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This album is actually very professionally put together, by a bunch of guys who have rather a good understanding for the dynamics of death metal, despite what its jokey appearance may bring across. The sound quality is superb, and there is a surprising amount of variation thrown into virtually every track - to draw parallels with a band such as a more thrashy Mr. Bungle.
Yes, it's quite funny - but it's also rather good. A surprise find.
It's okay, he's quite safe, Madam. He may sound like he's crushed his grubby hobo-toes under a garbage compactor, and he may also look quite startling to those unaccustomed to such dishevelled sights - but the fact of the matter is, in all seriousness - I would MUCH rather hear this kind of semi-coherent dirty lowdown blues rock, than the VAST majority of pointless so-called ambient noodling around this site.
Whiskey Painrape, and his sworn nemesis, the skybeast crack out quite a hook-laden track here - and it's entertained me no end, each of the 4 times i've listened to it to date!! Now, if they can manage to stay conscious for long enough - I would be genuinely intrigued to hear what would happen over the course of a full length album from these guys.
Hey.... if it can work for the likes of KYUSS, then why can't it work for Whiskey Painrape?
This is great - Kind of like The Wannadies, jamming with dEUS with a whole raw edginess to it. And a genuinely memorable hook.
Great cover art too - That's what caught my eye, along with the delightfully audacious title.
I don't think this has been wrongly tagged, in actual fact. Rather, it has been wrongly reviewed.
To my ears, at least, I can hear heavy influence from such groups as The Cure (Head on the Door era) and especially Built To Spill. The whole thing, however, sounds oddly un-American, and more like a lo-fi ensemble from Camden, London.
I don't know, there's definitely something here - the cracked fragile vocals and the live-sounding resonance of the drums especially catch my ear, and I think that with a little more concentration on building bona-fide hooks to draw the listener in, we could really be on to something here.
Stick at it, guys. Yr just missing one small ingredient. Go find it, i'm sure you can.
This is quite a progression from the last full-length release from Psilodigm. I notice in particular, the rhythm tracks have had a lot more time and attention spent on them - And it's paid off in spades.
Track 1 reminds me very much of New Yorkers INTERPOL, and works on a steady, circulating loop.
Track 2, for me is the more interesting, however. It starts along the lines of THE POSTAL SERVICE, before launching into an all out grindfest, reminiscent of CARCASS, strangely enough. It's a combination of sounds that works however - and this all bodes extremely well for the next Psilodigm full length. I look forward to hearing it.
This album has its definite strong moments of inspiration, occassionally surprising the listener with an inventively warped and almost atonal melody line which snakes and weaves around the place, bringing to mind in a way, early 90's alt rock trio FAILURE at times (a very good musical pointer, to these ears at least).
Yet Equals Conquest also seem to have a disturbing obsession with drowning their otherwise pleasant indie pop in swathes and swathes of ill fitting synths and awful fake string section arrangements, in order to make the songs sound more earnest and 'large-sounding'.
In the process, instead of embellishing the tunes they have here, the keyboards lay draped clumsilly across the top of the mix like an ugly layer of congealing aural fat, which is sadly impossible to ignore, as it is pumped so needlessly high in the mix at all times. This only serves to cheapen an otherwise consumately performed collection of pleasant little indie tunes. Shame.
This album shows real promise of something quite exciting still to come. There is a real strong sense of melody, which carries an air of sadness and melancholy quite often - providing an interesting contrast to its cold, mechanical musical delivery.
It's the contrast between these two points I think that brings to mind Gary Numan's output circa "The Pleasure Principal", an album which managed to be both harsh, and yet heartbreaking.
With a little more attention paid to the drumtracks (definitely the least strong aspect of this album), I think we could have something genuinely interesting here. I liked it.
![Mr.Goose - Nowhere, Absolutely Nowhere [EP]](http://imgjam.com/albums/37221/covers/1.100.jpg)
You can certainly tell where the likes of Britney Spears, and other pop siren, Lemmy get much of their inspiration from, regarding their vocal stylings - when you give this buttock-clenchingly thrilling ep a spin.
Its multi layered harmonies wrap themselves warmly round a keyboard melody hook, as infectious as a dose of gallopping knob-rot caught off a gluesniffing rentboy in a public lavatory, on Southampton's common. Which, by pure coincidence, is exactly where this slice of musical genius was recorded - so I understand.
This is so much better than soooo much of the depressing musical detritus littered around this site, even given its obviously purposeful pisstaking nature - It's an entertaining cacophony, done in what is essentially a punk-rock spirit, and what's more.... it has a genuinely cool front cover!
I'm sold. Roll on the 1st full-length release.
I love this sort of rubbish, I really do. This reminds me of those 80's b-sides to 7 inch singles by the more "off-kilter" artists of the era. (Think "Teardrop explodes", think "Bauhaus", or if you're too young, think "Lou Barlow" of Sebadoh dragging a broken moog sellotaped to a rusty gate around and around in a concrete courtyard). Yes, these were the days when musicians used to cast aside their artistic shackles, for the duration of a b-side's 5 unbearable minutes and really really.... experiment!!
You swore never listened to listen to those songs ever again, after that first time - but you did. You kept coming back for an occassional spin, to see whether you could have been mistaken. That these misunderstood and largely forgotten tracks were in fact criminally underated works of genius that simply needed time and repeated listening, in order to worm their way into your affections.
But no, you were totally and utterly wrong on that score, these were indeed nuggets of utter shite. Pure jawdroppingly dire wastes of precious minutes of your life.
Ahhh, those were the days. Don't you miss B-sides? Sadly, the thing is, yes you probably do. Life doesn't seem right without them.
So that is why everyone here should download this abysmal, cobbled together old noddy-bag of pointless noodling without any further delay.
My only regret is that I learned of this collection a little too late to be able to contribute some sort of aural smegma to the stew. However, if there is to be a 3rd installment to the series (and there must!!), then there are one or two un-released travesties by "TROLLEY" that have made unsuspecting women passing within earshot, sprout testicles in horror - that I will pass along for consideration.
Awful.
Absolutely fucking awful.
Well done you lot, it's quite brilliant.
MATT (from 'Trolley')
I really rather enjoyed this album. My initial interest was brought about by the great band-name, and further compounded by the alluringly bizarre track-names (Try 'Skulk On Tuesdays', or 'Beetar', and who could resist a song by the name of 'Sole Settee'? Not me, that's for sure!)
Luckilly the music lives up to its skewed promise, and proves to be an upbeat smorgasbord of noise, 80's electropop (as heard from within a giant biscuit tin.... on drugs) and perhaps a smattering of industrial dance for good measure.
At times it reminded me of Empirion (remember "Narcotic Influence" anybody?), and at others, of a seriously deranged take on "Visage's" debut album, for some reason(!?)
I'm not at all sure I understand it - but perhaps that's the point. Besides, sometimes it's exciting to swim out of your depth.
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