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THE BODY: ARMED TO THE TEETH AND NOT PULLING YOUR LEG A C H I N G LY BEAUTIFUL “...but it’s the voices, bits of guitar and sitar, all given the sonic Cuisinart treatment, that take things to another, more achingly beautiful realm.” Mark Richardson on Gold Panda, Pitchfork. “‘Valkyrie At The Roller Disco’ features a unique brand of banjopiano interplay and a swirling mix of voices, creating a swaying and achingly beautiful centrepiece in the midst of all this jangling catchiness.” Andrew Burgess on The New Pornographers, musicOMH. “‘...the ocean speaks the language of the dawn,’ she sings in the achingly beautiful opening track, ‘Thousand Secrets’.” Randy Lewis on Sahara Smith, Los Angeles Times.

Words by Luke Turner Photograph by Richard Rankin

Body are prepared for The The End. “This world, our culture, and perhaps our entire civilisation are seemingly doomed to utter failure,” states guitarist Chip King. “I believe that things for humanity will be much worse before they will get better, if that is even a possibility. The idea of a bleak future, with or without people, is the predominant vision of our work; the idea of what is left behind after we have finished... if there is anything left behind.” The duo of King and drummer Lee Buford first played together in various punk bands in Arkansas, but now hail from that most noisy of American cities, Providence, Rhode Island. They grew up listening to Misfits and the other Danzig projects, Dead Kennedys, early Dischord records and soon after got into Sabbath, Slayer and Neurosis. Now they make a sound that lies somewhere

between the dearly departed Khanate, roving Norsemen Årabrot and the sludge of Sleep, with all psychedelic tendencies stripped out in favour of a bleak, industrial tone. Even in their choice of name, The Body explore visions of an end time. “‘The Body’ was in reference to a fascination I had with pictures of people hanging from gallows, victims of a state,” King explains. “They looked so awkward — no life in them. Initially, we wore burlap sacks over our heads and hung ourselves with nooses from the ceiling or from the rafters while we performed, as an illustration of this idea. It was not always the most popular thing to do.” King and Buford are often photographed brandishing rifles in front of bullet-splintered wooden targets, while the inner sleeve artwork of their apocalyptically-titled new album All The Waters Of The Earth Turn To Blood features weapons on what looks like an altar, as if they are being blessed.

Yet it isn’t extremes of aesthetic alone that mark out The Body from two-a-penny burly tattooed dudes making coruscating drones and apocalyptic mutterings as they flirt with potentially dangerous imagery. All The Waters… is bold, intense and arguably the best record on the fringes of metal since Sunn O)))’s 2009 masterpiece, Monoliths & Dimensions. Vocals that explore a humanity beset by terrors are as important as the aggressive arrangements, giving the album a throttling power that few others reach. Opening track ‘A Body’ is a 10-minute harmonic lament sung by a female choir who come off like they’re performing in the ruined nave of a church where the roof and altar have long vanished. ‘Empty Hearth’ begins with the frantic gabble of a man speaking in tongues, of which King says: “The chant was taken from recordings of the Church Universal And Triumphant, a separatist cult in Montana. We find a common ground

News 10

October 2010 The Stool Pigeon

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The Stool Pigeon Music Newspaper Issue 028  

Featuring Nile Rodgers, N*E*R*D, Ice Cube, Salem, No Age, Cee-Lo Green, DJ Roc, Freddie Gibbs, Gonzales...

The Stool Pigeon Music Newspaper Issue 028  

Featuring Nile Rodgers, N*E*R*D, Ice Cube, Salem, No Age, Cee-Lo Green, DJ Roc, Freddie Gibbs, Gonzales...

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