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VRIL


VRIL: The Fatal Duckpond VRIL: The Fatal Duckpond
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After a break of six years, Chris Cutler, Bob Drake and Lukas Simonis, now with added ingredient Pierre Omer, present the second volume of recordings by the elusive VRIL - a band who revive and update both the great institution of the guitar instrumental and the now sadly neglected practice of collective arrangement, intense rehearsal and live studio performance. Appropriate to the half century that has passed since the birth of the form, these hits dodge about, get bored easily and blend both concentration and complexity with the still indispensable traditional qualities that made the genre great: hummability, crafted sounds, nifty arrangements, ridiculous gimmicks and ensemble playing. 'Neither tribute nor parody, these enigmatic pieces are never more nor less than exactly what they are'.... wrote Lothar Preen in his Melbourne concert review....'but perfectly realised'. With film stills, misleading sleeve-notes and storyboard by the Diogenesian recluse Frank Key.

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Vril [Bob Drake, Lukas Simonis, Chris Cutler]: Effigies in Cork Vril [Bob Drake, Lukas Simonis, Chris Cutler]: Effigies in Cork
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Who could have guessed that three unlikely avant-garde musicians would team up to bludgeon their "serious" pedigrees to the extent of "Effigies in Cork" ? Bob Drake (Thinking Plague, 5uu's, Hail etc.) and Chris Cutler (Henry Cow, Cassiber, Pere Ubu) have teamed up with Lukas Simonis (AA Kismet, Dull Schicksall). Together they play a most adrenalised, poppy, rampant slew of twangy guitar originals. At times the legacies of Hank Marvin, Flat and Scruggs, The Ventures and Hendrix are put to shame on this disk, which has disjointed "noun & adjective" songs titles as perplexing as the music itself (Gruesome Pillow, Clairvoyant Pig and Bloated Janitor are but a few). The rhythm tracks were all recorded live (like they were in the old days) with only lead guitar work overdubbed, creating the powerful energy of a "live" performance. The outcome is a perfect equipoise for incomparable virtuosity by means of humor a'plenty, which will get people dancing at your party whilst you smile subversivly like the Cheshire Cat. The drums are "ruffing" all over the place, the bass proudly displays Midas-touched fingers, and the guitars sizzle with madness. Mad Dutchman Simonis came up with the song forms, Cutler got to play out his "The Shadows" fantasies, and Drake took the production techniques to the next level of Pop. Never mind that the cover art is a Deutsche Grammaphon spoof, that the sleeve notes appear to have been written by Egdar Allen Poe, and that the band's name sounds like a dishwashing liquid. This album rocks like the old days in a new way, and is a lot of fun to boot.