Wreckless Eric (more HERE) has stuck to his guns. Those guns, his chugga-chugga guitar and his garbled vocals, are like old flintlock muskets: crude, noisy and deadly at close range. Following the premature death of the Len Bright Trio, Wreckless Eric, by then dry and living in rural France, put out Le Beat Group Electrique with Catfish Truton (drums) and André Barreau (bass) in 1989. LBGE were almost as grimy and roughshod musically as the LBT but with less noise-for-noise’s-sake and more sharp song-writing. Eric sounds like a ramshackle Buddy Holly on tunes like “Tell Me I’m the Only One”, while “Sarah” is Dylan-esque put-down that sounds somewhere between the early Beatles (hopped-up in Hamburg era) and Van Morrison (circa early Them). At one point, he channels Lou Reed on “Just For You” but not until putting a Wreckelss pop spin on mental illness, with the ironically chipper-sounding “Depression”. [Source]
“Freelove” is a song by English electronic group Depeche Mode. It was released in November 2001 as the third single from their album Exciter. David Gahan prior to Exciter called it the best song he’s ever sung since “Condemnation”. The single version of “Freelove” is completely remixed from the album version. The mix was done by Flood, who produced the albums Violator and Songs of Faith and Devotion. Flood’s return is quite surprising, as he previously wanted to never work with the band again after the strenuous experience of recording Songs of Faith and Devotion, during which the band was in-fighting with each other. The B-side is an instrumental called “Zenstation”. There is also a DVD release of “Freelove”, a first for Depeche Mode. It contained video footage of “Freelove” from the Philadelphia concert in 2001, as well as audio of some of the other songs. It also contained four bonus 30-second videos of the band. The videos were directed by Anton Corbijn. The song was later covered by Sandra on her 2002 release “The Wheel of Time” produced by Michael Cretu. The main music video for “Freelove” was directed by John Hillcoat. It is not available on a public release.
This track, a harbinger of an as-yet-unannounced new album one hopes, finds Krell returning to the expansive, languorous, ambient love songs that made his 2012 album, Total Loss, such a critical success. Scantly more than some finger-snap and hand-clap percussion, some warbling synth backing, and Krell’s multi-tracked, harmonized vocals looping in on itself (think Active Child), “Words I Don’t Remember” is a testament of love for people who don’t mind getting mired in the thick of it every now and again. [Source]
The B-side to ‘I Feel You’ is “One Caress”, which is a Martin Gore vocal track from Songs of Faith and Devotion. In the USA, Sire / Reprise released “One Caress” as a promo-only single. One promo copy has the original version, and the other has the version from Songs of Faith and Devotion Live. There is no remix for the song. There is also a music video for “One Caress”, directed by Kevin Kerslake, that was filmed during one of the off-days of the Devotional Tour in the US. It was a promo-only video that was later released on The Videos 86>98. Prior to its inclusion on The Videos 86>98, the music video for “One Caress” was frequently broadcast on MTV’s Alternative Rock video block 120 Minutes and Sky-1.
Well I’m down on my knees again
And I pray to the only one
Who has the strength
To bear the pain
To forgive all the things that I’ve done
Lead me into your darkness
When this world is trying it’s hardest
To leave me unimpressed
Just one caress
From you and I’m blessed
When you think you’ve tried every road
Take one more look
At what you found old
And in it you’ll find something new
I’m shying from the light
I always loved the night
And now you offer me eternal darkness
I have to believe that sin
Can make a better man
It’s the mood that I am in
That’s left us back where we began
HERE’S THE FIRST taste of The Ghost Of A Saber Tooth Tiger’s new album, Midnight Sun. Moth To A Flame, the album’s transportative closer, finds Sean Lennon and Charlotte Kemp Muhl in full psychedelic guise, echoing the minor-key atmospherics of Pink Floyd’s Breathe alongside a celestial chorus and mercurial slide guitar. Midnight Sun follows 2010’s Mark Ronson-produced Jardin Du Luxembourg and the same year’s homegrown Acoustic Sessions. [Source]
This Heat were under no illusions as to what would happen if we ever stopped talking. “At that time it seemed like it was a fait accompli that there was going to be a Third World War,” Charles Hayward told Simon Reynolds oin 2001. Sickened and angry with the idiocy of governing men, they used their prog-honed skill for expressionist nuance to paint this lunatic system of miscommunication in crystal technicolor. What we get is a blaring farce where reason and intellect are lost in translation over a “festering tongue” (‘A New Kind Of Water’). In order to deliver a record as terrifying as Deceit they embraced their worst nightmare, meditated on it. As a consequence, Deceit courses with sour fear. “We had a firm belief that we were going to die and the record was made on those terms,” Hayward stated. [Source]
The Golden Section is a 1983 album by English musician John Foxx. A progression from the sound of The Garden (1981), Foxx called The Golden Section “a roots check: Beatles, Church music, Psychedelia, The Shadows, The Floyd, The Velvets, Roy Orbison, Kraftwerk, and cheap pre-electro Europop”. The album was Foxx’s first work with a producer since his final Ultravox album, Systems of Romance, in 1978; The Golden Section was co-produced by Zeus B. Held, well known in the Krautrock scene of the 1970s. In addition to Foxx’s wide array of synthesizers, the production made extensive use of vocoder effects and sampling, along with traditional rock guitar.
From the third album Still. Recorded in July 1979 at Strawberry Studios, Stockport during sessions for the “Transmission” single.