Sunday, April 27, 2008

24.The Mountain Goats - Lion's Teeth / No Children (The Sunset Tree,2005 / Tallahassee,2002)






The Mountain Goats are one of the more unusual bands to find shelter under the ever-expanding umbrella term of indie rock. Hyper-prolific and militantly lo-fi, there are over a hundred Mountain Goats songs scattered across compilations and label samplers, most of them recorded (by choice) on a department-store boom box. Although many musicians have contributed to Mountain Goats releases, by far the person most identified with the outfit is singer/guitarist John Darnielle. (In fact, many Mountain Goats tracks feature only Darnielle's nasal bleat and his primitive yet frenzied acoustic guitar.) Taking the name from the Screamin' Jay Hawkins song "Big Yellow Coat," Darnielle donned the Mountain Goats moniker in 1991 while working as a nurse in a California State hospital and began releasing cassette-only albums for the Shrimper label. Despite attracting a devoted underground following (or, possibly, because of it) the Mountain Goats continued to release songs in cassette form only for many years, using tape hiss as, virtually, an additional instrument.Lyrics are also essential with the Mountain Goats. Highly literate and full of metaphor, many of Darnielle's songs fit together to form a larger narrative than they would alone."The Sunset Tree" is John Darnielle's third album for 4AD. "Lion's Teeth" are achingly beautiful.This song are heart in your throat memorable.The emotion and nuance comes through so strongly.Simplistic, sweetly melodic and some of the most jarring, beautiful lyrics ever.



Lion's Teeth


the king of the jungle
was asleep in his car.
when your chances fall in your lap like that,
you gotta recognize them for what they really are.

nobody in this house wants to own up to the truth.
I crawl in shotgun and reach into his mouth
and grab hold of one long, sharp tooth
and hold on.
for dear life, I hold on.

well of course he wakes up.
his paw hits the horn.
I am going to regret
the day that I was born.

and then mom
rushes out to the driveway
my sister too
everyone screaming,
I am dreaming of you.
I hold on.
for dear life, I hold on.

and my arms get sore.
and my palms start to sweat.
and the tears roll down my face,
till my cheeks are hot and red and soaking wet.

in come the cops
they blow torch the doors.
I start wailing.
the lion roars.
there's no good way to end this.
anyone can see
there's this great big you,
and little old me.
and we hold on.
for dear life, we hold on.
we hold on






On Tallahassee, the Mountain Goats' 4AD debut, John Darnielle strips his music of the tape hiss that surrounded his previous work like a security blanket made of static, opting for a clean sound that emphasizes the album's sometimes stinging, sometimes sublimely beautiful words and melodies — call it spite and polish. Though the lo-fi soulfulness that gave his songs an extra, homemade charm before is missed, it wouldn't have fit the ambitious tale he sets out to tell here: the album revolves around a troubled husband and wife who move to Tallahassee to run away from themselves and, ultimately, drink themselves to death. Darnielle has written about this couple before, but Tallahassee takes their relationship — and his songwriting — to a new level of vulnerability and intensity. Even among albums chronicling difficult and dying relationships, such as Blood on the Tracks, Shoot Out the Lights, and, more recently, Sea Change, Tallahassee takes a unique approach. Far from being morose or wallowing in sorrow, the album celebrates both the peaks and the valleys of a turbulent relationship; it's less like an autopsy of a love affair than an affectionate, occasionally drunken and rowdy, wake for it. Being such a conceptual album, the lyrics carry much of Tallahassee's weight. The album is literary as well as literate; songs like the aforementioned "No Children," which appropriately enough sounds like a cross between a sea shanty and a drinking song, conjure up visions of F. Scott and Zelda Fitzgerald crashing a party hosted by Tennessee Williams.



