Tuesday (November 5, 2013) saw the return of pioneering industrial rock band Nine Inch Nails to Texas for their 2013 Tension Tour in support of the new album, Hesitation Marks.
Nine Inch Nails during the 2013 Tension Tour. Photo credit to Rob Sheridan (image from nin.com)
The show took place in San Antonio at the AT&T Center to a very packed audience. Down in the pit before the fun began, everyone chattered on about the songs they loved most and hoped to see and there was a good mix of NIN veterans seeing the band yet again and newcomers at their first show, all eager and excited.
Tension 2013 comes as the first big tour for Nine Inch Nails since 2009's Wave Goodbye Tour, which at the time was dubbed by founder, creative writer/producer, and frontman Trent Reznor as the end of Nine Inch Nails, at least from a touring perspective (full details of the band's history and an overview of Hesitation Marks can be found here).
The night began with opening act Explosions in the Sky, a post-rock band from Austin, Texas, formed in 1999 that have played previously with Nine Inch Nails. The group delivered a strong set of instrumental "mini symphonies" packed with power and emotion, proving that vocals aren't a requirement for great music. The crowd seemed a little hesitant at first to get into the group's music, but after the first couple songs, everyone was engaged and bopping their heads along. Albeit a bit different of a choice for an opening act, Explosions in the Sky delivered the kind of performance you hope for from an opener and far exceeded expectations by pushing the envelope.
After Explosions in the Sky, Nine Inch Nails hit the stage with current live line-up featuring Trent Reznor (vocals, guitar, keyboard), Robin Finck (guitar and some keyboards), Alessandro Cortini (keyboards), Ilan Rubin (drums), Josh Eustis (keyboards, I believe), Pino Palladino (bass guitar), Lisa Fischer (backing vocals), and Sharlotte Gibson (backing vocals).
Trent Reznor. Photo taken by me.
The night began with the third single off of Hesitation Marks, "Copy Of A," which immediately drew the crowd in very close. Afterwards, the group launched into several older songs, mostly from 1989's Pretty Hate Machine and 1994's The Downward Spiral, which were met with a very raw energy from the crowd and loud singing along. The set also featured a healthy amount of the new album and mixed in several other big Nine Inch Nails hits from recent albums, including "The Hand That Feeds" (from 2005's With Teeth) and "Survivalism" (from 2007's Year Zero).
Perhaps the major highlight of the night for fans came during the encore with the live debut of "All the Love in the World" (also from With Teeth), which was met again with a fervent crowd. The instrumental ending note of Hesitation Marks, "Black Noise," was much drawn out and done extremely well in its array of layers and noises. The night ended with the classic track from The Downward Spiral, "Hurt."
Trent Reznor again, at the end during "Hurt." Photo taken by me.
Overall, Reznor still puts on a show with high intensity and flawless vocal performance. The members of his band, most of which are long time touring musicians for NIN, also deliver a strong performance full of raw energy and passion. Having Lisa Fischer and Sharlotte Gibson on backing vocals provided an immensely pleasurable and almost surreal experience that made the show that much greater. And, as is typical of any NIN show, the lighting displays used throughout the show added that extra element of greatness. This was a great show and a shame for anyone to have missed.
The Tension 2013 Tour is wrapping up its North America stint by the middle of November, but if you're near a city where they're playing and tickets are available, you should most definitely go. Don't miss this opportunity to see an engaging and exciting performance. Nine Inch Nails stop in El Paso, Texas, on Monday (November 11, 2013) to play the Don Haskins Center.
Complete Setlist:
I wasn't lucky enough to get a setlist, but here's a picture of the one that was on stage. The songs listed below were the ones actually played.
Copy Of A
Sanctified
Terrible Lie
March of the Pigs
Piggy
All Time Low
Disappointed
Came Back Haunted
Find My Way
Into the Void
The Frail
The Wretched
Echoplex
In Two
Survivalism
Running
A Warm Place
Somewhat Damaged
Wish
The Hand That Feeds
Head Like a Hole
ENCORE
All the Love in the World
Even Deeper
While I'm Still Here
Black Noise
Hurt
Author's Note: Nine Inch Nails on their last tour was actually the first show I had ever been to. I was blown away by the show but my only regret was that if this were to be the end of NIN, I had seen them from way up in the nosebleed section. It was then that I determined I would get tickets early to shows and arrive as early as I could for great spots. When NIN announced this tour, I quickly got my GA ticket through the nin.com pre-sale, and made the drive down from Austin to San Antonio. It was worth every penny and then some. The emotional rush I felt as NIN closed with "Hurt" was beautiful and a moment that shows just how much music can touch a person's life (though that song is fairly dark). Support your favorite bands - go see them, buy their merch, and buy the music.
Last night (October 18, 2013), hardcore gone alternative rock outfit AFI was in Austin playing at The Mohawk to a completely sold out crowd. About half way through their US tour and on the heels of their newest studio album, Burials, being released on October 22nd, the group were in high spirits and looking and sounding better than ever.
AFI. Left to right: Hunter Burgan (bass guitar), Jade Puget (guitar), Adam Carson (drums), and Davey Havok (vocals). Promo photo
The night began with Coming (Los Angeles, CA, formed 2012) as the first opening act. Sounding a bit like The Birthday Party with a little more of a hardcore and funk edge to their songs, Coming got the crowd engaged from the beginning putting on a nice and energetic show. While perhaps only a couple people in the audience had heard of them before, Coming were able to get some heads bopping and get fans set for what would be a packed night of excitement.
Coming. Left to right: Dustin (guitar and vocals), Billy (bass guitar), and AJ (drums). Photo from their website.
Things continued with Touche Amore (Los Angeles, CA, formed 2007) taking the stage. As the first song began, immediately the crowd pulled in very tight, with a good half of the audience singing loudly to each song. Plenty of crowd surfers and stage divers set the tone for the show. If there were doubts about whether this was a punk/hardcore show, they were quickly answered then. The group surveyed songs throughout their career and kept the audience immensely engaged throughout. For those who had never heard of Touche Amore before, many came out new fans of this hardcore group.
Touche Amore. Left to right: Elliot Babin (drums), Clayton Stevens (guitar), Jeremy Bolm (vocals), Tyler Kirby (bass guitar), and Nick Steinhardt (guitar). Image from MetalInjection.
