Molocular Meditation is a bespoke light and sound environment featuring the voice of the Fall’s Mark E Smith. Smith is heard making observations on mundane objects, events, and a range of meditation techniques basically associating his discontent with an apolitical British upper class. His voice forms the narrative component of an electroacoustic composition by Jan St. Werner placed in a hyper-real scenario evoking a state of transformation and deceleration. “Molocular Meditation” premiered at Cornerhouse, Manchester in 2014. This album presents a re-edited and remastered stereo version of the original multi-channel piece. Voice and guitar feedback were recorded at Blueprint Studios Manchester, electronics in Werner’s studio in Berlin. The B-side consists of unreleased new work partly written around the same time as Molocular Meditation in context of Werner’s Fiepblatter Catalogue on Thrill Jockey. “Back To Animals” is a non-metric rhythmic exercise frantically hybridizing percussive accents with synthesized pulse. “On The Infinite Of Universe And Worlds” is an electronic opera based on Giordano Bruno’s Renaissance writings which Werner was asked to conceptualize for new music festival Music Nova in Finland. “VS Cancelled” finds Mark E. Smith reading an email from Domino Records explaining their discontinuation of the Von Sudenfed project a band Mark E. Smith had founded with Mouse on Mars’ Jan St. Werner and Andi Toma in 2006. Their debut album Tromatic Reflexxions came on Domino out in 2007. Artwork by Rupert Smyth Studio. Pre-master Andi Toma; Master Zino Mikorey.
1982 was a decisive year for The Fall. Their critically acclaimed album “Hex Enduction Hour” was released in March on Kamera Records, closely followed by “Room To Live” in September.
This double LP includes the classic album (“Room To Live”) plus live recordings in Manchester, London, New Zealand, Netherlands and Canada.
This release is a double vinyl on coloured marble effect vinyl.
Founded by its only constant member, Mark E. Smith, The Fall formed in Manchester in 1976 and were one of the most prominent post-punk groups in the world. Musically, there may have been several stylistic changes over the years, but it was often characterised by an abrasive guitar-driven sound and frequent use of repetition, always underpinned by Smith’s distinctive vocals and often cryptic lyrics.
“They are always different; they are always the same.”
Room To Live was the fifth studio album by The Fall and was Marc Riley’s last album with the group.
Featuring the classic line-up of Mark E. Smith alongside Steve Hanley (bass), Craig Scanlon (guitar), Karl Burns (drums), Paul Hanley (drums) and Marc Riley (guitar).
This is the fifth release in Cherry Red’s series of deluxe Fall reissues – “Fall Sound Archive”
This triple LP includes the full classic album plus John Peel Sessions and live recordings in Manchester and New Zealand. The bonus 7” single is a replica of their 1982 Kamera single ‘Look, Know’, b/w ‘I’m Into C.B.’
1982 was a decisive year for The Fall. Their critically acclaimed album Hex Enduction Hour was released in March on Kamera Records, closely followed by Room To Live in September of that year. This triple LP includes the full classic album plus John Peel Sessions and live recordings in Manchester and New Zealand. The bonus 7” single is a replica of their 1982 Kamera single Look, Know / I’m Into C.B. This release is a triple gatefold on green and white splatter vinyl – the 7” is black vinyl.
Hex Enduction Hour was the fourth studio album by The Fall, building on their lo-fi production and featuring a two- drummer line-up. The album was recorded in Reykjavik, Iceland and Hitchin, Hertfordshire. Featuring the classic line-up of Mark E. Smith alongside Steve Hanley (bass), Craig Scanlon (guitar), Karl Burns (drums), Paul Hanley (drums) and Marc Riley (guitar).
Beggars Arkive is excited to announce the long-awaited reissue of The Fall’s ninth studio album, Bend Sinister, originally released in 1986. This edition is titled Bend Sinister/The ‘Domesday’ Pay-Off Triad-Plus!
It was the last of three albums in a row produced by John Leckie and was named after a dystopian novel by Vladimir Nabokov.
After the universal acclaim for the previous year’s This Nation’s Saving Grace, Bend Sinister often stands in its predecessor’s shadow. It is a dark, brooding album made at the height of the group’s Beggars Banquet years and many people include this at the top of the list of favorite Fall albums.
