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"THE BELLS SHALL SOUND FOREVER"
Sweet Farewell
Tribute albums can often be enlightening. They can also beexcruciating. It can be illuminating to hear differing interpretationsof a songwriter's back catalog. A cover version can give you a freshperspective on a familiar song, or place it in a new musical contextthat may lend itself brilliantly to the original material. In the past,I've heard wonderful collections of artists interpreting the songs ofsinger-songwriters Leonard Cohen, Tom Waits and Lee Hazlewood. The Bells Shall Sound Forevercollects 15 tracks from 15 artists, paying tribute to the songs ofCurrent 93. From the beginning this project is doomed. David Tibet'swork as Current 93 is so irredeemably idiosyncratic, and is performedand produced in such a specific way, that any reinterpretationnecessarily runs the risk of diluting the meaning and power of theoriginal material. Current 93 albums do not contain songs; they containstanzas. Each album is a poetic cycle, weaving together Tibet's musingson Christ, cats and apocalypse with sparse and evocative soundsettings. The very idea of isolating a track and reinterpreting itseems, on the surface, to be a ridiculous venture. Tibet's dramaticspoken-word vocals, Michael Cashmore's haunting instrumental backdropsand Steven Stapleton's mindbending soundscapes and production acumen:all of these elements are vital to the sound of Current 93. David Tibetcan't play any instruments, he can't read or write musical notation andhe can't write a song. Therefore, the idea of covering a Current 93song seems just as pointless as covering a Wesley Willis song. TheEuropean and American artists on Bells are largely obscure,often amateur, with a clear emphasis on bedroom industrial and neo-folkmusicians — people who have had their brains twisted by constantexposure to Sol Invictus records. Sonne Hagal's limp take on "Death ofthe Corn" is made comical by the thick German accent of the singer.Dorien Campbell turns in a capable but unremarkable rendition of "ASadness Song." Vequinox manage to make the already boring "Earth CoversEarth" even more lackluster, sounding like a middle-aged, pot-smokingWiccan couple recording on a four-track in a dusty tool shed in theirbackyard. German industrial band Engelsstaub attempt to transform"Happy Birthday Pigface Christus" into one of those faceless EBM clubtracks. What an outrageously bad idea! Hungary's Cawatana contribute ahilariously corny version of "A Song for Douglas After He's Dead",complete with silly pan flutes and broken English. "Crowleymass" is anembarrassing mess — it's hard to tell what Storm of Capricorn werethinking with this annoying cacophony of multi-tracked vocals and dullCasio keyboards. If you've ever wanted to hear a heartbreakinglybeautiful song turned into utter shit, listen to Der Feuerkreiner'sself-consciously "gothic" reading of "Soft Black Stars." PancreaticAardvarks turn in a seven-minute dark techno track clearly influencedby Coil, but it appears to have nothing in common with the Current 93song that it purports to be a cover of. The tracklisting containsseveral glaring errors, mixing up the order of the tracks 12 through14, which is fine with me because I'm sure I won't be searching forthese songs in the future. I actually liked O Paradis' psychedelicflamenco version of "Calling For Vanished Faces I," if only for theamusement of hearing the lyrics sung in Spanish. Apparently, DavidTibet donated a Louis Wain painting from his personal collection forthe sleeve image. If this means that he is giving his stamp of approvalto this project, I would question his judgment. All I felt afterlistening to The Bells Shall Sound Forever was an overwhelmingdesire to dig out my old Current 93 records and listen to these songsin the proper context. Perhaps that was David Tibet's plan all along.
Tribute albums can often be enlightening. They can also beexcruciating. It can be illuminating to hear differing interpretationsof a songwriter's back catalog. A cover version can give you a freshperspective on a familiar song, or place it in a new musical contextthat may lend itself brilliantly to the original material. In the past,I've heard wonderful collections of artists interpreting the songs ofsinger-songwriters Leonard Cohen, Tom Waits and Lee Hazlewood. The Bells Shall Sound Forevercollects 15 tracks from 15 artists, paying tribute to the songs ofCurrent 93. From the beginning this project is doomed. David Tibet'swork as Current 93 is so irredeemably idiosyncratic, and is performedand produced in such a specific way, that any reinterpretationnecessarily runs the risk of diluting the meaning and power of theoriginal material. Current 93 albums do not contain songs; they containstanzas. Each album is a poetic cycle, weaving together Tibet's musingson Christ, cats and apocalypse with sparse and evocative soundsettings. The very idea of isolating a track and reinterpreting itseems, on the surface, to be a ridiculous venture. Tibet's dramaticspoken-word vocals, Michael Cashmore's haunting instrumental backdropsand Steven Stapleton's mindbending soundscapes and production acumen:all of these elements are vital to the sound of Current 93. David Tibetcan't play any instruments, he can't read or write musical notation andhe can't write a song. Therefore, the idea of covering a Current 93song seems just as pointless as covering a Wesley Willis song. TheEuropean and American artists on Bells are largely obscure,often amateur, with a clear emphasis on bedroom industrial and neo-folkmusicians — people who have had their brains twisted by constantexposure to Sol Invictus records. Sonne Hagal's limp take on "Death ofthe Corn" is made comical by the thick German accent of the singer.Dorien Campbell turns in a capable but unremarkable rendition of "ASadness Song." Vequinox manage to make the already boring "Earth CoversEarth" even more lackluster, sounding like a middle-aged, pot-smokingWiccan couple recording on a four-track in a dusty tool shed in theirbackyard. German industrial band Engelsstaub attempt to transform"Happy Birthday Pigface Christus" into one of those faceless EBM clubtracks. What an outrageously bad idea! Hungary's Cawatana contribute ahilariously corny version of "A Song for Douglas After He's Dead",complete with silly pan flutes and broken English. "Crowleymass" is anembarrassing mess — it's hard to tell what Storm of Capricorn werethinking with this annoying cacophony of multi-tracked vocals and dullCasio keyboards. If you've ever wanted to hear a heartbreakinglybeautiful song turned into utter shit, listen to Der Feuerkreiner'sself-consciously "gothic" reading of "Soft Black Stars." PancreaticAardvarks turn in a seven-minute dark techno track clearly influencedby Coil, but it appears to have nothing in common with the Current 93song that it purports to be a cover of. The tracklisting containsseveral glaring errors, mixing up the order of the tracks 12 through14, which is fine with me because I'm sure I won't be searching forthese songs in the future. I actually liked O Paradis' psychedelicflamenco version of "Calling For Vanished Faces I," if only for theamusement of hearing the lyrics sung in Spanish. Apparently, DavidTibet donated a Louis Wain painting from his personal collection forthe sleeve image. If this means that he is giving his stamp of approvalto this project, I would question his judgment. All I felt afterlistening to The Bells Shall Sound Forever was an overwhelmingdesire to dig out my old Current 93 records and listen to these songsin the proper context. Perhaps that was David Tibet's plan all along. - O Paradis - Calling for Vanished Faces
- Storm of Capricorn - Crowleymass
- Der Feuerkreiner - Soft Black Stars
