The Smiths - How Soon Is Now

How Soon Is Now - which Smiths guitarist Johnny Marr described as their "most enduring record" - is about their frontman Morrissey's crippling shyness. It has since become an anthem for the alienated and socially isolated.
Musically, "How Soon Is Now?" is famous for that oscillating guitar riff that opens the song and plays throughout. It started as a rather standard guitar riff, but Johnny Marr and Smiths producer John Porter then played it back through Fender Twin Reverb amplifiers set to different tremolo speeds, adjusting them on the fly to keep them in sync. That slide guitar part was layered on top. After they had the track completed, Morrissey assed the lyric.
The title doesn't show up in the lyric. It comes from a question posed in Marjorie Rosen's feminist film study, Popcorn Venus, one of Morrissey's favorite books: "How immediately can we be gratified? How soon is 'now'?"

You'll recognize the song from the last lines in the chorus:

I am human and I need to be loved
Just like everybody else does

This was a very complex song to record. Marr broke the process down to The Guitar Magazine: "I wanted it to be really, really tense and swampy, all at the same time. Layering the slide part was what gave it the real tension. The tremolo effect came from laying down a regular rhythm part with a capo at the second fret on a Les Paul, then sending that out in to the live room to four Fender Twins. John was controlling the tremolo on two of them and I was controlling the other two, and whenever they went out of sync we just had to stop the track and start all over again. It took an eternity."
The Smiths installed red lightbulbs in their London studio to create the perfect atmosphere to record this song in.
The oscillating guitar is similar to the one heard in The Rolling Stones' cover of Bo Diddley's song "I Need You Baby (Mona)." Johnny Marr was a big fan of both Bo Diddley and The Rolling Stones, and has cited both as an influence. Another instance of him borrowing a riff from The Stones is in the song "There Is A Light That Never Goes Out."
The attention-grabbing intro was intentional. "I wanted an introduction that was almost as potent as 'Layla,' Johnny Marr told Rolling Stone. "When it plays in a club or a pub, everyone knows what it is."
Morrissey lifted the line, "The heir to nothing in particular," from the 19th century novel Middlemarch by George Eliot, who wrote: "To be born the son of a Middlemarch manufacturer, and inevitable heir to nothing in particular."

Many of us thought the opening line was:

I am the sun and the air
Of a shyness that is criminally vulgar

But that first line is really "I am the son and the heir," which makes more sense, with Morrissey implying that his criminally vulgar shyness has been passed down. This is something we learned when we first saw the printed lyrics.
Their producer, John Porter, is one of those who misjudged the lyric. Marr told The Guardian: "I remember when Morrissey first sang, 'I am the son and the heir...' John Porter went, 'Ah great, the elements!' Morrissey continued, '...of a shyness that is criminally vulgar.' I knew he'd hit the bullseye there and then."
Despite being one of their most popular songs, "How Soon Is Now?" didn't always show up in The Smiths' setlists. That's because it was really hard to play live, especially the guitar section that required so much studio sorcery. Bassist Andy Rourke called it "the bane of The Smiths' live career."
"How Soon Is Now?" didn't rate with the band's record label, so they banished it to the the B-side of the "William, It Was Really Nothing" single, which was released in 1984 a few months after their self-titled debut album came out. A few months later it was included on a compilation album called Hatful Of Hollow, and in 1985 it was finally released as an A-side single after British radio DJs started playing it, included John Peel of the BBC, a big Smiths supporter.
By this time the song had lots of fans, but many already owned it on either the "William, It Was Really Nothing" single or on Hatful Of Hollow, so it charted at an underwhelming #24 in the UK, much to the disappointment of Morrissey, who bemoaned to Creem magazine: "It's hard to believe that 'How Soon Is Now' was not a hit. I thought that was the one."
"How Soon Is Now?" helped secure Morrissey's reputation for being a tormented soul, but he earned it with the Smiths song "Heaven Knows I'm Miserable Now," released a short time earlier in 1984. Songs like "That Joke Isn't Funny Anymore" and "I Know It's Over" fueled this fire, that burned well after the group broke up in 1987 and Morrissey went solo. He told Details magazine in 1992: "I am depressed most of the time. And when you're depressed it is so enveloping that it actually does control your life, you cannot overcome it, and you can't take advice. People trying to cheer you up become infuriating and almost insulting." You won't be surprised to learn that Moz doesn't do social media. His official accounts are run by his management.
Johnny Marr was on a roll when he wrote the music for this song; he came up with it, and also the tracks for "William, It Was Really Nothing" and "Please, Please, Please, Let Me Get What I Want," over a productive four-day period in June 1984.

From: https://www.songfacts.com/facts/the-smiths/how-soon-is-now

Wicking Ground - Live at Lúnasa Cascadia 2023

 Wicking Ground - Live at Lúnasa Cascadia 2023 - Part 1

 

 Wicking Ground - Live at Lúnasa Cascadia 2023 - Part 2

 

Wicking Ground was inseminated in 2016 alongside little Chico creek and has since grown along the Willamette river and continued to bloom around the Salish Sea. Her music is a direct reflection of thunder song and celestial tears, inspired by wrecker/salvage mentality, nature, and mutual aid, she is one of the local trash witches.  From: https://wickingground.bandcamp.com/album/firebrand 

 

Buffalo Springfield - Again - Side 1

01 - Mr. Soul
02 - A Child's Claim To Fame
03 - Everydays
04 - Expecting To Fly
05 - Bluebird

