Archive for July, 2011

Call off the threats

The BBC has succeeded in gaining an impressive reputation: it’s respected around the world for its impartiality.  While other broadcasters like Rupert Murdoch’s Sky and Fox channels and Silvio Berlusconi are universally despised for their undoubted political biases, the BBC usually manages to get away with its claim o be a balanced and impartial broadcaster. This claim is not sustained by the facts as revealed by a former Director General of the BBC itself, Greg Dyke, in a speech to a fringe meeting at the Liberal Democrats’ annual conference, only reported by the Belfast Telegraph, the Glasgow Herald and the Guardian media correspondent Roy Greenslade.

In his speech, about MPs’ expenses, Dyke called for a commission to look into the “whole political system”, adding: “I fear it will never happen because I fear the political class will stop it.”

Dyke claimed that he had wanted to make big changes to the BBC’s political coverage but that these had been blocked..

“The evidence that our democracy is failing is overwhelming and yet those with the biggest interest in sustaining the current system – the Westminster village, the media and particularly the political parties, including this one – are the groups most in denial about what is really happening to our democracy…

  “I tried and failed to get the problem properly discussed when I was at the BBC and I was stopped, interestingly, by a combination of the politicos on the board of governors, one of whom [Sara Hogg] was married to the man who claimed for cleaning his moat, the cabinet interestingly – the Labour cabinet – who decided to have a meeting, only about what we were trying to discuss, and the political journalists at the BBC.

  “Why? Because, collectively, they are all part of the problem. They are part of one Westminster conspiracy. They don’t want anything to change. It’s not in their interests.”

He went on to claim that at the BBC,  “In the end, political journalists live in the  same narrow world as politicians do and they don’t see a need to change because they think it’s the world. They just don’t understand that out there it’s very different.”

That’s the hub of the problem.  The bias at the BBC is so ingrained, that it has become as natural as breathing to most of the journalists who work there. This was borne out by an impartiality seminar of BBC journalists hosted by former Desert Island Discs presenter Sue Lawley in 2006.  Andrew Marr admitted to the London Evening Standard that the BBC did not represent majority British opinion, saying, “The BBC is not impartial or neutral. It’s a publicly-funded, urban organisation with an abnormally large number of young people, ethnic minorities and gay people.

  “It has a liberal bias not so much a party-political bias. It is better expressed as a cultural liberal bias.”  Business presenter Jeff Randall told the same paper that he had  complained to a senior executive at the BBC about the corporation’s pro-multiculturalism stance. He claimed he was told: “The BBC is not neutral in multiculturalism, it believes in it and it promotes it.”

There is evidence that the prevailing ethos at the BBC at best disdains Christianity and seems to want to drive it from the public arena to the private sphere. According to the Evening Standard, Lawley’s seminar discussed a proposed episode of Room 101 in which Ali G would dump a copy of the Bible and the Quran. BBC executives were willing to dump one of these books but not the other.  Can you guess which one?

Former BBC newsreader Peter Sissons, blows the whistle on this in his recent book When One Door Closes. Sissons says, “What the BBC wants you, the public, to believe is that it has ‘independence’ woven into its fabric, running through its veins and concreted into its foundations. The reality, I discovered, was that for the BBC, independence is not a banner it carries ­principally on behalf of the listener or viewer.
“Rather, it is the name it gives to its ability to act at all times in its own best interests.”

You might ask, so what?  After all, we have the option of turning our television sets and radios off if we don’t like what we hear.  What does it matter if the BBC reflects the concerns of a self-affirming political liberal-leftist elite? We can watch other TV channels, tune in to other radio stations or access other news sources online.

That’s true, but the big difference is that we are required to pay for this source of biased news on pain of criminal prosecution. When I pay for a copy of The Guardian, I know what to expect; thoughtful left-liberal political analysis. I expect the Irish News to promote an Irish nationalist agenda, the News Letter to promote unionism and the Daily Express to come up with something new or bizarre about Princess Diana every couple of months. I expect pugnacious conservative populism in the Daily Mail and The Sun and unrepentant Stalinism in the Morning Star.  I pay my money and I take my choice.

