tinhuvielartanis: (B Interview)

Another Throwback Thursday confection for all my homies.


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Some time ago, we were pleasantly surprised to find ourselves in contact with Barry Andrews via the Internet. He further astonished us by agreeing to an Interview! So, with an abundance of fan input, we put together a "small collection" of the most pertinent questions and fairly alarmed him with a Lengthy Interrogation. Undaunted, Mr. Andrews expressed himself as he most usually does: with eloquence and not a small amount of wit.


Shriek Questions



The Band


  • How did you meet Dave Allen, Carl Marsh, and Martyn Barker? How did the band come together?
    Errr, met Dave thru Sara Lee –(Bassist w. League of Gentlemen –Leeds connection) He rang me on leaving Go4, Carl wrote him a letter (ever the literary one) and I brought Mart in when we needed a proper drummer –I knew him from Clare Hirst, the sax –player who I was going out with and who played in The Emotional Spies w. Mart. ( I think that’s right ??)


  • Did Shriekback try to create an image with your music and visuals? If so, were you successful?
    Sure we tried, I think we had our moments.


  • Were you surprised with the positive response to last year’s album, "Naked Apes and Pond Life"?
    Very much so. I’d disowned the whole project and was off bashing bits of metal (rather than other band members). Had it not been for Lu and Martyn it would never have come out. The fact that it was sonically the least user-friendly of all our work made it doubly suprising that it was getting good reviews (the old ‘fuck em if they can’t take a joke’ ethic again I guess)


  • Is that what got you to thinking of the possibility of a new Shriekback project sometime in the future? There’s rumour that both Carl and Dave are involved with the new Shriek project. Would you care to comment?
    Dave was in London with a big expense account to abuse, so the Shrieks (class of 85) duly obliged. It was a heady mixture of lurid cocktails, free money and that ineluctable chemistry of 4 old pervs with something still to prove. It looks very likely that we will do Another One. With D & C.


  • What are the Seven Pillars of Shriekback?
    They were a series of principles by which we intended to focus our, at the time, dissipated and addled energies in order to create a rock band.  Have totally forgotten what they were, though..


  • Tell us about the Shriek logo. Whose idea was it and does it have a particular meaning. If so, what?
    It was Al Macdowell’s design –our sympatico Art Person (last seen being head of production design on the Fight Club film –howabouthat?).   I think it was to do with cyclical energy (otherwise known as going round in circles –hmm, be careful what you visualise).


  • Do you still have contact with Sarah and Wendy? What are they doing these days?
    Oh yes, very much so. Seeing them this Friday, actually. Wendy’s a homeopathic practitioner (with 2 kids) about to Move to The Country. And Sarah manages recording engineers and producers.


  • Are you enthusiastic about the resurgence of Shriekback’s popularity?
    Now there’s a leading question, with a certain ambiguity. I certainly like the idea of making some more music both with, and without, the Chaps. A Shriek-Renaissance would be handy. Is it happening? Maybe. You tell me… I don’t get out much.

Shriek Works


  • Why do so many Shriek songs resonate with a subtle (and sometimes not-so-subtle) spiritual energy, both sacred and profane?
    Aww, get outta here. Do they? Cheers. Nice one.  Like Jah Wobble (whom God Preserve) said: 'You either make music to see God, or to make money, and if it’s making money then you end up like a million other people all trying to get lucky with a beat.' That’s not exactly relevant really though, is it? I love the idea of touching people in That Place. That’s the main idea, of course.


  • Looking back on the albums the Shrieks have made, do you have a personal favourite and, if so, why? Do you have any favourite Shriekback songs? Any you dislike?
    Care, because we really had no idea what we were doing but we couldn’t help doing it. It was discovering a place where we / I could legitimately and comfortably express ourselves. Finding a Voice, all that.. The end of a hard, messy road of adolescent angst and it was Going To Be Alright after all. Still does sound like that to me, as it goes.

SONGS:


  • Evaporation because it was the first time I got the underwater, Lee Perry, ‘it’s dark but don’t be afraid’ thing to happen. Nice ‘tune’ (meaning melody).

  • Black Light Trap because it’s so ..Large. Lots going on. Architectural vibe. Big creaky Gormenghast thing with disco. Sounds like Shriekback and absolutely noone else.

  • This Big Hush - A big scary fantastic Love affair in the snows of 85 and everything impossibly vivid. Well that’s what I was doing. Add your own recollections, of course.

DISLIKED:


  • Get Down Tonight (what were we thinking of? oh yeah, making money , that’s right)

  • Mercy Dash the single (the intoxication of trying to sound like someone else - don’t do it, kids, especially not with machines that you don’t understand.)  Still, that’s it, not bad over 8 albums, is it?


  • What songs were made into videos?
    Nemesis, Get Down Tonight, Lined Up...


  • Any hope of a video compilation? Speaking of videos, who conceptualised the ‘Nemesis’ video?
    Probably not, who could possibly have the ‘masters’? and they were all dodgy apart from Nemesis.  I did all the ‘conceptualising’, Al McDowell did the visualising, Tony VandenEnde (the ostensible director) made it happen.

Projects


  • There is word of a new compilation album of obscure and unreleased material coming out sometime in March entitled "Aberrations 81-4". In what countries will this be available? Is there anything further you would care to offer to your listeners regarding this album?
    The territories are down to who wants it –where we can get licensing deals. The States will be covered by Nail Records, we think…  It will be available from Mauve Records mail order if all else fails.  It’s an interesting car-boot sale of weirdness, 9 never before released songs also remixes, live bits etc. Copious sleeve-notes by Marsh and I. We’re going to include ‘Naked Apes’ in the package, so it’s cracking good value for anyone who never got the latter.


  • Will we ever see the BBC recordings released?
    Hope so, we’re looking into the Legalities (not the name of a soul band).


  • Michael Mann used the Shrieks’ music extensively in ‘Miami Vice’ and in the movie ‘Manhunter’. Did you ever meet him and do you foresee any future collaborations?
    No and No. Shame: I especially liked it when they were chasing the Miami coke-baron round the harbour in speed-boats, white 80’s trousers flapping and Shrieks are singing some weirdshit in Sanskrit (Running on the Rocks). Obviously made sense to Mike.

Personal Questions

Music


  • Tell us about your Illuminati project.
    Doomed doomed, emotionally overwrought Guitar driven rock, Humungous female vocal, ravishing melodies. Me trying to be ‘non-ironic’ and ‘not weird’. Don’t fight your nature, that’s what I learnt. Still have the album in the can. Maybe release it someday.


