Acid Mothers Temple & The Cosmic Inferno - Iao Chant From The Cosmic Inferno

The Acid Mothers family of bands are easily the most exciting thing to happen to music in a very long time. Springing into action around 1999, they continue to weave their own brand of cosmic rock throughout the known universe. Constantly touring, no other band has the same level of devotion to music as these guys, and I would definately recommend everybody go see them at least once, because there is seriously nothing else like them on the face of the earth. Combining Stockhausen's unmelodic approach to music with Hawkwind's heavy jamming, yet taking it over the top to unheard of levels. Guitarist Makoto Kawabata says that he is acting as a radio transciever for his own inner cosmos, relaying to us the music he hears in his head. And boy... is it one hell of a cosmos!

Iao Chant From The Cosmic Inferno features only one track, a sprawling 50-so minute rendition of Gong's epic, Master Builder. The track, titled Om Riff From The Cosmic Inferno takes us fully into overdrive as we start off with some gentle meditative glissando drones, spacey beeps and boops start appearing, and then... The Mighty Om Riff kicks in, and refuses to let you go, coupled with the Iao Chant (provided below) takes you on a right proper spiritual journey. The groove locks properly in place within an instant, and Makoto's guitar launches into an insane sonic freakout of improvised glory. Trying to not sound like gushing admiration, but the man is so outside of the box, it's unbelievable, like he is to guitar what Sun Ra was to piano! Using his instrument to channel proper cosmic vibes. After several minutes, the track takes another turn, into this repeated delayed riff over a totally rockin' beat, you close your eyes, your mind travels through space and you drift away. Time becomes meaningless, all there is is you.

You and the cosmos.

The sweet glissando ambiant drones make a pleasant return here, these aren't just drones though, these are full on music of the spheres. The bass comes back in, a dirty groove takes hold, the guitar comes back, it is sweet. After several minutes in that dark, dirty, sweet place, the familiar groove locks back into place, a delayed riff appears, then we blast off further into the heavens than before, chanting returns, this is not music, it's a spiritual experience. The Mighty Om Riff thunders back, we go further and further into the universe, there is no way back to Earth now! It glisses out, and returns to the ambiant droning/chanting from the start of the track. We have been taken to the furthest reaches of the universe and back, and it was good.


IAO
(ancient pagan chant balancing male & female)
ZA EE ZAO
(invoking forces of darkness/shadow)
MA EE MAO
(invoking powers of mother love)
TA EE TAO
(invoking energies of light)
NOW

Yes - Close to the edge

Yes.... Yes, Yes, Yes... Seen by many as the height of Progressive Rock's pretentions, an example of all that should be avoided, right? Well no. Prog is hardely the dirty word it used to be, and has one of the largest dedicated audiences of any genre around. I think we all go through that phase where we're anti-prog, but in reality, it's a dumb way of thinking. I'd never really sat down and properlly listened to Yes until a month ago, I had brought this album randomly as I had just started collecting LPs, and my oh my, this was a brilliant introduction to the band.

After a short introductionary soundscape of droning and noise, like a kind of natural sound, Yes break in with a free jazz/fusiony instrumental introduction, a pure cachophony of delicious prog, broken up with  the occasional chant of 'Ahhhh' before sequeing into something more musical and melodic. It swings in a pleasant way, very musch what oyu'd expect from prog. John Anderson's vocals creep in, a higher pitched version of your typical rock vocals. There's an element of Sting in his voice? Yes, at times it almost verges on 'white boy reggae', about six years before it hits the mainstream. However it is prog through and through. The music breaks into a quiet water-like section, reflecting the subject theme of The River Man, Siddhartha. A beautiful noise breaks in as we are treated to Rick Wakeman on an organ, becoming something of a spiritual point, like a moment of ecstacy, before erupting into the full Wakeman keyboard majesty. If you have a wizard costume, put it on for this part. the main lyrical theme returns and feels more joyous.


Lyrically, the song tackles the subject of spiritual awakening of Siddhartha, based confusingly on a novel by Hermann Hesse, where the titular character (Siddhartha) is around in the same time as Gautama Buddha (who was originally Prince Siddhartha, and had a spiritual awakening...) Anyways, around this time in the seventies, rock was at a point, leaving the faux-spirituality of the late sixties behind, many had begun to really look into it, and themselves, and this spirituality is a recurring theme of Yes' music at the time. The lyrics are often nonsensical when viewed in a logical sense, but serve as an expression of the abstract ideas found in such a subject.

