Friday, December 17, 2010

Outside 2010 (Bad list of nice records in a bad mood for 2010)

I am well known among my friends for my really bad taste in music and my 10 beloved records of 2010 is the proof!

10.Head Of Wantastiquet - Dead Seas
9.LA Vampires + Zola Jesus
8.ANBB - Mimikry
7.Chris Corsano - Another Dull Dawn
6.Charalambides - Three Lane Blacktop
5.Current 93 - Baalstorm, Sing Omega
4.Faust - Faust Is Last
3.Messages - After Before
2.Marika Papagika - The Further the Flame, the Worse It Burns Me
1.Charles Manson - Air

Sunday, December 12, 2010

Pig (1998)

As a soundtrack to the soundtrack of the film you can enjoy the film as well.
But enough said... enjoy!

Rozz Williams - Pig O.S.T. (1998)

We all know Rozz Williams, that's a fact... Things i didn't knew about him is that his last state of art was a short film called Pig...
Directed and written by Nico B. and Rozz Williams, this is the last thing that Rozz offered to humanity, only printed in the mysterious number of 1334 in VHS and in 2002 on DVD.

By the way this is not another cheesy dearhrock album in the style of the late Christian Death. Beyond this only lies pain, misery and lost hope. This is an example of what a man with big stressed brains between his legs can create...

Thursday, December 9, 2010

Various Artists - Persian Underground - Garage Rock, Beat and Psychedelic Sounds from The Iranian 60's & 70's Scene (Persianna 2010)

Amazing collection that gathers some of the rarest Persian 45s, totally unknown outside of Iran until now. Here you'll find an eclectic mix of styles, from garage nuggets to cool Persian beat, exotic rock&roll and prog/psych. Featuring female drummer & singer Zangoleah with some killer garage / rockin' tracks, obscure bands like Takkhalha doing a fab cover of the Stones "Play with fire" and an amazing take on the Persian traditional song "Mastom, Mastom", Golden Ring styled beat by Big Boys, exotic Persian beat by Saeed and Tigers, terrific garage-beat by Ojubeha and the two sides of the Kambiz 45, probably the major discovery from Iran in the recent years and one of the few, if not the only truly Persian prog/psych 45s ever recorded.

Friday, December 3, 2010

Στυλιανός Τζιρίτας UNIT - Ηχοβολές εναντίον του αυτοσυστήματος 3/12 Knot Gallery

Οι Σ .Τ. UNIT προσπαθούν να μετουσιώσουν αστικές νευρώσεις σε ηχητικά πεδία. Εκφραζόμενοι σε ελληνική γλώσσα προσπαθούν να περιπλέξουν την ανάμνηση του χωμάτινου εδάφους, τη λαογραφία, τον εκτενή φουτουρισμό και τα ηθικά ερωτήματα με ηχοδομές που αντανακλούν την προθανάτια αγωνία.

Οι Σ. Τ. UNIT ποιούν σύγχρονη ελληνική μουσική και όχι avant garde και διάφορες άλλες αστικές κουταμάρες. Αφήνουν τα ηνία των τεχνών σε προύχοντες και διάττοντες.
Ενδιαφέρονται για τη φήμη, το ακραιφνή σαρκισμό και την Καντιανή σκέψη.

Έργα & Ηχογραφήσεις σε εξέλιξη > *Σκυλόψαρα εν Διαστάσει
*Τέλμα Αστικών Συνηθειών

Στέλιος Εφεντάκης > Εφαρμογές Κιθάρας
Βαγγέλης Κουτσιούρης > Μπασσογραμές
Θωμάς Χαβαλές > Saignement des Bandes Magnetiques
Στυλιανός Τζιρίτας > Κλαρινέττο/Λαρύγγι/Διεύθυν

