6161616100004
6161616100028
6161616100011

She And Me Fall Together In Free Death

Nurse With Wound

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£61.99
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Format: 3LP

Cat No: LOGAB000010000R

Format Details:

Format Details:

Format Details:

Release Date:  12 April 2024

Label:  Logical Absurd / The Circle Music

Packaging Type:  Gate Fold Vinyl

No of Units:  3

Barcode:  6161616100004

Genres:  Rock  Experimental  

Release Date:  12 April 2024

Label:  Logical Absurd / The Circle Music

Packaging Type:  Gate Fold Vinyl

No of Units:  3

Barcode:  6161616100028

Genres:  Rock  Experimental  

Release Date:  12 April 2024

Label:  Logical Absurd / The Circle Music

Packaging Type:  Gate Fold Vinyl

No of Units:  3

Barcode:  6161616100011

Genres:  Rock  Experimental  

  • Description

    Logical Absurd is very proud to present the 20th Anniversary of the album "She And Me Fall Together In Free Death" by Nurse With Wound. "She and Me Fall Together in Free Death" is probably the most approachable, largely "musical" album that NWW has released since Rock N' Roll Station. It's also one of his strangest concepts, a marriage of trance inducing Krautrock grooves with a traditional jazz standard and some jarringly atonal musique concrete. Side A is the 20- minute title track: a slow-motion jam reminiscent of of one of Can's sidelong tracks on Tago Mago or the more avant-garde grooves of Tony Conrad and Faust's Outside the Dream Syndicate. The propulsive Jaki Liebezeit drumbeat is the foundation for a long jam session with what sounds like a dijderidoo and layers of guitar feedback. It's a massive, heavy sound, the kind that Julian Cope would devote a whole chapter to in his "Kratrocksampler". Side B is one long piece with three distinct movements. Beginning with those familiar, World Serpent-trademark windchimes, the listener is quickly ushered into Staple- ton's singing debut (!) in a rendition of the oft-covered traditional jazz ballad "Black is the Color of My True Love's Hair" This was a favorite of the recently deceased Nina Simone, and also of the avant-jazz screamer Patty Waters. Nurse With Wound's version is backed by cello drones, repetitive guitar strums and tambourine, sounding very much like The Velvet Un- derground's "Venus in Furs". It's such a treat to hear Steven Stapleton's multitracked vocals cover this classic song, and this eerie version rates as one of my favorites. This song and the title track prove to the naysayers that Nurse With Wound is equally adept at rock n' roll songcraft as he is at demented sound collages. The creepy jazz cover seques into "Chicken Con- cret (For Missy E)", a truly warped tape-edit job that juxtaposes chicken squawks and sythesized birdcalls with random bleeps, speaker hiccups and gongs.

    Could this be Steven Stapleton's tribute to Timbaland and Missy Elliott's incomparable use of musique concrete techniques on their major label hip-hop anthems? Hard to say, but I like to think so. Side B ends with the hyper-sexualized "Gusset Typing", in which a mutated woman's voice describes her masturbation and orgasm in in- timate, anatomical detail. Her monologue is set against an intense rhythmic throbbing that builds as she reaches her climax. At the end, she blows her load and the record ends. This certainly qualifies as an active listening experience, and it's also a great make-out rec

    Description

    Logical Absurd is very proud to present the 20th Anniversary of the album "She And Me Fall Together In Free Death" by Nurse With Wound. "She and Me Fall Together in Free Death" is probably the most approachable, largely "musical" album that NWW has released since Rock N' Roll Station. It's also one of his strangest concepts, a marriage of trance inducing Krautrock grooves with a traditional jazz standard and some jarringly atonal musique concrete. Side A is the 20- minute title track: a slow-motion jam reminiscent of of one of Can's sidelong tracks on Tago Mago or the more avant-garde grooves of Tony Conrad and Faust's Outside the Dream Syndicate. The propulsive Jaki Liebezeit drumbeat is the foundation for a long jam session with what sounds like a dijderidoo and layers of guitar feedback. It's a massive, heavy sound, the kind that Julian Cope would devote a whole chapter to in his "Kratrocksampler". Side B is one long piece with three distinct movements. Beginning with those familiar, World Serpent-trademark windchimes, the listener is quickly ushered into Staple- ton's singing debut (!) in a rendition of the oft-covered traditional jazz ballad "Black is the Color of My True Love's Hair" This was a favorite of the recently deceased Nina Simone, and also of the avant-jazz screamer Patty Waters. Nurse With Wound's version is backed by cello drones, repetitive guitar strums and tambourine, sounding very much like The Velvet Un- derground's "Venus in Furs". It's such a treat to hear Steven Stapleton's multitracked vocals cover this classic song, and this eerie version rates as one of my favorites. This song and the title track prove to the naysayers that Nurse With Wound is equally adept at rock n' roll songcraft as he is at demented sound collages. The creepy jazz cover seques into "Chicken Con- cret (For Missy E)", a truly warped tape-edit job that juxtaposes chicken squawks and sythesized birdcalls with random bleeps, speaker hiccups and gongs.

