Cop Shoot Cop - Ask Questions Later (1993)

Hailing from New York City, Cop Shoot Cop formed in 1987 and parted ways in 1996. They never achieved commercial success, but did make a few videos and receive at least a little MTV airplay - which was how I discovered them - hearing the awesome "Room 429" on MTV. It was one of those songs that haunted me, I recorded it when it was on, and played it over and over. From then on I would keep an eye out for CSC cds in record stores, without success. Until, finally, I discovered this one in the sale bins in Real Groovy. Sadly, most of the other tracks proved to be a disappointment on first listen - so I listened to it once then filed it away into my collection, to be pulled out and reviewed today.

Unlike most of the bands I listen to, CSC are not guitar heavy. They do not even have a lead guitarist and use a mix of sludgy, grungy sounding instruments, sampling, drums and bass.

It is a cardboard digipack, which means that the labels applied by RG have damaged the cover, tearing off the top layer. It was probably only $5 anyway. Inside it does have a plastic case and the booklet is slotted into the side in the manner that is difficult to remove. The cover features a boy with a gun (I think) printed in red, over what looks like printed duct tape. This duct tape print continues on the inside of the cover and also over the cd booklet which contains the lyrics.

The album opens with the uninspiring "Surprise, Surprise". Industrial noise. Heavy bass. Slow, driving like a sledgehammer. Vocals bold and a little echoey. Shouted, not sung. Aggressive, raw and pretty blah.

This is followed by "Room 429" which is ominous and, although still having the echo qualities, Tod A can in fact sing. He has a low, raw voice which sounds like he's being gargling firewater and chewing sandpaper. I suppose the term gravely would apply, although he manages an almost melodic stretch.

"Nowhere" has a sludgy garage sound. Heavy, clangy drums. Industrial noise. Vocals rising and falling. Low and deep. Like heavy barrels being rolled around a junkyard. Raw and raucous.

The short instrumental "Migration" featured in a Nike advertisement. It has an interesting almost "Ride of the Valkyries" feel, except played through distorted machinery.

With an odd vibrating sound, "Cut to the Chase" contains a mix of classical structures, most of which are played using distortion and bass (low and high) with the addition of violins. It is haunting, looming. The violin is being played in quick little flickering motions, rapid and fluttering like the wings of moths.

Whistling and banging shepherd us in to "$10 Bill". It has a steady tempo, like stomping boots of a marching army, shouted vocals with the hint of a tune. There's trumpets too.

"Seattle" has a grungy, distorted feel to it. All samples and noise gates.  I know what Gates are now thanks to Lions Share.

That steady beating-barrels beat ushers us into the "Furnace". Vocals high, echoe-y and distorted.  I swear someone is shaking a sawblade. Maybe that's what "metal" means under the instrument list.

There's a whiny, exotic quality to "Israeli Dig". Also an instrumental.

Rockier rhythms for "Cause and Effect". More low and high end bass. This is a very bassy album, a sharp contrast to the trebly Polish Thrash bands I was listening to this morning.

Ha-urm, ha-urm. Vocals dominate "Got No Soul" along with an industrial clunking. Kinda reminds me of Nick Cave, accompanied by a machine and strange vibrating, shrill insects. Also maracas, trombones, sax and trumpet.

"Late for work again today. Somebody's lying down on the job again. Will you people please stop jumping under my train?"

Oh my goodness, Tod A can actually sing! "Everybody Loves you (when you're dead)" has an upbeat tempo, despite the negativity of the lyrics. There's even piano in this one, admittedly mostly down the low end. And a lot of random clanging noises. Bit of shouting.

"All the Clocks are Broken" has an industrial goth feel to it. Everything is toned down very low, very bassy. Eerie background noises. Shrill. Ominous. Vocals droning but powerful. Like a voice of nature.

"A broken smile never lies. A busted mirror cannot see you cry."

This album has really grown on me. The arrangements seem to be pretty good and the use of mechanical noise, noise gates and distortion gives it a gritty edge. I'd almost say steampunk, but it's a bit too modern and gritty for that. Initially (when I started listening to it) I was going to give it 5/10. then 6/10 and finally I'm going to settle on 7/10. Repeated listenings work for this one!