*Αποκλειστικώς Μουσικά Βιογραφικά Στοιχεία
(Ο Στυλιανός Τζιρίτας είναι κλαρινετίστας με συμμετοχή σε πολλά σχήματα (Κοψωκέφαλοι/Trypanosoma/F
eedbacking the Grass/Bayouda ανάμεσα σε άλλα) και δίσκους από τα τέλη της δεκαετίας του 80 έως και σήμερα/ Ο Βαγγέλης Κουτσιούρης είναι κιθαρίστας και μπασίστας τα τελευταία 25 χρόνια/με τον Στυλιανό Τζιρίτα έχουν συνεργαστεί πολλάκις κάτω από διάφορα σχηματα και σε πολλούς δίσκους/ Ο Θωμάς Χαβαλές επεξεργάζεται μαγνητοταινίες και με τον Στυλιανό Τζιρίτα έχουν το παράλληλο μουσικό σχήμα των Betomo/Ο Στέλιος Εφεντάκης διατηρεί επίσης το σχήμα των Gardebox, είναι ηχολήπτης/παραγωγός και διδάσκει μουσική τεχνολογία)

ως ειδκός προσκεκλημένος των παραπάνω κυρίων τη συναυλία θα ξεκινήσει ο επίσης εξαίρετος κύριος...

Stephen Fleming (Cosmic Rough Riders)
Ως τραγουδιστης και κιθαριστας των Cosmic Rough Riders ο Stephen Fleming συνδυάζει τις Βρετανικές και ειδικότερα Σκωτσέζικες μουσικές παραδόσεις με vintage Americana και West Coast ήχους. Με την Poptones του θρυλικού Alan McGee (Oasis, The Hives etc) και τη Warner Music κάνουν 4 UK top 40 επιτυχίες, πωλούν πάνω από 150,000 δίσκους και περιοδεύουν σε όλη την Ευρώπη, Αμερική και Ιαπωνία παίζοντας στα μεγαλύτερα παγκόσμια festival αλλά και ως support με τους: Black Crowes, Ocean Colour Scene, Stereophonics, Paul Weller, Robert Plant, Lenny Kravitz και U2.

Για περισσότερες πληροφορίες στα Ελληνικά για τον Stephen αλλά και τους Cosmic Rough Riders υπάρχει και το website:

Metro Decay- Official re-release party of their debut Lp "Υπέρβαση" 3/12 at Seven Sins Club

Ανάμεσα στα κρεσσέντα του 1984 και του 2010

H “Ειρκτή” με περηφάνεια παρουσιάζει, στις 3 Δεκεμβρίου στο Seven Sins Club στις 24:00 και με ελεύθερη είσοδο, την επίσημη επανακυκλοφορία σε βινύλιο της «Υπέρβασης» των Metro Decay, συνοδευόμενης από ένα πρόσθετο 7” single, που περιλαμβάνει το χαμένο demo του συγκροτήματος “Brand New Day”.

Special DJ set θα αναλάβει ο Κ. Π. Mάστορης, ενώ το LP της «Υπέρβασης» (+ «Brand New Day» 7”) όπως και πρόσθετα βινύλια από την «Ειρκτή» θα βρίσκονται σε διάθεση.
Κοντά μας θα βρίσκονται και τρία από τα μέλη των Metro Decay,
οι: Γιάννης Μανιάτης, Κώστας Π. Μάστορης και Στέλιος Μαστρόκαλος.

Κινούμενοι χρονικά και ηχητικά «Ανάμεσα Σε Δύο Κρεσσέντα», κατά τη διάρκεια του event, οι φίλοι των Metro Decay θα έχουν την ευκαιρία, πέρα από τη μουσική, να δουν και σπάνιο οπτικό υλικό, όπως πολλές φωτογραφίες από συναυλίες και το μοναδικό video που υπάρχει από live εμφάνισή τους. 

Seven Sins Club
Θεμιστοκλέους & Γαμβέτα 5, Πλατεία Κάνιγγος, Αθήνα
Τηλ : 6993103044 
Πρόσβαση : Μετρό - Στάση Ομόνοιας -

*Created by Eirki

Wednesday, December 1, 2010

In Trance 95 - Warm Nights Driving On Wet Streets (Elfish Records 1991)

One of the first bands that created their music by the use of electronics , one of a few those days in Greece.
Formed on 1988 by Alex Macheras and Nik Veliotis with Coti K.,their "soundman" and George Geranios the one to complete the line-up and eventually replace Veliotis who followed an amazingly respected and important career as a cello "improvisionist". They stopped releasing records as i.t.n.f on 1996 and their last live performance took place in the summer of the same year.

