Wednesday, March 25, 2009

The Alchemists of Sound - 2003 documentary about the BBC Radiophonic Workshop!!

Exceptional feature on the embryonic era of special effects and electronic sound taking you on a trip right back to the days of carbolic soap, shite TV and the consumption. Delia Derbyshire and Daphne Oram are still unsung heroes of electronic sound!! BEWARE!!!! ....Here be lots of smelly creepy old men appearing out of yonder black.....


The Alchemists of Sound - Part 2/6.
The Alchemists of Sound - Part 3/6.
The Alchemists of Sound - Part 4/6.
The Alchemists of Sound - Part 5/6.
The Alchemists of Sound - Part 6/6.

Sunday, March 22, 2009

THE TROUBLEMAKER - 26 interview by SAM MCPHEETERS

Subtitled " How Crucifucks Frontman Doc Dart Became a Man Named 26 ", this is a most intriguing and candid interview feature on Doc Corbin Dart which was published by www.viceland.com in January 2009 by the ever interesting Sam McPheeters ( BORN AGAINST / MEN'S RECOVERY PROJECT ) - A highly recommended ( if slightly depressing ) read!!!!!! - NOSEBLEED interviewed Doc through the mail in 1991 on the back of the PATRICIA album and we've always been fans of the man's venomous musical exploits!

http://www.viceland.com/int/v16n1/htdocs/the-troublemakers-515.php?source=db
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More fine musings from Mr McPheeters here........
http://loomofruin.blogspot.com/
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Monday, March 9, 2009

BRING ME THE HEAD OF SCOTT GORHAM - Originally published 9/2003 in UNFIT FOR CONSUMPTION fanzine!!

You already know where this is going... you’ve all seen the posters, listings etc... - every so often we pass by some mention of a band, only to discover the small print that says “the Australian” or “the ultimate (band name of your choice) experience”..... and I’m kinda numb to this... I can’t bring myself to actually say anything negative about it because it has very little to do with my life. The primordial ooze is prone to lots of stuff I find derisory, but it’s a waste of fuel challenging the logic of it all.

There are however, certain instances which are just too bizarre to ignore and one of them is the fact that Thin Lizzy are touring. Thin Lizzy to the best of my knowledge was a great blues based rock band that formed in Dublin in ‘69/’70 band with a line up of Brian Downey, Eric Wrickson (for about 4 minutes), Eric Bell and Philip Lynott. And like all popular soap operas none of these people are in the current cast. This band made 3 albums and a handful of eps - some of them stunning and some of them mediocre (in a cheesy but loveable sort of way) - but it was THEIR music. Eric Bell, the finest axemonger the band would ever have, got a bit fried by the old drink/drugs thing and opted out after “Vagabonds of The Western World”. The remaining core of Downey and Philo eventually found 2 other guitarists.... and the rest is common knowledge - cowboys, knife fights, great tunes, shit lyrics, injecting heroin into your foot so yer ma won’t find out...


.....THIS BAND IS NOT THIN LIZZY......

This overhaul tactic is done all the time to varying degrees of success. When Faith No More announced that Chuck Mosley had been booted out, I remember thinking “there goes another great band down the tubes”... nobody reading this needs to be told that the exact opposite was the case. Some bands thrive on a core member (often the singer) and a revolving door membership. This applies to everyone from Social Distortion to Bad Manners to the UK Subs to Van Morrison to Poison Idea and is not necessarily criminal..... I’m sure it’s detriment to survival in many cases.

We all know the phrase “If it ain’t broke , don’t fix it” .... and recently added to the world of lexical witticisms is “If it ain’t broke, get a screwdriver and make pock marks in it, shit on it from a height and generally beat out any life that may remain”. I can see where this all came about though.... It’s a formula that was applied to scriptwriting to get a second hour for Terminator 2 and Rocky’s 2 thru 5 - human nature to surf the crest of an accepted formula, but just like remaking THE ITALIAN JOB serves no mortal purpose, then it stands to reason that Scott Gorham’s Thin Lizzy serves even less purpose (except maybe if you’re one of those banker bikers with a red shouldered leather jacket, Mick Wall style long hair and Gary Moore records who doesn’t really count for anything either).

How a line-up of John Sykes and Scott “The horse” Gorham and two gimps I don’t know the names of has anything to do with the people I mentioned earlier, I’ll never know. By this logic I may as well get out bed in a creative mood tomorrow morning and decide to reform Jimi Hendrix with a few people who I know can play those songs. We’ll spend a month jamming and then do Midnite At The Olympia to a couple of thousand sad suburban drunks who don’t know any better but have money that they’re desperate to spend.

There’s no doubting the roll Scott Gorham played in the band but the reality of the matter still speaks for itself - If this was Thin Lizzy, they’d be playing Slane Castle with the Chilli Peppers and the Hives supporting, not in an old Cinema like the Ambassador to 1500 people with no life.

