Fresh from the success of their seventh album “Paperback Ghosts”, COMET GAIN return with a four song EP of tracks recorded at Soup Studios with producer Simon Trought at the same time as the LP, but owing more to more musically to psychedelia/garage/kosmiche punk side of the band than the melancholic-hearted autumnal Rickenbacker sound of the album.
BREAKING OPEN THE HEAD Part 2 - A hugely different version or continuation of the LPs Part 1 which was a fuzz Rubbles acid pop song about the creators of the dream machine, Phillip K Dick and other adepts finding the door to illumination and such things. For this we sat in a circle with a vague set of words and chord changes and decided to see what happens type thing taking hints from Them's 'the square room', early Sundial, exploito dumb psych like Ultimate Spinach, Sonic Youth 'Thousand leaves', Elevators 'Easter Everywhere' and German kosmiche music but then forgetting them all once we started although for some reason a snippet of The Monkees arrives near the end as well as cameos from Marjorie Cameron's/Jack Parsons magical child and the dream I had that the holy grail was in a bucket in some guys shed in North London. The song is over 11 minutes but hopefully has enough going to not bore the discerning listener. As always we had lots of fun adding all those backwards guitars.
THAT LUCIFER SUMMER - A dumb garage folk rock fuzz and punk tambourines thing a la the first Love record, The Leaves, Teardrop Explodes, Music Machine etc. A jaunty song about dark things namely the nightmare side of the occult renaissance in the late sixties in the west coast - all those weird little creepy warlocks and robed cults that emerged in the shadows of the mansions and lymans and processians and all those innocent naive flower children girls that never made it home and are buried somewhere under meadows and beach houses and the psychic fallout from all that mysterious terror that reverberated thru the 70s to son of Sam / zodiac killings and the hidden cults behind them. One for the dance floor then.
TO THE CITY'S CORE - Inept white boys n girls attempt to play Bo Diddleys 'Black Gladiator' LP with a 'Slates'-era Fall sneer and end up somewhere else - includes Comet Gain's first funky(ish) break beat and a farfisa organ played thru a mangled fuzz pedal. Words involve Buckminster Fullers utopian architectural dreams gone wrong - the city as a virus, its life cycle like that of humans in mid-life crisis seen thru the psychic warfare in its core and the anger of the neglected suburbs aiming at it, the history of city war as the target thru history seen thru the lens of the time like Paris from communard uprisings to today's atrocities.
THE INSIGNIFICANT DIGNIFIED - A malformed protest song and memorial for all those old school socialists and anarchists and fire raisers that have been pushed aside by the change of history and its political axis - circular folk rock verses remind us of the legacy of these prophets of arcadian utopias and the need for the spirit of the people to endure - these choruses give way to guitar duel solos as the past fights the future of the left the second of these 3 solos has a guest scrabbabang geetar screech from producer Simon Trought - his first since the days of his old group Tompaulin. The last solo has Ben's wonderfully paisley Beatles-esque backwards solo ending the EP as it began and lyrically with a note of hope that the next generation of dreamers fight apathy. When the band began over 20 years ago this Tony Benn form of labour and socialism still breathed and was still valid and we tried to write songs and manifesto that echoed these thoughts but gradually it's become archaic so this song forms a farewell to that and to one element of the groups motifs although the political side will become even more pronounced with the next record it seems pointless to continue with the outdated socialist motifs of then.
Comet Gain are David Charlie Feck (vocals, guitar), Ben Phillipson (guitar), Rachel Evans (vocals), ex-Morrissey/The Meteors drummer Woodie Taylor (percussion), Anne Laure Guillain (keyboards) and new recruit, Clientele bassist James Hornsey – a motley group of like-minded romantics, taking pride in an abject failure to care about the normal band model. Inspired at times by early Creation Records, Television Personalities and mod culture, drawing from the same ideals as Dexys, The Style Council and Vic Godard and from the lineage of The Velvet Underground, The Byrds and the 13th Floor Elevators, their mystic anarchist principles blend French New Wave with English kitchen-sink heart. For years they have drifted through scenes picking up people and emotional ties - from Riot Grrrl to acid punks, C86 to lo-fi - yet somehow outliving their peers and in turn inspiring a younger generation of DIY musicians like The Cribs, Love Is All, Veronica Falls, and Crystal Stilts.