However, the night was to be won by AFI. Entering the stage in total darkness, Adam Carson went to his drum set, followed by Jade Puget carrying in a specially designed Gibson Les Paul Studio with the new Burials artwork on it, followed by Hunter Burgan carrying a black bass guitar (possibly a Fender?), and lastly with frontman Davey Havok donning his new signature jacket which prominently features on upside down cross made of pyramid studs on the back.
The group opened with "The Leaving Song, Pt. II" from 2003's Sing the Sorrow, immediately lighting the crowd on fire. Unlike more recent shows from AFI, Havok seemed to welcome the audience interaction, himself jumping into the audience during their opening number. The set went on to include the first song revealed from the forthcoming album Burials, "I Hope You Suffer," (which we reviewed previously here and you can watch a live performance of below) which was met with loud singing from the entire audience and a certain pride from the band at seeing their fans singing along to a song that has not been out for very long.
As the night continued on, fans did not relent on singing along even as AFI pulled out songs from their older material that haven't been played more recently, including "Ever and a Day" from 200's The Art of Drowning and "Over Exposure" from 1998's A Fire Inside EP. Peculiarly, the set only featured one song from their previous album, 2009's Crash Love, "Beautiful Thieves." (Video of this one from the show is featured below.) The night was rounded out with a three song encore that included their tribute cover of The Cure's "Just Like Heaven" followed by "Dancing Through Sunday" and "Silver and Cold," both from Sing the Sorrow.
Overall, the performances from all three groups were great, though AFI being the main attraction certainly did not disappoint and even stole the show in the end. There were some slight sound issues for all three groups, but with how loud the audience sang the entire time, that didn't change the intimate feel the show had. AFI's tour with Touche Amore continues, stopping in Tempe, Arizona, at the Marquee Theater on Sunday. Check them out on the remaining tour and catch their new album, Burials, due out on October 22nd. Also, be on the lookout as Adam Carson and Hunter Burgan hinted after the show to us that a bigger tour is in the works to bring them back on the road supporting Burials in early 2014.
Today's long awaited Music Review will be over the newest album from new wave/synthpop/electronic musician Gary Numan, 2013's Splinter (Songs From a Broken Mind).
Cover art for 2013's Splinter (Songs From a Broken Mind)
Gary Numan is perhaps best known for his work over the years in pioneering electronic, and to some extent, industrial music. His more recent albums have taken on a darker, heavier tone, but instead of being a one-trick pony, Numan constantly improves upon his style, bringing something new each time around. Splinter (Songs From a Broken Mind) sees Numan once again setting the bar high, and even far exceeding expectations with an album that may come (dare I even say it) in time to be his biggest yet (it certainly is already his best in more recent years, though not to say the other newer albums have been terrible).
Splinter (Songs From a Broken Mind) is Numan's first album since 2011's Dead Son Rising (though most of the songs were from old demos from prior records, so some people consider 2006's Jagged to be Numan's prior album of new material). While this new work was not immediate in release, it perhaps speaks to so much of what has kept Numan preoccupied in the interim. Regardless of whether or not the album is an introspective look at Numan's life these last few years (which has included very personal struggles emotionally, health concerns especially with his wife more recently, and the challenges of becoming a parent three times over, among others), the album exudes the feelings of what remains after the mind breaks, the splinters and shards that one tries to put back together to create some semblance of reality and even the desire to go back in time and prevent this shattering from happening in the first place.
Gary Numan signing lithographs to be sold with bundles for the new album. He took this photo and posted it up on his official Facebook page.
This album melds much of the signature electronic sound Numan has been known for over the years. Fans of his early work with the Tubeway Army will be able to recognize a distant similarity between those songs and Splinter, though some digging through the layers is necessary. Others will quickly find a close similarity between Splinter and much of Trent Reznor's work with Nine Inch Nails (a band Numan has revealed to be one of his major, recent influences that has helped contribute to the darker sound his last few albums have included).
Stand out songs on this album include the heavy synth number (where you can feel some of that old Tubeway Army style come forward) "Everything Comes Down to This," the first single off the album "I Am Dust," the softer ballad-like "Lost" that proves the turning point in the album and speaks to the title of the album, and the insanely catchy synth/industrial song "Love Hurt Bleed."
Numan is currently touring lightly in the US, opening for Nine Inch Nails in Florida at the end of the month, before heading off to Europe for some additional dates. Hopefully this is just the beginning of a major tour to support this new album as it is surely a treat to see Numan in action on a stage. If you happen to be near a stop on the current tour, you should definitely check it out.
Tuesday (September 17, 2013) night marked the sighting of a legend here in Austin - Peter Hook of both Joy Division and New Order fame. Hook played at The Belmont with his current band, dubbed The Light, with an ambitious goal - to play the first two New Order albums in their entirety.
Peter Hook and the Light. On the left is Jack Bates (bass guitar), center is Peter Hook (vocals, bass guitar, and melodica), and on the right is Paul Kehoe (drums). Photo taken by me.
The night began with a rather mood setting light rain before opening act Slaves of Venus took to the stage. Hook had mentioned earlier in the day via his Twitter account that there would be a special treat for anyone who showed up early for the opening act. Arriving to the venue an hour and a half before doors opened, I sat and speculated with others as to what it could mean. My guess was that Hook might do a song with this mysterious Slaves of Venus group (I could hear them doing Joy Division's "Atrocity Exhibition" during the sound check, so I was hoping he may guest with them on that song). How little did we know.
The rain set in for a few minutes, the skies very dark and brooding. If I didn't know any better, it felt as if Ian Curtis (singer of Joy Division until his death in 1980) was looking down on the show about to happen, setting the mood, and wishing us well. Slaves of Venus took to the stage shortly after the rain subsided. The surprise? Slaves of Venus was really just a name Hook created for him and The Light. The bigger surprise? This first act would feature an all-Joy Division set. Immediately the drums set in to the beat of "Atrocity Exhibition," met by fans cheering loudly and singing along to the song with Hook. An interesting change that was quickly seen was Hook taking charge on vocals and leaving the majority of the bass guitar work to his son, Jack Bates. Perhaps the high point of this rare treat was when Hook belted out Joy Division's infamous numbers: "3, 5, 0, 1, 2, 5!" The group rolled into "Warsaw" to a frenzied crowd, most of which joined in screaming out "3, 1, G!" with Hook as the song progressed (I posted the video I took below. Sorry, I missed the very beginning). The set was rounded out with one of my favorite Joy Division songs, "Heart and Soul," and ended with "In a Lonely Place."
