Category Archives: Album reviews

Barry Adamson – The Negro Inside Me (Mute Records EP, 1993)

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Barry Adamson 'The Negro Inside Me' CD artwork

mute records | lp/cd stumm120 | 19/10/1993

Barry Adamson‘s 1993’s Paul ‘PK’ Kendall-produced 6-track The Negro Inside Me begins with a burst of spiralling horns before rushing headlong into an up-tempo Hammond organ versus James Bond jazz-funk groove; built around a recording of what appears to be Adamson’s publicist or manager trying to run through a list of engagements, interviews and appointments, at around three minutes, the track breaks down into a latin-edged cymbal-intensive percussion rhythm, before rebuilding and gathering greater momentum. ‘The Snowball Effect’ appears to be the most appropriate name for this rolling, energetic track.

‘Dead Heat’, with its varied collection of headcleaner scratched record samples, electronic noises and slow-mo hip-hop breaks wouldn’t have sounded out of place on a Massive Attack album. However, the orchestral textures piano motifs give this a totally different atmosphere from anything that Bristol collective could muster.

The outstanding ‘Busted (Michaelangelo Version)’, built around layers of percussive hip-hoppery and organ flourishes, sounds just like a gangster TV show soundtrack with its car-chase saxophone melodies and sparse and funky wah-wah guitar, Starting with some soulful female vocal textures, ‘Cold Black Preach’ gradually develops into a filmic, atmospheric work with an amazing bassline and urgent hip-hop breaks.

Re-setting and re-positioning an old song should not be slapdash; pop music is littered with failed, miserable attempts to do just that. Thankfully, Adamson’s revisioning of the simultaneously cheesy and sexual ‘Je T’Aime… Moi Non Plus’ – like his version of ‘These Boots Are Made For Walking’ with Anita Lane – is somehow respectful, taking the core melody and song structure of the original and adding a steady, bass-heavy groove. A duet with Louise Ness (with language training by regular Mute chanteuse Pascale Fuillée / Pascale Fuillée-Kendall), the vocals are somehow more coherent and loaded with barely hidden sexual desire than the Serge Gainsbourg original.

This 30-minute mini-LP closes with ‘A Perfectly Natural Union’, a slow and lounge-y piece of café jazz for piano and vibes, with Adamson’s double bass walking alongside at a steady, lazy pace. Sounding a little like the ‘Gallery’ muzak on Tony Hart’s kids TV shows, ‘A Perfectly Natural Union’ is the perfect chilled-out conclusion to this excellent release.

The title of this release always intrigued me. Unlike his other releases (which bear a sense of lightness and humour), it seems, on first examination, strangely serious. However the music itself is characteristically upbeat, and a glance at Adamson’s face in Polly Borland’s photo on the cover tells you that this isn’t meant to be taken too seriously, so sit back and let the good vibes toll…

Track listing:

lp/cd:
A1. / 1. The Snowball Effect
A2. / 2. Dead Heat
A3. / 3. Busted (Michaelangelo Version)
B1. / 4. Cold Black Preach
B2. / 5. Je T’Aime… Moi Non Plus
B3. / 6. A Perfectly Natural Union

First published 2003; edited 2014

(c) 2014 Mat Smith / Documentary Evidence

Cold Specks ‘Christmas Evermore’ (Sartorial Records, 2012)

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Various Artists 'All Ready For The 25th?' download artwork

All Ready For The 25th album | Sartorial Records | 2012

Cold Specks delivered this cover of a Mary Margaret O’Hara track for a Christmas compilation released on Sartorial Records. A plaintive cry for peace and an end to war, ‘Christmas Evermore’ is at times beautiful and at others defiant, Al Spx‘s voice turning tricks that evidence a captivating vocal power she’s barely even started using yet. Spx is here joined by Mark Bedford (double bass), Lee J Harris (electric guitar) and Terry Edwards (flugelhorn, acoustic guitar); if, like me, you think Christmas isn’t Christmas without brass, ‘Christmas Evermore’ won’t disappoint.

First published 2012; re-published 2014

(c) 2014 Mat Smith / Documentary Evidence

Martin L. Gore – Counterfeit (Mute Records, 1989)

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Martin L. Gore 'Counterfeit' LP artwork

mute records | lp/cd/c stumm67 | 06/1989

Counterfeit was Martin L. Gore‘s first solo release outside of Depeche Mode. A collection of six covers ranging from The Durutti Column to Sparks, Gore’s voice is here allowed to shine through rather than being relegated to backing vocals or only appearing on the more poignant ballads of the Depeche back catalogue that were less suited to nominal frontman Dave Gahan‘s vocal style. Counterfeit was produced by Gore and Rhythm King stalwart Rico Conning, and released by Mute in 1989 while Depeche Mode were on downtime between the Music For The Masses and Violator albums. Never a band to go for cover versions (off the top of my head I can only count three, including one Beethoven piece), hearing Gore delivering other people’s songs is something of a rare, and absorbing, proposition.