  • What music do you listen to? What do you think of today’s pop music scene?

bazzachat2015.jpgANDREWS PLAYLIST 2001

  1. Beethoven ‘Creatures of Prometheus’

  2. Planxty (Irish trad) ‘The Woman I loved so well’ ‘After the Break’

  3. Nick Cave ‘The Boatman’s Song’ ‘Murder Ballads’

  4. Arvo Part 'Cantus for Benjamin Britten' 'Festina Lente'

  5. John Cooper Clarke ‘Snap Crackle and Bop’

  6. Slade ‘Greatest Hits’

  7. Underworld ‘Everything Everything’

  8. Mouse on Mars ‘niun niggung’


  • Will we ever see a collection of your solo work?
    Dunno, it’s nearly all only on cassette so it would be a hissy kind of a thang.


  • Will we see anymore from The Caretakers, the Refugees, or some other project yet to come to light?
    Caretakers are Bruce Mcrae and Carlo Asciutti, both of whom are complicated men to get hold of. Bruce is in Canada and Carlo’s in East Dulwich – which might as well be Canada. Come on guys, the World needs you… sigh, what can you do with ‘em?


  • What prompted the song ‘Win a Night out with a Well-Known Paranoiac’?
    The Adolescent angst of which I spoke and my snotty scruffy persona, (at 22-23) & resistance to authority which wound up all the right people sufficiently to support a – that’s right - paranoid world view. I liked the idea of a spoken song like Patti Smith’s 'Piss Factory'. It’s funnier though-especially the bit about the 'Underwater Toilet.'

History


  • When did you develop an interest in music?
    The parent’s collection of 78’s on the wind-up record player (fuck-I’m old) me alone in the attic playing ‘Shifting Whispering Sands’ and 'Indian Love call'. The rest is history.


  • Most of what we’ve heard about your departure from XTC has been from sources in relation to that band. In fact, in the liner notes of the recent XTC box set, Andy Partridge laments your leaving the band. To balance things out, would you like to let your side be heard?
    Well, as I’ve said probably more times than I should – I always regarded XTC as a stepping stone –we came from the the same town, were all working class pissheads and were all talented, it was never really a meeting of minds. Thus, as soon as we had some breathing space from touring and getting a deal it was obvious that this combination had run it’s course. You don’t need a degree in Workplace Dynamics to see that both an Andrews and a Partridge is one egomaniac only-child too many. For me that was – as they say in Swindon – ‘it and all about it’. It was great fun for a while though. And loads of shagging.


  • Many articles and XTC book passages indicate that you’ve seemingly resented the intellectual labels attributed to you and, later, Shriekback. Have your feelings changed on this issue or do you still wish to stress the physical aspect of your music?
    I don’t know why you say this. Anyone who calls me an intellectual will have me purring on the floor and buying them drinks.

    Oh, you probably mean that ‘what do your lyrics mean?’ type thing.

    It’s really that what I’ve always tried to do with music – specifically SONGS- which are a brilliant art-form and still nowhere near exhausted - is create new places - funny little aquariums where the rules of the outside world no longer apply. Bear in mind that this is not sheet music it’s recorded music so all sorts of subtleties and inflections are possible – the ambient sound in the room, the slapback echo all have different things to say (ambient sound says ‘fly on the wall documentary,’ slap-back can mean Elvis or, add a few repeats and it’s Nuremberg). What I mean is that Songs are perceived sonically, primarily - then we add the strata of meaning. But, as with all good art-forms the most fun is in the grey areas. Where the Delicious Frissons of Ambiguity live.

    So when you can’t quite hear what Strummer’s singing on Janie Jones, you hallucinate your own visions into the gap between what you can understand and what you can’t. As one does as a child listening to the grown ups talk. It’s an interesting place to be. When I finally saw those lyrics written down the song was over for me. Not that they were bad lyrics, just that they were only what they were, no longer all the things they might possibly be.

    So the lyrics are one part of this tense interdependent little biosphere. Another example: Marvin Gaye's ‘Grapevine’ –it’s dark, the bass and congas sound jungly (like a Rousseau jungle in purples) the song’s about jealousy - there are loads of different ways of saying ‘people are saying that you’re seeing someone else’ but he picks vines – big strangly creepy things with round sweet purple grapes on them and the jungly groove and the sweet sad voice and the minor key all support each other – organically, you’d have to say - the medium and the message all beautifully shmershed together. The lyrics as written don’t tell you any of this, like the sheet music doesn’t tell you how sexy that bass line is. The experience is to be had in front of a speaker and that’s it. SO - even if you use words like ‘parthenogenesis’ and ‘historesis’ you’re still playing the same game. I used ‘parthenogenesis’ mainly because it sounded good and almost rhymed with Nemesis. The meaning was secondary (but relevant). So if you were to apply the ‘Grapevine’ treatment to that chorus - my intention was to get a laugh - or at least an internal smirk - from the big-almost football crowd-chorus, the long ungainly scientific word, the huge daft power chords, and everything within this barmy context of ‘let’s examine the nature of morality’ – like some philosophy professor who went to Vietnam and listened to a lot of Gary Glitter. Still makes me laugh.

    Another way to see it is like you ‘get’ a joke, which, if you want, you can explain, and you can even analyse why it’s funny. But the point of the joke is really only in the ‘getting’ of it. If you don’t experience that then all the rest is pointless. Thus, when people make a big deal of 'explaining the lyrics', it very often (experience has shown) means that they never really ‘got’ the idea of the song. It’s turned into some gnarly little Eng. Lit puzzle.

    Blimey, value-for-money-question.

The Individual


  • We know that you are a consummate musician, that you’ve dabbled in filmmaking, and that you’re also an artist, having studied 3-D design. It would seem that you’re quite the Renaissance man. Is that a fair description? How would you describe yourself?
    Naah, the trouble with doing lots of things is that you meet lots of people who only do one thing and are therefore extremely good at them. Bad comparisons are inevitable. ‘Jack of all trades’ says it . Still, it seems to be my nature to apply a similar aesthetic to lots of different things and this is as close to a mission statement as I can get: ‘try everything, make up as many things as possible; remember to take notes.’


  • There have also been many comments from folks who’ve met you that you exude an otherworldly air. Would you care to address that?
    I have been known to drift, somewhat. Oh yes..


  • We’ve heard many stories from fans whom have attended Shriek concerts and, afterwards, were thrilled to find you dancing, drinking, and generally making merry with them after the show. Why are you so prone to mingle with the fans when artists, including other members of the band, don’t generally engage in such activity?
    Human fucking Beings, man. What else is there?


  • In what other projects are you currently involved?
    The ongoing exegesis of Parc Stic (a metaphysical theme park) and amassing material for a solo album. And keeping an eye on Finn (the lad) who’s starting his own musical career (which is spooky).


  • Being the primary lyricist for Shriekback, it’s obvious you have a gift with words. Do you write prose as well or have you considered doing so?
    Saving that for when I’m Really old and can’t do anything else.


  • Who or what would you say is your greatest influence?
    Alex Harvey, Lee Perry, Patti Smith, the Constructed World (not a band either).


