Subject: Re: languages/Emma/Curve vs. Garbage
Subject: Dreampop compilation? cocteaus, magnetic feilds,
Subject: And Also The Trees - Angelfish (review)
Subject: Emma/Garbage/Lulabox
Subject: Curve soundalikes
Subject: Re: Emma/Garbage/Lulabox
Subject: Emma the Cold?
Subject: Gescom?
Subject: for sale list
Subject: Subject:
Subject: Unrest's Hydro & hidden picture
Subject: Re: Unrest's Hydro
Subject: Re: Emma/Garbage/Lulabox
Subject: Re: Curve .... lulabox
Subject: Re: Dreampop compilation? cocteaus, magnetic feilds,
Subject: Re: Rasputina
Date: Sun, 8 Sep 1996 04:59:28 GMT
On Sat, 7 Sep 1996 10:29:49 -0400, hirvea vihrea
Date: Sat, 7 Sep 1996 21:58:35 -0700
this heading is way too long!
Hey I was wondering if any of you could help me out here. I
accidentally recorded over a dreampop comp. tape that someone sent me a
while back. If anyone recognizes the songs here could you tell me what
comp. they belong to?
Lazarus "Goodbye Horses"
Cocteau Twins "Circling Girls"
Versus "Know Nothing"
Sharkboy "Tiny Seismic Night"
Swirlies "House of Pancake"
Shift "Feels Like Morning"
Rosewater Elizibeth "What is Aching"
Difference Engine "5 listens"
Magnetic Feilds "100,000 Fireflies"
Bathers "Danger in Love"
I plan to pick a few of these artists CD's in the near future, except
for the Cocteaus. How can I like dreampoop and not the Cocteaus? I must
have a problem! I also recorded over Lush's "Rupert the Bear" and
"Chirpy Chirpy Cheep Cheep" I'm so stupid :|
Brian
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Date: Wed, 4 Sep 1996 02:42:10 -0700
thought there might be some List interest in this:
AND ALSO THE TREES
Angelfish CD MEZCD (1996) 46:13
Mezentian UK - BCM box 8098, London WC1N 3XX
brother fear
fighting in a lighthouse
the next flight to rome
paradiso
6th floor elevator blues
tremaine
sea change
roulette
the butcher's daughter
the lights of phoenix
missing
words/vocals - Simon H. Jones
guitar/organ/vibes/backing vocals - Justin Jones
bass - Stephen Burrows
drums/percussion - Nick Havas
trumpet - Will Waghorn
So aAtT still have that Chameleons/Nick Cave vibe. Not much new there.
But where did all this Chris Isaacs-style rockabilly swagger come from? If only
that was my ONLY problem with this album. :( Read on.
"Brother Fear" isn't much of a departure from _The Klaxon_. Insistent bass,
simple reverb-y guitar lines (think early Sad Lovers and Giants) fluttering in
and out, jazzy percussion, Simon's rich-as-a-Black-Forest-torte voice. It's nice
but somewhat average aAtT.
I'm not sure what to make of "Fighting in a Lighthouse." You'd expect to hear
this playing on Sailor and Lula's car radio in _Wild at Heart_. Twangy, swampy,
boogie-fied with some (welcome) bits of Justin's unique guitar shimmer. With the
choppy organ and the vocals this sounds like a Doors outtake. Yikes!
I've always been particularly fond of aAtT's instrumentals, and "The Next Flight
to Rome" is no exception. Beautiful! These are the lost children of Dif Juz. Not
quite as complex as the incomparable Thomas & Co. Lovely vibes (which make
anything wonderful - check out the new Dimitri From Paris CD!) and a hooky
step-climbing bassline which sounds like a start-stop take on "Mathlida"(!?)
Could have used a sax freakout in there somewhere, but I think aAtT are after a
simpler sort of beauty. Lights-out/slow-dance/curtains-drawn music.
"Paradiso" is a return to that Doors thing (you could practically sing the
opening to "Light My Fire" over the intro music!) - with a taste of Starlight
Ballroom atmosphere. First appearance of that trademark aAtT shuffle-rhythm, and
the trumpet is a welcome-but-underused element. Why Justin chooses to play
unrecorded 'Themes For Agent007' is beyond me.
