TERMINAL CHEESECAKE King Of All Spaceheads 1994

by request

 

Discogs 

 

Tracklist

1	King Of All Spaceheads
2	Budmeister
3	God's Turban And Tutu
4	Ginge Le Geezer
5	'Lo 'Lo
6	Tibetan Lift Off
7	Steady Draw
8	Herbal Space Flight
9	Black Microdot 1
10	In The St. Johns Ambulance Tent, Glastonbury 1989
11	Black Microdot 11
12	The Last Temptation Of St. Leary

 

TERMINAL CHEESECAKE Angels in Pigtails 1990

Discogs

biography

by Steve Huey

Arising from the deepest part of the U.K.'s underground noise-rock scene, Terminal Cheesecake was perhaps best known for their connections to more prominent bands like Skullflower, Godflesh, and A.R. Kane. Similar in many respects to the former two, Terminal Cheesecake offered a spacy, droning brand of neo-psychedelic noise-rock, which also drew from the trance-rock of Loop, early industrial music (particularly Throbbing Gristle, Nurse With Wound, and Chrome), British post-punk, and dub. Much more than their kindred spirits, though, TC played up the drug connections inherent in psychedelia, wrapping their music in a haze of pot smoke and LSD hallucinations; their oddly processed vocals and sheer love of strange noises only underlined the esoteric drug references in many of their titles.Terminal Cheesecake was founded in London in 1988 by vocalist Gary Boniface, who'd begun his career as a drummer with several rockabilly-revival outfits, then moved on to front the obscure Vibes and Purple Things. He was first joined by guitarist Russell Smith, a tangential member of the A.R. Kane/M/A/R/R/S axis. Accompanied by a virtually anonymous rhythm section, they signed to the fledgling British indie Wiiija and debuted in 1988 with the Bladdersack EP (also the label's first-ever release). Their full-length bow was 1989's Johnny Town-Mouse, which took its title from a Beatrix Potter story. It marked the first appearance of Gordon Watson, a guest guitarist who later joined the band officially. A second LP, V.C.L. (which stood for "Valium Chicken Leg"), appeared later in 1989 and featured a cover of Flipper's "Sex Bomb."1990's Angels in Pigtails was the band's most fully realized album to date, featuring a stronger rhythm section of Watson on bass and Joe Whitney on drums. It was released on the Pathological label, which also showcased the band on a sampler compilation alongside grindcore acts like Godflesh, Carcass, and Napalm Death, as well as more experimental noisemakers like Coil and God. Russell Smith subsequently left the group, and joined Skullflower in 1992; he also played as a sideman with God from time to time. Watson took over his spot as guitarist, in front of a new rhythm section composed of bassist Steven "Fez" Fesinger and drummer Simon Doling. This core quartet would constitute Terminal Cheesecake for the remainder of their existence, starting with the 1992 album Pearlesque Kings of the Jewmost (for World Serpent). The group next signed with Jackass for 1993's Gateau d'Espace EP, which was followed by the full-length King of All Spaceheads in 1994. This proved to be the group's final album, as they disbanded the following year; Boniface, Watson, and studio engineer Johnno "Poppa" Newman immediately reteamed as Bud Alzir, which pursued a more dub- and techno-inflected direction on their lone eponymous album.

 
Tracklist

Side: Pony Girl
  1. Chrome
  2. Unhealing Wound
  3. Pony Girl Pt.1
  4. Blow Hound
  5. Turkish Glass
  6. Pony Girl Pt.2

Side: Pony Boy
  7. Hello Skinny
  8. Inbred 73
  9(i) N.F. Kennedy
  (ii) Kennephant Man
  (iii) Head Of Nigel
10. Stinky Beads
11. Pony Boy

GOD Possession 1992

Discogs


review

by Ned Raggett

Some songs here have titles like "Lord, I'm on My Way" and "Love," but anyone expecting something close to Spiritualized might well run away screaming. God's first full studio album, recorded with the help of such similarly minded souls as Sweet Tooth drummer Scott Kiehl and Russell Smith, sometime guitarist with Terminal Cheesecake and Skullflower, found the band firmly established in its aggro-jazz ways. The influence of both early-'70s Miles Davis and later exponents of free-form playing is clear, helped along even further by the appearance of John Zorn on three tracks. Martin's own squalling sax work finds plenty of room to go nuts in, evil drones and edgy roars an integral part of the compositions, matched just as closely by his shouted, heavily treated singing style. That gives an indication about an equal forebear, Black Sabbath and trudging doom metal -- Possession first and foremost is heavy, crushing all before it in a slow, steady fashion (a notable exception being the faster but still virulent "Hate Meditation"). Broadrick's participation alone might confirm that much to an outside listener, but instead of the focused obsession of Godflesh, God hit the groove a touch more loosely, thanks to Kiehl and fellow drummer Lou Ciccotelli's work in place of a drum machine. Check their starting beats (accentuated a bit by samples from Martin) on "Return to Hell," a sign they know how to swing in their own way. For all the feedback, the guitars aren't the most prominent instrument, Broadrick slotting alongside the various horn players (including sax/clarinet player Tim Hodgkinson and sax/didgeridoo performer Steve Blake) and bassists in the thick morass of the songs. Kudos as well to pianist Peter Kraut, who adds some good parts to songs like "Soul Fire." There are some quieter, spare moments, notably the church-bell sample start of "Black Jesus" -- otherwise, it's a full ensemble approach that won't surprise anyone who loves On the Corner.

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Tracklist

1		Pretty	3:57
2		Fucked	9:59
3		Return To Hell	5:27
4		Soul Fire	9:52
5		Hate Meditation	4:49
6		Lord, I'm On My Way	10:22
7		Love	16:46
8		Black Jesus	6:39