"But there .... These men had they seen anything?" A bad omen? "
Steamhammer" Speech "1972
There are a few records of amateur life inconvenient. Vicious, obsessive, they do not fit into any real category, and often some kind of UFO in the discographies of groups or artists.
I think of "Ceremony" by Spooky Tooth with Pierre Henry, or "The End Of The Game" by Peter Green. Specify all the same except that the latter city, all the musicians were apparently all he headed at the time of recording of the disc, which was not really the case with Peter Green.
In all cases, these albums are the mysterious reflection of a plunge into the abyss of soul musicians. Because of the chosen structures, complex, and moods, often oppressive, distressing, we feel that the authors have gone musically and spiritually where few have dared to go.
Steamhammer is a British band whose core is formed by Martin Pugh on guitar and Kieran White on vocals and guitar. Drummer and bassist change with every album or so. Steamhammer music is first, and quite logically, mostly rooted in the British Blues Boom, but very late, since we are already in 1969, and Led Zeppelin just uncheck its first salvos, putting it on the ground rest of the movement shortly after the tornado Cream. Nevertheless, a song from the first disk will not go unnoticed, since the set-list includes an English quartet who just get down to boogie: Status Quo. The song in question is none other than Junior's Wailing ".
The group's music will move quickly to a heavy blues-progressive particularly brilliant, as confirmed in the second disc, "MK II" in 1969. The warm voice of White, combined with thick chorus burning Pugh finds its perfect synthesis. The prodigious drummer Mick Bradley just happened is not for nothing, and breathed a rhythm both heavy and jazz. He finds his alter-ego in the four-string in the person of Steve Davy, and the pinnacle of the quartet is "Mountains" in 1970. Wonderful monument to the glory of a heavy-blues both dreamy and strange, esoteric sort of alloy of blues-folk of Pentangle and English heavy metal and gothic black first Black Sabbath, it is a masterpiece absolute. A strange mystery
flat run if this latest record called "Speech" in 1972. The group broke up. Tensions have arisen, the fault in different musical directions, and also because of the commercial failure of this great music yet. That leaves
Pugh and Bradley alone. They join the exceptional talent of a talented bass player, a certain Louis Cennamo. The man arrived in 1971 to replace Davy, and turned over some time with the group in Germany. The singer Garth Watt-Roy, former singer of Fuzzy Duck, completes the line-up time of recording the disc.
What exactly happened during those 18 months between "Mountains" and "Speech"? Hard to say, but it is something terrifying. Because this album is even darker, darker, more impenetrable, more terrifying than the first Black Sabbath or "End Of The Game" by Peter Green, however, a yardstick for emotional nightmare. We knew that the lads from Black Sabbath had a hard life in their infancy, from the dark Birmingham, Iommi lost his fingers in a hydraulic press (Steam Hammer one, named the ram who cut the thick pieces of metal smelters?) , the first concerts in amphetamines in order to survive in the van in the snow. And then Green, his bad LSD trip in Munich in 1969, and his mental wreck until he left Fleetwood Mac in May 1970.
But there .... These men had they seen anything? A bad omen? Undoubtedly, since February 8, 1972 during the mixing of the album, Mick Bradley, drummer, dies of leukemia at age 25 crushing, annihilating Steamhammer fact. There will therefore, like all those disks sick, no tour could extract even more the epitome of emotional content. As if everything had been said in the studio and beyond, a boundary cursed was actually completed. The Styx sum.
yet I must tell you that this album is for me an absolute and total dive into the depths of my soul. It will be the same for the listener who will listen to, and above all, to ignore any pre-determined musical design. It is obvious that the hearing be held the rock music of the 70s will more easily find the path in these wonderful sonic limbo. Because this album has little parallel in the history of pop music, even at Pink Floyd in the period 1968-1972, yet extremely adventurous. It might even catalyzes all your fantasies most shameful, your darkest nightmares. In short, a catharsis.
