Wednesday, December 31, 2014

Over The Hill (Halfway): My Life in Records According to 1994 (Part 5)

And then there were all the albums that came out in 1994 that I caught up to much later.  Here are those albums:

FugeesBlunted On Reality


Nick Cave & The Bad Seeds Let Love In


Gravediggaz6 Feet Deep


Public EnemyMuse Sick 'N' Hour Mess Age

Liz Phair Whip–Smart

WeenChocolate and Cheese


Method Man Tical

(And, yes, some of these are also embarrassing to admit, so feel free to poke fun.)

Letters From A Tapehead

Tom Waits: "New Year's Eve"

See you in 2015.

Letters From A Tapehead

Tuesday, December 30, 2014

Over The Hill (Halfway): My Life in Records According to 1994 (Part 4)

Since 2014 is almost a memory, I figured I'd finish talking about my 1994 fascinations and regrets.

L7 – Hungry For Stink

Following the still relatively decent (though dated) Bricks Are Heavy, L7 released Hungry For Stink, an album I remember listening to quite a bit after I picked up a copy.  At some point, though, maybe after a month of consistent listening, I put it down and it's only gathered dust since.  I blame "Andres," mock-worthy lyricism ("Down in North Hollywood/There's a guy with... long hair...") coupled with grunge-as-cliché distorto-chugging, and the super-cheesy "Shirley," which was a very lazy tribute to drag racer, Shirley Muldowney.  To the album's credit, "Freak Magnet" and "She Has Eyes" continue to stand out as worth mentioning.  The rest of the album, however, has faded from memory.

NOFX – Punk In Drublic 
Bad Religion – Stranger Than Fiction
Rancid – Let's Go

I'm filing together NOFX's Punk In Drublic, Bad Religion's Stranger Than Fiction and Rancid's Let's Go as these three releases (along with 1993's Unknown Road by Pennywise) represent the Epitaph-related missteps I would continue to take for many years before I figured a few things out, namely that pop punk isn't for me.

Starting off with Punk In Drublic, there are a few things about NOFX's fifth record I consider worth noting.  It's hard to top the anthemic "The Brews," a great hook enticing a multitude of fists to pump in unison with every choral "Oi! Oi!," and the near-metallic combo of "The Quass" and "Dying Degree" remain two of the albums more hardcore-bred tracks, at least in that they capture the genre's late 80s crossover into thrash a la D.R.I.  The rest of the album, however, has lost much of its appeal for me, played out to the point of complete disdain.  The forced provocation attempted with "Don't Call Me White" has grown tired and corny and the name-checking in "Punk Guy ('Cause He Does Punk Things)" wants to seem more clever than it is.  "Leave It Alone" isn't bad, I guess.

A few years ago, I attempted to revisit the album.  The following weekend, Punk In Drublic was in a stack of CDs I was exchanging for store credit at A.K.A. Music.

Stranger Than Fiction was the first Bad Religion release that I'd acquired and the band's first foray into major label status having left Epitaph for the time being.  I adored Bad Religion.  After listening to Stranger Than Fiction, I went on a hunt for just about every BR release I could find, fascinated with them lyrically (more than musically, though I dug what I heard) and latching onto albums like Suffer, No Control, Against The Grain and Recipe For Hate, which was later re-released by Atlantic following the group's transition.  As I delved more into the band's back catalogue, though, Stranger Than Fiction became less appealing, a sterilizing glaze adhered to it designed for mass consumption that had become difficult to ignore.  Even later records like The Gray Race and No Substance had more in common with their older albums.  Even so, I enjoyed the key melodies found in "Individual" and "Hooray For Me..." and I even dug the slowed-up rock churn devised for "Infected."  The decision to re-record "21st Century (Digital Boy)" proved to be profitable for the band, though the original is still better.

Currently, the 80-85 compilation is the only Bad Religion album I go out of my way to listen to.