No Children


I hope that our few remaining friends
Give up on trying to save us
I hope we come up with a failsafe plot
To piss off the dumb few that forgave us
I hope the fences we mended
Fall down beneath their own weight
And I hope we hang on past the last exit
I hope it's already too late
And I hope the junkyard a few blocks from here
Someday burns down
And I hope the rising black smoke carries me far away
And I never come back to this town
Again in my life
I hope I lie
And tell everyone you were a good wife
And I hope you die
I hope we both die

I hope I cut myself shaving tomorrow
I hope it bleeds all day long
Our friends say it's darkest before the sun rises
We're pretty sure they're all wrong
I hope it stays dark forever
I hope the worst isn't over
And I hope you blink before I do
Yeah I hope I never get sober
And I hope when you think of me years down the line
You can't find one good thing to say
And I'd hope that if I found the strength to walk out
You'd stay the hell out of my way
I am drowning
There is no sign of land
You are coming down with me
Hand in unlovable hand
And I hope you die
I hope we both die




Lion's Teeth
http://www.divshare.com/download/4360037-443


No Children
http://www.divshare.com/download/4360125-2d1

24.Peter Case - Two Angels (The Man With the Blue Postmodern Fragmented Neotraditionalist Guitar,1989)





After his tenure in the proto- power pop band the Nerves and following the dissolution of his early-'80s Los Angeles rock & roll band the Plimsouls, Peter Case launched a career as an influential American singer/songwriter specializing in finger-picked acoustic guitar and redemptive story-songs about society's outcasts and drifters, delivered in a uniquely soulful, folk-rock style. Case's secret weapon is his powerhouse voice; combined with his imaginative and visionary songwriting and his ability to blow real harmonica licks, he's well-respected among his peers and a perennial favorite among serious listeners. By the turn of the century, longevity was working in his favor as he continued to set the bar for contemporary singer/songwriter music.
Case debuted with Peter Case in 1986. The self-titled album was a collection of what Case called "tribal folk," produced by T-Bone Burnett and including collaborations with Burnett, Case's first wife, Victoria Williams, and musicians like John Hiatt and Roger McGuinn sitting in. Case was among the handful of rockers who had honed his acoustic songs in clubs, helping to launch the so-called "unplugged" movement and later, the singer/songwriter explosion of the '90s. In 1989, he released The Man With the Blue Post-Modern Fragmented Neo-Traditionalist Guitar, again with the assistance of choice musicians like David Hidalgo, Ry Cooder, and Benmont Tench. In a 1989 Rolling Stone interview, Bruce Springsteen cited Case as the songwriter he was listening to most at the time. This is one of my favourite-albums.Beautiful "Two Angels" is my favorite Case song.The song, the lyrics, the vocals, the production, everything makes this one of the best songs ever recorded.



http://www.divshare.com/download/4359934-bfa

24.Space - The Ballad of Tom Jones (feat. Cerys Matthews) (Single,1998)





Stealing from the campy styles of Echo & the Bunnymen and the infectious sounds of the Boo Radleys, Liverpool's Space wasn't going to become just another U.K. band to burst onto the "alternative" scene in the early '90s. Tommy Scott (vocals/bass), Jamie Murphy (guitar), and Andy Kowalski (drums) formed in 1993 and aimed for a Who-influenced sound. A deal with Gut Records saw the release on the unnoticed Me and You Versus the World in 1996, but it was the kitschy single "Female of the Species" (1997) that made Space indie rock darlings. Before the release of Tin Planet, lead vocalist Tommy Scott made reference to the album as being one of the finest pop records ever made. Preceded by the powerful single "Avenging Angels," the expectations were set high. What actually was delivered, however, is more of the same with a slight twist. Tin Planet is not very different from Spiders, apart from the fact that some of the more Bacharachian influences seem to have succumbed to disco. The album includes several standout tracks, including the duet in "The Ballad of Tom Jones" with Cerys Matthews of Catatonia.
A fun and original tongue in-cheek hit about a homicidal couple saved by the singing of Tom Jones. Cerys was the obvious choice for guest vocals and handles the tune with relish.One of the finest songs ever written especially of that post Britpop era.