Mercury Rev - Secret Migration (2005)

Mercury Rev are glorious. As you may recall, it was my brother who lured me into their music, capturing me with their sound much as you would capture a mouse with peanut butter. The melodies, the liveliness, the sheer effervescence of their music... it is a delight to behold and absolute divine aural pleasure.

If you wish to know more about Mercury Rev, Pandora Radio has a nifty entry.

This album was purchased on a trip to Wellington. I had been informed of its impending release, which coincided with our vacation. Therefore I skipped out of the convention I was attending, racing down the hill in eager anticipation. I think this is the first time I've ever bought a cd on the day of its release and held it in my (slightly shaking) hands. I couldn't even listen to it - since I hadn't a portable cd player. But it was mine and it was beautiful and it was enough, for a time, to simply hold it in my hands and admire it.

The album cover is a thing of beauty. In perfect pastel lilac hues - delicate and fragile, like their sound. A moth, tawny wings spread to reveal eyes and a woman's face upon its thorax. Inside the dreamy, surreal, otherworldly feel continues with gorgeous lavendar shades: swans, clouds. It is all very dreamlike and ethereal, entrancing.

Of course, the instant I slipped it into the CD player I fell forever, unrepentedly, in love.

The dreamlike, haunting "Secret for a Song" entrances with its gentle piano, fleetingly beautiful vocals - as clear and as sweet and as innocent as a childhood kiss. Glorious enough to bring a tear to your eye and reach deep down into your soul and give it a gentle, loving, squeeze.

"I'll tell you a secret, I'll sell you a secret for a song..."

 Beautiful, melancholic, entrancing; now we delve "Into Yer Ocean". The lyrics are pure poetry, the light, lilting rhythms enhance and transform the music into thousands of delicate crystals, tinkling like stars above the gentle rise and fall of waves.

Tinkling like tiny stars, we have "Diamonds" with more evocative poetry:

"...like a bracelet hung, from a spider's web..."

Sweet, delicate, sensitive.

Piano and strings delicately dance around Jonathan's wonderful voice as he leads us through "Black Forest (Lorrelei)". Haunting, fairytale lyrics and a sense of longing and loneliness with a hint of helplessness.

"There's no way 'round the forest, the only way is through. And there's no way I'd make it without you..."

Their lyrics are so rich, so beautiful, so dream-like and whimsical that I cannot resist quoting them.

"Slow, rich, glorious velvet "Vermillion" is as smooth as a caress.

The glorious "In the Wilderness" is a love song. Vocal-centric, sweet, innocent, romantic and beautiful.

And Mercury Rev score mad bonus points for the line:

"How could I have been blind for so long
and how could the woman I love be so strong"

'Cos how many musicians would have used the rhyme "wrong" instead?
Also:

"...Take her by surprise, not by force..."

This song is like being enfolded in the arms of your beloved and lain down on the verdant grass in a glorious woodland where the trees are wearing their autumn suits.

Haunting melodies, echoing and spectral as the flutes and strings entwine "In a Funny Way". But it's not funny, it's beautiful, vibrant and playful love song. Fleeting, ethereal, ephemeral.
(The video is delightful and slightly creepy - you should totally watch it).

Hell, I need a thesaurus to write these reviews!

It's like being swept up into the clouds and sung to by angels.

Another beauty, "My Love" is the sort of melody that cannot help but stir your soul. The lyrics are filled with heartbreak and regret:

"... I never gave you enough, I could have given you my love..."

A lament of letting the one you love slide through your fingers, of not giving all that you should to someone who deserved it. Such a simple thing - love - but it means so much.

"Moving On" is short, choral and flavoured with crystal raindrops.

"The Climbing Rose" is another song of transcendent glory.The lyrics are repetitive, but poetic.

The drums erupt with vibrant energy as your spirit will "Arise" into clarity and poetry.

For a song called "First Time Mother's Joy (Flying)", this is a bittersweet symphony, the piano adding an edge of melancholy.

"...Soon the dormant patient roots will show themselves as childish shoots..."

Their lyrics are so gosh darned beautiful.