Opening with a cover of Joe Crow’s ‘Compulsion’, things start off in relatively upbeat territory. Sometime Nightingales member Crow’s solitary and pretty obscure Cherry Red 7″ is here delivered as an affirming, strident track, all upbeat pianos, pulsing percussion and melodica-style synths. I used to listen to this occasionally after disappointing events took place (usually getting dumped by a girl), the ‘got to move on sometime’ refrain and the gentle piano somehow allowing me to transcend whatever I was feeling miserable about. Nearly twenty years on from when I first bought this, it still never fails to work. ‘In A Manner Of Speaking’ was originally recorded by Tuxedomoon and appeared on their Holy Wars LP. Gore’s version includes a vaguely Latin rhythm in the style of Depeche Mode’s ‘To Have And To Hold’ from Music For The Masses, underpinned by a dark synth bass pulse. ‘In A Manner Of Speaking’ is filled with a theatrical drama, and to add to the mood Gore speaks his way through the final section, its elliptical lyric about telling someone everything by saying nothing making a level of sense on an emotional level.

The cover of Factory Records’ stalwart Vini Reilly’s ‘Smile In The Crowd’ again opts for a Latin-style arrangement, a thin, pondering guitar line running throughout most of the track. This cover of the Durutti Column song is perhaps the closest Counterfeit comes to the bleak, inward-looking balladry that Gore’s own performances on record tend to lean toward. Meanwhile ‘Gone’, originally delivered by The Comsat Angels, has a cloying urgency, mining the same vibe of danger and helplessness that powered ‘A Question Of Time’, riding forth on a pulsing beat marked by thick bass notes and industrial tension.

Gore’s cover of Sparks’ ‘Never Turn Your Back On Mother Earth’ finds Gore taking Ron Mael’s beguiling, simple ode to the planet we live on and maintaining that sense of grace over a fragile, gentle backdrop of acoustic guitar and shimmering percussion. Tempted to make this plaintive song a whole lot darker though you might have expected Gore to be, instead the sense of wonderment of the Sparks original is maintained, Gore even having a decent crack at Russell Mael’s falsetto, highlighting the lead Depeche Mode songwriter’s strong vocal range. Gore saves the darkness for his take on the traditional song ‘Motherless Child’, here cast as a edgy jazz number, the dark swing of Gore’s introspective vocal delivered like an unused track from Cabaret.

Counterfeit is a relatively unassuming record, considering how big Depeche Mode had become by this point. Gore’s emotional outpourings have always been popular with fans (check out the deafening cheers after one of Gore’s solo performances in the middle of a Depeche Mode stadium show), and hearing his effortless ownership of these six songs is one of the genuine highlights of his body of vocal work. A follow-up to this EP would be released by Mute in 2003 containing more unexpected reworkings of other bands’ material.

Track listing:

lp/cd/c:
A1. / 1. Compulsion
A2. / 2. In A Manner Of Speaking
A3. / 3. Smile In The Crowd
B1. / 4. Gone
B2. / 5. Never Turn Your Back On Mother Earth
B3. / 6. Motherless Child

First published 2012; edited 2014

(c) 2014 Mat Smith / Documentary Evidence

Mick Harvey – Sketches From The Book Of The Dead (Mute Records album, 2011)

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Mick Harvey 'Sketches From The Book Of The Dead' CD artwork

mute artists | lp+cd/cd stumm329 | 02/05/2011

Unbelievably, despite being in his fifth decade of making music, this is Mick Harvey‘s first album of totally self-penned songs. Time spent in the bands of Nick Cave, Simon Bonney and PJ Harvey, plus all that time devoted to poring over the Serge Gainsbourg legacy for two albums, has evidently paid off; Sketches From The Book Of The Dead is an accomplished, yet understated, collection of eleven songs, all of which ruminate on death. The album was produced by Mick, who also plays guitars, piano, organ, electric bass and percussion. Harvey was also joined by Rosie Westbrook (double bass), J.P. Shilo (accordion, violin, electric guitar) and Xanthe Waite on backing vocals.

