Review for www.nomoreworkhorse.com https://nomoreworkhorse.com/2020/09/28/thurston-moore-by-the-fire-album-review/
Showing posts with label Steve Shelley. Show all posts
Showing posts with label Steve Shelley. Show all posts
Monday, September 28, 2020
Sunday, September 10, 2017
Saturday, April 29, 2017
Sunday, February 19, 2017
Sun Kil Moon – Common As Light And Love Are Red Valleys of Blood – Album Review
Review for www.nomoreworkhorse.com
Tuesday, July 7, 2015
Album Review: Mark Eitzel - Caught In A Trap And I Can't Back Out 'Cause I Love You Too Much Baby
Mark Eitzel released his third solo album in 1998. Despite the sardonic humour of the title, this was a bleak piece of work even for him. Most of the tracks focused on Eitzel guitar and voice. And what a voice. His vocals are as powerful as on any of his other albums, pushed out to the front he sounds impassioned, desperate and at times completely bereft of hope on these tracks. After the cheery misery of Are You The Trash, proceedings get more downbeat on Xmas Lights Spin. Picking out a simple, descending guitar part, Eitzel sings of "a man doing an imitation of Satan" on a track with very little seasonal cheer ("St Nicholas left your toys behind at the bar").
The stark music of these tracks is matched perfectly by some pretty downbeat lyrics, sung with an absence of hope but a generous helping of passion. Auctioneer's Song with its tale of "buried underneath not moving a bone" and White Rosary about a little girl "calling to heaven to take her away from the trap her life turned out to be," with the most minimal of guitar accompaniment, Eitzel literally only plays notes that are absolutely necessary.
If I Had A Gun varies the sonic formula a little, adding Kid Congo Powers on growling electric guitar as Eitzel sings about how if he had one he would "seal my fate with you" over a gloriously miserable picked acoustic guitar. After this they are joined by a rhythm section of Steve Shelley and James McNew for the world weary Goodbye and the uptempo trio of Queen of No One, Cold Light Of Day and Go Away.
But the acoustic tracks are the heart and soul of the album, showing off Eitzel's incredibly fine guitar picking. Never mind your Nick Drakes etc, the closing pair of Atico 18 and Sun Smog Seahorse compare favourably with any acoustic melancholia you care to name.
Yep, sure, it's a bit much. But as well as being a downer, it contains some of Mark Eitzel's prettiest melodies and no frills guitar playing. Avoid this like the plague unless you like your depression leavened with a heavy dose of bleak misery. But for the rest of us, enjoy a bravura vocal performance, that's for sure. A shame he doesn't record his voice like this any more, as similar to his live performance, he inhabits the songs, making them sound like they really matter.
Friday, June 5, 2015
Sun Kil Moon – Universal Themes – Album Review
Review for www.nomoreworkhorse.com
Wednesday, February 12, 2014
Monday, December 26, 2011
Album Review: Sonic Youth – Dirty

As grunge took off in the early 90s, Sonic Youth got Butch Vig to produce 1992’s Dirty. Opening track (and first single) 100% is a somewhat sludgy track. It’s followed up by Kim Gordon singing a sort of riot grrrl anthem Swimsuit Issue. Far better is the slow-building Theresa’s Sound-world, perfectly paced guitars over a moody Thurston Moore vocal in the ‘verse’ portion of the song which builds to a climax as Steve Shelley pounds the drums and the guitars go apeshit before returning to the opening motif. It’s a perfectly constructed song, almost like a 90s Velvet Underground.
Shoot is a relatively low key track with a (mostly) understated Kim Gordon vocal, before Lee Ranaldo gets his curtain call on Wish Fulfillment. Sugar Kane pounds its way along with heavenly riffs and a nice freakout in the middle, while Youth Against Fascism growls along nicely.
On The Strip returns to Theresa’s Sound-world territory, Gordon on vocals this time, while later Purr kicks up a real storm, riffing along at breakneck speed.
Although overlong at 15 tracks and 59 minutes, and a little patchy, the actual musicianship on these songs, with some superb midsections (Chapel Hill amongst them) that set them apart from their contemporaries.
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