For me, Rancid's Let's Go was a boring album, though I enjoyed the band's self-titled debut and their highly successful follow up ...And Out Come the Wolves.  I saw Rancid play live more times than I'm willing to admit though, to the band's credit, they were a lot of fun live.  The band's attempts at emulating The Clash sound much more obvious now than twenty years ago and that's impacted my opinion of the group significantly.  Well, that and I've simply outgrown them.  The only song Let's Go had to offer that ever left any impression was its first track, "Nihilism," which sort of confirms how long the album held my interest.

The Crow Soundtrack

Era-specific to say the least, the soundtrack for the Brandon Lee film, The Crow, was a major release in 1994.  I'd go so far as to say the soundtrack was more successful than the movie.  Aside from the hoopla that surrounded the movie following Lee's untimely passing during its filming, the compilation featured many of the decade's biggest acts.  "Big Empty" by Stone Temple Pilots was one of the compilation's most significant offerings, the song emanating from every car radio and television within earshot it seemed back then.  Also original to this soundtrack is The Cure's "Burn," another hit that was penned specifically for the movie.  

Nine Inch Nails produced a worthy take on Joy Division's "Dead Souls" and Rollins Band's slowed-up, blues metal rendition of Suicide's "Ghostrider" remains powerful.  Pantera contributed a cover of Poison Idea's "The Badge."  The album also has one of the few Rage Against The Machine tracks I still enjoy, a retitled and re-recorded version of their B-side, "Darkness," Tom Morello brandishes some decent chops as a jazz guitarist prior to his complete surrender into trend-informed sonic gimmickry.

Sunny Day Real EstateDiary

On the strength of the album's single, "Seven," I picked up Sunny Day Real Estate's Diary.  While I enjoyed the album as a whole, Diary had no real staying power for me.  I know that's sacrilege to some as Diary remains a milestone release, representative of the so-called second wave of "emo" which was also enforced and fortified by bands like At the Drive-In.  I think Diary is something I should revisit as I believe it would probably resonate more now.  Still, great album.

NirvanaMTV Unplugged in New York

A few months after Kurt Cobain's suicide, MTV Unplugged in New York was released and consequently became Nirvana's unintended final act.  While the events that preceded the album's release likely add emotional weight to its performances, MTV Unplugged in New York is a great listen, comfortable banter between band members peppered through acoustic renditions of some of Nirvana's greatest songs.  I still love the Unplugged version of "About A Girl" in spite of it being the album's only real single and thusly in constant FM rotation.  Also great are "Come As You Are" and "On A Plain," the latter being a Nirvana favorite of mine that I feel gets unfairly overlooked.  Cobain does a great job with David Bowie's "The Man Who Sold The World," and the guest appearance of the Meat Puppets, who help Cobain out with their own songs "Oh Me" and "Plateau," is one of the album's best moments.

By the time Cobain sings Lead Belly's "Where Did You Sleep Last Night?," there's an overwhelming air of finality that I certainly felt when I'd heard this album so many years ago.  In Nirvana, the 90s had experienced its own Woodstock and Altamont in the span of about three years and the band's lasting effects have carried on well into the millennium.  From that standpoint, even though their presence was short lived, I see new generations of children in the midst of their own respective eras of discovery donning Nirvana t-shirts and confirming the band's continued place in the annals of rock history.  MTV Unplugged in New York is a perfect farewell.

Letters From A Tapehead

Saturday, December 27, 2014

Oh, 2014... Where Have You Gone?

I know December hasn't been my most active month, but circumstances unfortunately didn't permit me to generate content with any regularity.  That being said, if you're reading this, thanks for hanging in there.

To sum up 2014, I know I didn't hear ALL of the best albums the year had to offer.  I missed out on Syro, which was Aphex Twin's first album since 2001's Drukqs, Thee Silver Mt. Zion Memorial Orchestra's Fuck Off Get Free We Pour Light on Everything, ...And Then You Shoot Your Cousin by The Roots, the return of Cibo Matto, Ex Hex, Young Fathers, Helms Alee, Wasted Years by OFF!, Opeth's Pale Communion, Flying Lotus, the new Death From Above 1979 album and then I somehow completely neglected Mastodon's Once More 'Round the Sun.

