rockdetector Biography