Recorded back in late April and derailed by Desertfest coverage, this second foray onto the digital airwaves includes some discussion of the more, uh, sensitive side of Motörhead’s early catalogue, along with a pinch over two hours worth of other raging nonsense.

It’s better than the first one, guaranteed!

Questionable enlightenment awaits via the Mixcloud embed below, or alternatively, you can download the whole thing as a magnificently crushed MP3 from here.




TRACK LIST:

00:00 Terry Thomas - Bring Back The Cat
02:59 High Rise - Wipe Out
08:10 Loretta Lynn - Bargain Basement Dress
09:49 J.J. Cale - They Call Me The Breeze
12:12 *blather 1*
16:40 Motörhead - Motorhead
19:29 *blather 2*
23:54 Motörhead - City Kids
27:34 Solid Space - Tenth Planet
30:23 The Bats - Rooftops
34:45 *blather 3*
37:04 Feral Ohms - Super Ape
39:59 Betty Davis - They Say I'm Different
43:56 Midnight Mines - Do The Locomotion
49:43 Endless Boogie - Back in '74
56:18 *blather 4*
59:13 Motörhead - Lost Johnny
62:42 Midori Takada - Crossing
71:03 Smokin' Willie - Evil Ways
76:52 *blather 4*
80:10 Charles Mingus - Hog Callin' Blues
87:30 Jerry Jeff Walker - About Her Eyes
90:20 Motörhead - Iron Horse / Born To Lose
95:35 *blather 5*
100:20 Bong - Time Regained
117:10 Richard & Linda Thompson - The Dark End of the Street

And, relegated to playing behind the blather:

Demon Fuzz - Past, Present & Future
Harmonia - Watussi
Eno / Moebius / Roedelius - The Belldog
James Brown - Popcorn with a Feeling
Flying Saucer Attack - Instrumental Wish

Labels: Born Too Late, mixcloud, Motorhead, radio show

One of the depressingly small number of female musicians featured at Desertfest (it’s kind of a drag to even feel obliged to draw attention to such distinctions, TBH), Tanya at least seems determined to make an impression as perhaps the single loudest featured musician, running her bass through what looks to be no less than eight full size cabinets (well, they’re all switched on and miced anyway - I suppose we'd have to question the sound tech for full confirmation).

I rarely use ear-plugs for live music, but we’re very much in plugs-or-die territory here, as the sub-bass pummels like an enthusiastic masseur and the drinks shelf screwed to the venue’s back wall buzzes like a chainsaw. The noise kind of makes my teeth hurt, which I think is a first. For once, the plugs work well anyway. They let through most of the treble, and I can feel the bass, so it’s all good.

Though the bottomless depths of Bismuth’s glacial doom matches early Sunn 0))) in intensity, this is far from just a formless drone, with tightly composed sections allowing the band to scale back on the distortion for some passages of glimmering, oceanic beauty. The rise and fall of the noise feels a bit like watching storm surges build up and dissipate in real time across some rain-lashed, Turner-esque landscape perhaps, with crowds of gulls occasionally flying free through patches of blinding sun. It is vast, serious, frightening and impressive music. Highly recommended, although live immersion is not for the faint-hearted.

Shortly thereafter, Notts stalwarts Moloch begin to tear through their hardcore-informed depths-of-human-misery sludge at only marginally lower volume. Airless, grim and defeated, the vocalist favours wordless bellows of pain, and, whilst the guitarist occasionally manoeuvres his fingers through some sweet, Sabbathian riff patterns, you can almost feel his bandmates glowering at him for attempting something so perilously close to being fun. Friends, it’s “heavy”, in the sense that hippies used to use the word as a synonym for ‘difficult’ or ‘threatening’.

Checking bandcamp, I see they did an album back in 2011 based around Andrzej Zulwaski’s ‘Possession’. Word. Next time I feel in the mood for total self-annihilation, I’ve got it cued.

Although I enjoyed Moloch’s set, it feels suffocatingly unnatural to be soaking up such punishment in a blackened basement this early in the day on a sunny Sunday, and as such, it’s with palpable relief that I at this point make a break for the outside, purchasing a really big ice cream to enjoy as I cut through the back streets towards the far more salubrious environs of The Roundhouse.

So – Roundhouse. Pros and cons. Though its pompous ‘historic cultural centre’ branding leaves a bad taste in the mouth with regards to what is still basically a “pack ‘em in / pile ‘em high” gig venue, a festival scenario like this nonetheless makes the advantages of its big bucks refurb (many bars, opens spaces, places to sit, friendly staff) quite welcome. The main room remains a genuinely incredible space too (the next time you’re there, LOOK UP). I was initially a bit miffed that the balcony isn’t open to general ticket holders, but later in the evening it became obvious that this seated area had been put side primarily for older attendees or those with mobility issues, rather than just fenced off for VIPs, which is a genuinely nice idea – no problems there. Sound mix meanwhile is sadly a bit meh (not much better than yr standard Forum/Koko mud-fest at times), and both sight lines and comfort down on the floor could be pretty lacking for a sell-out show (which thankfully this isn’t – Desertfest’s headliners may have a certain pull, but the room is vast).

Despite claiming to have arrived dazed straight from the airport, Elder nonetheless manage to achieve a mix that is louder, and about ten times clearer, than any of the other bands who will perform at the Roundhouse today, making the space a perfect fit for the group’s particular brand of Epic Modern Rock (caps engaged). Not quite ‘psyche-‘, not quite ‘space-‘, not quite ‘progressive’ and not quite ‘metal’, but skirting a little around all of these things, Elder’s music is carefully-wrought stuff, achieving transcendence not through noise and chaos, but through confident playing and unified compositions. Which I realise sound boring as hell, but the band are actually quite compelling… it’s kind of like music for gliding across some bright, vast alien landscape of unknown flora and awe-inspiring rock formations and stuff, I suppose. Did I already say ‘epic’? Yes.

Moving into the final stretch, Desertfest’s Sunday line up seems to have been consciously split between the two extremes of the festival’s remit, with an intimidating line up of total-fucking-doom at The Underworld whilst quasi-mainstream space-rock type stuff hold sway at The Roundhouse. With all three headliners at the latter falling broadly into the category of “bands I have a great deal of fondness for, but am uncertain about the prospect of seeing in 2018”, my decision is to stick with it. Satori meanwhile largely favours The Underworld, and subsequently begins to make me slightly regret my decision via an impressive stream of photos and videos of groups like Fister (BIG FUN?) and Primitive Man (just BIG, and a bit terrifying).

But, I shall not be moved. Roundhouse it is.

Like those long distant formative gigs I began this post talking about, my personal history with Nebula goes back to the early ‘00s. Transcending the rather plastic, mass-produced sound of much late ‘90s Stoner Rock (which at its worst was basically Warped Tour pop-punk for boys with long hair and flares, right?) whilst staying true to its essential sonic ideals, they rose above thanks to a gnarlier recorded sound (courtesy of Jack Endino), song-writing that saw them spread their wings into proper cosmic/psyche territory, and, most of all, front man Eddie Glass’s gloriously OTT guitar heroics (which was/is basically a perfect expression of the sound all gormless Bill & Ted teens wishes they could sound like when they pick up their first strat copy).

Hearing unrehabilitated rockist action like this start to break through into the indie compound was a joyous thing to me at the time (their 2001 Peel session remains magnificent – perhaps the band’s crowning moment), and I recall striving hard to try to make it to a London headline show they were playing at around the same time. I didn’t make it, and the band subsequently fell off my radar, so…. a little delayed, here we are in 2018. As it transpires, this set is actually the first sighting of the band since they split up in 2010-ish, with a line-up comprising Glass and – alarm bells, anyone? – a new, younger rhythm section.

Contrary to his persona on the records, Eddie Glass seems an unassuming sort of fellow, shambling on stage, eyes to floor and just getting down to business with minimal fanfare. Having never caught the band before, I’m not sure if this reflects a lack of confidence after so much time away or if he’s just always been like that. Not that it matters, you understand – after all, this is not the kind of rock music that needs some fist-pounding oaf in the driving seat. It’s all about the riffs and solos, all about the groove, and staying true to the core, shining awesomeness of the rock dream. Which, by-now-expected murky bass sounds notwithstanding, Nebula 2018 do very well.

Ploughing manfully through hits like ‘All The Way’, ‘Sonic Titan’ and ‘Let It Burn’ – truly, songs that legitimately deserve to be described as “joints” – this is a truly sweet time. Disappointingly, the crowd is considerably thinner than it was for Elder, but hey, this band are reborn representatives or a scene that largely slid into creative irrelevance over a decade ago, and, as noted, The Roundhouse is a vast room for them to try to fill. Sipping a beer, reflecting on the notion that this is basically the music that I think should be playing on all car radios all the time (well, either that, or Creedence, or ‘90s hip-hop), I had a nice time.

Sadly, I don't think Glass indulged in his former endearing habit of pausing to announce "geetar!" shortly before he himself plays a solo, mid-way through a song in which he has been soloing more or less continually throughout - but you can't have everything.

A few songs before the end of the set, Glass breaks his G-string and seems somewhat at a loss as to how to proceed. It speaks poorly of the level of camaraderie on this bill that there are no members of other bands rummaging around in flight cases to save the day, but, apparently lacking spares and/or the wherewithal to conduct an on-stage change, Glass opts to see out the set sans G-string, harshing the set’s buzz somewhat with some awkwardly re-worked riff parts and a chronic reduction in the kind of string-bending, sustain blasting action for which that magic third string is, uh, kind of essential.

