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NEWS Bone Machine | 31-Years Since The Pixies Surfer Rosa

Bone Machine | 31-Years Since The Pixies Surfer Rosa

21st of March 2019, 10:15

This day thirty-one years ago, The Pixies released their debut long-player, the sublime Surfer Rosa. The very beginning of the postmodernist, alternative rock movement started with the kick drum of ‘Bone Machine’. A deep-drenched surrealistic track of singalong pre-grunge, with former member Kim Deal echoing the direct screamed vocal of Black Francis.

A brutal mix followed with themes from voyeurism to mutilation, all wrapped in sonic bursts of finely constructed melodies. The sound of Surfer Rosa is a cross of-surf-rock, punk, psychedelic-a mixed with torrential noise and the very twisted lyrics. It slapped in the face more taboos than the Velvet Underground. It is no wonder then that The Pixies were the band which would ignite the flames of Nirvana, Blur, Radiohead and The Strokes. They became the most influential band of the nineteen-eighties, in a very short space of time. And Surfer Rosa was where it started.

The magic of Steve Albini (Nirvana, PJ Harvey ) captures perfectly the raw-assault of The Pixies, whilst the song may be simple in construction, the abstract way in their creation makes them further complex.
This is the album which will remain a classic of the twentieth century, The Velvet Underground And Nico movement of modern times.



Original 1988 Track List;
1. “Bone Machine”

2. "Break My Body"

3. "Something Against You"

4. "Broken Face"

5. "Gigantic"

6. "River Euphrates"

7. "Where Is My Mind?"

8. "Cactus"

9. "Tony's Theme"

10. "Oh My Golly!"

11. "Vamos"

12. "I'm Amazed"

13. "Brick Is Red"


Gigantic;

And this I know his teeth as white as snow
What a gas it was to see him
Walk her everyday into a shady place
With her lips she said
She said, "Hey Paul, hey Paul, hey Paul
Let's have a ball
Hey Paul, hey Paul, hey Paul
Let's have a ball
Hey Paul, hey Paul, hey Paul
Let's have a ball"
Gigantic, gigantic, gigantic
A big, big love
Gigantic, gigantic, gigantic
A big, big love
Lovely legs there are
What a big black mass, what a hunk of love
He'll walk her every day into a shady place
Like the dark, but I'd want him
"Hey Paul, hey Paul, hey Paul
Let's have a ball
Hey Paul, hey Paul, hey Paul
Let's have a ball
Hey Paul, hey Paul, hey Paul
Let's have a ball"
Gigantic, gigantic, gigantic
A big, big love



Kevin Burke March 2019


NEWS Today it’s been 29 years since Nitzer Ebb released their third studio album Showtime!

Today it’s been 29 years since Nitzer Ebb released their third studio album Showtime!

20th of March 2019, 10:16

Today it’s been exactly 29 years since Nitzer Ebb released their third studio album Showtime on Mute Records (STUMM 72 / 20 March 1990).

Soundwise Showtime balances their trademark aggressively sparse EBM rhythms with a less industrial and slightly more subtle synth-pop approach. The album as a whole has a very cohesive, uniform sound, despite each song being very unique, ranging from the more EBM-like Rope to the almost Industrial-Rock-ish Getting Closer.

Three singles were taken from this album and released separately, 'Lightning Man', 'Fun To Be Had' and 'Getting Closer'.

The album opens strongly with probably one of Nitzer Ebb most played underground dancefloor fillers, 'Getting closer', a very powerful song indeed. 'My Heart' is a very gloomy song with Douglas McCarthy singing full with rage and paranoia with an almost apocalyptic song ending. The excessive different musical influences emerge throughout the whole album, resulting in a blues-ish crawling 'Nobody Knows' and the with subtle rhythm shifts and orchestrations filled 'One Man's Burden'. More experiments in all 'All Over', while maintaining a slightly uptempo, but dancable beat. Also the use of a 7/8 beat rhythmn of 'My Heart' is an interesting experiment.
'Lightning Man', the first and previously released single from this album, is probably one the most melodic, jazzy and mesmerizing songs ever to be released by Nitzer Ebb. While next track 'Rope' is clearly one of the darkest songs in this ShowTime album. 'Hold On' has an intriguing, layer-by-layer buildup and maybe the most interesting beat on this album. The album closes with the straightforward EBM sounding track 'Fun To Be Had'.