After a short break, Peter Hook and the Light returned to the stage, beginning by playing through the entire first New Order album, Movement. While New Order in time deviated from Joy Division by bringing in more synthesizers and a somewhat lighter mood, Hook brought more of the punk feel that was characteristic of Joy Division and several of the bands that helped influence Joy Division, leading to an immensely energetic show and an eager audience. Each song left the listener anticipating the next, wanting more, constantly feeling "pumped up." After finishing the whole of Movement, the group took a break for a couple minutes before returning to play the second New Order album in full, Power, Corruption, and Lies. My personal high point here was listening to everyone in the crowd sing along loudly to "Age of Consent." It was truly a magical moment.
Having already played for somewhere on the order of two hours, Peter Hook and the Light returned to the stage once again amid loud chanting and roars of excitement for an encore. They launched into "Hurt" and "Everything's Gone Green." At one point, Hook asked the audience if it was time to go home yet. We yelled back a resounding "No!" His reply? "Fuck me. I had a feeling you would all say that!" After grinning to the crowd, he led the group into "Temptation." The night rounded out with one of New Order's most well-known songs, "Blue Monday" (I've posted below the video I took of them playing this).
In the end, Peter Hook is one of those legends of his genre where you know he could be uppity and full of himself, and no one would say anything except "Well, he's freaking Peter Hook. Come on, the guy essentially created post punk." Instead, Hook got very close to the audience while playing, waved to people on the upper balcony, threw his sweaty shirt out to the audience, gave a young girl a towel he wiped his face with, and chatted to people every now and then between songs. The backing band sounded amazing and as you may expect, Jack Bates learned very well from his father, bringing that immensely unique sound Hook has (listen for it in any of New Order's material...his bass guitar work is what really sets those songs apart and distinguishes them...it's also that work that allows you to instantly recognize a New Order song even if you don't actually know it). My only gripe about this show? The setup on the small stage made it where the person on keyboards was hidden behind some amps the entire time. He sounded awesome, but sadly, no one could see the fellow.
Peter Hook (left) and guitarist David Potts (right). Photo taken by me.
While The Light's US Tour has wrapped up, Hook has hinted at plans to return in the future and eventually play through all the New Order material. Should he ever come to a town near you, you should not miss out on seeing this legend in action. This was a mighty fine treat and easily one of the best shows I have ever been to (and I'd like to think I've been to quite a few good ones over the years).
Rating:
5 out of 5 (if I could, I'd be obscene and rate it even higher)
Sunday (September 15, 2013) marked the return of the experimental synthpop and darkwave project of Wesley Eisold, Cold Cave, to Austin, Texas. Cold Cave has visited the Live Music Capital of the World previously, but as Eisold pointed out during their hour long set, this was their first time playing a headlining show in the city.
Wesley Eisold of Cold Cave. Image from the Brooklyn Vegan website.
The show took place at one of Austin's established Red River District music venues, Red 7, to a near sold-out crowd. Douglas J. McCarthy of Nitzer Ebb fame served as the night's opener, playing selections from his first solo album Kill Your Friends (released in late 2012). Accompanied by Cyrus Rex on synthesizers and programming, McCarthy's solo work deviates from the post-industrial and EBM sound that Nitzer Ebb helped pioneer in the early 1980s, taking on a more synthpop and electronic feel that results in songs any dance club could play and get people to dance to. The crowd bopped around to the music as McCarthy sang each note with clear precision and danced manically on stage to tunes like "Evil Love" and "Move On." While McCarthy is a well respected musician for his work in Nitzer Ebb, his solo work does leave a little more to be desired, with programmed beats that sound similar across his songs and most songs featuring the same few lines of lyrics repeated throughout. As an opening act, McCarthy got the job done and kept the audience engaged.
Douglas McCarthy. Image from his artist page on Last.fm.
Cold Cave took to the stage just shortly after 11:00pm. Over the years of different touring cycles, Cold Cave has endured several renditions, from full bands performing, to just Eisold (who is the sole consistent and contributing member to the project) and a person on keyboards. The night's lineup featured just Eisold on vocals and current girlfriend Amy Lee (not to be confused with the Amy Lee of Evanescence fame) on synthesizers.
The set began with catchy beats and interesting visuals on the screen behind Eisold and Lee, instantly lighting the crowd on fire. The second song of the night, "Confetti," was met with much dancing and singing along (a video someone took of the song is posted below). Roughly halfway through their third song, "God Made the World," the show took an interesting turn when technical issues popped up, causing the music to cutout and bringing the show to an abrupt halt. After a few minutes of Eisold, Lee, and a worker at Red 7 trying to resolve the issues (with Eisold trying to crack some light jokes into the mic for the crowd), the duo decided to give up on the visual aspect of their performance as that seemed to be the only way they could get the music to play again.
After the minor mishap, the show continued on with a strong performance from Eisold. Lee contributed backing vocals on several songs in addition to working the synthesizer that helped tie the songs together quite nicely. The crowd danced along and shouted out the lyrics as Cold Cave played several of their newer songs, including from 2011's Cherish the Light Years "Confetti," "Burning Sage," and "Icons of Summer." At one point, Eisold asked the crowd what they'd like to hear. Amid shouts for "Confetti" (which Eisold told the crowd had already been played and smiled lightly at everyone for perhaps missing that amid the technical issues earlier in the night) and "The Great Pan is Dead," Eisold selected a request for "Underworld USA" which ignited the crowd more so than they had been before (a video of "Underworld USA" and "Icons of Summer" that someone took at the show is posted below). After about an hour long set and a small encore, Cold Cave left the stage for the night.
On the whole, the show was great through and through. McCarthy gets the job done as an opening act, but there are moments when it feels like he's trying too hard to simply be himself. He's Douglas McCarthy - he doesn't need to prove anything to anyone. True to form, he was spot on vocally and kept the crowd engaged, even if some of his dancing was more interpretive than anything else. And while technical issues forced Cold Cave to drop their visual effects, both Eisold and Lee do a sound job engaging the audience and performing with a raw emotion that left the audience simply wanting more. The visuals would have been a nice compliment (before they cut out on "God Made the World," the visuals would dim and brighten in rhythm with the synthesizer), their lack certainly didn't make the show less worthwhile.
Cold Cave wrap up their North America tour with Douglas McCarthy Friday night in Los Angeles at The Echoplex and are set to play two dates in Russia in November. Check out their recent 7" releases for "Oceans With No End," "God Made the World," and "Black Boots." A new album, tentatively titled Sunflower, is slated for release sometime next year.