The Ballad of Tom Jones

What did I do wrong
Oh, you nearly drove me cuckoo
Am I really all that bad
You're worse than Hannibal Lector, Charlie Manson, Freddie Kruger

Why are we still together
Oh, I can’t leave you till you’re dead
You mean till death do us part
I mean like cyanide, strangulation or an axe through your head

It was lucky for us I turned the radio on
They say that music soothes the savage beast
There was something in that voice that stopped us seeing red
The two of us would surely have ended up dead

You stopped us from killing each other
(Tom Jones, Tom Jones)
You’ll never know but you saved our lives
(Tom Jones, Tom Jones)
I’ve never thrown my knickers at you
And I don’t come from Wales

Still haven’t solved our problem
You mean we hate each others guts
Still wanna poison your pizza
And I still wanna cut off your nuts

I’ve phoned the marriage guidance
I tied the phone line round your neck
I’m sick of all this hatred
Oh, that’ll be the arsenic making you sick

You were about to drive me over the edge of a cliff
As I tried to jump out I knocked the stereo on
You changed your mind and then slammed on the brakes
It was lucky for us we’d brought his greatest hits

You stopped us from killing each other
(Tom Jones, Tom Jones)
You’ll never know but you saved our lives
(Tom Jones, Tom Jones)
I’ve never thrown my knickers at you
And I don’t come from Wales

And now our war is over
I’ve lost the urge to break your neck
I owe my life to What’s New Pussy Cat
Delilah stopped me hating you and wishing you dead

Oh, I used to call you Satan
And you were Cruella De Ville
But now you call me your Delilah
And now I’m not your Lucifer
I am just your pussy cat

But just a word of warning now
Just in case we ever get tired of his voice
I know the Mafia, Godzilla, King Kong
And I know an atom bomb that’s going for a song

You stopped us from killing each other
(Tom Jones, Tom Jones)
You’ll never know but you saved our lives
(Tom Jones, Tom Jones)
I’ve never thrown my knickers at you
And I don’t come from Wales

Scott/Space




http://www.divshare.com/download/4359763-480

25.Body Count - The Winner Loses (Body Count ,1992)





Maybe no one saw the humor, or maybe they were distracted by the barely competent heavy metal of the album, but rapper Ice-T's heavy metal group launched a hurricane of publicity with their self-titled debut album, Body Count. Ice-T's music had been hard as heavy metal for a number of years, and on 1991's landmark OG Original Gangster, he recorded the speed metal/hip-hop fusion "Body Count" with his band of the same name. Body Count's lineup included Ernie-C (guitar), D-Roe (guitar), Mooseman (bass), and Beatmaster V (drums), all of whom attended Crenshaw High School in South Central Los Angeles. On the 1991 Lollapalooza tour, Ice-T performed with Body Count and earned a substantial amount of fans and praise. "Body Count" was a highlight of OG and, not coincidentally, it was the most serious and best song on their 1992 album.
There's the power ballad "The Winner Loses" and Ice-T is crooning "My friend's addicted to cocaine",with warning lyrics, great dumming and fantastic guitar work.Anti-drug message for all times.


The Winner Loses

My friend's addicted to cocaine
smokes day and night
drives mom and pop insane.
Living his life in the dark light
every dollar he gets goes into the pipe.

He wants to borrow some money from me
do you think I'm blind
don't know the score
can't see?

You wanna get high as the sky
(You're kissin' your life goodbye) You're kissin' your life goodbye
(You think it's a game) You think it's a game that you play
(But the winners lose) But the winners lose it all someday.

Ya don't know who you are
are you losin' your mind?
Things get a little tight he committed a crime.
Give me your money or give me your life!
You better empty your pockets because ya,
ya don't live twice.

You wanna get high as the sky
(You're kissin' your life goodbye) You're kissin' your life goodbye
(You think it's a game) You think it's a game that you play
(But the winners lose) But the winners lose it all someday.

He took the money to the dope man
and he said he had the best
next thing ya knew, cardiac arrest!
It was a rollercoaster, he couldn't get off
next thing I knew my friends' life was lost. Nooooooooo.