Showtime - Tracklist

Getting Closer
Nobody Knows
One Mans Burden
All Over
My Heart
Lightning Man
Rope
Hold On
Fun To Be Had

DISCOGS


NEWS Just One Fix | Seventeen Years Since Ministry Unleashed Sphinctour

Just One Fix | Seventeen Years Since Ministry Unleashed Sphinctour

19th of March 2019, 10:16

Seventeen-Years ago today, Ministry released their live album Sphinctour, a collection of tracks recorded on their 1996 world tour in support of the album Filth Pig. This was Ministry’s third solo album, while not their most popular, it does provide a time-capsule moment into the live performance of a band at the height of their powers.

This live performances is absolutely precise and perfectly represents the Ministry full, vast sound of chaos and noise. It is thoroughly un-dubbed, no studio tinkering in the process aftermath.

Recorded direct to the two-track system, this is the sound of Ministers naked and raw, spitting fire under the glare of a spotlight.

The collision of industrial intensity and thrashed- out guitar cranks is enough to unsettle the nerves as the listener is pulled into the world of Al Jourgensen. The real magic to this release is how much better the Filth Pig tracks sound in a live setting, at times transcending the studio release. It may not be for everyone but Sphinctour has become an essential Ministry release.

Track List;
(Complete)

1. "Psalm 69" (Elysée Montmartre, Paris) 5:04
2. "Crumbs" (Congress Center, Stuttgart) 3:54
3. "Reload" (Convention Center, Albuquerque) 2:33
4. "Filth Pig" (Varsity Arena, Toronto) 6:30
5. "So What" (The Warfield, San Francisco) 9:45
6. "Just One Fix" (Aragon Ballroom, Chicago) 4:38
7. "N.W.O." (Hollywood Palladium, Los Angeles) 6:04
8. "Hero" (Gaswerk, Hamburg) 2:38
9. "Thieves" (Mercer Arena, Seattle) 5:14
10. "Scarecrow" (Jesolo Beach Festival, Venice) 7:56
11. "Lava" (Dour Festival, Brussels) 8:43
12. "The Fall" (Brixton Academy, London) 8:02
13. "Stigmata" (Roseland Ballroom, New York) 9:14
Track 5 and 13 not included on CD release


Al Jourgensen - vocals, mandolin ("Reload"), harmonica ("Filth Pig"), guitar ("Just One Fix", "N.W.O."), production
Paul Barker - bass guitar, keyboard bass ("The Fall"), production
Rey Washam - drums
Louis Svitek - guitar
Duane Buford - keyboards
Zlatko Hukic - guitar

Kevin Burke March 2019


NEWS Today, 39 years ago, Joy Division released 'Licht und Blindheit'.

Today, 39 years ago, Joy Division released 'Licht und Blindheit'.

18th of March 2019, 10:17

Today, 39 years ago, Joy Division released "Licht und Blindheit" (Light and Blindness). Originally released on 18 March 1980 by the French label Sordide Sentimental as a France-only single release. It was limited to 1578 copies and featured the tracks Atmosphere (A-side) and Dead Souls (B-side).

Following the death of Ian Curtis in May 1980, "Atmosphere" was released as a single along with She’s Lost Control.

The single was re-released in 1988 to coincide with the release of the Joy Division compilation album Substance. The video that came with this re-release of Atmosphere was directed by Anton Corbijn.

Copies from the one and only original numbered limited edition pressing have been traded for prices well over €1000 on the internet. So, if you happen to come accros this record on a recordfair, it's more likely you found one of the nine bootleg pressings that have surfaced in the following decades.

Atmosphere - Lyrics

Walk in silence
Don't walk away, in silence
See the danger
Always danger
Endless talking
Life rebuilding
Don't walk away
Walk in silence
Don't turn away, in silence
Your confusion
My illusion
Worn like a mask of self-hate
Confronts and then dies
Don't walk away
People like you find it easy
Naked to see
Walking on air
Hunting by the rivers, through the streets, every corner
Abandoned too soon
Set down with due care
Don't walk away in silence
Don't walk away

(Bernard Sumner / Ian Curtis / Peter Hook / Stephen Paul David Morris)

DISCOGS


NEWS The Ignition Of Irish Punk | The Radiators From Space

The Ignition Of Irish Punk | The Radiators From Space

17th of March 2019, 17:16

The ripple felt around the globe in 1977 from New York to London, The Ramones to The Sex Pistols, the aggression and angers built in the youth culture could not be contained any longer and the last remnants of the hippy dream was extinguished with a flamethrower of angst.