From Bend Sinister, “Mr. Pharmacist” is a lurching installment in pop music’s ongoing conversation with drug dealers, illicit and otherwise. Actually a cover of 1960s garage-rockers the Other Half, it’s also a demonstration of how the Fall’s relatively unchanging style could bolster other people’s songs
Given The Fall’s penchant for iconoclasm, it’s no surprise that they decided to say goodbye to the ’70s with a series of gigs at Northern England’s gruffest halls. The band’s formidable live show was met with even more derision and disorder than customary during these late ’79 and early ’80 performances, and they skillfully amplified such sentiments back at the crowd. Totale’s Turns, The Fall’s first live album, was released on Rough Trade just prior to their pivotal third album, 1980’s Grotesque. “The difference between you and us is that we have brains,” shouts Mark E. Smith to open Totale’s Turns as the band breaks into the rollicking “Fiery Jack,” their latest single at the time. Each player is at their jagged best: Marc Riley and Craig Scanlon’s splintering guitars, Steve Hanley’s thunderous bass and Smith’s combative sneer reverberate over “Rowche Rumble,” “Choc-Stock” and “Spectre Vs. Rector” more than any studio would ever allow. Totale’s Turns never panders to live-record conventions, serving instead as a gripping exhibit of The Fall en masse and arguably the most accurate document of the group to date. Superior Viaduct’s edition is the first time that Totale’s Turns has been available on vinyl domestically. Liner notes by Brian Turner.
The Rough Trade Singles collects The Fall’s four singles recorded for this influential label in 1980 and 1983 – How I Wrote ‘Elastic Man’ / City Hobgoblins, Totally Wired / Putta Block, The Man Whose Head Expanded / Ludd Gang and Kicker Conspiracy – none of which appeared on any of the band’s studio LPs. With 7-inches being the era’s vehicle for buzzing communiqués, The Fall would use the format for short-form, standalone works rather than as mere promotional devices for forthcoming albums. “Totally Wired” is often cited (and rightfully so) as The Fall’s most infectious tune – an amphetamine-fueled anthem with stuttering nods to forebears, yet too incisive to have been made by anyone else. “How I Wrote ‘Elastic Man’” is another mad hoedown, one reimagined for the post-punk age. While the playful rhythm machine on “The Man Whose Head Expanded” almost suggests danceability, Mark E. Smith’s idiosyncratic shriek on “Kicker Conspiracy” pierces through the twin drumming of Paul Hanley and Karl Burns and the group’s unpredictable / unmistakable racket. Together these songs remain some of the absolute best material The Fall would ever release. Superior Viaduct’s edition is the first time that The Rough Trade Singles has been available on vinyl domestically. Liner notes by Brian Turner.
I Am Kurious Oranj is The Fall’s eleventh studio album. Released by Beggars Banquet 30 years ago, in 1988, it contains some of their most loved songs including “Cab It Up!”, “New Big Prinz” and “Jerusalem” which takes its lyrics from a poem by William Blake. The album was written as the soundtrack to an avant-garde ballet titled I Am Curious, Orange, produced by the experimental Michael Clark Company and performed in London with The Fall playing live. As it said in the original ballet program, replicated inside this reissue, “Mark E. Smith is a history buff and admirer of Michael Clark, and I Am Curious, Orange spawned the idea of a thematic delving into the foibles and littleknown psyche of William of Orange.” According to Mark E. Smith in his book, Renegade, “We adapted the title from a Swedish porno film–I am Curious, Yellow. I was trying to make the point that we all share some kind of common knowledge that’s within ourselves; that comes out in all sorts of things. Some people call it a gene pool. It’s as if you already know subconsciously about historical incidents. You don’t have to have been taught it. It’s in-built. At the time I wanted to put this across, basically as a loose explanation of what was happening in Belfast: it’s in the head and bones and there’s nothing you can do about it. I was on a roll at the time. I’m rarely short of ideas, and I’m not into preserving them much, either. If it’s in your head and you’ve got the right people around you them there’s no better time to tell the story.” “[The Fall have] retained the power to surprise, to provoke and occasionally outrage that only The Smiths could pretend to possess in the ‘80s.” – NME “Smith’s work was the manna that gave a certain cross-section of music culture sustenance for 40 years.” – Pitchfork “Part musical hypnotist, part ranting madman, Smith was a singular figure in post-punk…Their songs were odysseys into his ever-verbose psyche, marked by repetitive rhythms and melodies.” – Rolling Stone
The Marshall Suite is a 1999 LP by The Fall, which builds on the techno-influenced beats of it’s predecessor Levitate (1997), while also returning to a more rockabilly influenced sound reminiscent of earlier Fall line-ups. Let Them Eat Vinyl. 2017.