It’s 1967, and Eve Babitz, then a sometimes-collagist, is at a Paul Butterfield show in Huntington Beach. The only other person in the audience is Stephen Stills. At the end of the set, he asks her for a ride home. Babitz, who saw collaging as a pit stop on the way to becoming the brash, unapologetic writer and muse we now remember her as, jumps at the chance to strike a deal: “I’ll give you a ride if you let me do the art for your new record.” Stills shrugs, “Okay.”
The cover enchanted me long before I knew it was a Babitz creation. It’s surreal and psychedelic and perfectly late-’60s; I spent years searching for an early pressing. For all the half-century-old records in my collection, holding this specific one feels the most like clutching a relic from a lost time. Listening to it transported me to the 1967 Laurel Canyon of my dreams. Babitz perches the band members in their own personal Mount Rushmore, overlooking a glistening body of water. There are oversized butterflies, angels peeking through twisting trees, flowers tracing the borders, and pink birds floating in the sky. The chaotic, layered, stitched-together nature of the cover speaks to the fragments bouncing off each other inside.
Flip the record over, and you’ll find a chaotic, stream-of-consciousness list of dedications: “To our friends, enemies, and people we don’t know from Adam for their influences and inspiration.” The band names Otis Redding, Hank Williams, Roy Orbison, Judy Collins, Coltrane, Zappa, Hendrix, “the five Byrds,” and dozens more. It’s a roadmap to Springfield’s splintered musical DNA up to that point—folk, jazz, soul, psychedelia, country.
Buffalo Springfield—Stephen Stills, Neil Young, Richie Furay, Dewey Martin, and Bruce Palmer—were five wildly different players barely holding it together long enough to make something historic. Buffalo Springfield Again was released just 11 months after their 1966 self-titled debut. It also followed the rerelease of their first LP in March 1967, which included the group-defining single “For What It’s Worth,” their highest-charting hit at #7. That first record leaned towards pop, with tight runtimes, a muffled sound, and clear Troubadour influences.
Stills and Young were 22 and 21, respectively, when Buffalo Springfield ascended the charts. Anxious to capitalize on mainstream success, the pair entered a longstanding pattern of one-upping the other, each musician trying to push their group further sonically. It drove a wedge between them: Young quit and rejoined the group multiple times in those 11 months between albums. That summer, David Crosby (a future bandmate) filled in for him at the Monterey Pop Festival. (Crosby is later credited as inspiration on Buffalo Springfield Again deep cut “Rock & Roll Woman,” a ripping song born out of a Stills/Croz jam, with a melody that has Crosby’s fingerprints all over it.) Young was already buckling to the pressure of sudden fame, retreating into solitary recording sessions (spending 100 hours on “Broken Arrow,” alone). Stills saw it as a chance to showcase his wider range of influences—jazz, Latin music, and beyond. Furay, meanwhile, notched three writing credits on Again, often using his songs to air quiet frustrations with the band’s dysfunction. These were men in emotional freefall, dragging the Wrecking Crew into their mess and emerging with 10 tracks that somehow still resemble brilliance.
And yet, Buffalo Springfield Again starts with Young. “Mr. Soul” bursts through the speakers like a panic attack in a leather fringe jacket. It’s thudding, cynical, snide, and blaring, entering with a jolt and refusing to let go. The liner notes “respectfully dedicate” the track to “the ladies of the Whisky a Go Go and the women of Hollywood,” a knowing wink to Babitz’s cover, herself an original Whisky girl. Underneath the wailing guitar and relentless percussion is Young at his most vulnerable. He wrote the song at UCLA Medical Center after having a seizure on stage with the band in San Francisco. His then newly developed epilepsy gets a nod in the third verse: “Stick around while the clown who is sick / Does the trick of disaster.”
The country tonk, Furay-penned “A Child’s Claim to Fame” stands in almost petty opposition to Young’s unraveling. Where “Mr. Soul” spirals inward, Furay’s song is clean-cut, upright, and sharply directed—likely aimed at Young himself. It’s country in structure but pop in spirit, and it reads as a public eye-roll toward Young’s ego-driven flakiness. You could easily draw a line from this track to Young’s “I Am A Child” on Last Time Around; a quiet rebuttal, matching Furay’s condescension with a kind of wounded defiance. Furay’s tendency to go it alone shows up elsewhere, too: on “Sad Memory,” he reportedly recorded his vocals solo after no one else showed up to the session.
Young spreads his reach further on “Expecting to Fly,” the orchestral, disorienting, and unmistakably experimental composition that layers harpsichord, vibraphone, and timpani over a sweeping symphony. It feels massive, emotionally and sonically, like something off Days of Future Passed. The vocal octaves expand the space even more, giving the impression that the orchestra is playing on a soundstage. (The song later appeared in Fear and Loathing in Las Vegas, because of course it did.) It’s unsettling and evocative. When Young hits the falsetto on “If I ever lived without you / Now you know I died,” it carries the kind of devastating weight that makes you believe him.
Now, as far as the Young/Stills debate goes, I’m more often than not on Young’s side. But there are times when Stills’s exacting, genre-hopping craftsmanship scratches a part of my brain that is neglected in Neil’s discography. If we’re going song-for-song, Stills takes it for me on Buffalo Springfield Again. His blend of jazz, country, and grittier rock influences feels more immediate, even in all the chaos. Because of it. The first time we get a Stills-written track is “Everydays”—a sleepy, sauntering jazz-rock tune that almost misses its own beat, swaying so loosely it feels like it could collapse in on itself. The recording is messy, like it was done on a second take and left that way intentionally. The keys drag just behind the rhythm, like a Sunday driver zoned out on an oceanside road. But it’s hypnotic. The lyrics drift into existentialism, the monotony of the day-to-day: “Drive in the hills / Forget your fear / Getting it out of / Second gear.”
“Bluebird” hits for the exact opposite reasons. The entire record itself feels like it builds up to and falls from this moment. The jangly, psych-adjacent guitars are consuming, matched in rhythm to the crashing drums. The guitars devolve into acoustics and electrics that chase each other in circles, and a sneaky banjo reprise closes the song.  From: https://www.pastemagazine.com/music/buffalo-springfield/time-capsule-buffalo-springfield-buffalo-springfield-again

Starry Eyed & Laughing - Lady Came From The South

Originally a distinctly Byrds-influenced duo of guitarist/vocalists Ross McGeeney and Tony Poole (and thus instantly comparable to an early R.E.M.), Starry Eyed and Laughing were one of the most individual acts to gravitate toward the London pub rock scene as the 1970s neared their midpoint. Formed in the midlands city of Northampton during 1973, within a year the band had swollen to a quartet comprising McGeeney, Poole, bassist Steve Hall, and drummer Nick Brown and were packing venues across the capital. This lineup survived only a matter of months, but did bring the band to the attention of CBS. With a new rhythm section of Iain Whitmore and the splendidly named drummer Mick Wackford, plus a cast of guests including Russ Ballard, Lindisfarne's Ray Jackson, and BJ Cole, Starry Eyed and Laughing cut their eponymous debut album in mid-1974, alongside the single "Money Is No Friend of Mine."
 A second album, Thought Talk, followed in 1975, together with further singles "Nobody Home" and "Good Love," and that fall, Starry Eyed and Laughing made their U.S. debut with a short, but very well-received tour. Upon returning home, however, McGeeney quit the band -- he was replaced by Roger Kelly for the 1976 single "Don't Give Me a Hard Time," before bassist Whitmore, too, departed. Opting to continue on as a trio, the band abbreviated its name to Starry Eyed alone, but never recaptured the excitement of earlier years and broke up soon after.  From: https://www.allmusic.com/artist/starry-eyed-and-laughing-mn0001192111#biography

