Other Tuesday: This Mortal Coil, 'Song to the Siren'

This Mortal coil started life as the brainchild of 4AD Records founder Ivo Watts-Russell. A studio entity only, the group was something of a 4AD all-star unit, but evolved into a way for Watts-Russell to collaborate with new artists and other musicians not signed to his label.

With the power to wield the artists at his beck and call, the pedigree of talent collaborating on the debut album “It’ll End In Tears” is nothing short of stellar. We get; The Cocteau Twins, Howard Devoto, Dead Can Dance and Colourbox among others.

Mixed with some original compositions are a selection of songs by Watts-Russell’s favourite artists, covering such diverse ground as Tim Buckley, Roy Harper, Colin Newman and Big Star, all given the ethereal/ dream pop, bordering on Gothic ambient touch, which is associated with the 4AD label. Knowing the origins of the music one could be forgiven for thinking that the album goes to indulgent places but this is an unadulterated success, distilling the best of each artist.

With waves of lush, swirling arrangements drenched in echo and reverb this is luxurious music for the ears. The bands take on Buckley’s ‘Song to the Siren’ is perhaps their best known work, a barren, out of phase guitar line ushers in Liz Fraser’s impossibly wonderful vocal, spiralling into the heavens bathed in vast echo, shot through with sorrow, not so much vocals as her usual mysterious vocalisations. The track records undoubtedly her best performance, eclipsing even her vocal on Massive Attack’s ‘Teardrop’, or the Cocteau’s own ‘Heaven or Las Vegas’. A good indicator of the mood of the track is that David Lynch wanted to use it on ‘Blue Velvet’ but couldn’t afford the cost, eventually getting clearance for use on one of his most cryptic films: ‘Lost Highway’.

Where to Find: It’ll End In Tears (1984)

Friday Floorfiller: The Sisters Of Mercy, 'Dominion/ Mother Russia'

After achieving early underground fame in UK, the band reached their commercial
peak in the mid eighties lead by singer and songwriter Andrew Eldritch and a drum machine he christened Doktor Avalanche, who were the only points of continuity in the ever changing line-up.

Despite Eldritch's rather insistent objections to the designation “goth”, their second album Floodland has been lauded as a classic album of the genre, what with Eldritch's emaciated vampire vibe and the theatrically gloomy nature of the music. The album marked a change of direction from guitar-oriented rock towards synthesizer-based soundscapes, a obvious attempt at something more commercial.

Jim Steinman of ‘Bat Out Of Hell’ fame, took on duties behind the desk leading rather inevitably to massed ranks of choirs, a 40-piece orchestra and a production so large it makes the term bombastic redundant. The driving dance-floor hit "Dominion/ Mother Russia", with its thudding bassline and blatant proto-house beat courtesy of Doktor Avalanche, is representative of the new appealing sound.

Eldritch hopes that the song is as epic in scope as ‘War And Peace’ and almost succeeds in giving the impression of him standing in the Siberian tundra belting out the chorus while being buffeted by icy gales. Lyrically we get such diverse tastes as Shelley's ‘Ozymandias’ and Dylan’s ‘Stuck inside of Memphis with the Mobile Blues’ which shows you where we are, bordering in that grey area between the ridiculous and the ridiculously sublime. Thankfully it manages to achieve the latter…..for the most part.

Where to find: Floodland (1987)

Random Wednesday: Iggy Pop, 'Sister Midnight'

At some undefined point after the ‘Station to Station’ tour David Bowie decided it was time to get himself and his friend Iggy Pop cleaned up, go to Europe and enter back into normality. It’s ironic that everything about the resulting album suggested that they had gone completely off the deep end without any hope of redemption. Following the end of the tour, Bowie and Pop holed up in Château d'Hérouville, with the intention of writing and recording an album for Pop thus giving Bowie ample room to experiment. In fact purists have criticised the work as unrepresentative of Iggy Pop’s repertoire and simply a blueprint for Bowie’s subsequent work, something he later admitted to: “Poor Jim, in a way, became a guinea pig for what I wanted to do.”

But to denigrate such a startling and unique work in this way is to do it a supreme injustice, ‘The Idiot’ is perhaps the greatest of Pop’s career, a spectral brew of industrial, gothic, funk and krautrock (a mix that would inform post –punk later in the decade).

The opener ‘Sister Midnight’ is without doubt something special. With the automated squelching drum beat and bass it has an anxious walking dead quality, this is not so much James Brown as it is zombie-funk. The track starts with Carlos Alomar’s mesmerizing tumbling guitar figure built around the stark layers of bass and drums. The drum beat has a synthetic feel, creating a big ball of sound more like an electronic variant of what a drum should sound like and less anything organic. Pop’s voice is put upfront, to get as close to the listener as possible, no way to escape the menace. The lyrics are as devastating as the music, laced with Pop’s frank oedipal dream imagery and rabid crooning. No. 1 on the apocalypse jukebox.

Where to find: The Idiot (1977)

Punk on Monday: Black Flag, 'Nervous Breakdown'

When John Lydon sang about being the Antichrist in 1977 he was sowing the seeds for the legions of punk followers in Britain but also gave birth to a new sub genre of punk rock unique to North America. Heavier and faster than its British cousin, Hardcore Punk seemed to owe as much to metal as anything else blending the raw simplicity of the Ramones with atonal and microtonal guitar solos and frequent tempo shifts.

