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Fire Records
The Bevis Frond 'Superseeder'
£11.99
Fire Records
The Bevis Frond 'Superseeder'
£11.99
2LP 5mm single sleeve, art insert, download postcard. CD Digisleeve + booklet.
'Superseeder marks a return to the sort of extended raga-like acid rock workout that typified early Bevis Frond releases.. the whole album is excellent.' Allmusic
Released on Nick Saloman's label Woronzow in 1995, The Bevis Frond's Superseeder'arrived after Sprawl'.
At this point, Nick began releasing albums annually compared with his earlier recordings that would see multiple releases per year. Soaring and melodic rock workouts prevail with a notably strong rhythm section making this record another favourite.
Eastern tinged opener Superseded', I Can't Cry'and 17-minute House Of Mountains'are exemplary workouts whilst the garage-punk of Dolly Bug'takes a different tone as do Golden Walks Of London'and Queen Of May'which have more traditional British influences.
Playing many instruments on the record, Nick continues here to work with his live band with Andy Ward on the drums, Adrian Shaw on bass and guest second guitarist Bari Watts returns (tracks 6 & 12). Superseeder'is reissued on double LP, single CD and download, it's released alongside Sprawl'and It Just Is'on Fire Records ahead of their 30th anniversary year in 2017.
Tracklisting:
Side A
1. Superseded
2. Dolly Bug
3. Stoned Train Driver
Side B:
1. Animal Tracks
2. Jaye
3. I Can't Cry
4. Could Be
5. Flashy
Side C:
1. Golden Walks Of London
2. House Of Mountains
Side D:
1. The Queen Of May
2. Sue Me
3. Loveland
4. Could You Fly Higher?
'Superseeder marks a return to the sort of extended raga-like acid rock workout that typified early Bevis Frond releases.. the whole album is excellent.' Allmusic
Released on Nick Saloman's label Woronzow in 1995, The Bevis Frond's Superseeder'arrived after Sprawl'.
At this point, Nick began releasing albums annually compared with his earlier recordings that would see multiple releases per year. Soaring and melodic rock workouts prevail with a notably strong rhythm section making this record another favourite.
Eastern tinged opener Superseded', I Can't Cry'and 17-minute House Of Mountains'are exemplary workouts whilst the garage-punk of Dolly Bug'takes a different tone as do Golden Walks Of London'and Queen Of May'which have more traditional British influences.
Playing many instruments on the record, Nick continues here to work with his live band with Andy Ward on the drums, Adrian Shaw on bass and guest second guitarist Bari Watts returns (tracks 6 & 12). Superseeder'is reissued on double LP, single CD and download, it's released alongside Sprawl'and It Just Is'on Fire Records ahead of their 30th anniversary year in 2017.
Tracklisting:
Side A
1. Superseded
2. Dolly Bug
3. Stoned Train Driver
Side B:
1. Animal Tracks
2. Jaye
3. I Can't Cry
4. Could Be
5. Flashy
Side C:
1. Golden Walks Of London
2. House Of Mountains
Side D:
1. The Queen Of May
2. Sue Me
3. Loveland
4. Could You Fly Higher?
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One of Entertainment Weeklies 100 Best Soundtracks Of All Time.
A precursor to Lynch's Twin Peaks and Mulholland Drive, Blue Velvet sets a template for ethereal noir soundtracks in a modern, quite disturbed age. 'The shock of the new fades by definition, but it has hardly done so in the case of Blue Velvet.' Dennis Lim, Salon, 2016
"The haunting soundtrack accompanies the title credits, then weaves through the narrative, accentuating the noir mood of the film." - John Alexander, The British Film Resource
You know that feeling you get when you're shook awake in mid-dream? You were teetering on the ledge of a building, or maybe trying to free a butterfly from a spider web while wearing cricket gloves? Perhaps you're running late for a train and your short cut takes you through a bad part of town, you're being followed but the ever changing reflection in the shop window is a younger you, a healthier person - with a better hairstyle. It's an anxiety thing, an off-kilter almost world, best summed up on the soundtrack for Blue Velvet, David Lynch's 1986 film that nods somnambulantly to the shadowy netherworld of film noir.
Oedipal fantasies, finding a severed ear on your way home, voyeurism, crime and retribution, violence; they're all there in abundance in the movie, a rotten sleazy commercialism set off against a set of strange situations that the edge of the seat is never far away from. And what soundtrack would suit such an experience? Of course a mix of orchestral pieces from composer and conductor Angelo Badalamenti inspired by Shoshtakovich's 15th Symphony (which rumour has it Lynch played onset to create the mood') mixed up with trashy Hammond-led boogie and overblown baroque pop from Roy Orbison and Ketty Lester, suitable for any dive's jukebox.
That awkward mix plays itself out in Isabella Rossellini as Dorothy's rendition of the song Blue Velvet'that melds beautifully and indeed hauntingly into Blue Star', a broken piece of vintage pop. Similarly, the track Going Down To Lincoln'with its narrative audio shtick takes all of the previously-mused elements to create a perfectly disjointed travelogue. The soundtrack album starts with Bernard Hermann-styled Hitchcock-esque strings and violin slashes, which dally before deconstructing the themes and motifs into a disturbing procession that climaxes with Julee Cruise's funereal Mysteries Of Love', a fittingly titled epilogue to an epic that concludes with the hero's true love's reality of a simplistic birdsong dream from earlier in the film.
It's a cyclical trip that feeds directly back to the beginning and, yes, there's that severed ear again, now ant infested laying on the ground, proving that dreams become real, or is it reality that becomes a dream?
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6. Frank Returns
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13. Love Letters (e) (performed by Ketty Lester)
14. Mysteries Of Love (a) (Vocal by Julee Cruise) -
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First time on Double Silver Vinyl.
Critical praise from Pitchfork, Clash, The Wire, Q Magazine and more upon release. New inverted LTD edition artwork.
Fire re-issue Bardo Pond's eponymous eighth studio album from 2010, their debut for Fire from way back when. A lysergic brain wrestler in which the Pennsylvanian drone outfit perfect their modal sound. Teasing the artistry of LaMonte Young and Terry Riley into a guitar shaped cauldron, the album's compulsive reverbed guitar shapes slowly simmer behind Isobel Sollenberger's esoteric vocals 'Like hearing a tannoy at a station in the voice of Jesus.' The Quietus.
A claustrophobic stuttering raga interlocks with their psychedelic leanings best exemplified on Cracker Wrist'which sounds like something that's intentionally always just about to happen/and/or spin back in time.
Featuring lengthy fully nurtured play offs between the quintet Bardo Pond'is a heady statement that's like the most wholesome kind of vegan-friendly mushroom trips.
Pitchfork reckons they're 'playing fuzzed out stoner dreams.' Vice's musical brother Noisey likens them to 'Fugazi On Acid.'
Allmusic intervenes with: 'These are epic, soaring psychedelic ambient power-drone rock noise melodies where partially buried, distant female vocals are laced throughout a roaring, murky/sludge guitar soundscape.'
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