No-one is going to send me a series of threatening letters saying that they have no record of me taking The Times and threatening me with court action if I don’t immediately go out and pay for the privilege of reading it whether I actually do so or not. I can choose to subscribe to newspapers, internet and cable or satellite television channels that reflect or challenge my political or religious opinions, prejudices and biases.  I cannot choose not to pay for the BBC and use a television set without risking being taken to court and fined or sent to prison.

We have become so used to this extraordinary state of affairs because we have grown up with it, but in fact it’s a crazy system. A private company acts as if it was some kind of public authority to demand payment with menaces for another private corporation; one that holds the view that the masses who do not share its left-liberal metropolitan views are to be treated with disdain or contempt.  Try ignoring letters from the TVLA and see how it ratchets up the threats and menacing language. Even better, if you have no television set, write and tell them so.  It makes no difference. The threatening letters soon resume.

It’s time for the BBC to put its money where its mouth is. I suspect that the Corporation might have to change its ways were it forced to rejoin the real world and pay its way like any other business.  The smug ‘we know best, so clear off’ response to viewers’ and listeners’ complaints might change if people were not treated as criminals should they decide to withhold payment of their TV licence fee.

Abolish the compulsion element in the licence and replace it with a voluntary subscription and quarterly fund-raising appeals and see what happens. That’s what happens in theUSwith American Public Radio and National Public Radio. Those who agree with the BBC’s political line or who like to be challenged by it will pay to receive BBC radio and television as their counterparts do inAmerica.  Those alienated or offended by it or the indifferent will probably walk away.

 

David Kerr

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Images of Ireland – North Belfast

North Belfast images

Images of Ireland: North Belfast

By Peggy Weir.  Nonesuch Publishing,Dublin,Eire.  1999.  £11.75.

ISBN 978 1 84588 915 9

 

THERE’S a fair chance that many folks who currently live in South East Antrim originally hail fromNorth Belfast.  Indeed, some probably still have relatives in areas such asTigersBayor theYork Road/Shore Road area.

With this in mind, I’d recommend an excellent book called Images of Ireland – North Belfast by Peggy Weir.  This book consists of nearly 130 pages crammed full of good, clear black and white photographs.  Ten chapters – including Industy and Transport, Troubled Times, Churches and Houses – examine various aspects of life in North Belfast.

However instead of giving North Belfast a full written review, I thought I’d just decide to echo the thoughts of Fred Heatley.  In his brief but thought-provoking Introduction, Mr Heatley – President of the North Belfast Historical Society – notes:

“The adage ‘one photograph is worth a thousand words’ holds true.  Even the most eloquent speaker finds difficulty in explaining past social conditions without adequate illustrations.  This collection of photographs proves that.  School or wedding photographs may appear of interest only to those in the picture or their descendants, but for us they show the alterations in the dress, style and the modes of the times.  Buildings, streetscapes, transport and places of entertainment are unimaginable without the camera’s product.  Each illustration tells of an age now long gone but for memories”.

 

-         John Jenkins

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A Challenge of Honour – No Way Out CD (Vrihaspati)

A Challenge of HonourNo Way Out CD (Vrihaspati)

A Challenge of Honour cover

A Challenge of Honour

A CHALLENGE OF HONOUR (ACOH) is a well-respected name in the martial industrial scene, with early albums like The Right Place and Wilhelm Gustloff being regarded as classics of the genre.  No Way Out, released on Vrihaspati, the ACOH-specific imprint of Steinklang, is the project’s first new release since 2005’s Seven Samurai.  Since No Way Out was released earlier this year, there have been two more ACOH releases, the Leonidas album on Old Europa Café, and the 1666 – The Great Fire Of London MCD on Vrihaspati, as well as a deluxe boxed set of No Way Out, so it seems as if ACOH is back in business.  Whether this is a good thing, though, depends on what you’re expecting.  I didn’t hear Seven Samurai, so I don’t know how different No Way Out is from that, but it’s certainly a radical departure from the earlier ACOH releases.  Imposing martial bombast has given way to synthetic, 80s synth-pop with occasional neo-classical flourishes.