And then there were albums that I just couldn't get excited about: Sun Kil Moon's Benji, the newest Ariel Pink album, Beck's Morning Phase, Damon Albarn's Everyday Robots, Jack White's Lazaretto and TV on the Radio's Seeds.  I didn't even know The Horrors released a new album this year.  This means maybe I need to make more of a concerted effort to absorb the bigger albums that next year will have to offer but, all that being said, I did hear and review some great stuff this year.  And, of course, the list is ready to view.  Peruse and feel free to comment with suggestions, opinions or recommendations.  Or, just get in touch.

Hope you all had a great 2014 and thanks, as always, for reading.

Letters From A Tapehead

15). Shellac  — Dude Incredible

"With Dude Incredible, the band’s fifth LP, Shellac delivers a very spare and assaultive listen, 33 minutes that fly by and demand repeated listens as a result. I’ve dropped the needle on this album maybe six of seven times since it arrived on my doorstep and given the unbranded CD that was included a spin or two on the road. There’s no fat to cut. No embellishments or distractions. It’s all tempo, rhythmic irregularities and jagged melodies. And, it gets the job done." — 9.25.14

14). Freddie Gibbs & Madlib  — Piñata

"One of the more interesting collaborations of the year, the gruff Freddie Gibbs and artful hip hop maestro Madlib delivered on the promises made from a few EPs and put out their full-length effort, Piñata. Three years in the making, Gibbs’ vulgarity-laden mea culpa is treated with Madlib’s soul-attentive stylistic collages, a humanizing touch that grants Piñata the benefit of being more than a mere crime saga. Though flush with guest features (RaekwonDanny BrownEarl Sweatshirt…etc.), Gibbs manages to keep the spotlight, detailing heartache ("Deeper"), drug use ("Higher") and indigence ("Shitsville") with an honesty that’s both difficult to take and impossible to ignore. The standout Thuggin’ may easily have come across cliché were it not for Madlib’s ornate treatment.
" — (transcribed from No Ripcord's Top 50 Albums of 2014 — Part 1)

13). Bohren and Der Club of GorePiano Nights
"While Black Earth remains a peak in the band's output, Bohren's latest album, Piano Nights, strives to surpass its excellence, though in a manner less bleak. While fiddling with a grand piano, saxophonist Christoph Clöser became inspired and began to create an album compositionally based around the instrument. However, as Bohren remains fascinated with space and the limitless anti-joy of low volume, any presence of something as high-scale as a grand piano would likely swallow all other instruments in its path. The solution was to utilize a Yamaha electric, maintaining signature loyalty.  And they do maintain that loyalty." — 5.2.14

12). DeerhoofLa Isla Bonita

"So, I heard a song I REALLY like that I want to talk about.  Something Daddy was playing in his car on the way home from school.  It's a song by Deerhoof called 'Big House Waltz.'" — Daughter of a Tapehead, 11.19.14

11). EarthPrimitive & Deadly

"Between Angels Of Darkness, Demons Of Light I and II, I found myself both enchanted by and invested in Earth's instrumental vision, Dylan Carlson's lengthy, guitar-enriched, country-infused drones a voyage of sorts, dirt-encrusted and vast. For Earth's newest release, Primitive and Deadly, Carlson invited vocalists Mark Lanegan (Screaming Trees, Queens of the Stone Age) and Rabia Shaheen Qazi (Rose Windows) to contribute voices, adding a new layer to his ultra-slow movements, which, for this release, gain some momentum and a touch more grit." — 11.5.14

10). MogwaiRave Tapes

"While Rave Tapes has a tendency to play like Tangerine Dream or Kraftwerk addressing a day in the life of Tron, Mogwai’s emotional core is still as apparent as usual, their post-rock glory seeping into their otherwise electrified work with traditional instrumentation.." — 1.21.14