You think it's a game, you think it's a game,
You think it's a game, you think it's a game,
You think it's a game, you think it's a game,

You think it's a game, you think it's a game,
You think it's a game, you think it's a game,
You think it's a game, you think it's a game,

You think it's a game, you think it's a game,
You think it's a game, you think it's a game,
You think it's a game, you think it's a game,

You think it's a game, you think it's a game,
You think it's a game, you think it's a game,
You think it's a game, you think it's a game,

You wanna get high as the sky
(You're kissin' your life goodbye) You're kissin' your life goodbye
(You think it's a game) You think it's a game that you play
(But the winners lose) But the winners lose it all someday.

You wanna get high as the sky
(You're kissin' your life goodbye) You're kissin' your life goodbye
(You think it's a game) You think it's a game that you play
(But the winners lose) But the winners lose it all someday.

You wanna get high as the sky
(You're kissin' your life goodbye) You're kissin' your life goodbye
(You think it's a game) You think it's a game that you play
(But the winners lose) But the winners lose it all someday.

You wanna get high as the sky.



http://www.divshare.com/download/4359700-c10

25.Moby - New Dawn Fades (I Like to Score,1997)




Moby was one of the most controversial figures in techno music, alternately praised for bringing a face to the notoriously anonymous electronic genre, as well as being scorned by hordes of techno artists and fans for diluting and trivializing the form. In either case, Moby was one of the most important dance music figures of the early '90s, helping bring the music to a mainstream audience both in England and in America. Moby fused rapid disco beats with heavy distorted guitars, punk rhythms, and detailed productions that drew equally from pop, dance, and movie soundtracks.Considering that Moby's music is most effective in small doses, perhaps it shouldn't be a surprise that the compilation I Like to Score is a strong record. However, it does come as a surprise, since Moby's music usually sounds too insular for the kind of shifting, provocative atmospherics needed for effective film music. Here, on this collection of cinematic instrumental work, Moby demonstrates that he can capture the mood and feeling of a film while retaining his musical identity.Moby’s version of Joy Division song "New Dawn Fades" is unbelievable!



New Dawn Fades


A change of speed, a change of style.
A change of scene, with no regrets,
A chance to watch, admire the distance,
Still occupied, though you forget.
Different colours, different shades,
Over each mistakes were made.
I took the blame.
Directionless so plain to see,
A loaded gun won't set you free.
So you say.

We'll share a drink and step outside,
An angry voice and one who cried,
'we'll give you everything and more,
The strain's too much, can't take much more.'
Oh, I've walked on water, run through fire,
Can't seem to feel it anymore.
It was me, waiting for me,
Hoping for something more,
Me, seeing me this time, hoping for something else.

