Drone Records
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Format: CD
Label & Cat.Number: Tumult Records TM 20
Release Year: 2002
Note: ..." a gorgeous hour of dreamy droney creepy blackness.." special offer
Price (incl. 19% VAT): €8.00

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"Jahrelang haben wir hierdrauf warten müssen, aber jetzt ist sie endlich raus: Eine ganze CD mit experimentellen „Cover“-versionen eines der bekanntesten Rockstücke der Musikgeschichte, dekonstruiert, erweitert, zerstört, zerstückelt, zerhackt und neu zusammengesetzt, mit extrem unterschiedlichen Ergebnissen - es überwiegen aber klar die seriösen Versuche, etwas völlig neuartiges zu kreieren anstatt puren Nonsens oder Lärm walten zu lassen: dabei sind: MIESKUORO HUUTAJAAT (a capella Chor), JOY OF DISEASE (Space-Guitars von JIM PLOTKIN!), STILLUPPSTEYPA (strange digital re-arrangements), KIT CLAYTON, ACID MOTHERS TEMPLE (Obertongesänge & PsychProgCrazyness!), TROUM (transformed into pure melancholia), FENNESZ, etc, etc.. " [Drone Rec. info]

“ FINALLY!!! Hard to believe this thing is actually done considering how long and how seemingly cursed this project has been. Started almost 5 years ago to be released on the now defunct Petrol label, then bequeathed 3 years ago to tUMULt where the lineup and concept went through many changes (possibly because what was begun as an homage to a song the original label head really liked, had become a deconstruction of a song we really hate) and then an endless procession of waits, mastering, pressing, re-recording, battles with other labels over 'rights', as well as 4 different cover concepts that all had to be scrapped because they were seemingly too difficult for any printers to confidently take on. -sigh- So here we are. Was it worth the wait? Obviously we think so. Look at the lineup for fucks sake!!! Acid Mothers Temple, Circle, Hrvatski, James Plotkin, Kit Clayton, Loren Chasse, Troum, The Tape Beatles, Mieskuoro Huutajaat, Fennesz, and Stilluppsteypa. And that's just the cream. Lots of tracks were left off to avoid the spotty/uneven flow of most compilation/tribute/cover records. We even opted to leave off a track by a very popular, Japanese band (that as people keep telling me would have sold hundreds more copies, but as I keep telling them, that's not the point), which was a tough, but important choice, since the spazzy grind of their track disrupted the droning meditative, hypnotic flow of what is now less just a compilation of random tracks, and more an epic and gorgeous hour of dreamy droney creepy blackness.” [from the press release]