30 Nov
Published in Song of 2day
The song is about Hernán Cortés (Cortés' name has an alternate Anglicized spelling in the song title), a conquistador who conquered Mexico for Spain in the 16th century. "Cortez the Killer" also makes reference to the Aztec ruler Moctezuma II and other events that occurred in the Spanish conquest of the New World. Instead of describing Cortés' battles with the Aztecs, the lyric in the last verse suddenly jumps from third person narrative to first person, and possibly over a time span of centuries as well, with a reference to an unnamed woman: "And I know she's living there / And she loves me to this day. / I still can't remember when / or how I lost my way." The lyric suggests a lost love affair and brings a personal aspect to what was otherwise an historical narrative, suggesting a connection between broken relationships and the imperial invasion by someone else. Young had recently gone through his breakup with Carrie Snodgress around this time. This line may also simply refer to Cortés' Mexican advisor/lover La Malinche (Doña Marina), who proved to be a valuable source of local knowledge for the Spaniards, and cast in the voice of Cortés. Another possible interpretation is that "she" represents the Aztec main temple, the Templo Mayor. In Mesoamerican literature, the temple is often referred to as "she," since both men and women were sacrificed there and a considerable part of the main temple was dedicated to the Aztec rain god, who is often described as a female. The temple was uncovered in 1978 (three years after the album was released) after being buried beneath Mexico City for nearly 500 years. On a more cynical note, in Jimmy McDonough's biography of Young, entitled Shakey, the author asked Neil if his songs were autobiographical. Young replied, "What the fuck am I doing writing about Aztecs in "Cortez the Killer" like I was there, wandering around? 'Cause I only read about it in a few books. A lotta shit I just made up because it came to me."
29 Nov
Published in Song of 2day
Linton Kwesi Johnson (aka LKJ, born 24 August 1952) is a Jamaican dub poet who has long been based in the UK. In 2002 he became the second living poet, and the only black poet, to be published in the Penguin Modern Classics series. His performance poetry involves the recitation of his own verse in Jamaican Patois over dub-reggae, usually written in collaboration with renowned British reggae producer/artist Dennis Bovell. Johnson's middle name, "Kwesi", is a Ghanaian name that is given to boys who, like Johnson, are born on a Sunday.
28 Nov
Published in Song of 2day
In the Shadows is the third full-length studio album by Mercyful Fate. It is also the first offering of the band since their reunion in 1992. It was released in 1993 on Metal Blade Records. Unlike previous Mercyful Fate albums, which were entirely centered around lyrical themes of Satanism and the Occult, the lyrics on this album are rather focused on more conceptual horror-themes, akin to King Diamond's work with his eponymous band. The band would not return to a primarily occult/Satanic lyrical approach until the band's final album, 9, released in 1999. Some editions of In the Shadows contain a bonus track, "Return of the Vampire... 1993", that is a re-recording of the song "Return of the Vampire", present in the homonymous 1992 compilation album, featuring Lars Ulrich of Metallica on drums.
27 Nov
Published in Song of 2day
The War on Drugs is an American indie rock band from Philadelphia, Pennsylvania, formed in 2005. The band consists of Adam Granduciel (lyrics, lead vocals, guitar), David Hartley (bass guitar), Robbie Bennett (keyboards), Charlie Hall (drums), Jon Natchez (saxophone, keyboards) and Anthony LaMarca (guitar). Founded by close collaborators Granduciel and Kurt Vile, The War on Drugs released their debut studio album, Wagonwheel Blues, in 2008. Vile departed shortly after its release to focus on his solo career. The band's second studio album Slave Ambient was released in 2011 to favorable reviews and extensive touring. The band's third album, Lost in the Dream, was released in 2014 following extensive touring and a period of loneliness and depression for primary songwriter Granduciel. The album was released to widespread critical acclaim and increased exposure. Previous collaborator Hall joined the band as its full-time drummer during the recording process, with saxophonist Natchez and additional guitarist LaMarca accompanying the band for its world tour. Signing to Atlantic Records, the six-piece band released their fourth album, A Deeper Understanding, in 2017, which won the Grammy Award for Best Rock Album at the 60th Annual Grammy Awards.
