Showing posts with label Elven Grab-Assery. Show all posts
Showing posts with label Elven Grab-Assery. Show all posts

Saturday, December 24, 2011

ENO















...and so it is that we reach the end of this series of Brian Eno posts, culminating with his 1977 album 'Before And After Science'.
It's been an epic trek, mostly uphill, but this is IT. No more. I can move on to writing bollocks about massively overlooked bands from New Zealand and how much I fucking LOVE Adventure Time With Finn And Jake. Or something.

Ironically this record also had as prolonged a gestation period as my posts, as Eno had begun moving into new musical territory after 'Another Green World' and had a great deal of difficulty in assembling the songs that would end up here. 'Before And After Science' would end up being the last overtly song-based record that Eno produced under his own name for quite some time.

1977 was also the year that Eno worked with Hans-Joachim Roedelius and Dieter Moebius, aka Cluster - begatting the superb 'Eno & Cluster' LP - and worked with David Bowie again, on the second album in his 'Berlin trilogy'- 'Heroes' - as well as making repeated overtures to Talking Heads, a band whom he had fallen in love with during their UK tour with The Ramones.

Exactly how much he wanted to work with Talking Heads is made quite clear on one album track here, entitled Kings Lead Hat, a fairly bloody obvious anagram of the bands name...



...something that worked out nicely for Eno, as he ended up producing their next three records and making a rather splendid li'l record with Heads mainman David Byrne entitled 'My Life In The Bush Of Ghosts', all four of which are amongst some of my favourite records of all time ('Fear Of Music' in particular)














The usual array of guests helped Eno to finally realise his vision here, after several false starts - the previously mentioned Roedelius and Moebius, Henry Cow guitarist Fred Frith, Can drummer and Krautrock legend Jaki Liebezeit, bassist Bill MacCormick of Matching Mole and his Quiet Sun bandmate Phil Manzanera, the ubiquitous Robert Fripp, Free drummer Andy Fraser, the ever-execrable Phil Collins and Brand X buddy Percy Jones, again, and the disembodied voice of deceased Dadaist Kurt Schwitters (on the track 'Schwitters Rejoinder' natch).



Musically, the album is split between the more upbeat, jagged sounds of the first half and the more intimate, pastoral tones of the latter, yet still manages to remain coherent and, to me, utterly gripping. I also appreciate the inherent Englishness of the line "Ooh what to do, not a sausage to do" in the bouncy 'Backwater'. Yes, we really DO say things like that. Well, I do, anyway.

Now, for MY money, the centrepiece of 'Before And After Science' is the achingly beautiful 'Julie With...', as languid and lunar a song as any you could hope to hear.



...isn't that just gorgeous?

This really is a beautiful album, tonally, and one of my favourite Eno records. I hope those of you who haven't heard it before give it a listen and enjoy it as much as I do. So, get it here and dig in.




















...also, as a special treat because I've kept you waiting for so long, I've put together a package of Eno's non-album tracks - including a couple of singles and a BBC session featuring re-interpretations of tracks from 'Here Come The Warm Jets', an embryonic version of 'I'll Come Running' from 'Another Green World' and a Peggy Lee cover - which you can get here.








I've also decided to throw in a copy of The Winkies self-titled 1975 album in which they re-use the musical backing track to their version of 'The Paw-Paw Negro Blowtorch' and re-title it 'Trust In Dick', with rockin' power-pop results, just....because.
















Shame about the cover though. Mind you, it does give you an idea where they got their name from....

Thursday, December 1, 2011

THREE SPELLS


Holy shit, I didn't realize until just now that today is IllCon's three-year anniversary. Nice. What did you fuckers get me?

Nothing? Awesome.
Well, I got you three albums from Norway's own Gehenna (no, not that one), purveyors of only the finest elven/witchy/Dracula-based black metal that country has to offer. Are you into cheesy, mid-paced, mid-90's, synth-laden forest troll music played by a bunch of dudes (and a chick) wearing capes and shit? Good! Gehenna will be right up your alley, casting forth a etherial web of faerie magick to ensnare all your wildest Ren Faire fantasies! A little too "Opera Man" for you? Tough shit, man. Sometimes corny-ass Ouija board metal with the keyboards turned up way too loud is just what the Hessian soul needs, so far be it from me to deprive you of such Narnian majesties.
Three fucking years, man. Jesus.


