Saturday, October 30, 2021
Friday, October 29, 2021
Tuesday, October 26, 2021
✞ Christian Death | Only Theatre Of Pain (c.1982)
"I'M HIDING BEHIND WALLS YOU CAN'T SEE."
Rozz Williams cleverly chose Christian Dior, the fashion product line, (CHRISTIAN DIOR OR DEATH) as a band name ... This indicated dimension to the simplicity of the name. The namesake was perhaps a nod to Christians fashionably wearing Christianity, a societal nicety outfit, rather than REALLY live spiritual life as Jesus preached. The Beatitudes. We all sin. We are all covered in the BLOOD OF JESUS.
I'm not going to do a psychoanalysis cos I do believe that shit is gay.
But I suspect that deep down, Rozz saw himself as a messiah, a prophet, seeing hisself laid on cross as a Jesus. Jesus as the archetype. And Rozz certainly mused archetypes, particularly all over the brilliantly timeless masterpiece HELTIR "NEUNE SACHLICHKEIT". In fact, all of ROZZ noise projects put THROBBING GRISTLE in the dirt as granddads, PREMATURE EJACULATION WOUND OF EXIT scares all of Hollywood 8ball into pocket.
Let's not teeter off the path...
"KISS ON MY HAND."
Undoubtably ROZZ WILLIAMS, a high art fashion icon, brought a gothic bridegroom cavernous style to 80's L.A. He was a scene unto a scene.
Like plenty teenagers of the day (and this day), gender bending Bowie, left a big impression on Rozz, and given a deep fan of Bowie, he probably had a war room of ideas in his bedroom. One of these fatalistic ideas makes up the poetry of ONLY THEATRE OF PAIN, which instead could be novella, a manifesto, a declaration to what? Only ROZZ and The LORD know.
Rozz poetry without a doubt, is what is forefront, Tis first thing most will take away upon first listen, the lyrics and that tired yet raspy crawling voice. The lyrical themes include spirituality, death, hypocrisy, sodomy, art, necrophilia, theatre, sex, sexual abuse. There are enhancing tricks such as; bells, back masking, sounds of wind or sea(?), organs? synths?, airy atmospherics, Thom Wilson handled production (1 of my favorite albums T.S.O.L. "DANCE WITH ME", another ADOLESCENTS s/t). And Thom Wilson did the best job here, really shaping the performance for record, was it hands off hand on, idk.
The guitar tone is vintage LA punk. Legend Rikk Agnew (ADOLESCENTS) got free reign to melodically shred, he leveled up his work on ADOLESCENTS, here AGNEW horrifically plays harmonies that spawned a whole bunch of sub genres. He goes avant garde at most moments, like what is he even doing? The hypnotic riff on "ROMEO'S DISTRESS" and it's shredding chorus riff, too much, absolutely master craftsmanship at such an age.
JAMES McGEARTY bass is the secret weapon of the record, ala the lead into "BURNT OFFERINGS", and to an extent other lead ins--- brillant. It's a throbbing dance-y bass that beautifully interplays with the free-jazz drumming of GEORGE BELANGER. Yet the way McGEARTY plays and sounds is exactly how I like my bass. It's incredible how tight this band is, other incarnations of CHRISTIAN DEATH are one thing, but this original crew, was and is the best.
