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UNMATCHED VOL. 11 - King Kong (2009)

There's something I personally appreciate very much, the sincere passion for music that leads to the conviction that they must contribute as much as possible to his own spread in all possible calculations and derivations, so always remember the existence and importance of culture. I will never cease to appreciate the labor of love so that the English Hall Of Fame has been working for years with the precious necklace Unmatched (come with this release in its eleventh chapter). The main merit of this ever-changing (despite some pressure and made calls to suspend the adventure) is to allow both to Zappa's music as an ever-changing interpretation and many musicians beginners to assert themselves internationally demonstrating skills, creativity, intelligence and irony applied to different levels of musical material of complexity and passion. Projects such as these, instead of being unjustly opposed the unlikely name of violations of "rights" bandied about as unassailable, on the contrary should be funded and promoted by those who own the music (original) keeps in the basement ... often rot waiting Bigot (have you ever heard of the eternal history of ROXY & ELSEWHERE DVD?).

main protagonist of this eleventh volume of Unmatched group is FILTHY HABITS ENSEMBLE

01
Echidna's Arf (Of You)

Excellent start for an equally excellent revival of one of the issues most dear Zappa the mid-70's. The winds - having regard to the training itself - are the focus of the choice of arrangement, but the entire work of orchestration is very accurate and very well organized

02
Do not You Ever Wash That Thing?

same goes for the next explosive tail traditionally made famous by ROXY & ELSEWHERE. Thanks to the painstaking work carried out by Filthy Habits Ensemble on this occasion it is possible to appreciate more accurately the flow of the themes and individual items of the instruments gradually involved. An excellent opportunity to appreciate the brilliant work of composition and arrangement of the Master (and rise my hat for the operation, as practiced by this group of musicians Iberians.

03
Little umbrellas

Intelligent and gentle reworking of one of the issues most "precious" immortal HOT RATS. Sometimes, in a hurry zappamaniaci, escapes the delicacy inherent in exposure of the angular theme of this composition, perhaps because the original captured by the fluid drumming of the late John Guerin and catchy bass Max Bennett (sound coupled with absolute genius revived from their debut album in dEUS Worst Case Scenario "). And yet at the same angular pattern of the theme of Little Umbrellas hides much of the intelligence and innovative melodic thrust of the young Zappa ... and well did these new protagonists of reinterpretation Zappa to present it again with such delicate care and passion.

04
Big Swifty

JAWAKA WAKA The routine takes an elegant form in this latest revival with the orderly and harmonious rhythmic ensemble made up of texture For the occasion also boasts a large interpretive sensibility in solo parts. Also interesting is the work of "sonic disturbance," put in place dall'altrove excellent keyboard "gloved" Jo Miramontes and his synth, committed to redesigning trajectories noise throughout the "free". Noteworthy also is the work of counterpoint nice solo during the entire brass section of trumpet Guillermo Callier. The orderly and intelligent in his final orchestral exposition.

05
King Kong Variations

Seven changes for the "monster track" Zappa par excellence. It would seem obvious that, given the obvious structural similarity the group's nostalgia for the band of 1988 is the basis of this revised by Filthy Habits Ensemble and thus the way of arrangements and the mood of the general trends during the seven labors dedicated to Zappa's most famous primate to be necessarily linked to 'Last Best Band. However, with these amazing personality (at least to me) unknown young English musicians completely reinvent the same sound, even with the same audiocromie. A further evidence of intelligence and at the same time redeeming value offering the immortal pages Zappa musicians equally intelligent and eager to grow and develop their language ... to name a "parallel" the master (for the umpteenth time), these are truly "results of a higher education." Congratulations!

06
Filthy Habits

Recorded live in Barcelona (as the remaining tracks of this CD later) confirms the quality of individual musicians (all very very good) and the foresight of the management arrangements' s together. After an obscure but effective introductory drone, the band develops with the original discrete basic theme of this classic introverted and gloomy chapter Zappa (also ventured to slightly change the basic harmony of the sentence ... a courageous choice) introducing the sequence of unavoidable solos of various wind instruments. But as a dimension live is even more surprising ability of emotional involvement in the evolution of individual musicians, soloists (soprano sax Villavechia Liba and the unsettling baritone Don Malfon are good examples of virtuosity applied).