FIRST SPELL EP (1994)


Download HERE
Purchase HERE


SEEN THROUGH THE VEILS OF DARKNESS (THE SECOND SPELL) (1995)


Download HERE
Purchase HERE


MALICE (OUR THIRD SPELL) (1996)


Download HERE
Purchase HERE

LOL

Metallum/Last.FM


PS check out this new logo I designed for Illogical Contraption Radio:


I'M A FUCKING GENIUS.

Monday, October 10, 2011

Eno Meany











Life is full of things that slow you down and generally impede your progress. Mostly people, but also things like 'having a job with slightly awkward hours', 'wanting to make the most of your time with your special lady friend', the nebulous 'other commitments' and 'having a brain that hates and despises you and tries its level best to make things difficult whenever possible'. Ladies and germs, I'll level with you - add to those obstacles a general feeling of bone-tired weariness and a pinch of slack, and you'll have my situation in a nutshell.

I mean, I have been productive, just not as productive as I'd like to be. I've been writing music reviews for the fine folks at The Sleeping Shaman and, more recently, Bearded Magazine and tinkering with some new music equipment I recently acquired, but, well, it's not enough DAMMIT!!

I want more life, fucker.

...and so, without further ado, excuses and shameless self-promotion, we plunge into the plangent, comfortably warm waters of the third of the first four Brian Eno solo 'vocal' albums.














'Another Green World' was released in 1975, one year after the slightly lacklustre (IMHO) 'Taking Tiger Mountain By Strategy', and the same year as his first 'ambient' album, 'Discreet Music', emerged. Tonally and in terms of mood, 'Another Green World' is closer to the latter i.e contemplative and somewhat tranquil. This tonal shift came about in the wake of a traumatic accident wherein Eno received a serious head injury that laid him low for a while.
I'm sure you've heard the tale of how Eno invented ambient music, as we know it, so I won't bore you with it, suffice to say that some of his resulting methodology and approach also rubbed off on 'Another Green World'.



...note the early use of a drum machine, set on 'bossa-nova' there.

On all of the Eno albums featured here, there are a number of other musicians featured, many of whom reocurr over the course of time - most notably Robert Fripp and bassist Paul Rudolph - and 'Another Green World' is no exception to this, boasting the obligatory Fripp, some viola from John Cale (who may well be featured in another of these mult-part posts in future), bass from Winkies man Brian Turrington (of whom, more in the next, final, post), mo' bass from Brand X bassman Percy Jones and drums from his Brand X bandmate.....Phil Collins.

Yeah. I know. Him.

Now, loathe as I am to attempt a defence of this purveyor of ultimate filth, this was 1975 and Phil was still content to keep his damn mouth shut and just play his drums, which he does with verve, aplomb, moxie and ....uh...possibly chutzpah herein.



'Sky Saw' there, the slightly alarming opening track of the album, contained a backing track that Eno would cannibalise several times througout his career, thus really getting his moneys worth from Phil Collins and, as I mentioned back in the first part of these posts, finding a genuine use for him to boot.

















Now, my personal musical highlight on this album would have to be the track 'St Elmo's Fire', which has fuck-all to do with the movie and everything to do with Robert Fripp's lyrical, liquid guitar solo, improvised on the spot when Eno told him he wanted a solo that sounded and felt like electricity arcing between two points on a generator. I think he nailed it...



...wouldn't you agree?

Ssssssooooooo, yes. There you have it. 'Another Green World'.




















Go get it.


* Nerd Footnote - Issue 23 of Alan Moore's Swamp Thing, April 1984, featured a story entitled 'Another Green World', a definite reference to this album, given Mr Moore's musical inclinations and later use of song titles, lyrics and album titles as titles for Swamp Thing stories.