Curtis




http://www.divshare.com/download/4359435-26c

Saturday, April 26, 2008

26. Art Bears - Freedom (The World as It Is Today,1981)






Art Bears were an English avant-garde rock group formed during the disassembly of Henry Cow in 1978 by three of its members, Chris Cutler (percussion, texts), Fred Frith (guitar, bass guitar, violin, keyboards) and Dagmar Krause (vocals). The group released three studio albums between 1978 and 1981, and toured Europe in 1979.Art Bears's music was often deeply political in content, reflecting the band's socialist leanings, and frequently experimental. Art Bears were more "song oriented" than Henry Cow, although much of the material that comprised their debut album release was actually written with the intention of being performed by the latter band.
Their music was very dark in concept and in atmosphere. BBC described it as: "Carefully wrought dissonances, angular folk tunes, sudden shifts in dynamics, dense layers of spectral drones, slabs of noise, topped off with Dagmar's strange, elastic Sprechstimme."Krause's voice contributed significantly to the mood and character of the songs. Cutler described her singing on the albums:"I don't write simple or obvious words, [...] they are not easy to sing. Dagmar had the amazing ability to make them make sense, to make them sound obvious. She sings from the inside and her accent helps to lift words out of their slots and give them a slightly resonant displacement. No one else could have done what Dagmar did on those LPs. I'm still amazed by her."
On The World As It Is Today and its predecessor, Winter Songs, the Art Bears move away from the long-form art rock of Henry Cow and get much, much more politically explicit: song titles like "The Song of the Dignity of Labour Under Capital" and "The Song of Investment Capital Overseas" almost sound like Monty Python gags today, but if any humor was intended it was clearly meant to be mordant. Frankly, the lyrics are so overwrought and portentous that it's hard to take them seriously. But the music is something else again. Cutler and Frith are natural collaborators; Cutler's drumming always rides a very fine line between the scattershot and the funky, while Frith bounces his horror-show guitar noise and carnival piano off of Cutler's grooves with manic abandon and fearsome inventiveness. And Krause's singing is just as inventive; she whoops, croons and screams her way through the density of Cutler's lyrics without a hesitation or misstep. Easy listening it isn't, but it's sure worth hearing.
"FREEDOM" is a loping beast of a track featuring lyrics by Cutler at his most biting, and a chorus of Dagmars that eventually give way to one of the best examples of rage on record. Her persistent shriek beginning midway through is a testament to both the band's commitment to its message, and Krause's physical endurance. The tune is almost a hard waltz, but the time never quite settles in, while Frith plucks away at some distant, sarcastic piano in the background. Song "Freedom" started like the dissonant and mutated piano waltz, which climaxes with Frith's angular King Crimson esque guitar feedback and Krause's utterly insane howling shrieks at times overpowering even the guitar feedback itself. Absolutely stunning. One of the the most sophisticated, beautiful and haunting songs to ever arise from the art of recorded sounds. Step back or be drenched in bile.



http://www.divshare.com/download/4354227-5a7

26.Cassiber - I Was Old / I Tried to Reach You (Live in Tokyo, 1992)





Cassiber were a strange and messy Rock In Opposition-inflected German avant-garde rock group founded in 1982 by German composer and saxophonist Alfred Harth, German composer, music-theatre director and keyboardist Heiner Göbbels, English drummer Chris Cutler from Henry Cow and German guitarist Christoph Anders. They recorded five albums, toured extensively across Europe, Asia and North America, and disbanded in 1992.

Cassiber's music was a blend of speed-punk, free jazz and sampling which incorporated found sounds and news broadcasts. They were best known for the "frantic intensity" of their live performances. A Time Out critic wrote, "Cassiber play as if they only have a minute left to live." They were also noted for their style of playing, which was to "improvise 'completed pieces'". According to Chris Cutler, Cassiber took their name from a Slavonic slang word for a note or message smuggled out of prison. "Like 'The Beatles', we spelled it differently and it wasn't intended to 'mean' anything."For the two-CD set Live in Tokyo, Chris Cutler's record label ReR Megacorp put together an interesting farewell concept. Disc one presents a concert by Cassiber recorded in Tokyo on October 23, 1992. It was the trio's first and only visit to the Land of the Rising Sun and turned out to be one of its last performances; after a couple more shows, two months later, the group put an end to its 10-year existence. For this evening, Christoph Anders (vocals, sampler), Heiner Goebbels (keyboards, sampler) and Cutler (drums) had invited saxophonist Shinoda Masami to join them — he died a few weeks later. On disc two, Otomo Yoshihide sampled, treated, added, remixed, and recomposed the tapes of the show with the help of his usual Ground-Zero colleagues, plus members of Hoahio. He decided to release the project under the name Ground-Zero, thus making it the final completed album (chronologically) from this seminal avant-garde group. As necrological as it may sound, Live in Tokyo is very alive. The Cassiber performance captures the group in peak form. Here is two fantastic songs, weird and full of emotions.