“Totale’s Turns” is a live album by The Fall, originally released on May 5, 1980. The first of the band’s many live and part-live albums, it was mostly recorded at gigs in the north of England, but the track “New Puritan” was recorded at Mark E. Smith’s home and “That Man” is a studio recording, an outtake from the recording sessions for the “Fiery Jack” single. SIDE A 1.Intro 2.Fiery Jack 3.Rowche Rumble 4.Muzorewi’s Daughter 5.In My Area 6.Choc-Stock SIDE B 7.Spectre Vs Rector 2 8.Cary Grant’s Wedding 9.That Man 10.New Puritan 11.No Xmas For John Quays
“A Part Of America Therein 1981”, is a live album by The Fall, recorded on their USA tour in 1981 and originally released only in the USA in 1982. The album shows the group performing several songs that had not yet been released; three songs from 1982’s Hex Enduction Hour are present as is “Lie Dream Of A Casino Soul” recorded as a single following the tour’s completion. SIDE A 1.The NWRA SIDE B 2.Hip Priest 3.Totally Wired 4.Lie Dream Of A Casino Soul SIDE C 5.Cash ‘n’ Carry 6.An Older Lover SIDE D 7.Deer Park 8.Winter
“Perverted by Language” is the sixth studio album by English Post-punk band The Fall, originally released in 1983. Considering The Fall’s back catalogue of hit and miss – one can be safely assured that any Fall album post-1978 and pre-1990 is a keeper.Nothing is as raw, esoteric or as rewarding as listening to The Fall. ‘Perverted by Language’ is (like any other 80’s Fall album) an album of intricacy. An album not even Smith could explain to an individual. What is very intelligible, however, is the always minimalist approach and often underrated musicianship of each member of The Fall. This album works very well as a whole and is certainly not one to judge on the first listen. As an introduction to The Fall, ‘Perverted by Language’ may just be the best. SIDE A 1.Eat Y’Self Fitter 2.Neighbourhood Of Infinity 3.Garden 4.Hotel Bloedel SIDE B 5.Smile 6.I Feel Voxish 7.Tempo House 8.Hexen Definitive / Strife Knot
On Room To Live, The Fall take the hurried, all-or-nothing approach of their preceding Kamera Records releases to extreme ends. Forged via Mark E. Smith’s continual disassembling of players and focus on previously unrehearsed material, the album collects The Fall’s most experimental and improvisational recordings. As proclaimed on the album cover, “Undilutable Slang Truth!” would be revealed throughout Room To Live. With the album’s comparatively lo-fi production and always- teetering performances, the title track comes closest to a stab at pop (by The Fall’s standards), built on fantastically bent saloon swaying under one of Smith’s by-now characteristic dressing-downs of square life. “Detective Instinct” is an unshakeable creeper, as languid and ominous as the band would get during the Marc Riley years. “Marquis Cha Cha” is a post-punk rhumba, beginning with fury and then easing into something only The Fall could conjure. Superior Viaduct’s edition is the first time that Room To Live has been available on vinyl domestically since it’s initial release in 1982. Liner notes by Brian Turner.