  • The dance that you and the Sids perform to ‘The Reptiles and I’ in the ‘Jungle of the Senses’ concert video exhibits a variety of Kung Fu movements. That, combined with the fact that you’ve been spotted many times wearing Tabi, lead us to ask if you’re a Martial Artist as well. If so, what form or forms have you studied?
    Mark Raudva – who plays on ‘Naked Apes’ - is a qualified Tai Chi teacher and would piss himself if he read that. I studied with him for about six months and gave up. I did Aikido for about three weeks – way too upsetting.


  • What do you think of the world today?
    Oh the easy ones at the end eh?

Final Thoughts


  • What would you like see happen at Shriekback.com?
    The hub of a new Renaissance, a centre for Excellence, a source of psychic nourishment and high quality gas-masks.


  • Is there anything you’d like to say to the fans of both you and Shriekback?
    ‘Hold fast to that which gives the deepest jollies.’

7 February, 2001

Help the Shrieks give us all more memories.  Visit their official website to sign up for the newsletter, and don't forget to pick up a copy of their new album, Without Real String or Fish!

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The band have posted an hour-long interview, answering fans' questions. Take a gander, and don't forget to pick up a copy of Without Real String or Fish.

tinhuvielartanis: (RepLogo)

~Through Us the Way into the Sacred City~






~Through Us the Way into Nights of Heat and Weirdness~





~Through Us the Way to the Illuminated Ones~
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~Sheer enthusiasm made Us~





~And Passion and Poems and Sex~






~Before Us nothing but Excellence can endure~





~For We are the Gateway to Excellence, Deviance, and Delight~
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~ABANDON ALL MEDIOCRITY, YE WHO ENTER here!~



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Shriekback
The World’s Second Best Pop Group with a Bald Singer
By Dave Segal (‘Creem’ June 1987)

“…Shriekback have opted to make a different kind of music – one which exalts human frailty and the harmonious mess of nature over the simplistic reductions of our crude computers.” – liner notes to Big Night Music. This thing called Shriekback is a strange beast. Trying to describe them gives me one hell of a headache. The new Shriekback music (it’s called Big Night Music but it could just as easily be called Small Morning Music) screws with rock critics’ rote jargon. If you wanted to be crass, you could label ‘em an intellectual funk band with gospel/cocktail lounge pretensions. Unlike most Anglo-Caucasians who funk around with black styles of music, Shriekback throw a skewered light on what, in pedestrian hands, can be a brain-numbing genre. You can attribute Shriekback’s uniqueness (no lie) to keyboardist/singer/lyricist Barry Andrews.

Andrews has full control of Shriekback now that Carl Marsh has departed with his Fairlights and drum computers for solo obscurity. Pared down to a trio (Dave Allen, he of the Zeus-like bass playing on Gang of Four’s first two LPs, and Martyn Barker on percussion toys), Shriekback have for the most part ditched Marsh’s vision of a “harsh disco reality” and gone for a rococo/eclectic sonic gumbo that’s as slippery to grasp as Eno’s skull in a bathtub. There’s a slickness to the Andrews/Gavin MacKillop production on Big Night Music, but don’t let that trouble yer noggin. It’s a good kind of slickness; Andrews has a Byrne-Enoesque aesthetic that enables him to craft exotic pop of excessive fussiness (‘Black Light Trap,’ ‘Running on the Rocks,’ ‘Sticky Jazz’) or of severe sparseness (everything else). You could call this The Soft Album without too much controversy.

Oddly, some of the songs sound better with the volume turned down. Perhaps because he can’t sing very well, Andrews often resorts to an intimate whispery delivery. Very nice and relaxing, this voice. And he’s a clever gump, too. It’s not by accident that wispy, gentle toons sit cheek by jowl with swollen brassy epics; and then out of nowhere will sprout a pretension-deflater like ‘Pretty Little Things,’ which sounds like Prince on helium and dexies. I tell ya, listening to Big Night Music is more fun than working in an abattoir on a humid day.

Andrews has the serene monkish demeanor of the Keith Carradine character in the Kung Fu TV show. Before Shriekback, he was in XTC from ’77 to ’79, and he also played with Robert Fripp’s League of Gentlemen in 1980. He’s a peace-lovin’, broad-minded intellectual dabbler wearing a black floppy hat and a long black coat. We had a civilized chat amid the delicately bubbling jacuzzi water inside a swanky Detroit hotel. Andrews proved to be more stimulating than a week’s worth of The Dick Cavett Show.

CREEM: Why did Carl Marsh leave Shriekback?
BARRY ANDREWS: He wanted to do solo things, really. Carl’s quite a self-contained sort of bloke I don’t think he ever found it easy working with other people. The band was becoming a two-headed beast that was tearing itself in half. Oil and Gold (released in ’85) suffered from that. A bit of schizophrenia between the Carl direction and my direction. I like things when they’re soft and vulnerable and maybe even a bit maudlin. I like a certain amount of crying into my Guinness.

Did Marsh’s departure cause a change in your sound?
Definitely, there was a sort of opening of the sluices. When Carl left, I felt like, firstly, I’ve got this huge canvas to work with on the whole record. It’s all gonna be my words, my tunes. So instead of it being this common denominator area we could inhabit with Carl, what the three of us could agree on was actually a bigger area because there were fewer things to filter out. I wanted to try doing something very simple and direct and emotional, like ‘The Cradle Song,’ Just trying out every option and seeing what’s possible. There’s a certain amount of experimentation that doesn’t work, but a whole lot that does. Normally we wouldn’t have even dared to try. Big Night Music is diverse. I don’t think anyone could complain about it being too homogenous. I think there is a coherence to it that we’ve never achieved on a record before, with the possible exception of Care (released in ’82)

Does everyone have creative input into the words and music?
I’m the sole lyricist. On the new album, Dave confined himself to bass playing, Martyn did a whole lot more than he’s ever done. He plays all the drums and does lots of percussion. So he’s actually responsible for quite a lot of the textures. I’m really responsible for the way the whole thing sounds and the structure of the songs. I can’t imagine collaborating with someone on a song. It would be like having somebody advise you while you’re having sex with somebody (laughs). There’s so much that just happens in your head. It’s quite a fragile process and it’s not something I could easily involve someone with.

Your lyrics have a stream of consciousness to them…
A stream of unconsciousness…(much laughter).

Sometimes it’s brilliant and at other times it leaves the listener baffled. Maybe they’re too oblique for universal understanding.
Maybe that’s a valid criticism. I don’t go in for any kind of broad political commentary.

You write more about personal things?
I don’t know if they’re even personal things, really. What I try to do is create an entity with sound that has not existed before. The songs are meant to be things you can walk into and walk around, that have their own kind of smell and atmosphere and texture. They’re not meant to be billboards or television programs. Or newspapers. The lyrics aren’t the point any more than the bass drum pattern’s the point. You might have a very good pair of kidneys but that’s not your whole story, is it?