Scorpion Violente - s/t 12" (Bruit Direct 2010)

New mindless electro minimalism from France, part of the whole crew with the logo (I suppose it is called “La Grande Triple Alliance Internationale de l’Est,” an umbrella operation for A.H. Kraken, the Anals, the Feeling of Love and related parties). It took a few listens to grok whether this duo was taking the piss, but there is a method here, even if it’s one that sets the drum pattern apart from the speed of the notes played on the synth, either to disorient, or to show the listener that they don’t know/don’t care how to make it work like everybody else. That little difference is what makes “Roma Violente,” a long-ish, static disco-minimal melody into the serious track that it is. Examples on the flipside are more spare and with somewhat of an industrial bend – “Mi Pute Mi Soumise” marches along with distortion and death in tow, while “Ich Kann Nicht” delivers the Germanic, stark yelling and murderous shocks you might expect from such a title. Another great record from B-D that doesn’t fit neatly into any one style or category. 500 copies.

CCCANDY - Lonesome Berlin (Avant Records 2010)

AVANT RECORDS: Lonesome Berlin is the long time coming first LP from this German guy solo project CCCANDY. After the debut 7'' on Eat! and the tape on Neue Stra?en, we now have a proper full-length featuring twelve dark minimal synth pop songs. This is the sounds of the old Europe during the Eighties, when the Berlin Wall was still real: cold and catchy at once, minimal yet groovy. Greyscale bedroom electronics. Fans of early synth stuff such as The Normal, R.L. Crutchfield's Dark Day, French cold wave bands (Charles de Goal,Trop Tard, Asylum Party) as well as of FactoryMen and Nice Face, take note!


Friday, November 26, 2010

RIP: Ingrid Pitt 1937-2010

Ingrid Pitt, seductive queen of the Hammer horror films who survived a Nazi concentration camp as a girl, has died aged 73, a spokesman for her agent said on Wednesday.
The actress started her screen career in the mid-1960s with roles in Spanish films and minor, uncredited parts in "Doctor Zhivago" and "A Funny Thing Happened on the Way to the Forum."
She appeared in the 1968 classic "Where Eagles Dare" alongside Richard Burton and Clint Eastwood, and five years later in the mystery drama "The Wicker Man."
But it was for her roles in erotic horror films "The Vampire Lovers" (1970) and "Countess Dracula" (1971) that she was best known in Britain.
"Underrated as both an actress and a writer, Pitt was a warm but stubbornly enigmatic figure," said Marcus Hearn, a historian of Hammer horror movies and a friend of the actress.
Pitt was also a writer, producing two novels set during the Peron era in Argentina and several horror-related works of fiction.
She was born in Poland in 1937 to a mother of Jewish descent, and was interned in a Nazi concentration camp during World War Two at the age of five -- an experience she recounted in her autobiography "Life's a Scream."
She told an interviewer in 2006 that she did not particularly enjoy watching horror movies.
"I was in a concentration camp as a child and I don't want to see horror," Pitt said. "I think it's very amazing that I do horror films when I had this awful childhood. But maybe that's why I'm good at it."
Her autobiography also describes Pitt's search for her father throughout the European Red Cross refugee camps and her escape from East Berlin, one step ahead of the police.
"I always had a big mouth and used to go on about the political schooling interrupting my quest for thespian glory," she wrote. "I used to think like that. Not good in a police state."
Pitt collapsed recently and died in London on Tuesday, shortly after her 73rd birthday.

