という訳でさがしてみると、ATAVISTIC から96年に
78+ ってアルバムが出ていました。こいつはすごいぜ！
| 3.E |
| 11.000 VOLTS |
| TUNNEL |
| HELEN FORSDALE |
| PUERTO RICAN GHOST |
| THE IMMEDIATE STAGES OF THE EROTIC |
| MONOPOLY |
| CATS |
| CAIRO |
| HAIRWAVES |
| OUTSIDE AFRICA |
|
| SCORN |
| N.N.END |
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To the uninitiated, Mars may sound like listening to a laundromat magnified.
That's because every instrument is making a sound, but who is making which
sound? Instead of one direct sound or beat the music travels in at least
3 different directions, speeds of rhythm making a totally orbital sound,
one that never really enters the ear instead spinning around the head.
At times it sounds like tortured children singing in 7 different tongues.
Sumner Crane uses the guitar more as an extension of his frustration and
bottled paranoia than as a rhythm instrument. His neat piercing vocals
range from depicting a story of boyhood torment(still to outgrow immaturity)
to complete assuredness that the other side of maturity is more gruesome
than infantilism. Chna Burg plays guitar more as a subliminal means of
brain torture creating high pictched sounds which have sent many a face
to squirm, as something best described as earwaves(electro ear shock)pierce
the brain. Her voice creeps into your ear like a horrible secret too terrifying
to tell. Thir music catches you off guard. It's frightening, bordering
on creepy. The kind of fear you get when you're home alone and hear soft
footsteps on the cellar stairs. It's deliberate fear, the kind that hits
you in the left side of your brain and makes you see shadows out of the
corner of your eyes.
Stella Doon
(aka Lydia Lunch, 1977)
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