You WILL melt when the harp ripples through, though.
aAtT have always had the most incredible lyrics - masterful sketches done with
words instead of paints. So the trite "Don't book a room above the 5th floor
when you stay at the Hard-Luck hotel. The ladders won't reach any higher. And if
you fell" of "6th Floor Elevator Blues" come as a disappointment. It's a shame,
too, because it's a great peace of music. A decrepit _Barton Fink_ aura, some
tastefully subdued wah-wah, and an overall Leonard Cohen feel. Not really what
you'd expect from aAtT, but it's fair to call it progress.
Back to the usual lyrical prowess on "Tremaine." One of the better pieces, too.
A genuine sense of development and drama. Simon gives his all on the vocals -
dead serious and intensely moody. The chugging guitars and folky ramble again
recall Leonard Cohen. But since when is that a BAD thing? Icily effective track.
Don't be too surrpised if you walk into a swanky restaurant and hear "Sea
Change" coming from the piano. It's definitive background music. The spotlight
is on a quiet and repetitive piano phrase and Simon's slightly monotonous
delivery. A guitar keeps threatening to intrude but doesn't manage to do so
until near the end. Too little, too late. Too bad.
Ah, but "Roulette" works perfectly. Everyone is in full effect here: The bass
locks into a mesmerizing groove, guitars twinkle over a bed of intricately
shifting organ chords, and Simon sounds like he's singing from afar, instilling
his voice with a touch of dreaminess. First melody which we can call
'memorable', too. Even at there prettiest, aAtT impart a delicious edge of
tension and unrest to their music. Something about this song is actually quite
jarring once you start thinking about it. Maybe it's that "your hands black as
the rain that falls... from the deep sleep i rise and walk with you" which is so
unsettling.
I generally prefer to hear a trumpet march in and lay waste to the musical
proceedings - like Del Crabtree's does on Bark Psychosis and Animals That Swim
songs. Will plays some pretty (flutelike) lines here and there, but he never
manages more than a shaded background presence. Say "farewell" to the shade,
Will, and strut your stuff. Diverse instrumentation is always welcome, and a
good blast of horn damage can do wonders for even the most elementary of tunes.
Which the instrumental "The Butcher's Daughter" isn't, but it's still lacking
something. I know I've heard this guitar part before: Sun and the Moon? The
Church? Morrissey? Nice, but familiar - and it doesn't 'go' anywhere. Am I
imagining things here, or has Steven not changed his bass groove from the
previous track. One puny trumpet squawk at the end isn't going to save this
retread. Sorry guys.
More '60s spy-film music (someone been listening to Minxus?!) on "The Lights of
Phoenix." Here it works. You REALLY don't know what Justin is going to do next,
so there's a little surprise and intrigue to each twist and chord change. Will's
tooing away again - barely. Simon's vocals seem extraneous. Maybe THIS should
have been an instrumental. Not bad, but nothing about which I'll write home.
Last track: "Missing." Are we going to get a smash-hit-Todd Terry-remix of this
one, too? ;-) Can we look forward to a Spring Heel Jack/And Also the Trees
collaboration in the future? I wish we could... SHJ might be able in use
_Angelfish_ as raw material, salvage a few seconds worth of loops, and use their
digital wizardry to transform some mediocre music into something breathtaking.
There's a bit of trumpet bleating on this, but it sounds forced and anemic. They
end the LP with a whimper, offering no payoff for the previous 10 tracks of
buildup.
And Also the Trees sound a little spent. Where do they fit in?
Tindersticks are doing the same thing now - and doing it MUCH better. Listen to
"Vertrauen II" on _Tindersticks II_. Simon is a finer lyricist/vocalist than
Stuart Staples, but at least the Tindersticks kick up a few dust clouds. aAtT
are just too laid back - they're going to get trampled in this musical climate.
I'm not looking for breakbeats (might be nice. tho...) or MOOG damage - but what
carried the 'Trees through so many albums sounds a little world-weary and
shopworn in 1996. _Angelfish_ is still a worthwhile album, but I'd advise
would-be buyers to spend their money elsewhere. Those new to aAtT should pick up
_Farewell to the Shade_. Those already in the know will probably buy _Angelfish_
despite what I've said. Either way, I hope I've provided some insight.