If I asked you what ‘The Reptiles and I’ is about, could you tell me?
I can tell you what I was trying to do. It’s what it is for you definitely. That’s a nice fatuous answer, I suppose, and it’s what it means to me. And that’s about as far as it goes. I had this idea of using a lot of lists that I found in Webster’s Dictionary. A list of languages, elements, proverbs. I liked the idea of a bunch of verses that were lists. I was trying to create a nursery rhyme that would work in an adult way and would have that sort of darkness about it, that sinister kind of thing that the best nursery rhymes have. I’m really a little kid sitting at the foot of the great god Language. I’ve really got no command over it. I pretty much take what it gives me. I get excited by all the different ways people speak in the same way. I get excited about all the different cultures people can have, all the different ways of being in the world. It seems very rich and diverse and brilliant. And it inspires me.

Were you influenced by any writers?
I steal a lot. I’m a complete bastard for that. I’ll tell you the dead ones. I’ve ripped Shakespeare off something rotten. I’ve had my way with T.S. Eliot. Martin Luther King. The Bible. Certainly bits of the Koran. Complete verbal beachcomber.

At least you’re taking from great sources.
Oh yeah. That’s what they’re there for. To get crunched up and recycled. I don’t do it in any cynical way. It’s like doing a cover of a band’s song that you really think is a good song. It seems silly to wrack your brains when somebody else’s said it so well. I just rip it off. Shameless, really.

Have any current songwriters influenced you?
David Byrne’s approach – when I was a bit more uncertain about writing lyrics – he seemed to offer quite a good little cubbyhole to hide in, where you could get away without saying anything at all as long as it sounded all right. But on this LP, I got less and less satisfied with what you could do with that and more interested in what would happen if you pushed the thing up toward the light a little more. So things like ‘Cradle Song,’ ‘Reptiles,’ and ‘Gunning for the Buddha’ are like little narratives, stories, which I’ve never attempted before. Getting into the old Tin Pan Alley thing. People like Gilbert and Sullivan and the English music hall singers. Popular Victorian kitsch. Edwardian parlor songs.

Shriekback is often labelled an intellectual band.
It’s high time we burst that bubble.

Are you college-educated?
No. It was between making a choice of being in a rock’n’roll band or going to university.

Are you religious?
I don’t belong to a religion. I don’t have any faith, in that way. I do have a strong religious sense. It’s difficult to say without it sounding pretentious. I have a sense of awe of a kind of religious veneration or worship in the presence of what is around – people, mainly, the rush and energy of people and what they can do and build and keep going on and having babies. Just what it is to be alive. There’s definitely a force that moves us on in a mysterious way. I said to someone once that I feel about religion the way I felt about sex when I was 12. You know there’s something going on, but you don’t know what the fuck it is!


To read more about Shriekback's music and career, please visit their website (sign up for the newsletter for free downloads) and Tumblr. You can also join in our conversations over on Facebook. And, while you're at it, pick up a copy of their new album, Without Real String or Fish!

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Dug up from the permafrost of punk-funk obscuria, ex-XTC and Gang of Four men explore the emotional life of monsters.  It’s alive…

Shriekback - Oil & Gold

ARISTA, 1985

Throughout the rock epoch, commentators have slagged record companies for the dilution of art in pursuit of profit.  Full marks to the Arista label, then, for releasing Shriekback’s Oil & Gold.  A chthonic portal into an inverse world of eat-or-be-eaten terror-funk, macabre amusements and terminal ambience, it would have sat heroically askance in the Phil Collins and Wham!-embracing charts of 1985.

Co-vocalist Barry Andrews looks back on an anomalous situation.  “There was a precedent in the Thompson Twins - also on Arista, also signed by the bloke who signed us - of a band turning from weirdo, uncommercial ugly ducklings into great big shiny ‘80s cash swans,” he reflects.  “I think Arista still held out a wispy hope that that would happen.  The cover idea was to make us look dreamy and great, but we ended up going for a gang of eels and feathers, which were props that became the main event.  Once again the record company were not totally made up.”shriekmojo3.png

Formed in 1981 in Kentish Town, the group’s core consisted of ex-XTC keys man Andrews, Gang Of Four bassist Dave Allen and Carl Marsh, former guitarist in squat funkers Out On Blue Six.  Having logged such unnerving dancefloor releases as My Spine Is The Bassline and Tench EP on the Y label, they’d signed with Arista for 1983’s Jam Science album.  After July ’84’s crisp single Hand On My Heart got to Number 52, they regrouped for a third LP, having been joined by drummer and Fairlight sampler operator Martyn Barker.

Andrews recalls a complicated genesis, commencing when the band took 20 rhythmic sketches to Rockfield studio in south Wales, with producer and future Hollywood soundtrack composer Hans Zimmer (who turned up three hours late, copping a £600 black cab bill after missing his train).  “Everybody was involved in a lot of groove-building and improvisation to get ideas rolling,” says Marsh.  “Then Barry and I would pick the ones we fancied and write lyric and melody ideas and structure them into songs, after which everyone would pitch back in with ideas to fill in all the gaps.”

After more session at Lillie Yard in west London, mixing took place in various studios in the capital and Bath.  It was not an over-harmonious process, remembers Andrews.  “There were a lot of major rifts,” he reveals.  “Our manager wanting to sack me, Carl was gearing up to leave, Hans getting sacked - we ended up mixing with Gavin MacKillop.  God we spent a lot of money.”

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What emerged clearly thrived on the discord.  Opening with the febrile, spasming Malaria andtwo more feverish funk eruptions sung by Marsh, Shriekback’s strangely scientific world of primordial nature was revealed in its noisy, intoxicated splendour.  Drastic contrast was provided by This Big Hush, a phantasmal, possibly post-apocalyptic contemplation of ultimate extinction sung by Andrews, and similarly spectral pieces including the Cretaceous instrumental, Coelocanth.  Marsh cites lead single Nemesis - which name-checked 2000AD comic’s alien hero who battles Earthling superfascist Torquemada - as “the one that sums up all the themes and contrasts into one pop blast.  The animals and monsters, the tensions between instinct and intellect, nods to high art and comic books, and big laughs in dark places.”

Despite this, Marsh would leave the group after the album was completed, fulfilling press and photo duties but bailing before the touring could begin.  “I did feel that the band had become a bit of a two-headed monster with myself and Barry both fronting it and pulling in different directions,” he says.  “That said, I’m actually always surprised the album as a whole has such a unified feel.  I guess we had a common purpose after all.”

The group forged on, but despite all efforts including an arena tour with Simple Minds, Arista’s dream of an immaculate cash swan would prove chimerical.  Director Michael Mann, however, would add to the group’s cult cache by selecting Oil & Gold tracks for his movies Manhunter and Band of the Hand.  “He got the tenderness in the weirdness, I guess - the emotional life of monster,” muses Andrews.  The singer continued to lead Shriekback, with 1986’s Big Night Music a worthy companion piece to its predecessor, but would cease operations after 1992’s Sacred City.  The beast would not die, though, and four more releases down the line, Marsh was back in earnest for 2010’s sterling Life In The Loading Bay.  Now Barker is also returned; the three-man line-up is finishing a new album.**

Twenty eight years on, Oil & Gold remains visceral proof of what they’re capable of.  “The actual title came from a lyric that wasn’t used,” reveals Marsh.  “‘It’s as physical as oil and gold’.  It was the contrast between dark, sticky, clingy blackness and bright, hard clarity that seemed to encapsulate some of Shriekback’s extreme qualities.”