Sunday, October 2, 2011

CADUCITY - THE WEILIAON WIELDER QUEST (1995)

1: Caducity come from Belgium, home of the almighty Univers Zero.
2: Caducity blend the seemingly disparate but ultimately IC-friendly elements of epic fantasy and proto-tech mid-90's death metal, sort of like the music of 1993 Cryptopsy violently sodomizing the mind-set and aesthetic of 1988 Brocas Helm.
3: Caducity curry the favor of the nerdier denizens of the Hessian Kingdom by giving their songs titles such as "Impassible Are the Amber Runes of Silken Illusion" and "Gymbrea's Enriching Wisdom, Part I: The Sorcery of Chaos Hanzwarin/Part II: Savouring of the Tricorn Flesh/Part III: The Spirits of Crystallyne Faith".
4: Caducity's debut full-length, the oddly titled Weiliaon Wielder Quest, contains one of the most off-putting and weirdly "outsider" intro tracks since Killer Fox.
5. Caducity occupy the same high-quality/little-known 90's death metal niche as previous IC wank-targets like Brick, Welt, and Lubricant.
6. Look at the fucking album cover.

I rest my case.

Download HERE
Purchase HERE

Metallum/Last.FM

Monday, August 22, 2011

Eno Meany Miney














I'm gonna level with you here. Of the four albums I'll be putting up here for your delectation, 'Taking Tiger Mountain By Strategy' is my personal least favourite, so I'm not gonna say much about it.
Don't get me wrong, it's not a bad album - far from it - it's just that it doesn't really do as much, musically, for me as the other three.
I guess it's because it's so much more upbeat and melodic than the others that I find it a little dull - which is ironic, as the lyrical content is pretty dark. 'Burning Airlines Give You So Much More' is about an aircrash near Paris in 1974 and 'The Great Pretender' is about an insane machine raping a housewife.

Oh, incidentally, 'Burning Airlines Give You So Much More' is where the ex-Jawbox band, Burning Airlines, that so many people seem to like but I couldn't give a gnats fart about, got their name from. So now you know, unless you already know, in which case, I just reminded you. You're welcome.

Several things of note about the album are that a VERY pre-MTV music video was made for the track 'China, My China'...



...featuring proto-punk icon Judy Nylon of the band Snatch, the lyrics to the track 'The True Wheel' came to Eno in a dream, and inspired the name of the shortlived band he was a member of, along with Phil Manzanera, The 801, who released one so-so live album (although a couple of better quality bootlegs are available), 'The Fat Lady Of Limbourg' allegedly refers to a groupie of voluminous size that Eno bedded on tour, and the entire concept behind the revolutionary/Communist Chinese slant** to the album was said to have been kicked off by Eno chancing upon some postcards featuring images of a revolutionary chinese opera of the same name.




















So, there you have it. Some fascinating facts about 'Taking Tiger Mountain By Strategy'.

Don't let my lack of enthusiasm put you off, by the way, as it only really suffers in comparison to the other three recordings that surround it - by anyone else's standards, it's a fantastic album...only by my own exacting standards is it a bit boring.

*


















*insert 'pink oboe' joke here.

** Also, I just realised that to the uptight, overly PC eye, this could seem like a racial slur. It isn't, obviously, it's just unfortunate wording on my part, but I'm keeping it in anyway, so fuck you.



BTW, if I was a punk, my punk name would be Rachel Intolerance.

Saturday, August 13, 2011

ENO MEANY MINEY MO

















"Brian Eno? Isn't he that guy who invented 'ambient music'?"
Well....yeah, I guess.

"Isn't he that bald guy who produced U2 and fucking Coldplay?"

Well....yeah, guilty as charged...BUT he also made four outstanding albums of art rock back in the seventies that he, quite frankly, just doesn't get enough love for.

While all the pseuds and hipsters wax poetic about 'Discreet Music' and 'Music For Airports', I'm diggin' his non-ambient work with Robert Fripp, his pre-Talking Heads Talking Heads-isms and his bold attempt to find a genuine use for Phil Collins (which he DOES, with aplomb).

















I mean, I ask you, LOOK at the dude! Does he look like some po-faced chinstroking pseudo-intellectual? in THAT jacket??*

No, when Eno left Roxy Music in 1973, taking all their mojo with him, he did what people didn't really expect him to do, considering he was the 'non-musician' (his words) and resident brain box of the band...he made an absolutely KILLER solo album that, in MY humble opinion, totally outshines anything Roxy Music EVER did.

So, in order to edumacate youse heathen scum, I'll be posting up the first four Eno 'vocal' albums here over the course of the week, possibly followed by a li'l treat in the shape of an 'odds and ends' comp of singles, radio session tracks and whatnot, if you're all good li'l ladies 'n' germs.



