Divided into three long tracks, each of them is itself divided into chapters representing each theme song. The first is "Penumbra." Started an album by the same theme speaks volumes about the mindset of musicians. A riff similar to a cello squeaks on your ears, playing a scary theme, at least as gratifying as drinking tea in the medieval ruins an evening of full moon. You feel on your shoulders the icy blast of restless souls wandering in these places. Incantatory, haunting, dice these initial agreements, you plunge into an abyss of terror. When the power comes first theme, the sound is no longer Steamhammer Blues, but an incredible heavy metal chrome, with a boldness and elegance crazy. This first topic will also be recycled to "Buzzard", the first title of the only album of Armageddon in 1975, another classic from a group consisting Cennamo, Pugh, Keith Relf of the Yardbirds and Bobby Caldwell, Johnny Winter and Captain Beyond .
dexterity of the three musicians is startling. Fine, elegant, confident of their strength, they twist your brain gradually, before the roaring bass Cennamo off of your stops. Watt-Roy sings black esoteric texts, music is incantatory, haunting, cold. Then the song in a hand off between jazz-rock and psychedelia that Martin Pugh's guitar works wonders. It is a crossing on the moor, a full moon. Small bushes rustle in the wind shaved, and your not just crack the stones of the little road that seems to lead you nowhere. The sea wind blows harder and harder, and between two clouds, you see the moon in the foam covering the steep rocks of the coast. You do not know exactly why you're here. You are torn between anxiety this walk alone at night, and that indescribable feeling of freedom, as if nothing else than the elements does weigh on you. These moments when
Pugh Egraine its chorus is magical. There are those few minutes on what we can bring out more wonderful with a guitar. The pinnacle is the final solos between guitar and bass, which are gradually dying subject in a constellation of white stars. The bass roars back on the distortion, and Watt-Roy roars too. "Do not Know Why ..." as a leitmotif. The guitar is matched by, as a dialogue between Lucifer and the archangel of the Good. Both deep and rumbling, and saturated and fuzzée, Exchange seems interminable, as if the battle had only begun. Once again, Pugh proved masterful. Supported brilliantly by Cennamo, it shows the talent of immeasurable magical duo. Louis demonstrated his mastery in the four-string, overriding theme in the final sustain low rumble of leaving the listener drained.
Time to flip the disc vinyl, you hit "Telegram." Frightening call for help, it is a synthesis of sick yet undeniable talent and disgusting Steamhammer.
The riff and rhythm seem to imitate a sort of crazy machine spouting incomprehensible messages of common mortals. Martin Pugh's guitar is disturbing, snapping a riff both angry and almost dissonant. Cennamo's bass is a cons-point that supports this rumbling melody agonizing over which Watt-Roy sings in a voice strangely calm a text haunted by madness. Obsessive
to the core, this title is an absolute success when some minerals are broken arpeggios anxiety. But this is an illusion. The machine is repackaging and under presques Gregorian choirs, choruses Pugh uncheck swallowed up by this mystical song. Arpeggios plunge soon, supported by a low muffled in a melody still medieval, supported by a battery-martial.
The final section offers a granite off the final explosion which is simply a wonderful solo by Martin Pugh on the original riff. The lyrical masterpiece is back, and these three are again touched by grace, leaving Steamhammer imagine what might have become without the tragic end of his drummer.
"For Against" the third part of triptych, begins with arpeggiated bass, before the fuzz guitar drenched crashed on our ears imprudent. Strange as it may sound, the battery gets carried away in an exotic rhythm, finally close enough to the theme of "Penumbra." Uncheck the guitar riff backed by bold bass, both electric blues and terribly like thunder. Little jam between friends gives way to a long drum solo by Mick Bradley. Finally, nothing very exciting I hear you say, the drum solos are a rock pushing hard for very many of the 70's. Except that here, the boy who plays die a few months later, and a kind of morbid dance moves when you listen to this solo. It is certainly not the best batsmen, but his style, very personal, and imagination, make the exercise quite listenable, and a priori the perfect end to this disc terrifying, unique.
There will not be much of that. Bradley's death will stop short any hope of tour. Pugh and Cennamo will play a tribute concert with other groups of heavy-progressive rock as Atomic Rooster, Beggars Opera or Yew March 25, 1972 at the Marquee in London. John Lingwood will be hired on drums and Ian Ellis on vocals. The quartet will Axis, and turn a few months before breaking up. Pugh and Cennamo soon be based in 1974 the extraordinary Armageddon with Keith Relf, former singer of the Yardbirds, and Bobby Caldwell, former drummer for Johnny Winter and Captain Beyond. And on the first track from their self-titled album, "Buzzard," a riff hover heady, that of "Penumbra." As a curse. Relf died in 1976 shortly after the split of Armageddon.
all rights reserved
Steamhammer" Speech "1972
There are a few records of amateur life inconvenient. Vicious, obsessive, they do not fit into any real category, and often some kind of UFO in the discographies of groups or artists.