Ian Harrison

MOJO July 2013



**The new album referenced in Ian Harrison’s article is Without Real String or Fish, our thirteenth studio album, just released earlier this month.  You can learn more about it on the official website.  Please join us in the discussion on Facebook, Twitter, and Tumblr, and don’t forget to sign up for our newsletter for free music downloads and current Shriek activity.

tinhuvielartanis: (Nemesis)

Barry Andrews has made a new blog post to the Shriekback Tumblr. If you like the bit I'm posting here, just click the picture to be taken to the full post. It's pretty damned fascinating, and I'm sure you'll enjoy it.

I find it interesting that these two art moments documenting a terrible existential awakening both happen at the seaside and that it was the Victorians who invented the old school English seaside holiday (with all it’s hearty stoicism insisting on fun in the face of the elements ('brrr -nice out of the wind though'). This, alongside grim philosophical introspection. How does that work? What I unfailingly get from my own marine meditations is a sense of perspective ('too much fucking perspective' as the Spinal Tap boys say). The primal, merciless sea right up against humanity at it’s most lovable, ridiculous and vulnerable (those goosepimpled bodies in summer; off-season, the garish lights and fragile, tinny music from the pier timorously jutting out into the sombre ocean). Who are we kidding that we’re important or serious?

Barry has also uploaded a version of the song on his Soundcloud account. Click the cormorant to access the song, and click Barry if you want to go to his Soundcloud bungalow.

tinhuvielartanis: (Tarmi)
"Am I alive, or thoughts that drift away? Does Summer come for everyone? Can humans do what prophets say? And if I die before I learn to speak, can money pay for all the days I lived awake, but half asleep?"
tinhuvielartanis: (Shriekback Logo)
I find it hilarious that 90% of the Shriekback pictures used in most You Tube videos and online articles are pics I uploaded to the SDC site in 2000-2001 from all those magazines I got off eBay. I'm not complaining. Lord knows, All Things Shriek need to be proliferated with abandon. The images never belonged to me; I just scanned them. They belong first to Shriekback, then to everyone else. If more videos are made for the Shrieks using the pics, I say "good on ya mate!"

The world needs to hear their music and, if the pictures help you get that music to the masses, then I am all for it. Then again, I'm all for anyone reposting those pics since the Shriekback Digital Conspiracy no longer exists and I have not yet gotten permission to archive everything on another website. Something needs to be done!

In other news, since I have gotten a new computer and a couple of new Roth movies, the Tim Roth Tutorials are back in almost full swing. I need to get another month's worth of Plus account on Vimeo before I can upload anything there, because uploading without a Plus account takes 4582430975234098520394 hours. I'll at least be posting the You Tube versions here for now, so stay tuned.

I got a call from what sounded, for all intents and purposes, like Indrid Cold. It went to voice mail. I can't make out what the person is saying. It has scared me. So I will be taking one of my new sleep meds tonight since, if I don't, I know I won't be sleeping. That said, if I start making gobbledegook posts later one, please email me or comment to stop me dumb ass.

Jem just came on my iTunes, a song called "And I Pray." It's one of the songs that helped drive the Sainted Confessor "mini-novel." Faust was a very devout Christian Vampire. His main defense against what Cadmus Pariah was doing to him was to pray. Here are the lyrics.

And So I Pray by Jem
Storm is brewing in the air tonight
So many pressures on my mind
Want to escape just wanna run away
But it's not an option I have to stay

And so I pray
I wish that all these things would go away
To disappear if only for a day
Know I can't go but I don't wanna stay

Can't believe the irony
The thing I wanted is killing me
All the happy smiles I miss
Didn't think it would be like this

And I pray
I wish that all these things would go away
To disappear if only for a day
Know I can't go but I don't wanna stay

Storm is brewing in the air tonight
So many pressures on my mind
Want to escape just wanna run away
But it's not an option I have to stay

And so I pray
I wish that all these things would go away
To disappear if only for a day
Know I can't go but I don't wanna stay
To be left alone if only for a day
I wish that all these things would go away (pray to you I hope it will be alright)
To be someone else if only for a day (and over soon, I feel it)
Know I can't go but I don't wanna stay (hope that you hear me)
tinhuvielartanis: (Shriekback Logo)
To my knowledge, these lyrics were only ever available on the Shriekback Digital Conspiracy mailing list as one of the Songs of the Week.  The lyric transcription was made for the post, then was corrected by the band to provide accuracy.

Feel free to sing along!



NERVE by Shriekbackxml:namespace prefix = o ns = "urn:schemas-microsoft-com:office:office" /

Bassline has no point of view
Impatient
Waiting for a statement
Faith don’t come so easily
This proves nothing
Only bursting bubbles
Legs open, eyes crossed
Pressing on the nerve
We all like that
We all like that

Arafat got such evil eyes
cased in armour
Twenty thousand bodyguards
Only trust the devil I know
Drawing circles
Gonna call him up now
head line, heart line
Pressing on the nerve
We all like that
We all like that

Pumping, Gushing, Running, Hiding
Pull tighter
Pull tighter
played on one string
fire is inside
Expressed in Molotovs
Click, flash, no pictures
Make mine Kalashnikov
Compound fracture
Pressing on the nerve
We all like that
We all like that

tinhuvielartanis: (Never Wrong a Writer)
I decided earlier that I wasn't going to spend the entire night in the deathtrap of a house, and opted to go see The Raven, because there's nothing like spending part of the night with John Cusack. Get your minds out of the gutter. Cusack is groovy cool, but I just don't see him that way. But maybe you do. Well, whatever, back to the story.

The screening was at 10:30. I left at 10, in plenty enough time to get there and maybe get a drink...if my nightblindness had not made me miss the exit and make me have to double back to Woodruff Road. I got in just under the wire, and walked into an empty theatre. This was actually how I wanted it and one of the reasons I chose to go to the last showing. But just before the movie actually started, a man walked in. And he sat down a couple of rows behind me. Right behind me. This was night, I was alone, and we were about to watch a movie essentially about serial murder. I began running through the few Kung Fu moves I know. Now, I may have a death wish and, given my taste in men and characters, I've always figured I'd end up being murdered by a serial killer, but I want to do it on my terms. I at least wanted to see the movie first.