Here Come The Warm Jets was something that I don't think anyone was expecting. Despite Eno's rep as a ladies man and top shagger, he was commonly regarded as an arty oddball who made bleepy-bloopy noises, and so any kind of solo album he made would probably be 'difficult'. '...Jets' totally blows that notion out of the water by being chock-full of arty funk, off-kilter pop-rock and possibly Robert Fripp's finest recorded guitar solo...



'Baby's On Fire' was actually the first thing Eno wrote for this record and the damn thing sounds fresh as a daisy today. Minimal, artful loping groove, odd, camply-arch lyrics and vocal and THAT solo. It's a total WINNER, as is the entire record. A stone-cold classic. Oh, and for lovers of bleepy-bloopy Eno, check out the end of the exceptionally English 'Dead Finks Tell No Tales'. Sounds like a malfunctioning Cylon.


























*actually, he looks totally like Elrond

Saturday, May 28, 2011

The Legend of Purple Aki

Every place has urban myths and legendary beasts - Scotland has The Loch Ness Monster,

















Virginia has The Mothman














and rumours have abounded for years of the infamous Abominable Snowman, or Yeti of the Himalayas,
















but NONE of these creatures have terrified the local populace so much as the local mythical beast of where I grew up, the all-too-real man-beast known as...
...PURPLE AKI!




















Y'see, back in the days before the internet, it was a lot easier to be mysterious and for unsubstantiated gossip to spread and mutate like wildfire. So it was with the shadowy figure known to us kids as Purple Aki. He was used as a bogeyman figure (yes, BOGEYman, not BOOGIEman like you fucking septic tanks use...seriously, are you THAT ashamed about disco?) by unscrupulous parents in the eighties in order to bend children to their will..."If you don't get to bed/do your homework/eat your greens, Purple Aki will get you!"...and stories were often told about him and encounters other people had with him, mostly bullshit we figured, but scary nonetheless.

As a kid, I heard the name around and learned the following 'facts' about him - that he was a large black man who was from Toxteth in Liverpool (A predominantly poor, black area where I spent half of my life living. It's a ROUGH place and is mostly famous for rioting and heroin) but was often seen around the St Helens area (Near where I actually grew up. It's a pus-filled canker sore on the face of existence and should be bombed into oblivion. It's famous for....umm....glass). That he would follow and accost young boys, especially those who worked out or went to the gym a lot, ask if he could feel their muscles and then offer them the choice of either being raped by him OR to have his initials carved into their buttocks, leading to the alleged bone-chilling question he was said to have asked his victims..."POP OR SLASH?".

At no point did I find out ANYTHING else about him - what he looked like, aside from being huge and black, why he was called 'Purple' Aki, or if he was ACTUALLY real.
To me, he was a spook, an imaginary ghoul, who would appear to friends of friends of friends and ask his question, only for them to run away and escape his rapey clutches. A friend of mine who was a well known bullshit-artist swore blind that Purple Aki had accosted his brother, but, well, I didn't believe him.
To be honest, I was pretty damn sure he didn't exist.

I was WRONG.













The story that I had heard most often in connection to Purple Aki was that he had approached a boy at a train station and so terrified the boy that he ran onto the train tracks and was electrocuted in his mad scramble to escape. Again, it all sounded like some kind of scare story told by parents to stop their children from going out at night alone or something...but in 1995 I moved to a flat in Toxteth and met people who actually KNEW Purple Aki. Then, I read about him in the local newspaper.

The bogeyman was REAL.

His name was Akinwale Arobieke, and he was known as 'Purple' Aki due to the colouration of his skin giving him an almost purple hue. He was six foot five and weighed twenty stone. He'd been charged over the death of the boy who was electrocuted running away from him but had gotten off due to lack of evidence and possible racial discrimination in the trial. This was the only crime he had ever been charged with, as far as I knew.




















It turned out that the whole 'pop or slash' rape thing wasn't true, and his ACTUAL perversion was FAR stranger than that. He hung out around gyms and suchlike and would ask people about their muscles and general fitness in the guise of being a fellow enthusiast, offering advice and so on, until he would whip out a tape measure and ask if he could touch and measure the hapless victims muscles. If you were particularly unlucky he would either ask you to do push-ups whilst he lay atop you - in the guise of 'providing extra weight to make it harder' - or, his signature move, "inverted piggybacks" – where the victim would squat so he could lean over their backs with his face by their buttocks and his junk on their necks, while squeezing their quad muscles.