"ACT ONE IS THE END NOW, THE SHOW BEGINS"
"CAVITY - THE FIRST COMMUNION"
"NAILING YOU TO THE WALL NAILING YOU TO THE SPANISH MYSTIC"
And how the bells do chime. The entrance ritual begins, drums (and oh how I love how you can hear the air between hit of the kit) electric strums, and that big boom bass in which starts ROZZ "LET'S SKIRT THE ISSUE OF DISCIPLINE, LET'S START AN ILLUSION, WITH HAND AND PEN" opening lyrics to theatre, ANTONIN ARTAUD influence? I could only imagine what it was like to see this CHRISTIAN DEATH perform in a scene of Black Flags (my favorite record of theirs "MY WAR" I'll review it one day). What is RIKK AGNEW even doing it's incredible, the tremolo slow pacing but bat surf-shredding, idk, so on pulse with ROZZ lyrical tempo, that watery bridge "PERENNIAL ARTIST WHAT DO YOU SEE?" It's like Nirvana sniped this and made "COME AS YOU ARE". "ACCEPT THE GIFT OF SIN" ROZZ is so overwhelming with imagery that it nearly impossible to hear anything else distinctively, Spanish mystic, roman solider, shooting outside, red death, true love, et al. The track ends with a motif that bleeds and courses throughout the record, where BELANGER'S drumming rides from burning daylight to sunset mists to atmospheric aid. What "CAVITY -THE FIRST COMMUNION" could hint at is that the Roman Empire never fell, as we still have "BLOOD ON OUR HANDS", this could allude to the crucifixion of JESUS, and the Spanish mystic that maintains a Christ altar prayers based on OUR LADY OF SORROWS. Yet in turn the sacrifice is you, as you are nailed to the wall, you are the Roman solider, you are akin to CHRIST. This is your/our "CAVITY- THE FIRST COMMUNION"
"FIGURATIVE THEATRE"
"A CHILD'S CRY TURNS INTO HILARITY"
McGEARTY deep throb bass kickstarts "FIGURATIVE THEATRE", enticing the listener to dance and sway to the notes. The part that really throws it into hyperdrive is when RIKK'S slides into "RAZOR SHARP TONGUES". ROZZ declares that act one has ended, and here in "FIGURATIVE THEATRE" you are observing all the debauchery of the L.A. Scene. Of course implementing romantic language "CABARET SLIDE SHOW'S START, SHOOTING THEIR LOADS". This track starts almost as abruptly it ends. Amongst the other tracks this is full force of punk timing, which makes...
"BURNT OFFERINGS"
"BLOOD RUNS DOWN THE INSIDE OF HER THIGHS"
The chaotic goth jazz of "BURNT OFFERINGS" so spaced out yet fully fleshed out sound pangs in the abstract. Lyrically not so much, these are specific stories ROZZ vocalizes. This is archetypal CHRISTIAN DEATH sound, I would say, that this is the sound of conjuring, probably one of the best examples of what this band was aiming for at the time, it goes way beyond the labels of goth, punk, death rock, what you are hearing is an entirely different creature. RIKK is all over the place, the tension and wallowing, nearly the only consistacy is McGEARTY'S push and pull danceable bass, whereas BELANGER drums like a room of astrological signs, so cool so relaxed. And a nod to "CAVITY - THE FIRST COMMUNION" the bells return, fading by the bass. This is fever ROZZ, it sounds as if he was hallucinating, ranting at an unforeseen bog. This track would be the signpost of the extremely dark light a cigarette in a motel 6 "EVERY KING A BASTARD SON", his solo effort under his name ROZZ WILLIAMS, a gigantic dark masterpiece.
