From the forthcoming album “The Word As Power”. Featuring the voice of Soriah.
TJ Cowgill’s (aka King Dude) efforts to veer from esotericism shine through most on the penultimate track, “You Can Break My Heart”, which comes off something like Leonard Cohen’s “Hallelujah” as sang by Lou Reed and played back in slow motion. If it is somewhat novel, give Cowgill some credit – it at least has some wide-appealing merit too. [Source]
It’s not that Genesis P-Orridge isn’t capable of the odd moment of beauty. The ballad “New York Story” reminds you where Califone’s Tim Rutili found the prettiest song on his last album; the cut is as liquidly clear and simple as “The Orchids.” Vocals are reverb’d to an unearthly polish and drenched in cynicism: “Life is a vacuum pump / always sucking me dry.” It is so lovely that you float right over shocking imagery. (“Your body is so cold / It’s turning blue / You look so cold / Not human anymore.”) [Source]
And Close As This is an album by Peter Hammill, released on Virgin Records in 1986. Each track on the album is a song played and sung by Hammill solo at a keyboard, with the keyboard parts played in a single take. Two of the songs use a grand piano as the keyboard instrument; for the others, Hammill played a MIDI master keyboard, recording the MIDI notes, and using them to trigger a variety of MIDI sound modules (mainly electric piano and organ sounds). The delicate and intimate sounds make it a work completely unusual, with a style hardly comparable with that of only seemingly similar albums by other artists (with the partial exception of Current 93′s Soft Black Stars).
Here is a funny clip with Keith Emerson, where he doesn’t remember cowriting the song!
[Dedicated to Mogens Toudahl in East Berlin, who introduced me to this music in Denmark in the seventies!]
And Also The Trees is the first album released by, English, Post-punk group, And Also The Trees. It was released in February, 1984. The album was produced by The Cure’s Lol Tolhurst and portrays the band in similar musical fields of other Post-punk contemporaries like The Chameleons, The Comsat Angels, Echo & the Bunnymen, Sad Lovers and Giants and The Cure. Although their sound stands out of the rest of the aforementioned bands, as it was extremely influenced by the rural surroundings of Worcestershire (tha band’s place of origin), Poetry (on the lyrical side) and Old England. Even John Peel had described their sound as being, “too English for the English”. The album was re-issued in 1992 on the German Record Label, Normal Records.
[Dedicated to Ichiro Isaka in Nagoya, Japan]
With Goodbye Ivan’s second album release, Intervals, Arnaud Sponar once again takes us on a journey: first across the Atlantic to a brave new metropolitan jungle (L’Ennui, East River, Brooklyn Bound) and redneck refuge (Hollidaysburg), then back around through the melancholic humor of the Eastern Bloc (Na proschanie, Shutka) and finally nestling in a cozy Icelandic fjord (Strokkur, Lónsfjörður) creating the rich feeling of movement found on this record. The eerie spaces in between on Anxiolytics (The Visit) and Left Wind give the feeling of being utterly lost amidst moments of discovery and great confidence. [Source]
The Flat Baroque and Berserk album also features “Another Day”, a song of regret for lost love, which was covered as a duet by Kate Bush and Peter Gabriel in her 1979 television special, and later by This Mortal Coil on their 1984 album It’ll End in Tears. The cover by Bush led to collaboration with Harper in 1980; he singing backing vocals on her song “Breathing” and she duetting on the track “You” on Harpers album The Unknown Soldier.
I have it on confirmed rumor that a record shop in Minneapolis was named after my third record, ‘Folkjokeopus‘. The record features the epic ‘McGoohans Blues’, inspired by actor Patrick McGoohan’s depiction of the establishment rebel in his TV series, ‘The Prisoner’. Also included on the record are ‘Exercising Some Control’ and ‘Manana’, two irreverent pieces of comedy, the lung busting ‘She’s The One’, and ‘One For All’, dedicated to tenor saxist Albert Ayler, who I knew and loved during my time in Copenhagen. Sadly he was later found washed up on the bank of the Hudson in New York. He would have been one of the leading jazzmen of the age. Finally the record is rounded off with two pieces of mystery and the opening ‘Sgt. Sunshine’, on which I was ably accompanied by the beautiful Jane Scrivener. [Source]
Nada is an album that explodes with fresh ideas in the midst of some great dark `80′s dance tracks. This is the last DIJ album to feature Patrick Legas and his influence is certainly felt throughout. The weakest tracks are the ones that feature his lead vocals but for the most part the album is great and the best early DIJ album available. Mixing eighties drum beats and influences that include WWII German Marches to eastern European traditional music to Gregorian Chant and of course punk and folk styles the sound is certainly unique. Using Douglas Pierce’s booming yet contemplative voices, synthesizers, heavy drums, and some tape loops courtesy of their Current 93 connection this album will leave an impression on each listener and is a fantastic work of art. [Source]