Yeah. Now, you're probably wondering exactly HOW he managed to get such rough 'n' tough big-ass guys to DO this kind of shit? Well, it was a combination of his own intimidating stature, knowing that men are way less likely to talk about this kind of thing to the police, and the personal information he had in his 'Stalkers book'.

His WHAT?!?

Well, when he was most recently arrested in 2008 - after already having gone to jail in 2001, then again, almost as soon as he got out, in 2003, until 2006, when he was released on licence and had the following piece of legislation levelled against him, he was "...banned from touching, feeling or measuring muscles, asking people to do squat exercises in public, entering the towns of St Helens, Warrington or Widnes without police permission and loitering near schools, gyms or sports clubs" - one piece of evidence brought up against him was a book containing "...details about victims' body measurements, contact numbers and families." It was alleged that Arobieke would "do research into his victim, confronting them with such details as their father's car registration number or sibling's place of education.".
Yep, he may be a sexually perverse weirdo, but he does his homework.

Now, these brushes with prison and the 'muscle-touching ban' only seemed to serve as encouragement to him as almost as soon as he was released from prison following his 2008 sentencing, he was jailed for another two and a half years for defying the 'muscle-touching ban' in North Wales. So, his notoriety had spread across the whole of the North-West of England and into Wales. He was now internationally infamous, in a small way.




















With him safely ensconced behind bars for a while, weightlifters and fitness enthusiasts need not fear dropping the soap in the showers, and entire rugby teams will go unmolested - yep, I shit you not, he actually stalked an entire rugby team. you may be unsurprised to know that while he ws inside, even the prison hardmen were terrified of Aki. Of course wild stories still circulated - such as the one about him being the inspiration for Clive Barker's 'Candyman' character, but mostly he has just faded into the local culture as a figure part bogeyman, part figure of fun...
















This banner was seen as the Glastonbury festival back in 2008 - it's phrased in the Liverpool, or 'scouse', vernacular, with 'Arrr mate!' meaning 'What-ho fellow', 'gripped' meaning 'accosted' and 'portaloo' meaning 'portable john' - and can even be found on MySpace, Twitter, and in multiple places on Facebook. There is a Purple Aki website, is STILL widely discussed on bodybuilding sites, sites about urbanlegends and local weirdoes, hell, he's even on wikipedia!!

There have been a few songs written about him by local bands, and he gave his name to this wonderfully twisted composition by my good friends, and fellow infamous local weirdoes, a.P.A.t.T....



...and there are a number of 'tributes' to him to be found on YouTube, of which these two are prime examples - not only of what a well-known twisted weirdo he is, but also of exactly how fucked-up the local humour is where I grew up...




...oh, by the way, the opening of those cartoons is a reference to classic british 1970's kids TV show 'Bod', for all you septic tanks scratching your heads in confusion...



It's funny how an infamous sexual predator can become a cultural icon isn't it? The only other one I can think of is Freddy Krueger, except the child molestation thing was conveniently swept under the carpet after the first film, wasn't it?

Mind you, we do have a history in the UK of embracing well-known criminals and lunatics to our cultural bosom - train robber Ronnie Biggs ended up making a record with The Sex Pistols, and a frankly FANSTASTIC movie was made about notorious prison-addict Charlie Bronson.

So there you have it, yet more evidence that us limeys are a bunch of fuckin' weirdoes.

Now, I couldn't think of anything decent that was appropriate to give you as a download, so here is 'Dropped', the second album by Mindfunk - a criminally underrated record made by a mostly reviled band who saddled themselves with a shitty name - for no other reason than that I like it.




















Bon appetit!

Monday, May 9, 2011

Weeeeeezy... The Jeffersons/Gong connection


This is the greatest thing I have ever read. I had to share. (via Magnet Magazine)

Ten years ago, writer Mitch Myers profiled prog-rock legend Daevid Allen (Soft Machine, Gong), who told us of his strange encounter with actor Sherman Hemsley (a.k.a. George Jefferson). Here is the story of Hemsley’s obsession with flying teapots and his alleged den of iniquity that housed an LSD lab, a harem of naked girls and crack/freebase depots on every floor.