9). Electric Wizard – Time To Die

"Following 2010's Black Masses, which didn't necessarily earn the band a whole lot as far as praise is concerned, (because it wasn't very good), Time To Die is what some might call a return to form, itself a fully-realized, muck laden and serrated doom proper. Listening to Time to Die you get the sense that Electric Wizard (members Jus Oborn, Count Orlof, Liz Buckingham and Mark Greening) thought about what they were pulling together for this album, keeping their obvious allegiance to amplification and darkness but not shying away from the occasional melody or change." — 11.5.14

"While Sunn O)))’s presence obviously informs much of what you’ll hear sonically, (Scott) Walker has provided the base, and his longtime creative partnership with musical director Mark Warman and producer Peter Walsh impacts how his compositions are arranged. Consequently, Soused sounds like a musical progression for Walker in some ways, more of a follow up to his 2012 LP, Bish Bosch, albeit infused with metallic drones, than a purely collaborative venture." — 10.28.14

7). Run The JewelsRun the Jewels 2
"In late July, a single called 'Blockbuster Night Part 1' was released by Run the Jewels, a rap duo comprised of Atlanta MC Killer Mike and Brooklyn producer/rapper El-P. In it Killer Mike states confidently, 'Last album voodoo/Proved that we was fuckin’ brutal…' and with that has followed the success of the pair’s new LP, Run the Jewels 2. A sequel to the group’s self-titled debut, RTJ2 did exactly what it was supposed to, building upon the strengths of the former and refining the mix, producing singles as strong as 'Oh My Darling, Don’t Cry' and 'Close Your Eyes (And Count to Fuck)' while addressing situational heartache through the narrative 'Crown.' RTJ has been a fruitful venture to say the least.." — (transcribed from No Ripcord's Top 50 Albums of 2014 — Part 2)

6). SwansTo Be Kind

"'A Little God In My Hands' is proof positive that anxiety can be almost goofy, the excesses in repetition and gleeful intensity both engrossing and over-the-top. When those horns blast it's elating, but so unnecessarily epic the effect is somewhat parodic.

But, this is the essence of To Be Kind, its basic inclination is to first crawl, then walk, then run and then attempt flight by leaping off the tallest precipice so as to make the loudest, most destructive and unforgettable impression. And, once Swans have your attention, they come at you with the thirty-plus minutes of 'Bring The Sun/Toussaint L'Ouverture,' which begins with a series of stomping chords and mutates into various instances of impassioned crescendos and heightened tension. Oh, and there's a horse." — 8.7.14

"Girls rule and boys drool." — Daughter of a Tapehead, 2.24.14

4). LiarsMess

"Tangled wads of multi-colored thickly gauged yarn have been strewn across every promotional opportunity enjoyed by Liars’ latest album, Mess, a vibrant medium that’s worked in tandem with the album’s electro-pop’d propulsions. Since moving to Los Angeles the NYC art punk mutations Liars had cultivated have been largely abandoned, surrealist West Coast glam’d synthetics inspiring new means of re-fracturing their already abstract outlook. If 2012’s WIXIW documented a relatively familiar, albeit shaky, transition into electronic music from the guitar-riddled fringe, a tradition exercised by more than a couple punk-to-new wave acts in the past, Mess confirms that the band is finally comfortable, faraway from the deranged fantasies Los Angeles had inspired for 2010’s Sisterworld. " — 3.24.14

3). Ty SegallManipulator

"(Ty) Segall, though, being more of a lo-fi psych rocker, continues to hold onto the colorful, acid-soaked disposition of the 1960s despite some fascination with distortion-induced anti-clarity. Granted, much of what you’ll hear on Manipulator, which is Segall’s ninetieth release from one of the thousands of bands he’s helmed over his three months in circulation (and, yes, that’s a joke), pulls from the proto-punk seeds sown by The Count Five, ? & the Mysterians, Paul Revere and the Raiders, and The Stooges. It’s evident that Segall knows how to nurture and harvest those points of reference into something distinctly his and, despite his significant productivity, the well has yet to run dry. This is one very remarkable aspect ofSegall, that he’s releasing albums at a rapid pace that are consistently good. Quality vs. quantity hasn’t become an issue with his work yet, though Manipulator, his newest album, apparently represents a period of refinement in Segall’s expanding discography." – 8.27.14