I think of "Ceremony" by Spooky Tooth with Pierre Henry, or "The End Of The Game" by Peter Green. Specify all the same except that the latter city, all the musicians were apparently all he headed at the time of recording of the disc, which was not really the case with Peter Green.
In all cases, these albums are the mysterious reflection of a plunge into the abyss of soul musicians. Because of the chosen structures, complex, and moods, often oppressive, distressing, we feel that the authors have gone musically and spiritually where few have dared to go.
Steamhammer is a British band whose core is formed by Martin Pugh on guitar and Kieran White on vocals and guitar. Drummer and bassist change with every album or so. Steamhammer music is first, and quite logically, mostly rooted in the British Blues Boom, but very late, since we are already in 1969, and Led Zeppelin just uncheck its first salvos, putting it on the ground rest of the movement shortly after the tornado Cream. Nevertheless, a song from the first disk will not go unnoticed, since the set-list includes an English quartet who just get down to boogie: Status Quo. The song in question is none other than Junior's Wailing ". The group's music will move quickly to a heavy blues-progressive particularly brilliant, as confirmed in the second disc, "MK II" in 1969. The warm voice of White, combined with thick chorus burning Pugh finds its perfect synthesis. The prodigious drummer Mick Bradley just happened is not for nothing, and breathed a rhythm both heavy and jazz. He finds his alter-ego in the four-string in the person of Steve Davy, and the pinnacle of the quartet is "Mountains" in 1970. Wonderful monument to the glory of a heavy-blues both dreamy and strange, esoteric sort of alloy of blues-folk of Pentangle and English heavy metal and gothic black first Black Sabbath, it is a masterpiece absolute. A strange mystery flat run if this latest record called "Speech" in 1972. The group broke up. Tensions have arisen, the fault in different musical directions, and also because of the commercial failure of this great music yet. That leaves Pugh and Bradley alone. They join the exceptional talent of a talented bass player, a certain Louis Cennamo. The man arrived in 1971 to replace Davy, and turned over some time with the group in Germany. The singer Garth Watt-Roy, former singer of Fuzzy Duck, completes the line-up time of recording the disc.
What exactly happened during those 18 months between "Mountains" and "Speech"? Hard to say, but it is something terrifying. Because this album is even darker, darker, more impenetrable, more terrifying than the first Black Sabbath or "End Of The Game" by Peter Green, however, a yardstick for emotional nightmare. We knew that the lads from Black Sabbath had a hard life in their infancy, from the dark Birmingham, Iommi lost his fingers in a hydraulic press (Steam Hammer one, named the ram who cut the thick pieces of metal smelters?) , the first concerts in amphetamines in order to survive in the van in the snow. And then Green, his bad LSD trip in Munich in 1969, and his mental wreck until he left Fleetwood Mac in May 1970. But there .... These men had they seen anything? A bad omen? Undoubtedly, since February 8, 1972 during the mixing of the album, Mick Bradley, drummer, dies of leukemia at age 25 crushing, annihilating Steamhammer fact. There will therefore, like all those disks sick, no tour could extract even more the epitome of emotional content. As if everything had been said in the studio and beyond, a boundary cursed was actually completed. The Styx sum.
yet I must tell you that this album is for me an absolute and total dive into the depths of my soul. It will be the same for the listener who will listen to, and above all, to ignore any pre-determined musical design. It is obvious that the hearing be held the rock music of the 70s will more easily find the path in these wonderful sonic limbo. Because this album has little parallel in the history of pop music, even at Pink Floyd in the period 1968-1972, yet extremely adventurous. It might even catalyzes all your fantasies most shameful, your darkest nightmares. In short, a catharsis.