Side two starts with a nice gentle accoustic piece, folky and playful. Totally light like a field. Wakeman's mooging around adds a gentle breeze and Anderson starts singing, and it eventually becomes proggier, reminding me of King Crimson's 'In The Court Of The Crimson King'-meets-arena-rock. It's that kinda aspirationy sound that'd usually be found at the end of a prog epic. And that it does, It returns to the playful melody and then gets proggy. I'm sensing a pattern here. And it ends. Kinda a fade out, a whimper rather than the bombast of side one.
We're then treated to a funky prog number, propelled by a neat guitar riff, Hendrix-lite, because every guitarist has their Hendrix copying moments. Prog Hendrix though sounds a bit different from most, especially when aided by Anderson's vocals making it totally 100% yes. It plays with prog tropes all too easily, and yes Wakeman has his harpsichord sound breaking through. Howe does his solo bit, it's Howe by numbers, in a track that's totally  prog by numbers. I must admit. It's decent, and enjoyable, but I don't know, I find it kinda lacking.


All in all, Close to the edge is a really good album. The second side feels rather uninspired compared to the first, but ultimately, well worth getting. Even if just for the Rodger Dean gatefold painting. But yeah, I think every record collector should have this album, it's totally of it's time yet timeless. One of the best of the 'pure-prog' releases, and Yes' highlight. This is the first of my 'MUST HAVE' reviews.

 The dreamlike gatefold. Love you man!

Music is the best

Through Facebook conversations, or chats in the *gasp* real world, I've noticed that some people are... more than a little suspicious of my claims of over 400 albums on CD, So I've kindly provided a photograph. Here's a little breakdown

Top shelf is all Frank Zappa, about 2/3 of his total output. I'm slowly getting there. Of note is the 4-disk version of MOFO, an audio-documentary describing how Freak Out! was made. A Must have for any Zappaologist.

Second shelf contrains Beefheart, Waits and assorted psyche/prog. Item of note is a misspressing of Wyatt, Atzmon,Stephen's album, were instead it has a triphop album inside.
Third shelf is mostly zhuel, spacerock and japanoise also with some psyche. Worth mentioning are the Daevid Allen Bannanamoon Obscura series of albums, I have a couple of them, each limited to around 2500 each.
Then we have a misc shelf. Everything from Krautrock to David Bowie to Nick Drake to Steve Vai.
Fith is Joe Satriani and then Jazz/fusion. The Miles Davis session boxsets are more than worth their weight in gold. Get them now!
Sixth is my TEENAGE METAL SHELF including like most of Iron Maiden and Judas Priest's albums.
Seventh is misc rock/whatever. Funk, Ska, Psyche, electropop, Orson Welles' reading of War Of The World.
So, that's a lot of reviews worth of music!!
Also I am building up quite a nice record collection, so maybe photo of that in the future??

P.S. Yeah, this was a 'look at me showing off how much I have' kinda post, but y'know. Fuck it.

The Turtles - She'd Rather Be With Me

 
The Turtles were a popular 60's band, playing your popular 60's music in popular 60's venues for popular 60's boys and girls. They were also quite good, with songs including Elanore, and more famously, Happy Together. The singers, Mark Voleman and Howard Kaylan would achieve comic fame as Flo & Eddie, the comical music duo. However this was after their stint in Frank Zappa's Mothers Of Invention.

She'd Rather Be With Me is a classic sixties pop tune, lyrics about love, a swinging beat, vocal harmonies, it's got it all. Where The turtles excell is by bringing in a variety of instruments at once, letting the song build up and simply enjoy itself. The beat really holds the track in place, it's almost Motorik, while the organ tinges it with a lovely sunshine flower-power sound. The bridge itself is an excellent harmony where the track really comes together, allowing it to end after repeating the chorus. A typical song, a typical structure, but hey, it's fun!

The Walking Song is more 'psychedelic' pop, combining about 4 styles of pop into one, in a way not dissimilar to The Small Faces. From Pop to pub sing-along to Beach Boys style harmonies, with slight tinges of The Mothers hidden in cracks beneath the surface. The playful nature of this song keeps it as an interesting listen, and I'd say, get it. I picked this 7" up for 99p off eBay, however it doesn't seem to be on there often, so keep your eyes peeled!

Hawkwind - Silver Machine

It will come as no suprise to anybody who knows me, that I will post about Silver Machine early on. Hawkwind are easily one of my favourite bands, one which has shapped and inspired so many genres, and despite being pensioners, even now they push forward with their own ever-changing brand of spacerock. Hawkwind are a genre by themselves.
But... Enough of this gushing, time to talk about this classic single.

Silver Machine is not my favourite Hawkwind track by a longshot, however this is to it's benefit. It replaces their trademark pummeling riffs with a chugging rock'n'roll rhythm, allowing it a more commercial and traditional value. But this is no ordinary rocker, the spacey sound effects take us off to Jupiter and beyond, and as the track plays out, we just go further and further. Robert Calvert's lyrics about his childhood bicycle become an adreneline filled description of a mysterious 'Silver Machine' which describes what seems to be a spaceship, but with an overly sexual tone. Most famously, here the world is shown Lemmy unleashed, for the first real time. And the world loved him. His greasy biker shouting jack daniels vocals really work well with the rock'n'roll vibe. This is outer space pubrock.