According to my new best friend Wikipedia ‘the Book of the Dead is the modern name of an ancient Egyptian funerary text, used from the beginning of the New Kingdom (around 1550 BC) to around 50 BC.’ So now you know.

Overt reference to the Book of the Dead, or at least Harvey’s version, comes in the lyrics of the opening track, ‘October Boy’, which was made available as a free mp3 a few months before the album was released. ‘If you’re writing a song for the Book of the Dead / Then write one, write one for me,‘ sings Harvey in the voice of the October Boy of the title, while a dark, filmic, almost Morricone-esque backdrop underpins the black tale of a man anointed with a ‘sonic gun‘ who takes ‘rock ‘n roll poison’; that October Boy is almost certainly Rowland S. Howard, departed to the afterlife in recent years, and whose birth month was October. It is an unopinionated obituary to one of Howard’s earliest musical allies, the writer of the haunting ‘Shivers’ and his co-creator of amazing sounds in The Birthday Party.

‘The Ballad Of Jay Givens’ will be familiar to anyone who picked up a copy of Mute‘s Vorwärts compilation from earlier this year. This is Mick, with accompaniment from guitar, strings and organ, telling a dark tale of Givens, apparently his father’s best friend, a chap with a pretty dark and shady past. As a story set to music it’s absorbing and mysterious. ‘Two Paintings’ exists on a haunting musical tapestry of looping, often elegiac noise and mournful piano, depicting it seems, the separation from a loved one, featuring the descriptions of two paintings by Gustav Pillig. There are some truly moving moments in this song, particularly Mick’s wordless vocal harmonies at the very end. Pillig’s artwork adorns the sleeve and booklet, along with other paintings from Katy Beale.

‘Rhymeless’ is a clever, folksy piece whose verses are structured from fragments of well-known nursery rhymes. ‘All the songs that you never sang / To your little ones,‘ is a line which fills me with much regret. The song deals with children moving from being cherished to being effectively abandoned, neglected, deserted, forgotten, none of which I am remotely guilty of when it comes to my two wonderful daughters. But it does sadden me that my children seem to know the nursery rhymes that Harvey quotes from without me ever having once sung them those words. ‘Frankie T. & Frankie C.’ describes the love shared by the two characters of this song, a man and a woman both sharing the same first name; the way Harvey describes the spark shared between them reminds me of the way people of my grandparents’ generation might have described the first flushes of romance. Alas, the love of the two Frankies was to be short-lived, the death of Frankie C. leaving Frankie T. alone and mourning the loss of his beloved, finding himself spending his days longing after her and ultimately fading away in a bid to join her. While most of the backing has Harvey plucking elliptical patterns on his guitar over droning, carefully-sculpted sound, there are some fantastically heavy guitar crescendos at the end of the chorus.

In a neat play on words, ‘A Place Called Passion’ – a tale of someone lost during World War One – the front-line assault on Passchendaele and the word ‘passion’ are forced into an unhappy marriage, Harvey’s story of a relative who lost his life during the Great War evoked through the artefacts handed down to him – books bearing futile inscriptions from that relative’s parents pointing him toward a bright, but ultimately thwarted, future. This is the realities of conflict distilled into personal impact and significance. Like so many of the tracks on Sketches From The Book Of The Dead, ‘A Place Called Passion’ is extremely poignant. ‘To Each His Own’ is mysterious, a spoken-word poem of sorts over whining noise, with an intonation not unlike his former Bad Seeds bandmate Blixa Bargeld‘s spoken word pieces.

‘The Bells Never Rang’ is one of my personal favourite tracks, a ballad which takes us to Paris, rural Australia and Geneva over its three verses set to layers of strummed guitar that rise in intensity and urgency, only to drop away into a chorus of vocal harmonies and thin, reedy organ. This appears not to be a reflection on death of people per se, but on wasted opportunities, lost chances and relationships that fizzled out. ‘That’s All, Paul’ has a title that wouldn’t have gone amiss on one of Harvey’s Gainsbourg albums. Who Paul is we never know, but it would seem from the lyrics that young Paul, seemingly cut short in his prime, probably never really got to know himself either; Harvey is evidently bitter toward this pointless loss of life, which sounds as if it was caused by a single moment of recklessness. For that reason alone it reminds me of Rebel Without A Cause.