Cassiber - I Was Old
http://www.divshare.com/download/4354014-826



Cassiber - I Tried to Reach You
http://www.divshare.com/download/4354094-704

27.Love Like Blood - Epitaph (Odyssee,1994)



Germany's most famoust and sophisticated Gothic Rock band .1994's album Odyssee finds Love Like Blood at the apex of its skill. The band's immaculately executed goth rock is produced with expert attention to detail, resulting in a richly orchestrated gothic masterwork. Guitarist Mark Wheeler, who seems to be leading the band, adorns each song with loads of texture, from muscular hard rock power chording to pristine, echo-drenched nylon string segments. Growling singer Yorck Eysel is at his dramatic best, sounding beautiful and threatening at the same time. From the haunting opener "Feedback" to the hurtling "Fallacious World," each song is memorable. Along with An Irony of Fate, Odyssee is absolutely essential goth, and represents the very best of Love Like Blood.
King Crimson`s cover Epitaph adds fantastic new layers of texture and orchestration to the band's sound with the growling vocals of singer Yorck Eysel, whose style borrows equally from twin goth icons Peter Murphy and Andrew Eldritch recall the creepy, skeletal style of early Sisters of Mercy.This song is pure, soaring, gothic elegance with the capacity to be hard-rocking, romantic, and chilling...




Love Like Blood - Epitaph

The wall on which the prophets wrote
Is cracking at the seams.
Upon the instruments of death
The sunlight brightly gleams.
When every man is torn apart
With nightmares and with dreams,
Will no one lay the laurel wreath
As silence drowns the screams.

Between the iron gates of fate,
The seeds of time were sown,
And watered by the deeds of those
Who know and who are known;
Knowledge is a deadly friend
When no one sets the rules.
The fate of all mankind I see
Is in the hands of fools.

Confusion will be my epitaph.
As I crawl a cracked and broken path
If we make it we can all sit back
And laugh.
But I fear tomorrow Ill be crying,
Yes I fear tomorrow Ill be crying.

Peter Sinfield




http://www.divshare.com/download/4353468-bf6

27.Blood Axis - The Hangman And The Papist (Blót: Sacrifice In Sweden,1998)





Emerging officially in 1989, Blood Axis is the result of much earlier foundations. Created and directed by Michael Moynihan, it has been and remains a sincere and uncompromising expression of his often controversial thoughts and instincts.
The first recordings by Blood Axis consisted of "Lord Of Ages" and "Electricity," two songs appearing on a German sampler CD. Thoroughly unique in their sound, the first of these tracks is a stirring orchestrated hymn to the ancient Persian sun deity Mithras, a god later adopted for a cult of subterranean worship by the legionnaires of the imperial Roman army. Although appearing on a relatively obscure release, these two initial efforts resulted in extensive radio airplay, dance club rotation, as well as mail from hundreds of enthusiastic listeners living as far away as Scandinavia, Malta, Eastern Europe and Thailand. Blood Axis had made its mark.
The band again inspired a rapturous response with the contribution of a pair of further songs to the acclaimed collection Im Blutfeuer,demonstrating more highly involved recording techniques and the ability to hypnotize listeners with subtle yet forceful atmospherics. "The Storm Before the Calm," the second of the two tracks on this CD, utilized winding piano loops, lilting choirs and the eerie sounds of early nature recordings (a thunderstorm from 1935) along with earnest vocals and historical samples to create a sound that is more than the sum of it parts, possessing an ineffable power.
In the last days of 1995, more than six years since its formation, Blood Axis unveiled the first full-length CD, The Gospel of Inhumanity. This long-awaited album has more than fulfilled all expectations, demonstrating that Blood Axis is proudly distinct from any other modern musical groups in both sound and presentation. Sealed within a stunningly aesthetic digipak, The Gospel... is a shape-shifting soundtrack which reveals more and more depth with repeated listening. Spanning from neo-classical reveries to guitardriven aggression, the sonic incisions of Blood Axis provide a haunting backdrop for vocal elucidations from Ezra Pound, Charles Manson, as well as Moynihan's own demanding voice. The Gospel of Inhumanity falls into no easy category, requiring a highly attuned level of intelligence and a mind free of pre-conception to appreciate its vast scope.
The Gospel of Inhumanity sold out two pressings for its initial release on German cult label Cthulhu Records, ensuring a fanatical following from Russia to Ireland, Norway to Portugal and everywhere in between. With virtually no promotion to speak of, the CD received rave reviews in Europe and America, and was even voted one of the 10 best albums of 1996 by UK extreme music glossy Terrorizer. Now powerfully remastered and re-issued on Misanthropy, the Gospel is destined to be heard by an even wider audience.
In November of 1997, Blood Axis played its first proper live show in Sweden at a special 10 year anniversary celebration for the legendary death industrial music label Cold Meat Industry. This special concert was attended by fans who came from as far away as Germany, Belgium, Austria and Latvia, and drew a rabidly enthusiastic reception from the crowd. In 1998, following the release of the planned second album, Ultimacy, the band will embark on a European tour. But until then, The Gospel of Inhumanity will continue seeping its way into the subconscious of the worldwide underground.
Blood Axis answers to nothing and no one but itself. It offers a frightening and honest expression of the souls of its creators, refusing to cater to either popular opinion or the approval of the music industry. At the same time Blood Axis continues to proudly shun popular trends and the mainstream, legions of listeners respond in growing numbers to a music presented with such undiluted care and willpower.
Album "Blót: Sacrifice In Sweden"(Fantastic recording quality for a live performance) is absolute MASTERPIECE of dark ambient / industrial. Magical atmosphere of this album wraps the mind with a green fog, psychedelic visions and depths of melancholy.A mix of Bach, Prokofiev, Pink Floyd, Coil, Laibach, Nietzche and Charles Manson!