Coil - The Ape of Naples (Threshold House 2005)

Although the accidental death of Coil's Jhonn Balance in November 2004 came as a horrific shock to his friends and fans, in many ways it seemed an event for which Balance himself was hardly unrehearsed. As his longtime Coil partner Peter "Sleazy" Christopherson has put it, Balance's work has "described or addressed that Very Moment" time and again. And so it is on The Ape of Naples, an exceptional collection assembled from Balance's final recordings and earlier, uncompleted material originally recorded at Trent Reznor's New Orleans studio. Given the circumstances of its construction, the album is a remarkably unified work, its every meditative gesture alloyed with a looming, unmistakable sense of impending loss and/or transition.

Throughout their 20-year recording career, Coil have struck a careful symmetry between spontaneous, animistic creation and exacting ritualistic structure, often with specific alchemical intentions for each record. So while it is impossible to know what ultimate design Balance had for the material on The Ape of Naples, credit must be given to Christopherson for his skillful and devoted stewardship to this music. Several of these songs-- "A Cold Cell", "Teenage Lightning 2005", "Heaven's Blade"-- have previously appeared in another forms. Here, however, Christopherson has significantly reworked each track, mixing electronics and acoustic instruments with the help of sympathetic collaborators Simon Norris, Cliff Stapleton, and Thighpaulsandra-- resulting in an album of astonishing cohesion, vitality, and undisguised poignancy.

Judged by the evidence on these 11 tracks, Balance remained a commanding and utterly captivating presence to the end, and these selections do well to showcase his expressive, multifaceted vocals. Augmented by the carnival textures of accordion, hurdy-gurdy, and singing saw, his vocals on the theatric "Tattooed Man" has an almost effortless elegance ("There's a man lying down in a grave somewhere/ with the same tattoos as me") while beneath the agitated electronics and cool jazz snatches on "I Don't Get It" his heavily effected vocals spin as just another enigmatic cogwheel in Coil's diabolical engine.

The album closes with its most curious track, a cover of "Going Up?", the theme song from the long-running British sitcom "Are You Being Served?" As the closing song of Balance's final live performance, the cover has taken on an unlikely significance in Coil's history. In their hands it undergoes such an extraordinary transmutation that it'd likely go unrecognized by even the staunchest fans of the BBC comedy. With its tempo slowed to a funereal waltz, the song gathers an eerie, unsettling force as Balance is joined on vocals by Francis Testory, the two alternately repeating the lines "Going up" and "It just is" with a contented resignation-- as serene a conclusion one could expect from a shaman who never shied from penning his own epitaphs... *Pitchfork

Thursday, November 25, 2010

Throbbing Gristle - TG24 (2002)

Throbbing Gristle were noted for their live performances, which were often experimental and quite different from their pre-recorded work. In addition to studio albums, a large number of recordings of live shows were released, of varying sound quality. A concise history of Throbbing Gristle and COUM Transmissions can be found in Simon Ford's book Wreckers of Civilisation. A 25 CD boxed set,TG24, documenting many live Throbbing Gristle performances was released in December 2002. A follow-up to this boxset chronicling the last 10 performances was released as TG+ in January of 2004. These releases accumulated recordings that had originally been released on cassette-only boxed sets and individually released vinyl albums of official and bootleg status. Long out of circulation, the new releases sparked a renewed interest in the band.
Throbbing Gristle were scheduled to play a live show in May 2004 at the RE~TG festival, but the festival was cancelled due to poor ticket sales, rising costs and scheduling complications. They decided to play anyway and set up a show at The Astoria in London on Sunday May 16th 2004, which was the same day they were to play at RE~TG. The show was free but open only to those who had tickets to RE~TG, whether they had obtained a refund or transferred the ticket to a later concert at All Tomorrow's Parties, in December 2004. The show was filmed by the band, and was released as part of the DVD box set TGV. It was Throbbing Gristle's first live performance in nearly 23 years to the day.
The reformed band (with all four original members) then played a concert in Italy in June 2005 and two concerts at the Volksbühne, Berlin, Germany on December 31, 2005 and January 1, 2006. The first show was a live performance and the second an improvised live soundtrack to Derek Jarman's film In The Shadow Of The Sun. On December 29, 2005, an exhibition entitled 'Industrial Annual Report' opened at the KW Institute for Contemporary Art in Berlin-Mitte. It was a major retrospective exhibition of artworks and historical documents produced by Throbbing Gristle, curated by Markus Müller, in collaboration with Cosey Fanni Tutti. *taken from wikipedia



A listener's guide can be found: HERE 

This post is my tribute for the death of 

Peter "Sleazy" Christopherson 1955 - 2010 R.I.P.

