Crowleymass is a 12" single released back in 1987 on Maldoror, an early label of Current 93's (not to be confused with a more recent manifestation of a different label by the same name), in an edition of 2,000 copies. It is a product of the combined efforts of Current 93 and Hilmar Örn Hilmarsson. This record was also rereleased in 1997 as a CD maxi-single on David Tibet's Durtro label and includes a fourth bonus track.
I neither own nor have heard every Current 93 release--there are many--but, from what I am familiar with, this single is somewhat of an anomaly in terms of the more typical output of Current 93. Released in the dawning of the late eighties, it certainly sounds like a product of its time. This is, of course, not a bad thing if you enjoy that eighties synth-pop, hip-hop influenced dance sort of stuff.
Yes, I do mean "hip hop influenced": the vocals of the two songs on this three song 12" are delivered in that sort of rap-like style that some people were doing in the late eighties. Certainly the musical arrangement, drum machine programming, and possibly the editing go a fair bit of the way to creating that seeming sort of delivery, but, to me anyway, they definitely have that style.
The fuzzed out chorus effected guitar sound in the third song, "Crowleymass (Mix Mix Mix)" reminds this listener of Killing Joke or Love and Rockets, and the riff itself seems somewhat similar to the latter's "The Dog-End Of A Day Gone By," from Seventh Dream Of Teenage Heaven, which came out in 1986. So, yes, this release does seem to be drawing from the (somewhat?) successful sounds of other eighties "alternative" bands and is perhaps an attempt to create a more listener friendly and danceable set of tracks--maybe to garner a wider audience for Current 93 or at least get something out there that could be played in the clubs.
In itself this is quite a feat considering it is still David Tibet's distinct voice and delivery regarding what is generally typical Current 93 subject matter. If we threw in some deep bass vocal samples going "Oh Yeah!" or "yeah, yeah, yeah!" here and there the whole package would have possibly been a complete club success. But they left that sort of thing out and instead opted for some absolutely beautiful backing vocals delivered by Rose McDowall whose voice is entirely a slice of heaven for sure. Hands down, her vocals elevate any song they appear on: always hauntingly pure delight.
For consisting of tracks that are well outside the usual Current 93 fare, this is a very fun release, entirely listenable, and definitely an example of classic eighties alternative synth-pop. It's not like I've been to lots of "retro eighties goth industrial bat cave" nights at clubs, but I'm kind of surprised that this release isn't in a higher rotation at these sorts of events that I have been to. Indeed, I'm not sure I've ever heard any of the tracks on this record played at such a night, but, in my opinion, it could easily be right there with Bauhaus' "Bela Lugosi's Dead" as far as goth anthems go--I mean, geez, it's about Aleister Crowley, ferchrisakes, and next to vampires the definitive witchy "Beast" of last century ought to have at least some memetic traction amongst those inclined to darker things.
Or maybe I'm merely mistaken and this release is more well known amongst that sort of crowd than I am currently aware. I'm simply too square to be that hip.
Anyway, an enjoyable effort that'll fit right into any playlist of an eighties synth-pop sort of mix, sure. I give Crowleymass seven and a half ears out of ten. Now go put on some dark (like all black) colours, maybe some really pale foundation and black eyeliner, and dance, dance, dance--but, y'know, in a subdued and saddened melancholic expression of inner turmoil and angst.
Interested listeners can find the A-side version of Crowleymass on YouTube.
It isn't Crowley that rhymes with foully, blech.
No comments:
Post a Comment