In "BURNT OFFERINGS" it is a story he tells, as if there is something very traumatic that either ROZZ experienced or heard of... "NO MOON IS SHINING LIKE THE UNTOUCHED, ASS OF THE BOY NEXT DOOR"... the first refrain of a lady, given the lyrics it seems as if by "BURNT OFFERINGS" ROZZ calls out GOD AND SATAN dualistically for these traumatic events "BURNT OFFERINGS". "ONLY THEATRE OF PAIN" straddles this line like the GUNNAR EKLOFF Poem "the devil is god god is the devil", this dualistic spirituality is present through out the album. And again the track ends as the collapsing motif of drums, feedback, fading into the atmosphere that is ONLY THEATRE OF PAIN. How this album was pieced together is the stuff of legend, ritualistic fluid
"MYSTERIUM INIQUITATIS"
"IT'S ONLY THEATRE OF PAIN"
The first words of Latin, catholic imagery. The fourth track, four being the ritual number. The album title is referenced, this might as well be the title track, however dimensional thinking forces you to associate this title with the album title. This by now, as you hear, is completely deliberate, hence the description of ONLY THEATRE OF PAIN being ritualistic, this album has been designed start to finish. What other band sounded like this, came onto a scene like this? None. Every track to this point has been building from the last. "MYSTERIUM INIQUITATIS" translates to THE MYSTERY OF INIQUITY. "INIQUITY" according to the dictionary is "immoral or grossly unfair behavior." This is the scene in the movie where you realize the narrators enlightenment. Sonically "MYSTERIUM INIQUITATIS" unravels from "BURNT OFFERINGS". There are these mystical sprinkled shines that begin it TIL the band throws itself into the whirlwind of ROZZ lyrics. The bells are here, returned, providing the long players consistency. There is an awesome RIKK AGNEW punk breakdown that appears towards the end of the track, it's so urgent, and congruent to the narrative of this record, in that, each track builds from a spark and travels into an unrelenting fire, which like a candle flickers or snuffed out by the next track. There is reverse verses, which might as well show that ROZZ read ALEISTER CROWLEY (I read 777 and the Blue Brick, yet halfway the red ribbon rests).
"DREAM FOR MOTHER"
"NUMBER THE BODIES IN THE MORTAL WORLD"
Atmospherics start this one. One of the best RIKK AGNEW riffs, I'd say this is RIKK's RNA on display, trademark. "I'LL INTRODUCE REALISM, THE EYE OF THE BEHOLDER". It's interesting that there is not a DREAM FOR FATHER, as both mother and father are referenced in ONLY THEATRE OF PAIN. This track lyrically sounds like an appeal to release the person address of mother's apron strings. "DREAM OF MOTHER" continues what the two tracks established. That free jazz goth groove, the lyric "PALLIATIONS FOR A WEAKER SEX" particularly stand out, as to be tied to your mother is a disease. This without a doubt a reformation of THE DOORS "THE END". It is the fifth track, five being the life path.
"STAIRS - UNCERTAIN JOURNEY"
"LUCIFER PERISH, I RECALL SIN"
This is the most 70s influenced track on the album. As if thematically CHRISTIAN DEATH grooved over "THE END" with faster punk goth gun, what with Kraut rock as a backdrop, ala McGEARTY'S awesome bassline, and it skipped over Queen's "THE PROPHET SONG". What it sounds like, ascending and descending an eternal staircase from some castle in the sky. ROZZ uses the LORD'S PRAYER but substitutes SATAN, and yet he bellows "SATAN BE GONE", as if to banish SATAN in refrain. Further exemplifying the duality of perhaps indicating tyrants in both GOD and SATAN. "THIS IS THE CITY OF GOD" (as is stated in reverse). This is the center of the record. It feels like poetry club beatnik, freak out, the band plays goth jazzy.
"SPIRITUAL CRAMP"
"JESUS WON'T YOU TOUCH ME COME INTO MY HEART, WHERE THE HELL ARE YOU WHEN THE FIRE STARTS."
Probably the second best accessible single from ONLY THEATRE OF PAIN. RIKK AGNEW in rare form destroys it on guitar, awesome riffs. It's either this track or "ROMEO'S DISTRESS" you introduce to a normie on a mixtape/playlist. The momentum from the first half of record has now picked up, that punk energy returns. "I'M USING MY FINGERS, INSTEAD OF WORDS." Which hints at the stage show that was definitely the best ticket in town. CHRISTIAN DEATH what would they do, what with all these songs, what would they say? Rozz ends by saying "SATAN IS BY FAR THE KINDEST GUEST" SATAN is more accessible than JESUS. He called out for JESUS when the fire starts, but given no answer he accepts SATAN as the "Kindest guest", this conclusion leads itself to entertainment. By being idle and entertained of course SATAN will welcome you with warm hellish hands.
