EUPHORIA - A GIFT FROM EUPHORIA

Goddamn I am tired. I'm now two thirds of the way through one of those 'blink and you'll miss em' weekends having done precisely nothing with my down-time. The past 24 hours or so might as well have been spent in an airport waiting room staring off through the soundproof glass at the coming and going of planes, transfixed by the grim monotony of it all.

In fact the only thing I recall about yesterday is a curry and spending far too much time reading of the ins and outs of the 'News of The World' phone hacking scandal and the 'newspapers' consequent closure. Wow is RebeCCa Brooks evil. I don't care what she says, she is either a liar or incompetent, either way she needs to go the fuck down with her ship. For somebody 'of the media' she is handling herself nothing short embarrassingly. Forget her past actions, I am talking about the scowl, the out of control King Charles the First ginger pubic hair explosion on her head and pouty lips. Seriously love, just for once tie your hair back, think about what you are wearing and try not to look like you are trying to make the camera melt with your demented black witch laser eyes.

In fact I hate the woman's hair so much that it got me thinking about other people's hair that I hate: Rob Tyner of MC5, the fat speccy one out of the Turtles and this guy... The one with the center parting from Euphoria. Seriously, fuck your hair. I had to put the CD on to remind myself why I own an album featuring such a hideous folic abomination.

Euphoria's 'A Gift From Euphoria' is another great reason for buying a CD player. When you do see a vinyl copy (there was one on the wall of Minus Zero records in Notting Hill last time I went in) it's always more than you would like it to be. Don't think I've ever seen one go for less than about 120 quid (around $200).

Anyway, tired of searching for a cheap playable copy I settled for buying a CD from Amazon about ten years ago, but not even that was as simple as it might have been. Turns out there's some kind of dance music organization called 'Euphoria' so you have to trawl through page after page of shiny and stupid looking compilation CDs.

Another reason for coming back to this of late is the anniversary of Mercury Rev and their 'Deserter Songs' album, that game changing Disney inspired soundtrack to a comedown. I was a big fan of 'Deserter Songs' and like many others it took me completely by surprise. I had hated everything else the band had done with a passion but I found myself won over by the strained honesty of the vocals and the mind-blowingly lush string arrangements. So where did it come from? Had the band succeeded in inventing a new genre, a musical hybrid the likes of which the tired and weary world of music had not yet heard?

No. As much as I'd be more than happy with that series of events the reality is that 'that sound' began here with the album's opener 'Lisa'. It makes 'Deserter Songs' sound like a facsimile, a glorious copy and paste. Unfortunately the rest of the album is a different matter, it's a cluttered exercise in attempting to sound like various hit (and non hit) makers of the day. The over all impression is of a band trying to find it's sound, dipping it's toes into the realms of everyone from IRA sympathiser Van Morrison to the Moby Grape. Because of this it has a similar feel to the Turtle's 'Battle of the Bands' album.

What makes this all the more frustrating is that they give the world a song like 'Lisa' and never throughout the rest of the album go back to revisit the magic. If only they had realized what they had done we might not have had to wait thirty something years for Mercury Rev to complete the picture.

So basically, get the CD, listen to 'Lisa' then move on to 'Deserter Songs'.

ZOLA JESUS - STRIDULUM II

I am reviewing this because it's been on my work desk and staring at me for the best part of 5 months. Also because I am not entirely sure that the fawning and in-depth write up I want to give Deftones 'White Pony' would be appreciated by anybody apart from me (Just to say it's in my top 50 albums and if you don't own a copy get over that Nu-metal labeling and treat yourself).

I've had this in and out of the CD player (also on my desk) since around Christmas and it's really grown on me. To be honest I hadn't been sure what to expect. The personnel listing wasn't exactly inspiring: One person (Nika Rosa Danilova) with a keyboard. It could quite easily have fallen flat like a Jamie Lidell gig with a broken sequencer. But it doesn't. Given the lack of other instrumentation it's a surprisingly dense piece. It's brooding, dark, haunting, it's all of those other words that appeared in reviews of the record when it came out in the middle of last year.