GuerillaG -
who CAN give a hearty two non-opposable-thumbs up to KIRK LAKE's _The Black
Lights_ (Che/'i' Records). It's everything aAtT tries to be - moody, blindingly
atmospheric, and seriously intense. It's also thoroughly MODERN - featuring
Rephlex's DMX KREW wi' some phat remix-action and a guest appearance by Roy
Montgomery (pumping in some blessed sheets of organ noise). Lake is
predominantly a spoken-word artist, so expect to hear some rambling neo-beat
prose n' poetry amid the wonderful sounds.
But I'd love to hear aAtT try something as breathtaking as the 13+ minutes of
"Dementia Pugilistica." I won't hold my breath.
Date: Sun, 8 Sep 1996 11:49:50 -0400
>>
>>Well, maybe if you did smile (of your own volition) a bit more often, you
>>wouldn't appear to have all the charm and warmth of a frozen haddock.
>
>Oh I say! That's more than a little cruel, not to mention bitchy!
But come on, just look at her! What makes her think she has to be all icy
and distant - because she thinks it looks cool?
>First off, I agree that Garbage sound like Curve-light, although I am
>merely basing that assessment on having heard the 3 or so songs that
>Garbage has released to Mtv and radio.
FOUR singles from one album. Now that's what I call overkill.
>And speaking of Curve-light bands, did anyone else hear a disc a couple
>years ago by a band called Lullabox?
I got a promo tape of Lulabox a couple of years ago and yeah, they were
Curve-lite and nothing very memorable.
Larry
Date: Sun, 8 Sep 1996 13:57:00 EST
think Garbage sounds like Curve? check out Chainsuck! Curve,
CT and MBV all rolled into one.
Date: Sun, 8 Sep 1996 20:17:21 -0400
On Sun, 8 Sep 1996 11:49:50 -0400 hirvea vihrea
Date: Sun, 8 Sep 1996 12:29:13 -0700
> But come on, just look at her! What makes her think she has to be all icy
> and distant - because she thinks it looks cool?
Just because someone doesn't smile all the time
doesn't have to mean that she's icy and distant,
just reserved. She's probably having the time of her life
playing up there, but it's just her style not to show it.
I can relate to that, since that's pretty much how I am most
of the time. And believe me there's nothing more annoying
than someone trying to get you to "cheer up" and look
more like your having fun when you're feeling just fine and
it's not possible for you to be a 'life of the party' type.
So then you're ignored and it hurts.... Anyway, don't think
of "us" as cold and uncaring. We're not. It's just that
we don't know how to appear any other way!
| Brant Nelson | 1817 Corinth Ave. #10 | open your eyes
| Dewdrops Records | LA, CA 90025-5567 | to northern skies
| Uncommon music that deserves to be heard |
| http://www.astro.ucla.edu/students/nelson/dewdrops.html
Date: Sun, 8 Sep 1996 16:06:27 +0700
Hello all,
Can anyone tell me where I might be able to find any (all) Gescom (autechre
+ friends) disc(s)? I have been searching for far too long and haven't
even been able to locate the EP.
Anyone? Anyone? Bueller? Bueller?
Thanks,
Chad
Date: Sun, 8 Sep 1996 15:25:14 -0500
i'm selling these cds...a lot of these bands have been mentioned on these
two lists -- thus the crosspost...minimum bid is $3 unless otherwise
stated...i'm also interested in trades, so if you want to trade, just
e-mail me...
the apples in stereo: fun trick noisemaker (on spinart)
frank black: frank black
brian eno: fractal zoom ep (10 tracks, many remixes, some by moby)
the glove: blue sunshine (robert smith and steve sevrin)
the nightblooms: the nightblooms
the nightblooms: 24 days at catastrophe cafe
red house painters: songs for a blue guitar
various artists: beneath the icy floe (a projekt sampler)
various artists: detroit electric (a compilation of detroit noise bands)
here are a few i'm looking for:
ecstasy of st. theresa: that czech-only ep they released before fluidtrance
field mice: coastal
that's all,
BiZ
Date: Sun, 8 Sep 1996 18:02:19 -0400
it's all but a compilation...