The album, fittingly, closes with the rousing single ‘Famous Last Words’, but it is preceded by one of the most evocative, moving love songs I’ve ever heard, ‘How Would I Leave You?’. Accordion, dramatic but sparse drums, piano and strummed guitars underpin Harvey reflecting on his attempts to leave somewhere (home?), his decision, or indecision, influenced by the wondrous nature he sees all around him. It all sounds idyllic, pristine, Walden-like, Harvey laconically and benevolently forced into inaction by the world he sees enveloping him.

Track listing:

lp+cd / cd:
1. October Boy
2. The Ballad Of Jay Givens
3. Two Paintings
4. Rhymeless
5. Frankie T. & Frankie C.
6. A Place Called Passion
7. To Each His Own
8. The Bells Never Rang
9. That’s All, Paul
10. How Do I Leave You?
11. Famous Last Words

First published 2011; edited 2014

(c) 2014 Mat Smith / Documentary Evidence

Sun Ra – Out There A Minute (Blast First album, 1989)

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Sun Ra 'Out There A Minute' LP artwork

blast first / mute records | lp/cd bffp42 | 1989

Surely the best thing about running a record label must be the opportunity to release music that you love. Such is the case with Blast First head Paul Smith‘s release of three Sun Ra records via his label in the late Eighties and Nineties. That trio of releases – the CD/VHS set Cosmic Visions (which includes the legendary Space Is The Place film), a live album of Ra and his Myth Science Arkestra recorded in London and the compilation Out There A Minute – were all made possible, first and foremost, by Smith being a fan of Sun Ra’s body of work. The other reason was a sense of exasperation and disbelief that there were people out there who bought all the prior Blast First releases. His aversion to being seen as some sort of Factory-style ‘cult’ label, or even being regarded as a record label at all, again led to a focus on bands and artists that Smith was personally interested in.

‘Hence the Sun Ra and Glenn Branca releases,’ explains Smith by email. ‘Both have a connection and influence on, say, the music of Sonic Youth, but both were maybe not so obvious to people at the time. Thurston [Moore, Sonic Youth guitarist] was, even then, a big collector of Ra, and I’d seen the Arkestra play years before in London. They made a real impact on me – and who would not want to meet an Angel, and one from Saturn to boot? Anyway we had about twenty people send these two records back asking for a refund, which we happily gave them. Mission accomplished.’

Sun Ra’s legacy as an outsider jazzman, band-leader, synth pioneer and visitor from another planet is huge, as is his body of work across a multitude of labels. Collecting Ra records can be a daunting and extremely expensive task, which is why compilations like Out There A Minute are useful introductions to Sun Ra’s complex body of music. If you believe the official biography, Sun Ra was born Herman Poole ‘Sonny’ Blount in Birmingham, Alabama in May 1914 and by his early teens was an impressive pianist, able to transcribe full works by ear after witnessing performances of the many jazz legends that performed in Birmingham on the US jazz touring circuit. By the mid-Thirties, Blount was leading his own band, insisting on rigorous practice and creating a disciplined, Calvinistic, work ethic that allowed his band to adapt to a number of jazz styles with ease.

The ‘other’ biography is much more interesting, and likely of much greater influence on the music that was issued by Sun Ra. After a couple of years of limited success with his band, Blount claimed to have been surrounded by a white light, which he followed, and which magically transported him to Saturn where a form of Angel spoke to him of impending chaos on Earth, encouraging him to preach peace through music, and replacing his corporeal form with that of a Saturnine Angel. During the course of his onward career, Sun Ra – as he became known from 1952 having legally changed his name to Le Sony’r Ra – would focus on a form of Afrofuturism, his Arkestra would wear Egyptian costumes on stage and his music would take on an astral dimension.

Whilst liner notes are absent (something jazz fans are pretty intolerant of generally), we know that the tracks that form Out There A Minute were recorded in New York at the Arkestra’s base near 42nd Street, a communal living and performance space that the band were forced to adopt because of Manhattan’s sky-high rents. The band were residents in New York from 1961 through to 1968, during which time they adopted more of a free improv style, currying favour with the beat poets and fans of psychedelia, but also getting frustrated by hecklers and a more universal concern that Sun Ra and his band were a bit too ‘far out’ for the jazz fraternity.

