27/02/2007

 

The Earlies - The Enemy Chorus (2007)



The Earlies sophomore effort The Enemy Chorus is a hypnotic voyage through a largely aphotic locale with unpredictable bursts of light and sound - perhaps amidst the heavens, or maybe under our own feet. The album comes from a darker and less familiar place than their pop tradition-steeped debut These Were The Earlies (released by Secretly Canadian in 2005). While no less beautiful than that record, The Enemy Chorus carries a greater feeling of uncertainty, longing, anxiety, and sadness. However, these tonal changes did not happen overnight, as the seeds were planted in the sunny, pastoral pop fields of that first album. The Earlies started as a recording project, with the four core members swapping tapes and trading files from their home studios. Over time, the vision grew, as the core of four enlisted the help of other musicians to translate their music to a live show - at times featuring 12+ musicians.

The group's production skills have been greatly refined - at times, reminiscent of Nigel Godrich's great layered atmospheres. The approach to recording is essentially the same, though, and the distinct "Earlies sound" remains intact. Their listening habits changed considerably between the recording of the two albums - exploring the depths of progressive and krautrock. Influences range from the essential work of Faust, to prog greats Gentle Giant, to the musique concrete madness of Jean-Claude Vannier.

The Enemy Chorus would not be truly complete without the right artwork. For that task, The Earlies called upon Michael England. After repeated listens to the album, England delivered the perfect visual accompaniment. The group can best explain it themselves: "He discovered the hidden concept album within, and the whole album made more sense to us upon seeing his artwork than it ever had previously.
" Secretly Canadian (les mp3 sont ).

Michael England sur MySpace.

Ne pas confondre avec ce chorus :



25/02/2007

 

Eloy - Ocean (1977)


"Formé à Hanovre (Allemagne) en 1969, Eloy est resté un groupe peu connu hors de ses terres. Dans sa discographie riche de plus de 15 albums, Ocean, leur sixième opus paru en 1977, est souvent cité comme l’une de ses productions majeures. Ce concept album traite de la nature violente de l’homme et, par extension, de la menace nucléaire abordée de manière allégorique à travers les mythes grecs de Poséidon et de la destruction d’Atlantis (évoquée par le philosophe Platon). Pour enrober ce message cadrant bien avec les préoccupations d’une époque encore dominée par la guerre froide, Eloy a composé une oeuvre dont les références se situent à mi-chemin entre les atmosphères planantes d’un Pink Floyd, période Meddle, et la musique électronique et spatiale d’un Tangerine Dream ou d'un Vangelis au temps de Spiral ou d’Albedo 0.39. Abusant des synthés ARP au milieu d’un arsenal d’autres claviers utilisés plus parcimonieusement (orgue Hammond, mini moog et mellotron), Detlev Schmidtchen impose une tonalité qui varie peu au fil des quatre sections composant cette fresque de 44 minutes. Le guitariste Frank Bonneman s’insère de façon discrète dans les nappes de synthés et ajoute quelques effets et solos de guitare occasionnels qui épaississent l’ambiance tandis que la rythmique avec sa batterie proactive et ses lignes de basse sinueuses est probablement celle qui convient le mieux au genre. En fait, malgré une absence manifeste d’idées originales, tout ça pulse plutôt bien et l’écoute du disque, surtout dans ses passages instrumentaux, s’avère même fort agréable. Dommage que le guitariste chante ses textes en anglais avec un accent allemand prononcé sans parler de sa voix qui n’a rien d’exceptionnelle. Il faut en plus avaler des bruitages et des passages récités barbants qui confèrent à cet opus une prétention hors de propos (Atlantis' Agony). Le résultat laisse donc une impression mitigée même s’il est probable qu’Ocean puisse encore ravir les amateurs d’un Rock planant archaïque et conventionnel tel qu’on le concevait il y a 30 ans. L’illustration exceptionnelle de la pochette est réalisée par Wojtek Siudmak, un peintre polonais établi en France devenu l’un des grands représentants de l’hyperréalisme fantastique. Visionnaire extraordinaire, créateur d’univers surréalistes rempli d’ombres et de lumières, il a notamment conçu d’innombrables peintures pour les collections Fantasy ou SF de "Presses Pocket" dont on citera comme exemple les fabuleuses couvertures de La Romance de Ténébreuse (Marion Zimmer Bradley) et de La Ballade de Pern (Anne McCaffrey)." (Dragon Jazz)

Une illustration de Siudmak


24/02/2007

 

Nurse With Wound - Merzbild Schwet (1980)


"Merzbild Schwet is the third album by British cult band Nurse With Wound.