Pterodactyl - Hold Still

Pterodactyl’s Spills Out belongs to that rare species of music that could be called indie-shred, if that wasn’t such a dumb thing to write or to say out loud. Despite all the cloaking noise and pop melodies, there’s a lot of right kind of overplaying here: Matt Marlin’s drumming refuses to stick to basic time-keeping, and the overlapping guitars sound like a tangle between J. Mascis and the Scary Monsters–era lead playing of Robert Fripp. All, somehow, nestled into the maximalist pop songs that populate this album.
Of course, with all those elements competing at all times, success is not guaranteed.When it all works, songs like “Allergy Shots” and “The Break” are the result, both of which put me in mind of music that falls between Calgary band Women and that very same band’s earlier incarnation as Veritas, an instrumental prog outfit where songwriter Pat Flegel worked out exactly what it was he liked about music. The guys in Pterodactyl seem to have followed a similar path through the wilderness of prog and the excesses of art rock, but have seized onto the skeletal structure provided by pop songwriting to give
shape to their music.
While the songwriting necessarily lacks tightness, due to the experimentational tugging at the seams that bursts out of the competing instruments and voices, there is a pleasure in the layered stimulation of the noisier songs on the record, such as “School Glue.” The ornate collisions that define those songs occasionally relax into blissfully simple melodic songs such as “Thorn,” where Marlin’s drums finally cease their assault and the guitar noise washes under the vocals instead of complicating them.
Technical music can so often be incredibly boring, but I’ve never subscribed to the idea that there is an inverse relations between high competence on an instrument and songwriting ability. Pterodactyl is attempting to make those two elements meet, and have moments of real success on Spills Out: maybe being able to play your guitar isn’t such a bad thing.  From: https://northerntransmissions.com/pterodactyl-spills-out/

The Small Glories - Oh My Love

The Small Glories make their US debut with Assiniboine & the Red, an album that celebrates the Canadian Prairies. The album title references the junction of two rivers, the Assiniboine (pronounced ‘uh-sin-uh-boin’) and the Red, in the duo’s hometown of Winnipeg, Manitoba, and celebrates the happenstance meeting of members Cara Luft, an original member of the Wailin’ Jennys, and multi-instrumentalist JD Edwards. The duo’s onstage chemistry and humor complements their energetic live performances and buoyant, Americana-inflected folk songs. Luft and Edwards’ exuberant harmonies bring to mind such duos as the Civil Wars and Shovels & Rope, but with a Northern spin. The album’s songs are all inspired by places, from“Alberta,” the opener, to Winnipeg,” a spirited celebration of their hometown. “We’re folk singers, we try to write stuff that people can relate to,” says Edwards, whose looming stage presence and penetrating eyes find him the yin to Luft’s petite, snort-laughing yang. Already known in their native Canada as well as for their performances at festivals including SXSW and AmericanaFest, the duo, both of whom write, have captured the charm and chemistry of their live shows with Assiniboine & the Red’s collection of engaging, memorable songs. NPR wrote, “Luft is a Wailin’ Jennys alum whose work on the clawhammer banjo is to die for, while Edwards’ guitar and vocal harmonies deepen and enrich the duo’s sound.”  From: https://store.compassrecords.com/products/assiniboine-the-red?srsltid=AfmBOoohY3rqLQwD2bbRdLlVskpBTXFjNBblaHk11Rs8ZGe51zVEaRxT 

Curtis Mayfield - Beautiful Brother of Mine

When Prince’s Welcome 2 America rolled out in July of this year, the coverage came replete with comparisons to Curtis Mayfield. Much of that was down to the story that circulated about Dr. Cornel West suggesting that his “brother” Prince was a genius and friend, but no Curtis Mayfield when it came to social commentary, thereby prompting the Minnesotan to embark upon recording material of that ilk.
Listening to that album, it was clear why some people could see those similarities, but to me they were purely superficial. Wrapping things up in wah-wah guitar, strings and the occasional blast of horns may appear to be Mayfield-esque but something was missing to my ears to make that comparison valid. And it was only upon listening to Mayfield’s second solo album Roots in preparation for this piece, that it dawned on me what was the missing piece of the puzzle.
That missing piece of the puzzle is also a key ingredient of Mayfield’s best work, which undoubtedly includes Roots: urgency. Urgency in vocal performance, urgency in horn arrangements and urgency in the stringed interventions. Everything, in my opinion, that the aforementioned Prince album lacked. Of course, Welcome 2 America wasn’t helped by the anodyne, insipid production that mired his later works in mediocrity, but that is a topic for another day.
Roots was released in 1971 just five months after his debut solo live album had managed to reach number 21 in the pop albums chart and just over a year after his euphoric debut album Curtis (1970). To say a rich seam was being mined in the early 1970s by the Chicago legend is to understate it dramatically. When you bear in mind that the era-defining, hugely popular and influential Superfly soundtrack followed closely in 1972, it is crystal clear that Mayfield was among the very greatest artists of his (or any) era.
You wouldn’t know that though if you’d read Rolling Stone’s original review of Roots, which paints it as some kind of failure. But Mayfield demonstrates in all of his work the deep-rooted Blackness that became more pronounced in society and other art forms in the aftermath of the tumultuous 1960s, when hope was extinguished over and over again.
As Questlove’s Summer of Soul points out beautifully, the latter part of that decade seemed to herald the end of a brief yet ultimately forlorn hope that racial equality might be achieved, as leader after leader was cut down in their prime. Emerging from the flames of the uprisings across the US, sprang a greater level of Afrocentric thought that spread into music, fashion and art. One of the most obvious ways in which Curtis Mayfield embodied this was through his use of African percussion. 
“Master” Henry Gibson was responsible for percussion on Roots (and an estimated 1,200 other albums) and he injects the bongo and conga into the works on the album, writhing and wriggling throughout—a non-stop rhythmic masterclass. 
Alongside Gibson were other relatively unsung musical wonders. Joseph ‘Lucky’ Scott contributed bass lines and played a key role in making proceedings as funky as they were with the same percussive techniques that James Brown insisted on in his band (where every instrument was designed to be percussive or rhythmic). 
Arrangements came courtesy not just of Mayfield himself but also Johnny Pate who had been a jazz bassist and arranger before working alongside Mayfield when he formed The Impressions. On leaving Curtom (Mayfield’s record label) in 1972, he arranged for B.B. King, Bobby “Blue” Bland and Peabo Bryson among others, thereby becoming a hugely important line of continuity through the developmental history of music.
The urgency that was (in my opinion, at least) missing from Prince’s record is evident on Roots from the first few seconds of music. After a few seconds of human groans and exertions subside on “Get Down,” a guttural, brooding bassline kicks in, intertwined with Gibson’s thunderous patter and then Mayfield’s dramatic guitar starts to rip, before the punch of the horns rounds things off. Urgency is not in short supply here—in fact, it drives and surges with purpose and funky intent.
Mayfield’s calling cards were many, but his composition of delicately beautiful melodies was ever-present throughout his career. Here it comes courtesy of “Keep On Keeping On,” a dreamy exhortation to continue the work he always valued (including on the masterpiece from Curtis, “Move On Up”). However, for all that Mayfield wrote some of the prettiest melodies around, there always seemed to be space for some grit and “dirt” in amongst his tenderness.
On “Underground” things turn slightly heavier and less convinced of positivity. It opens with a spoken word intro: “We now have to deal with our own self-destruction / We cannot live on the surface of our Earth any longer / There is now pollution in every natural mineral and material taken from the land / We have truly become a vast wasteland,” before the music takes a similarly downbeat turn. The grumpy bassline and the fuzzed-up guitar combine to create a setting worthy of those damning lyrics. 
It isn’t long before the sunshine returns though, in the form of “We Got To Have Peace,” which manages to flip the feeling 180 degrees. His comforting falsetto once again urges the listener to “save the children,” whilst the horns add impetus to that notion with their heavyweight punch. 
The flourishes of harp that signal the onset of “Beautiful Brother Of Mine” indicate that that brightness continues, but this is actually a perfect example of the melding of his upwardly looking lyrics and the scuzzy funk into one glorious song. The full gamut of his work is contained within the driving funk—the strings (this time given more space to stretch), the rumbling bass and the punchy horns, but this time the impeccable backing vocals and claps add an extra layer of drama to what is already steeped in tension and urgency (there’s that word, again). The final minute of the impeccable groove is given over to those incessant congas and bongos and the beauty of Mayfield’s (massively underrated) guitar playing.  From: https://albumism.com/features/curtis-mayfield-roots-turns-50-anniversary-retrospective

