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  • The Chameleons - Script of the Bridge (1983)

    Abr 8 2009, 0h05



    Track listing:
    1. Don't Fall
    2. Here Today
    3. Monkeyland
    4. Second Skin
    5. Up the Down Escalator
    6. Less Than Human
    7. Pleasure and Pain
    8. Thursday's Child
    9. As High as You Can Go
    10. A Person Isn't Safe Anywhere These Days
    11. Paper Tigers
    12. View from a Hill



    The Chameleons were a Manchester-based band that played a lush style of post-punk that would be influential on many later art rock and dream pop outfits, including the popular Interpol. The core band members were bassist and frontman Mark Burgess, guitarists Dave Fielding and Reg Smithies, and drummer John Lever. They split up after recording three full-length albums, but they briefly reunited in more recent years for some concerts and new recordings. Some of the members also released solo work and were involved with bands such as The Reegs and The Sun and The Moon.

    Script of the Bridge is a stunningly dark and beautiful album that explores many different moods and feelings. The more upbeat songs remind of The Cure's early efforts, although songs like "Don't Fall" and "Paper Tigers" shed some of the unabashed post-punk aggression and gothic atmosphere found on those albums in favor of warmer feelings and emphasis on beautiful melodies and soundscapes. Fielding and Smithies masterfully craft beautiful textures that envelop the listener in a dreamy wall of sound, while Burgess delivers a vocal performance that ranges from passionate to desperate as necessary. Alistair Lewthwaite provides a final touch, tastefully played keyboards that add another dimension to the album. Overall, the band is very tight and they really play well together.

    The main lyrical themes seem to be the struggles of the band and the members' early lives in Manchester. My favorite song on the album is "As High as You Can Go," which tells the story of the band's difficulty in signing with a record label without being forced to compomise their integrity and musical vision:

    Out of tune boys
    Out of tune boys
    Signposts to the sun
    Single file boys
    Single file boys
    Signposts to the sun
    As high as you can go
    Lennon to Monroe
    Claw their way to the stars
    As high as you can go
    Lennon to Monroe
    Claw their way to the stars
    I think they knew
    And I don't care who you are
    Just sign the line and away you fly


    Sometimes the band favors a more paced approach, adding a dreamy, psychedelic haze to their music. "View from a Hill" demonstrates this with great success, and gives us a glimpse into the approach they'd take on their subsequent albums. These boys were clearly schooled on the arty, intelligent pop of The Beatles and David Bowie.

    Script of the Bridge is a much overlooked album that is an essential part of the British post-punk movement. You can still hear the impact of The Chameleons in many newer bands even today, but they have yet to be equaled at their craft. It's not just a trick of the light. This album is an absolute classic that is not to be missed.
  • Rome - Masse Mensch Material (2008)

    Abr 7 2009, 2h25



    Track listing:
    1. Sonnengötter
    2. Der Brandtaucher
    3. Das Feuerordal
    4. Der Tote Spielmann
    5. Wir Götter Der Stadt
    6. Die Nelke
    7. Der Erscheinungen Flucht
    8. Die Brandstifter
    9. Kriegsgötter
    10. Wir Moorsoldaten
    11. Neue Erinnerung
    12. Nachtklang



    Rome is a Luxembourgian project that blends influences from neofolk, martial industrial and other musical styles together. Rome is the project of Jerome Reuter, although Patrick Damiani also contributes ideas and is now considered a full member of the project. Rome's music is intelligent and meticulously arranged, displaying a level of intricacy not usually seen in modern music. Unlike some other acts in the neofolk and martial music scene, Rome proudly displays the phrase "MAKE ART - NOT WAR" on their MySpace.

    Masse Mensch Material is a work of immense craftsmanship and vision. Reuter's passionate, commanding vocals and lyrics combine with acoustic folk music and influences from martial industrial and military pop. "Der Brandtaucher" and "Kriegsgötter" showcase a heavy martial influence, while "Das Feuerordal" and "Neue Erinnerung" are beautiful songs based around acoustic guitar. The music is textured and immersive, sometimes accentuated by samples from movies or other sources. The lyrics touch on a variety of subjects, such as love, politics, war and betrayal, sometimes covering more than one of these subjects in the same song:

    Our cause so sweet and bitter
    Has lost its hard blood glitter
    It remains afloat on the waves
    When anger fills our sails
    Mutinous for the space of a second
    You prayed and feared and beckoned
    Now your heart is pounding away
    Just like mine

    Should I accept this out of kindness?
    Should I reject it out of shyness?
    Your sleep is stabbed by dreams
    Just like mine
    Should I accept this out of kindness?
    Should I reject it out of shyness?
    Your gift so pure and sweet
    Unlike mine


    Reuter's voice often reminds of Nick Cave, although he also provides an obvious homage to Tom Waits' on "Die Brandstifter." Although he sometimes seems to channel the spirit of these legendary singer-songwriters, his voice still manages to be as distinct as his musical vision.