No Way Out contains ten tracks totalling 55 minutes, and it opens with its title track, a wistful piano-led instrumental piece which develops into swelling, anthemic symphonic pop, played over a brittle synthetic rhythm track.  It’s both banal and appallingly mainstream, sounding like the kind of pompous orchestral overture that a band like Queen would put on an album.  Slavery Called Democracy manages to be a bit darker and more credible, with brooding, minor-key synth chords and spoken-word vocals something like Ordo Rosarius Equilibrio, but again, the programmed percussion really detracts from the song’s impact.  Worst of all is the eighth track, an instrumental called We Will Reach That Certain Point, which runs a lachrymose piano melody and jazzy clarinet over a horribly cheesy Bontempi organ-style rhythm track.  This song wouldn’t sound out of place on a Michael Jackson album – seriously.  Fall Of Grace is a more neo-folk oriented song, with a sparse arrangement of bright strummed guitar over the synthetic beat, something like the later work of Orplid or other electronics-reliant German neo-folk acts such as Seelenthron.

The album’s last track is A Last Goodbye, a glossy, upbeat pop song with accordion and strummed guitar which sounds disturbingly like Simple Minds doing Don’t You Forget About Me (the song which plays over the credits at the end of The Breakfast Club, 80s pop-pickers!).  This is followed by a reprise of No Way Out, which sounds quite similar to the opening version, though without the drums, and a bonus track. City Of Decay, which is another neo-folk song like Fall Of Grace.

No Way Out does feature two songs which stand out as being superior to the others.  Thinking About Ernesto, a tribute to Che Guevara, uses Hammond organ and reverbed tremelo guitar licks to good effect, producing a kind of sparse Latin pop like Spiritual Front.  And Nakba mixes a brooding darkwave melody with violin and ululating, middle-eastern female vocals (uncredited on my review copy), sounding like Mother’s Destruction’s Amodali.  Apart from these two tracks, though, I really couldn’t find much to enjoy about this album.  Some reviews of No Way Out have compared ACOH’s new sound, and Peter Savelkoul’s vocals in particular, to Joy Division, but this seems pretty wide of the mark to me.  If only this album sounded as cool as Joy Division, but alas, I found myself reminded a lot more of such credibility-free 80s atrocities as Simple Minds, Tears For Fears and Yazoo. I’ve been here before with bands I previously admired, who suddenly take off in a direction I really don’t want to follow them in, most notably Orplid and Ostara.  So farewell then, A Challenge Of Honour, bon voyage.  I’ll see you when you get back.

www.a-challenge-of-honour.net

www.myspace.com/achallengeofhonour

www.steinklang-records.at

www.myspace.com/steinklang

Reviewed by Simon Collins. Reprinted with acknowledgements to Judas Kiss web-zine.

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Diamond Eyes by Deftones

Diamond Eyes

by Deftones

Click on image to buy CD


Released: May 4th 2010
Genre: Alternative Metal/Experimental Rock
Label: Reprise/Warner Bros.
Number of Tracks: 11

DEFTONES are an alternative metal band from Sacramento, California, consisting of Chino Moreno (Vocals/Guitar), Stephen Carpenter (Guitar), Chi Cheng (bass), Frank Delago (keyboards and turntables) and Abe Cunningham (drums). After the release and subsequent tour for Saturday Night Wrist (2006) the band began working on their next album titled Eros. Following the recording of the album bassist Chi Cheng was seriously injured in a motorcycle accident and fell into a coma, delaying the albums release. The band was unsure whether they would continue to play together. In 2009 they began to play a number of shows and festivals around the world with bassist Sergio Vega (of Quicksand) filling in for Cheng on bass and instead of releasing Eros the band decided to record a new album that year with Vega. Diamond Eyes was released earlier this year, four years after their previous album. For the short time span in which this record was written, recorded and released it is an incredible record.