Following disagreements amongst the founding NWW trio over To the Quiet Men from a Tiny Girl, Steven Stapleton returned to the studio without Heman Pathak or John Fothergill the following weekend to create something that more closely fulfilled his vision of what Nurse With Wound should be. The results are often cited as the first great NWW album, with Rolf Semprebon at All Music Guide stating that it constitutes "the first fully realized NWW record.... a far more mature effort than its predecessors, much more focused and sounding less like some stoned guys goofing off in the studio"".
" La suite sur Wikipedia...

"Avec "Merzbild Schwet", c'est au coeur de l'expérience Nurse with Wound que nous nous rendons. Pour fouiller dans ses entrailles, dans ce fatras sans nom où règne encore une odeur pestilentielle. Subjugué, on se laisse alors volontiers entraîner par les délices pervers de ces délires psychotropes, à cette débauche sans foi ni loi emplie d'énergies négatives, dans ce collage dadaïste à l'imagerie simultanément futuriste et macabre." La suite sur Guts of Darkness...

Un merzbild est effectivement un collage.

Merci à Mutant Sounds pour ce post !

Un autre collage.

23/02/2007

 

Velvet Underground - White Light White Heat (1968)


"Light is, pun intended, also shed on the mysteries behind their great album covers: Some might not have known that White Light White Heat's cover is taken from a skull-and-crossbones tattoo that some gay stud from a Warhol picture carried on his arm,..." (morphism)

L'image est noire sur fond noir, ou, selon la légende, visible en lumière noire (black light).




a 16mm short by Joshua Perminter based on the Velvet Underground song "The
Gift"

"Waldo Jeffers had reached his limit. It was now Mid-August which meant he had been separated from Marsha for more than two months. Two months, and all he had to show was three dog-eared letters and two very expensive long-distance phone calls. True, when school had ended and she'd returned to Wisconsin, and he to Locust, Pennsylvania, she had sworn to maintain a certain fidelity. She would date occasionally, but merely as amusement. She would remain faithful.

But lately Waldo had begun to worry. He had trouble sleeping at night and when he did, he had horrible dreams. He lay awake at night, tossing and turning underneath his pleated quilt protector, tears welling in his eyes as he pictured Marsha, her sworn vows overcome by liquor and the smooth soothing of some neanderthal, finally submitting to the final caresses of sexual oblivion. It was more than the human mind could bear.

Visions of Marsha's faithlessness haunted him. Daytime fantasies of sexual abandon permeated his thoughts. And the thing was, they wouldn't understand how she really was. He, Waldo, alone understood this. He had intuitively grasped every nook and cranny of her psyche. He had made her smile. She needed him, and he wasn't there (Awww...).

The idea came to him on the Thursday before the Mummers' Parade was scheduled to appear. He'd just finished mowing and etching the Edelsons lawn for a dollar fifty and had checked the mailbox to see if there was at least a word from Marsha. There was nothing but a circular from the Amalgamated Aluminum Company of America inquiring into his awing needs. At least they cared enough to write.

It was a New York company. You could go anywhere in the mails. Then it struck him. He didn't have enough money to go to Wisconsin in the accepted fashion, true, but why not mail himself? It was absurdly simple. He would ship himself parcel post, special delivery. The next day Waldo went to the supermarket to purchase the necessary equipment. He bought masking tape, a staple gun and a medium sized cardboard box just right for a person of his build. He judged that with a minimum of jostling he could ride quite comfortably. A few airholes, some water, perhaps some midnight snacks, and it would probably be as good as going tourist.

By Friday afternoon, Waldo was set. He was thoroughly packed and the post office had agreed to pick him up at three o'clock. He'd marked the package "Fragile", and as he sat curled up inside, resting on the foam rubber cushioning he'd thoughtfully included, he tried to picture the look of awe and happiness on Marshas face as she opened her door, saw the package, tipped the deliverer, and then opened it to see her Waldo finally there in person. She would kiss him, and then maybe they could see a movie. If he'd only thought of this before. Suddenly rough hands gripped his package and he felt himself borne up. He landed with a thud in a truck and was off.

Marsha Bronson had just finished setting her hair. It had been a very rough weekend. She had to remember not to drink like that. Bill had been nice about it though. After it was over he'd said he still respected her and, after all, it was certainly the way of nature, and even though, no he didn't love her, he did feel an affection for her. And after all, they were grown adults. Oh, what Bill could teach Waldo - but that seemed many years ago.