The Hangman And The Papist

The village square stands quiet
The curfew still enforced
The streets are even clear of dogs and whores
Like some evil bird-of-prey
The scaffold spreads its wings
The people build their fires and bolt their doors

The mayor is giving dinner to the officers’ wives
His eldest son is learning how to fawn
The barrick block is hushed and tense
The soldiers drawing lots
Who will be the hangman in the dawn?

The lot falls on a young man
Who has served for but a year
His home is in the village close nearby
He shivers at the thought of what
He’s forced to do next day
He wonders who it is who has to die?

And the full moon casts a cold light
On the gloomy prison walls
The papist walks his cell
He cannot sleep
He hears the waiting gallows creaking
Just beyond that door
He prays for he has no more tears to weep

The day begins to break
A muffled drums begins to sound
A crowd begins to gather in the square
The presence of the hangman
In his terrifying mask
Weighs heavy on the minds of all those there
The colonel reads the sentence
Which the papist knows by heart:
He has failed to show alliegence to the king
His crime is thus with God himself
And in his name he must hang
The papist, head held high
Says not a thing

The jailer binds his hands
And puts his blindfold to his eyes
He leads him through the door before the crowd
The hangman sees his victim
And the blood drains from his face:
He sees his younger brother standing proud
The hangman tries to protest
But is ordered to proceed
His trembling hands begin to take the strain
His eyes are blind with streaming tears
And he cries for all to hear:

Forgive me God we hang him in thy name!
Forgive me God we hang him in thy name!
Forgive me God we hang him in thy name!
Oh please forgive me God we hang him in thy name!
Forgive me God we hang him in thy name!



http://www.divshare.com/download/4353836-862

27.The Eternal Afflict - San Diego -The Tragical (Atrocy (me) ty,1991)




