Electrifying extracts from a Sunday service in the last snake-handling church in the Appalachians: the trance-like rhythms of a demented kind of rockabilly punk, with duelling guitars, concussive trap drums, and possessed, howling vocals.
“I’d sworn to stay far away from the snakes at the service,” recalls the recording engineer, “but instead they were waved in my face as they coiled in the preachers’ hands, and I crouched down at the foot of the altar tending to the equipment. The pastor soon was bitten and blood splattered, pooling on the floor. The female parishioners hurriedly came to wipe up the mess, and it instantly became clear just what the rolls of paper towels stacked on the pulpit had been for. You can actually hear this moment transpire towards the end of the track ‘Don’t Worry It’s Just a Snakebite (What Has Happened to This Generation?)’. The congregation leapt to its feet and a mini mosh-pit formed. The tag-team preachers huffed handkerchiefs soaked in strychnine, as they circled like aggro frontmen and an elderly worshipper held the flame of a candle to her throat, closing her eyes and swaying. The church PA blew out from the screams as a bonnet-wearing senior whacked away at a trap kit that dwarfed her. It was the most metal thing I’d ever seen, rendering Slayer mere kids play.”
Superb fourth album, bare but sparkling, steeped in her vaudevillian take on Americana, rawly confessional and beautifully voiced as ever — a mid-thirties heartful of fierce discontent.
Back in business, with his best outing for a while, this is class.
Fine songwriting, steeped in its own version of Americana (Don Williams, late Elvis), and richly produced.
Following Alan Lomax, Daptone placed a small local ad, asking singers to show at Mt Marian Church a certain Saturday. This marvellous record of acappella gospel is the result, including everyone who showed up.
Politically indignant, sorely poignant, musically prodigal — Tex Mex through cartoon-Chinese reggae through Brecht ‘n Weil — elegy for local LA neighbourhoods like Chavez Ravine, swept away by 1950s capital.
Lovely. Classical songs by such exemplars as Schubert and Schumann, re-imagined with heart and soul as bare, doleful folk. Just voice and electric guitar.
Terrific — lit-up, reaching and odd — Josephine playing harp, guitar and piano (and singing), with Alex Nielson on drums and Victor Herrero, lead guitar.
Patti Smithed. ‘Lyrically, stylistically and musically, this is a fearless, soon to be classic post-punk rock and roll record that delivers the goods from start to finish.’