"ROMEO'S DISTRESS"
"ROMANCE IN SEQUENCE, HARMFUL TO THE BLIND"
This is the track. The one known even if you not know it. The biggest CHRISTIAN DEATH single. A song that aims at the hypocrisy of Christians that are hateful race baiting KKK POS. Clearly Jesus said we was/are equal by the Most High. But there was a time when Christianity was used as a weapon to prosecute other races, other religions. You could say that career politicians, Malcolm X said it, that slave owning democrats will lie and lie to your face, hell The Biden Campaign wouldn't hear ICE CUBE'S PLATINUM Plan but TRUMP did. ORANGE MAN BAD. Politics suck and weaseled into this review. BIDEN dropped a hard "R" in congress, you voted for racist,. So who really the white sheets, think what you wanna think, if someone telling you can't think a way, then what is that, duh. ROZZ drops the hard "R" in nigga on this one, which makes it so unaccessible by todays standards, to the point of censorship. But the madman had a point. How the hell is you Christian and JESUS CHRIST loving when you them was lynching on the difference of skin. This is one of best tracks to describe that illness. It's so direct and probably the most punk driven song on the LP. Given all of the lyrics on ONLY THEATRE OF PAIN, this is the track that would default it or subset it to virtue signaling. When it is just an incredible piece of sound. "I'M SO TIRED".
"RESURRECTION - SIXTH COMMUNION"
"ON A BED OF NAILS, WAKE ME UP WITH YOUR KISS"
The conclusion of CHRISTIAN DEATH'S sound on this record. I can hear how DEATHSPELL OMEGA took from this. This is the end of the novella. The punchy bass and wine trawling guitar, drums beating hi-hats, slow groove to end it, " I"M WAITING FOR CONSUMMATION, I'M WAITING FOR CONTEMPLATION, I'M WAITING FOR CONFRONTATION, WAITING FOR A PLACE TO, LAY MY BODY DOWN." The whirlwind of confusion has ended. A direct tiff with the audience here it is... like previous groove free goth tracks on the album, whittles away towards this one serves as the ending for the
"PRAYER"
Warped, a back masking. The ritual sealed with back masking, a prayer of reversal. Hence back to the begin.
CONCLUSION:
A PERFECT ALBUM. Cohesive in vision and sound. Ritualistically Fluid. The only fault is deconstructing ROZZ poetry, good luck, it's sound, and he sang as in control, which lacked in the punk scene, where CHRISTIAN DEATH did not see themselves as. This is a journey record, it also very much an at the moment high listen. It invites you from the very start to end. Completely consistent, the record interlocks based sounds weaved in most tracks, to remind you of it's fluid approach, it is really that fluid. Where you go from that, well that is of you and the Most High. Recommended you dig into ROZZ WILLIAMS. ONLY THEATRE OF PAIN is a legendary goth, punk, death rock, whatever you wanna call piece of composed music, that is of essential listen in those categories and spiritually beyond. It is certainly cathartic to a normal listener who is willingly devoid of spirituality. ONLY THEATRE OF PAIN is crowned of its cult status, no doubt, it overshadows all punk in a mystical dark fog. You hear that, "This is it." Album. Forget "NEVERMIND" ONLY THEATRE OF PAIN went blow for blow. Infamously the record was binded in human flesh like the NECRONOMICON, something the MISFITS and NECROS aspired to... ONLY THEATRE OF PAIN is the definite dark spiritual document of its time. Nothing touches it in scope, as a raw theatircal angelic dialogue with both GOD and SATAN.
Favorite tracks:
"CAVITY - FIRST COMMUNION", "FIGURATIVE THEATRE", "BURNT OFFERINGS", "MYSTERIUM INIQUITATIS", "STAIRS - UNCERTAIN JOURNEY", "SPIRITUAL CRAMP", "ROMEO'S DISTRESS"
10/10
Monday, October 25, 2021
✞ Katy Pery Shark Straight Lives Matter Vice Goldmine Troll ✞
I’m never gonna get sick of this https://t.co/z8euub7s8u pic.twitter.com/OHzgMMEtcT
— The Court Spook (@b12680) October 23, 2021
Tuesday, October 19, 2021
Saturday, October 16, 2021
✞ SALEM - KING NIGHT (RETROSPECTIVE) ✞
Infamously, Liv Tyler the daughter of Aerosmith felt the SALEM wave.
