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Fire Records
Giant Sand 'Purge and Slouch (25th Anniversary Edition)'
£7.99
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Fire Records
Giant Sand 'Purge and Slouch (25th Anniversary Edition)'
£7.99
"Purge & Slouch" was originally released in 1993 and is the ninth Giant Sand reissue in the series from Fire Records and follow up to the successful 'Center Of The Universe'.
After the commercial and critical success of 'Center Of The Universe', Giant Sand looked to lay down the instinctive and impulsive spark of the band onto record, "Believing in recording in "the moment of impact" to result in a "perfect harvest" where a song gets captured the first time it ever gets played, and this record marks the moment where 98.5 % of it was done like this". Howe was planning on it being his "metal machine music" album, but instead, "some real songs happened too many times in the process ... songs I have never learned".
Recorded at a house on the outskirts of Tucson, 'Ramp' features some local guest guitarists on a couple of tracks with the aim to "fully realize an album without working up any of it before arriving at the studio".
"Giant Sand is a mood," says Howe' of Giant Sand, as if trying to offer a low-key explanation for his dizzying array of artistic exploration that includes a back-catalogue of some 40 albums as a singer, band-leader and producer. After growing up in Pennsylvania in the 1970's, it wasn't until he moved to Tuscon, Arizona that he met his musical soul mate, the guitarist Rainer Ptaceck. The two formed Giant Sandworms and issued only a handful of recordings before the worms were put to rest: since then, Giant Sand have released 24 albums - an impressive haul when considering Howe's equally prolific output under other projects including Black Ranchette and Arizona Amp & Alternator as well as his solo releases.
After the commercial and critical success of 'Center Of The Universe', Giant Sand looked to lay down the instinctive and impulsive spark of the band onto record, "Believing in recording in "the moment of impact" to result in a "perfect harvest" where a song gets captured the first time it ever gets played, and this record marks the moment where 98.5 % of it was done like this". Howe was planning on it being his "metal machine music" album, but instead, "some real songs happened too many times in the process ... songs I have never learned".
Recorded at a house on the outskirts of Tucson, 'Ramp' features some local guest guitarists on a couple of tracks with the aim to "fully realize an album without working up any of it before arriving at the studio".
"Giant Sand is a mood," says Howe' of Giant Sand, as if trying to offer a low-key explanation for his dizzying array of artistic exploration that includes a back-catalogue of some 40 albums as a singer, band-leader and producer. After growing up in Pennsylvania in the 1970's, it wasn't until he moved to Tuscon, Arizona that he met his musical soul mate, the guitarist Rainer Ptaceck. The two formed Giant Sandworms and issued only a handful of recordings before the worms were put to rest: since then, Giant Sand have released 24 albums - an impressive haul when considering Howe's equally prolific output under other projects including Black Ranchette and Arizona Amp & Alternator as well as his solo releases.
1. Slander
2. Bender
3. Swamp Thing
4. Santana, Castanada & You
5. Blue Lit Rope
6. Overture (Part 1)
7. Rice Road Rumba
8. Slice & Dice Blues
9. High Lonesome Curl
10. New Carjack City Blues
11. Owed Ode
12. Overture (Part 2)
13. Here On The Planet
14. Elevator Music
15. Song For The Accountants
16. Dock Of The Bay
17. Tripping Moon
18. Dance Of The Cicadas
19. Disclaimer
20. Smokey Joe's Deep Blue Pancakes
21. Thin Lizzy Tribute-Personality Flaws-Last..
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"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.
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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.
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