Cocteau Twins -Pitch The Baby (Red Tape)

Katie Jane Garside - Lost Upon The Flame

MALICE MIZER 午後のささやき gogo no sasayaki (afternoon whisper)

From the album "Omicron" released October 18th, 2014

download here:
http://orionrigeldommisse.bandcamp.com


recorded in May 2014 by Benjamin Glibert at Electric Mami in Vallesvilles, FR 
mixed and mastered by Seth Manchester and Keith Souza at Machines With Magnets in Pawtucket, RI 
Orion Rigel Dommisse: songs, singing, piano, synthesizer, organ 
Jens Bosteen: bass, harmony vox 
Eddy Crampes: guitar, harmony vox 
Emmanuel Mario: drums, percussion 
Janel Leppin: cello 
cover art by Orion Rigel Dommisse


the first time you walked into the cave 
you tried to hold on to 
the powers that it gave 
you didn't know that's not allowed 
the powers become dilluted when taken out 

you can't recall what is true 
only the hallucinations sent to you however 

you must hold on to something 
so you choose some something and try to hold on 
and now your ribs are breaking 
from the force of your heart faking 
that you chose the something 
seen in your vision 

the flame's light shimmering on the wall 
secluded rivers and pale animals surround you 
they want to know what you are 
you try to tell them 
but you've gone in too far 


you can't recall what is true 
only the hallucinations sent to you however 

but you must hold onto someone 
so you choose a someone and try to hold on 
and now your ribs are breaking 
from the force of your heart faking 
that you chose the someone seen in your vision 
oh no your ribs are breaking 
from the force of your heart faking 
there's nothing outside your hiberniculum

Cave

A cover of Strawberry Switchblade's most famous song: Since Yesterday, performed by marimarirythemkillermachinegun

#marimarirythmkillermachinegun #strawberryswitchblade #sinceyesterday #sinceyesterdaystrawberryswitchblade #strawberryswitchbladecover

since yesterday ~ marimari rythmkiller machinegun (Strawberry Switchblade Cover)

Happy Now Queen Adreena KatieJane Garside

Cut The With The Cake Knife was recorded by Rose McDowall in 1988/89 following the break up of her group Strawberry Switchblade. Produced with the aid of several musicians in several studios, the album features songs written for the fabled second Strawberry Switchblade album. More importantly perhaps it showcases the honest, direct and life-affirming songs of one of the greatest unsung songwriters of the modern pop era at a tumultuous time in her career.

Tibet opens the set and could be one of the best pop songs you’ve never heard. The innate sadness of the songs’ content – the loss of a friendship, impending sorrow – is heightened to heart-melting level by McDowall’s pop nous and melodic sensibility. Choruses and hooks are everywhere on Cake Knife, from the outsider take on stadium 80s pop in Wings Of Heaven to the spiraling, ecstatic So Vicious, a glorious anthem that highlights the human fragility in McDowall’s vocal performance, an instrument that has never lost the naïve purity it first exemplified in Strawberry Switchblade’s early 80s recordings. The centerpiece of the album, the title-track, is the greatest Switchblade pop chart hit that never was. Like the veiled melancholy of her former group’s hits, Cut With The Cake Knife hints at a darkness beneath the gloss, a darkness that saw McDowall delve into more esoteric territory with her subsequent recordings and collaborations. Cut With The Cake Knife serves as the bridge between the pop music McDowall had been making with her friends Jill Bryson, Lawrence from Felt and Primal Scream to what became a more extreme, deep sound informed by neo-folk and post industrial music.

Rose McDowall’s role in the canon has always been one of an outsider. Beginning in Glasgow’s East End in the avant proto-noise group The Poems, achieving fame briefly in the 80s and then disappearing into counter-cultural folklore, the emphasis in the internet-age has been skewed towards her image and cultural significance. Unseen to many, her solo work, her groups Sorrow and Spell and her collaborations with a whole host of underground luminaries have still touched lives. As McDowall elucidates: “They're real sad songs, about real life. I've had people come up to me to say I'd connected with them and helped them. I remember a gig in America when we made a whole room cry. It was bizarre. A couple at the front of the stage started crying and then these two boys beside and  suddenly everyone was crying. And I thought, "that's power."

Night School’s issue of Cut With The Cake Knife includes unpublished photographs, extensive sleeve notes from Rose McDowall and 2 bonus tracks culled from the bootleg 7” “Don’t Fear The Reaper.”


Ed Kemper reads 'Flowers in the attic'

Alisa Shavrina