Concluding with the melancholic, the sorrowful, the heartfelt "Down Poured the Heavens" when Jonathan's voice almost cracks with the emotional overload.

Mercury Rev are, quite possibly, one of the most evocative and stunningly beautiful bands in the world. I cannot understand why they are not better appreciated, or more well known. There is noone that comes even close in terms of clarity and whimsical charm. Their songs are poetry to music, their arrangements pure magic and Jonathan's voice has an otherworld quality that makes you wonder how he can possibly be human (I think he's fae). After this album and the previous, it seems so impossible to possibly top them, that Mercury Rev released an album of entirely different stylings and sound. Still, whether they return to this sound or not, they have left us with two magnificant albums. The mood for this one is generally gentler, more melancholic, filled with longing and loss, compared with the playful innocence of (some of)"All is Dream".

And what will I rate this one? Yeh, you guessed it = 10/10.

Type O Negative - October Rust (1996)

After all that tenor and falsetto, I feel like something a bit lower, a bit slower, a bit moodier. Therefore, it is time to slip on one of my Type O cds.

There is something about Peter Steele's voice - so low, so somber, so emotional and powerful. Alas, on April 14th, 2010, aged only 48, he died of heart failure. It was a bitter day for the goth metal world. Standing 6'8" and with a history of cocaine and alcohol abuse, I guess his body was overworked. The negative edge to the lyrics, the self deprecation and general angst were also a sign of his mental health, as he suffered also from depression.

The legacy he left behind was seven albums and nine music videos. I'll try to find some that fit in with this review.

Like most (or perhaps all) Type O albums, "October Rust" is green and black, only the title and the band being written in the actual colours of october rust. Four vertical stems, thorny rose stalks, bissect the cover if the booklet, and on the back the band stare out. Monochromatic, scowling, their long black hair resembling hoods. Steele himself looks rather like a vampire. On it are the words:

"Functionless art is simply tolerated vandalism.
We are the vandals."

Inside, the lyrics share page space with autumnal scenes creating a melancholic, somewhat oppressive atmosphere.

The album opens with "Bad Ground" - 37 seconds of long, drawn out static, followed by an introduction by the band - complete with chicken noises.

First actual track, "Love you to Death" starts low and smooth - Steele's voice a rich caress to the aural senses. His low, bass-baritone vocals stir something deep in the soul, although mostly he sings at a slightly higher pitch. The keyboards and solemn melodies entwine into something that is somehow both romantic and melancholic at the same time. It ends with the heartfelt plea:

"Am I good enough for you? Am I? Am I?"

"Be my Druidess" has an electronic edge to the music and a faster paced, slightly more upbeat mood. This seems to be about pagan rituals involving sex, something which can easily be concluded by the closing lines*. Darkly romantic.

Still slow, "Green Man" is rich with verdant goodness, the music feeling organic and alive.

Heart-breaking "Red Water (Christmas Mourning)" is possibly the saddest Christmas song ever. Slow, poignant and melancholic. The lyrics say it all:

"My table's been set for but seven, just last year I dined with eleven..."

Steele's deep voice, with its slightly liliting, accented edge to it, combined with the slow rhythms and dejected Christmas bells are enough to bring a tear to the eye.

 In a completely different vein, we have "My Girlfriend's Girlfriend" with its more upbeat rhythms, catchy chorus and rather silly and colourful video clip.

"Die with Me" starts with almost whispy vocals, gentle and mournful, accompanied by acoustic guitars.

This is followed by the rather repetitive "Burnt Flowers Fallen".

The cruisy, almost soothing "In Praise of Bacchus" is another richly organic piece. Vocals are slightly distorted and fuzzy. The fade-out is haunting and lingers, like smoke after a flame is extinquished, flaring again to complete the track.

Now for a cover song - Neil Young's "Cinnamon Girl" is treated to Steele's deep and magnificant vocals.

"The Glorious Liberation of the People's Technocratic Republic of Vinnland by the Combined Forces of the United Territories of Europa" is a weird instrumental that is over before I finished typing the title. I had to listen to it twice. It's slightly ominous, with chanting and cheering. I'm sure there's something deeply meaninful about it, but I don't get it.