Steven Blush’s documentary film American Hardcore describes three bands - Black Flag, Bad Brains, and Minor Threat - as the most important and influential in the genre. California’s Black Flag are perhaps the most influential of all, primarily due to their tireless promotion of a DIY ethic and a herculean touring schedule which never seemed to end. Greg Ginn was primary songwriter and sole continuous member through multiple personnel changes, he cited ‘Black Sabbath’ as one of his favourite bands and his lyrics dabbled in the mixture of isolation, neurosis, poverty, and paranoia.

Nervous Breakdown was their first 7" EP, released in 1978, and remains one of the salient points of the genre. All the best bits about punk are present and correct, the singer barking like a rabid dog, a ramshackle frantic rhythm and a ludicrously cheap guitar sound.

Black Flag add their own particular stamp with the addition of needle point bass and
and the ever intensely physical presence in the drum department. The main guitar riff is an experience like undertaking a big sweaty stage dive into a heaving mosh and being tossed around unmercifully for the tracks two minute duration.

Where to find: The First Four Years (1983)

New Sounds: Trivium, 'Like Callisto to a Star in Heaven'

Mention Trivium and you tend to polarise opinion rapidly. Are they metalcore? Have they evolved into a thrash/power metal hybrid? Or do they sound like Metallica junior, as many of their critics have protested? Most of the basis for comment on Trivium’s previous work has centred around the contentious issue of Matt Heafy’s vocal style.
When he screamed the critics liked it but the riffs were deemed immature, when he sang cleanly on ‘The Crusade’ in 2006, he was roundly criticised for so-called James Hetfield-esque singing.

Well, to whom it may concern, the screaming is back and Shogun finds Trivium in rude health, a band finally finding themselves as a unit and producing the album we knew was within their capabilities.
It’s easy to forget that band leader and front man Heafy was just 17 years old when the album 'Ember to Inferno' was written and recorded back in 2003, now they’ve grown up, happy to make a racket completely of their own creation and despite the odd fumble (the album isn’t perfect), they excel and prove themselves worthy.

Travis Smith’s drumming has always been the lead sail that has kept the Trivium boat afloat, and he doesn’t disappoint on 'Like Callisto to a Star in Heaven', showing the metal community why he is one of the most underrated young drummers around, whipping a nice controlled storm with a flurry of precision hitting. Heafy goes through the full gamut of his talents from death-grunt to midrange snarl to clean tenor, all the while shredding away like a demon with a barrage of false climax riffing and a sophisticated chorus that brings the band to new heights. A major contender.

Where to Find: Shogun (2008)

Lesser Spotted Tuesday: Neu!, 'Seeland'

Neu! were formed when drummer Klaus Dinger and guitarist Michael Rother split from an early, less synthetic version of Kraftwerk in early 1970s Düsseldorf. Though they were basically ignored commercially during their existence, Neu! is now considered one of the formative Krautrock artists but more importantly progenitors of a lost genre, obsessively minimalistic pop music.

The band dealt in ‘Motorik’, a term coined to describe the single minimalist 4/4 beat, which Dinger repeats continuously throughout most tracks. Although on paper this might seem a recipe for head scratching monotony, Dinger's virtuosity as a drummer generates a free-flowing groove, with a great sense of continuous forward motion designed to replicate the feeling of Autobahn driving.By the time of Neu! '75, Rother and bandmate Dinger had somewhat diverged in their musical intentions for the band, Dinger preferring a more aggressive, rock-influenced style, something akin to early punk music, while Rother quested after his own ambient predilections.

‘Seeland’ is the perfect example of the more ambient style of playing, the song is notable for its uses of samples, using natural sounds to create a futuristic headspace. Rother really shines, weaving intricate layers of delicate guitar and bass with the odd burst of soothing feedback. The band plays on, though it seems they’ve half forgotten the melody, the whole experience feels like being sucked through a black hole backwards. The enormity of the track is frankly immense, producer Conny Plank proves himself to be a master of texture, allowing his charges to blossom in the vast chasms of space.

Where to find: Neu!'75 (1975)

Atmospheric Sunday: Nine Inch Nails, 'A Warm Place'

Trent Reznor is no stranger to having praise heaped upon him, the Los Angeles Times considers him one of the most acclaimed creative figures of his generation and Spin magazine described him as “the most vital artist in music”, he’s had people like David Bowie clamouring to work with him, taken on the record industry (now technically an unsigned artist) and managed to transcend genre barriers to become something of a hero for groups as diverse as indie kids and industrial metallers.

In other words he’s sickeningly talented.

To record his third album “The Downward Spiral”, Reznor rented the house actress Sharon Tate was murdered in by members of the Manson Family in 1969, this should give you an inclination as to the the despair and often nihilistic visions found in the music.

It seems as though Reznor can write the perfect melody, deconstruct it and put it back together to make something new, something ugly, but Reznor finds beauty in the slaughterhouse vibe. Every thing on the album is designed for aural abrasion, clouds of static coloured by low-tech futurism producing a thrilling, synthetic version of hard rock. One track stands alone amid all the chaos, ‘A Warm Place’ is like a little bubble of calm in the middle of an apocalyptic riot.

On closer inspection the track lacks none of the unsettling qualities of its more brutal neighbours, if one listens closely, you can hear muted lyrics: “The best thing about life is knowing you put it all together” a document of Reznors conscious descent into oblivion(he became something of a recluse after the following tour). This makes the drifting ambience all the more disturbing, Reznor has found a womb of inevitability amidst the carnage. Menacing stuff.

Where to find: The Downward Spiral (1994)