Like I say, it was a cool set, I’d really glad I had the chance to finally see ‘em, but for a sort-of-legendary band theoretically making their glorious return in front of a crowd of genre die-hards, the reaction seemed… a little muted, perhaps? I dunno, what can ya say.

So -- Hawkwind is a weird one. Which I suppose is exactly as it should be, but still.

I’m sure I don’t need to fill you in on my history with Hawkwind. Simply one of the best bands ever, no caveats required. I’ve been meditating upon their mysteries to the point of near obsession for the past five years or so in particular. Still though, I don’t think I’ve ever consciously listened to anything they’ve done since about 1984, so… there’s that. My understanding has been that, across the past few decades, the band has more or less been truckin’ on in power trio format, with stalwart Dave Brock backed up by a reliable but anonymous rhythm section.



Based on the Desertfest performance though, it seems the ever-shifting sands of Hawkdom have been rearranged once more after these years of relative stability. For a start, who is this large gentleman in a Stetson and cut-off leather jacket, standing centre-stage, reciting Michael Moorcock’s ‘Sonic Attack’ monologue through a megaphone? [As usual, Wiki provides the answer: apparently he is Mr Dibs, and he been in place as de facto frontman since 2011.] In-between twisting knobs for instant, cheesy UFO noises on a portable synth (think Higashi Hiroshi in Acid Mothers Temple), he proceeds to handle lead vocals throughout the set.

In an odd but somewhat inspired move, Hawkwind’s set both begins and ends with songs written by the late Bob Calvert for 1977’s ‘Quark, Strangeness and Charm’ LP, and fair dos, Stetson-man does a pretty fine impression of Calvert’s distinctive vocal style. ‘Damnation Alley’ certainly emerges as a bit of a banger, with a largely keyboard-led sound nailing a style I’m sure young ‘uns in the crowd would immediately term ‘motorik’ or ‘kosmiche’, though one doubts that even the more recently recruited Hawklords could give a monkeys about that, whilst the closing wig-out on ‘Hassan I Sabha’ transcends the inherent ridiculousness of proceedings to become genuinely sinister and disorientating.

Sad to say however, that is Baron Brock remains the undisputed captain of starship Hawkwind, he was captain in name only on this occasion. Though his disinclination to act as front-man has been a constant since the band's glory days, having single-handedly held the group together for over fifty years in the face of nigh on unimaginable madness, I’ve always imagined he must be some kind of Ginn/Iommi/Johnny Ramone style guitarist-dictator, and the dominance of his “roaring after-burner” proto-punk rhythm guitar style across the years would certainly suggest as much. Tonight though, he’s looking fragile, and feels very much like a marginal figure in his own band.

One of the only guitarists I saw at Desertfest to eschew the temptation of Orange/Marshall stacks, he instead seemed to be plugged into his own strange arrangement of floor-level apparatus with many flashing lights and… this didn’t seem to be working out terribly well, to be honest. He and a sound tech seemed to spend the entirety of the set fiddling with it, and guitar was entirely inaudible for the first few songs, leaving Hawkwind sounding rather like some weird electronic pop band (which at least suits the ‘Quark..’ material, I guess). When it does cut through the mix, his sound is transistor radio tinny – weak fuel indeed for this hulk’s engines.

Nonetheless, the band bash through serviceable reiterations of ‘Born To Go’, ‘The Watcher’ and ‘Upside Down’, but tellingly, the only moment that really sees Brock summoning up much enthusiasm is a number that I think must have been taken from one of their recent sci-fi concept albums (most likely 2015’s ‘The Machine Stops’). Moving closer to centre stage and grinning broadly, this one – which sticks pretty closely to the classic-era Hawkwind template, to be honest - sees Brock dropping some appropriately gnarly solos, whilst the band respond in kind, turning the whole thing into exactly the kind of chaotic, open-ended jam you might reasonably hope to encounter at a 21st century Hawkwind gig.

Charmingly, Hawkwind don’t appear to have updated their video backdrop since the rave era, and ‘Hassan I Sabha’s “hashish, hashish, hashish” chant is accompanied by a head shop screensaver vortex of spinning, VGA marijuana leaves (clearly the band have a good idea of the audience they’re playing for at this fest, although I don’t notice much repetition of yesterday’s ‘smokin in the boy’s room’ antics at The Roundhouse), whilst the band’s dancing girl performs a ludicrous fan dance during an extended, ‘90s techno style interlude. (Beat THAT, Primitive Man.)

Ah, yes. Did I mention that Hawkwind have a dancing girl? And she’s no Stacia either, that’s for sure. Most of the men on the stage are old enough to be her father (please god don’t let that actually be the case), and… it’s all a bit uncomfortable, to be honest, especially given that she is the only woman to set foot on The Roundhouse stage across the whole day.

Still, isn’t this all the kind of thing you’d expect to encounter at a Hawkwind gig? Weird, ramshackle, baffling, uncomfortable, funny, simultaneously grotesquely out-dated and defiantly futuristic, hideously uncool yet undeniably awesome? It’s all a far, far cry from the grandeur of ‘Space Ritual’, of course, but what can we expect – that was literally a lifetime ago by this point. The very fact that such a volatile, self-sabotaging band can still get the motor running at all is worthy of celebration… but I do kind of wish they’d been able to summon up something a bit more substantial than the gig-going equivalent of a “so bad it’s good” b-movie.

Which seems like the perfect juncture at which to move on to Monster Magnet.

I never stooped so low as to recognise that whole moribund notion of ‘guilty pleasures’ that was briefly en vague about a decade ago, but, put a gun to my head and I’d probably have to nominate Monster Magnet for that category.

Combining lumpen riffs, ludicrous, laugh-out-loud lyrics and obnoxious, quasi-ironic rock star machismo whilst waving the remnants of a noble psychedelic/space-rock legacy around like a tattered ragdoll, their existence adds approximately nothing of value to the sum total of human cultural achievement. Checking out the MTV-aimed videos they made during the ‘90s is enough to drain the colour from your flesh and potentially make your hair fall out (please don’t try this at home), and yet… somehow, the obscene beauty of Dave Wyndorf’s maniacal vision of the perfect, ultimate rock n’ roll band still always manages to shine through.

They were, and they remain, fucking Monster Magnet, and, ever since a random second hand CD purchase of their major label debut ‘Dopes To Infinity’ shone a light of new possibility into my teenage years, livening up a grim era in which “psychedelia” remained a dirty word for most critics and musicians, they have had a permanent place in my heart.

Of course, I tracked further back from there, investigating the genuinely heavy, creepy shit they put out before inking their big deal with A&M (lest we forget, ‘Tab’, ‘Spine of God’ and their debut EP remain potent listening to this day for all fuzz-breathing sleaze-fiends), and forward toward to ‘Power Trip’, ‘98’s gloriously flawed attempt at a mainstream breakthrough. Thereafter though…. well let’s just say that all I remember about ‘99’s ‘God Says No’ is sitting in a Uni housemate’s room marvelling at the lyric “..you will swim in the sweat of a thousand orgies”, and after that…. nada. I just had enough Monster Magnet in my life I suppose, and the emergence of Youtube and the ability to watch those videos certainly didn’t help (shudder).

From what I gather, earlier Monster Magnet tours have boasted pyrotechnics, dancers in cages, probably whatever other ridiculous nonsense you could possibly imagine, but, after a few year that seem to have been spent stripping back on their mainstream/stadium-filling aspirations and attempting to reconnect with their ‘core fans’, the band’s 2018 fronting is a bit more down to earth. Tonight, they’re a professional touring rock band playing a headline show to a medium-sized crowd inexplicably inhabiting a large-scale venue – no more, no less. The sound is muddy and unclear, with bass distortion swamping everything, but in spite of everything Dave Wyndorf remains a compelling frontman – his voice is still amazing, his enthusiasm contagious.

I don’t think any other band members have been held over from the ‘90s line-up I’m most familiar with, but both guitarists are happy to do exactly wehat guitarists in bands like this are supposed to do, striding up to the monitors on a regular basis, playing their well-practiced solos with appropriate panache. They’re doin’ their job, and it’s a job they love etc etc… but is that enough?

I never thought I’d say this given that even their best albums tend to melt into undifferentiated, bombastic sludge by the mid-point, but it’s the strength of Monster Magnet’s material that really lets them take flight. With no call-back to the pre-major label era, it’s a “hits plus new bits” set-list, and ‘Dopes To Infinity’s title track still makes for a transcendent opener, it’s drifting, unglued melody about as subtle as Monster Magnet ever get, and it’s elusive wordplay (“..seen your mind on the hood of my car..”) triangulate the band’s contradictory aesthetic of sleaze, materialism and chemical-induced cosmic revelation in fairly sublime fashion.

Other stuff however fare less well. The band’s new single ‘Mindfucker’ is frankly pretty bad, built around a half-hearted bit of reheated misogyny (yes, it’s a “stop fucking with my mind woman” song, like the rest of the world gave up writing in 1974), and suggestive of some middle-aged men’s desperate attempt to try to extract some dollars from rebellious teenagers, a fair few years after the market for this kind of swear-in-the-chorus novelty mosh pit hit packed up and left town. Bogus.