Around this time I went to countless Witchhouse themed shows in NYC, deployed with Poland springs bottles filled with 15% proof Merlot, and as many tall boys I could fit into backpack. Sometimes I crushed Oxycontin and put it vials. Went and Took the bus port authority, armed with brass knucks, and would spent the night aimlessly looking for good times. I would just hang out with creatures of the night, all types of people. Slew of stories in em daze.
I don't remember seeing SALEM live because I was way past throwed, I might've been 86'd before I got in or did I? I recall there was this event where I got denied entrance to a SALEM show. In them daze, I was proud of being 86'd, it was like a "Oh here's another club, bar, I can't go to what else u got" checkmark, it's sum total of like 13 places.
"KING NIGHT" was a big deal. It was toted as the first Big Witchhouse record, which is totally subjective, but the hype around this was tremendous. I preordered the LP early. I still own it, OG copy, probably never sell it.
You had that everybody was REAL into DJ Screw, he was this holy patron Saint. The method in which he broke ground to this deep dark slowed chill place, spread like wildfire. You could hear it in every Witchhouse song. DJ Screw legacy speaks for itself. He and the Screwed Up Clik, any one that jumped on those tapes, legend, would define decades to come, to where we're at now, minus the selection and taste in which he finessed.
So you hear in "KING NIGHT" the Screw influence, it's a tad showing. Yet here's John Holland bout to return SCREW. but go RAVY-like. Long not be forgotten even NYC based DJ Yo-Yo Dieting, whom was the herald of things to come. Was An influence that shan't be discarded. DJ Yo-Yo Dieting was probably the Velvet Underground to Brooklyn. As well as early drill, hear it in the drums and the nihilism, and to some extent David Lynch's Twin Peaks universe, honing on the tragedy of Laura Palmer.
When I reread that it sounds like a CIA psy-op. What isn't? Amirite?!
"KING NIGHT"
"I LOVE U" Gloriously the title track lands riffing like some lost metal from another room/plane (*if anyone knows that riff leave a comment), the opening cascades with a relentless angelic opera like choir. And those woozy empathic synths. Drums thumping. The title track is the triumph start to what follows. The production is so slick, it's between lo-fi and a hard slowed rave. It is the most best representation of the SALEM sound, as a lead track, it's a bingo. As far as 1# tracks , it's a certified banger, High Fidelity, reserved for that slot,
"ASIA"
Listening to this now, Heather Marlatt was the glue that held this outfit altogether. She whisks and soars on this album, and when she takes the vocals, it's cathartic, it's the moment of reflection of being in trance coming out, a siren signaling u from the fog the "Redlights". The singing style reminds of Tina Forbis from How I Quit Crack, the identifying words notes break through ice cold beats. "ASIA" hit like it's suppose ta, another continent from the previous track.
"FROST"
Begins with the icy synths like of Italo Horror Mater Suspiria Vision. Again this is like club throwed DJ Screw with shoegaze. This is so accessible. And yet it's the sound of the underground. It had to be SALEM to be projected in this limelight. Both "ASIA" & "FROST" are companion pieces. This particular piece could be the album single and be enough to describe its sound. This is easy one of my track pics along with "ASIA" but then there is...