Out There A Minute comprises thirteen tracks from the end of the Arkestra’s New York period, personally compiled by Sun Ra from an archive of rare recordings. The recordings range from straight-up big band bop like ‘Dark Clouds With Silver Linings’ or ‘Lights Of A Satellite’, which showed that Sun Ra was still prepared to tap into more traditional (and more popular) jazz forms, through to some of the more intensely alien pieces. The Sun Ra Moog sound is here not quite developed, though some of the tracks have some distinctive and inventive early synth musings; predominantly Sun Ra deploys piano or organ lines here, nestled among John Gilmour‘s tenor sax and Marshall Allen‘s alto. In the jazz genre, it perhaps doesn’t feel quite so adventurous as the idea itself today, but these pieces undoubtedly have an otherworldly quality when compared with other music being wrought at the time. Tracks veer from polite, romantic musings such as the genteel but noisy ‘When Angels Speak Of Love’ to the scratchy whine of ‘Cosmo Enticement’ or ‘Next Stop Mars’. The playful, wobbly echoes of ‘Song Of Tree And Forest’ sounds like something that wouldn’t have gone amiss on the soundtrack for 2001: A Space Odyssey if Kubrick hadn’t decided to go all highbrow with his use of Ligeti. ‘Other Worlds’ is cloying, manic skronking, hammered pianos and wild percussion, truly out there playing with a playful, expansive reach.

Smith recalls meeting Ra and his band several times. ‘I even got to visit them in their commune in Philly, and once took him shopping on London’s Denmark Street where he picked up a “Heavy Metal” guitar pedal. Sunny had no idea about the musical genre, he just liked the name and started talking about the different physics on the home planet.’

‘I organised some dates, especially in the UK where he’d sort of lost his place with the jazz fraternity at that time,’ Smith recalls. ‘Sun Ra playing at The Mean Fiddler is what showed Vince Power that Camden Jazz Cafe could work! Sunny was a truly lovely soul. A fantastic and mischievous twinkle in his eyes all the time, and a lovely giggle. He was very anti-drug, and very strict with his band members. I remember introducing Thurston Moore to Sunny at the Bottom Line jazz club in New York – it was one of the few times I’ve seen him look freaked out at meeting someone.’

Sun Ra rejoined his Saturnine people in 1993, handing the baton to Marshall Allen, who leads the Arkestra to this day. Only a few of the original members survive, and Allen himself will turn ninety in a couple of years, but the unique band that Ra created continue to tour, the perfect living tribute to one of jazz music’s most celebrated but misunderstood geniuses.

On a personal level, there were two things that formed my still-developing interest and love of jazz. The first was a guy called Brian, a friend of the middle-aged couple that I lived with during my final year at university in Colchester in 1998. Brian was a big man, who I forever imagine now to look like Peter Brötzmann, and he absolutely loved jazz. Every summer he’d take himself off to european jazz festivals, and the few times he and I spoke, he enthused about the genre so much that it cemented in me a need to explore jazz much as I’d been drawn into punk two years earlier. Sadly Brian passed away that year and never managed to give me the recommendations he’d always intended to. The other influence was seeing this Sun Ra compilation listed in the Documentary Evidence pamphlet that ultimately inspired this site. At the time (1991), I had no idea who or what Ra was, and it wasn’t until I read a review of John F. Szwed’s book in The Wire around a year after Brian’s death that I began to appreciate his importance and also the sheer eclecticism of Smith’s label. It took me a few years to build up to delving into Ra’s back catalogue, but it didn’t disappoint when I finally did.

Thanks to Paul Smith.

Track listing:

lp/cd:
A1. / 1. Love In Outer Space
A2. / 2. Somewhere In Space
A3. / 3. Dark Clouds With Silver Linings
A4. / 4. Jazz And Romantic Sounds
A5. / 5. When Angels Speak Of Love
A6. / 6. Cosmo Enticement
B1. / 7. Song Of Tree And Forest
B2. / 8. Other Worlds
B3. / 9. Journey Outward
B4. / 10. Lights Of A Satellite
B5. / 11. Starships And Solar Boats
B6. / 12. Out There A Minute
13. Next Stop Mars (CD bonus track)

First published 2012; edited 2014.

(c) 2014 Mat Smith / Documentary Evidence

Anita Lane – Dirty Pearl (Mute Records album, 1993)

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Anita Lane 'Dirty Pearl' LP artwork

mute records | lp/cd stumm81 | 10/1993

Dirty Pearl is a rag-bag collection of newly-recorded Anita Lane tracks produced by Mick Harvey as well as older material, the entire Dirty Sings EP and collaborations with Die Haut, Einstürzende Neubauten, Barry Adamson and The Birthday Party. The album is as much a collection of Lane’s work as it is a showcase for the seemingly unlikely cross-pollination of scenes that emerged when The Birthday Party moved from Australia to the UK, followed by a brief and fortuitous sojourn in Berlin; that productive Kreuzberg stop-over was responsible for Nick Cave‘s Bad Seeds being swelled by the likes of Neubauten’s Blixa Bargeld and Die Haut’s Thomas Wydler, as well as some of Cave’s most inventive and inspired early musical work.