RIP: Peter "Sleazy" Christopherson 1955 - 2010

It is with great sadness that we announce the passing of Peter Christopherson, a.k.a. Sleazy, member of such seminal groups as Throbbing Gristle, Psychic TV, and Coil. He reportedly died in his sleep yesterday, November 24, at the age of 55.
The initial announcement came roughly an hour ago, at around 4 AM EST, when Throbbing Gristle members Cosey Fanni Tutti and Chris Carter tweeted the same message:
Our dearest beautiful Sleazy left this mortal coil as he slept in peace last night.words cannot express our grief...

Wednesday, November 17, 2010

Tuesday, November 16, 2010

Various Artists - Anatolia Rocks, a musical trip through Turkey 1968 - 83

Anatolian rock combines traditional Arabesque and psychedelic elements and some good rock 'n' roll as only Turks would play it...


Ynos - Shadow Priest (2010)

Stare into the eye of the storm and the shadow priest will consume your soul...Sludge freshly squized from the swamp is the only words that can describe this hypnotic vortex.
Behind this hides Master Tefkros on swamp bass and sexy solos, Witchburner Crowley who knocks on wooden coffins and Cultist Brother Ray on black chants...

Friday, November 12, 2010

Wednesday, October 27, 2010

Brujeria - Raza Odiada

Rada Odiada is dedicated to Cocaine Death for making my morning !! 

Tuesday, October 26, 2010

Tartarus - Epimetheus Bootleg (new track 2010)

Just a bootleg from one man band Tartarus... Recorded live with session members...
No trendy ass fuckin' swedish crap here... only pure darkness and EVOOOOOL!!!!!!

Here it is an older track from this true black metal occult band... enjoy!

Mv & Ee - Muskie & Manitou (brave mysteries 2010)

...this tape presents the mv & ee tour of Summer 2009, fresh from the sweetest spot in the taper's pit. As last Summer was coming to a cool simmer, mv & ee strolled into the collegiate utopia of Madison, Wisconsin; to perform at a tiny art gallery for their faithful Midwestern brethren. The room was packed with flannel-clad friendlies and the atmosphere was thick and balmy, as Matt mumbled his way to the opening heatstroke of "Summer Magic", the micro-brewed smiles crept across all our faces, and we were all real gone for a change. This tape effortlessly captures the magic of that evening and and opens the portal, gazing back into the hypnotic waves of Matt and Erika's secret mountain bonfire. *brave mysteries

Download removed by request

Tuesday, October 19, 2010

Current 93 - Lucifer Over London (1994)

"LUCIFER OVER LONDON Parts I and II were inspired primarily by the short story "The Tower Of Moab" by Leslie Allin lewis (1899-1961), found in his superlative collection Tales Of The Grotesque, (Philip Alan, 1934; Ghost Story Press, 1994), although the ideas and images in the song are primarily my own. Vocals - David Michael Tibet by the Grace of God, and John Balance by the Grace of Austin Osman Spare and the Zos Kia Cultus. He thanks the gods that be he sees for Hinself as no othr seeth him. I thank God that I do. Guitars, bass, tambourine - Michael Cashmore by the Grace of Gnoddy. Second guitar - David Kenny by the Grace Of Energy. Black Sabbath - Nick Saloman by the Grace of the Bevis Frond. This song is dedicated to my dear friend Richard Dalby, who delves still.

SAD GO ROUND was written by Tony (T.S.) McPhee and appeared on his Groundhog's Solid album in 1974. Acoustic guitar and bass - Michael Cashmore. lead guitar and electric dulcimer - Nick Saloman. Vocals - David Michael. This song is dedicated to Rosemary Pardoe, the editor of Ghost and Scholars, my favourite magazine.