The beautiful and haunting "Wolf Moon (Including Zoanthropic Paranoia)" opens with piano and violins (or bass). If you don't know what this song is about, read the lyrics carefully. If you still don't know, then it's probably better that way. It is another slightly murky sounding piece, over which Steele's voice rings out loud and low and clear and true.

The spectral and epic "Haunting" concludes the album. It starts slow and dramatic, looming beats and achingly wrenching vocals.

There's a final message from Peter too.

Although generally I prefer the higher, more operatic male vocals, I would have to say that the lower ones - like Steele and Brennare, definitely seem to stir something visceral within me.

Haunting, melancholic, beautiful, romantic - these are all words that can be used to describe this album. It's a fine offering from a fine band. We will remember you Peter, your legacy lives on in your music.

Rating = 8/10.

*Which are far prefereable to Quorthon's statements in his horribly grunge-esque solo track: "No More and Never Again"

Manowar - Anthology (1997)

Tonight I felt like a bit of a laugh, and thus I decided it was time to play my one and only Manowar CD. I purchased this from The Warehouse for very little, and suspect it is one of those cheap-knock-offs, excepting for the fact that my WMP does recognise its metadata and label the tracks appropriately. Who knows.

Manowar are one of the hardest metal bands to take seriously. This album does not help that in any way what-so-ever.  They formed in New York in 1980 - about the same time Iron Maiden we coming into their prime and they grabbed several themes with open hands - the first being fantasy and mediaeval, more of the sword and sorcery than the serious. You can sorta imagine these guys playing D&D on their weekends or pretending to be Conan the Barbarian. In 1984 they held the world record for Loudest Band ever, a record they have since broken twice. They are bombastic and pretentious and over the top with their raging guitars, throbbing drums and crazy lyrics about how awesome metal is. There's something totally over the top and anthemic about them.

As for this anthology... well, I'm going to do something I haven't done before in this blog - I'm going to scan the album cover. Seriously, my description cannot do it justice*:

It is a simple onefold affair - with a rather detailed history of Manowar on the inside. They have sprouted from the primeval roots of Heavy Metal, and from them was spawned the power metal genre (with some help from Helloween, of course). It extols the virtures of the band and how awesomely metal they are, and states that the vocalist Eric Adams, has a five and a half octave vocal range. That's really epic - I haven't found information on any other vocalist with that range. I didn't even know there were more than five octaves for male vocalists. They have also "declared war" on those who do not fully embrace the true spirit of their beloved heavy metal. I bet they'd like to take Slipknot down!

So let us begin our voyage of Heavy Metal discovery, we shall begin with the track:

"Manowar" with its solid beats, galloping guitars and somewhat powerful, but slightly tinny sounding vocals (I'm guessing that's the fault of the recording, which was probably made back in the early 80s). There is definite raw power here, and it kinda inspires one to jump around and posture and pose - either with guitars or swords, I'm not quite sure!

This is followed up by the rocky chords of "Metal Daze" in which Eric displays how high he can shriek and celebrates his sheer metal-ness:

"Only one thing sets me free, heavy metal - loud as it can be!"

There are aspects of Dio in the vocals, and of course pure 80s metal in the rhythms and uncomplicated structures. It's all very traditional, catchy and with enough repetiton to get the audience chanting along.

"Fast Taker" reminds me of soe of Sabbath's rockier moments (ie: with Dio or Gillian). The guitarist slides up and down his chords, racing along at breakneck speed, whilst Eric howls and screams. There's something visceral and somehow smokey and a little bit sludgy about it.

Now we get into the true sword and sorcery as we enter into the slower, driving bass of "Battle Hymns". There is more diversity in this track - and Eric sounds truly feral as he screams "Kill! Kill!" This almost seems like a true battle hymn - you can almost see the warriorss shouting it as they march (or ride) into war.
Oh my gosh - he's singing, actually singing! And he has rather a sweet edge to his voice. Amazing. Who would have thought?
And now he's screaming again. Oh and off go the duelling guitars.