What can I say about The Raven? It is in every way a brilliant film. I've been following the development of the movie closely, because I have a deep affection for Edgar Allan Poe, and John Cusack is my homeboy from a past life. And there's never been a movie I've seen him in that I haven't loved. He's been talking on Twitter about his immersion into the person of Poe for some time, and it was fascinating to see him get so involved with and come to love the author and his works.

You could really tell. Even though this was a fictional Poe, John Cusack really brought as much reality as he could to the man. He went over and above board with this role, and he should be given multitudinous props. The supporting cast was also stellar. When I saw Brendan Gleeson, I was pretty damned thrilled. Love that man. Luke Evans certainly matched Cusack in talent, but that's what happens when a Welshman and an Irishman get together. Sparks fly.

There were some aspects about the movie, especially later on in the film that really kind of freaked me out. It has to do with the ending, and I don't want to give anything away, but a couple of quotes near the end hit waaaaay close to home. Suffice to say, it's that synchronicity thing. Of course, it just got weirder when I got in the car and cranked up the iPod. XTC hasn't shown up on the iPod in ages, and what's the first song that comes on? "Rook," by XTC. Even though the song is about European folklore surrounding this bird and its cousin the crow, both are related to the raven, and I'd always equated "Rook" with Poe's "Raven."  And it's even more relevant now, considering the plot of the movie. 

So, that's freakin' strange. Here are the lyrics to the song.

XTC "Rook" from the album Nonsuch (1992)
Rook, Rook Read from your book
Who murders who and where is the treasure hid?
Crow, Crow Spill all you know
Is that my name on the bell?

Rook, Rook Gaze in the brook
If there's a secret can I be part of it?
Crow, Crow Before I'll let go, say is that my name on the bell?

Soar up high, see the semaphore from the washing lines
Break the code of the whispering chimneys and traffic signs
Where's the message that's written under the base of clouds?
Plans eternal, I know you know, so don't blurt out loud

Rook, Rook By hook or by crook
I'll make you tell me what this whole thing's about!
Crow, Crow Why can't you show
If that's my name on the bell?

On the wings of night, I fly too, above field and stream
My head bursting with knowledge 'till I wake from the dream
If I die and I find that I had a soul inside
Promise me that you'll take it up on its final ride

Rook, Rook Gaze in the brook
If there's a secret can I be part of it?
Crow, Crow Before I'll let go, say is that my name on the bell?

Oh, in case you haven't noticed, my viewing partner did not kill me. He left before the credits rolled, and I always stick around for the credits. That's how I've always learned my movie trivia, even though IMdB has pretty much made the practice redundant. Old habits die hard, and apparently so do I.
tinhuvielartanis: (Barry Interview)
The first Illuminati song I heard, it was released on the tribute album to the late Kevin Wilkinson in 2000 (if memory serves). The lyrics on this one were a Beast but Khanada, Trista, and B pulled ranks and won the day, so all's well that end's welll.

Photos used in the video are of the Yew trees at St. James Abson (see link in You Tube info), taken in May of 2006, I think a day or two at most before meeting B. So yeah, just a teeny personal Easter Egg to mark a moment. Sort of like the instantly recognisable "leopard yawns with breath like flowers" pic I made for "Big Sharp Teeth."

Anyways, go have a looksee/listen. We hopes you enjoys it, Precious.

Pivotal

Jan. 24th, 2012 09:22 pm
tinhuvielartanis: (Triskele)

This is the song that pretty much defined the a large chunk of The Augury of Gideon, posted here in the event I lose the lyrics.

(Feels Like a) Planet ~ Shriekback
I tried to walk with the mudmen
But it wasn’t allowed
I wept as my golden bones were ground to dust
By a screaming crowd
They took me up to the tree line
By the mysterious pines
I stayed out for 7 nights as they hunted me down
For my holy crimes

Electronic eyeballs scoop me up
Even as I carve my name
Pound that mutton and pour me out a glass of sublime decay

There’s no rest in the galaxy
No escape in the life to come –
People gasp in my atmosphere
I’m on a turning wheel and I swear
I feel like a planet
I ache with the sun
I feel like a planet
And I wonder the night till this terrible year is done

I staggered out to the firebreak
I saw the orchard in flames
I dumped my ruined clothes in a plastic bag by an open drain
I blacked out under the archway
Came ‘round immediately
And everything I knew was broken
Just like they said it would be

Spinning through the darkness burns me up
Isn't what I can’t contain
Understanding this don’t help at all:
Lacerates you just the same

I don’t care for astronomy
It’s too hard on the weakened brain
I’m a stricken bird in winter
I’m blind and raw with a molten core   like a planet…

I ache with the sun
I feel like a planet
I contain all there is and I carry it as I run

Bullet

Jan. 24th, 2012 12:00 am
tinhuvielartanis: (Dr. Who Boogie)
BULLET by Fluke

Aint nothing wrong, Aint nothing wrong,
Everything alright, Aint nothing wrong,

Not Strictly True,
But its the best way yet to make it through,
Some errors have been made,
Wont go away,
Wont make as many more today,
Is best considered as the greatest,
Yet remembered as the one,
Not as much fun as those ahead,
Not yet begun,
To get it right.

Aint nothing wrong, Aint nothing wrong,
Everything alright, Aint nothing wrong,

To think it easy as simple A.B.C,
No magic spell,
No mystery,
Assuming everything is well
As can be.
Dreamed about it,
Longing for it,
Aint we all but doing it,
Takes something more than better is the best,
Requested,
Now lets get it right.
tinhuvielartanis: (Dr. Who Boogie)
I've been working on this off and on all night.  I do shite like this when I can't sleep.  It passes the time, yes?  The print in the booklet is microscopic and I have an old ladeh's eyeballs.  But I think I finally did it with listening to the song (the vocals are extremely electronic, like Indrid Cold) combined with discerning the liner notes. 

The 'super' chant.

TOSH by Fluke
Super Human fly, Super sensitised,
Super this and that, Super value pack,
Super grass for gain, Super power games,
Super secret spy, Under supervised,
On a super stage, Super market chains,
Super tanker spill, Pinpoint super kill,
Super info fact, Super computer hack,
Super master plan, Cream of Superman
Superman Superman Superman Superman Superman Superman Superman, Cream of Superman...

Super deluxe fit, Super shuttle trip,
Super weekend break, Super move to make,
Sherlock super sleuth, Super channel news,
Future super race, Super heavy weight,
Super sexy stars, Superficial farce,
Superseding all, Super 4 point 4,
Super 2 point 2, Super me and you,
On a super charge, Living super fast!

Superintendent, Common super sense,
Super data stream, Super squeaky clean,
From the Super Bowl, What a supreme show,
Super place to go, On board the super flow,
Super Highway bus, Connecting them and us,
Super tune it up, Super fast enough,
Super Nova shine, Super X-ray eyes,
Looking deep inside, Superstitious minds.
Superman Superman Superman Superman Superman Superman Superman, Cream of Superman...