While drinking in a field when I was about 15 (as you’re generally prone to doing at that age under the influence of the devil’s music), a friend of mine informed me that his aunt had cleared out her attic and given him 2 records. One was Pink Floyd (Meddle or Dark Side ... can’t remember which exactly) and the other was what he described as a crap Thin Lizzy record which didn’t have Jailbreak or Waiting For An Alibi or any of their hits on it. He couldn’t remember the name of it but explained that there was a broken down car on the cover, that it just said THIN LIZZY and nothing else, and that I could have it for the price of a 2 Litre, but that he was keeping the Pink Floyd record. At this point, I had never seen the first album (pre CD reissues) but knew exactly what it was and took advantage of his ignorance. When you’re that age it’s easy to be put off by the naff poetics of “The Friendly Ranger At Clontarf castle”, but this album becomes one that many lifelong lizzy fans cherish and Eric Bell’s guitar work in particular simmers throughout, surfacing for the odd onslaught, but remaining refined. Of course anyone familiar with the Bell will be well aware that when he rocked out, all the subsequent Lizzy guitarists together couldn’t match him. Had he remained with the band it would have been interesting to have him paired up with either Snowy White or Robbo...


.....THIS MAN IS NOT THIN LIZZY......

By the time NITELIFE came trundling along with the new Duo of Gorham and Robbo, the dip in quality was glaringly obvious.... It took them two albums to get back up to standard, and even then, the classic Irish bluesy Lizzy was replaced with a heavier American influence. People talk about Lizzy being quintessentially Irish, but it seems like a pointless exercise if you’re an Irish band copying a US style - Gorham, a yank came straight out of the Allman brothers school of axe. This isn’t to say that Thin Lizzy made bad records from here on - Far from it, but Scott Gorham, Snowy White, John Sykes, Brian Robertson, Darren Wharton, Gary Moore and Midge Ure were essentially very privileged passengers. They all did a good job... sometimes a marvellous job... but with someone like Philo at the helm, you let the natural leaders take their place and do what you’re there to do.

Imagine how laughable it would have been if Blondie had given in to pressure from Gary Valentine and let him share lead vocal duties!! Recently, Dave Lee Roth said that when Van Halen get inducted into the Rock’n’Roll hall of fame, he’ll be able to turn to Alex and Eddie Van Halen and Michael Anthony and say of the classic Van Halen for which they’re being recognised - “We were there and it was great” before turning to Sammy Hagar and saying “You weren’t there!”.

Maybe my point is that Scott Gorham was there for a substantial time but was only a small part of the equation that made Lizzy a great band. Look at what currently tours as the Misfits... I have heard them humourously referred to as the Only Jerry band and RaMisFlag. It’s not only insulting to anyone who ever bought the records, but it’s spitting in the face of the band themselves as they existed in their original state and unravelling years of creativity with soiled grubby fingers.

We all have our opinions on bands who reform because their solo careers flop. But having seen various examples of this over the years, I know not to generalise - one instance that stands out is seeing the Undertones with the singer they currently have... Who needs that other amphibian fuckwit anyway... if you’ve ever seen footage of the Undertones playing circa ‘81, you’ll understand that Fergal Sharkey has not only been replaced well, but surpassed in many ways. It was an inspired move for Black Sabbath to get Faith No More’s drummer in the absence of Bill Ward. It was equally thoughtful for the Stooges to bring Mike Watt on board. In the case of the Sex Pistols, much as they all hate Glen Matlock, they’re aware that he’s necessary in order for it to actually be the Pistols. This at least shows that the band has a bit of respect for the package they’re reselling to the public whether it be for nostalgia, money, drugs or to prove a point to themselves.


.....THIS IS THIN LIZZY......(!!!)

Scott Gorham will of course claim that he means no disrespect - we’ll get the line that the people want the music and the music is bigger than anything and I’m sure he doesn’t really care who he’s offending as he sells out medium sized venues worldwide...

....But the fact remains that this is NOT Thin Lizzy.... and having Philo’s Ma on stage to wave at the audience and thank them doesn’t count. It’s not even a half arsed attempt... let it go...... We’ve heard the records... you can obviously play ..... go write your own fucking songs.

-BOZ

Monday, March 2, 2009

PARANOID VISIONS - BEWARE OF THE GOD LP/CD/invisible MP3 thing (2009)


It seems that since the 40 SHADES OF GANGRENE album, some manner of circular pattern has been completed and the scab ends of Irishness have morphed into a sitting duck for Paranoid Visions’ phlegm of diatribe in a match that hasn’t seemed quite so tailor made since their own little Dublin Millennium celebration way back when! Paranoid Visions may have been emitting a mutant strain of spore that sees the ranks swell to 8 since the last album, but what blots the landscape around the band is all too familiar - A sinister mirror image of the dirty 80’s, from the pretensions of tax avoidance midgets on Hanover Quay to dodgy bloated hogs spin mastering one disaster after another on Kildare Street. It’s all ripe for picking and Paranoid Visions are more than aware that there’s a place to ply their disgraceful trade with relevance and mischief amongst all of this.