 

Skindive - Love Me Still

The young raven-haired woman sitting opposite me in the bar, her feet tucked under her slight body as she squirms to find comfort in the armchair, is Skindive's Danielle Harrison. And you would be forgiven for asking "Who?"
Two years ago Skindive, the only Irish alternative industrial rock outfit worth a damn, were poised on the brink of success. They boasted a blistering live show with deeply complex, layered songs full of incendiary guitars, tingling orchestral arrangements, and the powerful vocals of Los Angeles-born Danielle.
The release of their eponymous debut album should have sent them soaring - instead they crashed and very nearly burned. The last anyone heard of them was when they played Ozzfest; since then - nothing. One of the reasons for this was the flawed translation of the band's impressive live presence to the humble compact disc. All the songs were there, but some important je ne sais quoi was missing, some essential ingredient found only in sweltering, stinking, smoke-filled venues where guitars were lashed savagely and where the walls, the ground and your very blood rumbled with the cascading sound of Skindive. In contrast, the songs almost meekly seeping from your stereo speakers just couldn't hold a torch to the live versions.
Now it seems Skindive are crawling back from the brink of destruction, with significant casualties. They've switched record company and lost their bassist, Alan Lee, to Turn. In addition, their lead guitarist and the creative power behind the storm, Gerry Owens, has adopted a far less prominent role, instead focusing his attention on new projects and no longer actively touring with the band. Despite this, Skindive released a new single, Falling Down, on September 5th and a second album titled Precious will follow later in 2003.
"The thing with the record company was a long time coming," explains Danielle. "We'd signed with Chris Blackwell's Palm Pictures in New York, and we got on very well with Chris. But one by one it seemed all of the people who had been championing us left the company until we were left on our own. And with them in New York and us over here it was very difficult to keep things moving."
"So we made a decision and asked Palm Pictures to release us from our contract. Chris was very good about it. They could have kept us forever, but he agreed and that was that."
So Skindive eagerly wriggled free of a two-album contract, but found themselves lost and directionless. There was no record company to guide or promote them, and it suddenly seemed like they'd regressed to where they were two or three years previously. 
"We were in limbo, we didn't know what we'd do," reflects Danielle. "I know that for me personally it was a very difficult time. I felt extremely low and I'm sure the others did too."
It was at this stage that the band suffered departures and near break-ups, but did Danielle ever consider giving up, even perhaps throwing in the towel completely and fleeing back to her family in the USA?
"No, never. After so much sacrifice, and so much effort and work, I was determined to see it through. I certainly wasn't ready to go back to the US; this is my home now, I've settled in nicely here over the past six years."
"Gerry was brilliant during that time after we left Palm; he was a fantastic source of strength. He just kept writing and writing and working on new songs, it was crazy. I was sure we'd eventually land on our feet."
And that, it seems, is what they've done, signing with new Irish independent record label AlphaMale Recordings. The new album, Danielle asserts, is a lot more accessible than the last. "It's not as heavy. There's still a lot of heavy rock stuff there, but there's much more variety with this record. On the whole it's lighter."
This, I suggest to her, will certainly help with radio airplay. In previous interviews Gerry Owens has gone on record saying he didn't approach the debut album with a view to releasing singles, and didn't really know what a single was. This tactic doubtlessly damaged Skindive's exposure - a main prerequisite for sales being the ability to get your songs on radio.
"Yeah, it'll help. The new single is already getting a lot of airplay, especially on shows like Pet Sounds, which is really great. But there will always be a problem for bands like us in Ireland because there are no alternative radio stations. The country's full of commercial chart stations all playing the same stuff. The only alternative shows available to promote bands like us are on late at night."
'Precious' is set to be an album of angry retort against the people who held the band back, with themes of "being let down, being pissed off, and sticking two fingers to people". It's indicative of the time in which it was written, and the emotions the band experienced during their various recent crises, says Danielle.
The American singer appears confidently at ease, and admits to feeling good about the record and expecting good things of it. Harrison, who describes herself as "raised on rock" and influenced by such diverse acts as Elliot Smith, Queens of the Stone Age and Metallica, sees a bright future for the new Skindive. "I can't wait to get out there and tour, so we can sell records which will allow us to tour again and keep touring!"  From: https://www.cluas.com/music/features/skindive_interview.htm

Permanent Clear Light - This Quiet Smiling Man

What’s the concept behind Permanent Clear Light and when did you form this group?

Matti Laitinen: The basic idea is to make our own music the way we want to make it without anybody saying what we should do. We’re all fans of the 60s psychedelia so that is the obvious influence as well as early 70s Finnish prog rock. On the other hand, all of us have always been open to all kinds of good music from pop to jazz. We started working together in 2008, though we had known each other for a long time and even been in some bands together.

Would you like to talk a bit about your background?

I’ve been in a couple of rock bands before. Markku has played in a folk rock jazz band and Arto has played everything from rockabilly to jazz. In our civil lives I’ve worked as a teacher, Markku works at a university and Arto in informatics.

What’s the concept behind Permanent Clear Light? How would you describe your sound?

Our sound is based a lot on keyboards like the mellotron, synths etc. On the other hand, there are a lot of guitars there, too, but not in the form of long solos. We like to create sceneries, pictures, fragments of a movie. The long instrumental sequences are an essential part of our music. The songs usually have lots of layers with everything carefully planned to make an entity. We like to think that we sound like nobody else.