07
Dupree's Paradise / Mr. Green Genes

Vigorous version (with only some light trimming) of that other classic mid-70 of the Mothers. Essentially as in the previous concept of theme-solo-theme is the key to this additional vehicle alone and improvisation (there is still an excellent trumpet Guillermo Callier and standard of Liba Villavecchia to take the load of acrobatics also noise (But always very timely and measured). The entire ensemble plays in creating a sound button magma directly from the exemplary manner in El Pricto (saxophonist and clarinetist responsible for the whole project). Seamless, but with great taste, the song dissolves into classic Mr. Green Genes.

08
Duke of prunes

A citation of the unexpected theme of New Brown Clouds opens the last valuable contribution in this collection and this exhibition introduces the (also very vigorous and energetic) dell'inconfondibile legendary and diamond theme Zappa (compliments of Sebi Suarez on bass!). Following the rightful place for this guitar Director Wilkins that over the work shows how you can be smart in playing the instrument of the master without ever trying (often clumsily) emulate the style and attitude, bravo! In conclusion

DA also have a hard to disprove those who believe (honestly, sometimes with a good margin of reason) that the repeat for the umpteenth time of Zappa compositions is only a sterile and useless operation.

still great compliment to Luis Gonzales for giving us a valuable foray across the universe sound of our shared passion for art.

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"TARGET PRACTICE"

For information correctly the career of a musician who was so particular FRANK ZAPPA often become important and significant number of audio blocks collected in a clandestine manner according to common practice since the invention of portable tape recorder. For some situations
fact, the official releases are not exhaustive and do not make the full momentum that - even remotely - they are linked.

Specifically, not just the colorful and bizarre cover of THE MAN FROM UTOPIA to really tell the incredible atmosphere in the evening of July 6, 1982 that the area of \u200b\u200bthe park outside Milan Redecesio, equipped to accommodate the Zappa's band concert. Not even enough reports more or less credible and verifiable for visitors to the show because sometimes the memories tend to emphasize moments might actually have little significance for the conduct of the events themselves. In

relief are desirable and useful then the much-maligned Register yourself "hacker" who in this case the merits of absolute return and with merciless truth (in a sort of casual Fripp "audio-verite") the dynamics actually occurred.

Zappa is a veteran of the ugly evening lived in Switzerland a few days before (July 1 - Geneva - Patinoire des Vernets) where he had been compelled to stop the concert after only 45 minutes because of the excesses of the local public (?) Clearly more engaged in a competition of "shooting the musician" with objects of various nature and shape (this is actually - but partial - documented in the second disk YCDTOSA vol.5) not interested in music proposal.

In Milan, the scene is certainly different. Some dates in the meantime have gone relatively well, or better, have been carried out without problems, but obviously the final installment of the '82 tour is intended to reserve more unpleasant surprises to the group ... especially in Italy.

that evening so the concert begins with a ispiratissimo "Zoot Allures, Zappa with a single opening (in the usual time strategy used to optimize the balance of the sounds on stage and off) that seems to presage a big night in bloom. Even the presentation of the group seem to be full of fun and Frank (who ironically heavily on the amount of mosquitoes on the stage ... "Welcome to the mosquito heaven!") Finds the time to report the presence of some friends from Portofino which anticipates that play the songs specifically for them. But despite everything seems to spin smoothly pass only just over 10 seconds from the beginning of "You Are What You Is" because it occurs the first symptom of impending distress. Frank

it stops abruptly at that point the band and addresses the audience in the front rows first in English ...

... DO NOT THROW THINGS ON THE STAGE! ... here call the guy and tell them in italian please ... IF YOU THROW THINGS ON THE STAGE, PLEASE, WILL STOP THE MUSIC! ... DO NOT THROW THINGS ON THE STAGE!

then with the typical Italian stars and stripes ...

... UNDERSTAND? ... SEATED PLEASE!

actually just below the stage was basically a group of boys more concerned with "doing" than the music itself, and certainly should not be a great view from the stage. But then, above that seen when used for hypodermic syringes, the dose, the same were launched towards the criminally muscisti on stage ... it even assuming fairly critical and worrying aspect for the safety of players in the concert. Not
appensantire the situation further, however, Zappa takes to travel to the car looking for music with this move to give priority to the right size and presence of music (and music!) On stage.

