ANKST128 – ‘SKELLINGTON HORSE’ AR GARLAM GAN KLAUS KINSKI

BAND – KLAUS KINSKI
TEITL – SKELINGTON HORSE
RHIF – ANKST 128
FFORMAT – 10 track CD ALBUM
DYDDIAD RHYDDHAU – November 14th

I’m pretty much a sucker for any Welsh groups that display significant Birthday Party damage , so Klaus Kinski are pretty hard to resist. They’re much more scrabbled and trebly than their models, but that’s just the tenor of the times,eh?Primal raunch vom. – Byron Coley (The Wire )

“They make the most unhinged and primal racket that I have ever heard. It’s mercurial and surreal: the Birthday Party fronted by a psychotic Spike Milligan. If you like your music unstable, bust into a thousand unexpected shapes and ultimately thrilling, this band are for you.” – Adam Walton (BBC Radio Wales)

Ffuriwyd Klaus Kinski yn Llanfairfechan gan hen ffrindie Jake McKenna a Edwin Stevens rhai blynyddoedd yn nol er mwyn cyd rannu cariad y ddau tuag at gerddoriaeth Bauhaus, Satanism a ffilmie Werner Herzog. Erbyn heddiw mae’r grwp wedi tyfu i fod yn grwp pum aelod gyda James yn brif ganwr ac ar gitar Dom a Dylan yn ran allweddol o’r grwp.

Fe rhyddahwyd sengl cynta y grwp HAPPINESS HAPPINESS/CAESAR gan Ankst nol yn 2009 ar feinyl 7″.

Erbyn rwan mar albym cyfa cynta yn barod i’w rhyddhau.

Mae ‘Skellington Horse’, a recordiwyd yn stiwdios Bryn Derwen gan David Wrench yn ffrwyth sesiynau intense iawn o recordio yn fyw lawr ar dap dros gyfnod o dri diwrnod er mwyn dal holl egni a gwalltgofrwydd y caneuon a perffomriad y grwp am byth ar dap !

ALBUM NOTES…….
Album highlights include ECCE HOMO – Behold the man indeed ! Like a few of the other tracks on the album ‘Ecce Homo’ has at its centre a deranged male killer ( of women usually ) and concerns itself with the big daddy of modern serial killing – Jack The Ripper ( ‘I can stick it anywhere I like, I’m not a monster, I’m a man’ .) He is portrayed as the man who walks the streets with his cock in his hand and the music portrays effectively Jack’s manic quest for flesh all the while showing up the damaged personality behind the by now comic figure of the Ripper ( ‘How I wish I had a sound cock again, I’ve lived my life eternally down ‘.) Other tracks on the album deal with historical horrors like Salem – ‘DONT GET CAUGHT WANKING AT THE WITCH TRIALS – whose chorus could speak for the whole album ”We are ALL going to pay for our sins!” ; And the single CAESAR gives us a roll call of the celebrity killers of the 20th century ( Brady, Bundy, Gacy,Neilson etc.. ) breathing the same air as Julius Caesar’s treacherous ancient killers. SKELLINGTON HORSE The albums’ title track gives us a rest from murderous rage and offers us romance and love .( as much as such things can surface explicitly in a Klaus Kinski song !.) The singer proffers his love at the same time as declaring his overwhelming need to ‘ride your bones’. Sung in a declamatory passionate style almost to the heavens, he doesn’t want much – sex really – and offers even less – ‘Don’t worry, I’m easy to please’.
HAPPINESS, HAPPINESS sounded to us at Ankst like a radio smash – but we didn’t reckon that a thoroughly unpleasant lyric would just put most people off singing it in the street – despite it having a fantastically energetic musical backing it never made the playlists because of its insistence on dwelling on the nasty business of ‘sticking it in things’ – is that sex , violence, murder or all three ? While the epic CHRISTOPHER’S WALKING is a glimpse into yet another side of the Klaus Kinski musical world. This time things seem rooted in the now, a painfully real and accurate reality – ‘Living in a room of green grey, Lord of the Rings I’ve read it too many times’ before taking us into an extraordinary segment that seems to literally be trying to bring someone back from the dead – ‘Rise Up’ – through sheer musical bludgeoning. Klaus Kinksi are a band that take things to the extremes , sometimes this is ugly , mostly it is invigorating and refreshing . Suffice to say live the band are as ‘alive’ and exciting as any performers who are willing to give everything of themselves to the ‘performance’ of their songs.