How do you usually approach music making? How important is improvisation for you?

We usually work independently first. Meaning that everyone develops his ideas on his own, we send our ideas to the others, they add something or suggest changes. After that we get together, typically for a week at some isolated place, jam, put everything together and record. After this all the material goes to Arto, who mixes it and adds some stuff and sends it back to us. This finally develops into the final product. We try to avoid doing for example the vocals over again and again. If there are mistakes or irritating details, so be it.

Can you share some further details how your latest album ‘Cosmic Comics’ was recorded?

Most of it was recorded at Markku’s “forest studio”. Basically a log cabin by a lake in the middle of nowhere. Some tracks we made at my summer house. ‘Cosmic Comics’ was actually ready for a long time. When we finally got in contact with Dave at Sulatron records, he suggested some minor changes and we made them and then the album was out really quickly. Some of the material has actually been released by Fruits de Mer records as singles, split singles etc. By the way, a big thanks goes to Eroc for the excellent mastering.

Where did you record it? What kind of equipment did you use and who was the producer? How many hours did you spend in the studio?

As mentioned above, most of it was recorded in the two country studios. Everything is produced by our multi-instrumentalist Arto, who happens to be very good with the recording as well. Nowadays everything is recorded on a computer. It makes the process a lot easier than dealing with tapes. For the equipment we use a normal drum set, different kinds of keyboards and suitable guitars and amps from our, or mostly Markku’s, immense guitar collection. For a band with such a keyboardish sound, we have lots of guitars available. Probably more than any other band around. When we are recording, we work from dawn to dusk for several days in a row. We have found this way of working very productive. New ideas keep popping out all the time during these sessions. The sessions also involve a lot of discussing all kinds of things, drinking, going to sauna, swimming in the lake etc.

Were you inspired by psychoactive substances like LSD at the time of writing the album?

If we used them? No. But obviously they have influenced this kind of music a lot. Markku has been propagating the use of some substances for medical purposes, but I personally am not interested in taking any kinds of drugs.

From: https://www.psychedelicbabymag.com/2020/11/permanent-clear-light-interview.html

Sandy Denny - Late November / John The Gun / The North Star Grassman And The Ravens

In September 1971, Sandy Denny — on the heels of an incendiary contribution to “Battle of Evermore” from Led Zeppelin‘s upcoming fourth album — released her first solo record, The North Star Grassman and the Ravens.  It carried with it the strength and grace of her previous efforts, and featured many of the musicians with whom she had built her reputation, namely Richard Thompson from Fairport Convention and the entirety of Fotheringay.  It was a confident beginning to a too-brief solo career, and in its quiet power illustrates why Denny’s influence on the British folk and rock scenes was so profound.  Like other inhabitants of her world — thinking Thompson, Nick Drake, Lal Waterson — she was writing ahead of the curve, making deeper and contemporary connections to the wellspring of traditional folk while avoiding the easier middle earth sword epics so much of the rock world was obsessed with at the time (“Battle of Evermore” being a successful example of this).
A sailor’s life, a lament, an existential sea chanty, “The North Star Grassman and the Ravens” has everything describing Denny’s talent:  lyrical finesse, melodic beauty, the alchemical relationship of words to tune.  And of course, that voice, the kind of voice that could sing the traditional “Tam Lin” with menace and authority on Fairport’s Liege and Lief (1969), and turn on a dime to deliver something as hauntingly beautiful as “The Sea,” a song of her own devise, from Fotheringay (1970).  From: https://progarchy.com/2018/01/07/soundstreamsunday-93-the-north-star-grassman-and-the-ravens-by-sandy-denny/

Pseudo Mind Hive - Coming Down

Melbourne psych mainstays Pseudo Mind Hive just released their most inventive and surprising release yet, the aptly titled EP ‘Eclectica’.
Taking influence from diverse sources such as The Allman Brothers, King Crimson, The Stone Roses and Ty Segall, ‘Eclectica’ takes many stylistic twists and turns in its compact run time; all the while maintaining the band’s signature fuzzy sound.
Consisting of five diverse tracks, ‘Eclectica’ is the Melbourne group’s most wide ranging release to date, featuring flavours of jazz, progressive rock, Madchester and of course psychedelia.
Side A leaves no stylistic stone unturned, taking the listener on an unpredictable journey from the chaotic rhythms and masterful dual guitar harmonies of ‘Hot Tooth,’ to the Manchester-esque melancholy of the funky, bass-driven ‘Moon Boots’ and finally to the hand clappin’ retro boogie of ‘You Can Run.’
Side B sees the band return to the prog-tinged psych they are better known for, whilst still exploring new ground. From the candid lyrics of ‘This Old Tree,’ to the push and pull of closing track ‘Coming Down,’ which bounces joyfully between pillowy, spaced out verses and cacophonous, trance-inducing riffs.
‘Eclectica’ is Pseudo Mind Hive’s fourth studio release, preceded by ‘From Elsewhere’ (2018), ‘Of Seers and Sirens’ (2019), and ‘Volume III’ (2020).  From: https://www.psychedelicbabymag.com/2022/11/eclectica-by-pseudo-mind-hive-ep-premiere.html

Orna - Breakthrough

Weaving intricate rhythms and harmonies together to create a unique sound, Denver, Colorado based quartet Orna surely knew how to pique my interest with “In This Final Hour”, their debut release. I must admit, after the second single ‘Erase’ I was a bit concerned this affair would end up being too Tool-ish overall, but luckily that fear has proven to be unfounded upon further inspection of the album. Vocalist Jessica Worland’s dark and full timbre especially makes it a thoroughly unique listen. A little bit more clearness in the distorted rhythm guitar production-wise would elevate the overall sound in future releases, so there’s still room improvement for sure. Meanwhile this first scent-mark is certainly a very pleasant one already.  From: https://theprogspace.com/album_releases/week-10-2024/?fbclid=IwZXh0bgNhZW0CMTAAAR3bUhpmjDLqM1EOsp5c6mtMjukayfRPoEA9gzN5lQBPW8HmtEitAnxE520_aem_ASbNUHZnM3sz14_KIv4ESUHzgRDQdomigLvQe7MxJ0WEXcbaO7FK8t4mUkKwi15-hy1-uu8ukBTev80JNLKyvbqW 

