Treponem Pal Holy Dirty Money

The Fantômas Melvins Big Band - Kentish Town Forum, London 1st May 2006 (2008) {DVD5 PAL Ipecac Recordings IPC102}
DVD5 -> 3.89 Gb | All Regions | PAL 4:3 | Dolby AC3, 2 ch | ~ 78 min | ISO Image
Full Artwork @ 300 dpi (png) -> 17 Mb | 5% repair rar
© 2008 Ipecac Recordings | IPC102
Rock / Experimental / Avant-Garde

Recorded on May 1, 2006 at Kentish Town Forum, Live from London 2006 features the amassed crew of Mike Patton, Buzz Osborne, Dave Lombardo, Trevor Dunn, Dale Crover and Sir David Scott Stone. Filmed by Douglas Pledger, Matthew Rozeik and Alex Gunnis the music is culled from the sole FantômasMelvins Big Band release (Millennium Monsterwork) as well as music from both the Melvins and Fantômas catalogues. Bonus feature is an audio commentary with Danny DeVito, Ipecac co-owner Greg Werckman, booking agent Robby Fraser, Melvins' Dale Crover and Buzz Osborne.

There's a real sense of menace to "Dirty Deeds Done Dirt Cheap," the title song of AC/DC's third album. More than most of their songs to date, it captured the seething malevolence of Bon Scott, the sense that he reveled in doing bad things, encouraged by the maniacal riffs of Angus and Malcolm Young who provided him with their most brutish rock & roll yet…

Released in 1991, Hard as a Rock was the first (and only) album from Canadian rockers Dirty Rhythm. Canada was a major source of quality melodic rock bands in the 80's and early 90's, serving up bands like Loverboy, Honeymoon Suite, Blue Tears, and Von Groove. Unfortunately, Dirty Rhythm wasn't quite at that same level of quality…

"Mellow" might have been recorded in a shipyard–augmenting Jack Hersca's nagging if fetching guitar and Gene Lake's steady if seething drums is a rhythm element that suggests a boat whistle heard across a moonless harbor. Next track the artist makes his pop bid with a catchy femme-chorus refrain and a guest star: Polly Jean Harvey, what a draw! For another three songs, a decent level of musical amenity is maintained: Martina's crooning tale of woe underpinned by low-register guitar/keyb riffs of unspecified origin and Calvin Weston's free drumming, three-note distorto hook beneath Tricky's speed-mumble, xylophonish tinkle countered by a keyb belch like an engine that won't catch. Thereafter the residues of grimy technologies settle into permanent low-level disorder: foghorns lowing, brakes complaining, clocks sounding across windswept nights, locomotives struggling uphill. He's a hater not a fighter, and the devil is in his details. So give that man a set of horns–he's earned them.

The history of BLUES PILLS can seem simple. The rock quartet formed in the Midwest in late 2011 by the bands songwriters Zack Anderson and Elin Larsson went straight from playing at dirty, crowded bars to play at some of the biggest festivals such as Download, Rock am Ring and Wacken Open Air. A true success story. Or? Not really. Under the layers of heavy psychedelic blues rock and Elin Larsson's soulful and powerful voice, the core of BLUES PILLS has always been the restless search for change. Change in the human mind and the musical influences they embraced themselves with, from blackened soul to the trippy rides through 60s garage rock music and the devils blues.