Ratings:
Douglas McCarthy - 3 out of 5
Cold Cave - 4.5 out of 5
Today's Music Review is of the newest offering from industrial rock outfit Nine Inch Nails, 2013's Hesitation Marks.
Album cover for Hesitation Marks
Nine Inch Nails originally formed in 1988 in Cleveland, Ohio, by frontman and only consistent member of the outfit Trent Reznor. Since the group's conception, Reznor has maintained sole responsibility for the band's direction, writing the majority of the music and lyrics, playing most instruments for recordings, and being a main producer of each album itself. The first album, 1989's Pretty Hate Machine, did not fair too well on record charts but in time became one of the first independently released albums to achieve platinum certification (meaning over 1,000,000 copies have been sold of the album since its release). In 1990, Nine Inch Nails began touring and opening for acts like The Jesus and Mary Chain and Peter Murphy (who would go on to become good friends with Reznor and collaborate with him on covers of both Bauhaus and Nine Inch Nails material).
Trent Reznor (left) and Peter Murphy (right), probably around 2006 when Bauhaus was opening for Nine Inch Nails. Photo from Last.fm
Following touring to support the debut album, pressure mounted on Reznor to produce a follow-up album. However, Reznor was having a hard time coming to terms with the label Nine Inch Nails was on at the time, wanting the band's contract to be terminated. Ultimately, Nine Inch Nails was allowed to switch to a different label, but all new material Reznor had been working on had to be recorded under various pseudonyms to avoid the original label from confiscating the material. In the end, the material recorded in this shaky period was released as 1992's EP, Broken.
Broken, despite being only an EP with six songs, was a major success for the group. The album charted in the top 10 and won the group two Grammy awards (one for a live performance of "Happiness in Slavery" from Woodstock 1994 and the second for the album's second single, "Wish"). Despite the successes of Broken and some reworked material on the follow-up EP (released later in 1992, Fixed), Reznor did not take Nine Inch Nails on tour for this material. Instead, he holed up and began writing new material for the next full length album.
1994 saw the release of what many regard as the best Nine Inch Nails album, The Downward Spiral. The album debuted at number 2 on the charts and remains the highest selling album of the band's tenure, having sold more than five million copies worldwide since its release. Despite the album's overwhelming success, none of its singles fared well, with "Closer" being the highest ranking at a rather mediocre 41 on Billboard's Hot 100 chart (the video is below, but be warned, even the director's cut version can be offensive to some people). The album does include the more introspective and, comparably to the rest of the album, mellow "Hurt" which has gone on to be covered by a slew of musicians, including Johnny Cash and Peter Murphy.
It would be five years until the next Nine Inch Nails release, 1999's double album The Fragile. The album garnered much media attention in the year leading up to its release and debuted at number one on the charts. Despite the high debut and media frenzy leading up to its release, the album received mixed reviews and fell out of the charts over the next week, at the time setting a record for dropping from number one to nothing the fastest (a record that has since been broken). Subsequent touring to support the album was funded purely by Reznor. Various remixes of songs from the album would be released over the next year, mostly to poor reviews.
2005 saw the release of the next big album for Nine Inch Nails, With Teeth. The album also debuted at number one on Billboard's charts. Most reviews were positive for the album, praising it as a return to the original Nine Inch Nails sound. Some reviews knocked it, feeling Reznor had run out of ideas and was repeating what he had done before in an effort to just make some money. All three singles from the album ("The Hand That Feeds," Only," and "Every Day is Exactly the Same") would top Billboard's Alternative Songs chart. To wrap up touring for the album, Nine Inch Nails performed at several festivals and amphitheaters in 2006, notably with one of Reznor's major influencing bands, Bauhaus, as openers (and as a fun factoid, this stint of touring would be the last for Bauhaus before their final split).
2007 saw the release of Year Zero, an album that marked a change in the slow release schedule of the prior albums and one that was a concept album aiming to criticize the United States government and policies in place at the time and what their effect would be in the next fifteen years. Overall, the album received largely positive reviews and would spurn a remixed version of the album. The remixed album would fulfill the contractual obligations of the band to Interscope Records, a contract that would not be renewed.
In 2008, messages on Reznor's website appeared and simply stated "2 weeks." There was some speculation of a new album, but the thought of a new album seemed equally silly as Year Zero had just been released. In March 2008, however, two weeks after the message appeared, Ghosts I-IV was released, a 36 track instrumental saga that could be downloaded for free (in part) or purchased on various media formats. The album is licensed under Creative Commons Attribution Non-Commercial Share Alike (basically, people can freely share this album as long as they don't look to make profit from it). A similar "2 weeks!" message appeared on Reznor's website in April, and true to form, two weeks later in May 2008, the double album The Slip was made available as a free download (under the same Creative Commons license as Ghosts I-IV) and later released as a limited edition CD of 250,000 copies.
2009 marked the Wave Goodbye Tour, which was promoted as the farewell tour for the band. The group performed several of their hits from the previous albums and only played minimally off the more recent albums. Following what seemed to be the end of Nine Inch Nails, Reznor went on to form the band How to Destroy Angels with newly married wife Mariqueen Maandig and longtime collaborator Atticus Ross. The group has since released one EP and one full length album. Reznor and Ross would also go on to produce soundtracks to a few movies, notably "The Social Network" and "The Girl With the Dragon Tattoo."
February 2013 marked the official return of Nine Inch Nails with the revealing of a new album to be released later in the year and confirmed touring to support the new album. Throughout the summer of 2013, three singles from the upcoming album were released with the first single, "Came Back Haunted," given a music video directed by the infamous David Lynch (see my review of the first single here: Click Here!)
September 3, 2013, marks the release of the first new Nine Inch nails album in roughly five years - Hesitation Marks. The album title, referring darkly to the first cuts one makes in attempting suicide, sets the tone for what may be one of Reznor's strongest albums yet, combining the musical exploration and textures prevalent on The Fragile with a dash of experimental ambiance found on The Ghosts I-IV with much of the anger and emotion coming through in parts of Pretty Hate Machine and The Downward Spiral. Lost on this album is much of the commercial feel recent albums like With Teeth and Year Zero contained (and especially loses the overproduction feel that both Year Zero and The Slip often had), instead opting for a more exposed look and feel that may even hint at some of Reznor's past personal problems with alcohol abuse.