The collection covers the period 1982 to 1993 and presents the tracks in reverse chronological order. Overall, the compilation shows just how integral Lane was to the whole scene that formed between London and Berlin in the mid-Eighties, with characters such as Chrislo Haas and Adamson appearing on various tracks. As Nick Cave’s girlfriend and muse, Lane co-wrote a number of The Birthday Party’s songs, including the likes of ‘Dead Joe’, and was credited as a founding member of Cave’s subsequent Bad Seeds though her participation in the group was never exactly clear. What’s also immediately apparent from this collection is just how little music Lane has herself released – over half of Dirty Pearl was already released by the time this compilation was released, and Lane would only come to release her first (and to date only) ‘proper’ LP in 2002 with Sex O’Clock. Whilst Dirty Pearl provides a comprehensive overview of Lane’s music, one notable omission is 1991’s collaboration with Adamson on the excellent cover of Lee Hazlewood’s ‘These Boots Were Made For Walking’ which Adamson crafted for his Delusion soundtrack.

Opening track (and therefore most recent) ‘Jesus Almost Got Me’ is a countrified, Triffids-esque song of drunkenness, cruel love and regret, beautifully carried forward on Harvey’s sensitive drumming and ‘Evil’ Graham Lee’s genteel slide guitar. Immersed in the background are spirals of grainy feedback and some lovely vocal harmonies from Harvey. ‘Jesus Almost Got Me’ has a tired, resigned quality to it. In contrast, ‘The Groovy Guru’ is a funky, psychedelic trip, filled with wild face-melting guitar and wayward organ creating a vibe that felt about twenty-five years old too late, the lyrics describing a sort of pervy Cassanova character with a number of Satanic traits.

The cover of Marvin Gaye’s ‘Sexual Healing’ was produced by Mick Harvey with artist Johannes Beck and Sven Röhrig, finding Lane cooing girlishly over a sick, phasing breakbeat, shimmering vibes from Barry Adamson and some leaden (and less-than-romantic) backing vocals from Beck and Moritz Wolpert. At times Lane sings with a strained needfulness that can feel quite uncomfortable at times, but it’s quite hard to think of this as being too serious. Both ‘Blume’ (from Neubauten’s Tabula Rasa LP) and ‘Subterranean World (How Long…?)’ (from Die Haut’s Head On) highlight how well Lane’s voice matches Blixa Bargeld’s distinctive own. Bargeld’s transition from the howling, shredded vocal style displayed on Neubaten’s earliest material to the sensitive, half-spoken, almost Scott Walker-esque voice of their later material is continually surprising, and that softer side shines through on these two songs. ‘Subterranean World’, with its duet chorus of ‘How long have we known each other now?‘ brings to mind those clips in romantic films where couples explain to camera how long they have been together, except that by the end of this darkly humorous song Lane and Bargeld decide that they’ve never actually met before.

‘Picture Of Mary’ is an atmospheric piece written with Bargeld, dominated by Lane’s ghostly singing and a backdrop of dramatic piano, mournful violin and jangly Latin guitars (from Blixa) which threaten to swell up in the mix but never quite do. The only thing that lets this track down is Lane’s vaguely tuneless musings which bring to mind some of Nico’s material, but that is more than made up for by the intricate backdrop. Latin guitars and strings also colour the maudlin ‘Stories Of Your Dreams’, which possesses a strong narrative and theatrical mood. The song was co-written with Neubuaten’s Alexander Hacke, who also plays guitars on the song, while Crime And The City Solution founding member Bronwyn Adams plays violin.

The CD release of Dirty Pearl also includes ‘A Prison In The Desert’ by Nick Cave, Mick Harvey and Bargeld, taken from their soundtrack to Ghosts… Of The Civil Dead. The piece sees Lane mostly wordlessly singing over a backdrop of droning strings, industrial sounds and high-pitched noises, her voice providing a gentle counterpoint to what is otherwise a reasonably harrowing piece of music, a bit like a Graeme Revell soundtrack.

Eschewing all the released tracks from The Birthday Party canon that Lane contributed to, Dirty Pearl instead offers ‘The Fullness Of His Coming’, an unreleased track which features Lane on lead vocals, serving as strong reminder of why The Birthday Party were a musical force to be reckoned with at the start of the Eighties. The song is dominated by grinding guitar riffs from Rowland S. Howard that sounds like they might have been fed through an organ, Tracy Pew‘s ludicrously prominent bass and insistent and quickening drums from Mick Harvey. Lane murmurs and squirms provocatively through the track, particularly as the pace begins to quicken, the assembled Party members providing a nasty mantra of the track’s title while Lane writhes rapturously in the foreground.

