There Is A Fifth Dimension Beyond That Which Is Known To Man. It Is A Dimension As Vast As Space And As Timeless As Infinity. It Is The Middle Ground Between Light And Shadow, Between Science And Superstition, And It Lies Between The Pit Of Man's Fears And The Summit Of His Knowledge. This Is The Dimension Of Imagination. It Is An Area Which We Call “THEMES FROM GREAT CITIES”. Welcome To “THE TWILIGHT ZONE”. THEMES FROM GREAT CITIES Has Closed. All Links Have Been Suspended By MEGA.
Tuesday 27 February 2018
Sunday 25 February 2018
Thursday 22 February 2018
Rest In Peace
“Rest In Peace” is a faithful recording of Bauhaus' last
concert, played at the Hammersmith Palais in London on July 5, 1983, one week
prior to the official release of Burning From The Inside and fifteen years
before all four members would play together again. The show itself, although
captured on tape, remained in the vaults for almost a decade, before it was
finally released on two CDs in 1992; and the appropriate title “Rest In Peace”
actually reproduces the words of David J, spoken at the very end of the show,
once the final echoes of ʽBela Lugosiʼ have died down: most of the fans
present, unaware of the band's suicidal plans, never figured out what that
properly meant until it was too late. The large delay between recording and
release is understandable: first, it seemed pointless at the time to put out
two live albums in such a brief time interval, and second, the sound quality is
highly questionable almost as if they were taping this as a personal memento
rather than a potential commercial product or even historical document. Studio
or live, Bauhaus is one of those bands that draws its power from atmosphere and
sonic nuances rather than particular chord changes, so listening to a
poor-sound-quality Bauhaus album falls in the same category as watching a
black-and-white version of Snow White. For those who still have all the hits
ringing and reverberating in their ears, subconscious will do the trick and
restore the missing colours, but God forbid you ever fall upon “Rest In Peace”
as your introduction to the band.
Saturday 17 February 2018
Aisha
Another quick change, when posting 7” and 12” singles and
EP’s you’ll be left to your own devices as to the style, content, or special
features involved with that release. A significant number have been scoured
from the interweb as I can’t be arsed at the moment to rip them myself so don’t
complain if there’s noise, skips or pops…that’s the way it is until another
version is found.
Finally, this is a fuckin’ (no G) awesome song from Death
In Vegas featuring The Incredible Mr Iggy Pop on vocals.
Saturday 3 February 2018
Spleen And Ideal
With this amazing album, Dead Can Dance fully took the
plunge into the heady mix of musical traditions that would come to define its
sound and style for the remainder of its career. The straightforward goth
affectations are exchanged for a sonic palette and range of imagination.
Calling it "haunting" and "atmospheric" barely scratches
even the initial surface of the album's power. The common identification of the
duo with a consciously medieval European sound starts here -- quite understandable,
when one considers the mystic titles of songs, references to Latin, choirs, and
other touches that make the album sound like it was recorded in an immense
cathedral. Opening number "De Profundis" sets this mood so
thoroughly, with bells and drones and more supporting another bravura
performance from Gerrard, while the immediately following "Ascension"
builds on this initial effort with further style and grace. It's limiting to
think of either album or band strictly in terms of simple revivalism of old
music. While the elements being drawn on are certainly of an older range, the
results owe as much to the technologies of arrangement and production and a
consciously cinematic feeling as much as they do antique pasts. Similarly, the
feeling is not simply European but worldwide, with Gerrard's glossolalia
intentionally reaching beyond easy understanding. Perry's vocal efforts are no
less compelling, his own high point occurring with the vast-sounding
"Enigma of the Absolute," as a steady, massive drum pound echoes
behind a similarly treated guitar/harpsichord combination, tinged with a
striking string arrangement. The overall feeling is of an ancient religious
service suddenly brought to life in a truly modern way, with stunning results.
Thursday 1 February 2018
This Is Madness
If not quite as remarkable as the band's gripping
self-titled debut, What's THIS For...! showed that Killing Joke could maintain
their frenetic, doom-wracked intensity while experimenting with their already
strongly established style. Jaz Coleman's vocals go through even more
treatments and tweaks than before, chorus shout-alongs swathed in deep echoes,
hidden behind Geordie Walker's punishing riffs and the steroid-driven rhythm
section. Big Paul Ferguson in particular lays down some absolutely skull-crushing
drum slams and Youth is no less intense at most parts, and often they rather
than Coleman or Geordie dictate the song, as the lengthy death-groove of
"Madness" makes perfectly clear. Elsewhere Geordie shows a calmer
(comparatively) side, soloing on songs like "Butcher" making common
cause with the guitar work of Bernard Sumner in Joy Division days -- indeed,
the song as a whole could almost be a tribute to that band, and one of the
better ones at that. The playing around with supposed genre boundaries doesn't
hurt either -- the beatbox/synth loop pulse of "Follow the Leaders,"
crossed with the more brusque blasts from the core band, suggests its eventual
path in later years, while "Tension" lets the slithering funk heart
of the band burst forth even more strongly. (The drums and opening riffs
themselves almost sound like a parody of the Knack's "My Sharona.")
"Unspeakable" is arguably the hidden highlight of the album,
Coleman's heavily flanged, distorted singing sliding down a slowly descending
chord pattern that suggests an early glam band gone martial and paranoid,
Ferguson all over his set like four people at once. The debts of later bands
toward Killing Joke are even clearer than ever, whether it's the fact a group
named themselves after the opening track, "The Fall of Because," or
that late-'80s Ministry so effectively cloned the whole style on songs like
"Burning Inside."
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