Each time I’m starting to wonder why I’m still standing here though, another fantastic moment crashes in. More than any other song performed by the three headlining bands here tonight, ‘Look To The Orb For Your Warning’ (also from ‘Dopes To Infinity’) really takes flight, Wyndorf wringing shrieks from a table of vocal-mangling electronics as a loop of awesome, Jack Kirby-style comic book srtwork dominates the video screen and the song’s central, monolithic riff hammers down…. for a moment or two there I’m genuinely floating in the rafters, wondering how a group I was snarkily dismissing just a few minutes back suddenly got so mind-bendingly great. Somewhere, some kind of bull-shaped power amulet is being charged.

I even quite enjoyed the inevitable set-closing rendition of the band’s 1998 novelty hit ‘Space Lord’ – a song I’ve always considered a bit of a neutered, shark-jumping farrago in its album version (hilarious lyrics aside), but performed live with Wyndorf working the crowd, the penny finally drops, and the glorious stupidity of hearing upward of a thousand people chanting “SPACE LORD, MOTHERFUCKER!” on cue is both pure Monster Magnet brilliance and as perfect a conclusion to a Desertfest weekend as could be wished for.

Or, I supposed it would be, anyway. Maybe it was just the sheer size of The Roundhouse, or the unfavourable ratio between die-hard fans and random/curious festival-goers in the crowd, but reaction to Monster Magnet’s set felt a bit muted.

The band’s whole bombastic concept would seem to demand either a purely rapturous response or else nothing, but the crowd are less than ecstatic – silence and the occasional wolf whistle after a few moments applause - and the enactment old encore ritual is as robotic as it gets. Always a drag, and a sad reminder that, rather than galaxy-decimating space-lords, these guys are just doing their job, egging out a mixed bag of a career a little bit longer before the fans get too old to turn out and buy tickets – finishing off Sunday, ticking London off the list before they plough on to some draughty barn in Hamburg or somewhere. Which, broadly speaking, is why I tend to avoid going to these big tickets gigs in the first place. Ah well.

I am however extremely glad I finally made it to Desertfest. As was initially promised, the people were lovely, the organisation and logistics across multiple venues was little short of awe-inspiring and I basically enjoyed every single band I heard across the entire weekend. In spite of all my minor gripes and bitching above, it was an f-ing brilliant time that made me feel happy to be alive in a time and place that allows me to experience the pleasures of so much excessively loud rock music. What can I say? As far as festivals go, it hit the spot. Sign me up again for next year.

Labels: Bismuth, Desertfest, Elder, Hawkwind, live reviews, Moloch, Monster Magnet, Nebula

Sloping back to the Electric Ballroom last afternoon after skiving off the day’s earliest sets, I’m just about in time to get a good sightline on Tokyo’s Church of Misery, just as they finish sound check.

Boy, I enjoyed Church of Misery so much. Though I’ve been aware of the band’s existence for a while, I’ve never really made an effort to listen to them in the past, because, well… serial killers. All their songs are about serial killers. I’m not going to try to scale any moral high ground here, but I’m just not very keen on that.

If performing gruelling, sadistic dirges of aural misery inspired by real life crimes is one thing however, what are we to make of a band who sing about them in the context of music that is totally fun and awesome? Ethically speaking, that’s got to be waaay off message, right? Well, regardless. The sound waves hitting my ears are telling my brain to shut the hell up and just enjoy the most exultant set of classic Sabbathian metal they’ve heard in living memory. I mean, it’s not like you can really make out any of the lyrics, y’know? Let’s just spend the next forty-five minutes or so pretending I don’t know about that whole serial killer thing, and enjoy some sweet head-banging.

Something I genuinely didn’t know until I spent some time researching the band prior to writing this however is that, whilst the band’s history stretches back over twenty years, three quarters of the current line-up have only been part of it for about eighteen months, having been recruited by bassist and sole founding member Tatsu Mikami after his former bandmates quit en masse at the end of 2014.

Whilst watching the band on Saturday night, I never would have guessed this. Indeed, with stereotypical Japanese professionalism, these relative newcomers play as if they’ve been carefully honing their material into shape for about a hundred years, hitting that perfect ‘Master of Reality’-into-‘Volume 4’ groove (the very sweetest of Sabbath sweet-spots) with such in-the-pocket conviction it’s impossible not to succumb.

To say Church of Misery are one of the more explicitly Sabbath-derived bands on the Desertfest line-up is… something of an understatement, in spite of the fact that current vocalist Hiroyuki Takano favours a grunge-like growl over an Ozzy yowl. Nonetheless though, they move between ‘Sabbra Cadabra’ boogie and full-on ‘Into The Void’ grind with such obvious love for the instigators of their sound, and whilst taking such care to avoid directly quoting them (something many doom bands could learn from) that…. well basically I’m finding it difficult to avoid finishing each of these paragraphs by just saying “Church of Misery is awesome – end of”. And, in fairness, there’s probably a bit of a Saint Vitus influence in there too, so I can’t accuse them of being too closed-minded.

Also of note here: evidently a man of extremes, Mikami-san appears to be going for a Guinness World Record for the lowest slung bass in history. Seriously, he has the body of his Rickenbacker hanging beneath his knee, meaning he is forced to play with both hands on the neck. How? I don’t know. Why? Probably just because it’s cool. (See the photograph on the band’s Wikipedia page for visual evidence.)

As Church of Misery play, there’s already the hint of a sweet smell in the air, and, suitably emboldened, three guys standing in front of me light up and begin sharing a spliff, Minutes later, security have pounced, escorting them the premises. What a bummer. I mean, I know it’s THE LAW and everything, but given we’re in a crowd within which legalisation of marijuana would probably get about a 95% approval rate, about to enjoy sets by Weedeater and High On Fire, a blind eye or two wouldn’t have gone amiss, y’know what I mean? I’m sure no one present would have lodged a complaint or whatever if a few of the bouncers strategically lost their sense of smell for a couple of hours.

As I vaguely ponder the means by which about twenty guys in arm bands can keep the peace against several thousand concert-goers, a fair number of whom seem to model themselves upon Viking warriors, I realise the Ballroom is swiftly getting pretty packed (far more so that it was for Napalm Death the preceding evening, sad to say), and that as such I’d better skedaddle to the balcony and find something to sit/lean on if I’d going to get a chance of seeing the stage again any time this evening. Even in this modest ambition, I was thwarted by sheer human volume, but thankfully, the upstairs bar was offering some half-decent beer in 500ml cans, so picking up a couple in advance meant I could defend my second row standing position for the next three hours or so. Friends, it was brutal.

(You may consider this dispiritingly nerdy gig-going behaviour, but hey – at least I went to the toilet at some point. The man standing immediately in front of me was there with his elbows on the balcony when I arrived at the venue at 5pm and did not move a muscle or talk to anyone until the end of the show – and believe me, I had my eye on him, coveting his space something rotten.)

Anyway. Weedeater are definitely worth waiting for. I’m aware that, in my writing for this blog in the past, I’ve repeatedly resorted to describing bands’ rhythm sections as “swinging like a wrecking ball” and suchlike, but I really should have held off and saved this terminology for Weedeater, because… they own it, basically, leaving all other potential wrecking ball swinging bands in the shade.

Often feeling like an experiment in how slow and over-saturated you can make a groove whilst still maintaining its integrity AS a groove, their riffs hit you almost viscerally, like a cloud of toxic, bongwater-filtered airbourne filth…. but, they still swing – slowly, fatefully, like watching the walls of your house tumbling in slo-mo.

North Carolina, from whence these bastards hail, may look surprisingly high up the East Coast to those of us on this side of the Atlantic, but Weedeater nonetheless give the impression of having clawed their way up from the very deepest of the deep South – trucker caps and woodsman beards present and correct - though somehow they never fall back on that shit in a way that feels phoney.

Bassist Dave “Dixie” Collins sings in a cracked, hissing croak, like some backwoods boogeyman from a spam-in-a-cabin horror movie, and, though obviously offered up in a spirit of black humour, the unsettling vignettes he intones on songs like ‘It Is What It Is’ (“I’m not quite right / FUCKED IN THE HEAD”) feel down-right terrifying when married to the mulch-thick primordial sludge of the band’s music. (Reading Weedeater’s Wikipedia page today, I learn that the band took a brief hiatus in 2010 after Collins shot himself in the foot “..whilst cleaning his favourite shotgun”, so, make of that what you will.)

Conjuring one of the filthiest, most stomach-churning bass sounds I’ve ever heard from the Electric Ballroom’s long-suffering PA, Weedeater’s music drips with a wild-eyed cannabis psychosis, a feeling of murderous paranoia only barely kept in check by the unbreakable backbone of rock n’ roll that injects a giddy pleasure into even their darkest material.

Much of their set still falls back on their landmark, Albini-produced ‘God Luck and Good Speed’ album from 2007 [if you’re new to the band, that’s the one to go for, I feel], and, as soon as the rousing title track (“mankind is unkind, man..”) tears the lid off the crowd like a fucking can of tuna , our only options are to flee or wallow.

Doom fans being a hardy bunch, the thousand or so folks crowded around me go for the latter. As the riffs reign down, little conflagrations and smoke signals intermittently drift up from the crowd below (never mind the pungent aroma hanging around the Smoking Area behind me), making me reflect that maybe those guys I saw getting busted earlier should just have kept their powder dry a little bit longer. By this stage, security have apparently decided that venturing into the throng every five minutes to pull some sucker out is more than their job’s worth.