In 1999, I interviewed musician Daevid Allen for MAGNET at a small recording studio in San Francisco. Allen was an odd sort, with plenty of old stories to tell. Back in the 1960s, he was a founding member of wonderfully creative British band Soft Machine. But Aleen didn’t stay with the Soft Machine for long and ended up forming another psychedelic rock group called Gong.

“Movin’ On Up” (The Jeffersons theme):

In his life, Allen has hung out with everybody from William Burroughs, Jimi Hendrix, Bud Powell and Paul McCartney to Syd Barrett, Keith Richards, Richard Branson and a whole bunch of other famous people that he can’t remember. One famous person Allen does recall spending time with is Sherman Hemsley, a.k.a. George Jefferson of ’70s sitcom The Jeffersons. Hemsley had been a jazz keyboardist before portraying Jefferson on television, and his progressive sensibilities led him to appreciate the offbeat sounds of Allen and Gong. Apparently, cosmic Gong compositions such as “Flying Teapot” and “Pot Head Pixies” resonated with the TV star’s psyche. Years after Allen’s encounter with Hemsley, the actor would go on to collaborate with Jon Anderson, lead singer of hugely successful prog-rock group Yes. The Hemsley/Anderson production was called Festival Of Dreams and supposedly described the spiritual qualities of the number seven.

Here is Allen’s verbatim account of his sole meeting with certified Gong fanatic Hemsley:

“It was 1978 or 1979, and Sherman Hemsley kept ringing me up. I didn’t know him from a bar of soap because we didn’t have television in Spain (where I was living). He called me from Hollywood saying, ‘I’m one of your biggest fans and I’m going to fly you here and put flying teapots all up and down the Sunset Strip.’ I thought, ‘This guy is a lunatic.’ He kept it up so I said, ‘Listen, can you get us tickets to L.A. via Jamaica? I want to go there to make a reggae track and have a honeymoon with my new girlfriend.’ He said, ‘Sure! I’ll get you two tickets.’

I thought, ‘Well, even if he’s a nut case at least he’s coming up with the goodies.’ The tickets arrived and we had this great honeymoon in Jamaica. Then we caught the plane across to L.A. We had heard Sherman was a big star, but we didn’t know the details. Coming down the corridor from the plane, I see this black guy with a whole bunch of people running after him trying to get autographs. Anyway, we get into this stretch limousine with Sherman and immediately there’s a big joint being passed around. I say, ‘Sorry man, I don’t smoke.’ Sherman says, ‘You don’t smoke and you’re from Gong?’

Inside the front door of Sherman’s house was a sign saying, ‘Don’t answer the door because it might be the man.’ There were two Puerto Ricans that had a LSD laboratory in his basement, so they were really paranoid. They also had little crack/freebase depots on every floor. Then Sherman says, ‘Come on upstairs and I’ll show you the Flying Teapot room.’ Sherman was very sweet but was surrounded by these really crazy people.

We went up to the top floor and there was this big room with darkened windows and “Flying Teapot” is playing on a tape loop over and over again. There were also three really dumb-looking, very voluptuous Southern gals stoned and wobbling around naked. They were obviously there for the guys to play around with.

[My girlfriend] Maggie and I were really tired and went to our room to go to bed. The room had one mattress with an electric blanket and that was it. No bed covering, no pillow, nothing. The next day we came down and Sherman showed us a couple of [The Jeffersons] episodes.

One of our fans came and rescued us, but not before Sherman took us to see these Hollywood PR people. They said, ‘Well, Mr. Hemsley wants us to get the information we need in order to do these Flying Teapot billboards on Sunset Strip.’ I looked at them and thought they were the cheesiest, most nasty people that I had ever seen in my life and I gave them the runaround. I just wanted out of there. I liked Sherman a lot. He was a very personable, charming guy. I just had a lot of trouble with the people around him.”


Wow! Who knew Daevid Allen doesn't smoke w33d!?

Also of note:

(via Wikipedia) Sherman Hemsley is a self-proclaimed fan of 70's progressive rock including bands Gentle Giant and Nektar. On his appearance on The Dinah Shore Show, Hemsley performed a dance to the Gentle Giant song "Proclamation" from The Power and the Glory. After his dance, the host was laughing and asked what kind of music that was. Sherman then proceeded to give a 5 minute speech on Gentle Giant. Sherman can also been seen wearing a Nektar T-shirt during his interview with Norman Lear when Lear hosted Saturday Night Live from Season 2 Episode 26.