Okay, I see what they mean by him being able to scale several octaves - it almost sounds like multiple vocalists - one minute his screaming the next dropping into bass.

And now the drummer's gone crazy. Then feedback!
Okay, this song is officially wicked.

Back to the more "ordinary" rock with "All Men Play on 10" which is about how society tries to force you from following your heart and fitting int society norms. I say "ordinary", but there's no way Manowar could ever be considered anything but over the top. The vocals are interesting in this one, closer to talking, but with rhythm, not fast enough to be anything like rap music, with the occasional smoother, sweeter bridge and anthemic chorus. I'm not quite sure how one plays on ten, however. Maybe it means full volume?

"All men play on ten, I'm never gonna turn down again..."

Back into the fantastical with "Sign of the Hammer" - insane drumming, throbbing beats and Eric's wonderfully diverse voice soaring into a rather awesome bridge. I can see the roots of power metal being set down right here. There's something amazingly evocative and stirring about their passion, it cannot help but send a thrill down your back. The recording quality has improved here too, so it must be a later track. Either that or I've gotten used to it. Galloping rhythms, soaring vocals... One can imagine the vast mountainous landscape, pine trees clinging to the slopes.

Now its time for "Fighting the World" and I can tell from the offset that this is another Metal is Great track. Yup:

"I'm fighting for metal cos it's here to stay!"

Truer words have never been spoken.

And of course, the loudest band in the world would have a song called "Blow Your Speakers". But it won't blow mine, because even at full volume this CD just won't go that loud. Solid rock with a hint of roll and a lot of passion and power and some very nice twiddly guitars.

What is this I hear? Piano? Could the mighty Manowar be about to give to me a ballad?
Oh yes! This is "Heart of Steel".
Wow, he really can manage quite a haunting and beautiful voice. Powerful too, as the verses march on. This is visceral stuff, digging right into the inner core of my being. It is empowering. Epic. Beautiful.

Screaming and screeching indicates that the next track is nto going to be anything less than a raging epic Heavy metal piece. Listen to the guitarists go - twiddly bridge-sliding, almighty rifts. It is time to bring the "Blood of the Kings".
The lyrics are totally ridiculous:

"On a crusade the world we bring, Four Kings of Metal, Four Metal Kings.
Death to the false ones, dance on a string..."

Oooh, more guitar duelling. This is hilarious!

And what better to follow up the blood of all king, than a little "Violence and Bloodshed"? It starts with the ominous howl of sirens, the buzz of choppers and then the guitars slip in. This is another one with faster vocals and a straightforward, fast-paced beat. It gives it a ... well not exactly modern sound, but definitely later 80s. 1987, in fact. Modern warfare for a change, and thus more savage and less bombastic than the medieavel/fantasy stuff.

Motorbikes might not be very fantasy, but they're very metal. "Wheels of Fire" from 1988 is more along the lines of thrash - pounding rhythms, roaring engine noise, surging guitars, aggressive vocals.

And then it's time for:

"Every one of us has heard the call.
Brothers of true metal, proud and standing tall
We know the power within us has brought us to this hall..."

You don't get a more epic Metal Anthem then 1992's "Metal Warriors". Even if it does declare "if you're not into metal, you are not my friend...". If I'd gone by that decree in my youth, I would have had even less friends. And I might not have the balls to take it, but I sure as hell wouldn't leave the hall (although I would probably have brought some ear plugs).

A rather sinister beginning to "The Demon's Whip" - more reminscent of black metal than power metal. Snarling demons, raging fire. Even the pounding, steel edged guitars makes one think of black metal - although the vocals are pure Manowar. Not a bad song, but I think it would have been better to end on Metal Warriors. There's some seriously shrill guitar here. And the false ending made me jump!
The drumming is far too fast, that can't be natural or real.

After it finishes, the silence left from the sheer intensity and enthusiasm seems odd. I almost expect my ears to be ringing, the world just seems too quiet now. And I wasn't even playing it that loud!

My only complaint about this cd is the quality. It's cheap. Even at full volume (and you want to play Manowar loud) it's not able to reach the intensity of more modern cds. Plus the bass lines and drums need to be lower and more ominous on some of the earlier tracks, it's all a bit high and tinny - like it came off a record. The later tracks are a bit clearer and you can't fault the band for the poor quality of a cheaply pressed CD I bought for peanuts.