THE SEVEN SEALS ARE REVEALED AT THE END OF TIME AS SEVEN BOWS: THE BLOODBOW, THE PISSBOW, THE PAINBOW, THE FAMINEBOW, THE DEATHBOW, THE ANGERBOW AND THE HOHOHOBOW was written as a sequel to John Balance's introduction to Coil's Horse Rotovator album. Once I looked at the starres and they were all blood. This song is dedicated to the Soul of my beloved and most dear cat MAO who is dead by the Grace of Lordnothing and sleeps, I pray, in Louis Wain's paradise - bounce the ball still Maoma...I slept I dreamed I dreamt a dream and He still lived. Sometimes I sit alone in my room and stare out of the window beyond beyond and beyond; Christ dances around and around the sun, but it does not stop its circling and neither can I. Vocals - David Michael. Acoustic guitar, bass, melodica and glöckenspiel - Michael Cashmore. Sheep Ventilator Guitar and Secret Weapon"-- Steven Stapleton

*p.s. the only reason i'm posting this is because i finaly got it today.

Sunday, October 17, 2010

Vincent Gallo - When (warp 2001) / Recordings Of Music For Film (warp 2002)

Point to any portion of Vincent Gallo's career-- from his acting in any of a number of underrated independent films, to his work with Jean-Michel Basquiat in the short-lived New York band Gray; from the writing at his self-maintained website, to his twisted directorial debut Buffalo 66-- and you'll always find something a bit off-kilter. Of course, it's in this very awkwardness that Gallo's appeal lies.
In the aforementioned film-- parts of which are admittedly autobiographical-- Gallo plays a loser named Billy who returns, upon his release from prison, to his hometown. On his first day back, he kidnaps a young girl, takes her to his parents' house for dinner, forces her to pretend she's his wife, and then proceeds to wander around town with her trailing closely behind. Over the course of the film, Billy realizes that there's nothing for him in this town, that he's every bit as lost as he'd been before jail. He recognizes the girl as his possible salvation, but finds himself too petrified to act upon this realization. Gallo wrote, directed, scored, and starred in the film; this hands-on approach no doubt the cause of much of its emotional resonance. He approaches When, his solo musical debut, in much the same way. Not only is Gallo the sole writer, performer and producer credited here, but his songs are imbued with the same emotional nakedness that made Buffalo 66 so engrossing.
Throughout the album, but on "Honey Bunny" in particular, Gallo appears to be mocking traditional lovesong lyrics. "Huh-uh-nee Buh-huh-nee," he sings in a faux-Prekopian swagger, dragging out each syllable, pausing between each pair as though to decide which romantic cliché best fits his intentions: "My Bay-ay-bee... girl... friend." Later, on "Laura," he repeats the titular figure's name a few dozen times, growing more desperate with each go-round. The sheer vapidity of these lyrics gives When the feel of a very private affair, like we're standing outside the door to Gallo's room while he sits on his bed inside, guitar in hand, wallowing in self-pity.
This voyeuristic effect is reminiscent of much of Smog's earlier work, though the means by which the two artists achieve it couldn't be further apart. The ingenuity here is not in the lyrics, but entirely in their delivery. Listening to When, one can't help but wonder if this is how Andy Kaufmann's audiences felt. As Gallo speak-sings, "Goodnight baby/ Sleep tight here with me/ We can lay in the bed, you and me/ And I won't go away or leave you alone/ Sweetie-pie/ Baby/ Sleep tight/ Here with me," on "Apple Girl," we're left scratching our heads, wondering if the effect is intentional or not.
I can only assume, based on Gallo's work as a filmmaker and his arrangements on some ofWhen's more ambitious tracks, that it is. Gallo may be self-indulgent, but he's certainly not oblivious. "I Wrote This Song for the Girl Paris Hilton," the disc's opener, begins with a short looped sample of an unwavering horn note, with guitar and drums in the background. Slowly, Gallo builds a song out of other sampled instruments-- a guitar here, an organ there-- piling them atop the relentless three-second foundation. The arrangement is clunky in the same way that a U.S. Maple song is, but this doesn't diminish its beauty. If anything, it serves as allegory for a mind we're led to assume is somewhat shaky and nervous. Consider it an early warning that the songs which follow are going to be a bit off kilter. The instrumentation is lush as can be, while the ever-present loop has a lulling effect that prepares listeners for the slow but beautiful ride through Gallo's fragile psyche to come.
When he samples an old recording of vibraphones on "Was," it's not the melody, but the actual sound that affects. Gallo's placement of the flat, faded, somewhat muted old recording over his own full, lush guitar strokes makes for an intriguing parallel. The sample, much like his character in Buffalo 66 and-- we're drawn to assume-- Gallo himself, doesn't quite belong. Yet, there's an undeniable beauty to the unlikely pairing.
Musically, most of When is sparse, reminiscent of the more haunting moments on Archer Prewitt's Gerroa Songs or a more subtle, less dynamic Bedhead. A lightly picked guitar and barely audible bass make up the bulk of the accompaniment to Gallo's nearly androgynous crooning, with the occasional string section that fades out as quickly as it came in. The result, when added to the often repetitive vocals is captivating, almost hypnotic. But once again, Gallo proves he's more aware than he lets on. On the next track, "My Beautiful White Dog," a gently plucked guitar continues to wander aimlessly, but it does so over a dirty old drum loop and an ominous string section which serves as a wake-up call, yanking the listener to attention after the calm opening tracks.
There's no denying that When is an exercise is self-indulgence. Much like Bufallo 66, it's an effort that, while deserving of respect and maybe even a bit of envy, is riddled with flaws. Just as some of the characters in his film lacked a backstory or a sense of purpose, so doesWhen. Though gorgeous and inexplicably well-crafted, it lacks scope; far too content to swim in circles in a pool of Gallo's emotions to ever strike ground that truly resonates. And even though their ambiguity often lends the lyrics much of their weight, it'd be nice to hear Gallo take a swing at something with a bit more depth than, "I'm always sad when I'm lonely/ I'm always sad."
Still, When is a gorgeous collection of songs which paint an undeniably clear picture of their creator. If, with his next project-- be it music, film or something else-- Gallo attempts to broaden his range, to understand something besides himself, there's no telling what heights he might reach.