Spooky Tooth - Love Really Changed Me / Sunshine Help Me / Forget It, I Got It

With roots originating all the way back to 1963, the four members that would form Spooky Tooth played together in the British blues mod band The V.I.P.'s in Carlisle, England which most notably is the early act that also launched a fledgling Keith Emerson before he went on to form The Nice and later ELP. The four members of Luther Grosvenor (lead guitar), Mike Harrison (harpsichord, vocals), Greg Ridley (bass) and Mike Kellie (drums) released several EPs and singles as The V.I.P.'s but never really decorated the charts with hits and when the mod and beat scenes started to morph into the world of psychedelic rock, the four members wisely shifted gears and released a flower power freak out album as the band Art in 1967 but after one album the band moved on again and became Spooky Tooth the same year.
After recruiting a fifth member in the form of American keyboardist Gary Wright, the band set out on the English club scene and after quickly capturing the attention of Island records commenced to record Spooky Tooth's debut album It's All About which arrived in May of 1968. Taking a cue from fellow Brits, Traffic, Spooky Tooth crafted a psychedelia-tinged slab of catchy pop rockers with Baroque piano influences, bluesy guitar riffing and a major leap up from the amateurish sounds of Art. The most notable improvement was the psychedelic soul smoothness of lead singer Mike Harrison who found his match in his harmonic double newbie Gary Wright. The two would alternate vocals and eventual Wright would wrest control.
A veritable treasure trove of catchy psychedelic pop records It's All About featured seven original compositions and three covers including the Janis Ian track "Society's Child," Bob Dylan's "Too Much of Nothing" and the classic J.D. Loudermilk song "Tobacco Road." The album was graced with the production techniques of Jimmy Miller who worked with The Spencer Davis group and would become the legendary force behind The Rolling Stones, Motorhead and Blind Faith. Sounding virtually nothing like the band Art which featured four of the members in Spooky Tooth, the songwriting skills of Gary Wright became a prominent aspect of the band's ability to distinguish itself from many of the other British blues based psych bands of the era however the Traffic similarities from the 1967 "Mr. Fantasy" album are undeniable.  From: https://www.progarchives.com/album.asp?id=27640

 

Big Richard - Caleb Meyer (Live)

When was it obvious that Big Richard would be more than a one-festival project?

Joy Adams: It wasn’t really in the first rehearsal. It was in the reception to the show that we played. Obviously, bluegrass is a jam-based genre; it’s common to sit down with your friends and play tunes. But we felt a crazy chemistry in the way we sang and played together that was apparent from the very first song we played at Bonnie’s house. When we played McAwesome Fest, for starters, our set got rained out, so we didn’t get to play the whole set. We were upset about that. We were looking for another gig just so we could get to the other songs. And we also had a bad reaction to us, too. There were people who were very upset about our name and how crass we were onstage and we got some initial hate mail after that first show. That was the moment – in my head, anyway – where we were like, “Oh, we have something here. If we can ruffle some feathers with this band, we’ve got to do this. This is an important thing.”

When and how did you build the band?

Bonnie Sims: We played that first gig in May 2021, our second gig in September 2021, and we hit the ground running in the beginning of 2022. We booked [Colorado festivals] RockyGrass and WinterWonderGrass right out of the gate, and that gave us a lot of fuel in our tank to want to invest in the creative side, start writing together, start rehearsing more, and really invest in the music, because we had these exciting opportunities to be a part of. Not long after we booked those things ourselves, we signed with Crossover Touring. Our buddy Chandler Holt has been our booking agent from the beginning and has been a huge part of helping us get to lots of festivals and play fun rooms.

Eve Panning: That first year or so was an unexpected influx of gigs. We did a ton of touring and I feel like we were kind of playing catch-up. It’s been really fun in this last year. We’ve all settled into the band a little bit more, and it’s been fun to hear the songs that everybody’s bringing and spend a lot of time working on those. You can hear that in the new album. Live From Telluride had some originals, but we were doing a lot of covers because we were so new as a band. This new album is all originals, and it’s been fun to explore that side of things as well.

How have the sound and dynamic changed since Hazel joined you?

JA: The band has changed so much. Hazel is wonderful. Her attitude is fantastic. She’s an incredible musician who has brought the level of the band up a lot. The arrangements have gotten better, the groove is tighter, and the overall balance of band vibes is wonderful. It’s everything all of us could ever have dreamed of, and I blame Hazel for that entirely. She’s such a lovely person to be around, she writes incredible songs that are deep and moving and exciting, and we’re so lucky to have her in the band. She really saved us.

BS: I agree. Hazel brings such a strong singing voice. It’s really fun to lean into the power she brings vocally, intertwine with that power, and lose ourselves in it. And her original songs are incredible. It’s a natural elevation of maturing as a group and playing together. This is year three going on to year four for the band. It’s a lot different. The pace has been incredible as far as how much time we’re spending making music together. It’s very much like a pressure cooker. It has an effect on the music itself, so the sound has evolved immensely and continues to evolve in an exciting way.

Hazel Royer: Thank you, everybody. That’s so nice. When I joined the band, everyone was, “We want to work. We want to try new things and learn new songs.” We spent two months rehearsing before we played our first gig with me on bass. We looked at the music and we became a band before playing the shows. There was an emphasis on learning new material, and there was a really good excuse to do that because there was a new member and no gigs for a couple months, so we had the space to learn new things. I’m really grateful that I got to be a part of that.

EP: When you only have four people onstage and it’s all acoustic instruments, when 25 percent of the band changes, that’s really significant. That means the sound is definitely going to change. But, like everyone said, Hazel has such a powerful voice, she’s such an accomplished musician, so it’s felt great. It’s felt like a wonderful step up.

HR: I was super-lucky because everyone in this band wanted me to exist as myself. That was the primary thing: “We want you to sing. We want you to write your own songs and bring them to the band.” That’s rare for a new person – joining a band and being like, “We want what you do as embedded immediately.” Additionally, we have a lot of crossover, musically, that we all can draw from. I grew up playing bluegrass and old-time music, and these guys are steeped in that. I also like pop music, and everybody likes that, and I had classical studies, and there’s two people who are very accomplished classical musicians, so there was a lot of crossover that made the integration of myself into the band easier than it could have been.

From: https://thebluegrasssituation.com/read/big-richard-big-feelings-their-new-album-is-a-delicious-girl-dinner/ 

Citrus Citrus - Eternal Draw

Citrus Citrus formed in Padova in 2020 when guitarists Lorenzo Badin and Luca Zantomio began jamming together. Drummer Marco Buffetti and bassist Enrico Maragno soon joined, shaping the early quartet into an instrumental project driven by improvised sessions and psychedelic explorations. The band reached its final form when singer and producer Thomas Powell stepped in, widening both its palette and ambitions.
The five musicians cite an impressively broad set of influences—from King Gizzard & The Lizard Wizard to 1970s Japanese jazz-rock, Krautrock, punk energy, and even strains of folk. More than anything, they describe themselves as a “collective listening circle,” a creative space where each member brings in sounds from a different world and the others respond. “That’s how this record was built,” they say. “By listening together.” True to this ethos, the album’s tracks were shaped through extended jam sessions, slowly evolving into fully formed compositions.
In The Belly of the Eternal Draw ingests all these influences and lets them ferment into something unmistakably Citrus Citrus. Each track opens a distinct little world; yet the record maintains a cohesive identity, flowing like one long inhale and exhale. Psychedelia, groove, drone, playful absurdity, and bursts of genuine heaviness all coexist in its swirling core.  From: https://hiddentrack.ie/reviews/albums/new-releases/in-the-belly-of-the-eternal-draw-by-citrus-citrus/