The effect of Weedeater’s set is exhilarating and a little sickening. An unsettlingly intense, slightly scary band, I’m unsure whether five minutes in their company off-stage would be the time of yr life, or a trauma that would keep you waking up in a cold sweat for months. But it would be one or the other, that’s for sure – as with their speaker-jeopardising recordings, they provide a vision of life with the mid-range scooped right out.

Right on the final note of their final song, Collins kicks off his shoe, it makes a brief arc through the air, and drummer Travis Owen catches it, exactly on his final beat. So, maybe they’d be fun guys after all…? Jury is out.

“MNER RRAH SMO’ SM FUGGIN’ WEEED” Matt Pike (shirtless, leather wristbands) growls early in High On Fire’s marathon headline set, presumably indicating his support for all those naughty kids in the crowd, although to be honest it’s difficult to tell. He’s considerate enough to bellow the name of each song before the band launch into it, which is a helpful gesture given that I’m over a decade behind when it comes to listening to High On Fire albums, but unfortunately I can’t make out a word.

It’s funny, whilst I’ve always appreciated High On Fire, and own several of their early records, for some reason I’ve never really been able to fully get into them. I don’t know how best to put it really, but it’s as if, by attempting to create a previously undreamed of amalgam of Sleep, Slayer and Mötorhead, they’ve created a sound so monstrously unwieldy that it’s full heaviosity cannot actually be captured or reproduced by conventional recording and playback technology, making their albums difficult to really process or engage with.

I was hoping that, in a live context, their music would finally have room to breath and everything would fall into place as an overpowering cavalcade of AWESOME METAL, but, awe-inspiring though their seventy minute beat-down of a set is on many levels, for me at least, the same issues remain.

If you’ll forgive me for resorting to yet another iffy metaphor, it’s as if High On Fire have built the ultimate, ten wheeled heavy metal juggernaut, and, in the joyous moments when they’re thundering down the highway in it (whenever the drummer shifts into full tilt, Mötorhead-style double-time boogie and Pike shakes out another neck-throttling, synapse-disfiguring solo), it is absolutely mind-blowing, setting hearts racing and fists pumping. To get to those moments though, it takes a hell of a lot of awkward manoeuvring and grinding of gears. In other words, way too much tension, not enough release.

There sometimes seems to be a kind of sadistic impulse at work in their song structures – making us work hard whilst keeping the rewards tightly guarded. And, this evening more than ever, as my numb legs begin to feel like sharpened poles, painfully anchoring me to the ground, I could really go for some sweet release.

By the end of High On Fire’s set, their music has become a formless barrage, rolling over me like pure noise, as my concentration wavers and drifts. This is in no way a criticism of the band, who play comprehensively bad-ass music with tireless energy and dedication, more just some kind of conceptual glitch that occurs somewhere in the course of my consumption/enjoyment of it. One reporter’s opinion, and all that. It’s an awesome set. It’s loud as hell. The crowd go ape-shit. But I get exhausted.

Man. Saturday. I turned up late, I left early, and I still went home feeling like I’d spent ten rounds ducking blows from an angry gorilla. What a weakling. Ring the bell, Desertfest wins!

See you soon for Sunday….

Labels: Church of Misery, Desertfest, High On Fire, live reviews, Weedeater

For years now, I’ve been eyeing up London’s Desertfest as an event I would greatly like to attend, but in the past, prior commitments, grown up responsibilities and general lack of time/energy/money have combined to stifle my vague dreams of attendance.

In spite of all the reports I’ve heard about how well-organised and lovely the festival is moreover, there’s also been the fact that, given how much I’ve learned to HATE the myriad discomforts of attending music events in anything other than a thoroughly relaxed/DIY context in recent years, the idea of spending a bank holiday weekend pinballing around the sticky-floored venues of tourist-decimated Camden Town, suffering through endless bag checks, queues, beer-soakings, exit crushes, poor-sound-mix birthed tinnitus and midnight takeaways basically sounds like hell - especially when measured against the more tangible pleasures of quietly sitting at home, enjoying the comforts of food, wine, a sofa and some good movies, all with an additional £100+ still in my bank account.

But… this year’s line up. Oh man. For once, the weekend was free. The funds were present and correct. No immediate obstacles loomed. With a couple of weeks to go, we hit ‘confirm’ on the ticket booking. Three days and nights of unadulterated METAL (or, well, unadulterated HEAVY SPACE/STONER ROCK at the very least) loomed. Let me tell you how it went.

All photos are by Satori, by the way, for which thanks.

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Check-in and wristband collection on Friday afternoon is smooth and incident-free, and Desertfest HQ outside Camden’s actually-pretty-nice rock/metal pub The Black Heart is a happy and chilled out place to be. Lovely range of (I)PAs for drinking in the sun, and I highly commend their in-house milk stout for after dark.

Musically-speaking, proceedings begin upstairs, where The Quietus have (applaudably) been allowed to book a set of comparative outliers to the Desertfest remit (including the not-even-remotely rock or metal affiliated electro-punk band Snapped Ankles, who must have caused a few raised eye-brows amongst the purists).


No such concerns hopefully with Casual Nun, who deliver a far more straight forward, rock-orientated set that I had been anticipating - perhaps with one eye on the likely audience, or perhaps just because that’s the way they’re presently rolling, who knows. Anyway, we’re a pretty far cry from the pretty-fucking-out-there psychotropic improvisations found on their ‘Psychometric Testing by..’ and ‘Super Fancy Skeleton’ LPs, as the band’s Black Heart set finds them operating as a more or less trad v/g/b/d four piece, give or take the disorientating swathe of effects through which the ostensible frontman (sorry, I don’t know member names here) feeds his vocals. Working through a set of fairly structured/pre-planned material, they conjure a dense, legitimately deafening space-rock roar built upon the kind of forward moving, Can-via-Hawkwind grooves that remain quite impossible to fuck with, regardless of context. Despite the band’s fairly, well, casual attire (all four band members is front buttoning shirts and sensible shoes fergodssake, with only the vocalist’s Charlie Manson hair/beard combo giving any visual hint of sub-cultural affiliation), one hopes they might have succeeded in luring a few stray Fu Manchu fans into the choppier waters of their recorded output.


Next up, hard to contain my fanboy excitement at standing right in front of Mike Vest for a rare set by Melting Hand, the noise-rock sort-of-super-group he plays in alongside Gordon Watson of Terminal Cheescake/Luminous bodies on bass and Gum Takes Tooth drummer Tom Fug. A slightly tweaked line-up from the one that recorded their debut LP ‘High Collider’ a couple of years back now finds room for Marion Andrau (formerly(?) of Underground Railroad) on guitar and a chap named Wayne Adams (who is an unknown quantity to me at least) at synth. [Thank you to this Quietus interview for helping me with the name badges.]

Riffing on material presumably taken from their forthcoming second LP, I hereby declare that this incarnation of Melting Hand is fucking blinding, and I hope they stick with it for future engagements. Pedal LEDs glow and blink across the floor of the darkened stage like a miniature, nocturnal city, but these are players who know how to use such arguably excessive gear to its maximum advantage, primarily by doing what so many of those indie guitarists who spend thousands down the shops conspicuously fail to do – eg, turning it all on and turning it up.

The result is an exhilarating hurricane of chaotic, free-flowing noise-rock excelsis, sounding as if band-era Skullflower had lightened up, got the bunting out and had a birthday party, and it was bloody amazing. Though still very much centre stage, the rhythm section are a little less dominant in the mix here than they were on ‘High Collider’, thus encouraging the move toward a more full-on noise set-up (for this afternoon’s performance, at least), and a particular shout-out too must go to Andrau, who ably rises to the not-inconsiderable challenge of going head to head with Vest’s characteristic maximalist whiteout, transcending mere second/extra guitar status and adding her own wild and inventive contributions to the group’s sound at every turn. In fact the moment mid-set when she and Vest got about as close to trading/overlapping solos as Melting Hand’s oeuvre allows was a particular highlight for yours truly. Not quite 6PM, and mind and ears are both already blown.

Based on previous visits, I’ve always considered “Koko” (formerly the Camden Palace for those with long memories) to be a contender for one of London’s shittiest music venues. Though blessed with an exquisitely well-maintained (hopefully Grade One listed?) ex-music hall interior, the combination of irksome, unnecessary-queue-generating security procedures, poorly stocked rip off bar and TERRIBLE sound mix / acoustics have all helped make it a place to avoid since it re-opened a decade or so ago, and as such, I was happily surprised to find myself able to glide straight through the doors and into a good balcony position following a quick sprint in the Mornington Crescent direction, moments after The Obsessed began their set.


Sound is as echoy and murky as ever, making it difficult to catch the pearls of snarled, overgrown teenager wisdom Scott “Wino” Weinrich drops between songs, but when the drummer counts in, he and his recently recruited new rhythm section cut through the mix like pros. (Admittedly, the bass sounds a bit like someone distantly operating a machine lathe somewhere down the street, but, as I’ll learn over the course of the weekend, that’s something you’ve apparently got to get used to in these, uh, let’s say established, London venues.)

You’ve gotta love a guy who sticks to his story, and Wino is certainly that. Through Spirit Caravan, The Hidden Hand, his self-titled records and his contributions to Saint Vitus and Place of Skulls, Wino has kept his particular vision alive across four decades, and as a long time fan, I’m stoked to finally see this living, breathing personification of the heavy rock ideal in the flesh, fronting a new incarnation of his earliest, and many would consider most essential, band.