Divided into three long tracks, each of them is itself divided into chapters representing each theme song. The first is "Penumbra." Started an album by the same theme speaks volumes about the mindset of musicians. A riff similar to a cello squeaks on your ears, playing a scary theme, at least as gratifying as drinking tea in the medieval ruins an evening of full moon. You feel on your shoulders the icy blast of restless souls wandering in these places. Incantatory, haunting, dice these initial agreements, you plunge into an abyss of terror. When the power comes first theme, the sound is no longer Steamhammer Blues, but an incredible heavy metal chrome, with a boldness and elegance crazy. This first topic will also be recycled to "Buzzard", the first title of the only album of Armageddon in 1975, another classic from a group consisting Cennamo, Pugh, Keith Relf of the Yardbirds and Bobby Caldwell, Johnny Winter and Captain Beyond .
dexterity of the three musicians is startling. Fine, elegant, confident of their strength, they twist your brain gradually, before the roaring bass Cennamo off of your stops. Watt-Roy sings black esoteric texts, music is incantatory, haunting, cold. Then the song in a hand off between jazz-rock and psychedelia that Martin Pugh's guitar works wonders. It is a crossing on the moor, a full moon. Small bushes rustle in the wind shaved, and your not just crack the stones of the little road that seems to lead you nowhere. The sea wind blows harder and harder, and between two clouds, you see the moon in the foam covering the steep rocks of the coast. You do not know exactly why you're here. You are torn between anxiety this walk alone at night, and that indescribable feeling of freedom, as if nothing else than the elements does weigh on you. These moments when Pugh Egraine its chorus is magical. There are those few minutes on what we can bring out more wonderful with a guitar. The pinnacle is the final solos between guitar and bass, which are gradually dying subject in a constellation of white stars. The bass roars back on the distortion, and Watt-Roy roars too. "Do not Know Why ..." as a leitmotif. The guitar is matched by, as a dialogue between Lucifer and the archangel of the Good. Both deep and rumbling, and saturated and fuzzée, Exchange seems interminable, as if the battle had only begun. Once again, Pugh proved masterful. Supported brilliantly by Cennamo, it shows the talent of immeasurable magical duo. Louis demonstrated his mastery in the four-string, overriding theme in the final sustain low rumble of leaving the listener drained.
Time to flip the disc vinyl, you hit "Telegram." Frightening call for help, it is a synthesis of sick yet undeniable talent and disgusting Steamhammer. The riff and rhythm seem to imitate a sort of crazy machine spouting incomprehensible messages of common mortals. Martin Pugh's guitar is disturbing, snapping a riff both angry and almost dissonant. Cennamo's bass is a cons-point that supports this rumbling melody agonizing over which Watt-Roy sings in a voice strangely calm a text haunted by madness. Obsessive
to the core, this title is an absolute success when some minerals are broken arpeggios anxiety. But this is an illusion. The machine is repackaging and under presques Gregorian choirs, choruses Pugh uncheck swallowed up by this mystical song. Arpeggios plunge soon, supported by a low muffled in a melody still medieval, supported by a battery-martial.
The final section offers a granite off the final explosion which is simply a wonderful solo by Martin Pugh on the original riff. The lyrical masterpiece is back, and these three are again touched by grace, leaving Steamhammer imagine what might have become without the tragic end of his drummer.
"For Against" the third part of triptych, begins with arpeggiated bass, before the fuzz guitar drenched crashed on our ears imprudent. Strange as it may sound, the battery gets carried away in an exotic rhythm, finally close enough to the theme of "Penumbra." Uncheck the guitar riff backed by bold bass, both electric blues and terribly like thunder. Little jam between friends gives way to a long drum solo by Mick Bradley. Finally, nothing very exciting I hear you say, the drum solos are a rock pushing hard for very many of the 70's. Except that here, the boy who plays die a few months later, and a kind of morbid dance moves when you listen to this solo. It is certainly not the best batsmen, but his style, very personal, and imagination, make the exercise quite listenable, and a priori the perfect end to this disc terrifying, unique.
There will not be much of that. Bradley's death will stop short any hope of tour. Pugh and Cennamo will play a tribute concert with other groups of heavy-progressive rock as Atomic Rooster, Beggars Opera or Yew March 25, 1972 at the Marquee in London. John Lingwood will be hired on drums and Ian Ellis on vocals. The quartet will Axis, and turn a few months before breaking up. Pugh and Cennamo soon be based in 1974 the extraordinary Armageddon with Keith Relf, former singer of the Yardbirds, and Bobby Caldwell, former drummer for Johnny Winter and Captain Beyond. And on the first track from their self-titled album, "Buzzard," a riff hover heady, that of "Penumbra." As a curse. Relf died in 1976 shortly after the split of Armageddon.
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