"Mudd Club" and "The Meek Shall inherit nothing" seems to work but it is only an impression, once again, Frank is forced to stop the band and took back the unruly audience of the first file ...

... BOTTLE HERE YOU see this? ... DO NOT THROW THINGS ON THE STAGE! ... SEATED PLEASE! ... GO BACK! ... IF YOU ... ... IF YOU MOVE BACK THEY CAN SIT DOWN! ... I KNOW ... BUT IF YOU MOVE BACK THEY CAN SEE! ... MOVE BACK! ... GO BACK ... THERE MOVE BACK! ... OK I'M GONNA TELL YOU IN ENGLISH, ALLRIGHT? ... LISTEN TO THIS ... ... YOU WILL BE HERE FOR TWO HOURS! ... DON'T STAND UP, YOUR LEGS WILL GET TIRED! OK? ... NO NO ... JUST BE CONFORTABLE ... IF YOU MOVE BACK YOU CAN LEAVE SPACE AND STILL CAN SEE! ... UNDERSTAND? IF THEY CAN MOVE BACK! ... NO, RELAX, DON'T STAND UP ... ... STAND UP AT THE END OF THE SHOW!

said that orders the group to start playing again from the bridge of "Meek", but the atmosphere is no longer the same and is essentially the professionaltà musicians that allows the show to continue despite the apparent rudeness of a few spectators has become demotivated all.

"Joe's Garage", "Why does it hurt whan i pee?" (With a strange solo sung by Martin, however), "Marqueson's chicken" continuing without interruption, but the same quality of the performances is truly questionable for the individual musicians capable of inaccuracies here otherwise unknown. Zappa himself is struggling to recover probably the "thread" creatuvo performing his own guitar in "Marqueson's chicken" in a very static and uninspired solo (perhaps really a tour of his less inspired).
And again ... "Fine Girl, Zomby Woof" (where, fortunately, Frank's guitar seems to actually recover and revive during the usual long solo).
"King Kong" loses all meaning and value until the start usual strange "zone" of
improvisation with Tommy Mars in great evidence (which distributes hints of melodies famossissima Italic multiple interpolation noise). under the circumstances, however, is obvious and understandable that the extensive (perhaps too!) the term of "King Kong" is also the result of implementation as easy as point routinely. When

repeats in "sung" in the lineup with the evergreen "Sharleen", Zappa's humor seems a little more comforted by a few minutes before, and it starts to joke with the organizers (Tony Francis) about the request for have a higher amount of girls to take to the hotel. But the public does not seem to have changed attitude, and in fact ... here is yet another rigorous stop ...

... Allright allright ... NO WAIT A MINUTE! ... HEY! HEY! ... DO YOU WANT MUSIC? ... STOP Throwing THINGS ON THE STAGE! ... PUT BACK THE FENCE! ... RELAX! ... WE WANT TO PLAY A NICE CONCERT FOR YOU! ... THIS IS NOT "TARGET PRACTICE" ... GET THE PICTURE?

but strangely this time apparently lost hope of recovering the quality of entertainment
Zappa solos finally draws a minimally interesting, probably thanks to his resignation and permanent estrangement from the surrounding chaos.

finished the song but the band leaves the stage power probably to try to give a break to the general tension. In fact, this device helps to normalize the environment and allows everybody to conclude the show (but no details of the wonderful moments and memorable ... honestly even the acrobatic duet Go elsewhere / Zappa of "Stevie's Spanking" and the always beautiful "Illinois Enema Bandit") at least without further manifestations of incivility.

A real adventure.

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TONY PALMER ... whips it out

In all these years I've read so much crap on 200 Motels, some are the result of pure imagination, while many others were caused by Frank Zappa himself. The output of the restored film on DVD gives me the opportunity - my first opportunity - to correct one or two of the wildest stories as to how the film came out and what really happened during the shooting. Contrary

what Frank and his biographers have suggested, when I was involved in the project there was no script or screenplay, only a pile of notes that contained scenes 'mostly autobiographical'. My work - according to what Frank said - was to make some sense (ntd film) all that stuff trying to build a script to produce any coherent film. It 's true that Frank had written a lot of music, good and less good, but it was not anticipated no orchestra, no solo, no chorus and no choreography. My further work would be to organize all this really in a very short time available. Usually to hire an orchestra in London - especially if you plan to hire for a week - you need to apply at least a year before ... I had only three weeks to find an orchestra of the highest level.