Date:
Sun, 8 Sep 1996 10:02:13 PST
From:
[email protected] (Randall L. Johnson)
[email protected]
To:
Multiple recipients of Date: Mon, 9 Sep 1996 08:36:06 +1000
G'day,
Just picked up a copy of Unrest's 'Cath Carrol' CD single (or EP or
whatever it was), from a local second-hand CD store here in Oz for $1.
Yee-har! Anyway, it has a remix of 'Cath Carrol' from 'Perfect Teeth'
(which sounds just like the original to my ears, with weird noise at the
end), a cool toon called VIBE OUT, and a poppy toon called 'Goodbye'
(since they were breaking up, I suppose?).
What really made me buy it, though, was the last track, a 33-minute
toon called 'Hydro'. Now I thought that rock bands making elongated
pieces went out around 1974 with Yes/Genesis/ELP (shudder!). This one's
not too bad though: it sounds like a jam session that just forget to stop
somewhere along the line. In fact, it didn't lose my interest at all. So
there you go.
This got me wondering: I know that a lot of ambient/electronic artists
are making elongated pieces (Orb/Juno Reactor/etc). In fact, just the
otherday I managed to pick up a second-hand CD copy of Eno's 'Thursday
Afternoon', which clocks in at 61 minutes (BTW, Micheal Brook is
mentioned on this toon, but I didn't hear any infinite guitar. Or does he
just do production?).
But what about 'rock' artists/groups making long pieces? Is this still
regarded as pompous/pretentious twaddle? I only know of a few pieces like
(pop song with 20-minute burn-out), and Spacemen 3's 'DreamWeapon' (a
43-minute drone). As well as this, I picked up Tortoise the other day
too, which had 'DJ'ed', at 20 minutes. But this veers a bit *too* close
to prog-rock for my liking.
So: are we seeing (eek!) the return of prog-rock? or are such pieces
valid on an artistic/expermimental basis? Just how far can this go? What
other similar 'rock' songs exist out there, that are basically one
extended song (as opposed to the prog-rock 'suites' of songs that segue
into each other)? Was 'Hydro' the longest 4AD song? What was the longest
song ever? (I saw a Klaus Schulze CD once, which has a 78-minute toon -
boring!)
Anyway, enough of this rant. My second question is this: the copy of
'Cath Carrol' I picked up was a digipak, and behind the black plastic bit
that holds the CD is a photograph of ... something. I may be wrong, but I
think that I can see a hand, and someone's willy. Has anyone ever opened
this digipack up and seen the whole photograph?
Cheers,
Geoff
Date: Sun, 8 Sep 1996 19:52:10 -0700
Geoff Elgey wrote:
> Was "Hydro" the longest 4AD song?
Hmmmm... Isn't "Clear Skin" by INSIDES (TU7CD) the longest 4AD "song"???
It runs for around 38:03...
Jeff Keibel
Toronto, ON
CANADA
[email protected]
Date: Sun, 8 Sep 1996 18:54:46 -0500
On Sun, 8 Sep 1996, hirvea vihrea wrote:
> >>>Emma: "I HATE it when people tell me to smile!"
> >>
> >>Well, maybe if you did smile (of your own volition) a bit more often, you
> >>wouldn't appear to have all the charm and warmth of a frozen haddock.
> >
> >Oh I say! That's more than a little cruel, not to mention bitchy!
>
> But come on, just look at her! What makes her think she has to be all icy
> and distant - because she thinks it looks cool?
Not everyone has a smile painted on their faces.
So she doesn't smile as often as some. Doesn't it make it oh so
special when she does so spontaneously, rather than by request?
And such a lovely smile as well.
I can't stop listening to Talulah Gosh. I hate myself for listening
to reissued music, makes me feel more the ol' geezer. But oh well,
the stuff rules, i don't see how anyone can resist 'em.
kagin
Date: Sun, 8 Sep 1996 20:19:59 -0400
yeah I heard that Lulabox business... though I cant say the disc was
worth keeping. Very Curve, but without being curve.