2). Blood Bright StarThe Silver Head

"Blood Bright Star is the work of Reuben Sawyer, a visual artist who apparently has a thing for darkly shaped hypnotic motion. Sawyer's newest LP, The Silver Head, is rich with bass-driven loops and floating guitar textures, sort of a Bauhaus/Joy Division bleakness met with the propulsive and lengthily composed nature of Neu!. He refers to this as 'Death Motorik,' and this categorization makes perfect sense." – 9.29.14

1). ProtomartyrUnder Color of Official Right

"Minimalist and groove-oriented arrangements that owe some debt to post-punk mainstays like The Pop Group and The Fall, vocalist Joe Casey delivering his observances ('Judge Mathis would never stand for it') in half-sung pronunciations like a midwestern Mark E. Smith, Protomartyr build upon the influences of their very own Detriot rock city and cultivate an excellent blend of art rock and garage punk that's either high-tempo and straightforward ('Pagans,' 'Son of Dis') or oddly shaped and imbalanced ('Tarpeian Rock,' 'Scum, Rise!,' 'Come & See'). What I find fascinating about Protomartyr is that they make a strong case for being strange and accessible, neither disowning their natural penchant for grit and volume or throwing themselves into a full-on frenzy of mashed notes and ear fucks. There's nothing grating or alienating about this album, but you're also not going to find any easy sell. " – 7.16.14

And, because I always want to give as much credit as I possibly can, here are my follow ups:
16). Cold SpecksNeuroplasticity

Wednesday, December 17, 2014

Daughter of a Tapehead: Swans

Young God Records
Originally released: 1983
Reissued: 11.14

*Yeah, she wasn't too happy with me.

**Swans might be a tad too much for a six year-old's ears.  That notwithstanding, the new Filth vinyl sounds great. The crushing, pulverizing force that dominates this release sounds immense.  If you purchase the album through Young God Records, your copy will be autographed by Michael Gira.  You can purchase the album here.

Here's the track she sampled:

Letters From A Tapehead

Wednesday, December 10, 2014

Disappears: "Halcyon Days"

2015 is weeks away and with that obviously come January releases.  First point of interest so far is this track from Disappears called "Halcyon Days," a minimalist, repetitious and spacy mutation.  In the simplest of comparisons, one could consider it a Bauhaus'ian attempt at something Neu! might've composed, a very cyclical, cold and immersive derivation.  Kranky will release Disappears' new album, Irreal, on January 19th.  The album was produced by John Congleton at Steve Albini's Electrical Audio in Chicago.   

You can hear the track here:

All info was brought to you courtesy of Rarely Unable.  "Halcyon Days" had premiered at The Quietus on December 5th and their assessment of the track is a much more eloquent interpretation than mine.  You can also sample "Another Thought," which is another single from Irreal that surfaced a few weeks ago.  


Ahead of Irreal's January 19th release on Kranky, the Quietus have premiered 'Halcyon Days', which samples Disappears in their most potent form. Here's their take on the track... 

"Processed, reedy pulses echo briefly before being cut dead in the left channel, stubby chugs itch away in the right, the whole coaxing out an atmosphere of fraught, slightly doomy angst, brought even closer by Brian Case's droning, monotonous vocals. Admittedly things do let up, as more resonant guitar lines spill out, glossing the track with a reverb'ed sheen as the track closes, but it feels like the Chicago outfit's most icily focussed offering yet."


About the album...Irreal, the fifth long player from Chicago's Disappears, is another trip down the rabbit hole.