Moreover, though the film had an original idea due entirely to Frank, MGM / UA was not willing to invest so much in such a movie even if the estimated expenditure is around the figure of half a million dollars ( at the end of the cost was $ 679,000). In reality it was the MGM / UA to remove it from the official role of director to insist on custody of the material instead of "two hands safer" to be sure a product come out from their investment of some quality. Shortly before had happened me that I had been offered a contract with MGM (who themselves were later canceled) and it was aware of the then manager Herb Cohen Zappa. Knowing that in the past I have worked with Frank Cohen finally put together the pieces of the puzzle.

Still, it quickly became obvious that the scenes (just as he had thought Zappa) could not be filmed in any case with traditional media ... or better ... could also have been shot, but in a very long time and with great waste of economic resources (but we had neither time nor money and in reality) because of the visual effects provided. It was I who suggested the use of video tape, not Frank, since I was already experiencing with video effects can be obtained using the first color cameras only available to the BBC for three years. At first MGM / UA vetoed a similar idea since - according to their reasonable objection - the video tape ("What is a video tape?" I asked a production manager of MGM / UA once) could not objectively be shown in cinemas.

was a colleague of mine at Technicolor London who found the solution. The pre-war equipment of its Technicolor provided the process of development of the shooting carried out using three different negative (red, green and blue) placed in parallel, which was similar to the technology for the division colors used in the realization of the video. It then became possible to transfer "individually" color elements of shooting video in three different films to be developed then the normal procedure in parallel. And that's exactly what happened then, becoming the first film ever produced by the transfer film on video tape. At that point, MGM / UA was satisfied because at the end actually had a movie and not a video. Frank was happy because he got all the effects he wanted quickly and without much expense. But at the same time it had nothing to do with the solution of the problem ... and they are not too sure that we have even understood anything about it. However often I read that he was somehow considered a "pioneer" of the entire project, a mistake that was repeated in a documentary on the making of the film produced by VPRO Dutch television.

same film, was shot Zappa said that only one third of the script / screenplay. A phrase this without any sense. It also states that the director (or I) "left the production in the middle of work ... definitely something new for me as it had happened for several other actors and members of the band. Even more inaccurate. Wilfred Brambell, the famous British actor, he refused the part offered and Jeff Simmons was replaced by Martin Lickert in the role of Jeff on the sole ground that took the bold initiative of calling a Zappa "ego-maniac." All true, but statements of Zappa who claims that these events led to profound changes in the last minute the script is even more absurd.

Again according to the Dutch documentary, when I left, I threatened to cancel the original tapes ... which sounds strange since I was myself to complete the task of editing before handing them over to the MGM / UA. I also read that all the outtakes and the original video tapes were erased and re-sold to MGM / UA as tape used to recoup costs incurred excessive. Well, no company in the level of MGM / UA never accept second-hand tape - even if deleted - Why do not we judge them, however, reliable. Enensima a "dance" Zappa.

This sounds like if I tried to de-legitimize what has been spent Zappa's own. E 'but rather the opposite. It 's impossible not to have an oblique admiration for a film that would never have been realized had it not been for him and his strange talent. Then, as it may sound crazy it is true that the film offers a fairly reliable view of reality of "life on the road common to many rock-band era. It is also an incontrovertible fact that we are here at a distance of 40 years and there is still a substantial interest for this film.

Oh, by the way, even according to some Web sites devoted to movies, since "I was fired" 0ppure "I left the set (you choose the version you prefer) I would have burned the master tapes of the shot ... something very strange since they are the same master that I have before me as I write these notes.

And finally, as a result of any of the stories mentioned above (once you choose which one) Frank and I we have not spoken to her, which is even more strange given that two years after the events, when Zappa quoted in the same court the Royal Albert Hall for canceling a concert in which the music should have been done of 200 Motels, the process was summoned to the Royal Court of Justice as a witness expert in "Zappa". Whether it was the same hoe want to stop it remain somehow friends?

So 40 years later, I am proud to be somehow associated with filter, and proud to have known Frank was proud to be his friend, despite all the mud that (mainly), others have written about what "really" is happened ".