The Radiators From Space landed at the right time and the right city, cut with a blade of stinging guitar into the right audience.

They had inspiration, the 'Troubles' in Northern Ireland, the lack of jobs in the cities, the depressive atmosphere was finally given a voice, an album, suddenly an anthem grew from the littered streets. The album, 'TV Tube Heart' is an unequivocal masterpiece, make no mistake, and they did on this recording, the perfection lies in the imperfect delivery.

Not well honed or soaked with perfection, but then again neither is life. This is what the album mirrored in a time capsule of angst, Dublin- in -1977 and the atmospheric, downtrodden mood of the inner city.

The album opens with the distorted screech of feedback but nobody cared about the delivery as they got caught up in the speeding juggernaut of free speech.

Up until this point we were subject mainly to the lush sounds of progressive rock, organ and keyboard driven music with complex structure and melodies, when this album arrived it dragged away that format from the streets of the capital and replaced it with simplicity, of two guitars, one set of drums, one singer and one bass player, the only organ to be had been held back behind a ripped, dirty pair of jeans.

This was music so basic it could easily be repeated when young kids picked up instruments and so its influence spanned across a generation of musicians, not to put together a punk band but to play an instrument and in turn finding another type of escapism. This was the cause and reaction in its most direct form held together with the glue of; Philip Chevron, Pete Holidai, Steve Rapid, Jimmy Crashe and Mark Megaray.

The signing to the UK Label Chiswick in 1977 was a turning point and meant distribution outside of the island, within the island however the debut single 'Television Screen' became the first and one of the few true punk releases to break the Irish top twenty, proving their arrival was well-received, not just by critics but the actual buying public, heightened by their support of fellow Irish man Phil Lynott and his band Thin Lizzy on their Bad Reputation tour across the UK.

Then there is the follow-up, sometimes they do not match the intensity of the debut album, they lack at times the hunger, in this case however it is the opposite. With the departure of forming member Steve Rapid, which only led to a shortening of the name to simply the Radiators and under the watchful eye of Bowie supremo Tony Visconti the now four piece reconvened to record the staggeringly brilliant 'Ghostown'.

A concept album of sorts, drenched with heavy theme of society, force-fed paranoia and the isolation felt through the working classes; 'Who Are The Strangers', ‘Walking Home Alone Again', every note licked the grime from the streets of Dublin in the 1970s and was immediately hailed as one of the most important releases of the era. An importance not translating In sales and the band dissolved shortly afterwards after a relocation to London in an attempt to heighten the public attitude towards the band.

The following is a brief Question and Answer session with Pete Holidai, guitarist with The Radiators From Space and The Trouble Pilgrims.

What drove you as a person to the punk style of music? Was there a particular event you witnessed, a band or even a particular song?

PH;”My first real Interest in music was the Glam-Rock era of the early seventies T. Rex, Bowie, Roxy Music in particular-guitar music that was full of energy was always a style I was drawn to although like most 'Punks' we like the occasional tearjerker”.

Do you feel that The Radiators debut album ‘TV Tube Heart’ is more so a result of the environment than any outside musical influences?

“It was recognized by the UK press as an Irish version of Punk where our anger was focused at our reality...the church, the politician, the guard and the other so called pillars of society..we needed to be free from their shackles of emotional oppression”.

What do you think is the high-point in the career of The Radiators?

”All of it. The very fact we created and lead the scene in Ireland before leaving these shores to seek our fortune just like those before us..’TVTH’, ‘Ghostown, ‘Trouble Pilgrim’ and ‘Sound City Beat’ is our legacy”.

Looking back do you feel The Radiators achieved what they set out to do?

”Yes we did, we helped kick this God-forsaken island into the 21st century”.

Why do you think that a band who brought out an album of such a high quality as ‘Ghostown’ did not make it bigger?

”The reality is you need major financial backing to reach the bigger audience via marketing etc...however we were released in all the major territories via licensing deals”.

The sensational release by the Trouble Pilgrims ‘Dark Shadows And Rust’ is available on Vinyl and CD for their website.

http://www.thetroublepilgrims.com/

Kevin Burke - February 2019

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