Sheila Klein, her very, very best friend, walked in through the porch screen door and into the kitchen. "Oh gawd, it's absolutely maudlin outside." "Ach, I know what you mean, I feel all icky!" Marsha tightened the belt on her cotton robe with the silk outer edge. Sheila ran her finger over some salt grains on the kitchen table, licked her finger and made a face. "I'm supposed to be taking these salt pills, but," she wrinkled her nose, "they make me feel like throwing up." Marsha started to pat herself under the chin, an exercise she'd seen on television. "God, don't even talk about that." She got up from the table and went to the sink where she picked up a bottle of pink and blue vitamins. "Want one? Supposed to be better than steak," and then attempted to touch her knees. "I don't think I'll ever touch a daiquiri again."

She gave up and sat down, this time nearer the small table that supported the telephone. "Maybe Bill'll call," she said to Sheila's glance. Sheila nibbled on a cuticle. "After last night, I thought maybe you'd be through with him." "I know what you mean. My God, he was like an octopus. Hands all over the place." She gestured, raising her arms upwards in defense. "The thing is, after a while, you get tired of fighting with him, you know, and after all I didn't really do anything Friday and Saturday so I kind of owed it to him. You know what I mean." She started to scratch. Sheila was giggling with her hand over her mouth. "I'll tell you, I felt the same way, and even after a while," here she bent forward in a whisper, "I wanted to!" Now she was laughing very loudly.

It was at this point that Mr. Jameson of the Clarence Darrow Post Office rang the doorbell of the large stucco colored frame house. When Marsha Bronson opened the door, he helped her carry the package in. He had his yellow and his green slips of paper signed and left with a fifteen cent tip that Marsha had gotten out of her mother's small beige pocketbook in the den. "What do you think it is?" Sheila asked. Marsha stood with her arms folded behind her back. She stared at the brown cardboard carton that sat in the middle of the living room. "I dunno."

Inside the package, Waldo quivered with excitement as he listened to the muffled voices. Sheila ran her fingernail over the masking tape that ran down the center of the carton. "Why don't you look at the return address and see who it's from?" Waldo felt his heart beating. He could feel the vibrating footsteps. It would be soon.

Marsha walked around the carton and read the ink-scratched label. "Ah, god, it's from Waldo!" "That schmuck!" said Sheila. Waldo trembled with expectation. "Well, you might as well open it," said Sheila. Both of them tried to lift the staple flap. "Ah sst," said Marsha, groaning, "he must have nailed it shut." They tugged on the flap again. "My God, you need a power drill to get this thing open!" They pulled again. "You can't get a grip." They both stood still, breathing heavily.

"Why don't you get a scissor," said Sheila. Marsha ran into the kitchen, but all she could find was a little sewing scissor. Then she remembered that her father kept a collection of tools in the basement. She ran downstairs, and when she came back up, she had a large sheet metal cutter in her hand. "This is the best I could find." She was very out of breath. "Here, you do it. I-I'm gonna die." She sank into a large fluffy couch and exhaled noisily. Sheila tried to make a slit between the masking tape and the end of the cardboard flap, but the blade was too big and there wasn't enough room. "God damn this thing!" she said feeling very exasperated. Then smiling, "I got an idea." "What?" said Marsha. "Just watch," said Sheila, touching her finger to her head.

Inside the package, Waldo was so transfixed with excitement that he could barely breathe. His skin felt prickly from the heat, and he could feel his heart beating in his throat. It would be soon. Sheila stood quite upright and walked around to the other side of the package. Then she sank down to her knees, grasped the cutter by both handles, took a deep breath, and plunged the long blade through the middle of the package, through the masking tape, through the cardboard, through the cushioning and (thud) right through the center of Waldo Jeffers head, which split slightly and caused little rhythmic arcs of red to pulsate gently in the morning sun."


20/02/2007

 

Funkadelic - Maggot Brain (1971)... verso





Il est passé par là !!!










19/02/2007

 

Funkadelic - Maggot Brain (1971)


18/02/2007

 

The Exploited - Fuck The System (2002)


T'as raison mon gars, Fuck the system et tout ce que tu peux !

16/02/2007

 

Un petit pendant les vacances : Zero Kama - The Secret Eye Of L.A.Y.L.A.H.