The whole album is like an elongated study of This Mortal Coil's version of 'Song to a Siren', and if you ever saw that track used in the trailer for the remake of Texas Chainsaw Massacre then those visuals add even more credence to that line of thinking. It comes from a very black and pained place, somewhere close to death.

Another thing that undoubtedly every review of this so far will have pointed out is how close her Nika's vocal range is to that of Siouxsie Sioux. At first her delivery was massively grating but like the music that accompanies it, in time you find yourself immersed.

Despite all of this and my repeat listening at work, I am trying to think of circumstances where I might choose this as a soundtrack and I am coming up short. You can't really have sex to it unless that sex involves ropes and potentially knives. I wouldn't want to drive to it, unless my driving culminated with a high-speed and slow motion chase resulting in my untimely and messy crash based death. It's not ironing music unless I am contemplating ironing my hand and or face. You get the picture - It's very emotional, borderline wallowing music or like I said, maybe something you play when you are having knife sex.

So given I don't intend for copious amounts of blood to feature in any love making in which I might partake I will leave this on my desk, safe in the knowledge that it's a suitable accompaniment to putting together elongated and over-styled Power Point presentations.

NICK CAVE AND WARREN ELLIS - THE ROAD (ORIGINAL SOUNDTRACK RECORDING)

An unusual choice for lounging around on the hottest day of the year but there you are.

After a failed evening of trying to get people to witness the power of my fully operational Hi-Fi system courtesy of an array of old favorites, I thought I'd try putting it through the paces with something new.

I can't help feeling a little disappointed that after months of research, waiting, saving and spending the reaction to my new stereo was mixed at best.

'There's not much bass'.

I took this to bed but said nothing until my wife mentioned it again on a trip to the supermarket.

'There's not much bass on that new stereo of yours is there?'

This came in the middle of an unrelated conversation about grass strimmers so maybe it had been playing on her mind as well.

Sound is a very personal thing, some people like it rich, others analytical, others still tainted or tweaked with an extra helping of bass or a cranked up high-end. What do I like? Jesus, I don't know, I just want my stereo to sound half decent. GIven the amount of money and time I spend on finding the software it's common sense to invest a proportional amount of money in the thing that makes the sound come out.

I hadn't had an issue with the lack of low end until it was pointed out by a room full of people. What to do? Well I could ignore it, get on with my life and dedicate the man hours to something less dull... Or I could start looking for a couple of concrete slabs to place under the stands with a hope of somehow capturing some of the vibrations that may or may not be dissipating through the heavy pile carpet.

I am not educated enough in the ways of classical music to try and work in any similarities here, but it reminds me of the 'Music For Egon Schiele' album by Rachels although I'm pretty sure that's a cod reference to make.

The first time I heard it, the music accompanied the film and it worked in the context of the particularly dreary and miserable as a motherfucker images. Without them much of the mood is the same. This is not 'get up and go!' music. It's the sound track to a particularly long and painful day. It's music for heavy reflection. Lets not forget, it's also music for the end of the world, for cannibalism, fields of fire and pushing a supermarket trolley into the mouth of oblivion.

The slow, meandering string led sound aside for a second, let's look at the protagonists.

Warren Ellis, is not the man who wrote some of the finest comic books of all time but rather the multi-instrumental guy with the colossal beard who played with the Dirty Three. His talent and ear for musical drama is obvious.

Nick Cave needs no introduction and I won't say any more about him than these recent forays into the world of movie music have done him nothing but favors. They have rounded off his CV in the way that most maturing musicians can only dream of. If only Madonna had taken a leaf out of his book rather than attempting to remake and reclaim that same faded glory album after album (they are only months apart in age). If only she had thought to trade just one leotard for a shred of the dignity that surrounds Cave's work but no, Ciccone will die on that treadmill, gaunt, unloved and living in the past.

So where was I? The soundtrack to The Road. If it weren't for the occasional metallic screeches, obviously there to underline certain points of the films sheer horror this could be an every day listen. As it is these very occasional hideous early period Einstruzende Neubautenesque shrieks take the edge off a bit challenging me when all i want is to sit back and go,

'Mmmmm, nice strings, lovely arrangement....shame about the bass'.

Well worth a listen this.