In 1990 The Eternal Afflict, Apocalyptic electro goth band began their comet like rise with Birth ... a place somewhere else and Sexual Decay. After the first studio takes in the legendary SSE Studios in 1991 with Winus Rilinger they produced their follow ups Visions, Door to my Pain, Daughters of Guyon and finally the first version of San Diego for their debut album Atroci(-me)ty. Ever since TEA were a fundamental part of the German alternative clubscene.
They went on their first headliner tour in 1992 with the EP Luminographic Agony and the hit songs Agony.
Overwhelmed by their enormous success they recorded their next album Trauma Rouge in 1993 and performed the probably most legendary electro tour of the early 90‘s. The Trauma over Europe – Tour broke all sales records for alternative bands as yet and rocketed them to the top of the European electro scene.
In 1994 their success was even topped with their follow up album War. Including songs like Childhood and the ballad Jonathan they conquered the alternative charts worldwide.
Reaching the climax of their carreer the members of The Eternal Afflict decided to dedicate themselves to solo-projects – bands like INSIDE, CYAN KILLS E. COLI and CYAN evolved, mingeling between accustomed and new electronic styles.


The Eternal Afflict - San Diego

Watchin' the wheel as it
Turned down the hill, like you
Turned me down into my
Self-destiny, every kiss means
Pain, pain and secrets to me
Is it permanance that love
Shattered pride?

San diego was a mistake
The sun burns into my face
At six o'clock I awake
Step into this endless race

A man stands there lovely on
The fiels and a rabbit trapped
In the lime light like I walked
Straight into your zombie machine
The rain refreshed the air, like
My old tears reborn on my cheek
Is it permanance that love
Shattered pride?

My hands could touch the sky
A fence, a wall I couldn't walk
Through the door to your
Killing touch, it could be all
Catch in green grass + isolation

San diego nights - remember



http://www.divshare.com/download/4353770-23a

28.Idiogen - Song (Drive You Mad,1987)




Andrea F. was born on a 16th November just before the dawning of the 70's in Capodistria (Koper), Slovenia, back then still part of the unfortunate & unsustainable experiment that was former Yugoslavia (btw, in London, England, the Jimi Hendrix Experience was announcing their break up...connections among the two events are currently still being investigated by scientists and music scholars, including Andrea F himself, always eager to irrationally plunge into anything even remotely connected to Hendrix and his beautiful music).
Childhood & schooling years in Ghana, Africa, from where he and his family extensively toured the African continent, later returning to Europe and dividing his concept of "home" between Italy and Slovenia.

Music hit him on the head around the age of nine, first causing him to often rob the piggy bank in favour of Pink Floyd and several others, then inducing him to trick his unwary parents into buying him a guitar. An electric one, mind you.

But it was a German haphazard compilation LP named "The Best Of Jimi Hendrix" that did the trick once and for all. Although extremely poorly recorded & compiled (to the point that due to some weird disc cutting malpractice the guitar intro to "Purple Haze" was accidentaly repeated three times before the actual song started - obviously causing him to learn it and play it that way!), this record twisted Andrea F's life into the direction that has now brought him here on this page with you.

Did he take guitar classes? Yes, but not classical guitar, in a regular music school: the oh-so-open-minded local music schools decreed he was “too old” to start at the age of 10 (wtf?????) so it was a year of weird private tuition to get to grips with the electric guitar.

In 1982 he started his own band, IDIOGEN, rehearsed like maniacs, gigged, recorded two now collector's items vinyl albums and one mini LP (“Idiogen”, “Burning”, and “Drive You Mad”), released and distributed not only all over former Yugoslavia but also in Italy, the UK and the US, collaborating with cult labels such as Slovenija Records (Yugoslavia’s FIRST true indie label, masterminded by eccentric mogul and patron Boris Furlan “Primitivc”), Rough Trade Records of London, Toast Records of Torino, Supporti Fonografici of Milan.
Second Idiogen album "Drive you mad" was recorded and mixed at Slovenia Studio, Koper in November 1986, April & July 1987. Songs "Can you see" & "Fall" were recorded live in studio onto a two-track stereo master, without additionals overdubs or remixing. Album was produced by Drago Hrvatin. Band memebers were: Drago Hrvatin (bass), Andrea Flego (vocal, guitars) and Max Felix (drums)."Song" is an eerie love song that is creepy, bordering on uncomfortable with beautifully bombastic parts.


video
http://www.divshare.com/download/4355481-ba1