SOUND: To me Deftones are one of those bands that have a different sound and feel to each album they release. This is true with Diamond Eyes and previous releases. The interesting thing about all of Deftones albums is the increase in “heaviness” throughout their career. The guitars they used on their first record were in the standard tuning and as they released more albums the guitars started to become tuned lower and even lead to the usage of seven string guitars and on Diamond Eyes the introduction of the eight string guitar. Although this is a “heavy” record I wouldn’t let this put off non-metal listeners. Although the sound is loud and at times abrasive it’s also clean and well polished meaning it isn’t a difficult listen. The music they create is also quite intricate. It’s already been mentioned that the band utilises keyboard and turntables. When you give the album a first listen it seems that these parts are non-existent, when in fact they are quite subtle within the music. In terms of the tracks themselves they vary in style quite a lot. Most of the tracks use a light distortion (at least it sounds light to me anyway!) while other tracks like Sextape stand out using clean guitar and delay effects. Some of the songs give off a feeling of sort of staggered feel such as Rocket Skates, Cmnd/Ctrl and Royal but generally the songs are quite upbeat and mid tempo. Overall I would give the sound a solid 9 out of 10.

LYRICS: For an album that was created based around a tragic event, the easiest thing that they could of done would have been to write a angst-ridden and bleak album. The lyrics however aren’t like that at all. It could even be argued that like the music they are quite upbeat. The lyrics like most of Deftones lyrics are still quite cryptic and often aim at providing messages or telling stories about something. For that reason it’s difficult to look at lyrics out of the context of the song. They do however explore a range of emotions. “Time will see us realign, Diamonds reign across the sky” from Diamond Eyes (song) and “Let’s drown beneath the stars” from Rocket Skates seem to symbolise the longing to be together with someone again. The themes that run through the lyrics all seem to be like that. To talk about Chinos voice I would describe it as having Robert Plant (Led Zeppelin) and Morrissey (The Smiths) influences which can be heard at times. He has an interesting voice, it can be quiet and soothing at times but it can also be loud and intense. There is screaming in this record but there is not a huge amount of it (I can only think of it really being in one song and in that song it was quite sparse) so if you are not a fan of it I wouldn’t let it put you off. The song Cmnd/Ctrl almost sounds like it is rapped with the rapid delivery of vocals provided. Overall the lyrics are varied enough to make it interesting and the vocal delivery is excellent. I would easily give it a 9 out of 10 for vocals.

OVERALL IMPRESSION: I waited a long time for this album to be released and I was certainly not disappointed with what I heard. The production is great and the songs in general are of very high quality. It’s one of the best metal albums I have heard that has came out in recent years and I would certainly encourage everyone to give it a listen!  9/10.

Reviewed by Joshua Chism.

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Les Claypool – 5 Gallons Of Diesel

Les Claypool – 5 Gallons Of Diesel

Release Date – 2005
5 Gallons Of Diesel presents a collection of live performances, music videos, behind-the-scenes footage, and other bonus material from renowned bassist Les Claypool’s non-Primus ventures, including Oysterhead, Colonel Claypool’s Bucket of Bernie Brains, Sausage, Frog Brigade, and Holy Mackerel.

SOUND:  After the release of Primus’ Animals Should Not Try To Act Like People in 2003, bass virtuoso Les Claypool released a DVD of 3 1/2 hours of material covering his various side projects over the years, including rare live footage, music videos and exclusive behind the scene footage.  Covering bands from Sausage (containing the original Primus line-up) to Colonel Claypool’s Bucket of Bernie Brains (Claypool’s latest group at time of release) there is a wide variety of music produced taking in Claypool’s creative music and many other famous musicians putting their stamp on it including Buckethead, Stewart Copeland (of Police fame), Trey Anastasio (of Phish fame), Brain (Primus, Praxis, Guns N Roses), Bernie Worrel (Funkadelic, Parliament), Skerik (Critters Buggin) and the list goes on.  The music each band produces is one of a kind and you are unlikely to find anything like it anywhere else.  10/10.
CONTENT:  The DVD contains 3 1/2 hours of footage including each of the bands performing live/music videos, as well as the extras of Claypool fishing and having a “bass battle”.  The various content can be seen as follows:

Sausage
01. Riddles Are Abound Tonight (video)
02. The Making Of Riddles
03. Prelude To Fear (live)

Holy Mackerel
04. Hendershot (live)

Oysterhead
05. Shadow Of A Man (live)

Frog Brigade
06. Here’s To The Man (live)
07. Running The Gauntlet (live)
08. David Makalaster (live)
09. Long In The Tooth (live)
10. Whamola (live)
11. Granny’s Little Yard Gnome (live)
12. Ding Dang (live)
13. Buzzards Of Green Hill (live)

C2B3
14. Opening Jam (live)
15. Encore Jam (live)
16. Tyranny Of The Hunt (live)
17. Scott Taylor (live)

Les Claypool
18. Riddles Are Abound Tonight (live)
19. The Awakening (live)

Extras
20. 3 Guys Named Schmo (live)
21. Buzzards Of Green Hill (video)
22. The Making Of Buzzards
23. The Recording Of Buzzards
24. Fly Fishing The World 2004 Idaho
25. Fly Fishing The World 2005 Quebec

I personally would have enjoyed more footage from Oysterhead, Sausage and The Holy Mackerel, but it has to be appreciated that footage for these bands is quite hard to come by.  However the overall content provided is excellent.  10/10.

PRODUCTION QUALITY:  The videos are extremely high quality showing good camera work and high quality picture and sound.  The footage on the DVD was recorded and produced professionally with the exception of the behind the scenes videos which are done with a camcorder, similar to the Animals should not try to act like people behind the scenes.  10/10.

IMPRESSION:  I was anxious to get this after scouring the internet and my local music shops for it and I was not disappointed.  It is a great DVD and if you love Les Claypools music or his stage presence and sense of humour you will really enjoy this DVD.  If you are not a fan of Les Claypool or haven’t heard any of his music before I would suggest this DVD as a good introduction to the variety of music he plays.  Most of the different bands on this DVD are jam bands which mix metal, alternative rock, funk and experimental music together in an original and entertaining way which could definitely be enjoyable for anyone who likes those genres of music.  It must be warned though that Claypools zany sense of humour and his approach to music is a bit of an acquired taste.  However even if you do not enjoy the music you most definitely have to hear it just to appreciate the brilliance in composition and showmanship seen on this DVD!  10/10.

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CD Review: Àrnica – Viejo Mundo CD (Percht)

ÀrnicaViejo Mundo CD (Percht)

Click on image to buy this CD

 

HAVE YOU ever touched a pig?  A living, breathing, snouting, snuffling pig, that is, not one that’s been turned into bacon, sausages, ham and other tasty pork products? When you lay your hand on a pig, try patting its flanks, rubbing its snout, and scratching it behind the ears (pigs love this as much as cats do).  You’ll find its skin surprisingly warm – like humans, pigs have no effective furry insulation, so they get cold easily – and rough in texture.  The hair they do have is very coarse and springy – it’s used for making artists’ brushes and shaving brushes.  The reason I mention this is because Àrnica’s debut album Viejo Mundo (Old World) features several pictures of wild boar.  Now, I’ve never touched a live boar – they’re much less common than farm pigs, and have a nasty reputation for unpredictable aggressiveness besides – but I’ve handled tanned boar hides, and they are a lot tougher and hairier than pig skins.  The kind of qualities that are evoked when I think of the tactile qualities of pig and boar skins – their roughness, their heat, their fierce vitality – are exactly the qualities that I find in Àrnica’s music.