The album evokes feelings of losing oneself and feeling like you have reached the lowest point without any means of escaping it (as felt in "Find My Way," an emotional slower tune), and feelings of trying to move on but being incapable of doing so (such as in "Came Back Haunted" which may refer to Reznor's attempt to leave Nine Inch Nails behind to work on other things, but inevitably being haunted by a desire to work more in this vein and continue on). Half way through the album is the catchy tune "Everything" which serves as a transformative moment on the album (with the first half focusing on the darkness and feelings of loss and hopelessness and the second half focusing more on finding a way out of that darkness and surviving). The album closes on the dark, brooding instrumental piece "Black Noise," which may suggest that no matter how you try to escape your troubles, they will always be looming around the corner, waiting. There is no escape, only survival.
Some notable tracks to listen to include "Copy of A" (which features a rather unexpected contribution with Fleetwood Mac vocalist Lindsey Buckingham), the first single "Came Back Haunted" which proves to be chilling in its own right, the transformation rock hit "Everything," the edgy and pressing "Running," the brooding and expressive "I Would for You," and of course the final note of the album in its dark glory, "Black Noise."
Compared to the rest of the Nine Inch Nails catalog, Hesitation Marks may not be as good as Pretty Hate Machine or The Downward Spiral. The album however is perhaps one of the best Reznor has made since The Fragile, combining glimpses of Reznor's personal struggles, his methodical composing, enough experimentation to be unique yet not alienating, and enough of an emotional experience to hold up with the best albums from Nine Inch Nails. It is an album that has evolved greatly from the early Nine Inch Nails albums, but I think after a few listens, if you open your mind to the music and understand how a musician can evolve over almost twenty-five years, you start to see where this album is still the same edgy Nine Inch Nails they were back in the early 90s and how they have also become a more calculating and at times introspective brooding entity that slowly washes over you. If you're a long time Nine Inch Nails fan, this album is sure to please. And if you're new to the band, this is one great album to get you started on their full body of work. Be sure to catch Nine Inch Nails on their upcoming Tension 2013 tour (I know I will when they play San Antonio in November).
Today's Concert Review is of My Bloody Valentine when they played the Austin Music Hall in Austin, Texas, on August 16, 2013.
My Bloody Valentine. left to right: Kevin Shields (guitar, vocals),Colm O Ciosoig (drums), Bilinda Butcher (guitar, vocals), and Debbie Googe (bass guitar). Image from their Last.fm artist page.
Allow me to admit openly that I do not listen to My Bloody Valentine nearly as much as I should. In general, I like the shoegaze genre, but I find I have to be in a particular mood to really get down to listening to songs that are part of the genre. I don't know why, but that's how it goes for me. So, walking into this show, I knew it'd be great, but I had no idea what I was in for.
To begin, the opener was a one-man band going by the name New Fumes (Daniel Huffman, as he is known to others when not on stage). I cannot seem to find much about New Fumes, but according to his artist page on his current label's site, Good Record Recordings, Huffman has been part of a few bands in the 90s and has done several collaborations with the Flaming Lips. Also a fellow blogger (kudos!), Huffman has posted some different covers he's done in recent time.
Musically, New Fumes is very experimental. As Huffman took to the stage, he thanked us for coming and said "And now I will begin with some noise." And well, that's exactly what it was. Armed with a laptop, some effects pedals, perhaps a small synthesizer of some sort (this is why I don't do keyboards...I have no idea about any of them, haha), he began by looping various sounds and adding and taking out layers of noises. Sometimes he would get on guitar, one of his preferred instruments, and play more layering effects there. What this style reminds me of, in a certain sense, is Daniel Ash's guitar style. No, I don't mean to say New Fumes sounds like Bauhaus. Not even close. But Daniel Ash is typically referred to as a texture guitarist, using the guitar to make sounds that go beyond just regular notes and chords, but instead adding a layer of intricacy to the music. That's essentially what the guitar parts for New Fumes sounded like to me, an added layer. There were some vocals, but true to shoegaze form, they weren't easily discernible and perhaps served more as yet another textured layer more than anything else.
New Fumes (AKA Daniel Huffman). Image taken by my friend, Laura Davila.
I believe New Fumes played four or five songs (they're each fairly long and Huffman didn't really break between songs, so it's hard to know for sure as I'm not familiar with his work). The audience seemed to really enjoy New Fumes as an opener (though one person did yell out "Freebird!" to which Huffman just smiled and laughed a little, so good on him for taking that in stride). Personally, it wasn't exactly my cup of tea. I could maybe get by with listening to it at my desk while working, but as a live act, it didn't get me pumped up or anything for My Bloody Valentine.
After New Fumes left the stage, it was time to get ready for My Bloody Valentine. The stage was cleared fairly quickly, but it took a while to make sure all the instruments were in tune (I didn't realize this at the time, but everyone used a good three or four instruments during the set!). Right before My Bloody Valentine took to the stage, the screen behind all the equipment lit up in a beautiful display with the letters "M B V" written out. It was time!
m b v. Image taken by my friend, Laura Davila.
My Bloody Valentine formed in 1983 in Dublin, Ireland. Things were rather slow for the group in the beginning. It wasn't until 1987 when their lineup would be solidified with Kevin Shields on guitars and vocals, Bilinda Butcher also on guitars and vocals, Debbie Googe on bass guitar, and Colm O Ciosoig on drums. Their debut mini album, This is Your Bloody Valentine, did not receive much acclaim and the follow-up EP, The New Record by My Bloody Valentine, was only met with small success (the EP did reach number 22 on the UK indie charts in 1986). After several relocation efforts, the group eventually settled in London. After recruiting Bilinda Butcher as co-vocalist for the group and having Kevin Shields take on the other half of vocals in addition to remaining guitarist for the group, Ecstasy was released. The album garnered moderate success, though it did receive its fair share of negative commentary with some reviewers feeling the album was half finished at best.
In 1988, My Bloody Valentine switched to Creation Records and released their first full-length album, Isn't Anything. The album was an immense success and put the group on the map. The album would go on to influence several shoegaze bands following the group. The sophomore album, however, would prove to not be an easy endeavor. Beginning in 1989, the group changed studios 19 times, hired several sound engineers, and did not come out until the end of 1991. While Loveless also gathered immense praise, it was a commercial flop. Given the extended recording period and conflicts between Creation and Shields, My Bloody Valentine was dropped from the label.
My Bloody Valentine, probably in the early 90s. Image from Paste Magazine.
