Ad-Hoc Posting Schedule

Willkommen Leser, Down-Loader, Lurker und Teilnehmer alle.

It might have come to your notice that I'm not a regular poster of love and understanding, which you'll just kinda have to get used to. I will however, now and again, have bursts of creativity and if it was to please the massed hordes, who chose to visit this insignificant page, to supply some input on the direction and type of music you would like to sample (before going out and buying yourself a copy) this little communication will not have been in vain.

I will also say now that some of the outstanding music already available to sample will be reaching their 30 days without a click threshold, where by they're deleted by the host.


Many thanks for reading this far...and please feel free to interact.



slàinte


Friday

BOOMERANG




FIRE! FIRE! FIRE! To translate a line from their early ”Incubus Sucubus” single, is what a first impression of Xmal Deutschland is full of. A physical, rhythmic flirtation with the colossal that captured a raw energy... a resonance that throbbed and shuddered with an acute, refreshing sense of being alive.
Fetisch”, the CD, harnesses enough of that resonance to be a vital release, one of the few records that actually has some semblance of purpose, meaning and belonging in the present day. The 'mystery' which many reviews have referred to stretches further than the simple exotica of their being foreign.  Thankfully some 'mysteries' are best left unsolved and there is then a temptation to continue the savouring of the subject from a safe distance. But it is that allure again, that having to know which draws one on.
While most German post-punk and new wave bands of the early 80’s explored Atavism and Dadaism, Xmal Deutschland applied the dogma of German expressionism in dark-punk. Thus “Fetisch” is a mixture of gothic-rock, noise-rock, and electronic-rock; it is heavy, relentless, expressionistic and austere.  In the middle of all this pandemonium, only the lyricism of "Boomerang" provides the listener with temporary relief.

Tuesday

TOMORROW'S WORLD




Killing Joke are one of the most bulletproof post-punk bands still around. Releasing their first single in 1978, they were right there with Wire and Gang of Four as indisputable early pioneers of the genre. In an era of Cold War hostilities and Reaganomics the band's (dead serious) brand of apocalyptic beats and conspiracy-oriented lyrics hit home with an entire generation raised on imagery of impending destruction. "Nervous System" was a decent if inauspicious introduction to the band, essentially blending the choppy, jagged chords of Wire with the whiteboy reggae affectations that The Clash had become known for. 1980's "Wardance" was where it all came together: lead-fisted, martial beats combine with Geordie's own innovative guitar textures to set the template for things to come. "Requiem" goes much farther toward establishing a unique identity, the band dialling back the guitars and laying the keyboards on THICK with its endgame lyrical imagery and air raid synth patches. That such a bleak and furious album could have such a widespread influence is a testament to its importance. Certain parts of the album have not dated well; the vocals and drums are mixed in such a way that they lose some of their effectiveness, and the fact that so many other bands have used this same formula does take some of the visceral feeling away. At this point Jaz Coleman's vocal delivery was the primary point of differentiation between Killing Joke and their contemporaries, although the song writing was immediate enough that the aforementioned influences would have been proud to call these tunes their own. This is an underground classic and deserves better than its relative unknown status. Fans of most kinds of heavy music will probably find something they like about this band, and this is a good a place as any to start the collection.

Friday

TAINTED LOVE




Following on from the truly awesome Virgin Prunes is always going to be a challenge. I decided to take this journey on a sharp left turn as there is a connection between the Virgin Prunes and Coil...

Coil's first official full-length album, Scatology, originally released on LP in 1984 is one of the essential landmarks in the group's discography and, moreover, one of the '80s industrial scene's more vital and influential recordings. This is the first part of the essential Coil trilogy that also includes Horse Rotorvator and Love's Secret Domain. The 1984 album exhibits the group at its early industrial stage, in transition to the undefined genre of astral noise psychedelia that Coil would inhabit for the following decades without peer or precedent. The core duo of Peter Christopherson and John Balance are joined by Clint Ruin (aka Jim Thirlwell), whose role in the production cannot be underestimated, as well as Stephen E. Thrower, Throbbing Gristle's Alex Ferguson, vocalist Gavin Friday of the Virgin Prunes, and one Raoul Revere (who is in fact British pop legend and Soft Cell vocalist Marc Almond). "Restless Day" is a haunting rumination that defies description, other than being an utterly essential self-defining moment in the Coil paradigm, with an atmosphere hanging in the tense space between harsh noise and harmony that apparently causes time to cease. "The Tenderness of Wolves" features the vocals of Friday in one of the more poetic moments of the '80s post-industrial sound. At the album's sombre end, this outstanding work finishes with a rendition of "Tainted Love" featuring Almond, who had made the track a new wave hit with Soft Cell. Here, however, the tune is given a bleak slow-motion version that could be read as a tragically suggestive commentary on the AIDS epidemic of the era. The album was originally released on Force & Form/Some Bizzare, and was the subject of numerous bootlegs and illegitimate versions. Maybe the numerous LP and CD versions that have appeared since its original release are suggestive of just how vital the album is, not only in the Coil discography but to the industrial electronica scene as a whole. This repress was made in the UK, unlike the original CD, which was made in Switzerland.