The album plays out as a dream sequence - hazed dub landscapes give way to the groupʼs most experimental and open music yet. If their last album Era confirmed the fact that Disappears are on their own trip, then Irreal is where it kicks in.

Eternalism, roboethics, identity - the album is a Ballardian mix of imperfect melodies, half thoughts and good ol' dystopian modernity. It is a masterclass in texture, pace and control. Produced by John Congleton at famed Chicago recording institution Electrical Audio, Irreal sits in the negative space where art rock and post punk collapse onto each other. Irreal is the sound of Disappears reporting back from The Void.

Track list:
1. Interpretation
2. I _ O
3. Another Thought
4. Irreal
5. OUD
6. Halcyon Days
7. Mist Rites
8. Navigating the Void

Stream 'Another Thought' via Soundcloud

Letters From A Tapehead

Tuesday, December 09, 2014

The Mailbox Giveth: Sleaford Mods

Sleaford Mods
Chubbed Up +
Ipecac Recordings

Sleaford Mods is an interesting entity.

Following much of the rhythmic and minimal throb of Factory-era post-punk and, of course, hip hop's rise from being a "sample sport," as Public Enemy once put it, to the largely trap-centric hit machine it is today, Sleaford Mods embodies a tirade-level synthesis of the two: a beat-powered device with which to bathe in poetic and profanity-laced commentary. The group (vocalist Jason Williamson and track maker Andrew Fearn) gained some notoriety stateside with its 2013 release, Austerity Dogs, despite having been about five albums deep in its discography. The group's new release, Chubbed Up +, is a singles compilation that includes three previously unreleased tracks. It was released by Ipecac Recordings.

The mostly repetitious loop'd loop of springy bass riffs and flat percussion offer Sleaford Mods the distinction of being the more sophisticated offshoot of something loosely akin to Wesley Willis while Williamson's rage succeeds at some level in being both engaging and amusing. This is especially true of "Jobseeker," wherein he's playing both the prospective employer and employee roles during a job interview, ("So, Mr. Williamson, what have you done to find gainful employment since your last signing on date?" "Fuck all! I sat around the house wankin.'"), Fearn's synthesizer and percussion treatments purposefully goofy. Throughout the length of Chubbed Up + I do find myself laughing at Williamson's more humorous observations than captivated by his serious and perhaps even more legitimized critique of society as a whole.  And maybe that's due to his voice, itself the cartoon'ish offspring of some magical union having occurred between Brick Top and Gargamel.

Having said that, Williamson is lyrically provocative and I'd be remiss if I didn't acknowledge the weight of much of what he speaks.  In "Scenery" Williamson declares, "I'll be the first generation to take a real drop in living standards," and it's difficult to argue.  The song is a multi-class summation in what could be a day in the neighborhood, cynically pointed and relatable to many who breathe air and live day to day with their eyes open.  While the cultural discrepancies are many, there's an everyman perspective at work with Sleaford Mods that, despite Williamson's vernacular, is easy to absorb even if it is presented in a non-linear and scattered manner.

The excited jog of "Black Monday for the Tory" cites social unrest and seems to point to some  futility in demonstration: "We took back the streets through the potholes and the last remaining internet cafes on the boulevard/We overturned world order: 10,000 strong/It's not enough anymore just to have a fucking singalong."

And, then there's "Jolly Fucker," which puts a face and a name to the group's numerous targets of discontent.  "I rot away in the aisles of the co-op, mate—no prob!" Williamson blurts, his passionate array of stanzas peppered with gems about "arrogant cunts," "wasting money on shit coffee all the time" and "loads of office turds."  The "Bah, bah, crack sheep! Have you any rock!?!" line is one of my favorite on the album.

