'After America' Simon Crab. Digital Download.Fathom 03. — 'After America' Simon Crab. Digital Download.Fathom 03. 'Fjaerland' Sunseastar. Audio CD. 'Fjaerland' Sunseastar. Audio CD. —

‘Feeding The Hungry Ghost’ Bourbonese Qualk Live European Recordings. 1994 Audio CD. Funfundvierzig 69.

£10.00

‘Feeding The Hungry Ghost; ‘Live European Recordings 1986-1991’ ‘ Bourbonese Qualk.  Audio CD. Fünfundvierzig 69 (Germany) 1994

 

 

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  1. Nuncamais (Live at the ‘EPE’ Paris 1991).  (Simon Crab; Electronics, Electronic Percussion, Flute. Miles Miles; Guitar. Dave Sutherland; Drums & Percussion.)
  2. Keep Pushing (Live at Berlin University, Berlin 1991).  (Simon Crab; Electronics, Electronic Percussion, Voice. Miles Miles; Guitar. Owen If; Drums & Percussion.)
  3. Metroland (Live at the LaermStruktur Festival, Ravensburg, West Germany 1987).  (Simon Crab; Electronics, Electronic Percussion, Clarinet. Owen If; Drums & Percussion.)
  4. Glass Works (Live at the ANiki Bobo, Porto, Portugal 1987).  (Simon Crab; Glass. Miles Miles; Glass. Owen If; Glass. Kif Cole; Live Sound.)
  5. Westblok (Live at the ‘EPE’ Paris 1991).  (Simon Crab; Electronics, Electronic Percussion. Miles Miles; Guitar. Dave Sutherland; Drums & Percussion.)
  6. Stalker (Live at the ‘Agora’ Bydgoszcz, Poland 1988). (Simon Crab; Electronics, Electronic Percussion, Voice. Miles Miles; Guitar. Owen If; Drums & Percussion.)
  7. Mano-A-Mano (Live at the ‘Hungarocarrot’ Festival, Petoficarnosk, Budapest, Hungary 1990). (Simon Crab; Electronics, Electronic Percussion. Miles Miles; Guitar.)
  8. This Will Fall (Live at the ‘U Convalinko’, Prague, Czechoslovakia 1988). (Simon Crab; Electronics, Electronic Percussion, Voice. Miles Miles; Guitar. Owen If; Drums & Percussion.)
  9. The Quiet 3 (Live at ‘Sala Acazar’, Sevilla, Spain 1993). (Simon Crab; Electronics, Electronic Percussion. Miles Miles; Guitar. Owen If; Drums & Percussion.)
  10. Postcrash High (Live at the ‘Batschkapp’, Frankfurt A.M, West Germany 1988). (Simon Crab; Electronics, Electronic Percussion, Voice. Miles Miles; Guitar. Owen If; Drums & Percussion.)
  11. Guilt (Live, Stuttgart, West Germany 1989). (Simon Crab; Electronics, Electronic Percussion, Voice. Miles Miles; Guitar. Owen If; Drums & Percussion.)
  12. Vostok (Live at the ‘Frigorífico de Bacalhau’, Porto, Portugal 1989). (Simon Crab; Electronics, Electronic Percussion. Miles Miles; Guitar. Owen If; Drums & Percussion.)

We were berated something rotten by one of our subscribers (ex!) for giving Qualk’s latest techno offerings such good reviews. no doubt our beloved reader (ex) will be creaming himself over this slice of the past. yes the past but that’s another story….dare i mention the “i” (industrial) word in comparison to some of Qualk’s past works? i know i will reap the savage tongue of mr crab, but on tracks such as “Keep Pushing” recorded live here in 1991, it is the spirit of t.g living savagely on, no complaints here though, i might add. Bourbonese Qualk though have never been easy to tie down, as their vast back catalogue illustrates, running off at a tangent on a whim of it’s taskmaster. perplexingly diverse and so often frustrating because of it. experimentalists who played around with noise and rhythm and even on occasion, put together a song or two (the excellent “My Government Is My Soul” and example from which “Guilt” is raged live here). glass percussion, pseudo-ethnic jazz, eastern mantras, electronic highs/lows, synthetic growls all are evident in slices of raw scar tissue. but definitely no techno! the ghosts are obviously being laid to rest, time to move on, the band have, so maybe there is a lesson to be learnt?

Softwatch Magazine

Before they decided, like so many, to forgo originality for Techno, BO QU were creating a music which spanned an area similar to that of COIL’s early-Eighties music – indeed, on this album, there are moments which sound similar in a lot of ways to the sound on “Stolen And Contaminated Songs”. Certainly with tracks like “Metroland” and “Westbloc” there was a similar rhythmic approach – a funkiness to the electronics which reminds one of YELLO’s earlier pieces. The remaining pieces were more dry, fragmented and confrontational – kind of like a stripped-down early TEST DEPT with the interesting metallic sounds and compositional gambits removed. Certainly their embracing a younger, more modern dance music did them little harm – and what they created was some of the best music of their career. But, despite the comparisons made on this page, there was a strong flavour of originality to their sound at this point. “Mano – A – Mano”, for instance, took the Funk from ENO’s take on TALKING HEADS and gave it new life.
So this album really is a mixed bag. Search through it and you find some real moments of wonderful music, but I think as an overall enjoyable listening experience it probably casts it’s net a tad too wide. Industrial Funk it may be, but sounds more like one group from each genre playing alternate tracks, rather than an amalgamated chimera style.

 

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