Supertonic key, Super A.B.C.,
Super title crown, Into super sound,
Super saver fare, Weston super mare,
Super do ray me, Super duper wheeze,
Supercilious, Super stupid fuss,
Super conducting thing, Twenty super kings,
Sure shot super sub, Super unleaded plus,
From the super loo, Less than super cool,
Super groupie tour, Lake Superior,
Smoking super skunk, Lost in super funk,
Super structure flaw, Discount super store,
Super sonic boom, Super rhythm groove,
Super Mario, Super high and low,
One off super smash, Super black market clash,
Soft and super strong, Super imposition,
Superannuate, Super smashing great!

Sing along if you think you can. Heh...
tinhuvielartanis: (Cadmus Priest)
For me, in my mind, Shriekback and Clive Barker have always been inextricably linked. The reason for this is that I began actively listening to Shriekback at the same time I was exploring the various worlds of Clive Barker. The Shrieks provided the soundtrack for many of Clive's books, including The Hellbound Heart, Weaveworld, The Damnation Game, and Cabal. Then, there was of great importance, the reading of Imajica whilst listening to Big Night Music. It was during this time that my fear of Barry Andrews was kindled, and it's probably due to my reading material at the I was first exploring Barry's musical world. When you explore two worlds at the same time, they tend to weave together in your psyche. Even now, when I read Clive, I have to listen to Shriekback. It's an unwritten law in my own dark world.

At this time, in 1990, I was also piecing together the stories that would eventually become The Chalice. I was working on the creation of a villain, which turned out to be not too very hard, as he was instantaneously born out of a vision propagated by Shriek music. So there was the influence of Clive Barker and Barry Andrews stamped like a brand upon the brow of the entity later known as Cadmus Pariah. One of the Shriekback albums that deeply influenced the creation of Cadmus was Go Bang! despite it's seemingly upbeat and pop-pie sound. The lyrics to many of the Go Bang! tracks belied their happy musical accompaniment. This is the album I was listening to at the time I read Cabal. It turned out to be a perfect match, especially when it came to the song "Nighttown." It was like Barry was singing from the viewpoint of the Midianites.

Here are the lyrics.

Our own little golden city )

Years later, when I met and formed an alignment with fellow Shriekback fans to create the Shriekback Digital Conspiracy, we were keen on having a name for ourselves. So I thought about it and discussed it at length with Derk. During one of our chats, thoughts of Clive returned to me, and I suggested to Derk that we could be called The Cabal Iguana. The word cabal perfectly described us and what we were doing, and adding the name of a reptile aligned us with the Shrieks in a very personal way. So, again, Shriekback and Clive Barker were connected, not just in my mind this time, but in a public capacity.

A few years later, I encountered fellow writers [livejournal.com profile] booraven22 and [livejournal.com profile] morriganwind. As we discussed our various writing projects and shared our experiences in writing, we formed a very close bond. Cadmus Pariah became a living entity during this time, and he forged me a place amongst my more talented comrades. [livejournal.com profile] booraven22 solidified our writerly union by giving us a name - The Writers' Cabal. Again, I found myself part of a groups whose name brought to mind Clive Barker's work and, therefore, the living presence of Shriekback. It all just confirmed my belief that everything is connected and everything cycles around in its time.

Time now to go work on the The Harming Tree.
tinhuvielartanis: (Cadmus Art)
The Eagle Will Rise Again by The Alan Parsons Project

And I could easily fall from grace
Then another would take my place
For the chance to behold your face

As the days of my life are but grains of sand
As they fall from your open hand
At the call of the wind's command

Many words are spoken when there's nothing to say
The fall upon the ears of those who don't know the way
To read between the lines, that lead between the lines, that lead me to you

All that I ask you
Is, show me how to follow you and I'll obey
Teach me how to reach you I can't find my own way
Let me see the light, let me be the light

As the sun turns slowly around the sky
Till the shadow of night is high
The eagle will learn to fly

As the days of his life are but grains of sand
As they fall from your open hand
And vanish upon the land

Many words are spoken when there's nothing to say
The fall upon the ears of those who don't know the way
To read between the lines, that lead between the lines, that lead me to you
Show me how to follow you and I'll obey
Teach me how to reach you I can't find my own way
Let me see the light, let me be the light
And so, with no warning, no last goodbye
In the dawn of the morning sky
The eagle will rise again
tinhuvielartanis: (Cadmus - Sanguinem Mittat)
A very influential Cadmus song.

Dark Horses by The Caretaker

It seems that there’s some truth
to these rumours going around;
that if you walk it like a victim
they are bound to hunt you down.
Now some clever little joker
wants to cut us all in half.
It’s all that I can do
to choke back the laughter.

A typical reaction, we all
agree to disagree.
A bloody mess.
It’s anybody’s guess.
We’ll clean all up after.
Then somebody said
that this old world is spinning
like a top; and I just can’t help
wondering why they all don’t
just f-f-fall off.

Before he gets to say a word
the messenger is scorned.
There’s no sense in waiting –
we know what we hate him for.
They badger you.
They hound you.
Wolves are scratching
at your door.
This happened once before
and you didn’t think
it was important.

The violent inquisition.
It’s the long night of the soul.
Her tiny epiphanies.
His nineteen dirty bullet holes.
Just think, right about now
I could be lying on a beach.
Well, it’s like my guitar
always said to me:
“We’re about to fall to pieces.”
Are the silent just too quiet
or too frightened to be heard?
Hey, it’s you I’m talking to.
I’m giving you the word.