Recognisable songs aside though, we could easily be watching any of the groups Wino has led over the years, and, regardless of the name on the ticket, everything I could have wanted from a Wino gig is present and correct. Pitched somewhere between the raven-beaked solemnity of ‘80s trad doom and a vein of sneering, anti-social biker rock sleaze that reaches even further back, his songs have riffs carved to last out the centuries, a cycle-engine grind backing up his weirdly melodic, funereal hymns to drug-baked cosmic journeying and perpetual outsiderdom, whilst an unmistakable whiff of psychedelic spirituality enters the picture each time he goes for a solo, sending twelve bar wonders of screeching, atemporal jazz-damaged beauty reverberating through the lofty reaches of the former Camden Palace.

Though he operates within a genre that even it’s biggest fans would have to admit is rife with aesthetic posturing, ridiculous excess and general tongue-in-cheek silliness, Wino has been living this music – through periods of addition, poverty and god knows what else – for as long as many of us have been alive, and his songs, even stretching as far back as The Obsessed’s first recordings from the mid ‘80s, retain a quality that is dead-eyed, rock solid and serious as death. It certainly feels like a rare privilege to see him doing his thing on a Friday afternoon in Camden, and I hope I’ll be able to do so again very soon.


‘Serious’ is also a term that springs to mind when discussing Ghold, who we just about squeeze in to see in the packed out Black Heart shortly afterwards. An intense, progressively minded London-based unit who have grown from a duo to a trio, and now seem to have a fourth participant on board, apparently playing a Fender Rhodes no less. Ghold prove to be the loudest band of the festival thus far, and the first to have me reaching for my ear plugs. Though their music is impressive by yardstick, I’m flagging me this point (wimp that I am), and the constant, tension-building noose-tightening of their long, multi-part compositions soon proves pretty gruelling. Having already been warned that folks were queuing down the road to get into a packed-to-capacity Electric Ballroom to catch a glimpse of sludge-core bruisers Eyehategod, I’m secretly relieved when the decision is taken to bale early in order to sit down with some food before pitching out a good spot for Napalm Death in a few hours time.

Now, say what you like about the Electric Ballroom, at least it’s unpretentious. Complete with wall coverings and floor/ceiling surfaces that look like they’ve been pulled together from scrap material to fix up a previous disaster, it’s… long overdue an overhaul, you might say, but it also has the most satisfactory sound mix of any of the large venues used by Desertfest, and a relatively well-stocked/non-extortionate bar and publicly accessible balcony and lounge area seal the deal. Electric Ballroom, yr alright.

Now -- Napalm Death. I’ll admit this has the potential to be a weird one for me. Over the past few years, I’ve come to revere the band’s seminal late ‘80s recordings almost to the point of mania. If prompted in fact, I’ll be delighted to tell you in great detail exactly why ‘From Enslavement To Obliteration’ just edges out ‘Reign in Blood’ as the most important, innovative and/or mind-blowing extreme metal recording ever issued. [If you’re not familiar with it, please become so.] But – as much as I love their music from this era, that is basically where my knowledge of the band ends. I honestly know about as much about what they’ve done since 1990’s ‘Harmony Corruption’ as the average punter at a Yo La Tengo gig, so…. given that that’s about when the line up who are performing as Napalm Death this evening first began to cohere, this could be something of an issue, perhaps?


Well, I needn’t have worried. Far from legitimising such doltish fanboy dilemmas, it turns out Barney Greenway is such an ingratiating frontman, you could probably tell him you’ve just arrived from Venus and aren't really sure what this whole ‘organised sound’ thing is all about yet, and he’d slap you on the back and add you to the ranks of the chosen without further comment.

I’m sure that, for those who have been more closely involved with the metal scene than I have been over the years, Barney’s distinctive on-stage persona must be beyond a joke by this point, but, as a Napalm Death first timer, I’ve got to admit I found him a disarming and hugely charming presence.

How can I best put this… one of the things I’ve always loved about Napalm Death is the way they square the circle vis-à-vis making violent, hate-filled music dealing with subject matter of unimaginable horror, and presenting it as a positive, cathartic, morally integrated force for good in the world. In the three decades that have passed since the band’s initial burst of inspiration, it has become the norm for groups operating in all sub-categories of hardcore and extreme metal to shroud their work in imagery of misery, horror, mass death, torture, genocide, nuclear Armageddon, skulls, gas masks etc etc, to the extent that the original thinking behind this off-the-peg aesthetic is often lost behind a flippant attitude of “fuck everything” misanthropic prurience that, weirdly, seems almost unique to white males who have grown up in parts of the world not conspicuously ravaged by war and death.

I’m not trying to guilt-trip anyone for enjoying this aesthetic – god knows, as a fan of horror movies and doom metal, I’ve spent a fair amount of time wallowing in it myself over the years – but, as stated above, I appreciate the way that, ever since their inception, Napalm Death have been at pains to justify their work (and indeed, their name and artwork) in grown up, socio-political terms, and to make their intentions clear. Then as now, their music is framed as an expression of (and entirely legitimate response to) the horror they feel at the pain and injustice that is inflicted upon the people of the world every single day by those in positions of power, and, by forcing their listeners to confront it in the most visceral way possible, they hope to raise awareness, prompt action, and all that other good social activist type stuff.

They are not putting gore and dead bodies on their album covers just because they think it’s cool, in other words, and I’ve always liked the thought that, in the unlikely event that a benevolent global socialist republic suddenly came in to being, prompting universal equality and world peace, Napalm Death would gladly down tools and spend the rest of their lives playing nice, mellow music for dancing in the sun (perhaps changing their name to, I dunno, ‘Happy Children’ or something).

Anyway, getting back to Barney, I love the way he puts all this across so clearly over the course of a sixty minute Napalm Death set that no one could possibly be left in doubt re: where the band are coming from. In an area of live performance so often characterised (understandably) by muscle-flexing aggression or mute hostility, it is absolutely delightful to find this guy saying “okie dokey, right then, what’s next..” in the voice of a holiday camp comedian in between outbursts of guttural, throat-shredding carnage, hailing the audience as “friends!” with the enthusiasm and good cheer of the MC at an anti-war rally, even as he awkwardly jogs on the spot and hops about the stage like a middle-aged marathon runner warming up on the starting line. He’s just lovely, basically. What a great guy.

Again, I’m sure many in the crowd will have rolled their eyes as his political sloganeering, having heard it all before, but from my POV, he succinctly addressed the broad points that needed to be made to put the brutality of the music in its proper context - religious bigots, slum landlords, anti-abortion campaigners and assorted others can all fuck off; nuclear brinkmanship on the part of world leaders is insane; a happy and comfortable life free from discrimination on the basis of race, gender or sexuality is the right of every human being. Not exactly controversial stuff, I’ll grant you, but hard to restate it too often, right? By the time he’s exhorting us – “in a spirit of friendship and solidarity” – to help him complete the title of a certain Dead Kennedys song – I’m happy to yell along.

(Deep breath.) And of course it helps that the band are fucking great too. I mean, I may have been out to lunch for thirty years, but this is f-ing Napalm Death, innit? They’re hardly going to half-ass it. Shane Embury’s fingers on the bass still look as if they’re moving in X4 fast-forward, and Mitch Harris’s guitar tone sounds like a wolverine biting the head off a terrier. Danny Herrera’s drumming may not quite recreate the beyond human insanity of Mick Harris’s work in the ‘80s, but he still does the business well enough to send just about any hardcore band I’ve watched in the past five years fleeing in terror.

What a fantastic band. What a fantastic set. I need to catch up on those post-1990 records and pick myself up a (hopefully fair trade) T-shirt post-fucking-haste.

To be continued…

Labels: Casual Nun, Desertfest, Ghold, live reviews, Melting Hand, Napalm Death, The Obsessed, Wino

I’ve been palming variations on this comp CD off on people for several years now, and I think the track list is now in it’s third, possibly fourth, iteration – so it’s about time I stuck it up on the weblog.

The initial impetus behind it was to provide something of a sampler for folks who dug Black Sabbath and Led Zep but hadn’t yet moved on to check out the wider field of mutant, riff-blasting heavy rock music that existed alongside them in the ‘70s British underground.

As I dug deeper into the period myself however, and kept discovering more great records and great stories, the track list began to take on a slightly more ambitious aim – namely, that of demonstrating the solid through-line of anti-authoritarian rage, musical thuggery and hair-raising electrified noise that ran straight from the psychedelia and counter-culture aligned free festival rock of the late ‘60s to the explosion of punk and heavy metal at the end of the ‘70s, and of countering the offensively reductive “hippies > prog > punk” timeline that various divvies continue to trot out every time the BBC makes a documentary.

Disclaimers:

1. Admittedly, some may wonder where exactly Badfinger fit into all this, but I would urge them to sample their track here before scoffing, because it is certifiably bad-ass.

2. Likewise, some may feel some of my choices here are a tad obvious – particularly in light of the many ‘70s Heavy compilations that have appeared in recent years - but I would ask readers to reflect on the fact that there are still many listeners out there for whom such hallowed names as Stackwaddy, Edgar Broughton Band, Third World War etc mean nothing. Imagine their pupils dilating as this oversight is corrected, and I’m sure you grizzled vets can stand to sit through ‘Maypole’ one more time.

3. Others still may question the total lack of female representation on this comp, and, whilst I realise that “it was the ‘70s, 98% of music was made by hairy-chested, ale-swilling brutes with facial hair like Genghis Khan” doesn’t constitute much of an excuse, I’ll simply say that, if you know of any good female-led British heavy rock bands from the 1970s, please tell me, because I’d love to listen to them.

