Saturday, May 26, 2007

Who Can I Turn To Stereo

a Tune time machine
b Landed at granma's
c Woollen numbness of anaesthesia
d Yagga Blues
e Livin' fear of James Last
f Space funk with springs
g Easy Snapping
h Home is where the heart is
i Monument to Perez Prado
j Approaching Darkness fish
k Darkness fish
l The standard table of daddy

All I can say is that given my certainly not-complete knowledge of the Nurse catalogue, from the 30-odd pieces I've heard, this one is likely the most accessible album as a whole, for the novice particularly. But, I'm partial to this album. Tres Magnifique!
Great lineup, fantastic weirdness and cohesive rhythms dance together and smile.
but don't take my word for't.
"While at the time of this recording, Steven Stapleton did not have internet access, the text printed on the CD as well as the spoken words were taken from the Exquisite Corpse found on this website. Pictured on the sleeve/booklet include Peter Christopherson and Jhonn Balance of Coil , Alan Trench, Alison Webster, and David Gibson of World Serpent, Edward Ka-Spel of LPD , Petr Vastl (Aranos) , Darragh Grealy (dj and animator, sounds contributor), Davide Meroni (the Italian voice on the album), David Tibet , Sarah Fuller (female voice on the album), Steven Stapleton , Matt Purcell (engineer Harmony Row Studios), Peat Bog (with Freddy). "
From JCope's Head Heritage:
"It has much in common with Krautrock (yes, again!), particularly the tape editing (Can, Faust), as well as the modulation and splice experiments of 20th century classical avant-guardists (Stockhausen, Henri, Cage etc.). But these are just touch points, rather than starting blocks. This music has something deranged about it (like The Residents), but it’s very listenable and not nearly as hard work as I’m probably making it sound (unlike (much of) The Residents.). Synthetic rhythms pitter patter as weird and wonderful noises, often with no immediately apparent source, jump in and out. A surrealist narrative in a gorgeous brown voice with a Spanish accent drops in now and then to give us the impression that a story is unfolding. Each track flows into the next giving the whole album a ‘concept’ feel. The ‘concept’, however is of our own making, as any themes are too oblique to be a concrete concept. Hell, the concept is the NWW sound, not any bash-you-round-the-head-till-you-get-it lyricism. This record is bloody difficult to describe. Mainly because I’m scrabbling around for reference points, but this music sounds like the product of a hermetically sealed environment and a singular aesthetic. Effects are used, not merely as aural colouring-in but for a purpose. If this sounds like serious stuff, then I’m also misleading you, because there are large doses of dark humour here too. I probably also haven’t got across the beautiful nature of much of this record. ‘Yagga Blues’ is a sumptuous piece of exotica. Oh, and moments of genius like using the sampled words ‘…to communicate’ looped, as a mantra rhythm-track just make the hairs on my arms stand up!" 320