I first encountered Àrnica in the middle of 2008, at the Madrid Le Blanc neo-folk festival (my scene report from the festival can be found elsewhere on Judas Kiss).   This was the first ever live performance of the Barcelona-based trio, and they had no recordings available at the time, so no-one really knew what to expect from them, but their shamanic presentation of primal Pyrenean folk made a deep impression.  I said at the time that this band obviously belonged on the Ahnstern label, and 2009 saw my prediction fulfilled.  Àrnica’s first couple of releases, the self-released Live In Sintra CD-R and a split 10” with Wolfsblood on the American label Pesanta (reviewed elsewhere on Judas Kiss) were swiftly followed with South European Folk Compendium, a split release on Ahnstern shared with Svarrogh and Défilé Des Âmes, and now this debut album on Percht, the Sturmpercht-related subdivision of Ahnstern.

 

Viejo Mundo contains 12 songs, totalling 43 minutes, with lyrics delivered in a mixture of Spanish and Catalan.  Àrnica, in common with other Ahnstern bands such as Sangre Cavallum, Sturmpercht and Svarrogh, have a highly developed sense of ethnic identity and love of the folk traditions of their homeland.  There are no English translations provided, which does mean that it’s difficult for non-Spanish speakers to appreciate the lyrics on a literary level.  On the deeper emotional level, however, it’s not necessary to be able to understand the literal meaning of the words in order to tune in to the primordial, nostalgic atmospheres evoked by the music.  Most of the instruments used are acoustic, and they include guitar, accordion, mouth harp, bodhran drums, tambourine and other hand percussion, horns and flute, variously played by Dani, Saul and Carles.  A guest musican, Raul Guerrero, contributes gaita, or Catalonian bagpipes, to a few tracks.  A couple of songs, Urogallo and Hijo De Deva, employ samples, but these are quite subtle and unobtrusive, never overwhelming the rough-hewn, organic quality of the music.

The album opens with Última Hoguera, a sound-montage of field recordings – footsteps, creaking doors, crackling flames, a lonely flute melody – and narration delivered by an old man.  This is evidently a framing narrative – ‘a tale narrated by an old man as his last legacy to a casual traveller’, according to the press release – but as noted before, without knowing Spanish, it’s hard to understand this.  This leads into the first proper song, Ilmatar, a gentle guitar melody punctuated with deep chanted vocal refrains.  Ilmater is a Finnish goddess, air spirit and mother of Väinämöinen, so I’m not really sure what this has to do with ancient Iberian culture, though the song itself is very pleasant.  The clicking wooden percussion, wheezing accordion, and theremin-like background samples of Urogallo recall the work of Àrnica’s Catalan compatriot Ô Paradis.

Danzas De Guerra (War Dance) is a stirring Celtiberian battle-hymn, using Catalan bagpipes and bodhran, very much in the style of Sangre Cavallum, who use Gallician pipes.  Bagpipes also dominate the later track Caballos Solares (Horses of the Sun), alongside stentorian shouted vocals and thunderous side-drums, making this the album’s noisiest track, and one of its best as well.  Tu Tierra and El Trashumante are both quite gentle accordion-based songs, the latter adding clanking cow-bell, but sandwiched between them is Hijo De Deva, which uses layers of droning horns, deep chanted vocals and hollow drum beats to produce ur-folk quite similar to Waldteufel.

Aguarda (Wait) is perhaps Viejo Mundo’s most delicate song, a lilting ballad with plucked Spanish guitar, tambourine and twanging mouth harp.  Tormenta is a tribute to the Austrian industrial folk band Allerseelen, ‘grabada en directo en el bosque’ (‘recorded live in the forest’), complete with chirping cicadas.  Gerhard of Allerseelen also witnessed Àrnica’s performance in Madrid, and was mightily impressed – he contributed Viejo Mundo’s cover photo of wild boars in the forest, and I believe he played a part in securing Àrnica’s deal with Ahnstern.  Galdr, like Hijo De Deva, recalls Waldteufel with its background sounds of crackling flames, eerie chanted vocals, dry rattling drums, and wavering flute melody.  The album closes with Tu Miedo (Your Fear), a disquieting track of hypnotic beats, low drones, distant flute, and the cawing of crows.