Track listing:

lp/cd:
A1. / 1. Jesus Almost Got Me
A2. / 2. The Groovy Guru
A3. / 3. Sexual Healing
A4. / 4. Blume (Einstürzende Neubauten feat. Anita Lane)
B1. / 5. Subterranean World (How Long…?) (Die Haut feat. Anita Lane)
B2 / 6. Picture Of Mary
B3. / 7. The World’s A Girl
B4. / 8. Stories Of Your Dreams
9. A Prison In The Desert (Nick Cave / Mick Harvey / Blixa Bargeld feat. Anita Lane) – CD bonus track
10. If I Should Die – CD bonus track
11. I’m A Believer – CD bonus track
12. Lost In Music – CD bonus track
13. Sugar In A Hurricane – CD bonus track
B5. / 14. The Fullness Of His Coming (The Birthday Party feat. Anita Lane)

First published 2012; edited 2014

(c) 2014 Mat Smith / Documentary Evidence

The Birthday Party – Mutiny / The Bad Seed EP (4AD EP, 1983)

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4ad | cd cad301cd | 1983

I’ve always been of the opinion that if an artist or band is going to make a final statement, then it should be well-executed and tightly-delivered. This holds true for The Birthday Party’s final two EPs, which are collected together onto this single CD by 4AD. The Bad Seed (originally released as a 12″ on the band’s UK home of many years, 4AD) and Mutiny (originally released on Mute) were both recorded at the famous Hansa Studios in Berlin and produced by the band themselves, with uncredited assistance from Einstürzende Neubauten’s Blixa Bargeld.

By now the erstwhile drummer Phil Calvert was long disposed with in favour of Mick Harvey; Rowland S. Howard became the sole guitarist and the creative dynamic had shifted toward the writing partnership of Nick Cave and Harvey (with the exception of the opener, ‘Sonny’s Burning’, the last track written by all four members of the group). The sound is raw and urgent, but well-honed and less prone to excess, while still retaining enough of the rough edge that set The Birthday Party apart from their contemporaries.

‘Wild World’ stands out as a highlight, blessed by its sludgy blues ethic and restrained vocal performance from Cave, whose vocal has become more direct and confident throughout this awesome collection. Tracy Pew’s bass is close-mic’d to allow the resonant twang of the strings to be heard. Elsewhere, Howard’s guitar is fed through numerous effects boxes, in particular deploying his famous ‘infinite reverb’ on several tracks, which allowed cycles of feedback to spiral, ebb and flow. While recorded no doubt at the height if the band’s drug abuse, the collection is markedly more controlled than Junkyard, as if recorded in a brief moment of lucidity. Nothing is more true of this approach than the final track, ‘Mutiny In Heaven’ (featuring Bargeld on guitar), which sees the band playing with studio effects with Cave’s vocal lines overlapping and multi-tracked, while the guitars are processed into ringing bells of sound. ‘If this is heaven I’m bailing out,‘ sings Cave. The Party was nearly over, and Cave thus signalled that the last guest should leave. ‘Mutiny In Heaven’ deals with the concept of euphoric God-like feelings following a hit of smack, but I’m not clear on whether it glorifies or condemns it. More extreme than the Velvet Underground’s opium hymn, ‘Heroin’, ‘Mutiny In Heaven’ has an edge that is as marvellous as it is malevolent.

Two previously-unreleased demos from the Mutiny sessions are included on the CD – ‘The Six Strings That Drew Blood’ (a totally different track from that which later appeared on Cave’s The Firstborn Is Dead) and ‘Avalanche Of Sound’, both of which are stripped and raw and perfect even as unfinished works.

Although a year away, Bargeld’s appearance on the final track heralded the approach of The Bad Seeds, the band Cave formed around Bargeld and Harvey. As final statements go, this stacks up very higly indeed, leaving you unsure as to whether it’s enough as it is or whether you’re in need of more.