Tuesday

The FACULTIES of a BROKEN HEART




If I Die, I Die is  Virgin Prunes' proper début album. Produced by Wire's Colin Newman, the album's 14 tracks are the epitome of post-punk adventurism. Here, tribal drums and edgy, spooky, detuned guitars and bouzoukis cross paths and meld with synthesizers and primitive drum machines in an onslaught of off-kilter creativity where everyone from the Fall, PiL, New Order, Siouxsie And the Banshees, and even Bruce Springsteen are called in for reference in a brew that is dangerous, primal, and excessive. Two androgynous frontmen in the foppish Gavin Friday and alluring Guggi create alternate ambiances from warped yet sweet Irish balladry to shrieked poetry. And while the set is messy to be sure, it is far from off-putting. In fact, it is easily the band's most consistent and enduring effort. The albums opens with the haunting, nocturnal minimalism of "Ulankulot," an intro with tom toms and drifting keyboards layered carefully in the background, wordless chanted backing vocals and an electric bouzouki courtesy of guitarist Dik. It immediately gives way to its antecedent "Decline Sand Fall." It's the same tune, only Friday is out in front of it digging deep into the temporality of childhood and what remains of it. Its effect is startling, nocturnal, and tense. In "Sweethome Under White Clouds," the theme is given dimension as Guggi and Friday wail like muzzeins over a reverbed guitar coming from the netherworld and augmented by a soprano saxophone and a synth bassline.

"Pagan Lovesong," the album's proper single, is one of the most angular cuts on the set. Here, the Prunes employ a riff straight out of early Gang of Four, chant their refrains, and swirl the keyboards and drum machines à la Devo yet keep everything so gothic and strange; it's not only compelling, it's infectious. The rest of the album follows suit, with the raucous new wave of "Baby Turns Blue," and the mainstream rockist "Ballad of the Man" that sounds like a wrong-speed outtake, Springsteen's The River and the Mott the Hoople version of "Sweet Jane!" This is a wonderfully confounding and sometimes campy and often disturbing exercise in unfettered creativity that has stood the test of time very well. It is the most necessary Virgin Prunes record of all and captures best what they were capable of when focused.

Sunday

LOOKING GLASS GIRL


The Glove's Blue Sunshine is a one-off collaboration between The Cure's Robert Smith and Siouxsie And The Banshees' Steven Severin resulted in an eccentric, and at times incompatible, mix of psychedelic sounds wrapped around alternative '80s pop. Writers Smith and Severin's more eccentric tendencies are as likely to evoke pictures of a carnival as a funereal march, but the backbone rests largely on tightly constructed tunes with occasional forays into the experimental. Jeanette Landray sings the majority of the tracks, while Smith takes the lead twice amongst a smattering of instrumentals. Standout tracks include the Middle Eastern-twinged "Orgy" and the more conventional "Mouth to Mouth." Smith's distinctive warbling on the first-class "Perfect Murder" takes the album directly into Cure territory, as do the instrumentals which could equally find a home on Seventeen Seconds. While musically diverse, the album's lyrics rarely stray from the dual themes of death and sex, furthering the gothic undertones so often heard in Smith and Severin's previous work. Blue Sunshine's eclecticism makes this an interesting side note for long-time fans of the Cure and Siouxsie & the Banshees, but a somewhat more inaccessible listen for others. 

Friday

MORNING DAWNING


The Creatures’ first full-length album (released 15th May 1983) is a revelation. It was recorded in Hawaii, and is environmental in terms of place: It drips with sex, humidity, narcotics and ritual; but is timeless. This is due in no small part to the mainly acoustic instrumentation, which is stripped down to drums, percussion, marimba and Siouxsie’s voice, all reverbed and processed to give the dense, trippy effect. No guitars are used and it sounds unlike anything anyone else was doing in 1983. The cover says much about this record. This is psychedelia of the truly shamanic variety: no gnomes or daisy-chains here! Much of the feel is of a crazed Hawaiian night-time beach party attended by William Burroughs and Dr. John at which strange, spiked cocktails are being served, whilst magical rituals are performed.

WELCOME ALONG

Just a brief introduction...

I've been reading blogs since 2011 and always thought that one day I would give it a go myself...and so, here I am.

The aim of this blog is to share some of the music I grew up listening to and some of the music I listen to today...There is every chance that the music shared here will have been shared before, but that's OK because it may be the first time that you, dear reader, will have heard it.

So while I'm away creating audible delights please feel free to comment and let me know what you think.