Hex Enduction Hour was originally conceptualized as the death knell for The Fall. Beleaguered by career uncertainty and guided by vague premonitions of collapse, Mark E. Smith declared that one full hour was needed to thoroughly and perhaps finally state his case with The Fall. This framework resulted in a true classic of the post-punk era and an album that gave The Fall their first taste of album chart success, thankfully removing surrender from the equation. Recorded in haste in both Iceland and England in late 1981, the performances on Hex Enduction Hour are among the band’s most urgent and distinctive. The album begins with the severe provocation of “The Classical” and the terse punk of “Jawbone And The Air-Rifle,” but it’s “Hip Priest” that stands out as Smith’s calling-card theme, a song that would become inextricable from his character (or perception thereof) in the years that followed. The elongated “And This Day” fittingly positions the band as spell-casters, closing the hour by filling every conceivable bit of space with wild, primitive percussion and whimsical electric piano. Superior Viaduct’s edition is the first time that Hex Enduction Hour has been available on vinyl domestically since it’s initial release in 1982. Liner notes by Brian Turner.
The key detail to Live at the Witch Trials is that the band had all of one day to record their debut. They had been booked for five, but front man MES fell sick, scuttling three scheduled days of work. That little factor is both the best and worst thing that could’ve happened to this LP. The sonic template for the band was well in place — guitar lines scratching at incessant keyboard melodies, the rhythm section in a constant hurry to keep up — but they had no time to perfect it. Karl Burns’ occasionally sloppy drum fills and the bum notes pop up throughout. (Of course, 35 years later, that wonky quality feels downright charming.) As well, the truncated sessions offered MES and co. no chance to help rescue the weaker material here. With some extra time, perhaps producer Bob Sargeant could have talked them into hacking MES’s tirade against the current “Music Scene” in half or finding the rhythmic center in “Two Steps Back.”
For its various audible flaws and sketchy quality control, MES turns in a very cohesive set of lyrics here. He’s as frustrated as his punk peers with the state of his home country — “The crap in the air will fuck up your face…boss can take most of your wage,” he spits during “Industrial Estate” — but he’s just as frustrated with what the music scene has devolved into. Drugs are infecting the scene (“There is no Christmas for junkies,” “amphetamine frightened”) as well as the whiff of fame promised by shady record execs (“And aye you’re a good lad/Oh here is a new flat/That stupid twat”). The reports we’re hearing from these witch trials are very grim, but we can’t look away.
The muddle that is the Fall’s second LP must have come as a surprise to anyone following the band’s career closely at that point. The group released one of their strongest statements yet just four months earlier with their “Rowche Rumble” single. The songs were still sloppy and wobbly but you couldn’t deny that MES’s lyrics and the band’s playing had an impressive verve.
Dragnet, in comparison, feels like everything is crumbling apart as fast as they build it. The songs are playful and feel like they were constructed just a few minutes before the tape started rolling, but that doesn’t suit this version of The Fall one bit. The tension needed to hold these live wire elements of the band — particularly new guitarist Craig Scanlon and new bassist Steve Hanley — just isn’t there. It sure makes the moments of crystal clear cohesion — the moody, powerful “Before The Moon Falls,” the out-of-tune but joyous “Choc-Stock,” and the Bo Diddley shuffle of “Dice Man” — feel even more glaring.
Mark E Smith, for his part, takes a post-modern tone on these songs, commenting on and delighting in the commercial disinterest in the band’s work to date. He seems happy to be free of the “wage packet jobs” weighing down average blokes, and even happier poking fun at the “weak TV” and “weaker tea” being fobbed off as British pop music. Looked at through that lens, perhaps the entire album is a big fuck off to the establishment. If you want us, England, you have to sift through our shitty guitar playing and lyrical references to Lovecraft and Ray Milland to find us.
“This Nation’s Saving Grace – the band’s ninth – dates from 1985, when punk survivors such as The Fall could no longer be labelled “shambling” (the clubs were still scuzzy though), but still. I bet Mark E. Smith never envisaged being packaged like a “venerated musical institution,” as the beautiful 40 page booklet puts it, in sturdy A-grade cardboard”
“Available for the first time on vinyl, this collection compiles the singles released around ‘This Nation’s Saving Grace’ and includes five tracks from the bands’ 1985 BBC Peel Sessions. Also included is the track ‘Ma Riley’, which made its debut on the 2011 CD box set.”
“This contains the material from the two singles and the EP, Call For Escape Route, that the band released in 1984, which were also part of the extended cassette version of the original album. These were the remaining tracks recorded at the sessions.”