4. Do you think there’s too much Hawkwind? It did cross my mind, but… if you can conceive of the concept of “too much Hawkwind”, you are probably not the target audience for this comp.

So -- case closed. I love every bit of this track list beyond words, and I’m gonna stick with it. Meanwhile, I’ve got Volume # 2 on the go, and if anything, I like it even better than this one, so if you get a kick out of Vol # 1 and/or want to complain that I’ve missed out your favourites, stick around.

WARNING: Please be aware that this compilation contains a LOT of rockin’ lead guitar. So much rockin’ lead guitar in fact that even the most ardent fans of rockin’ lead guitar are advised to split listening across several sittings to avoid burn-out. You have been warned.




Full track-list with timecodes as follows:

00:00 The Pink Fairies - Do It
02:57 Hawkwind - Master of the Universe (live)
10:22 Stackwaddy - Roadrunner
13:44 The Way We Live - King Dick II
16:58 Edgar Broughton Band - Out Demons Out
21:44 Badfinger - Suitcase (BBC session)
29:05 The Deviants - Slum Lord
31:19 Third World War - Ascension Day
36:10 Dark - Maypole
41:10 Wicked Lady - Run The Night
46:17 High Tide - Futilist's Lament
51:34 Twink - Ten Thousand Words in a Cardboard Box
56:00 Red Dirt - Memories
58:03 Atomic Rooster - I Can't Take No More
61:34 Larry Wallis - Police Car
64:52 Motorhead - Iron Horse / Born To Lose
70:09 Hawkwind - Urban Guerrilla


(Sneaky download link.)

Labels: mixcloud, mixtapes, UK Freak Rock

So I finally did it folks – I bought a cassette tape. Via mail order, for £8.50 including postage. I don’t even have a decent tape player at the time of writing, but such was my desire to hear David Terry’s ‘Sorrow’ through the big speakers after streaming it online, I had to go the physical option, perhaps finally prompting me to start scouring local ‘Collection Only’ ebay listing in search of a double tape deck. (THINKS OUT LOUD: Then I could finally listen to those Indian classical tapes I rescued from a bin too…)

Anyway - with that out of way, banish the preceding paragraph from your brain, for such nattering crap is, it’s safe to say, complete anathema to the atmosphere of earthless, transcendental Romanticism David Terry seeks to evoke herein.

If you’ve been reading these pages for a while, you’ll be aware of Terry’s work providing bass and ‘incantations’ for Bong, and you’ll be aware that I speak as someone with a deep love for everything that band have ever achieved when I dare to suggest that some of Terry’s contributions in the latter capacity have occasionally bordered on the brink of the ridiculous, thus making me at least *slightly* wary when approaching material he’s knocked up on his own, without any bandmates to rein him in.

Well, I needn’t have worried. On ‘Sorrow’, Terry throws the net of his ambition wide, and… I dunno, comes back with all the fucking fish I suppose, if you’ll excuse the iffy metaphor. Whether taken as a work of modern composition, of “dungeon drone” (quoth the bandcamp page), or merely as long form gothic melancholia, this is a very impressive achievement, and makes for heady, immersive listening, even across a near ninety minute run time.

Whilst Terry retains the meditative / hypnotic feel of Bong herein, any trace of metal/doom ancestry is long gone. Instead, other comparisons abound. Admittedly, ‘.My Friends, You Are Shining Pillars Of Light’ sounds very much of a piece with ‘Find Your Own Gods’ from Bong’s most recent LP (or, failing that, sort of like Terry Riley communing with the spirit of Blake on some sun-dappled English hillside, if you must), but ‘Slowly, Slowly, Up Into The Rain We Fell’ sounds equally like The Necks attempting to ‘jam’ with a Gregorian choral ensemble, whilst the legitimately epic ambience of ‘Crummock Water’ might be said to resemble Brian Eno’s hypothetical “Music for Cliff-top Church Yards”, whilst also recalling the sombre-yet-calming tones of Leyland Kirby, or Rameses III’s ‘I Could Not Love You More’.

But, such one-sheet guff is both unnecessary and inane. In truth, I’m aware of nothing in the current micro-label/sub-rock underground that shares the compositional scope and clarity of vision Terry displays here.

Conjured up primarily from voice, keys, Fursaxa-esque accordion drones and a touch of distant, thumping percussion to keep time, there is a carefully wrought sense of slow mo melodicism to these pieces that set them apart from the vast majority of Terry’s lonesome tape droning contemporaries. The layers he builds come together with a more deliberate intent than the kind of accidental / circumstantial methodology that often governs such things, sometimes sounding like the moment of sublime tonal union when everything comes together in some grand classical piece, stretched out and extended across a 20+ minute duration. It’s pretty great.

Wisely perhaps in this more subdued context, Terry’s use of his voice here avoids the somewhat theatrical bent of his thunderous interventions on Bong records, instead employing a ‘voice as instrument’ approach that sees his beautifully resonant bass tones drifting mantra like through the fog of ‘My Friends..’, repeating variations on the title sentence to ultimately moving effect.

Emotionally-speaking, ‘Sorrow’ belies the expectations of its title and cover art by neatly side-stepping the over-bearing affectations of woe and world-denying misanthropy that ensnare so many metal bands, instead evoking a more honest, more hopeful field of melancholic drift, suggestive of a deep immersion both in the contemplation of nature, and in the gleaming spires of the distinctly old school, capital ‘R’ Romanticism that often goes with it.

Far from the blackened deep space explorations of Bong’s earlier career, the feel Terry conveys here recalls the band’s inspired use of Turner’s ‘Thompson’s Aeolian Harp’ on the cover of their We Are, We Were and We Will Have Been LP from 2015, and – for me at least – it is a very good feel to find oneself on the receiving end of.

I know that format isn’t everything, but I also know that, each time I enter a new release record shop for the remainder of this year and see the racks stocked with the shiny new efforts of fly-by-night trending indie bands, their ugly, photo-they-pulled-off-instagram cover art lovingly rendered in eye-damaging HD colour, ready to sit like a badge of pride by the skirting-board for a few weeks whilst their new owner streams their efforts on Spotify – then verily I will weep for my inability to listen to David Terry’s ‘Sorrow’ via the suitably luxurious double LP onto which this incredible music richly deserves to be pressed.

Oh well – at least I’ll have a tape.

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You can have one too if you visit Opal Tapes here.

Labels: album reviews, David Terry

Just when I was on the verge of completely running out of things to say about Blown Out’s excellent but nigh-on interchangeable records, the band’s side of this split LP on Riot Season sees them shifting gear a bit, delivering three (three!) discrete tracks of faster, more riff-based material, interspersed with a few delightful passages of top quality after-burner amp roar.

Veering more toward the instrumental stoner rock approach taken by Mike Vest in his Dodge Meteor project with Matteo Dainese, Blown Out’s recordings here put me in mind of what the classic era Monster Magnet line-up might have come up with, had Dave Wyndorf buggered off for a while and left them to their own devices.

As far as rhythm sections go, John-Michael Headly and Matt Baty have been “in the pocket” so long they must have repainted it and ordered a new sofa by this stage, so it’s super-cool to hear them speed up a bit on the latter two tracks here, hitting a slightly more trad head-banging groove, as Vest’s diesel-soaked candy-floss fuzz riffs rain down like sugar-choked static and phased out/space echoed lead lines spiral off into twisted, deep space oblivion.

It’s totally sweet – as fiery as anything this band have ever recorded; this is a slightly more ‘accessible’ sound than their customary side-long wig-outs perhaps, but there’s nothing half-assed about the world-eating skree that takes over each time the drums drop out.

The bawling, multi-layered blast of ‘Hook Up The Telepath’ in particular makes me unreasonably excited to hear where these guys will go next, but, for now, this is immense - pure space-rock nectar, straight from the source.

On the other side meanwhile, I confess total ignorance of Comacozer’s line up, history or geographical location, but for some reason their name and single, side-long track had me expecting some seriously furry, bong water-gargling stoner/doom kinda shit.

Colour me happily surprised then upon discovering that their seventeen minute ‘BinBeal’ is actually a pretty benign affair, with a gently propulsive Cecil McBee-via-Hawkwind bass groove taking centre stage, ranging hither and yon ‘cross an interplanetary landscape, accompanied only by shards of hard-echoed, clean toned guitar dopplering away into the distance and some low level patches of DikMik style primitive electronics hovering into view now and again. It’s all very pleasant.

About two third of the way through, there’s a ‘loud bit’ where the inevitable fuzz barges in for a while, and, whilst this is perfectly good fun, to be honest it feels a bit surplus to requirements, breaking the pulsing spell of the proceeding jam and taking the band perilously close to essaying a psychedelic rock take on the kind of unutterable tedium practiced by Mogwai and their ilk.

Basically though, it’s all really cool – a swell example of bombast-free contemporary rockage, and a welcome reminder that not every space-rock track needs to be a one way power blast through the centre of a black hole. As stated, this one’s more like an easy afternoon’s meander around a habitable planetary surface, maybe just encountering an easily dispatched crab monster in a cave or something during the loud bit. Lovely stuff - it too comes highly recommended.

‘In Search of Highs Volume # 1’ can be sampled and purchased via Riot Season.

Labels: album reviews, Blown Out, Comacozer

Well, I’ll keep this short folks. Just about every surviving music blog/website I follow has been branching pretty heavily into the arena of podcasts and playlists in recent years, and as such, I just couldn’t help myself – I’m back on the (fake) airwaves.