PRINCE RAMA - SHADOW TEMPLE

I listened to this on Saturday while my wife took a well deserved break by way of the local nail salon.

We had already watched most of the WW2 submarine film classic 'Up Periscope' in which a young James Garner (of 'Rockford Files' fame) attempts to single-handedly sabotage a radio station based on a Japanese island whilst the crew of his sub anxiously await his return. At least I think that's what it's about as the sound was mostly down in favor of that last Bruce Springsteen album.

Either way it looks like films about submarines are a hit with my son. I suppose at 4 months old what's not to like right?

He started to get a bit antsy towards the end so we moved to his brightly coloured and ridiculous play mat. It's one of those things with two ajoining arcs crossing over it. The idea is you hang all sorts of different toys from it for him to chew and or play with... mostly chew.

What might make an interesting soundtrack to these proceedings I thought? After a brief rummage in the CD cupboard I pulled out an unopened CD copy of this album. It made the cut not because of the band's association with Animal Collective but because of the sleeve. The colours matched the play mat perfectly so it seemed silly not to see if I could exploit that marriage further.

The little guy on the mat seemed to greet the sound pretty well. I placed him at equal distance between the speakers to make sure he could appreciated the full stereophonic picture. 8 songs came and went and I have to say it was not the worst soundtrack to an afternoon spent shaking rattly toys in the general direction of my son.

Prince Rama used to be part of a Hare Krishna commune. I know this because I looked on google. Without this insight I had already decided that I was going to describe this as 'Death Yoga' music. I have in the past dabbled in the ways of the Yogi and was familiar with many of the lyrical chants. I hadn't however ever expected to hear them married with a dense and dark multi-layered soundtrack that at times brought to mind Goblin and other such synth-pounders. For some reason and I cannot for the life of me put my finger on this, It also brings to mind 'Indiana Jones and the Temple of Doom'.

The plus point of their sound is that it conjures a sense of ceremony, of a worshipping, a large group of people concentration on a common cause. direction.

The downside is that as I listened crouched on the floor in my son's general direction, soft-toy scale model of Spongebob Squarepants in my hand I kept getting this over whelming urge to go into Downward Facing Dog or Cobra Pose.

So anyway.

'Death Yoga'.

Yeah, why the fuck not?

RIECHMANN - WUNDERBAR

I suppose if I were to stay true to what I has actually listened to today this would be a review of the majesty of Irene Cara's 'Flashdance'. Luckily it is not because it's a terrible song that I can't defend but also one that I am more than happy to listen through as and when it appears at 'random' on my MP3 player. (Kind of like the whole of Erasure's glorious 'POP' album)

This had been on a fair bit at home though so I thought it was worth talking to.

The images that the name 'Riechmann' conjures up do not necessarily tally with the picture used for the front sleeve. Was I the only one expecting our man to be dressed like he was in the Waffen SS? Anyway, 'white face' with blue lipstick and dusted hair is also good. Kind of Klaus Nomi style utter cod but also good.

Luckily the similarities with the previously mentioned late castrato pop-opera idiot end there. This is high-quality late 70's electronic music fresh from the Fatherland. 'Wunderbar' is not a concept album about a late night drinking establishment, what it is is a strangely fluid and metallic sounding collection of almost timeless songs. It's chock-full of gliding synth work and washes the kind of sound that has become very en-vogue of late (this might go some way to explaining this album's recent re-issue.)

This said it's not without it's faults. The opener and title track desperately needs the 'Doctor Whoisms' sucking out of it. It plods, sounds derivative. it has a sleeve that screams 'second rate Kraftwerk, These moans aside it's a very solid entry into the genre and the remaining tracks bring to mind the highlights from Vangelis' 'Blade Runner' score at times confidently out-doing it.

Riechmann was from the same Dusseldorf school as Klause Schulze which goes some way to explaining away the sound. I have to come clean and admit that whilst I understand the sound of 'Dusseldorf school' music I am still unsure as to whether this is an actual school (all blazers and ties) or if it's a conceptual school as in 'school of thought'. Either way.

