Weekly Worship #7

Kate Bush – Never For EverNever For Ever was always the most magical, sympathetic, and vivid work of Kate Bush’s immaculate career. Like a reborn Maya Deren for the eighties, she is an artist (yes, artist in the truest sense) of limitless methods of expression. She has never been restrained by intrusive systems of process or the caked-on societal judgments which have fascistically spawned Dancing With The Stars… She vibrantly represents a time when a solo female performer could create relevant progressive music in every respect without pandering to personality marionettes and the paraphilia of the masses. Such artists in recent memory emulating this are the likes of Joanna Newsom and Tori Amos, women who are relegated to the adult and fucking contemporary corners of Wal Mart… This is pop, the bones and flesh of comfort, sinew of enjoyable tune. Five years since her profile as Dave Gilmour’s found prodigy, and a further two recorded albums, Never For Ever ranges from fantasies and yarns about the greater implications of life, sex, and relationships. It is the work of a woman, notably one who was 21 at the time of recording. It forever is skirting the line dreamily between the whims of children and a grandmother’s porch. “Army Dreamers” dances. “All We Ever Look For” is a mythical soundscape rattling in the ears of a young Neil Gaiman. “Breathing” is as sensual as it is heartbreaking. “Egypt” has a scream that devastates any utilization of such expression since. What makes Never For Ever fundamentally special, is its position as door to a further 25 years of musical perfection.

– Alec

Fire on Fire - Fire on FireProper bluegrass music can be an amazing thing to listen to.  Proper “blackgrass” can be entertainingly haunting.  If Neil Young were to have a bluegrass band that occasionally sang murder ballads, you would have this truly infectious collection of tracks.   Fire on Fire is especially creepy at times while retaining its sense of salt-of-the-earth endearment.  This spirit is consistently conveyed when listening to this five-track self-titled EP., an experience which absolutely must begin with its fourth track, “Amnesia”.  It is a song with a spirited sneaking sense of darkness and foreboding that crawls about the air like something out of a T.S. Eliot poem.

Fire on Fire boasts guitars of both the acoustic, and steel variety, banjo, stand-up bass, modest percussion, and an infectious-sounding accordion that sings like a dark angel that just wants to have some fun.  Everyone in this band plays an instrument.  Verses in the majority of the songs are sung by one of the band’s male members, or their sole female member Colleen Kinsella, while the band collective sings out the choruses in a manner that almost sounds off-key, but is not, still sounding harmonious in the process.  Kinsella is of especial interest, for she sings like a siren of the sea that has seen her fair share of action in her time.  And whether she plays her accordion, or sings her vocals, she not only makes one feel as if they’re being lured into a dangerous area of thought, but also like she’s passing on her people’s collection of wisdom for the sake of it’s own survival.  Her tenderness and warmth still come across in this EP and it’s subsequent LP The OrchardFire on Fire only begins to convey the darkly compelling music that this band is exquisitely capable of producing, and the murky undertone of it’s sound and messages infects the mind in such a deeply penetrating way that one cannot help but give the band’s music a serious listen.

Those interested in investigating the band further might want look into watching the youtube video of their backyard performance of “Amnesia” and go from there:

Trap Them - Sleepwell DeconstructorFirst impressions are said to be incredibly important; how you are perceived at a job interview, how you look for that big first date, and how polite you act when meeting the inlaws for the first time, are all perfect examples.  Not giving a shit about any of that, but still making one of the best first impressions ever (on me at least) is Trap Them, and their debut full-length Sleepwell Deconstructor.  Jesus Christ.  Although a band impossible to categorize (labels for the band include crust punk, grindcore, hardcore, death metal, and beyond), a relative description can be described as the ugly result of a threeway between Entombed, Tragedy, and Black Flag.

And although the band wear their influences on their sleeve (Emtombed’s buzzsaw guitar tone, Tragedy’s intensity, and Black Flag’s attitude), they are more musically competent than any of those aforementioned bands (haters are welcomed); Ryan McKenney‘s tortured vocals and Brian Izzi‘s guitar shredding ability (dude has serious chops) are proof enough of how dangerous this band really is.

Sleepwell Deconstructor is one of the best extreme music releases to ever be released, along with its successor, Seizures in Barren Praise.  If you like metal, punk, or grindcore, and have not listened to Trap Them, please do so.  Now.  First impressions are indeed important, and Trap Them know this.

– Logan

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