Archive for the ‘musi’ Category

In praise of … the Rain Tree Crow album

Juni 8, 2018

This late album by most members of Japan – which I didn’t really know beforehand – has totally enthralled me during the last couple of days. Mick Karn’s warm and bubbly autodidactic electric bass (plus wonderful bass clarinet). The sluggish drumming of David Sylvian’s brother, Steve Jansen. Either the drums sound like trash cans or living wood. The general slowness of things. The slightly meditative East Asian world feel of the music. The breath-taking and the pauses. Music to get enlightened to. The final touch of the synthesizer flourishes of Barbieri (he seems to be their Eno). This album is the missing link between Peter Gabriel’s fiery and tribal „Passion“ and Talk Talk’s subtle chamber rock album „Laughing Stock“ which was released in 1991 (what a year for music!) as well but slightly afterwards. And two of the best things about this album are that David Sylvian does not sing too much and when he does his vocals often are not as mannered as usual (esp. on his solo albums). Example: „Boat’s for Burning“. He does not have to disguise his voice. This album is a miracle.

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Gallon Drunk live

April 10, 2014


I posted this on I Love Music a week ago:

I saw them last week in the Magnet Club under the Oberbaum bridge in Berlin. They were great, very intense, James shouted like in his best times. They were loud especially the bass and I tried to wear ear plugs but the music didn’t sound right. It was like drinking a wine without alcohol, this kind of wild, hypnotic music needs to be loud otherwise it is rubbish. When listening to the music without ear plugs i suddenly had this idea that the music you love most is the music that you have to hear so loud that you become deaf. In that way it will also be the last music you have ever heard. Strange thoughts. The drums were loud too, the drummer Ian White played very motoric and energetic, Jaki Liebezeit came to mind. Actually in a way they reminded me a little of Can around 1970, see the can thread with the concert in Soest. The music was more about texture than melody or harmony. It was very dense and powerful, slower and heavier while less bluesy than in the earlier days. The stage presence of James Johnston reminded me of Jeffrey Lee Pierce (rip). There is something diabolic and shamanistic about him. Their new album The Soul of the Hour is pretty good. I bought the cd and a t-shirt. The cover is great. And Gallon Drunk is such a cool name. Gallon Drunk is how you feel after having drunk eight pints of beer, you have attained a certain degree of merriness but you are not totally pissed out of your head yet. You are ready for the next eight pints after the first eight though.

jpg_20131120095256_gallon_drunk_the_soul_of_the_hour_cover_thumb

CANtastic

April 1, 2014


In Soest ging 1970 noch die Post ab. Jaki Liebezeit trommelt die Zuschauer hier in Trance, Damo Suzuki singt sich in Ekstase, Holger Czukay bringt den Bass zum Grooven, Michael Karoli steuert Melodisches auf der Gitarre bei und Irmin Schmidt verwandelt die Orgel in ein wildes Tier. Krautrock meets Free Jazz meets Avantgarde. Mein Highlight: Oh Yeah, ab der Fünfminutenmarke. Das kam dann später auf das definitive Krautrockalbum überhaupt: Tago Mago.

Johnny Marr & mates do an old Smiths classic & they do it well

Mai 16, 2013

embedding doesn’t work so it’s just a link

The Smiths rehearsal tape May 1983

März 18, 2013

Some great versions of „Reel around the Fountain“ (where Morrissey sings „mountain“), „Handsome Devil“ et al.. Altogether pretty mellow compared to the ones released on „Hatful of Hollow“. Morrissey’s voice is less histrionic than later on but his falsetto often mutes into a screaming – esp. on the last song „Miserable Lie“ – probably because the mike does not capture it well.

