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Fire Records
Lemonheads 'Creator (Deluxe)'
£18.99
')
Fire Records
Lemonheads 'Creator (Deluxe)'
£18.99
Creator is the Lemonheads' second album. Still featuring the full original lineup, the album also includes John P. Strohm (of the Blake Babies, Antenna, and Velo-Deluxe) on drums.
From the oddly surreal album cover image (a snapshot of friend and high school classmate Ivan Kreilkamp, originator of the name "Lemonheads," clutching a box of Cheerios) to the themes of death, dreams, obsession, and mayhem that haunt the material, Creator is weird, ambitious, and markedly moodier than its predecessor - without having lost the band's irreverent sense of humour.
Also evident in this sophomore effort is a newfound attention to idiosyncratic detail-from the precisely timed inter-song pauses and sound clips, to the carefully-crafted song order of the album's original 13 tracks. Creator finds Ben Deily once again slipping in quotations from Emily Dickinson ("Burying Ground") and references to Matthew Arnold ("Come to the Window"), while Dando breaks new ground in songwriting complexity (the rich sonic tapestry of "Out") as well as arrangement, ushering in the band's first-ever acoustic recording (his cover of Charles Manson's "Your Home Is Where You're Happy").
At the same time, the band still fires off blistering punk rock ("Clang Bang Clang," "Die Right Now," "Take Her Down") and finds time to lovingly trash Kiss' 1977 classic "Plaster Caster."
Recorded in one coherent series of sessions-unlike its predecessor, Hate Your Friends, and its follow-up Lick - Creator is, for all its musical schizophrenia, arguably the most coherent of the Lemonheads' TAANG-era recordings.
BONUS TRACKS:
This Fire Records re-issue features bonus tracks including never-before-released live tracks from a 1988 radio session (featuring a never-before-heard configuration of the band, including guitarist Ben Deily on bass and vocals); also includes an original song ("Cease to Exist") never released on any album, and a performance by Juliana Hatfield.
From the oddly surreal album cover image (a snapshot of friend and high school classmate Ivan Kreilkamp, originator of the name "Lemonheads," clutching a box of Cheerios) to the themes of death, dreams, obsession, and mayhem that haunt the material, Creator is weird, ambitious, and markedly moodier than its predecessor - without having lost the band's irreverent sense of humour.
Also evident in this sophomore effort is a newfound attention to idiosyncratic detail-from the precisely timed inter-song pauses and sound clips, to the carefully-crafted song order of the album's original 13 tracks. Creator finds Ben Deily once again slipping in quotations from Emily Dickinson ("Burying Ground") and references to Matthew Arnold ("Come to the Window"), while Dando breaks new ground in songwriting complexity (the rich sonic tapestry of "Out") as well as arrangement, ushering in the band's first-ever acoustic recording (his cover of Charles Manson's "Your Home Is Where You're Happy").
At the same time, the band still fires off blistering punk rock ("Clang Bang Clang," "Die Right Now," "Take Her Down") and finds time to lovingly trash Kiss' 1977 classic "Plaster Caster."
Recorded in one coherent series of sessions-unlike its predecessor, Hate Your Friends, and its follow-up Lick - Creator is, for all its musical schizophrenia, arguably the most coherent of the Lemonheads' TAANG-era recordings.
BONUS TRACKS:
This Fire Records re-issue features bonus tracks including never-before-released live tracks from a 1988 radio session (featuring a never-before-heard configuration of the band, including guitarist Ben Deily on bass and vocals); also includes an original song ("Cease to Exist") never released on any album, and a performance by Juliana Hatfield.
1. Burying Ground
2. Sunday
3. Clang Bang Clang
4. Out
5. Your Home Is Where You're Happy
6. Falling
7. Die Right Now
8. Two Weeks In Another Town
9. Plaster Caster
10. Come To The Window
11. Take Her Down
12. Postcard
13. Live Without
14. Sunday (1987, Live on WERS)
15. Cease To Exist (1988, Live on WERS)
16. Burying Ground (1988, Live on WERS)
17. If Only You Were Dead (Early Mallo Cup) (1988, Live WERS)
18. Out (1988, Live on WERS)
19. N.I.B. (1988, Live on WERS)
20. Clang Bang Clang (1988, Live on WERS)
21. Take Her Down (1988, Live on WERS)
22. Falling (1988, Live WERS)
23. Instrumental (1988, Live on WERS)
24. From Here to Burma (With Juliana Hatfield) (1988, Live on WERS)
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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?
Tracklisting:
1. Main Title
2. Night Streets / Sandy And Jeffrey
3. Frank
4. Jeffrey's Dark Side
5. Mysteries Of Love (French Horn solo) (a)
6. Frank Returns
7. Mysteries Of Love (Instrumental) (a)
8. Blue Velvet (b) / Blue Star (a) - Montage
9. Lumberton U.S.A. (a) / Going Down To Lincoln - Sound Effects Suite
10. Akron Meets The Blues
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12. In Dreams (performed by Roy Orbison)
13. Love Letters (e) (performed by Ketty Lester)
14. Mysteries Of Love (a) (Vocal by Julee Cruise) -
Sold outRemastered by Bob Weston and featuring new liner notes by MAGNET magazine editor Eric Miller, physical copies of Vee Vee includes sixteen bonus tracks and new cover art re-imagined by graphic artist Jay Ryan. Reissues of All the Nation's Airports and White Trash Heroes followed later in 2012.Visit product page →
The first full-length produced by Bob Weston, Vee Vee was a slight departure from the previous bombastic noisepop that characterized Archers of Loaf's previous work, and it proved that the band wasn't just a flash in the pan. The album became their best-selling album to date and landed them on the covers of most fanzines and at the top of college radio charts across the country. "Harnessed in Slums" and "Greatest of All Time" became anthems of the underground and led to successful tours with the Flaming Lips and Weezer.
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CD 2:
1. Harnessed in Slums (Bob Weston Radio Mix, 1995)
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3. Don't Believe the Good News (Bonus)
4. Smoking Pot in the Hot City (Bonus)
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On saleNew Zealand/New York City legends Bailterspace, offer up their best album to date with their first new recordings in 13 years. The band were once described by Pitchfork as "simultaneously beautiful, jagged, atonal, and supremely melodic" and 'Strobosphere' emerges at a time when the band's trailblazing sound has never been more relevant.Visit product page →
Revered as one of the loudest and most intense live bands of all-time, they haven't lost any of their bite or their love of tone, dissonance, and melody. The first single "No Sense" darts, snaps and swirls with alternating snare cracks, atmospheric surges and dirty buzz, featuring Parker's distinctive vocals. -
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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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1. Just Once
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