Tony Palmer

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ADRIAN BORLAND - 2 Meter sessies (89/95)

The story of Adrian Borland's one of those that remain suspended between resignation and regret, anger and frustration because it is carved into the emotions of the individual who has met his art (And desperation) in the fragile relationship that develops between the physical reality so distant from each other (artist and listener) but emotionally so extraordinarily capable of vibrating in unison.

Borland has committed suicide in April 1996 to spearhead the metallic embrace of the deadly drive metrepolitana London to Wimbledon Station. Killed by his physical illness, chronic depression from which she never lets you breathe ... and that has overwhelmed the human dimension, making desperate, however, appear throughout his poetry art.

Without disturbing other losers of the sad history of youth music (Drake and Curtis representing perfectly the trajectory, but deserve more attention and arguments) to the music of Adrian Borland after the beginning vigorous with his first bands such as The Outsiders and especially the unforgettable THE SOUND, has been gradually "dry", deprived of all the coloratura of clever arrangements that someone anltro could aggungere to become a whisper of experience told in the feeble attempt to be heard.

And these episodes of intimate story - only in the studio or in front of what looks like a handful of plays - that refer most of the music files contained on this disc, in this apocryphal anthology of memoirs of life.

a listener who enjoy moments of absolute intensity with poignant interpretations of some classic sound, but above all with the ease with which Borland said its new sad stories.

A memory to be preserved, in fact, suspended between regret and resignation, including anger and frustration ... perhaps as many more of our personal experience.

What Holds your hope together,
Make sure it's strong enough
When you reach the end of your tether
It's Because It Was not strong enough,
I was going to drown, Then I started swimming

I was going down,
Then I started winning
Winning - winning

When you're on the bottom
Crawl back to the top
Something pulls you up,
and a voice you can not stop, I was going
to drown,
Then I started swimming,
I was going down
Then I started winning
Winning - winning

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DAVID AXELROD - Earth rot (1970)

A brief is modern sung to the earth with suggestions evocative turn of the biblical Isaiah and Navajo legends. David Axelrod comes

in this third installment of manufacturing a soloist with extraordinary clarity that leads automatically to choose a very particular musical form, or to tell the story of the world to a mixed choir and a full modern orchestra, with the help of outstanding soloists ( Ernie Watts on sax, for example). The result is this

EARTH ROT, divided into two main stages (each divided into four movements) that provide the listener a great test of organizational ability of sound and musical language by the composer and arranger Axelrod.

A sort of symphony double suite in some ways closer to the then contemporary "pop works," veined by a thin unavoidable presence of oblique psychedelic flavor of an America that seeks to awaken from the torpor of the usual usual "entertainment" to try out some possible new avenue of expression.

A beautiful disc that deserves listening and playback.

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MATCHING MOLE - Little red record (1972)

Had enough the first chapter ...

The mole continues - in 1972 that human - to dig tunnels deeper and more tortuous. does not lose yet powerful and evocative rather increases almost exponentially malice and determination to become even more power (in the company of new keyboardist Dave McRAE).

following some "signs Board "provided by a manufacturer really short-sighted (Robert Fripp) and a consultant traveler without borders (Brian Eno), the mole digs tireless licking in multiple directions verbally with caustic irony painstaking concepts" social "issues such as:

policy

Like I know many of you I've Got My Doubts about
How Much To Contribute To The Already rich among us
How long can I pretend (that) music's more relevant Than
fighting for a socialist world
Someone watching us knows I'm bad
black blue black wall along palstic

For Small square faces
Where dead men can look through
Run along and see the prison bath
Throw a stone across an empty road
You and your friend will be found
outside the daydream
I've woken up to watch you sleep
(Gloria gloom)

e religione

What on earth are you doing God?
is this some sort of joke you're playing?
Is it 'cause we didn't pray?
Well I can't see the point of the words without the action
Are you just hot air breathing over us? and overall
is it fun watching us all?
Where's your son? we want him again
Next time you send your boy down here
Give him a wife and a sexy daughter - someone we can understand
Who's got some ideas we use really relate to
we've all read your rules - tried them.
Learned them in school then tried them
They're impossible rules you've made us look fools
Well done God but now please
don't hunt me down for heaven's sake!
You know that I'm only joking. Aren't I?
Pardon me - I'm very drunk but I know what I'm trying to say
And It's Nearly night time and we're still waiting alone
For something unknown Still waiting
So throw down a stone or something
Give us a sign for Christ's sake
(God song )

... and moving forward even more effectively the strictly musical language, much more "balanced" because it lacks the mellotron smagante Sinclair replaced by stabbing Fender Rhodes memo McRae good "companion" of audio distortions for the always excellent guitar Miller. Then when the 'enossificazione "(before its time) comes to flavor the sound all the result obtained is a must ("Gloria Gloom").