    Could this be Steven Stapleton's tribute to Timbaland and Missy Elliott's incomparable use of musique concrete techniques on their major label hip-hop anthems? Hard to say, but I like to think so. Side B ends with the hyper-sexualized "Gusset Typing", in which a mutated woman's voice describes her masturbation and orgasm in in- timate, anatomical detail. Her monologue is set against an intense rhythmic throbbing that builds as she reaches her climax. At the end, she blows her load and the record ends. This certainly qualifies as an active listening experience, and it's also a great make-out rec

    Description

    Logical Absurd is very proud to present the 20th Anniversary of the album "She And Me Fall Together In Free Death" by Nurse With Wound. "She and Me Fall Together in Free Death" is probably the most approachable, largely "musical" album that NWW has released since Rock N' Roll Station. It's also one of his strangest concepts, a marriage of trance inducing Krautrock grooves with a traditional jazz standard and some jarringly atonal musique concrete. Side A is the 20- minute title track: a slow-motion jam reminiscent of of one of Can's sidelong tracks on Tago Mago or the more avant-garde grooves of Tony Conrad and Faust's Outside the Dream Syndicate. The propulsive Jaki Liebezeit drumbeat is the foundation for a long jam session with what sounds like a dijderidoo and layers of guitar feedback. It's a massive, heavy sound, the kind that Julian Cope would devote a whole chapter to in his "Kratrocksampler". Side B is one long piece with three distinct movements. Beginning with those familiar, World Serpent-trademark windchimes, the listener is quickly ushered into Staple- ton's singing debut (!) in a rendition of the oft-covered traditional jazz ballad "Black is the Color of My True Love's Hair" This was a favorite of the recently deceased Nina Simone, and also of the avant-jazz screamer Patty Waters. Nurse With Wound's version is backed by cello drones, repetitive guitar strums and tambourine, sounding very much like The Velvet Un- derground's "Venus in Furs". It's such a treat to hear Steven Stapleton's multitracked vocals cover this classic song, and this eerie version rates as one of my favorites. This song and the title track prove to the naysayers that Nurse With Wound is equally adept at rock n' roll songcraft as he is at demented sound collages. The creepy jazz cover seques into "Chicken Con- cret (For Missy E)", a truly warped tape-edit job that juxtaposes chicken squawks and sythesized birdcalls with random bleeps, speaker hiccups and gongs.

    Could this be Steven Stapleton's tribute to Timbaland and Missy Elliott's incomparable use of musique concrete techniques on their major label hip-hop anthems? Hard to say, but I like to think so. Side B ends with the hyper-sexualized "Gusset Typing", in which a mutated woman's voice describes her masturbation and orgasm in in- timate, anatomical detail. Her monologue is set against an intense rhythmic throbbing that builds as she reaches her climax. At the end, she blows her load and the record ends. This certainly qualifies as an active listening experience, and it's also a great make-out rec

  • Tracklisting

      Disc 1

      Side 1

      • 1. She And Me Fall Together Like Free Death

      Side 2

      • 1. Black Is The Color Of My True Loves Hair
      • 2. Chicken Concret
      • 3. Gusset Typing

      Disc 2

      Side 1

      • 1. She And Me Fall Together Like Free Death (Phosphorous Mix)

      Side 2

      • 1. Chicken Korma
      • 2. Fine Writin'

      Disc 3

      Side 1

      • 1. She And Me Fall Together In Free Death (Funereal Mix)

      Side 2

      • 1. Yellowed
      • 2. Seeting Red
      • 3. Black

    Tracklisting

      Disc 1

      Side 1

      • 1. She And Me Fall Together Like Free Death

      Side 2

      • 1. Black Is The Color Of My True Loves Hair
      • 2. Chicken Concret
      • 3. Gusset Typing

      Disc 2

      Side 1

      • 1. She And Me Fall Together Like Free Death (Phosphorous Mix)

      Side 2

      • 1. Chicken Korma
      • 2. Fine Writin'

      Disc 3

      Side 1

      • 1. She And Me Fall Together In Free Death (Funereal Mix)

      Side 2

      • 1. Yellowed
      • 2. Seeting Red
      • 3. Black

    Tracklisting

      Disc 1

      Side 1

      • 1. She And Me Fall Together Like Free Death

      Side 2

      • 1. Black Is The Color Of My True Loves Hair
      • 2. Chicken Concret B3 Gusset Typing

      Disc 2

      Side 1

      • 1. She And Me Fall Together Like Free Death (Phosphorous Mix)

      Side 2

      • 1. Chicken Korma
      • 2. Fine Writin'

      Disc 3

      Side 1

      • 1. She And Me Fall Together In Free Death (Funereal Mix)

      Side 2

      • 1. Yellowed
      • 2. Seeting Red
      • 3. Black