Sadly our man Riechmann was stabbed to death weeks before this was released (leading me to believe it was an actual school as this is a pretty standard occurrence around such places London) meaning that aside of the hooky looking 'Riechmann/Streetmark' album this is his only recorded solo output. So to conclude, it's good. It's well worth buying. It's also worth going the extra few quid and getting an original copy as they go for around the 20 mark. In theory it should sound better and if it doesn't you at least have an original that smells of that electronic time of wonderment.

MOEBIUS AND BEERBOHM - DOUBLE CUT

I touched very briefly in my previous post on the state of affairs in Libya. A leader losing grip and a people tired of years of tyranny and oppression in search of a better life. It's such a shame that Muammar couldn't keep his shit together as I fear the world of international politics will be a much a much duller place without him. World politics has gone the same way as New York in recent years: Mondo Kim's has shut down and there's a Starbucks on every corner. Yes he is 'evil', I read a piece on the 1996 Abu Salim prison massacre and everybody is more than aware that despite attempts by our former government to gloss over the fact, he was entirely responsible for the Lockerbie bombing.

These hideous crimes against humanity aside let's look at the case for the defendant: He was, it turns out shockingly handsome as a young lieutenant coming up through the ranks. He takes his tent everywhere with him, he seems to operate exclusively with a female special forces guard, he dressed like michael jackson and got away with it. Muammar is a style animal, an ever changing thing of fashion wonder and excess, sunglasses and a crooked smile endlessly spouting utter lunacy not hears since the reign of Idi Amin.

He's a character (yes an evil character) but he's a character and there aren't many of those left. Take Germany's Angela Merkel for example - A fat and styleless Ann Robinson, her political sandbagging and denial of financial turmoil mere footnotes to the fact she dresses like a day release patient going to a Christening.

Why is it the bad guys dress so much better? It's not a new thing either. The staggeringly forward thinking yet timeless fashion of The Third Reich is well documented but what nobody seems to have cottoned onto just yet is the subtle and underplayed suave stylings of Iran's Mahmoud Ahmadinejad. I swear to God/Allah that Dior are dressing him on the quiet. His bearded look has been copied the world over as has his undone smart -casual chic. Again, such a crying shame he's a mass murderer who justifies his dictatorial actions through religion whilst laughing in the face of the West.

The first track on Double Cut is contender for best opener in the world ever, it's fantastic, slow and brooding, pulsing 80s synths, all very much of its time. So much so that it sounds like it could have been recorded with the help of Libya's very own bad man right around the time he was dressing like he'd stepped out of the video for Thriller on his way to blow some shit up.

'Hydrogen' pulses by in very much the same way a quirky Germanic signature on the ever growing face of electronica, slightly more clunky and repetitive.

Track 3, 'Narakose' is awesome because it sounds like I recorded it myself when I was a bit drunk, same instrumentation and lush studio but without the help of Muammar, Moebius and your other man.

Track 4 'Doppelschnitt' I don't remember because I started this review a few weeks back and didn't get chance to finish it off. In the meantime It would appear we are at war with Moebius and Beerbohm's third keyboard player and on another continent that latter day jewel of the Orient - Japan appears to have fallen into the sea.

Not much to say on that really, not yet. All of the observations about lost world class record collections and quieter aisles in Beatles sections across the US are misplaced, tasteless and way too early. I can't comprehend living with that still utterly shocking tragedy and here's to hoping I never have to.

I re-listened to 'Doppelschnitt', all 21 minutes 43 of it and it's further proof that this sly dog of the Africa's has a soundtrack with his name written all over it. I can see him rockin' the Toni Basil patented 'pop and lock' to this as American fighter pilots high from watching Top Gun one too many times crash and bail all around him.

If it wasn't so patently obvious that Iran's Mahmoud Ahmadinejad was a Strokes completist the search for his very own theme would start right here - Man, he must be well Jazzed that their new album is out.

BLUE CHEER - VINCEBUS ERUPTUM

So exactly what the difference between 'the birth of heavy metal' and a dull and elongated electric blues jam is I do not know. 'Vincebus Eruptum' is cited by some as the starting point of all things metal, a pre-cursor to Sabbath a slow distorion-laden exercise forming the 'A for apple' at the start of the heavy metal alphabet. So why does it sound so much like 'boogie woogie'?