Dark horses, run into your arms.
Dark horses pull your heart apart.

~~~~~~~~~~~Bruce McRae
tinhuvielartanis: (Gothtin)
Midnight blue - so lonely without you.
Dreams fed by the mem'ries
oh let the music play.
Midnight blue - those treasured thoughts of you.
Gone now and forever
please
let the music play.
Midnight
midnight -
I forgave you
couldn't save you
drove you from my mind.
Midnight blue - so lonely without you.
Warm words from a fantasy
oh let the music play. '

Midnight blue - the tears come flowing through.
I'll never forget you
please
let the music play.
Midnight
midnight -
I forgave you
couldn't save you
drove you from my mind.
Midnight blue - those treasured thoughts of you.
Gone now and forever - please
let the music play.
tinhuvielartanis: (ELO)
Day 1: Your favourite song - "Despite Dense Weed" by Shriekback
Day 2: A Song that Makes You Cry - Pippin's song from "The Lord of the Rings"
Day 3: A song that makes you dance. - "Daylight" by Matt & Kim
Day 4: Your favorite male singer. - Jeff Lynne, hands down.
Day 5: Your favorite female singer. - Johnette Napolitano
Day 6: Your favorite band. - Shriekback
Day 7: One band/singer you're ashamed to admit you like. - The Backstreet Boys
Day 8: One band/singer whose popularity you will never understand. - Nickelcrap
Day 9: A song that reminds you of an ex. - Celtic Dream by Ronan Hardiman
Day 10: A song that reminds you of your father. - "Somewhere over the Rainbow" by Israel Kamakawiwo'ole
Day 11: A song that reminds you of your mother. Doris Day - "Que Sera Sera." It was of particular comfort when we visited New York.
Day 12:A song that makes you want to have sex. Pretty much anything by Prince, but "Gett Off" tops the charts in that arena. And the man doesn't age. He's like Barry Andrews...a Vampire rock avatar.
Day 13: A song you sing in the shower. - Oh jeez, I don't sing in the shower, not out loud anyway. Usually, this song comes to mind, though. "Little April Shower" from the movie Bambi
Day 14: A song from the year you were born. The album Sgt Pepper's Lonely Hearts Club Band was released the Summer of 1967.
Day 15: A song you liked in high school. - Electric Light Orchestra "Hold on Tight"
Day 16: The first song in your mp3 folder. - A-Ha "Take on Me"
Day 17: The last song in your mp3 folder. - XTC "Super Tuff"
Day 18: An instrumental song you like. - Loreena McKennitt "Marco Polo"
Day 19: Your favorite love song. - Alanis Morrissette "Head Over Feet"
Day 20: Your favorite breakup song. - Harry Nilsson "Joy"
Day 21: A song that makes you want to break stuff. - The Prodigy "Breathe"
Day 22: Your favorite song from a movie. - I have a tie here. "Inama Nushif" by Brian Tyler and Azam Ali from the miniseries Children of Dune and "And now We Are Free" by Hans Zimmer and Lisa Gerrard.
Day 23: Your favorite duet. - Elton John and Kiki Dee "Don't Go Breakin' My Heart"
Day 24: Your favorite cover song. ELO "Roll Over Beethoven"
Day 25: Your favourite song from 2010 (so far). Will.i.am and Nikki Minaj "Check It Out"
Day 26: Your favorite music video. - "Nemesis" by Shriekback
Day 27: One song in your mp3 folder you're pretty sure no one else has. - Oio "Almeria"
Day 28: One song that needs to never be played again
Day 29: One song that gives you the creeps. - Three Dog Night - "Mama Told Me not to Come"

Day 30: A song you'd like played at your funeral

Electric Light Orchestra "Eldorado"



Here it comes, another lonely day, playing the game,
I'll sail away on a voyage of no return to see
if eternal life is meant to be
and if I find the key to the eternal dream.

The painted ladies of the Avalon play in the sun,
take to the road, to the North there lies the chills of cold,
to the South there lies the tales untold.
But in between there lies the place to close your eyes.

And I will stay, I'll not be back, Eldorado.
I will be free of the world, Eldorado.

Say goodbye, the city's heroes sing, bird on the wing
feel, feel so free through the life upon the rooftop haze,
all the cheating and the broken days.
So through it all I see there's nothing left for me.

So I will stay, I'll not be back, Eldorado.
I will be free of the world, Eldorado.

Say goodbye, the city's heroes sing, bird on the wing
feel, feel so free through the life upon the rooftop haze,
all the cheating and the broken days.
So through it all I see there's nothing left for me.

So I will stay, I'll not be back, Eldorado.
I will be free of the world, Eldorado.

Sitting here on top of everywhere, what do I care.
Days never end, I know the voyage's end will soon be here,
no eternal life is here for me.
And now I found the key to the eternal dream.

Then I will stay, I'll not be back, Eldorado.
I will be free of the world, Eldorado.
Then I will stay.

This has been my funeral song for thirty years. I don't want any other song played, really. Just this one. It's very special to me and says everything I want to say in death. I hope I won't be back this time around. I hope I've done my time reincarnating and that this is my last mortal sojourn. It's time to remain in Avalon.

So ends the Music Meme of Doom!

tinhuvielartanis: (ELO)
Day 1: Your favourite song - "Despite Dense Weed" by Shriekback
Day 2: A Song that Makes You Cry - Pippin's song from "The Lord of the Rings"
Day 3: A song that makes you dance. - "Daylight" by Matt & Kim
Day 4: Your favorite male singer. - Jeff Lynne, hands down.
Day 5: Your favorite female singer. - Johnette Napolitano
Day 6: Your favorite band. - Shriekback
Day 7: One band/singer you're ashamed to admit you like. - The Backstreet Boys
Day 8: One band/singer whose popularity you will never understand. - Nickelcrap
Day 9: A song that reminds you of an ex. - Celtic Dream by Ronan Hardiman
Day 10: A song that reminds you of your father. - "Somewhere over the Rainbow" by Israel Kamakawiwo'ole
Day 11: A song that reminds you of your mother. Doris Day - "Que Sera Sera." It was of particular comfort when we visited New York.
Day 12:A song that makes you want to have sex. Pretty much anything by Prince, but "Gett Off" tops the charts in that arena. And the man doesn't age. He's like Barry Andrews...a Vampire rock avatar.
Day 13: A song you sing in the shower. - Oh jeez, I don't sing in the shower, not out loud anyway. Usually, this song comes to mind, though. "Little April Shower" from the movie Bambi
Day 14: A song from the year you were born. The album Sgt Pepper's Lonely Hearts Club Band was released the Summer of 1967.
Day 15: A song you liked in high school. - Electric Light Orchestra "Hold on Tight"
Day 16: The first song in your mp3 folder. - A-Ha "Take on Me"
Day 17: The last song in your mp3 folder. - XTC "Super Tuff"
Day 18: An instrumental song you like. - Loreena McKennitt "Marco Polo"
Day 19: Your favorite love song. - Alanis Morrissette "Head Over Feet"

Day 20: Your favorite breakup song.


Harry Nilsson was such a wordcraftsman. I doubt anyone could top this soppy Country ballad when it comes to break up songs. Here are the lyrics so you can sing along.

The other day I met a girl named Joy
She said come here,
I'm gonna make you my joy boy
Well, things went good and things went bad
Now everytime I think of Joy
It makes me sad
It makes me... sad
The other day I met a girl named Joy
She said Roy!
I'm gonna make you my joy boy
Well, she took me for a ride
Sort of a joy ride
Now everytime I think of Joy
I get all weird inside
Oh, Joy to the world
Was a beautiful girl
But to me Joy meant only sorrow
Now--if you haven't got an answer
Then you haven't got a question
And if you never had a question
Then you'd never have a problem
But if you never had a problem
Well, everyone would be happy
But if everyone was happy
There'd never be a love song
Joy was a beautiful girl
But to me Joy meant only sorrow
The other day I met a girl named Joy
She said, Come here,
I wanna make you feel all clammy inside
Things went good good and things went bad
Things went good... things went bad
Good, bad, good, bad, good, bad
Joy to the world
Was a beautiful girl
But to me Joy meant only sorrow
Oh, Joy to the world
Was a beautiful girl
But to me Joy meant only sorrow
Joy, I know you're out there
I want you to turn on your radio and listen to my song


more to come )

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The Cliffs of Insanity

October 2016

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