26 Nov
Published in Song of 2day
The first practices were us sitting in a loose circle playing with no drummer at all. It wasn’t exactly what you’d call “playing”, to be honest. We strummed and made droning sounds on our guitars. That’s when Thurston came up with the idea of playing his guitar with a drumstick. There was no other way to keep a beat. I went for a vocal approach that was rhythmic and spoken. When you listen to old R&B records, the women on them sang in a fierce, kick-ass way. In general, though, women aren’t really allowed to be kick-ass. We had no idea what we were doing, but we lined up a couple of gigs. In Britain, journalists took to asking me a single question over and over: “What’s it like to be a girl in a band?” I’d never really thought about that. The mostly male music press in the UK was cowardly and nonconfrontational in person. They would then go home and write cruel, ageist, sexist things. I assumed it was because they were terrified of women; the whole country had a queen complex, after all. I refused to play the game. I didn’t want to dress like Siouxsie Sioux, or act out the role of an imaginary female, someone who had more to do with them than with me. There was a popular look at the time – the vintage dress, the makeup – that just wasn’t me. Kim Gordon - https://www.theguardian.com/music/2015/feb/06/kim-gordon-sonic-youth-women-kickass-book-extract
16 Nov
Published in Song of 2day
Conjuring the sinister spirits of yesteryear, Moenen of Xezbeth rises to deliver its first full incantation of mid-paced black metal, “Ancient Spells of Darkness…,” with its seven arcane invocations primed to unleash their plague on all who bear witness. Captured with the same approach and under the same austere conditions as its preceding demo and EP, “Ancient Spells of Darkness…” thus realizes the same unearthly effect, yet it is even more sinister and oppressive. These foreboding hymns serve as a conduit for the return of the original black flame, which was first sparked by Moenen of Xezbeth’s revered forbearers, has since nurtured itself in the underworld, and is now emboldened to return in its dark glory.
14 Nov
Published in Song of 2day
The primal sounds on Fumaça Preta are gritty, freaky, steamy, and a hell of a lot of fun... fueled by acid-drenched effects, with Caribbean and Brazilian rhythms sifted through a cheesecloth of loopy Bahian grooves and Zappa-esque chamber music... The tunes on this record demand participation: if you can't dance to it, you're already dead.
13 Nov
Published in Song of 2day
Träd, Gräs & Stenar ("Trees, Grass and Stones") is a Swedish rock band formed in 1969, from previous incarnations Pärson Sound, International Harvester and Harvester. The group was one of the front acts of the Swedish progg scene, although noticeably less political than their contemporary counterparts. Their sound has been described as raw, psych rock jam, by the writer David Pescovitz, who also notes the band would invite their audiences to improvise and collaborate.
12 Nov
Published in Song of 2day
After a few albums of 'more Sabbath-y than Sabbath' Stoner Doom in the mid-to-late nineties, 2001 saw Cathedral return to their down-tuned bowel rattling best, trudging out a darker, monolithic hour of soul searching Doom that most of their hardened fans had hoped for. Gone were the comedic cries of "Huggy Bear - Oh Yeah!", instead replaced here with screams of anguish and shadowy tales aplenty. Opener "Cathedral Flames" greets the listener with a slow pounding instrumental dirge, segueing nicely into the best track on the album "Melancholic Emperor", where Lee Dorrian's "Oooh!!" sees the main riff crash from your speakers with all the subtlety of a herd of rampaging Elephants. There is of course still huge amounts of Sabbath-influenced riffery, but painted with a much darker, almost monochromatic palette when compared to the likes of "Carnival Bizarre." The rest of the album follows suit in various different guises and tempos, with only "Astral Queen" slowing the pace completely with its "Planet Caravan"-like smoked out acoustic gentleness. Touches of a beefed up St. Vitus can be heard washing through the riffs of "Whores of Oblivion" which, although in my opinion it's one of the weakest tracks on the album, still sounds pretty decent nestled midway into the album. In my eyes at least, this was Cathedral's best album since 'The Ethereal Mirror'. Although the two albums that followed this one kept the darker slant in the music, they didn't quite manage to replicate the quality of the songs that make up this album. "Endtyme" is a largely unheralded gem in Cathedral's back catalogue, and it's certainly worth your time investigating.
11 Nov
Published in Song of 2day
Stray Cats are an American rockabilly band formed in 1979 by guitarist and vocalist Brian Setzer, double bassist Lee Rocker, and drummer Slim Jim Phantom in the Long Island town of Massapequa, New York.The group had numerous hit singles in the UK, Australia, Canada and the U.S. including "Stray Cat Strut", "(She's) Sexy + 17", "Look at That Cadillac," "I Won't Stand in Your Way", "Bring it Back Again", and "Rock This Town", which the Rock and Roll Hall of Fame has listed as one of the songs that shaped rock and roll.
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