Music Reviews

Love & Rockets: Seventh Dream of a Teenage Heaven – re-release review

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SEVENTH DREAM OF A TEENAGE HEAVEN
BEGGARS BANQUET
1985 debut release gets Blu-Ray Audio treatment
9/10

If the legion of Bauhaus fans who bought Love & Rockets debut were expecting dark goth from David J, Danial Ash and Kevin Haskins, then they must have gone batty when they heard it. This was psychedelia from another world, more Syd Barrett than Bela Lugosi. It stands outside of time, a glorious, otherworldly listen, with beautiful soundscapes produced by John Rivers. The rhythms are relentless, such as on the classic Haunted, that create a trance like ambience. It shimmers and drips with colour. The band would conquer America on College Radio but, for some reason, failed to set the UK on fire. Listening to it now it sounds like a forgotten classic.

Trivia note: Danny Hopkins, credited for Tea and Sympathy, was renowned drummer for post-punk outfit Isolation.

This review first appeared in Louder Than War Magazine issue 9. 

Music Reviews

Barry Adamson: Love Sick Dick – EP review

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Love Sick Dick (Central Control)

CD/Vinyl/DL

Out Now

08/10

Adamson unleashes Love Sick Dick on the city.

To quote Barry Adamson of his new record: The blues is the blues and if the heart aches then that’s the sound that will come out whether you are playing guitar, a synth, a piano or playing futuristic guitar solos on your iphone.

Adamson is a man who should know, having earned his stripes playing with Magazine and The Bad Seeds, he embarked on a solo career of much artistic integrity and experimentation, taking in jazz, blues, rock and using all manner of instrumentation. It says much for his talent that he plays all instrumentation on this new EP. It’s a concept recording of sorts, following a desperate loner through a night in the city.

I Got Clothes opens proceedings with a booming drum and bass creating tension and excitement. A piano melody floats over the top and the vocals are breathy, soulful. It could be a soundtrack to a gangster flick; the sound of a guy getting ready for action. It’s heavy, pounding, driven.

Sweet Misery starts with a blues guitar, before an electro backbeat kicks in. This is modern blues, blues for a fractured world. There’s a feeling of oppression and darkness as the hero is dragged down by the city whilst vultures circle him. He prods at his demons like a tongue probing a broken tooth. The guitar solo soars through dark alleyways and claustrophobic nightclubs.

People Like Us is more upbeat, like some 90s track. The ego is now on fire. The clubs pulsing, pounding, smashing you into oblivion, into one single organism, one single ego.

On Golden Square is 80s pop, sultry and yearning as various forms of nightlife swirl around our hero. When things go bad he calls for his mom and his momma says it’s alright. But I’m not sure it is.

They Walk Among Us sounds like a John Carpenter score. It’s neo-goth full of  horror and tension. This is vampire blues with an unseen, silent horror stalking through the neon lit city streets. And there’s a great bass solo.

One Hot Mess brings the night to a close with dark techno rhythms. There is tension and exuberance, as disco beats swirl around our hero, enveloping him in a haze of ego and forgetfulness. He smothers a proposed conquest with his ego and bullying persistence. She’s got his number, but under duress. All that’s left is a walk home alone. In the rain.

Love Sick Dick is a lovelorn journey through the neon cities underbelly in search of desperate love and a redemption that is always out of reach. The morning will break with squalid efficiency in an embrace of smog and the detritus of the night creatures, that will be swept away with the stars, as Love Sick Dick faces another day.

A release very much recommended.

Barry Adamson is on Facebook and Twitter.

 

This review first appeared on Louder Than War.

Music Reviews

Dead Can Dance: The Serpent’s Egg/Aion/Spiritchaser – album reviews

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The Serpent’s Egg/Aion/Spiritchaser (4AD)

Vinyl

Released 17 March, 2017

09/10 09/10 09/10

The dead dance again.

4AD, over the course of a year, have been re-issuing their entire catalogue of Dead Can Dance’s albums. The final three will be released in March. All the releases have been beautiful re-issues from 4AD and the final three are no different. They showcase a band who took from the past to create beautiful, timeless music.

The Serpent’s Egg was released in 1988. It’s a sparse album. Minimalist sounds create a backdrop to Perry and Gerrard’s vocals. But less is more. Gerrard’s vocals ululate across desert sands, a cry of the soul in the void or echo in a cathedral, rising up, searching the heavens. Perry is more modern vocals and the dichotomy, rather than creating tension, creates a symbiotic whole.

Aion, released in 1990, relies heavily on Renaissance and Middle Ages musical forms. What is astonishing is that it’s impossible to tell which are traditional arrangements and which are Dead Can Dance’s. They resist the urge to modernise the forms, thus creating something that is timeless, and show that a popular art form can transcend categorisation. Again there is a sparsity to the music, with the vocals to the fore.

Spiritchaser, released in 1996, moves the focus to African and Caribbean tribal rhythms. But this is done with such consummate skill that there is no real sense of a change of direction, just a change of beat. Percussion comes more to the fore on this album with a sultry, sensuous back beat that drips with sun and heat, whilst the vocals chant and rise and fall across the grooves. Devorzhum, the albums closing track, sounds like the origins of the blues, Africa calling down the years. It’s a beautiful, elegiac, end to the album.

It would be sixteen years before Dead Can Dance released their next album, Anastasis.

This is music to sit down to and contemplate with. 4AD should be commended on re-issuing these wonderful records.

 

Dead Can Dance is on Facebook and Twitter.

This review first appeared on Louder Than War

 

Music Reviews

Ha Ha Tonka: Heart Shaped Mountain – album review

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Heart Shaped Mountain (Bloodshot Records)

CD/Vinyl/DL

Released 10 March, 2017

08/10

Ozarks band spreads their wings.

Heart Shaped Mountain is the fifth release from the band formed in Springfield, Missouri, and it shows a maturity, both in terms of song craft and in themes. Perhaps unsurprisingly, since the years have seen some band members marry and have kids.

There seems an effortless ease about the songs, which only comes from years of honing their craft. They sit somewhere between Springsteen’s Americana and the wistful indie of college rock, with the added spice of post-punk sensibilities.

The songs have a common theme of landscapes and weather, showing off a wider palette of the songwriter looking beyond their own fears and insecurities to the wider world beyond. But it all starts from within. The album opens with Race To The Bottom, a chugging, driving song. Everything, track 2, is more contemplative, with a looking back at the past and wondering if everything had turned out the way you thought it would. All With You sounds like crisp winter, a song about desire and wanting everything. Height Of My Fears is a great song about flying over landscapes, plagued by doubts, nightmares and what-ifs. The Party is a foot stomping great indie-pop song. The sort of song that would have been a break-out hit back in the days when people still bought rock singles. A song about other people growing up, leaving the party early to be with wives and kids, whilst you hang out at the party until the sun comes up. The album ends with Telluride. It’s a delta blues brought up to day. A mournful lament for things gone and a looking forward towards a new phase.

It’s a metaphor for Ha Ha Tonka’s musical journey. A musical journey that’s well worth listening to.

 

Ha Ha Tonka is on Facebook and Twitter.

 

This article first appeared on Louder Than War.