If you want pretentious posturing, bombastic rifts, very versatile vocals, galloping intricate guitars, pounding drums, ridiculous lyrics and muscular guys wearing only their underwear, then check out Manowar. They're awesome, really.

No really!

And I wouldn't be a sister of true metal if I gave them anything less than 9/10.

* You may have wondered why I haven't put up the cd covers before. Partly it was due to copyright concerns - I'm not sure I'm legally allowed to, and mostly it was from sheer laziness - I'd rather be dissecting the music rather than trying to scan things straight. Besides, most album covers can be found by a simple google search.

Mercury Rev - All is Dream (2001)

My brother introduced me to this band (well, their music, I've never met them - alas). He is responsible for some of the stranger albums in my collection (most of which I haven't got to yet) as he sees it fit to educate me on non-metal genres. And occasionally metal genres as well.

This is probably my favourite album this century (although "Secret Migration" is also magnificant). I ADORE Mercury Rev's middle albums (not so much the older or the newer ones, however). Their delicate combination of vocals and instruments, the evocative, playful nature of the music... Not to forget Jonathan's beautiful voice. There's just something so joyous, so rousing, so alive about this album.

I have no idea how to classify them. According to Wikipedia, they're "dream pop" and similar to Flaming Lips. These guys are far better, however. Not that I've really heard much Flaming Lips.

The album cover is beautiful - a psychadelic array of colour - a whimsical acrylic painting that is utterly over-complex. To complicate matters, the lyric sheet is out of order, but I'm going to conclude that mine was merely assembled incorrectly. As was my brother's. Hrmmm.

We begin with the stirring "Dark is Rising", a song that lights a chord in my heart and makes my spirit soar. With its melancholic bridges, and soaring choruses, it is haunting and magnificant and just damned beautiful.

Following it is the gentler "Tides of the Moon". A sweet and sensitive song.

"Chains" starts with piano and a bit of a rock beat. Jonathan's voice is sweet - and he would be the first non-female vocalist I would label as sounding "ethereal".

The ghostly "Lincoln's Eyes" sends shivers down my spine. With lyrics like:

"... fragile as a seahorse..."

This song actually feels quite fragile, ephermeral, like wisps floating in the air. Actually, now that I'm actually reading the lyrics - they're really very random and weird:

"... covets like a dragon, grows to a shark length contracts to amoeba lives in your soul an' loves you like I do..."

I'm not sure what it means, but I love it.

"Nite and Fog" is a simpler song, which, because this is Mercury Rev, means not very simple at all.  It has a bit more of a beat to it, a little faster pace. The instruments seem to speak.

Now, looking at the lyrics to "Little Rhymes" I wonder is that a typo? "Staighre... to nowhere climb..." I'm pretty sure it's "stairs" right? No wait, it's a type of folding attic stair - haha, I just learned a new word. That'll be useful in Quiddler. It sounds sweet, but the lyrics are tinged with a hint of the sinister and sad. Like a lonely child, huddled in the attic, making little rhymes and taking pills to try and forget the harshness of the world outside.

My favourite song is the wonderful "A Drop in Time". I love the playful nature of the music, the way it flits and flickers like a hummingbird darting on the air. It skips and dances in my ears and sets my soul to fly with the instruments. The lyrics are kind of romantic too. I could listen to this song all day. Maybe I shall (I'm already playing it for the second today). What's with

"... a fleeting thought caught inside of Leonard Cohen's mind..."?

I think my favourite bit is the twiddly bit with the birds. Especially as I've been drawing hummingbirds today.

"You're My Queen" is another sweet, sensitive number. A song with few lyrics, but a good rhythm and a great chorus - every woman should be told that she is someone's Queen.

 "Spiders and Flies" is a cute little song, with lots of piano.

We conclude with "Hercules", a strong finale that starts soft and gentle but soars and expands in power and majesty.

For its atmosphere, its poetic nature, its vibrant music and beautiful vocals, I shall rate this CD 10/10.