"SICK"
Jack goes slowed Screw lead vicious rap while Heather plays the chorus. This is point in the record, wherein the darkness messy Satanic word play "Sick 6 6 car pile up just a mile up" that clouds the purple skies u see on the cover, hovers like a tumultuous blackened cloud. The angelic choir returns over a string bean trap beat. The hook is immaculate foreseeing a Final Destination car pile up. Jack raps about tying hands and feet, the first lyrical mention of bondage on KING NIGHT. This also was staple theme in witchhouse, duality harping on sociopathic self indulgence, hold a slave,"DO WHAT THOU WILT" to it's psychotic ends. Jack is like Children of the Corn, Big L, rapping on bout the most vile stuff he could get away with on wax. It's unfortunate that SALEM went total LGBTQ+S2 for their new record, which you'd have to pay me to listen, or whatever, all coz some democracts posing as music journalists called out SALEM as "Cultural Appropriation"... When u heard something like this it was dangerous in the sense that it was reckless, car wreck, at the time, and even now mining DJ Screw was absolutely vital. Taste get stronger. Who Don't Love SCREW. Always in these sounds, you heard a paid homage, totally obvious. Basically you heard the best music ever and you go and try it for yourself. There's no doubt SALEM was living that life. And traxx like this is a great exemplifier. You'll hear it again in "TRAPDOOR". This though is one of the or beginning dark points core of the record.
"RELEASE THE BOOR"
What I whittle down a sharp blade, the etchings, the sound, of a decade that follows. This record is timeless. These beats aren't just DJ SCREW but there's an everlasting Rave taking place. There's this neat effect on the vocals where Heather is laughing about something. "WHATEVER HAPPENS, HAPPENS". The stream of noise sounds like WHITE RING, except playful, given Heather's laughter. You got that Astronaught in deep space beep. AS IF SALEM now in a space of its OWN. This is a fond centerpiece yet that is reserved for the following tracks "TRAPDOOR" and "REDLIGHTS", this sound "RELEASE THE BOORS" is the unhinged gate effect for what is to come. Still a vital track in sequencing.
"TRAPDOOR"
Dark lyrical rabbit hole. "TRAPDOOR" is most likely, for better or worse, the track that is most known of KING NIGHT. "I'm not trying to look bad.... nah." "I Doubt she know FIRE But I Could Introduce". Controversial cut here, OMG, Jack's trying to or not be Lil Keke mixed with Gucci Mane mixed with GOD forbid Eminem, slow'd and throw'd, coming his own style, there could of been more of these cuts, but since there is not, this hits different. Such intense over the top Brainbombs lyrics with John Holland killing samples, are those humans over that vocoder? Lyrical A crazed dug addled man living like Thus Spake Zarathustra in the mountains. Having been thru relationships designed to fail, based upon exemplary models of how to live yr life, you can make out the hallucinations, could u in a club with this man talking to u wit his dog not barking, he not speaking? What u talking about? And at a point find reason in this blurred out hook. Lyrically this is the most identifiable piece given its directness, speaking broadly about taking industry by storm. On the Strength of the Vocal This piece alone cannot be ignored. It's another dimension, fitting, to the record. Eerily it foreshadows a fog amidst the purple skies. "It's like people say, We All Gonna Die, But me is different I'm not trying to be alive, I's try to get high, Baby that's my desire... Now Im pulling a sheet over my face before I die." The embodiment of SCREW and 3 6 Mafia "Stay Fly", and in hindsight the most part of the last decade. Fell in for the TRAPDOOR.
"REDLIGHTS"
This may be my favorite track. It counterparts "TRAPDOOR" for the center the heart of the record. The two songs cinematically complete each other like a yin-yang. Heather = the glue of SALEM. Man, her vocals is so beautiful wow. "REDLIGHTS" stands as much needed awakening to the previous "TRAPDOOR", they sand dual with one another. Damn these synths so sharp, so woozy, glow-lights. Clapping and trapping drums. Laura Palmer on the Motorcycle with James, and James don't understand "REDLIGHTS". Continuous wordless vocals that just drip pon Tis sonic palette, invoking ecstasy of dance throwaway cares knowing of the divisive lights. There is no other band that could do this better. That come down sound where u are stopped at a traffic light, yet there is elsewhere to go. This is the ultimate nostalgia stopgap. "REDLIGHTS" will remind definable u of this particular time, it's the saving grace of the record (the next track presents to continue this but with perhaps sinister based intention). The trap drums, frozen in time, with cycling abiding hi-hats. This is that moment that clearly big ups the first half of the record and all but completes the 2nd half, this is the center... but
"HOUND"
With "RELEASE THE BOOR" here be it come "HOUND". Jack wordless dances the vocal, seemingly like taking Heather's contribution. This is the counterpart to "REDLIGHTS" and probably "ASIA" and "FROST". It's strangely welcoming, and comes to be a defining witch house track. It feels as if u could rest yr head between this and "REDLIGHTS". Endlessly venturing into the city lit nights, as some freakishly released HOUND preying pon any oppurtunity to exhibit or confound fun.
