CLI. Nurse With Wound | Chance Meeting On A Dissecting Table Of A Sewing Machine And An Umbrella

NURSE WITH WOUND

Chance Meeting On A Dissecting Table Of A Sewing Machine And An Umbrella

©United Dairies. UK, 1980.

‟En el año 1980 apareció el disco de Nurse With Wound llamado "Chance Meeting On A Dissecting Table Of A Sewing Machine And An Umbrella".

 
Cuenta Steven Stapleton : "Dos meses antes Throbbing Gristle sacaron su álbum debut "Second Anual Report" y lanzaron 'Industrial records' - el de estos eran semimprovisados ruidos electrónicos e imagenería oscura-. A través de una debil lógica, en el surgimiento de "Chance meeting..." fue etiquetado de industrial. Una macana."

 
"Nosotros fuimos asociados con la 'industrial music' debido al hecho que nosotros surgimos en el mismo tiempo y que la tapa de nuestro álbum era 'dark', no importaba como sonaba la música. En realidad nuestra música estaba mucho más cerca de la libre improvisación. No hay comparación entre la música industrial y Nurse With Wound. Para mí la música de Nurse es música surrealista. Es un desplazamiento de algo ordinario a un montaje extraordinario, tomo cosas ordinarias - instrumentos, solos, y los coloco en un montaje inusual, dándole un ángulo completamente diferente en la manera en que instrumentos y composición son mirados habitualmente".

 
Así como el Surrealismo funcionó como una ruptura o una avería en el teleología de la realidad empírica, una exhumación del subconsciente, para que 'el ruido' exponga el caos sónico a la base de toda música. El surrealismo de NWW es una ruptura maliciosa e impetuosa, un ataque al orden y la forma, atado con el más negro de los humores.‟

El Sitio Del Topo

CXXXIII. Current 93 | Earth Covers Earth

CURRENT 93

Earth Covers Earth

©Durtro. UK, 1992.

‟As most of you know by now, I'm a wee bit of a C93 obsessive.  Well this album is to blame for that I'm afraid, this was my introduction to their warped and twisted world.  Not an album I'd recommend as a starting point, but a damn fine listen nonetheless, this album was released when C93 were still trying to find their folky feet, and David Tibet was trying to discover his true voice.

The original release is only 6 tracks long, starting with versions of "The Dilly Song", a simple nursery rhyme, sung unaccompanied.  "Hourglass" makes two appearances, one narrated/sung by David Tibet, one narrated by a child's voice.  The lyrics are from a 17th century poem by John Hall, showing that Tibet yet wasn't really confident in using his own poetry, but also using Hall's words perfectly to deliver his message.  The only genuine C93 classic from this original set of tracks, is "Rome (for Douglas P)", a live favourite still, a folky singalong of a song, which would have graced an album such as Thunder Perfect Mind.

The additional tracks on the CD version, really make this release the 5 star release that it is.  The two versions of "At the Blue Gates of Death" are both essential, beautiful recordings.  One version is a shorter, paranoid vision of a song, with grinding backwards bass, the other, a gorgeous happy ode to a life well lived, you can feel the sun shining on your face as Rose McDowall's backing vocals perfectly complement Tibet's relaxed delivery.  "God Has Three Faces and Wood Has no Name", "She is Dead and all Fall Down" are two more slightly bonkers tracks, which would both fit perfectly on TPM.
Final track "The Dream Moves of the Sleeping King" really has no place on this, or any other C93 album.  That's not to say it's worthless, far from it, but it really is a Nurse with Wound style track, a long surreal melange of sounds, I can't see Tibet having had much input on it, it sounds practically all Stapleton to me.‟

DarknessFish