Two guitars having slow sex

Februar 27, 2013

A recent post on Plain Or Pan reminded me of The House of Love, a band from London which started just when The Smiths finished and finished (more or less) when Britpop began. They tried to make a career starting from the third Velvet Underground album and failed though they had a following of die-hard fans. The song which was featured in four different versions on Plain Or Pan was their 1988 single Destroy Your Heart and I am totally enchanted by the demo version which is quite different from the Peel, the live and the single versions. The two guitars, apparently Gibsons are soaked in reverb and sound like two church bells chiming in stereo. They have an unreal quality to them like aural fata morganas which seem to lead somewhere but don’t. There is also something about the slow playing which adds an effect of estrangement, in places the guitars seem to tremble as if the recording has been sped up and sped down. Guy Chadwick’s voice has been sent through a vocoder or something, it is unusually low here, he sounds like someone very old and wise. The lyrics add more weirdness as they are about a love gone wrong, something you wouldn’t expect happening to such an honorable person. This version is totally enthralling, the guitars intertwine in a way that you can’t tell which is which, like in good sex when you don’t know anymore if you are up or down or when you have forgotten if you are the man or the woman.
https://docs.google.com/file/d/0B6VP-jaS7U-JNjBYbXBSUC0zWkU/edit?usp=sharing

Push the Sky Away

Februar 18, 2013

heißt das neue Album von Nick Cave und seinen Black Bad Seeds. Ich war nie ein großer Fan von seinem Shtick, seinem dunkel-düsteren Sprechgesang, seinen ominösen Predigten vom Makabren und Morbiden auf Erden im alttestamentarischen Duktus. Meine einzige Platte von ihm war die Doppel-EP Your Funeral, My Trial. Sie hatte den Charme eines Todeskusses vom Sensenmann himself und passte ganz gut zu meiner Stimmung in der ersten Hälfte des Studiums in München. No Future from the other side of the world. Natürlich habe ich ihn im Himmel über Berlin in der zweiten Hälfte der Achtziger gesehen, da machte er in einem Berliner Club einen Höllenlärm mit den Bad Seeds. Das neue Album ist anders, es ist sehr ruhig, sehr sparsam instrumentiert, sehr gut abgehangen. Im Zentrum des Songzyklus steht Jubilee Street, eine Mordballade aus dem Rotlichtmilieu. Neben der das Motiv spielenden, sich scheinbar langsam beschleunigenden E-Gitarre und dem schleppenden Schlagwerkrhythmus hört man einen Streicherteppich und eine einzelne Viola, die im Stile von John Cale in seinen besten Velvet Underground-Zeiten im Hintergrund schöne Dissonanzen beiträgt. Das steigert sich dann sukzessive, ein amorpher Frauenchor kommt noch hinzu und kurz vor dem Klimax, der in eine Kakophonie münden will, fadet der Song aus. Eine Offenbarung und wahrscheinlich sein bestes Lied seit The Mercy Seat.

Kein Warten mehr auf Godot

Februar 3, 2013


My Bloody Valentine haben nach über 20 Jahren endlich das seit Ewigkeiten erwartete Nachfolgealbum von Loveless veröffentlicht. Es klingt jetzt alles in allem nicht wie der ganz große Wurf, aber immerhin gibt es Songs wie Only Tomorrow, die da anknüpfen wo sie 1991 aufgehört hatten. Da wird ein dichter Klangteppich aus verzerrtem Gitarrenkrach gewebt, der in eine überirdisch schöne Melodie mutiert. In diesem Stück gehen Dream Pop und Heavy Metal eine Hochzeit im Himmel ein, das gewaltige, massive, bedrohliche Gitarrenriff verliert durch das Vibrato und das Feedback all seine Schwere und löst sich sozusagen in Luft auf. Das haben sie 1991 auch schon hingekriegt, aber es tut gut, zu hören, dass sie es immer noch können.

P.S. Der von mir gestartete I Love Music Thread zum Lied hebt auch so langsam ab…

Februar 1, 2013

Before Spotify, we found ways. Some of us even left the house.  (lifted from ILM)

Jessie Ware – If You’re Never Gonna Move

Januar 24, 2013


I listened to and watched this for the first time this morning just past 5 o’clock and I totally fell in love with the singer, her voice, the tune, the video, even the car she drives away with at the end (not the guy though). The song and video are both kitschy in a romantic kind of way, her mellifluous whisper is sexy and clean at the same time, there is so much wrong about this song and especially about the video but they both still work for me.