 

Marvin Gaye & Tammi Terrell - Ain't No Mountain High Enough

I’m not sure what real love is, but Nick Ashford and Valerie Simpson had a pretty good go at describing it in “Ain’t No Mountain High Enough”.
Husband and wife team Ashford and Simpson were one of the best songwriting teams of the latter half of the 20th century, with hits like “You’re All I Need To Get By” and “Reach Out And Touch (Somebody’s Hand)”. But they’re hardly household names nowadays, which is a great shame.
Nick Ashford and Valerie Simpson both started out as performers themselves and had hits of their own too, probably most famously “Solid” in the early 1980s. (If you were around at the time you might remember the “Solid as a rock” refrain from that song more than the title itself.) But they really hit pay-dirt when they wrote “Ain’t No Mountain High Enough”.
Perhaps because they were both vocalists themselves, Ashford and Simpson had a nice line in duets. Their style definitely suited Marvin Gaye and Tammi Terrell, who recorded the original version of “Ain’t No Mountain High Enough”.
The wonderful thing about their recording is that, even though all the parts were recorded separately, the final result doesn’t sound like it was done that way at all.
Tammi Terrell recorded her section first, then Marvin Gaye wrapped his vocal around hers to make it sound like both vocals had been recorded together live. If you’re thinking “how hard can that be?” the answer is “just about as hard as anything you can possibly imagine”.
Singing the words in time to some notes on a page isn’t especially difficult for a professional singer, admittedly. That’s what they do every day.
But doing it in such a way as to weave their vocal seamlessly around a pre-recorded vocal from another artist and make it such an intimate experience that listeners would think Marvin Gaye and Tammi Terrell had recorded “Ain’t No Mountain High Enough” together in the studio while gazing lovingly into one another’s eyes…well that’s about as hard as it gets in the world of music.  From: https://nowordsnosong.medium.com/aint-no-mountain-high-enough-marvyn-gaye-and-tammi-terrell-diana-ross-23c9fa471ded

 

Brewer & Shipley - One Toke Over The Line / Song From Platte River / The Light

An early example of rootsy Americana that seems to be overlooked these days, Brewer & Shipley offered a nice blend of country, rock, and folk, with some lovely harmonies and acoustic guitar work, that holds up well alongside better-known albums like the Byrds' Sweetheart of the Rodeo and the Dead's Workingman's Dead and American Beauty. (Indeed, Jerry Garcia lends his pedal steel to one track here, and long-time members of the Jerry Garcia Band appear as well.)
Tarkio (originally called Tarkio Road, but for some reason later shortened) is the duo's third album, and probably the most visible given the presence of opening track "One Toke Over The Line." It's a wonderfully durable country-rock song, granted immortality by its appearance in Hunter S. Thompson's Fear & Loathing In Las Vegas ("One toke? You poor fool! Wait till you see those goddamn bats..."). "Toke" is the obvious stand-out, but the whole album presents a nice, laid-back 70s stoner vibe. A few, like "Song From Platte River" (or the gospel-tinged "The Light") are a little too straight country for my taste, but the gorgeous harmonies elevate tunes like "Ruby On The Morning" and "Can't Go Home" and "Seems Like A Long Time." And they do a nice job of capturing the post-psychedelic West Coast vibe of the Dead (and particularly Moby Grape) on the upbeat rockers "Fifty States of Freedom" and "Tarkio Road" and the twangy, Steve Miller Band-esque groove of "Don't Want To Die In Georgia."  From: https://www.jitterywhiteguymusic.com/2020/06/brewer-shipley-tarkio-1970.html 

Shadow Show - Aunt Maizy

Three years ago, Shadow Show released their debut album, Silhouettes, in the US (Burger Records) and UK (Stolen Body Records). Since then, they have dedicated themselves to writing, arranging, and producing their epic masterpiece, Fantasy Now!, while occasionally taking breaks for full length US, UK, and EU tours, as well as obtaining support dates with bands like Automatic, Death Valley Girls, The Nude Party, and the 5.6.7.8’s, to name a few. Fantasy Now! is a huge step forward from their debut LP, reaching a more ambitious Sgt. Peppery psychedelic vision that includes swirling pop melodies, fuzz guitar hooks, flutes, tympani, backwards surprise twists, and a magical medieval acapella interlude.  From: https://femmusic.com/2024/02/25/shadow-show-fantasy-now/ 

Coil - Are You Shivering / Backwards / I Don't Want To Be The One / Penetralia / Ether

 Coil - Are You Shivering

 

 Coil - Backwards

 

 Coil - I Don't Want To Be The One

 

 Coil - Penetralia

 

 Coil - Ether

 

