Danielle Dax - Blast the Human Flower
Flac (tracks), no Cue, no Log = 308 MB | MP3 320 kbps = 102 MB | Lyrics, front cover
Pop, Synth Pop / Rock / Alternative / Electronic | 1990
Danielle Dax is a British experimental musician and former member of The Lemon Kittens. Blast the Human Flower is her first album recorded while signed to Sire Records.
Tracks
01. The Id Parade (3:50)
02. Tomorrow Never Knows (5:16)
03. Big Blue '82' (4:16)
04. Bayou (4:09)
05. King Crack (2:10)
06. Daisy (3:55)
07. Dead Man's Chill (4:42)
08. The Living and their Stillborn (5:11)
09. Jehovah's Precious Stone (5:08)
10. 16 Candles (5:36)
Total time: 44m 13s
(Note: not my rip, found on the Net)
Credits
All words were written by Dax, and the music was written by Dax and David Knight except for Daisy and 16 Candles, for which the music was written by Dax alone, and Tomorrow Never Knows, a cover of the Lennon and McCartney song.
All tracks were produced by Stephen Street except Bayou and Daisy, which were produced by Street and Dax.
Dax provided vocals and played keyboards and guitar. Other musicians on the record are David Knight, who played keyboards, guitar and bass, Stephen Street, also on keyboards, guitar and bass and Peter Farrugia on guitar and bass. David Cross and Anna Palm both played violin.
The cover artwork is by Stylorouge.
AMG Review by Steven McDonald
This is another interesting outing from Danielle Dax, a woman who's shown a talent for absorbing more than a few world music influences into her quirky brand of smoky pop. Here she picks up on the Beatles' Indian classical influences with her cover of Lennon/McCartney's "Tomorrow Never Knows," a Turkish dervish music in the hypnotic, swirling "Bayou," and melodic power pop in "The Id Parade," the sarcastic opening track. It doesn't always work quite as well as it should, with some numbers, like "Big Blue '82'," falling short of the mark and never quite gelling, and others not quite developing beyond a few good ideas and a nifty rhythmic pulse, as happens on "King Crack."
The nice side is that Stephen Street's production keeps things filled out, giving Dax's very pretty voice plenty of room to work (especially on the beautiful "Daisy," a story of tragedy framed in a light, sweet musical landscape) while filling the gaps in some of the songs with interesting instrumental work. Check out "Dead Man's Chill," with its mix of chugging rhythm guitars, stomping drums (the drum machine work on this album is superb, by the way) and biting lead guitar. When the songs are on target and developed, the result is terrific, sharp material. Check out "Jehovah's Precious Stone" and the magnificent "16 Candles," the closing tale of a lover's tragic devotion. In summary, an excellent shot across the bow — there's a lot of good music here, and some not so good, but it's worth checking out.