 

Overall, Viejo Mundo is an excellent debut album, brimming with confidence and vitality.  Anyone who enjoys the ethnically-rooted heathen folk of bands like Sangre Cavallum, Sturmpercht, Svarrogh, Waldteufel or Hagalaz’ Runedance will easily warm to Àrnica.  Àrnica may be a relatively new band, but the old world they evoke is at once both enchantingly strange and strangely familiar – they are tapping into very deep wellsprings of ancestral spirits and folk memory.  Close your eyes, relax into the music, and you can almost feel that boar-flesh grunting and heaving beneath your fingers.  So warm, so earthy, so full of life.

 

There’s also a 200-copy wooden box edition of Viejo Mundo, which comes with extra inserts and a bonus 3” CD containing exclusive collaborations with Dimo Dimov of Svarrogh, Max Percht of Sturmpercht, and folk singer and Sol Invictus member Andrew King.

www.myspace.com/arnicaband

www.steinklang-records.at

www.myspace.com/ahnstern


Reviewed by Simon Collins. Reprinted with acknowledgements to Judas Kiss web-zine.

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Shudder to Think – Pony Express Record

Shudder to Think - Pony Express Record 


Released: September 13, 1994
Genre: Post-Hardcore/Experimental Rock/Indie Rock
Label: Epic

Shudder to Think

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Number Of Tracks: 13

PONY EXPRESS RECORD is a 1994 album by the Washington, D.C.-based post-hardcore group Shudder to Think.

Sound: Shudder to Think are a post-hardcore band who emerged from the DC hardcore scene in the mid-1980s and were one of the two bands (other being Jawbox) to famously leave Dischord Records for a major label.  Although taking their influence from hardcore punk and alternative rock their music has a pop twist which is quite evident on their major label debut Pony Express Record.

However despite having a clean poppy sound the album is not what could be described as “easy listening”.  The songs on the album jump around abruptly which on your first listen and subsequent listens can take you by total surprise as the song goes in a total different direction than it was going originally.  This is thanks to the number of different time signatures utilised notably in track 5, Earthquakes come Home. 

Another thing to mention is that although being a well produced and a tight sounding record there is a lot of use of dissonance/dissonant chords in the songs and twisted melodies which is what sells the record for me.  It approaches the pop sound from a total different direction which sounds abrasive to the ear but doesn’t put you off. Overall I would give it a 9/10 for sound.

Lyrics and Singing: One of the first things than struck me about this record was the lyrics and the singer’s vocal ability.  Craig Wedren the bands guitarist/vocalist is a phenomenal singer.  I would compare him to the style of Jeff Buckley who in fact did some work with the band for the film First Love, Last Rites.  However the comparison to Buckley is not totally fitting.  In some of the songs Wedren’s singing can become quite intense where he starts almost shouting.  The lyrics are quite intriguing, thought provoking and even clever and funny in places.  From the slightly morbid lyrics in the opening track Hit Liquor“Case of her bones are softer than loose meat” to the funny/weird lyrics in Gang of $ - “One honey donut and your lips are stuck to the seat” and his later wailing of “the ghost of my mom is in the telephone”.  The topics and lyrics vary greatly throughout the record my personal favourites being from X-French T-Shirt - “I saw you screaming at the top floor, big window crash, I’m deaf” and Kissi Penny’s“Who’s in distress? Some damsel with a canceled subscription to an ambulance”.  Overall the lyrics and vocals are fantastic. 10/10

Impression: If I was to put it generally, I would say that Shudder to Think sounds like a more abrasive Jeff Buckley.  There aren’t really many bands out there like them.  Maybe Jawbox or Fugazi to an extent, but they lack the poppy/clean sound that Shudder to Think provide.  To me this is a perfect record and I would even go as far to say this is one of the best albums of the 90s.  I would put it up there with Pearl Jam’s Ten, Soundgarden’s Superunknown and many other albums.  I would urge people to go out and buy this exceptional album you will not regret it!
Overall 9.7/10.

 

Reviewed by Joshua Chisim

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