Saturday, May 7, 2011

FAUN FABLES - FAMILY ALBUM (2004)


Consider this the closest I'll ever come to condoning rampant Burnerism.

The Faun Fables story goes something like this: At some point in the late 90's, the Burner-esque NYC-based freak-folk singer/songwriter Dawn McCarthy moves west, relocating to the San Francisco Bay Area to seek her fate amongst the burnouts and weirdos who reside therein. There she meets up with the bizarre and hugely-talented (if not somewhat Burner-esque) Nils Frykdahl, acrobatic vocalist and driving force behind such groundbreaking performance art/musical acts as Idiot Flesh and Sleepytime Gorilla Museum. The combination of their talents proves to be a unique and multi-faceted journey into the medieval and the disturbing--Faun Fables is born with the release of their first album Early Song in 1999.

Yes, yes. I hear the voices rising in protest already.
Guilty Pleasures Week is over! Isn't "folk" music the antithesis of what IllCon stands for? Isn't this in fact the type of stuff we usually aim to destroy?
Indeed it is, and Family Album's only downfall is its occasional propensity for plodding along in folky gloom for a bit too long at points (see the first track, "Eyes of A Bird"). But stick with it for a bit, and if you aren't hooked by the album's finest track, "Lucy Belle" (a Frykdahl-centric ode to his dog which quickly spirals out of control, cascading into lyrics about "riding the animal down to the kingdom of stone" and vague references to the "final battle" between man and beast), you will be by the distinctly Eastern-European tilt of the whole thing, or the haunting quality of the lyrics, or, failing all that, the all-encompassing CREEPINESS of atmosphere contained herein.
Not standard IllCon fare by any stretch, but there are amazing songs to be found everywhere on this 15-track epic, not only the aforementioned "Lucy Belle", but other schizophrenic gems as well, such as "Fear March", "Still Here", and the deceptively bouncy "Carousel With Madonnas", which Sonic Asymmetry describes thusly: "This is Zygmunt Konieczny’s astounding masterpiece from the early 1960s. Originally Ewa Demarczyk’s most famous anthem, the knock-out staccato is reproduced here perfectly by Brian Schachter on piano. But what is truly stunning is the fact that Miron Bialoszewski’s poem is so ardently expressed by McCarthy’s uncanny, polysyllabic diction. She makes it appear easy, but it is not. Who would have thought that this song would be translated, much less sung so distinctly in another language? The rectilineal form is only slightly softened by Osanna-like flutes and decorative percussion. Nonetheless, it will remain a demonic stop-go waltz, fully dependent on emphatic piano attacks. " Got it?

Download HERE
Purchase HERE

Friday, April 8, 2011

HAIL TO SWEDEN


90's Swedish Black/Death Blowout!!!

Last time around it was Finnish death metal. Now I'm stuck on mutations of the melodic Swedish black/death sound of the 1990's a la Dissection, Sacramentum, et ceterum. Lucky you.
Here are NINE FUCKING ALBUMS, each of them representing a year in Swedish metal between 1991 and 1999. Digest them accordingly.


SATANIZED - Demo 1991



First off we have Satanized, whose 2-song, self-titled demo signalled the beginning of the Swedish Black/Death Golden Age. The most satisfying listen this ain't, with production value lingering somewhere between "toilet bowl" and "sewer full of mayonnaise", but it is particularly notable that Satanized was Mr. Jon Nodtveidt's death metal project directly preceding Dissection. Other members went on to play in such notable acts as Nifelheim, In Flames, Swordmaster, Wolf, Lord Belial, and Sacramentum.
For Satanic Nodtveidt completists only.

Download HERE

Metallum/Last.FM


CREMATORY - DENIAL EP (1992)


On the other hand, we have the crushing majesty of Haninge's Crematory, who, for the most part, went on to form Regurgitate. Definitely a strong grindcore influence on this particular 4-song recording, but the riffs are tasty as fuck and I defy you to not download something with an album cover that looks like that.
The band did little else in their short run, but Denial is a keeper for sure, obscurity be damned.