LITTLE RED RECORD is one of the last masterpieces of the English prog, culpably forgotten in seasons in which the strong political overtones expressed by the group was because of cultural stigma (title and cover, leave no doubt), but even after many years without a trace of light refined artistic progression towards the "new" ... or perhaps to "another new" from the boundary uncertain ... but fortunately free.

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MATCHING MOLE - Matching mole (1972)

A beautiful record that leaves an indelible mark, final.

how far he had gone already with respect to Robert Wyatt progressive extraordinary size of "his" Soft Machine probably was not quite obvious and clear until in 1972, collected three old friends in the area Canterburyana, not to press this first head-work of his new project called - so obviously sarcastic - Matching Mole (which sounds in English as the unlikely "that meets Mole", but read with a French accent "Soft Machine" clearly means "soft machine" ... you see the link).

The two poignant ballads of the first side of the disc (the eternal "O Caroline" and "Signed Curtain") describe with extraordinary evocative power limit, a new frontier where the song form can meet the new jazz electric and the new dark progressive sound, not to tell simple stories of love, but to offer snapshots of life lived by musicians in their narrow - sometimes claustrophobic - a creative space.

This is the first verse
The first verse
The first
First verse
And this is the chorus Or Perhaps

is a bridge Or just another part
Of the song that i am singing
Never mind
It Does not Hurt
And only means-That I
Lost faith in this song
'Cause it will not help me reach you ...
(Signed Curtain)

Then when the sound reaches the required level of new "progressive electricity", he unleashes the creative charge, all the power of conscious direction and wonderfully compact town, made so by the great interaction between the gently geometric guitar PHIL MILLER, the aggressive low BILL Mac CORMICK, the magmatic DAVE SINCLAIR keyboards and drumming of the same single WYATT.

That nagging sense of possible "neo snobs" turn the soft jazz of the first machine (see "Fourth") disappears in the dark and twisted atmosphere of hallucinated songs like "Part of the Dance" or "Instant Kitten" where the battery from the private brilliant and distinctive sound of the snare drum snare and guitars and keyboards sour abundant use of distortion and effects inquetude difficult to tell due to the sense of "smart" instead atmosphere "jazz" may - perhaps - to evoke.

The four musicians seem to moles by dirty hands of that land progressive jazz mixed with humus looming ... of the mass excavated to search for possible new galleries to come out and try to "meet" anyone at the time were willing to cross that boundary between the conceptual rock and electric jazz modern.

And in the end, exceeded that border the mole comes out ... but the pitiful story of the sidereal solitude of the creative research is all in the final desolate "Immediate Curtain" ... try to listen with ... "Eyes of the mole and everything will be absolutely clear!

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CARDIACS (un' osservazione)

difficult - even impossible - to try to describe the sound of this British band (formed in 1977) which is considered one of the three most interesting musical experiments that Britain has produced over the last thirty years .

Although not accessible to the masses, the "sound" of Cardiacs is something that is unique and extraordinarily innovative in its very essence and origin. The ingredients

in this explosive cocktail mixer are surely easy to find, but it is entirely the result of their unpredictable collision (certainly not because of "amalgam" we can talk) ... BANG sound often devastating to the unprepared listener.

I try to list them in any order and percentages are not defined as trying to find some steady is impossible. First

energy and punk attitude of the first animal, intelligence and complex polyrhythmic textures and multitimbral progressive bands as Gentle Giant and Frank Zappa as the more geometric, the irony of unknown groups such as Split Enz and other best-known such as Cure, Devo and Madness, the resigned melancholy of progressive darkest of Genesis and a certain "dark wave" (um ... it is now more clear underlying concept of true "hodgepodge sound"?)

Tim Smith, leader of the group once had to define "genre" of the band with an interesting and concise word: PRONK ... Progressive or Punk.