A (nearly) two hour imaginary radio show, complete with talking and bed music and everything, hopefully perfect to throw on whenever there’s nothing good to listen to on the real radio, this can be streamed via the mixcloud embed below, or via my page on that site, or can be downloaded in ever-glorious mp3 format from here.

Maybe there will be more of these, maybe not – let’s see how it goes.



Full track list, including time codes, goes as follows:

0:00 Peter Wyngarde – Come On In
02:08 Saint Vitus – Born Too Late (live)
09:20 Lower Slaughter – Tied Down
12:00 Heron Oblivion – Sudden Lament (live)
20:12 Natural Child – Natural Blues
23:07 Wu-Tang Clan – 7th Chamber
27:23 Depth Charge – Bounty Killers
32:46 War Head Constriction – Graceful Bird
40:32 Formulars Dance Band - Never Never Let Me Down
44:23 The Pointer Sisters – Don’t It Drive You Crazy
50:34 Blown Out – Void Sucker
55:10 Dead Moon – Dagger Moon
62:28 Ennio Morricone – Svolta Definitiva
67:03 Wrinkar Experience – Ballad of a Sad Young Woman
71:48 Chain & The Gang – I Hate Winners
77:57 Che Shizu – “Emperor / Notify”
85:42 Carmen Maki – “Faraway Country”
88:50 Neil Young – Cocaine Eyes
99:02 Joe Henderson feat. Alice Coltrane – Earth
111:14 Randy Newman – You Can’t Fool The Fat Man

And, in the background behind the blather:

Jack McDuff - Magnetic Feel
Donald Byrd – Black Bird
Etienne Jaumet - Mental Vortex
Ananda Shankar – Dancing Drums

Labels: Born Too Late, mixcloud, radio show

INTRODUCTORY NOTE:

Over the past few years, I’ve inadvertently become pretty fixated on making themed compilations and playlists – either carefully wrought overviews of particular scenes, sub-genres or sounds, or else exploring different musical approaches to different kinds of subject matter. I will usually tend to slave away over these things for months on end, initially just for my own amusement/edification, although I have sometimes made actual, physical CDs out of them and given them to people I hoped might like them. On one occasion, I actually dared to sell some of these CDs for money (with proceeds going to charity, natch) – a venture which proved surprisingly successful.

So, as one part of my campaign to revitalise this blog, it stands to reason that I should start sharing these comps – primarily streaming via Mixcloud’s user friendly, copyright police-ducking interface, although I’m also game for providing more, uh, ‘old fashioned’ listening options upon request [see below].

BLURB:

A sort-of sequel to ‘Songs About History’, which I posted here back in 2012, the concept of ‘Songs About War’ speaks for itself, more or less, so I'll spare you a round of socio-political hand-wringing.

In spite of the fact that few if any of the predominantly first world based artists on this comp have any first hand experience of war (I think Billy Bragg was in the army at one point, but beyond that… no idea), I have done my best not to simply fill the whole thing with ‘60s derived “war is bad man… why can’t we just stay in head and love each other?” type diatribes, which would have proved all too easy (although I’ve still let The Byrds in with a more-or-less definitive example of the form).

Instead, I’ve tried to select songs whose writers have at least *tried* to place themselves within the skin of someone participating in armed conflict in some capacity, creating what they feel is an appropriate musical analogue to the experience, and perhaps reflecting to some degree on the place of war as a seemingly inescapable component part of human nature and society.

In this respect, I quite like the way that, as you listen to these songs in close succession, the specific details of the conflicts many of them are written about tend to fall away, leaving behind the feeling of more abstract, universal scenarios, applicable to any time and place throughout history in which people have been driven to fight and kill each other en masse.

If you’re worried that such subject matter could potentially lead to a pretty monotonously grim track list, well, what can I say – I hope the inclusion of several banging dance tracks, ‘80s heavy metal and a hefty application of black humour will help ease the burden a little.

Naturally, I would have loved to have included some more songs emanating from areas of the world that actually have been ravaged by war within living memory, but, broadly speaking, my experience of such music tends to suggest that – as was discussed in my review of the excellent ‘Wake Up You!’ comp in 2016 - musicians whose countries have recently emerged from conflict tend to have better things to do than stand around singing about it. Funny that.

Anyway, I hope you get something out of these selections. Any comments, observations or suggestions for future volumes are gratefully received.


LISTEN:


(direct link.)


TRACK LIST:

1. The Mekons – Hello Cruel World
2. Joe Tex – I Believe I’m Gonna Make It
3. Napalm Death – Retreat to Nowhere
4. Michael Yonkers Band – Boy in the Sandbox
5. Iron Maiden – Intro / Aces High (live ’85)
6. Warren Zevon – Roland the Headless Thompson Gunner
7. The Dead Kennedys – When Ya Get Drafted
8. The Byrds – Draft Morning
9. Nudge Squidfish – Part Cherokee
10. Bolt Thrower – Eternal War
11. Party of One – Baghdad Boogie
12. Billy Bragg – Island of No Return
13. Weird War – AK-47
14. William Onyeabor – Why Go To War?
15. The Gories – Sovereignty Flight
16. Honey Ltd – The Warrior
17. Rocket From The Tombs – 30 Seconds Over Tokyo
18. Geechie Wiley & Elvie Thomas – Last Kind Word Blues
19. Mike Williams – Lonely Soldier
20. Leonard Cohen – The Partisan
21. Wire – Reuters
22. The West Coast Pop Art Experimental Band – The Anniversary of WWIII
23. Dead Moon – Johnny’s Got a Gun


[PS - if you’d like either a downloadable version of this comp or an actual CD, my email address is at the top of the page – I’ll be happy to help.]

Labels: mixcloud, mixtapes, war

First exciting new band discovery of the year! Not that Guttersnipe (based in Leeds, and not to be confused with several considerably more trad punk bands of the same name) will necessarily need much of an introduction to adventurous listeners in the Northern half of the UK, having garnered a certain amount of praise/notoriety and secured many coveted alterna-festival bookings in the several years they’ve been performing/recording.

But me, I live down south and don't make it to many coveted alterna-festivals, so I just happened to notice they were listed as co-headliners with my beloved Vibracathedral Orchestra at Café Oto in March. When I visited the event page to buy my tickets, I clicked play on the video provided in order to see what I was in for, and.... oh boy.

Drunken mosh-bro idiocy from the spectators notwithstanding, this is pretty jaw-dropping.

Jan/Feb is a time of year that always demands some total fucking noise, and Guttersnipe are providing it in as exciting and unconventional a fashion as one could hope for. Each track on their bandcamp is a prime, compromise-free head-cleaner. Which is just as well, as I’d have trouble stomaching more than one of them in a single sitting.

Potentially recalling New York’s Slasher Risk, an aggressively feminized ‘80s Skullflower, Afri Rampo possessed by an Abyssinian war-god or my wildest dreams circa 2003, this is synapse-tearing stuff indeed. Check out ‘Sandworm Percolator’ or ‘Ophid Spy Cramp’ on their “Demo” and fall from your chair in involuntary supplication.

Doubly, trebly looking forward to that date in March.

(Of course, if I were paying attention, I could have been hepped to Guttersnipe WAY BACK IN 2016 when my old pal Stewart Smith wrote up a review of ‘em on a website I visit more or less everyday… ah well.)

(The photo above is taken from that piece and credited to Eleni Avraam.)

Labels: Guttersnipe, noise, punk

1.
I am a country-borne southerner, clothed in low level privilege. I’ve never set foot in Manchester. In fact I’ve barely spent a night north of Crewe, England-wise. In insisting that I’m allowed to have an opinion on him, I’m aware that I make myself a ready facsimile of Mark Smith’s worst enemy. I’m aware of this. If I’m not careful, perhaps he’ll come back and haunt me (which really would make for a strange & frightening world).

2.
I confess I’ve always found the widespread appeal and influence of The Fall - particularly beyond these shores - slightly mystifying. Whilst I appreciate and enjoy their music to a certain extent (see below), learning to love it can be… challenging, to say the least. The band’s music managed to be both rudimentary and threatening, and even his most fervent admirers must cop that the front MES put across to the world was insular and alienating in the extreme. Indifferently recorded and mixed, even their most accessible “numbers” tend to revolve around inscrutable, incessantly repeated playground taunts, led by a man who resembled most people’s idea of a nightmare, closing-time hobgoblin...and yet…. sell out American tours across the decades, with yankees as disparate as Pavement and Nots holding them up as key touchstones. It can’t JUST be purposeful anglophile obscurantism and the insidious influence of Brit-aligned tastemakers, surely?

Whilst I was in Japan last year, I found myself speaking to a highly talented & knowledgeable musician and music fan, and all he wanted to talk to me about was The Fall. How easy was it to get hold of copies of their earlier albums in the UK? Did they play often? What kind of people went to see them? Are they really popular, or more of a cult thing? How is Mark E. Smith generally regarded? Is he a big media figure? Do people realise how great he is? – these are all things he wanted to know. As you will appreciate, trying to find straight answers to these question was a bit difficult when put on the spot by someone speaking English as a second language.

To be honest, I’ve always felt that people born on the same street as MES probably don’t know what he’s going on about half the time, so… what can he possibly be getting across to people from other continents? I don’t know, but, for all the trouble I’ve had with it, the spirit of this music – that wired up, indigestible fury and unfathomable mystery – clearly travels, and travels well. It is kind of fascinating to me.

