Tír Na HiFi

It actually says in the sleeve notes "Please listen on speakers, loud " It also dedicates the record to a chap called Derek :)




A Review:
It seems hard to believe, but The Visitor is actually Jim O'Rourke's first new record in nine years, following not very hotly on the heels of 2001's Insignificance and I'm Happy And I'm SInging And A 1,2,3,4. Despite the break, this album can be seen as a direct follow-on from his previous Drag City albums - most closely resembling 1997's Bad Timing given its lack of vocals and the continuous passages of steel-strung acoustic guitar-led arrangements. This all adds up to a seriously exciting release; Jim's cycle of Drag City albums (this being the first not to take its name from successive Nicolas Roeg films - following that logic this one should have been called Castaway) is one of the most revered bodies of work in American alternative rock. As this latest addition to that canon starts up, one of the very first things to strike you is that the production and mixing are undertaken in a fashion that is (to say the least) highly unusual by today's standards. Seldom do you hear so much dynamic breadth in a contemporary record; this is not one of those releases that's had every ounce of life compressed out of it, instead O'Rourke leaves the quiet parts quiet and the loud parts... marginally less quiet. This is an album that's made according to old-fashioned principles, presented with vintage levels of clarity and warmth that benefit from being turned up for full appreciation. A decent amount of cranking will reveal countless layers of instrumental threads, and according to the great man himself there are around two hundred tracks used up in the recording of The Visitor - and that's two hundred tracks he's played himself. Given the long break, it's easy to forget just how brilliant a musician O'Rourke is; his production skills (as demonstrated on records by Wilco, Sonic Youth, John Fahey and Joanna Newsom among many others) are well documented, but since 2001 it'd be all too easy to think of O'Rourke's musical output as being restricted to occasional drone pieces, or the odd film soundtrack here and there for pals like Werner Herzog and Olivier Assayas. The Visitor is a comeback of heroic proportions however - an auditory feast featuring acres of guitars, immaculately pieced together percussion elements, and all kinds of subtle yet elaborate arrangements for strings, horns and keyboard instruments. John Mulvey really hit the nail on the head when he recently described this as "a kind of folk symphony, a heavenly realisation of modern composition rescored for Laurel Canyon habitués", and it certainly feels every bit as substantial and gratifying as that assessment alludes. Don't leave it so long next time, please Mr O'Rourke.

This was really good I thought. Contains alternate rawer versions of some tracks from the 3 studio albums. I definitely prefer this one over Bryter Layter. Not sure why but I guess I prefer the sparse arrangments for his songs.

DaveF wrote:

This was really good I thought. Contains alternate rawer versions of some tracks from the 3 studio albums. I definitely prefer this one over Bryter Layter. Not sure why but I guess I prefer the sparse arrangments for his songs.

Whew! Thank God :) Nick + Sparse = heaven

Got this little beauty in Road many eons ago.What you see in the pic is exactly what I have including the 'rolled' coin (by a train!) - every vinyl release had a different sleeve as they were hand made :) Unbelievable music comprising spoken word, vast fu##ed up blues, string quartets and vast soundscapes.....







This review is from: f#a# (infinity symbol) (Audio CD)
"The car's on fire and there's no driver at the wheel, and the sewers are all muddied with a thousand lonely suicides, and a dark wind blows. The government is corrupt, and we're on so many drugs, with the radio on and the curtains drawn. We're trapped in the belly of this horrible machine, and the machine is bleeding to death. The sun has fallen down, and the billboards are all leering, and the flags are all dead at the top of their polls."
With this harrowing, deep-voiced monologue begins _f#a#00_ (I can't make the infinity symbol so I'm improvising), a cinematic masterpiece lacking pictures but telling a lucid tale. Long, dusty, lonely elegies of smotheringly morose music illustrate a world on the brink of apocalypse. This is Godspeed You Black Emperor!'s first readily available album (forget trying to find their debut...only 33 copies were ever made ::sigh::), and to many it was their first experience to this band's stunning power. Calm but eerie silences can be extremely disarming as crescendos and loud dynamics can creep up unexpectedly, then retreat with equal abruptness. The band has seemingly concretized into a nonet, but here I'm not sure how many musicians actually worked on this record (I've heard numbers from nine to seventeen). Needless to say this is not a conventional rock band at all. I'm not sure I'd call this rock music anyway -- the writing is so structurally unusual, stylistically diverse, and instrumentally the band works more like a mini-orchestra. Each instrument, from violins to guitars to percussion, is an integral part of an organic collective rather than different musicians working together. Erm, those might sound like the same thing but they really aren't.

Each track is a lengthy suite (16-minutes, 18-minutes, and 28-minutes long) languidly flowing through several movements. Taken individually, each section is remarkable in its own right but the full power of the music is the meshing of different passages to splash different undertows of emotion over a general mood. One could easily say the individual passages have nothing to do with each other and feel randomly spliced together, but I couldn't disagree more. Each movement carries on from the last with coterminous emotions, establishing a congruous whole encapsulated within each track. Perhaps the different movements don't make cohering musical sense (though I don't know who would be actually qualified to say such a thing), but they _do_ make emotional sense.

"The preacher-man says it's the end of time...so says the preacher-man, but I don't go on what he says."

For all of GYBE!'s anguished dirges for apocalyptic endings, there is a faint sparkle of hope sluiced somewhere inside that doomed, lonely shell. This dichotomy of tone -- faint-but-defiant hope and crushing despair -- is emotionally twisting, uniquely powerful, and has resonated through me ever since I've started listening to this band. I'm not sure how long the feeling will last, but this stuff cuts deep. The crescendos this band peaks at are nothing less than utterly overpowering -- 11 minutes into track 2, "East Hastings", I come dangerously close to crawling into a dark corner, clutching myself in the fetal position, and whimpering , "mommy..."

"...hungover it's awful, the sound of trains collapsing back behind of here; outside there are distant birds circling in front of 7 miles of heavy cloud falling down, &from where you're lying one of those clouds looks like a hanged man leading a blind, indifferent horse...THIS IS MILE END MY FRIEND, the hollowed out ruins here &a train runs straight thru them... we made a record here in mile End..."

Those familiar with the band's mythic anonymity and vehement artistic credo may call them pretentious, but I'll be damned if they don't write some of the greatest music I've ever heard. Turn off the lights, crank the volume (this needs to be heard LOUD), and become lost in Mile End. It's a despairing, forlorn place, but you may never want to leave.

Not an obvious choice I know,but it is my favourite Gary Moore album.His love and total respect for Peter and his blues is so palpable and inspiring. Just so glad that the other door is still open :) Gary Moore RIP







The Supernatural - originally played by Peter on the Hard Road album....Here's
Gary's lovingly performed take on it from the above album. Stunning :)

http://www.youtube.com/watch?v=bJbf4hiy ... ata_player

Relaxing this this tonight. One of my favourite Floyd albums, very mellow and ideal for a lazy Sunday night!

I wasnt expecting too much from this album, I mean how could it possibly be as good as the other two which are stellar. But what a surprise it was! I think this one feels a more cohesive album from start to finish even if doesnt quite have some of the 'hits' that the first two albums had. The is an album that must be listened to from start to finish!