All this (only) apparent confusion is then dressed up with a visual approach clearly oriented towards a full trial, with a look to be taken into cosider in itself a work of art (from the initials of the English army uniforms torn post-conflict the pompous with band uniforms diplomatic representative velvet jacket and the last period combined with almost papal headgear style) is also characterized by an exaggerated alteration of physical features of the face with heavy makeup raids, dyes and various powders which make asymmetrical and monstrous mouths, eyes and anemic, unhealthy suffering and the faces of the protagonists.

while leaving aside the imaginative aspect of this combo and adventure and focus on the music listening experience in their territory is absolutely devastating, although in this case, either you love them the first time or you reject them immediately . I am part of the first group, and then I'm absolutely at ease in listening to any of their product, but I can understand that what released from their articles is not just for ... "Hard of hearing."

THE SEASIDE (published in 1984 but actually contains recordings made between 1980 and 1983) is a good entry level starting .... or ... "Let us harm NOW"
in a way that allows the inevitable skimming immediadamente "natural selection" of the listener.
The masterpieces of this album are certainly many ... "Jibber & Twitch," "Gina Lollobridgida", "It's a Lovely Day," "Ice Spot and a dot on a dog" and especially the unattainable

"RES"




and "To go off and things."



After four years out the incredible A LITTLE MAN AND A HOUSE AND THE WHOLE WORLD WINDOW honestly where the number of tracks reaches almost missed the entire contents of the album itself.
The sound is here enriched with extra horns, violins and voices with a feast at times moving.



Fortunately, (the fans) just a year after leaving another dense masterpiece, or ON LAND AND SEA IN THE where the focus of the composition the band is perfectly centered and "balanced" (?) with substantially greater strength and overall thickness (at the expense of sound chaotic aggression original).



In 1991 SONGS FOR SHIPS AND IRONS closes a first step "collective" group ... disc is a powerful and absolutely valid although it seems that the devastating power of live performances is too controlled and too stifled by the intelligent general manufacturing.



It is no coincidence that the parable of the first phase of Cardiacs will close then with an exceptional live document ... a video (and CD) recorded in June of 1990 (and released only after five years) to Salisbury in a former disused church (and how could it be otherwise?) converted to a cultural center and titled All That Glitters IS A MARES NEST .






HEAVEN BORN AND EVER BRIGHT released in 1991 was the pace and clearly brings a new dimension in the quartet a step backward in terms writing, but not in terms of energy since the dates of the period they become "pure adrenaline" sound often in a deafening roar continued.



and size remains the only live (and rare) opportunity for enthusiasts to compare with the evolution of new Cardiacs ... at least until 1995, when the epic double SING TO GOD sees the light.

SING TO GOD is a disc that pushes on the accelerator even more of the physical power, but effectively recovers the clever writing (musical and literary) of the previous season giving the world the music (now sadly) last masterpiece ... so angry and edgy as it was extraordinarily impressive. Four years after leaving

GUNS that - though in the wake of the above - it adds nothing to the history of the group (perhaps a hit single ... but always in the narrow circle of faithful and loyal loyal fans).

A bitter fate awaits the group, however, and especially its mind inspiring when in 2008 (the eve of the publication of new material and a substantial return to live) while attending a concert of My Bloody Valentine remains TIM SMITH victim of cardiac arrest (usually ironic since the group was called just before CARDIAC ARREST abbreviated Cardiacs) and actually dies for a few seconds. Is brought to life thanks to medical technology, but his condition are (and unfortunately still remain) critical, with all functions and perceptual motor terribly compromised.

The group and the whole entourage is closing ranks around the family of Tim Smith and suspend any and all activities, denying even the slightest indiscretion on the health of the singer and guitarist, and also creating some discomfort and embarrassment to all fans of band.

Only in June 2009, the Alphabet Business Concern (historic label / brand of) issue a press release confirming the disconsolate precariousness of the situation and to close any possible realistic shot the group's musical adventure.

few days ago, the ABC has ever issued a new press release is being signaled its intention to publish what was "suspended" in recent months but did not provide further information.



However human affairs should be the protagonist, is a strong testimony to the extraordinary step of this artistic spirit thanks to the product over the years (currently hard to find, but probably destined to reappear in some so in the near future).








... a small incursion in the past the Italian Cardiacs