3.
Though I recognise the myriad qualities of their work, and love a number of individual songs and albums a great deal, The Fall have never really been ‘my band’. Whilst around 75% of male British music fans of an age equivalent to or older than myself treat them with a degree of reverence that borders on the obsessive/irrational, I suppose I’ll never really be one of The Chosen, irrespective of the years I put in on the Peel-taping coalface.

On reflection, I think this failure to grok is just a matter of musical preference on my part, more than anything else. Although I appreciate The Fall’s dedication to simplicity and repetition, I generally tend to favour forms of rock music that aim to achieve some sort of elegance or transcendence, often coupled with exaggerated emotional expression or fantastical escapism… all of which is absolute anathema to the doggedly quotidian aesthetic cultivated by Mark E. Smith, needless to say. All those pre-existing rock clichés he spent forty years excising from his world with puritanical, year zero fervour..? I just *like* them, basically – that’s the root of the problem. I’m more comfortable when bands keep ‘em around to some extent.

In the same way that I’ve never really warmed to The Monks or Pere Ubu, the thunking, ugly, resolutely earth-bound, pointedly comfort-free botheration of The Fall’s post-punk derived sound – heavy, lolloping bass, drums staggering in a circle like a three legged dog, brittle ‘nah-nah-na-nah-nah’ guitar lines - is not a formula that has ever held a sustained appeal for me, warning me off taste-acquiring repeat plays, even as the more sinister, skeletal elements of the band’s admittedly unique conjurations simultaneously tickle my fancy on an equally regular basis.

I like it when the early-era band get their teeth into a really propulsive groove (cf: ‘The Classical’, ‘Flat of Angles’), and they could scratch some satisfyingly grisly noise out of their none-more-basic equipment on occasion (cf: ‘ Put Away’). Other oft-feted songs however just drive me up the wall, particularly those centred around stop-start, call-and-response type shenanigans. Most fans will disagree of course, but, despite their great titles, ‘Eat Yerself Fitter’ has always been a tough one for me to get through, and ‘Who Makes The Nazis?’ approaches a near Residents-like level of fingers-down-the-blackboard annoyance. I suppose I’ll never learn.

4.
THAT SAID THOUGH, I have always really liked Mark E. Smith himself – as a character, as a writer, as an eternally inscrutable/unknowable savant, or as an expertly tuned human bullshit detector, permanently squarking in the red. To the extent that I like The Fall, I like them because of his words and his presence.

He was always a hoot in interviews – dropping his guard a little - but when it came to his more ‘formal’ public pronouncements (those on record, primarily), he always struck me more than anything as a kind of English working class equivalent of William S. Burroughs. That same calculated coldness, that total rejection of all human sentiment, as if he has put all feeling aside in order to aid the circulation of more urgent and practical ideas; hidden knowledge of such uncertain provenance and fiendish, coded complexity that more often than not it emerged hopelessly garbled from the lips of its cracked and lager-addled human medium.

As such, much of what he announced through a microphone during his career ended up sounding like the pronouncements of some malfunctioning, robotically generated emergency broadcast system – an unholy amalgam of guttersnipe slang, mythic/literary allusion, cut-up fragments of local newspapers, TV ads, council flyers, and sound-bites borne of idiots, slung back toward their originators like spiked balls, dripping with sarcasm and hate – absurdist slogans for an empty world.

Except that is, when it didn’t. Because he’s obviously not going to let some soft-brained cunt like me get a beam on what he’s really up to. Sometimes the words that poured out of him had a care and sensitivity, an attention to detail, a concise thematic focus to rival anything that ever came out between Faber covers.

None of this rubbish comes near to nailing him, of course. How could it? Like Burroughs, his was a mode of thinking so singular, self-contained and unprecedented that it impossible to boil down, contain, predict or catalogue. In the very frustration of its unevenness, it fascinates, and, in their determined refusal to adhere to any fixed viewpoint or cultural norm, his words remain far more dangerous and potent than those of any more conventional rock band front-person.

5.
My favourite album by The Fall by quite some distance is ‘Dragnet’. An unconventional choice, I’ll grant you, but that’s the one that really clicked with me. Full of spidery, quasi-Crampsian rockabilly twang, leering references to Lovecraft and M.R. James, psychic dancefloors and monsters on the roof, night-creeping pulp detective fantasies and nocturnal flights from justice… it’s the band’s “horror album”, and I love it as such. For each individual song, and for the consistent ‘feel’ they create, I think it’s an unheralded masterwork, and always enjoy digging it out a few times around Halloween.

In fact, it is MES’s fondness for macabre imagery and horror stories – and his prodigious skill for creating them – that most often gives me my way in. Of course this is mainly concentrated on ‘Dragnet’, but ‘Impression of J. Temperance’, off ‘Grotesque’, is startling too in this regard – perhaps my single favourite Fall song (although ‘New Face in Hell’ and ‘Dr Bug’s Letter’ are strong contenders). In songs like this, MES really goes *deep* into this horrifying macabre shit, way beyond yr usual ‘horror rock’ signifiers, creating tormented visions to match those of any post-Lovecraft/Ligetti horror scribe.

Taken in-and-of-themselves in fact, some of these songs put me in mind less of the thug-art groove juggernaut The Fall would become in the minds of many, and more of various other ultra-obscurist tentacle-shudderers who were lurking in the dankest corners of the UK underground at around the same time – The Shadow Ring, Rudimentary Peni or Una Baines’ post-Fall pagan cabal The Fates…. none of whom were ever likely to trouble the dreams of NME sub-eds or mainstream-indie radio programmers, you’ll note, which perhaps says something for Smith’s forty solid years of banging on the door with his complaints.

6.
Funnily enough, both ‘Spectre vs. Rector’ and ‘J. Temperance’ feature heavily in this article by Taylor Parkes about Mark E. Smith as a narrative writer, which I read the other day. It’s an excellent piece, and really gets to the heart of what I like so much about MES’s words. Recommended.

7.
That article also served to remind me how much I enjoyed Smith’s spoken word album ‘Pander Panda Panzer’ from 2002. With characteristic unhelpfulness, this was presented on CD in the form of a single sixty minute track, but John Peel was good enough to have one of his minions chop it up into manageable slices, which – finger on the record button as per usual – I loyally put on tape and subsequently enjoyed a great deal, wedged in-between doses of the retrograde garage-rock and plunderphonic/digi-grind carnage that comprised the lion’s share of Peel’s ’02 playlist.

Therein, I heard MES tell of how the nation’s football stadia were being refitted to take account of a surprise resurgence in the popularity of jousting, and note that the streets of certain gentrified quarters of Manchester were now crawling with “bat-eared twats”, communicating with each other through sonar. Elsewhere, he seemed to be describing scenarios for bleak, surrealist films of mysterious import, as if participating in the queasiest, most oneiric pitch meeting in Hollywood history.

Ever since, I’ve found myself wishing he might put The Fall aside for a few years to concentrate on writing, or speaking. Prose, verse, I don’t care – I’d buy it. Even a well curated lyrics book would be lovely. Clearly though, MES was never in the business of fulfilling anyone’s wishes, so why should be give a fuck for mine? As we can now appreciate more than ever, he clearly lived and breathed the ideal of The Fall, and had little time in his latter years to be distracted by tangoing with editors and publishing agents. Can’t say I blame him, but let’s hope there’re some good PAPERS they can get their fangs into once they smell a sellable, recently deceased name.

8.
Perhaps said PAPERS may once have been torn from the typewriter featured in the photo gracing the front of the mid ‘80s single cover I’ve used at the top of this post. Originally reproduced in the CD booklet for ‘This Nation’s Saving Grace’, this has always been my favourite MES/Fall photo, and I’m really glad I could find a scan of it (albeit, a pretty murky one) online.

Looking at it again after all these years, I wasn’t even entirely sure it was Smith at first – he just looks a little too handsome, that hair a little too curly… don’t you think? Careful comparison with other image results for “mark e smith 1985” make me fairly certain it is our man, but thought I’d best include this paragraph as insurance in case I’ve ballsed up and headed up an obit post with a picture of his (entirely hypothetical) brother or something.

Anyway – something about the wonderful mundanity of his working environment here – the giant mug of (cold?) tea, the pointedly displayed packet of crappy-looking chocolate biscuits and what looks like a letter from the council, as he sits there looking like the tormented accounts clerk for a haulage firm he might have been had – ahem – “punk rock” not got in the way…. It’s always struck a chord with me.

9.
Moreso than the kind of jarring shock and emotional outpouring that often follows the news that someone who(se work) you care about has died, what I’ve experienced this week has been a feeling I’ve unfortunately been required to become very used to in recent months: the slow realisation that something that has been there for the entirety of my life is now no longer there.

Whether you loved them, loathed them or were entirely indifferent to them, if you live in the UK and like music, you will have been aware of The Fall. You’ll have known that they were always there, somewhere in the background, usually putting out a new record or getting up to some low level, NME-headline generating mischief, always offering interested parties a cryptic, weaponised response to whatever fresh hell the world had been throwing at us recently.

Now - suddenly - they’re not there anymore. It might take some getting used to.

10.
The Fall Quote Generator. (Best used for divining purposes.)


11.
I just remembered an old friend-of-a-friend story from many years back, about how somebody knew somebody who had once seen Mark E. Smith crossing the road outside a venue where The Fall were playing. He described him as “..walking sideways, like a crab.”

R.I.P.

Labels: deathblog, Mark E Smith, The Fall