HEY! Get updates to this and the CD and 7" blogs via Twitter: @VinylUnderbite

12 May 2017

Henry Cow - 'Unrest' (Virgin)

Maybe their best record, Unrest takes the sock and darkens the hue, which the music mostly does too. Once again, the Cow (with Lindsay Cooper replacing Geoff Leigh) structure their album with the more open, improvisatory bits on side two and the tight, strident rock songs first. 'Ruins' is the highlight of side 1, a long Frith composition that has become one of their signature tunes, but I also love the piano playing at the beginning of 'Half Asleep; Half Awake'. I assume it's Greaves tinkling the ivories (though it's heavy on the black keys – somehow evoking the Paul Bley side of jazz without sounding of that genre at all) since he composed the piece. The piano that closes out the album, a distant yearning underneath some even more distant vocals on 'Deluge' might be Frith, since they're both credited. The more 'out' sounds on side two are really what drives me crazy though; 'Linguaphonie' I've listened to multiple times, trying to make sense of it. It's the Cow at their most electroacoustic, Frith almost stealing the show with the amplifier hum, heavy use of effects pedals, and radio static guitar which sounds almost completely alien; but Cutler is also a force here. It again hints at a jazz without fully committing, ending in a free cacophony that is the perfect lead in to 'Upon Entering the Hotel Adlon', a work so frantic you could tell me that it was a Skin Graft Records outtake from 20 years later and I'd believe you. Cutler is still kicking ass here, showing his hellacious attacking style that is usually hidden behind his spectacled, tea-and-biscuits appearance. This is also the next step in the too-obvious progression through politics that Henry Cow make; here things turn darker, realising the struggle of the intellectual improvisation-friendly progressive musician against a dying European post-war culture. Things get a lot more red soon (quite literally if we're talking about cover socks), and culminate in their last album which actually has hammers and fucking sickles on the cover. My politics mostly line up with these guys and I'm sure, certain actually, that Jeremy Corbyn has a copy of this record. I hope he uses the sprightly progressive bounce of 'Bittern Storm Over Ulm' to motivate his people to the polls next month. I met Cutler briefly when I was an undergraduate, after seeing him give a workshop about sampling, copyright and intellectual property. When we chatted afterwards and I told him how I was just getting into his back catalogue, he told me to avoid the East Side Digital CD reissues of Henry Cow, warning that they were mastered badly and to buy (of course) the ReR issues. I've heard Henry Cow on CD and yes, it did sound thin (though I don't know which version it was, and all CDs sound thin if you're a vinyl snob); but here on original Virgin wax, Unrest sounds fucking thundering. I know I probably go on too much here about how great and resonant these records sound on my Rega, but one of the reasons I kept listening to this over the past few days is just how pleasureable it sounded. The guitars have a real fire to them, but the sax and reeds of Hodgkinson and Cooper are perky and brisk, and give this a really complete, satisfying dynamic range.

No comments:

Post a Comment