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NECROPHOBIC - THE NOCTURNAL SILENCE (1993)


The Nocturnal Silence was Necrophobic's first full-length release, officially launching a career that has spanned (so far) the better part of 22 years. Again, more "death" than it is "black", but the foundation is there, and Necrophobic would build upon it liberally in the years to come. More connections to Nifelheim as well, along with Dismember, Dark Funeral, and Therion.
Excellent stuff.

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SACRAMENTUM - FINIS MALORUM EP (1994)


I should hope that you're all well-versed in Sacramentum lore by now, but on the off chance that you aren't, head over to Cosmic Hearse and read up on their history via 1995's Far Away From The Sun immediately. Sacramentum were a crucial and oft-overlooked element in the evolution of Swedish blackened death, and the Finis Malorum EP was their first post-demo release. Unsurprisingly, it kicks all kinds of ass.

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LORD BELIAL - KISS THE GOAT (1995)


Lord Belial have been a constant fixture in the Swedish black metal scene since the release of their first demo The Art of Dying in 1993. While the delightfully-named Kiss The Goat was their first full-length, the Belial lads have gone on to release no less than eight albums during the course of their existence, no small feat considering all the other bands and side-projects these guys have. Fronted by a dude aptly named Dark (who was also a part of Satanized and Sacramentum), Lord Belial possess a sound both ferocious and dirty, while still managing to throw in a Contraption-pleasing flute or keyboard solo here and there to keep it interesting. Elven as fuck!

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DECAMERON - MY SHADOW... (1996)


My Shadow... is an interesting album. Decameron straddle all sorts of lines--between black and death, thrash and trad metal, cheesy and deadly serious. I first came across this band via their song "Satanized" (originally by the band of the same name) off of one of Century Media's early Blackend compilations, and it has stuck with me ever since. These guys produced some razor-sharp, highly dynamic black/death a la Old Man's Child in their brief run, but terrible quasi-ballads like "Mistress of Sacrifice" have kept them from entering the halls of True Metal Royalty since their untimely breakup. Don't get me wrong though: My Shadow... (Decameron's only official release) is totally worth admission cost, and remains an unjustly ignored metal gem/curiosity to this day. I highly recommend checking this album out, but be forwarned: you will have to fast-forward a song or two.

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MORK GRYNING - RETURN FIRE (1997)


Stockholm blackmongers Mörk Gryning list their lyrical subject matter as "Evil, Hell, Satan, Occultism", and it shows in their nefarious, rippin' jams. High-quality riffage abounds on their second release, Return Fire, which culminates with a truly inspiring, keyboard-laden cover of Slayer's "Necrophiliac".
Basically blacker than the blackest black, times infinity.

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RUNEMAGICK - THE SUPREME FORCE OF ETERNITY (1998)


Again, how can you go wrong with that cover?
Seriously, this album sounds exactly like that cover looks, and finds Runemagick in the magickal stage of their career right before they slowed down and got way too (for my impeccable taste, anyway) DOOOOOM-Y. The guitar tones on Supreme Force are bone-crushing to say the least--somewhere between Bolt Thrower and Brujeria--and it should be mentioned that much like the aforementioned Bolt Thrower, they also count amongst their ranks a bad-ass chick bass player.
You thought Lord Belial's eight albums were impressive? Runemagick have released TWELVE full-lengths since this one right here: one every year and two each in 2002 and 2003. The very definition of epic.

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DEATHWITCH - MONUMENTAL MUTILATIONS (1999)


We end our journey with the mysterious evilness of black/death/thrashers Deathwitch, who share guitarist/vocalist Nicklas "Terror" Rudolfsson with the previously-mentioned Runemagick (the badass chick bass player was in this band for a bit, too). We last checked in with Deathwitch via their excellent 1997 album Dawn of Armageddon, and in all actuality I discovered 1999's Monumental Mutilations only recently. Sporting a much thicker guitar tone and slightly sped-up drumming, I am willing to posit that Mutilations may, in fact, be their finest work, although hindsight may eventually prove me wrong.
Definite Aura Noir/Nocturnal Breed/Nifelheim vibe to this one. Take note, Seanford.

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I EXPECT A 2,000 WORD, DOUBLE-SPACED REPORT ON SWEDISH BLACK/DEATH FROM THE 90'S ON MY DESK BY MONDAY MORNING.