In 1992, My Bloody Valentine signed to Island Records. However, Shields began suffering a bout of writer's block. For the next five years, the band would remain largely inactive, releasing only a couple cover songs. Eventually, each of the four members left the band to either pursue other interests or disappear from the public eye. My Bloody Valentine was over by 1997.
In 2007, rumors circulated that My Bloody Valentine were reuniting and would play Coachella. This wasn't the first time the band were rumored to reunite, however. Similar rumors surfaced in 2003 and turned out to be false. However, Shields did confirm these latest set of rumors. Ten years later and nearly fifteen years since they last played a live show, My Bloody Valentine were back. Additionally, the third studio album that they had been working on when they signed to Island Records was reportedly almost finished. The third album, m b v, would not be released until early 2013, but was again met with universal acclaim. Since then, the band has been on tour across the world supporting their newest effort.
My Bloody Valentine are often considered the pioneers of shoegaze. On stage, the group were known for mostly standing stock still and even literally gazing at their shoes. The music of shoegaze acts often relies heavily on various distortions and effects (requiring you to look down so you hit the right pedal anyways). The music genre also includes vocals that blend into the music and aren't particularly discernible on their own, adding to the atmosphere of the music, but making it near impossible to determine what the actual words are that are being sung.
Bilinda Butcher and Debbie Googe. This is how you shoegaze! Image taken by my friend, Laura Davila.
The night opened with "I Only Said" and continued on through most of the album Loveless, a few tracks off of m b v, and songs off the previous EPs and first album. One thing to be said about My Bloody Valentine is that they are LOUD. The beat of the drums becomes your heartbeat and the guitars course through your mind, mingling with your thoughts in an intimate harmony that is fairly unique in a live concert. After a while, much of the songs begin to sound similar (one trick that shoegaze can commonly be plagued with, unfortunately). However, the group maintained a constant energy (even if it's to mainly stand still). Debbie Googe was about the only person to move around some as she absolutely killed it on bass guitar (to which I now really want to learn bass guitar). The group ended the night with their traditional closer "You Made me Realise" which has a portion many fans call "The Holocaust" in which the band play the same note at deafening sound from anywhere between a couple minutes to thirty minutes. Reportedly, we got this audio assault for eight minutes, which even with ear plugs left me with my hearing to my right ear shot for a couple days.
On the whole, it was neat seeing My Bloody Valentine live, and certainly a rare treat that may not happen again. However, much as it's difficult to dance to shoegaze, I find it a bit tough to really enjoy it live as well. This isn't to say My Bloody Valentine were terrible or anything. They certainly weren't. But, I like concerts with more energy, songs I can sing to, and a little variety. It just wasn't personally my kind of show. The audience around me were definitely into the show and you could see the awe on their faces at getting the chance to see these guys. It was a great night, to be sure, just not one I'll be repeating any time soon if for nothing else than the fact that I need better ear plugs before going again.
Setlist: (I didn't even get the chance to take a picture of one, sorry!)
I Only Said
When You Sleep
New You
You Never Should
Honey Power
Cigarette in Your Bed
Only Tomorrow
Come in Alone
Only Shallow
Thorn
Nothing Much to Lose
Who Sees You
To Here Knows When
Wonder 2
Soon
Feed Me With Your Kiss
You Made Me Realise
Ratings:
New Fumes - 3.5 out of 5 (not really my kind of music and the material got to be a bit repetitive early on)
My Bloody Valentine - 4 out 5 (about halfway through the set, it did seem like everyone in the crowd checked out for a bit as there was little variety to the set)
Today's Music Review will cheat a tiny bit and be of not one, but two, offerings from the short-lived collaboration of Peter Murphy and Mick Karn - Dalis Car.
Dalis Car in 1984 - Peter Murphy (vocals) on the left and Mick Karn (bass guitar, saxophone, synth, flute) on the right
1982 was a tumultuous year for both members of Dalis Car. For Peter Murphy, it was the sign of the end of Bauhaus coming. October saw the release of The Sky's Gone Out, a decidedly dark offering from the British rockers that was met with mixed reviews leaning more to the negative side of the scale than positive. Among the four members, there was growing tension about the direction in which to take the band. As tensions mounted, the group toured in early 1983 before settling down to record their fourth studio album. It was during this time that Peter Murphy fell ill with pneumonia, spending time in the hospital and unable to record. The remaining members of Bauhaus decided to go forward without Murphy, writing and recording most of the album before he was well enough to come to the recording sessions. This, combined with unease over Murphy being given more of a spotlight by the press (with a semi solo appearance in the opening scenes of The Hunger and appearances in a string of Maxell ads not helping matters any) resulted in the band disbanding shortly after recording for Burning From the Inside had been finished.
Bauhaus in 1982 before the group split. Left to right - Peter Murphy (vocals), David J (bass guitar), Daniel Ash (guitar, saxophone), Kevin Haskins (drums). Image from Ondarock's website
Similarly, Japan's rise to fame was also becoming characterized by immense personality clashes among the members of the group and eventually deep personal clashes (notably between Mick Karn and David Sylvian). 1982 marked the release of Tin Drum which would be the final Japan album. The album resulted in one of the group's most popular songs, "Ghosts," which reached number 5 on the UK pop charts. The group went on a farewell tour following Tin Drum's release. Most of the members of Japan went on to other projects and solo careers of their own.
Japan. Right to left - Mick Karn (bass guitar), Steve Jansen (drums), David Sylvian (guitar, vocals), Rob Dean (guitar), and Richard Barbieri (keyboards). Image from Japan's Last.fm artist page.
How Peter Murphy and Mick Karn met is a bit of a legend and depends on whose story you wish to follow. Musically, Japan and Bauhaus are not very similar (yes, both rose from the ashes of the punk movement, but Japan was more in the New Wave/New Romantic vein while Bauhaus remained more in the post-punk and media-dubbed "Goth Rock" arena). Per Karn's version, his agent had heard of Bauhaus splitting and saw Peter Murphy as the yang to Karn's yin. Where Karn was not known for being a lyricist and vocalist, Murphy was not know as a musician in the purest sense. His agent suggested the two work together, Karn agreed they try it out, and the two parties came in contact. Per Murphy's version, he was conducting a post-Bauhaus interview and was asked who he'd collaborate with if he could work with anyone. Not thinking anything of it, he said Karn's name as he was drawn to Karn's musical genius. Days later, Murphy came home to a message on his answering machine - from Karn himself proposing they start a new project together!