The B-Side is another Hawkwind Classic, Seven By Seven. Whilst Silver Machine was the high of the trip, this is the crushing downer. True dark psychedelia describes a journey, being lost in the dark world, your soul lost for all eternity. The classic Hawkwind pummeling riffage is on force here, complimented by a softer verse section, reflective. The chorus however is shrieked at us through a vast echo, we get the desperation, it brings us down. Though for whatever reason, there is a sense of restrain here, I'd assume from the production side as the playing is brutal. The track is utterly spacey and cosmic and not at all unlike Jack Kirby's Fourth World comics which were being published around the same time (and I really would recommend reading them!).

This 7" represents a trip, and it doesn't let us down. While Seven By Seven would truely find it's real sound on Hawkwind's epic Space Ritual live album, Silver Machine here is the best version around. Noticably the mix on Vinyl has far more depth of sound than the version on CD reissues, and the dance remix is pretty... terrible. So yeah, here we have the definitive version of Hawkwind's most well known song, and a somewhat controlled rendition of a great song. Naturally I would recommend everybody purchase this, it serves as the perfect introduction to one of rock's most explorative bands, the introduction to the majesty of Lemmy, and most importantly of all, two kick-ass tracks containing a heavyness unheard of at the time.

Mr. Big - What If...

Mr. Big are perhaps the best example of a heavy metal supergroup there is. Any band which includes Paul Gilbert from Racer-X on guitar and the unstoppable bass guitar juggernaut that is Billy Sheehan, has to be paid attention to. And boy, were they. In typical metal fashion though, they got the hits, then sunk into their groove and after growing tensions, eventually disbanded in 2002, reforming in 2011 and releasing What If... (and yes, that really is a pig flying on the cover...)

I love Paul and Billy's playing, as musicians they strive to just stretch the technical ability of their instruments, and while shred guitar is often written off as self-indulgent wankery, so what? Generally it's the self indulgent musicians who come up with the ideas which inspire everybody else (examples: Miles Davis, Frank Zappa). However with some players this is a valid criticism (hello Yngwie!) and I guess, should be always taken into account. Masturbatory playing is groovy as long as something comes out of it, and so does this album produce the much needed musical jizz, or the painful friction rashes on the metaphorical foreskin?

Track 1, Undertow, 80's style metal riffage takes over, 80's style singing is provided via Eric Martin and there's little else to say really. It's a very very old style track, 80's American heavy metal as it always was. American Beauty kicks things up a notch, still generic as hell. Though there is a notable Queensryche influence really creeping in if you ignore Gilbert's speed metal playing, especially in the solo, where he's really allowed to take flight. Track 3, Stranger In My Life is exactly as the title makes you imagine, a fucking power ballad. After Bruce Dickenson's 90's classic, Tears Of The Dragon, you'd have thought everybody else would have just given up on power ballads, but no. We have this nasty little turd. Skip it.

Nobody Left To Blame however is a much better track, musically more going on, some interesting textures in the sound, and some sweet delicious Paul Gilbert licks. It's very post-Pearl Jam, though I don't think mainstream American rock has really left the 90's yet. Billy Sheehan's ripping bass takes hold with Still Ain't Enough For Me, we are truely back in '89 speed metal territory here, but Sheehan's bass is so godly that we can let it live. Pat Torpey's stable drumming provides a solid groove for Sheehan and Gilbert to enjoy themselves. Best track of the album so far, deserves some headbanging. Once Upon A Time is perhaps best ignored, it's fucking dull.Hopefully, the next track isn't as far as they can see musically, for As Far As I Can See is again very very generic. Torpey's beat still pounds the same, so repetative it reveals the massive amount of variety in Kraftwerk's motorik drum lines. I get the idea that this album would just work better if everything was removed apart from the solos, which remain fun.

All The Way Up is again best ignored. Boring. Starting with a decent interlude, I Won't Get In My Way is a pretty decent if inoffensive arena rock track, I can imagine the crowd singing along at the chorus. So far, Mr. Big have taken no risks with their comeback album, it's all standard fare, Gilbert and Sheehan's improved playing provide some interesting hooks, but with just three tracks left, can they kick it up a gear?
Around The World treats us with a neat speed metal track with a catchy sing-along chorus. It keeps it's pace, it's enjoyable and you can smell the beer and hairspray! Lyrically, it's written by a five year old, but it is a good example of that kinda enjoyable 80's metal, wanking instrumental sections and all, especially at the end. Guitar playing like molten honey. I Get The Feeling is clearly about the feeling of wanting to be David Lee Roth (which naturally we all get from time to time, but the spandex just don't fit). Unforgiven returns to the speed-metal-meets-Queensryche sound to mixed results, the playing is tight, the drums still boring, the track still kinda meh. The solo can't save it.