BEWARE OF THE GOD as an album is not, as the title may suggest, a tired old spew of endlessly stomped-into-the-mud, painfully obvious anti-church drivel, but a mockery of the fodder which has been praised in a religious manner for the last decade or so and their reworking of the Threat’s seminal HIGH COST OF LIVING is a fitting doorstep to all of this. Normally, it would be considered an act of treason to ad a layer of vocal sentiment to a song which originally said it all by saying no more than the title itself, but some manner of immunity seems to be granted upon PV in this regard!! Sonically, there are familiar tones here to the highly polished Paranoid Visions of the AFTER THE FACTION era, strongly apparent on the anthemic cadence to punk I AM THE ONE.

The more upbeat SEX KILLS utilises the band’s 3 vocals effectively in a cautionary spiel about blind provision of bait for playground stalkers fuelled to the gills with media sex. Throw in some high octane guitar interludes and you’ve got a strangely compelling Crass/ Bad Religion hybrid!! Darker gothic undertones that the band have often played with rise to the surface on BONDAGE and weave their way around the mythologies of criminal rehabilitation. It may be a well worn subject, but the feckless ghosts of incarceration drooling their way around Dublin of speak volumes about it’s effectiveness on certain breeds. Interestingly, some classical Spanish guitar from the now departed-from-the-ranks Joe Libido ads a refreshing and inventive dimension on the brief NO SUNNY DAYS, recalling somewhat the far-reaching experimentation of the Poison Girls' WHERE’S THE PLEASURE? era. Drawing such artistic elbow room into the mix buffers the onslaught and is a side of the band that is definitely worthy of further exploration.

NEW DARK AGES is a classic slice of anarchic caution which chugs along on a one note guitar trick and a catchy 3 chord chorus hook in a very old school fashion, and Paranoid Visions take cue from a vintage era of themselves for the guitar hooks on FROM DUBLIN WITH LOVE, which, unsurprisingly, doesn’t really express very much love at all. It’s a repeated theme for the band and a long standing hate affair!!!

There’s an alcohol lacquered swagger on SHELL TO SEA, which mimics many unmentionable bands pleading “Oirishness” as their sole idea and strongly suggests that there’s maybe not an awful lot to be proud of clinging to in that regard. It puts a swift point across and rubbishes the directives of those who base their entire repertoire on this sound. And if there’s room for blunt rhetoric then it’s right here in the form of the brief ASYLUM IN MY MIND, an affirmation of self imposed exile which ( if not presented in an endless and self congratulatory manner ) has a place of every punk record!!!

FATAL DISTRACTION's interplay of angular guitar squeals and doomy rant has a rigid and claustrophobic air of Rudimentary Peni or Clan of Xymox. It doesn't concoct a joyous outlook, but a more positive sentiment would be out of place in the context of this body of music! And these days, no Paranoid Visions record would be complete without an ode to another character in the motley collection of trophy freaks. The dishonour goes to Josef Fritzl and FRITZL'S BASEMENT concludes the main bulk of sonic disgust in a very fitting manner.

The bonus tracks, Devo's MONGOLOID ( a frequent addition to their live set ) and a great rendition of Alternative TV's ACTION, TIME AND VISION ( could very well be the band's own composition ) are rounded off by a new acoustic version of the frequently recorded STRANGE GIRL. Surely at this point there's more than enough of them for a STRANGE GIRL CD??..... Hidden at the very end is the audio of their AMHRAN NA BHFIANN strangulation from the Podge & Rodge Show which is no doubt also knocking around on youtube somewhere.

The current productivity of Paranoid Visions is part of the band's strength. It has already matched their output from the ROBOT IS RUNNING AMOK EP right up to IMMATURE RECOLLECTIONS and as long the same prevailing grievances that haunted their former incarnation linger like the musk and maggots of a stale corpse under the floorboards then there's still plenty of venom to spit!!
- BOZ MUGABE

ALBUM ORDERING INFO AT - www.myspace.com/paranoidvisions.

ALBUM LAUNCH - 7/3/2009 - ACADEMY 2, Abbey Street, Dublin 2 - 8PM - plus special guests SHAME ACADEMY ( Featuring Brian Young (Rudi), Greg Carroll (Outcasts) and Petesy Burns (Stalag 17) Playing classic tracks from Rudi and the Outcasts ) & support from MOUTPIECE, LIZ IS EVIL