Perhaps even more mythical is how the duo came to call the new project 'Dalis Car'. One prevailing theory that has been denied by Murphy and Karn attributes the name to a Captain Beefheart song (the song being titled "Dali's Car" from his 1969 album Trout Mask Replica). Another theory centers around an art exhibit in the late 1930s that featured a piece by surrealist painter Salvador Dali (dubbed 'Dali's car'). The final prevailing theory revolves around a dream Murphy had one night of being offered to buy a car from Salvador Dali that would grant a "mystical" experience. Regardless of the true series of events, Karn and Murphy agreed to begin a new project in 1984 and opted to name it Dalis Car.
Things were difficult for the two from the get go. Both preferred to work alone on the songs, sending tapes back and forth through the mail as opposed to working together in the studio. This eventually resulted in their first release, 1984's The Waking Hour (with "The Judgement is the Mirror" released as the only single from the album) before the two split to each embark on their own solo careers. Part of what prompted the split stemmed from the difficult writing conditions and how each wanted to dominate the project (since both had seen success in their respective pre-Dalis Car endeavors). Additionally, reviews of the debut album were far from flattering, pointing out that the album was a literal mashup of the duo's strengths with nothing additional from outside the box. While Dalis Car was not nearly as popular and successful as one would think, it did result in something rather positive for Peter Murphy.
Most of the music and lyrics of Bauhaus were not written by Peter Murphy at all. It wasn't until The Sky's Gone Out that Peter Murphy wrote and composed a few songs on his own (particularly "All We Ever Wanted Was Everything" where he wrote the music surrounding some of the first guitar chords he learned to play while Daniel Ash supplemented the lyrics and "The Three Shadows, Pt. II" where Murphy composed all the music). Post-Bauhaus, there was some doubt as to whether Murphy could pull off a solo career. Did he have the experience? Did he have the musicality? Many skeptics thought not. With Dalis Car, Murphy had more free range in writing the music and the lyrics, proving that he could do this on his own. With Dalis Car dissolved in 1985, Peter Murphy went on to start his solo career, releasing his first album in 1986 (Should the World Fail to Fall Apart). His writing style would initially require a muse through which to convey his thoughts and turn them into actual notes, but the unique method would pay off handsomely with a very loyal fan base and near mainstream success with his third album, Deep.
Still going strong, Peter Murphy. From the May 7, 2013 show on the Mr. Moonlight Tour at Webster Hall in New York City. Photo from The Bowery Presents website.
Over the years since Dalis Car first met, Peter Murphy went on to release eight studio albums and even tried to reunite Bauhaus twice, first in 1998 on the Resurrection Tour (which was to hopefully result in a new studio album, but those plans were cut short as the group quickly disbanded again after the tour) and again in 2005/2006 to tour mostly as openers for Nine Inch Nails (2008 did see the fifth and final Bauhaus album, Go Away White, released, but no touring would take place to support the album as the album itself was barely finished due to more struggles among the members of the group). Mick Karn, on the other hand, went on to release numerous solo albums, collaborated with several musicians, and write a book about his life up to 2006, intending to write another book about his life in time.
By this point, Dalis Car was as dead as Bela Lugosi. No one had really given the short-lived project any thought. 2010 came rolling around, 26 years after Dalis Car had formed and disbanded. In June, Mick Karn announced on his website that he had been diagnosed with terminal cancer (the type was never revealed). His family was struggling financially with the medical costs and they sought help from his fans. Many helped and several tribute concerts were staged to help raise money for the ailing Karn. For fans, this was the worst news they could ever receive. Mick Karn, talented musician, integral part of Japan, master of his own solo work, was dying at the young age of 51.
A more recent picture of Mick Karn. Photo from thegoldenyear.wordpress.com
Unexpectedly, in August of that same year, Peter Murphy posted a video to his Facebook account (which was quickly removed/hidden) where he disclosed to fans that he was teaming up with Karn again to revive Dalis Car one more time and that the two would begin working as early as September. It was the first time the two would see each other since 1985 (link).
While the two planned to record a full length album, Karn's health fell dramatically and quickly. Karn lost his battle to cancer on January 4, 2011, at the age of 52. Only five tracks were finished, released in April 2012 as the EP InGladAloneness. The original Japanese release included a book with photos taken by Steve Jansen (Japan's drummer and who remained friends and collaborators with Karn over the years) and comments from artists who had worked with Karn on his legacy and life. On July 24, 2013, what would have been Mick Karn's 55th birthday, InGladAloneness was made available for purchase again with 100 copies signed specially by Peter Murphy with all proceeds going to the Mick Karn Appeal Charity to help his family.
Cover to 1984's The Waking Hour
The Waking Hour is incredibly characteristic of both Murphy and Karn. The bass licks Karn recorded are unmistakable signatures of his style. Vocally, Murphy sounds much as he did while in Bauhaus, complete with beautiful, cryptic lyrics. Different for Murphy, however, is the style of the music, featuring a slew of other instruments aside from the drums and bass guitar that were heavy players in Bauhaus's music with guitars used mainly to add texture to songs. Also lacking on the album were the screams and shouts Murphy tended to cast in later Bauhaus recordings. On a certain level, Dalis Car was what one might expect - a sum of its parts.
The second track, "His Box," features a Middle East-influenced synth part that makes this track stand out. A gorgeous track, Murphy does wonders in creating the harmonies on vocals. The bass guitar is characteristic of Karn, yet inviting. Flutes and guitars add rich flourishes to this song. Personally, I think this one would have made a fine single as well had the album been viewed a bit more favorably and if Karn and Murphy would have continued further on this project.
"The Judgement is the Mirror" is the only single from the album, characterized with dominating synth and bass guitar to Murphy's smooth vocals. Drums don't feature very prominently on this track. This one serves as a beautiful ending to the album. The music video features both Karn and Murphy dressed in full suits passing off a laserdisc in a manner that nods back to them being the yin to the other's yang.
Other stand out tracks include the synth dominated "Cornwall Stone," the self-titled "Dalis Car," and absolutely stunning musical "Artemis" (which receives a "face lift" on InGladAloneness with some updated instrumentation and lyrics). In all, there honestly isn't a bad track on this album and while it may have elements highly characteristic of both musicians, I don't see why that should be considered a bad thing.
