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German Oak

“…a Teutonic tribe standing in the ruins of some Roman temple, playing barbarian riffs on classical instruments too sizes too small. Aerosmith’s Joe Perry once said: “When all you’ve got is a hammer, everything looks like a nail.” He must have been listening to German Oak.”

Julian Cope

Recorded in the Air Raid Shelter, Dusseldorf in 1972, this heavy, heavy record was largely ignored at the time. Perhaps not everyone in Germany was as ready to confront the ghosts of the war that the artwork and titles conjure up.

It’s now reissued on CD with three tracks not originally on the original release, as well as a 12″ repressing of the album as it was first available. Buy it here. I picked it up in Academy in Brooklyn on the recommendation of a friend. Dedicated to “our parents which had a bad time in world war 2”, I’ve had a few interesting conversations with German friends about it, with mixed reactions. But no one who actually listens, really listens to it, remains unpersuaded. It’s relentless. At first the repetition of riffs seems simplistic. But soon, the riff becomes everything, holy, monolithic, astonishing, relentless, undeniable. A pure dose of heavy psychadelic kraut freak-out.

Here’s the two extended jams from the album, as well as another killer groove from the CD reissue, opening with a tape sample that may not appeal to all…

Down In The Bunker

Raid Over Dusseldorf

The Third Reich

 

 

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Shit hot. Tracks from the new Burial album. Anonymous, faceless London producer. No sequencer. No quantized beats.

The first album felt like London being drowned, a sonic burial. This feels warmer, but still completely connected to the sounds of the city. Deep electronic glows. Subterranean rumbling bass. A heartbeat beneath the tarmac. Percussion like metal sliding over metal, a blade being honed. Waking up still in a dream. A phone rings somewhere, the girl next door is singing in the morning.
Desires either erase the city, or are erased by it.

This comes in delicious double vinyl. Order online at Boomkat.

Most people know Bill Cosby from The Cosby Show and his rather goofy sense of humour but few know of the other side of the Cos.

When he wasn’t busy performing stand up, making controversial statements about Black America or being impersonated by Eddie Murphy (http://www.youtube.com/watch?v=y7nNLotYdOE), he sometimes made some incredibly deep jazz.

Bill Cosby – Martin’s Funeral

(from Badfoot Brown & the Bunions Bradford Funeral Marching Band)

This track is rumoured to have been written the day after Martin Luther King, Jr’s funeral. Cosby had attended and spent time with King’s children and was moved to write this song in recognition of the event.

I can listen to this song for hours on end. It’s a tune to get lost in. A swirl of heavy percussion is underpinned with a repetitive bass line and Bill’s electric piano compliments it perfectly. The mournful tone of the song conveys the sense of grief that Cosby must have felt on this terrible occasion. If you haven’t heard it before then prepare to be overwhelmed.

Bill Cosby