    This album comes together as a nearly flawless statement from a powerful musical project. It's rare to see this level of care and commitment to creating a cohesive work of art. The real beauty of Masse Mensch Material lies not in the strength of the individual compositions, but in the way they fit together to create a complete whole. Fans of Death in June, later Swans and Ordo Rosarius Equilibrio will most likely find this album refreshing and memorable.
  • Nazxul - Totem (1995)

    Abr 6 2009, 17h17



    Track listing:
    1. Totem
    2. Watching and Withering
    3. I Awaken (Amongst Them)
    4. Unearthed
    5. Vermis Mysteriis
    6. Hatred
    7. Endless Reign of Power
    8. Distance Begins
    9. Amidst the Flames
    10. End
    11. Eternum



    Nazxul is a black metal band from Australia. Since its inception, this band has been shrouded in secrecy. Their releases are few and far between, with Totem being their only full-length offering to date.

    Nazxul's musical style reminds of early Emperor taken to a new level of extreme aggression. Their musical style incporates intricate guitar and keyboard melodies with thrashier, more aggressive sections and distorted, evil vocals. The vocals are of particular interest, a seemingly endless array of sinister whispers and inhuman growling.

    Well-suited for such an obscure project, Nazxul's lyrics touch on occult and mystical themes. The album's title track is a good example of their lyrical vision:

    The seal of wonder
    The mark in blood
    The one true symbol
    Of everlasting fear

    They will find it, they will fear it
    The mighty mark
    In bloody merciless madness

    Totem
    Thy mark, my mark
    The winds will speak, when the storms die


    Throughout the album, Morelli and Mitchell create some truly memorable riffs and melodies, with bassist Adrian Henderson fortifying their efforts with a solid backbone. Henderson also provides tasteful, intelligent keyboards that add another dimension to the album. Backovic's vocals seem to know no bounds, assaulting the listener from every angle.

    While the entire album is powerful and consistent, "I Awaken (Amongst Them)" and "Distance Begins" strike me as being particularly ferocious and powerful examples of Nazxul's musical vision. The album closes with a long interlude consisting of a recording of a thunderstorm, but Nazxul treats their fans to a new recording of "Hymn of a Dying Moon" from their demo before dissolving back into the shadows. Totem comes heavily recommended to fans of intelligent, complex black metal bands such as Abigor and Lunar Aurora, although most fans of extreme metal will find something to enjoy here.
  • The World of Skin - Ten Songs for Another World (1990)

    Abr 3 2009, 1h55



    Track listing:
    1. Please Remember Me
    2. Drink to Me Only With Thine Eyes
    3. The Child's Right
    4. Everything for Maria
    5. I'll Go There, Take Me Home
    6. Black Eyed Dog
    7. A Parasite and Other Memories
    8. Dream Dream
    9. You'll Never Forget
    10. Mystery of Faith



    The World of Skin was the project of the core members of Swans, Michael Gira and Jarboe. Originally going by the name Skin, this project was conceived in the 1980's to record two albums, one each to showcase the strengths and singing of Gira and Jarboe respectively. Ten Songs For Another World gives us a new take on this approach, with Gira and Jarboe instead taking turns singing.

    Dominated primarily by acoustic instruments, this album is a continuation of the musical style found on the first two Skin albums. Having always shown an ability to adapt and combine different musical ideas, Gira and Jarboe come up with a unique blend of acoustic folk music and the post-punk soundscapes of Swans. This album has a very intimate feeling, although the warm sound often contrasts with the often dark lyrics and vocal performances.

