Thursday, December 21, 2006
Well it looks like I’ve broken my arm just in time for the season of merriment, after slipping on some invisi-ice. Don’t know what’s worse, the extreme pain or the fact I can’t play any of my records without them entering scuffsville this Crimbo (or should that be Grim-bo). Bollocks, looks like I’ll have to get used to the one armed life.
Anyways, be gone with all this grumpiness, been meaning to share this for a while now, a snippet of the
Friday, December 15, 2006
The Cobra Killer strike hard and fast with their album, '76/77' - a collection of venomous loops, grievously groovy hooks, samples and Teutonic accented chants. Zey most definitely haff vays of making us dance, laff and ov scaring ze pants off ov us!
Primarily (to date) known for their wine soaked, debauched and chaotic live shows and for having toured with the likes of Sonic Youth and Peaches, Cobra Killer cannot fail to continue to raise their profile if they carry on making music as good as this.
The album's not an easy journey though - and you'll have to pin back your ears (courtesy of the various 'swish-thunk' of thrown daggers which pepper the tracks) to get past the initial impression of kitsch mayhem - but the challenge is part of the ultimate pleasure, because what they're doing takes a pleasantly surprising and different slant on the sometimes rather hackneyed digital music scene.
Cut to the chase and listen to the killer track LA Shaker - a pure and fangy injection of neurotoxin as you'll ever get down your lug-hole and a track as catchy as a chameleon's tongue. Forget the fear of hooded youth, hooded reptiles like these are where the thrill of the unpredictable can be found.
by Winkcommander (who's PC is very ill)
Saturday, December 09, 2006
Friday, December 08, 2006
I just sat there mesmerised whilst Lisa Germano single-handingly recreated old favourites and freshly minted songs through her keyboards, guitar and of course, those breathy vocals that have only improved with age. Small Heads, Reptile, some tracks off Liquid Pig, In the Land of the Fairies (a dream come true for me), Golden Cities, Into Oblivion and a few others from her latest album – In the Maybe World. Oh this was just bliss, eyes shut, soaking up the atmosphere. Absolutely brilliant and worth the wait, even if the experience was a little short lived, also had a quick chat with her while she signed my poster – the sad fanboy I am!!!
Sunburned Hand were wow, or should I say WOW!!!, five guitarists (one of who was Hush Arbors’ Keith Wood and I suspect that Ben was in there too), 1 sax, a tree branch, an unholy thicket of electronic trinkets and assorted clatter, all on a mission to bend the contents of your skull. There was so much going on, it’s really hard to capture in words, so I’ll just give you a verbal snap shot and suffice to say it was a corker of a performance.
Sort of began with a swirling of electronics and rippling guitar fuzz, the branch was rhythmical drummed mid air, bells clanking like a herd of phantom cows, the groaning strain accumulating in momentum to form some crippled melody that mutated into a free for all noisefest, shooting images like synaptic staples into yer head, the sax becoming a dying bird, the player’s elbows like amputated wings. This slowly died away to rapturous applause, to reappear as a riffing electro –splutter, sewn to a stumbling ‘kraut rock’ stagger that you just had to let your body move to. They hit a hypnotic hook and staying with it, murky vocals crept around the edges like mouldy fingers. As I said, WOW!!!.
And the news is out that Mrs Cloudboy’s now a convert too, comparing their sound to the trippy element she loved from the likes of the orb (she’s such a mushroom child, and I love her for it!)
Scored this cdr from the boys ‘Live In Shit’ and it’s even better than Magnetic Drugs
Check this track out for size, shape or whatever…
Sunburned Hand of Man - Beaver Fangs.mp3
Six Organs of Admittance were more sedate on the whole, though there was some delightful guitar/bass explosions with the two guitars almost crashing into each other at one point. The line-up was Keith Wood on Bass, a member of Sunburned on drums (the curly haired one and sometime vocalist – must get his name one of these days) and Ben Chasny on vocals and lead guitar.
Didn’t know any of the songs, but that brew of heavy drums, cavernous bass, and darkly wrought cords worked for me, the main man’s vocals sweet nectar for the mind. Was a bit envious of Ben’s Sun 0 ))) guitar, the arcane scrawling of which caught the glint of stage lights in the semi darkness.
Tuesday, December 05, 2006
Presented by Architects of Harmonic Rooms
It was lovely to be back at Seymours, if somewhat saddened by spying a management note it was due to close in early January, I knew it was due to disappear back in August but this sort of thing brought it all home. Accompanied by Mr Olivetti and Avantgarde Man we arrived early, actually walking in on the band’s tune-up. Realising this, we killed a bit of time at the bar, playing a highly competitive game of table top football, where I developed a wicked spin technique that won some amazingly fluky goals. The gig wasn’t really well attended, only 30+ people turned up - probably a combination of it being a Monday and shite weather, but this just added to the warm and intimate atmosphere.
Morvern Callar was first up, playing a few tunes on her acoustic guitar. She was a great singer/songwriter with a breezy guitar style and sweet delivery, keeping a wry smile through-out her set, obviously enjoying every single minute. Amongst the songs she did, was one about her Scottish homeland, its lilting rhythm was cut across by some exaggerated sighs/ breaths matched by some equally fabulous fret sweeping, as if Larkin inspired. Larkin Grimm joined her for the last song, supplying an excellent bit of harmonising, something they both were practising in the sound check before the show, a delightful serenade.
Viking Moses, taken by the fact an old piano was at hand, dedicated most of his set to it, even though he did confess he couldn’t play one! Guess the 3 hrs of practicing before the show had helped him greatly. Although a bit rickety in places he was using the instrument sparsely and inventively enough to weave his troubadour magic. His sense of humour between songs was a killer too. Keeping a rhythm by hitting the piano side and tapping his foot, his other hand picked out the keys, while his voice veered into some dark territory as if possessed.
Switching to his electric he finished off his set, his guitar playing an ingenious blend of percussion and finger picking, those vocals reaching for the darkest regions of your brain.
Larkin Grimm started off her set with my favourite track of 2006, ‘The Last Tree’ (off her recent 'Secret Eye' release). Great finding out that it was written for Devendra Banhart to give him a sense of perspective. Lots of her new album was showcased plus some extra delights from her debut. Live, the lyrics seemed to be expanded on, reading like mini-novels, her symbolism more vivid and boy that voice was incredible. Her playing was very sparkly with semi-static inflections that twanged with that old country vibe.
When she switched to the dulcimer, her long fingers were bewitching as they filled the room with an exotic Indian raga, the slide of her other hand producing a strange country hybrid. She did a few tracks I didn’t recognise, one about flying on a dead owl, full of native American imagery and one of which was a ancient Bulgarian folksong, in which her vocals were reminiscent of the esoteric qualities of Lisa Gerrard (Dead Can Dance), the alien tongue making strange shapes in the air.
Mr Olivetti demanded an encore, which came in the shape of an audience participation version of 'there is a giant panther' with Larkin in accapello mode to our singing of the repeated line 'Where is the light?'. What a great end.
Required listening :
Larkin Grimm live at Terrastock Apr 2006
(please right click and dwld)