Despite being a compilation, Chubbed Up + is sequenced well enough to present as an LP, "Committee" providing a strong and serious opener, the aforementioned "Jobseeker" adding humor and then the funk-laden head knock of "14 Day Court" being the more dimensionally composed combo of the two.  Williamson's spoken freestyle rarely falls in line rhythmically, a mad rush of words spewed between song titles and some attempts at choruses, though he's likely to simply speak the name of the song a few times in place of a hook.  Comparisons to The Fall's Mark E. Smith are certainly accurate, though Williamson lacks Smith's flamboyance, his demeanor something closer to football hooligan.  When he finds his place, he comes off as more of a hardcore vocalist, no real melody to distill or growl to abuse, but syllabic placement.  Probably the best examples of this would be the distinctly atmospheric "Tweet Tweet Tweet" and the less impressive "Pubic Hair Ltd.," ("Who gives a fuck about yesterday's heroes?").  And then the album's closer, "Fear of Anarchy," which at points sounds like a late 90s straggler from the Go soundtrack, finds him almost singing.

While I wouldn't call this collection of songs uneven, certainly some tracks are better than others.  That being said, Sleaford Mods' brand of rebel yell is at its best honest and thoughtful, not just the mental runoff of some seething malcontents whose words are inspired by social media and online propaganda.  As with a group like Dan le Sac Vs. Scroobius Pip, Sleaford Mods' poetry of life finds its soapbox through song, frustration and anxiety shaped into something meaningful.  I just wish there was some hope in there somewhere, too. 

Letters From A Tapehead

Friday, December 05, 2014

Clark: "Eno/Clark Mix"

All Saints, a label that was launched in the early 90s, has just released four 90s-era Brian Eno LPs: Nerve Net (1992), The Shutov Assembly (1992), Neroli (1993) and The Drop (1997).  Electronic composer Chris Clark, (or as he's better known, Clark), pulled together a mix culling samples of each of the Eno releases.  It's a pretty fluid 34 minutes of instrumental (and some vocal) works and provides a convincing sales pitch for the releases.  I myself have unfortunately never heard these albums, so Clark's mash-up has given me reason to explore them.  If you want to check it out, you can do so via Soundcloud below:

If you'd like to find out more about the reissues, I've included info which was provided courtesy of Julian T. Schoen — Artist, Event & Project Management.  There are also two Eno cuts you can sample: "Prague" and "Fractal Zoom."

All Saints shares Brian Eno reissues mix by Warp's Clark
4 Record Eno Reissues available now

Hear the Clark / Eno mix now

Buy the reissues via All Saints / Brian Eno Shops

New Mix:
Clark / Eno x All Saints Reissues Mix
(Pitchfork / Soundcloud)

All Saints Records was founded in 1992 by Dominic Norman-Taylor as an extension of Brian Eno's Opal Records.

This week saw the release of an ambitious Brian Eno reissue project, featuring 4 of his classic 90s records, each paired with their own bonus disc of previously unreleased, new and unheard Eno material from that time.

Today, Warp artist Clark presents a mix of Eno music showcasing music from all 8 discs of these reissues. Hear the mix now via Pitchfork, and head over to the Eno & All Saints shops for more info on the reissues.

Hear Brian Eno's "Prague" and "Fractal Zoom" now.


All music by Brian Eno
Out Now -

All Saints Records
Buy Now via All Saints / Brian Eno


Nerve Net

1992's Nerve Net shows Eno returning to his more rock-oriented sound, as well as the long lost album My Squelchy Life, previously slated for a 1991 release but ultimately pulled at the last minute, lost in the lore of the Eno mythology until now.

CD Track Listing

Disc 1 - Nerve Net
1. Fractal Zone
2. Wire Shock
3. What Actually Happened?
4. Pierre In Mist
5. My Squelchy Life
6. Juju Space Jazz
7. The Roil, The Choke
8. Ali Click
9. Distributed Being
10. Web
11. Web (Lascaux Mix)
12. Decentre

Disc 2 -
My Squelchy Life
1. I Fall Up
2. The Harness
3. My Squelchy Life
4. Tutti Forgetti
5. Stiff
6. Some Words
7. Juju Space Jazz
8. Under
9. Everybody's Mother
10. Little Apricot
11. Over

Vinyl Track Listing

Side A

A1. Fractal Zoom
A2. Wire Shock
A3. What Actually Happened?