Much as everyone seems to want to hate the man, it's proven increasingly difficult to dismiss the fact that Vincent Gallo is just too talented across far too many creative fronts. A ramshackle, home-made charm permeated the tracks presented on his debut album 'When' - released on Warp some months ago, and the same vulnerable patchwork permeates much of the material spread across the 29 tracks on offer here.
 Containing music recorded for films between 1979 and 1998, the deeply cinematic stretches veer from lo-fi accoustic trembles to electronic washes of ambience and static pops. The opening 15 tracks recorded for 1983's 'The Way It Is' sound unbeleivably accomplished, bare and creatively honest. The temptation is almost there to describe them as 'ahead of their time', but that would perhaps ignore the long tradition of form and strucure honoured by Gallo in his own deeply charming way.
 The 8 tracks included from Gallo's most known cinematic work - Buffalo '66 - open up with the truly mesmerisng 'Lonely Boy' - a kind of stripped layered melancholy in the finest singer-songwriter tradition that comes across as painfully auto-biographical, free of much of the arrogance and pretension that Gallo is reported to retain in character. Straight onto 1981's 'Downtown' and the 'Dum Beet' interlude, 20 seconds of treated lo-fi beats that offer a glimpse of proto-idm beat production in the most lo-fi sense, before 1979's 'If You Feel Froggy, Jump' unravels 3 tracks of open tape-edit experimentation inspired by the Concreté brigade with titles like 'Ass Fucker' and 'Ass Fucker (Reprise)' . 
A truly intriguing and deeply enjoyable release from Gallo, made indespensible with the inclusion of Gallo's sometimes hillarious and often controversial liner-notes that veer from pure sexist bitchin' to slanderous ranting to the final, deeply moving homage to Warp's Rob Mitchell who passed away late last year.