When the teenage writer and aspiring experimental musician Geoffrey Rushton attended a gig by one of his favorite bands, Throbbing Gristle, in 1980 and had a chance to meet that group’s Peter Christopherson, it would have been a bold soul to have claimed what was going to result over the next quarter century, even beyond their own almost as long-standing personal partnership. But as the twin axes of the freeflowing musical, artistic and performance entity Coil, Rushton, most commonly but not exclusively known by the name John Balance, often in later years Jhon or Jhonn Balance, and Christopherson proceeded to create a massive subcultural impact. Relying on their interest in a wide range of instrumentation and electronic experimentation, they oversaw a vast slew of releases, from singles through to multiple album sets to unique one-offs including perfumes and book releases, not to mention a variety of notable videos and short film efforts as well. David Keenan’s book England’s Hidden Reverse, about Coil and their sonic and aesthetic compatriots Nurse With Wound and Current 93, as well as Nick Soulsby’s interview collection Everything Keeps Dissolving: Conversations With Coil are a few key resources to help further understand this remarkable double act.
With Balance, especially given his role as lyricist and vocalist, the more public and forthright of the two on various fronts while Christopherson maintained a certain wry reserve, his own widely successful work as a designer, cover artist and video and commercial director helping provide the group a fierce independence, Coil’s music itself was described in many different ways, from psychedelia to industrial to rave to ambient to simply experimental or even folk music. But the truth of their range and goals, informed further via overt resistance to mainstream heteronormative standards of love and sex as well as homophobia in general, connecting further to Balance’s deep interest in occult and esoteric practices, renders the group even more impossible to pin down, pursuing their own evolving vision as they chose. They did not do so on their own: numerous further musicians were key performers and collaborators over the years, most notably (but far from solely) Stephen Thrower in the 1980s and early 1990s, Drew McDowall through the 1990s and Thighpaulsandra in the late 1990s and 2000s, while engineer/producer Danny Hyde was a central participant in many sessions and releases in turn throughout their existence.
Both Balance and Christopherson brought their own creative experiences to the collaboration; while the latter’s Throbbing Gristle work was increasingly well known by that point, Balance similarly had been creating recordings on his own and in collaboration with others via acts like Stabmental and Cultural Amnesia. Similarly their joint first efforts emerged in wider contexts, as both were initial participants in Psychic TV as well as the group Zos Kia, which also included what for years were their only live performances in 1983. Following their formally recorded debut with the How To Destroy Angels EP, the duo soon signed with the Some Bizzare label for their initial two albums, Scatology and Horse Rotorvator, the latter of which became a massively influential album in industrial music circles in particular, as did their harrowing reworking of “Tainted Love,” providing a flipside to Soft Cell’s synth-pop landmark in the wake of the continuing slaughter caused by AIDS and associated health care and governmental neglect. For the rest of the 1980s they regularly appeared on a wide variety of compilations and also began associations with filmmakers with both planned and released soundtracks for directors, most particularly Derek Jarman, as more singles and collaborations emerged, Balance’s regular appearances for years on work by Current 93 being especially notable.
Having left Some Bizzare in 1987 to form what would be their own home label, Threshold House, Coil achieved a remarkable artistic next-level with 1991’s Love’s Secret Domain, incorporating the explosion in dance music interest in the UK with associated elements of hallucinogenic experimentation and their own multivaried inspirations. Both it and associated singles also were something of an American breakthrough thanks to its release on the famed Wax Trax label, while Trent Reznor, starting to come to wider attention with the success of Nine Inch Nails, commissioned some of the first remixes they did in 1992, leading to further remixing work for other artists that would continue until the group’s end, from Depeche Mode to Bill Laswell. Reznor also signed the band to his bespoke label Nothing for what would have been a planned album called Backwards; while demos and sessions were completed, however, nothing was formally finalized for release at the time. As an alternate creative outlet, the group released a variety of singles and albums under differing names such as ELpH, Black Light District and Time Machines, over time stepping further away from their dance-leaning early 1990s towards a more free-flowing drone and instrumental approach. 
Building on this work, Coil’s next major phase encompassed two remarkable developments. The first was a full return to releasing work under the Coil name directly, including a seasonal EP series later collected as Moon’s Milk (In Four Phases) and another overall artistic triumph in particular, 1999’s Musick To Play In The Dark Vol. 1. These efforts were in part driven by their relocation from London to the UK countryside and its attendant slower and calmer atmosphere, as well as fully leaning into a turn from what they considered the masculine ‘black sun’ energy of their earliest days in favor of what they described as a more feminine ‘moon musick’ feeling. The resultant releases reflected their deepening interest in lengthier, often rhythmless constructions; at the same time, they also showcased some of their most enjoyable shorter compositions in turn, Balance’s voice now generally calmer and appearing less often than in earlier years. Late 1999 brought the other major change: Coil’s return to live performance, with a small collective of further guest musicians working with the band on a series of irregular shows around the world over the following years that aimed at being as visually surprising and memorable as their audio work. All of this led in turn to live albums emerging in time alongside continuing studio efforts such as The Remote Viewer and the more formal song efforts on Black Antlers. Christopherson also began participating in in a Throbbing Gristle reunion as Balance continued his many guest appearances with others; while their romantic partnership had ended by this point, they were on a true creative roll in the best of senses.
But what could have yet been a path to even more remarkable work by the two reached an awful conclusion. Over the years Balance had been increasingly open in public about alcohol abuse and its impact on him, with the multi-artist compilation Foxtrot in 1998 created as a fundraiser to assist him, containing a heartfelt, moving short essay from him on his struggle. In November 2004, following a bout of binge drinking, Balance fell from a balcony in his shared home with Christopherson, dying later that evening, only 42 years old. In the wake of the disaster, Christopherson moved to Thailand the following year, completing a final full posthumous Coil release, 2005’s The Ape of Naples, and otherwise spending subsequent years exploring new solo efforts and collaborations of his own, as well as continuing work in Throbbing Gristle and related efforts while planning and releasing more Coil archival projects in turn, including a notable DVD box set containing a number of their famed live performances, Colour Sound Oblivion. But sadly and no less tragically, Christopherson suddenly passed in his sleep in November 2010 at the age of 55, bringing the story of Coil’s key participants to a far-too-soon end. 
Encompassing Coil’s full legacy requires much more discussion than can be provided by this guide – beyond their many studio efforts and live albums, during their existence they released three full CDs alone of various compilation and rarity appearances in their Unnatural History series, containing much crucial work. Meanwhile, their numerous 12” single and EP releases over their earliest years, themselves reissued and compiled at later points with even more rarities, adds considerably to their legacy. A welter of further reissues, releases of live concerts from their later years, presentations of yet more session work, collections of remixes for others, annotated download collections of yet more rarities and unreleased work and much more have created a truly chaotic grab bag of material that, unfortunately, has not all been given the thorough care and detailed attention it all truly deserves.  From: https://theshfl.com/guide/Coil

 

 

Genesis - In Concert UK 1976

 Genesis - In Concert UK 1976 - Part 1

 

 Genesis - In Concert UK 1976 - Part 2

 

In the splendid book Opening The Musical Box - A Genesis Chronicle (by Alan Hewitt) you can read that "this concert was shot at Glasgow and Stafford during the A Trick Of The Tail tour, it's the only visual record of the band with Bill Bruford on drums. The film was shown in the UK cinemas in 1977. You can obtain if from laser disc in Japan." Well, I have still very mixed feelings while watching this footage: on one hand it's excellent material with outstanding performances by all members but on the other hand, I missed the concert because our football team captain decided to give back our tickets, he wanted to be democratic after he only got four tickets for eights persons... I have never hated democracy so much at that moment and it still hurts!
The lightshow was obivously less extravagant than the next Wind And Wuthering show (with the 48 Boeing landing lights), at some moments even a bit dark. It's really exciting to see Steve Hackett playing Fly On A Windshield with his distinctive use of the volume pedal, so moving and creating a very compelling atmosphere. Another highlight is The Cinema Show featuring a very dynamic rhythm section and sensational synthesizer flights on the ARP Pro Solist, Banks' favorite synthesizer. It's a pity that the director decided to spoil the wonderful experience of watching Genesis in concert by using 'silent movie' images, really disturbing, especially during The Cinema Show, brrrr! During Supper's Ready I want the camera to focus on Hackett but the camera crew had other instructions, food for a conspiracy theory? Anyway, despite some irritating 'silent movie' images', it's a thrill to watch this 1976 Genesis line-up with duo-drums and some very delicate Hackett guitar play, my progrock guitar hero!  From: https://www.progarchives.com/album.asp?id=15605