Side B
B1. Pierre In Mist
B2. My Squelchy Life
B3. Juju Space Jazz
B4. The Roil, The Choke

Side C
C1. Ali Click
C2. Distributed Being
C3. Web

Side D
D1. Web (Lascaux Mix)
D2. Decentre


The Shutov Assembly

The Shutov Assembly (1992), is an ode to Russian artist and friend Sergei Shutov, who used to paint to Eno's work but had difficulty accessing it through Soviet Russia. Eno collected unreleased material on a tape to give to Shutov, only to discover a common thread that transformed this into a complete body of work. The bonus material includes 7 unreleased recordings taken from the same period.

CD Track Listing 

Disc 1 - The Shutov Assembly
1. Triennale
2. Alhondiga
3. Margraph
4. Lanzarote
5. Francisco
6. Riverside
7. Innocenti
8. Stefelijk
9. Ikebukuro
10. Cavallino
Disc 2 - Bonus Material
1. Eastern Cities
2. Empty Platform
3. Big Slow Arabs
4. Storm
5. Rendition
6. Prague
7. Alhondiga Variation

Vinyl Edition

Side A
A1. Triennale
A2. Alhonidga
A3. Markgraph

Side B
B1. Lanzarote
B2. Francisco
B3. Cavallino

Side C
C1. Riverside
C2. Innocenti
C3. Stefelijk

Side D
D1. Ikebukro



1993's Neroli is named after the sensual oil derived from the Seville orange, and Eno links this LP to the sense of smell, fragrance and perfume. It is one solid piece with no break and is considered Eno's ultimate realization of "mood music". Also included is the previously unreleased New Space Music, a single, hour-long piece of ambient, long-form drone music complimenting Neroli.

CD Track Listing

Disc 1 - Neroli: (Thinking Music Part IV)
1. Neroli

Disc 2 - New Space Music
1. New Space Music

There is no vinyl edition due to the artist's wish not to break up the music with split sides.

The Drop 

1997's The Drop is "jazz from a vague, alien perspective" and Eno's foray into 'drop' music, with the additional bonus material including 9 rare tracks recorded during the same period and previously only available through a limited edition of 1000 sold at Eno's 2006 77 Million Paintings exhibit in Japan. 

CD Track Listing 

Disc 1 - The Drop 
1. Slip, Dip
2. But If
3. Belgian Drop
4. Cornered
5. Block Drop
6. Out / Out
7. Swanky
8. Coasters
9. Blissed
10. M.C. Organ
11. Boomcubist
12. Hazard
13. Rayonism
14. Dutch Blur
15. Back Clack
16. Dear World
17. Iced World
Disc 2 - Bonus Material
1. Never Stomp
2. Systems Piano
3. Bonk 12
4. Luxor Night Car
5. Targa Summer
6. Cold
7. Little Slicer
8. Surf Birds
9. Targa

Vinyl Edition

Side A
A1. Slip, Dip
A2. But If
A3. Belgian Drop
A4. Cornered
A5. Block Drop
A6. Out / Out
A7. Swanky

Side B
B1. Coasters
B2. Blissed
B3. M.C. Organ
B4. Boomcubist
B5. Hazard

Side C
C1. Rayonism
C2. Dutch Blur
C3. Back Clack
C4. Dear World
C5. Slicing System
C6. Sharply Cornered

Side D
D1. Iced World

More info on All Saints

All Saints (Site / Facebook / Twitter / iTunes / Soundcloud)

In 1992, All Saints was founded. Named after a West London street, the label re-issued albums originally released on Opal Records as well as new material from Brian and Roger Eno, Laraaji, Harold Budd and more. With more than 40 releases and over 20 years to its name, All Saints is compiling classic material alongside unheard rarities for several releases in 2013 and 2014.

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