Cover to 2012's InGladAloneness EP
InGladAloneness can be described very succinctly - it is chilling. On the one hand, it amazes me how nothing seems to have changed in the 26 years between this EP and The Waking Hour. Playing the two back to back, you cannot tell that kind of time elapsed. Murphy is vocally spot on and Karn's style is just as glorious as ever, perhaps made slightly better with the passing of time. The composition of each song is true to form with The Waking Hour and the lyrics just as beautiful. The EP brings in a bit more Middle East influence, particularly with the track "Subhanallah" (which, oddly enough, is not a Dalis Car track originally).
There is something absolutely divine to this EP. It feels as if Karn knew this would be his last work. There is so much soul and emotion with every song. "Subhanallah" (translating to "God is Great" from Arabic) is a bit haunting to me. It is a dua (invocation/supplication that is part of Islamic prayer where a Muslim aims to connect with God and ask for forgiveness and favors) that is written in Turkish. While this song was not done originally by Dalis Car (Murphy recorded this somewhere around the turn of the century as it was included on the small issue of VHS tapes of The Grid), it may have been included as a parting prayer of sorts from Murphy to Karn.
The EP ends with "If You Go Away," a peaceful and soft song marked with a backing orchestra arrangement and acoustic guitar to Peter Murphy's soothing vocals. The track is a cover of the popular Jacques Brel song "Ne me quitte pas", which is said to have been one of Karn's absolute favorite songs. The song is a powerful closer to the EP in its softness, presenting a rather emotional end that stands in contrast to the other four tracks on the EP. It is a touching and emotional farewell.
Overall, I hold that this is easily the most underrated and underappreciated of all the post-Bauhaus projects. It holds a surreal uniqueness that is still true to form for both Karn and Murphy. Even more astonishing is how the two could pick up where they left things 26 years later and record a last effort on Karn's part that is beautiful, chilling, and lasting. My only qualm with this project is that there simply isn't more. Rest in peace, Mick.
Today marks a special Music Review (and needed a somewhat witty title that tells you nothing unless you already know). I bring you a fairly rare treat - a review of the 7" collaboration between Rene Halkett and David J, "Nothing"/"Armour."
Album art to "Nothing"/"Armour" featuring original artwork by Rene Halkett himself.
I've titled this post "Bauhaus Meets Bauhaus" because, well...that's what this literally is. Rene Halkett was, from 1923 to 1925, a student of the original Bauhaus school in Weimar, Germany (the original school was open from 1919 to 1925 before moving to Dessau from 1925 to 1932, and then finally moving to Berlin from 1932 to 1933 before closing for good due to pressure from the Nazi regime). The Bauhaus art form is heavily marked by lack of ornamentation and focuses on meshing function of the object or building to its design. The art form also incorporates modernism, leading to rather simple designs, the favored ability of mass production and industrialization, and an overall clean look. While at the famous art school, Halkett worked on his painting and writing talents. After leaving the school in 1925, he became a bit of a newspaper journalist writing for a local liberal print. Once the Nazis took power in Germany, Halkett left the country for England where he became involved at a children's theater as a painter. Halkett would later serve as a translator during the Nuremberg Trails and eventually found himself working the German section for the BBC.
As many of you perhaps know from my prior postings, David J was the legendary bass guitarist for British post-punk group, Bauhaus (originally named Bauhaus 1919, and going so far as to even use the same typeface logo as the art school once had). Since those days, he has gone on to be part of another legendary post-punk act (now more or less defunct), Love and Rockets, and has maintained a fairly constant slew of solo recordings over the years with some touring here and there, recently with opening and backing band Adrian H and the Wounds. He has also been part of several collaborations including (but surely not limited to) appearing on some releases by Porno For Pyros, having done the bass work on Voltaire's 2011 album (Riding a Black Unicorn Down the Side of an Erupting Volcano While Drinking from a Chalice Filled with the Laughter of Small Children), and contributing bass to a track for Amanda Palmer and the Grand Theft Orchestra. As of this writing, David J has released eight solo albums, contributed (maybe even did all the work? I'm not sure) for four film scores, and five EPs on his own.
The indelible Mr. David J. Image from the LA Stage Times.
So, Bauhaus meets Bauhaus, indeed!
I don't know much of the story about how this little project came to be. What little I've unearthed suggests that somehow David J knew of Rene Halkett and where he lived (the back of the 7" sleeve lists Halkett as having been a lecturer and BBC-broadcaster, among other things, so maybe David J saw him on TV or attended a lecture of Halkett's when attending art school?). In 1980, David J (still very much part of Bauhaus the band, which dissolved for the first time in 1983) drove to Halkett's cottage with a tape recorder and the intention of recording Halkett reciting some of his poetry. Later on, David J added music to the background of these recitations and the initial product released was this 7" in 1981. Years later, the two tracks on the 7", an additional track that was much longer, and the original recordings of Halkett speaking only were released as a very limited press CD (about 1000 copies total). The collaboration was rather fortuitous in timing as Halkett passed away in 1983, only a couple years after the two met and recorded the initial recitations. Purportedly, David J inherited a lute from Halkett and used it to make some of the backing music.
For the purpose of this review, I will look at only the two original tracks on the 7".
"Armour" opens with just Rene Halkett reciting his poetry before (and rather abruptly) piano, drums, and bass enter the fray. Everything musically is fairly signature of David J (keep in mind that Bauhaus musically was typically very drum and bass heavy which is relatively unique and rather refreshing at times, and David J clearly brought that mindset forth to this collaboration). The recitation itself is absolutely sublime. Rene Halkett's voice is strong even in his old age and his accent adds a dark touch to the poem. The recording has a slight echo to it, as if recorded in an empty room. The poetry itself is beautiful and a dark delight to behold.
"Nothing" opens with Halkett and some background music (which at the very very beginning sounds like a small portion of the music from "Hollow Hills" was used? The part towards the end before the lyrics basically repeat "So sad...hollow hills...so sad..."). This track is perhaps even more chilling than "Armour." As before, Halkett's voice is clear and David J does a superb job of meshing the music to the poetry (as an example, at one point early in the track, Halkett recites "As if I could remember it, I'd tell - there was that light" and immediately after he says "light" a loud crash sounds).
Ultimately, this is a truly unique and dark collaboration between Halkett and J. How it came to be, I am unsure, but I'm so very glad it did. Rene Halkett shows his skill as a poet and the manner in which he recites his work is chilling. David J does a grand job providing the background music to enhance the recitations and add another level of feeling and emotion to the poems. The only tragedy in this piece of work is that it was only (originally) the two poems (and even with the addition of the third poem on the limited edition CD, it still isn't enough). This is a rare treat everyone needs to listen to.
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