Month: November 2002

After the release of their come-back album in 2002, ATTAK, industrial pioneers KMFDM set out on a highly anticipated and successful US tour. Approximately 30,000 loyal fans turned out to capacity filled venues as KMFDM invaded city after city.  After 31 shows in 34 days, founding member Sascha Konietzko had enough material recorded to put together a comprehensive live record – their first non-bootleg live album ever.  What makes this live record monumental for the influential and innovative group was Continue Reading

Whilst the rest of the not entirely knowledgeable world either lauds or laments this quiet Aylesbury boy’s vigorous likeness to Messrs Buckley and Yorke, Crud would ever so quietly like to point out that Martin Grech has managed to produce a debut album of such jaw dropping quality that you could drive a bus right down it without even the threat of it touching the sides and dislodging your fillings. It’s also as bravely original as perhaps any of the references it Continue Reading

Never mind the music, this album’s artwork is a joy in itself: kitsched up to the nines, as cheesy as Stilton, and a veritable dripping rainbow of space-era colours and disco font-types. It’s big; it’s pink and characteristically – it’s funkadelic. Although straight as a di’ funk been muted in recent years by the growing chart presence of urban, house and hip-hop, it may be fair to say it’s making a comeback. And whilst that doesn’t mean that happy go Continue Reading

With the near incomprehensible afterglow of the thirty-something soundtrack to an unremarkable life just about fading into the warm glow of just another comfortable evening in by the tele, Gray follows up ‘White Ladder’ with the equally meek and mellow ‘A New Day At Midnight’ – an album not to be confused with the similarly titled: ‘A New Album At Last’ by Ready By May. Lyrically and emotionally fuelled by the death of Gray’s father and the birth of his Continue Reading

It’s easy to forget that the Campers’ first album emerged sometime between the birth of R.E.M. and the demise of traditional rock bands like Van Halen. This was a time when although there were no behavioural rules to break in rock n roll, there were still plenty of stylistic ones. And with the growing popularity in upbeat cynicism and back to basics approaches to playing (perhaps as a direct counterpart to the rise of electronica) along came bands like Camper Continue Reading

Little Axe may not be a household name, but themusician/performer/producer has been a well respected and significant artist for the past 30 years.  His alias was Skip McDonald, a blues performer whose list of credits includes work on some of rap music’s most influential records.  McDonald, besides being a member of the Disco inspired Wood, Brass & Steal in the 70’s and the heavy Industrial group Tackhead in the late 80’s and early 90’s, has been called upon by many Continue Reading

The press release reads well enough: lush, elegant refined and intricate. Not words you could deny – but neither are they the only words you could use: bumptious, overbearing and conceited might perform equally as well. The Australian neo-psychedelic, The Church (they of late 1980’s hit, ‘Under the Milky Way’) whilst melodic and deliciously moody enough to draw comparison to anyone from U2, INXS and The Doors, and for all their artful and wizened experience fail to light my fire Continue Reading

I’ll dispense with all cod Post-Modernist shenanigans – the chameleon-like inferences and the half-arsed references to popular culture that Beck usually stirs up and instead play it simple. You bought ‘Mutations’? You’re halfway there. Building on (or narrowing the field still further – depending on which way you look at it) the back to the farm folk weariness of Beck’s Pre-Vulture album, Sea-Change tips the scales again in favour of the ponderous, sepia toned glory of bluegrass psychedelics; as far Continue Reading