Track listing:

cd:
1. Sonny’s Burning
2. Wildworld
3. Fears Of Gun
4. Deep In The Woods
5. Jennifer’s Veil
6. Six Strings That Drew Blood
7. Say A Spell
8. Swampland
9. Pleasure Avalanche
10. Mutiny In Heaven

First published 2004; edited 2012; re-edited 2014

(c) 2014 Mat Smith / Documentary Evidence

Can – Opener (Sunset / United Artists album, 1976)

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Can 'Opener' LP artwork

sunset records / united artists | lp/c sls50400 | 1976

The title of this 1976 Sunset Records / Universal Artists compilation of Can tracks works on at least three levels – first, it suggests an accessible introduction to the music of this influential but often ignored or difficult-to-pigeonhole Cologne unit, formed as it is from their mid-period legacy; secondly, it’s an amusing pun on the band’s name (mercifully, in spite of being quite good-humoured chaps, this was the only time they – or their labels – saw fit to make lighthearted fun of their name); finally, when combined with designer Paul Henry and photographer Trevor Rogers’s sleeve image of an open Campbells condensed soup can, there’s an inextricable link to Warhol’s semi-ironic brand of pop-art. So there you have it – best of, joke or artistic statement; take your pick.

Opener was compiled by journalist and major Can fan Duncan Fallowell and Tim Read and features eleven classic cuts ranging from the impossible funk of ‘Moonshake’ to the screwy clank of ‘Spoon’. Fallowell offers gushing sleevenotes which I’ve provided below (he co-wrote ‘Dizzy Dizzy’, included here, and so represents a somewhat biased viewpoint) and the rear has that typically Seventies approach of turning the sleeve over to pictures of the band – ranging from Michael Karoli and Holger Czukay looking like extras from Easy Rider to Irmin Schmidt and Jaki Liebezeit looking like hippy professors; Damo Suzuki just looks suave – plus brief details of their respective roles. Among the facts quoted: Karoli was a pupil of Czukay and saw The Who play in Torquay; Schmidt studied under Karlheinz Stockhausen and Luciano Berio; Suzuki busked round Europe playing one chord on a guitar while improvising on top. Czukay is described functionally as the bassist and engineer, while Liebezeit’s multi-cyclical drumming is heralded as the defining factor in Can’s music. You can imagine how oddly compelling that sleeve might have been to someone flicking idly through the racks of LPs in an HMV in 1976.

So it was for me, albeit twenty years later, when I alighted upon this record in Time Records in Colchester. I bought this either just before or just after Sacrilege, and it served as my proper introduction to the music of Can. I’d been aware of them since I first read through the Mute Documentary Evidence brochure that inspired this site and my love of the label, but Opener offered the first real opportunity to get my head into their music; I fell in love with it instantly, and I used to play thus a lot, often late at night on a Sunday ahead of the following day’s lectures and classes.

I hadn’t listened to this probably since I left university in 1998 until I played it yesterday whilst selecting LPs to listen to with my youngest daughter (six). She described Opener as ‘weird but good’ and grooved along to ‘Moonshake’ like it had been recorded today.

Duncan Fallowell liner notes
Can was launched on an unsuspecting audience in autumn 1969, to a totally polarised critical reception. Their ability to arouse such strong confused feelings, for and against, was in itself a statement of their dynamism, confused because they were an enigma, could not be fitted to the current scheme of things, nothing was known of them as individuals. They are still the most unsettling of the German rock groups. Cologne is not Germany’s wildest city. This is why Can live there. Their studio, once a castle, now occupies an old cinema a few miles out of the city. Visitors are few – but never turned away, and in this easy practical atmosphere the band work. Can do not record numbers so much as discover songs or patterns in the process of recording. The timbre of their music, on record at least, has softened with their later albums from which this is compiled, and their music became more accessible. The key to Can’s music is not where it comes from or what the ingredients are, but how it works, how it moves and that’s to be discovered by listening.

Track listing:

lp/c:
A1. Dizzy Dizzy
A2. Moonshake
A3. Sing Swan Song
A4. Come Sta, La Luna
B1. Spoon
B2. I’m So Green
B3. Vitamin C
B4. Future Days

(c) 2014 Mat Smith / Documentary Evidence

V/A ‘MuteResponse’ – review by Almost Predictable. Almost

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V/A 'MuteResponse #1'

The very fine Glasgow-based blog Almost Predictable. Almost posted a nice piece about the Documentary Evidence-compiled Mute Records tribute albums we released in November 2013, MuteResponse. You can read their piece here.

Both volumes of MuteResponse can be found at the NominalMusics Bandcamp page.

(c) 2014 Mat Smith / Documentary Evidence

 

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Liars – Mess (Mute Records album, 2014)

A review of the new Liars album, Mess, for the Feeder website. Words by me.

(c) 2014 Feeder