Ben oui, pas de crâne !
Mais :
"All instruments to be heard on this album were exclusively made from human bones and skulls by the hand of Zero Kama. They never have been used since the time of its recording, which took place at the Secret Temple of Laylah from 5th to 28th of May 1984 . Remixed at Psychonaut Studio Vienna in November 1987, and dedicated to the symbol of Laylah, meaning night and death, as well as to its numerical equivalent, Oz, a goat or unrestrained sexual force of creation, thus showing the identity of the basic two opposite forces in this generous universe of beauty and strength, in which the Lovers my find ecstasy in Pan. Who wishes to enter this world of darkness, in which the Great Goat dwelleth, may pass through the sigil of Oz given at the front of this Cover."
The thing on the doorstep, Cranio (sic)

14/02/2007

 

Out for trout


Back soon...

08/02/2007

 

Machine Head’s - The Blackening (2007)


"With intense industrial rhythms, explosive guitars and complex song structures, Machine Head’s “The Blackening,” will be one of the most anticipated albums of 2007! (when its released March 27 2007)" (Linkworld)













"Flynn a donné quelques détails sur cette pochette : "c'est une gravure sur métal du XVIe siècle. A l'époque, ils utilisaient ce type de gravure pratiquement comme de la propagande. Il s'agissait d'effrayer les gens en leur disant qu'ils iraient en enfer. Beaucoup de ces gravures représentaient le diable, l'enfer, etc... D'ailleurs la plupart ont été interdites pendant longtemps.

Cette cover est un squelette assis sur un trône, le pied sur le monde, tenant un mirroir qui dit "The Mirror Which Flatters Not" (Le Miroir Qui Ne Flatte Pas)

La raison pour laquelle on a choisi cette image est que pour nous, l'album entier est comme tenir un miroir et se regarder dedans. Il parle de choses actuelles, mais qui ne sont pas figées dans le temps.
"

A noter que dans l'original l'inscription n'est pas à l'envers :



Un petit T shirt ?

06/02/2007

 

El Grupo - Live (2005)


"El Grupo's first Live record was released as a special limited edition digipack of 1,000 copies and is sold exclusively at El Grupo's European shows in November 2005 — 50 pieces per show, one per person.

The album features 5 very extended tracks of classic rock and fusion tunes that allow all band members to stretch out and show their unique talent. The live recording captures all the fun and looseness on stage and makes the listener feel the great vibes of the shows.

El Grupo:

Steve Lukather - Guitar & Vocals
Joey Heredia - Drums, Percussion & Chant
Steve Weingart - Keyboards
Oskar Cartaya - Bass"
Design & Layout by Ullrich Hepperlin for LaFerman Design
Interview with Ullrich Hepperlin

Ullrich Hepperlin (ou plutôt Godhead) sur MySpace
Ullrich Hepperlin (ou plutôt Godhead) sitoff






'Godhead's New CD

05/02/2007

 

Beck - Mellow Gold (1994)




D'autres marionnettes (après celles de I monster) :



04/02/2007

 

Danzig - Thrall - Demonsweatlive (1993)


"Thrall - Demonsweatlive is an EP by Danzig. It was released in 1993 on American Recordings. The first three tracks are new studio recordings, and the last four are live versions recorded at the band's legendary 1992 Halloween peformance at the Irvine Meadows Amphitheater in California. "Trouble" is a cover of the Elvis Presley song featured in the movie King Creole." (Wikipedia)
Simon Bisley did the cover illustration.
Simon Bisley : sitoff, site nonoff... Il y en a plus dans le nonoff !

Admirez le fond de scène (et les pectoraux) :


03/02/2007

 

I Monster - Neveroddoreven (2003)


"When is a debut album not a debut? Answer: When you released it a year ago but kept it ultra low key because you didn't clear all those bloody samples! So, here for the second time, with fresh artwork, are Dean Honer (of All Seeing I fame) and Jarrod Gosling." (Playlouder)
Le "debut album" est orné d'une couverture intéressante "design and artwork rod, paintings by varrod goblink, wrangled & tweaked by the blue wrath".

La réédition en 2004 est ornée d'un "fresh artwork" quelconque et hideux :










Neveroddoreven avait connu le succès grâce à "Daydream in blue", basé sur un sample (ou quasiment une reprise) de "Daydream" de Wallace Collection





02/02/2007

 

Tapiman - Tapiman (1971)

Non non ce n'est pas l'ultime avatar de Bernard Tapie (à propos, "et ils sont où les lyonnais ?") mais, sic, une "MONSTRUEUSE rareté espagnole" : "MONSTRUOSA rareza española, legendario hard- rock- psychedelic album de 1971...extremadamente underground hard- rocking trio!!! Con Max Sunyer a la guitarra y Tapi a la batería (justo tras dejar Máquina!). "
Voir aussi Peter Jolly, ou tout savoir sur le rock catalan.

 

Biki... réveille-toi !


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