    Gira brings along his refined baritone singing and provides some very memorable and moody pieces, with "A Parasite and Other Memories" being a favorite of mine. One of many songs that deal with unsavory people who have earned a bit of personal dislike from Michael Gira, the lyrics absolutely seep with bile:

    Now you imitate and you vulgarize
    Everything you'll never be
    And you're rewarded by the crowd for your fake and ugly mediocrity
    So go, fat parasite, go
    But be sure to be obscene
    Go lick the poison from your fat fingers
    And suck your purple money clean

    And you who were so careful
    Not to every really cross the line
    Your violence was insipid
    And your bliss, it was plagiarized
    So go, you never knew me, go
    Be sure to make the scene
    Go mistake me for a fool
    Now your memory's forever tainted to me


    Gira is at his most morose, also performing excellently on the great "Please Remember Me" and "You'll Never Forget." His vocal style is particularly suited to this style of music, and he would continue to explore intimate folk music in his later work, including The Angels of Light.

    Jarboe is her usual twisted self, singing songs as diverse as the beautiful "Everything for Maria" and a disturbing freak folk take on Nick Drake's "Black Eyed Dog." The last song on the album is "Everything for Maria," which is my favorite Jarboe contribution to the album and a wonderful way to end such a diverse and haunting work of art.

    Gira and Jarboe unsurprisingly succeeded once again in evolving as musicians and creating a new and unique album that is worthy of being including in the Swans-related project back catalogue. This often overlooked album comes totally recommended to any fans of Swans, Michael Gira or Jarboe's work, or open-minded listeners who are looking for an intimate album that evokes a wide variety of feelings.
  • Joy Division - Unknown Pleasures (1979)

    Mar 31 2009, 20h15



    Track listing:
    1. Disorder
    2. Day of the Lords
    3. Candidate
    4. Insight
    5. New Dawn Fades
    6. She's Lost Control
    7. Shadowplay
    8. Wilderness
    9. Interzone
    10. I Remember Nothing



    In the late 1970's, Joy Division stood out from nearly every other band recording music. Emerging from the UK punk scene, Joy Division, along with other pioneering acts such as Public Image Ltd. and Magazine, played a style of music that was not punk rock, although it was heavily inspired by punk's energy and ethics. This new music was branded as post-punk. Unlike the punk rockers, post-punk bands were not afraid to experiment with more complex and unusual song structures and elements from other styles of music.

    Joy Division's music is a landscape built upon the foundations of Peter Hook's driving basslines interwoven with Bernard Sumner's sparse, metallic guitar structures and Stephen Morris' mechanically precise drum patterns. Coupled with the brilliant production of Martin Hannet, this provides a suitable backdrop for Ian Curstis' haunting vocals and rambling, introspective lyrics. Curtis' often rambling, deeply personal lyrics give us a unique look into his mind as he progressed into the depression that would lead him to commit suicide just a few years later.

    Unknown Pleasures is something of an enigma. The album cover is deliberately unusual, containing an image from a chart displaying 100 successive pulses from the first know pulsar, PSR B1919+2. There is absolutely no tracklisting on the outside of the packaging, merely a blank table where one would be expected. Peter Saville and Christ Mathan managed to get it right, creating a distinct cover for a distinct piece of music.

    Everything on this album is crisp and clear, with Hannet's production work allowing everything to be surprisingly spacious while still sounding powerful and intimate when necessary. The tight, groovy basslines and harsh, icy guitars work really well in this setting. Hannet always paid special attention to the drum tracks, ensuring that they were laid down as clean and precise as possible. The band makes wonderful use of the brilliant production, interspersing upbeat, punky numbers like "Disorder" and "Interzone" with somber, almost gothic songs such as "Candidate" and "I Remember Nothing."

    "New Dawn Fades" is perhaps a standout track for me, with its haunting introduction and powerful, moving vocals from Curtis. In retrospect, the lyrics are particularly chilling:

    A change of speed, a change of style
    A change of scene, with no regrets
    A chance to watch, admire the distance
    Still occupied, though you forget
    Different colors, different shades
    Over each mistakes were made
    I took the blame
    Directionless, so plain to see
    A loaded gun won't set you free
    So you say...


    Along with this, the album contains other certifiable classics such as "Shadowplay" and "She's Lost Control," the latter song telling the story of a woman who is plagued by fits of epilepsy similar to those suffered by Curtis himself. Hindsight only makes Ian Curtis' story surprisingly obvious and all the more tragic.

    Joy Division was never afraid to explore new territory, and Curtis gave them the charm and sincere honesty that earned them their place among legends. This album is absolutely essential, and a monument to innovation in music. Despite the band's lifespan being relatively short, their impact on music is still felt even today.