"TRAXX"
The come down Track. Wherein The prison closes. This is probably the weakest track, but it fits so well with other Heather vocal performances. It's that CIA psy-op sort of thing where we got something cold and locking happening, it's definitely sinister yet sublime. It is bittersweet given the context and the info of how the elite wanted rappers to sound as dumb and lifeless as Dr. Dre in order to fulfill prison investments, given any mumble happily drug pushed pill popper rapper. If I could look past this., and what choice do u have when forced,... As if Both "RELEASE THE BOOR" and "HOUND" equates this...? hmmm. Still it's a pivotal moment in KING NIGHT... though it as if this was a transitional track for the next, hence the titled "TRAXX". And those synths... By writing this as the weakest track, it becomes interesting in the "KING NIGHT" widescreen of sounds.
"TAIR"
Continues what "SICK" and "TRAPDOOR" concluded. This being a beat tape more Indian Influenced. Which is interesting to think about given how stripped down it is from it's choir vocal beat. The raps are not as violent or as strong as Jack's previous efforts. This album without doubt, is a October record, had to state that. "If Yr Going to do something, do it well and Leave something Witchy"
"KILLER"
The Last Track. Continuing "HOUND" and "REDLIGHTS" in theme of beat. Aimlessly wandering vocal. This tune just supplements how strong SALEM were with sound and vision. "KILLER" plays as if it fit on the A-Side. Washy synths and more spaced trap beat. What's interesting to me is that Heather could of volleyed Jack's vocals. But maybe this is a concept and she vanished in the middle of the record.
*INCOMING RANT ALERT*
It's just so predictable how virtue signaling goners give money to democraps (this ain't political cos swamp ass republicants suck a stifled studded numb dildo, jokes, establishment), act blue blm, dirtbag leftoids signaling other dirtbag leftists, celebs with bags getting paid to ironically say "my body my choice" (jabs mandated anyone?), twitter rage could say anything negative about this record. It's clearly a masterpiece, SALEM's moment in time where they got the zeitgeist and delivered, and even more so given how terrible the new influenced pandering SALEM record was, You couldn't pay me to listen to that shh all the way thru. No wonder Heather left. Jimmy Kimmel worn blackface so did Sarah Silverman, what dirtbag celebrity didn't, and here they are REBORN advancing an agenda. The news cried about Gabby P's murder and how that's white privilege, but through out it's dominated time, did they ever cover cold cases involving minorities, in the previous timeline, no of course not, THEY never did cover, it's a talking point, covering up for their MISTAKES, which they still IS MAKING. I Talked To Mothers of missing sons and daughters, nobody looking, that's politicians do, they never do the things they virtue signal to do. The outrage on SALEM KING NIGHT is typical paid journalist fodder Where does Pitchfork get its money, man they sux the big one, KING NIGHT was and is a SUPERB record. Fuck you college trained nitwits backed up by corporate interest. Such a harsh direct to leave it, making it better than it ever sounded. KING NIGHT record is the still the shit.
Conclusion:
The Best Tracks
1. REDLIGHTS *****
2. KING NIGHT *****
3. TRAPDOOR *****
4. ASIA *****
5. RELEASE THE BOOR *****
6. SICK *****
7. HOUND *****
8. FROST *****
9. KILLER ****
10. TAIR ****
11. TRAXX ***
WHO rates records on a scale, gay.
SALEM "KING NIGHT" CLASSIC
Whoa on discogs the original pressing goes for 50 bucks. Got mine.
"