You'd think I really hate this kinda music judging by my negative review, but it's something of a guilty pleasure, as a guitarist I love listening to players push things as far as they can go, and I think that's why I don't like this album as much as I should. Billy Sheehan has had an amazing time in Steve Vai's band, and to come from something so quirky and interesting as that, to then just providing standard bass lines is a tragedy. Likewise, Gilbert has won the respect of almost every guitarist alive during his solo career, he doesn't need this. Comeback records really are the difficult ones to do, you have to get the balance just right between doing something new and exciting, and also appeasing the fans. Judas Priest hit it perfectly with 2004's Angel Of Retribution, and Hawkwind with 2010's Blood Of the Earth, though Gong's 2032 tried to do too much, with no real substance or support behind it. Here, Mr. Big have just gone to appease the fans, and as a result, done nothing new, exciting or interesting.

Also, I really need to think of a better, quiker and easier way of doing album reviews rather than by a track-by-track breakdown!!

Orchestrial Manoeuvres in the Dark - Maid Of Orleans

Orchestrial Manoeuvres in the Dark (OMD) were one of a small number of electronica bands that emerged in the late seventies, experimenting with the new cheaply avaliable synthesisers to create harsh electronic sounds, reflecting the more industrial and inpersonal age of the times. OMD were never going to be Depeche Mode or The Human League, where as the other two became pop sensations by merging their electronica with pop hooks, OMD stayed true to their ideals, and focused on more  intellectual music. And so, perhaps for pretention's sake, we are treated to gems such as Maid Of Orleans.

For the A-Side, Maid Of Orleans, a series of ambiant electronic noises leads us into a familiar 80's electro beat, and a sumptious folky, almost 'celtic' melody which feels as if it would work well if played through an ensemble, infact this song would be improved I think, if played via a small-piece orchestra. I don't know. This main melody will repeat itself numerous times throughout the song, as if it was the main idea, and the Joan of Ark lyrics were second thought. Indeed while this track has some really decent sounds, and a nice effect on Andy McCluskey's vocals, the repetative nature of the track doesn't really suit the subject. It's a good listen, though kinda boring.

The B-Side, Navigation is a far more interesting track. Again with a repetative beat and melody, these are however given to us via a much more thought out structure. The lyrics are almost disturbed but an airy delay, creating a surreal atmosphere, which doubled with the simplistic melody creates an almost dreamlike feel. The beat locks us in for the journey, the music sends us to sleep (in the good stoner kind of way). The similar synthed 'celtic' sounds from the previous track feature, but sound more electronic, and to be honest, more real. I really enjoy dreamy, spacey kinda out-there tracks, and so ultimately, this track is worth the single on it's own.

This 7" is often avaliable on ebay, with prices between 50p and £2, and I would recommend picking it up, if the A-side doesn't interest you, the silver-apples-y dream of Navigation surely will. And also the glossy sleeve is a delicious marriage of 20th century graphics with oldey-style stained glass windows. Sometimes pretension is worth it (perhaps this could be the tagline for my blog?).

Hey there, this is a music blog, music is good.

I don't really know how to do an introduction, so here's some GENERIC QUESTION AND ANSWERS!!! 

Who are you? why should we care? I'm just some guy, and no, you shouldn't care. My musical interests stretch far and wide, from Jazz to Electronica, Space Rock to avant-garde orchestrial compositions etc etc. I do make music myself, and maybe at some point, I'll put some of that on here for you. Who knows??? But essentially I'm a depressive art graduate, and the only thing that keeps me going is my love of music, so I hope I can use this to promote decent and interesting music, and point the proverbial gun in the proverbial face of the proverbial Paolo Nuttini.

 There are plenty of music blogs already floating around on the internet, do we really need another one? No, but then you don't need the internet anyways. Hopefully what'll make this a bit different is that I will be trying to avoid the 'white guy in a grey overcoat' style of most blogs, which only tend to talk about 70's rock and such. I mean, THERE WILL be lots of talk on 70's rock, but there'll be plenty of talk on lots of other different types of music.

 Will there be download links? Nope, the music I will be reviewing will be stuff I have purchased as a physical copy. I feel that music becomming mere digital information has in a way cheapened the whole experience, and reduced the value of music to a commodity or background music. I mean, if you're just starting out and want to get your music out there, it's good, and likewise if you're just trawling round to check bands out, then again downloading is good but ultimately I think we should always see the CD, Tape or Record as the real deal. Listening to MP3's is often like looking at a painting through frosted glasses.

 (And yes, keen hippies will notice that the groovy mandala in the corner of my page is indeed an 'Octave Doctor' from the planet Gong!)