Okay, I’ve built some momentum with these modules and now I need to start editing so its time to let my freak flag fly. I like to edit while listening to weird music as I find it helps keep me on my toes. Besides, you may never know when you’ll come across a juicy tidbit just waiting to be slipped into the facilitator’s or participants guide somewhere just to see if anyone is paying attention. Truth be told; there is a little something in everything I create, whether it be a random line, lyric or image of some kind, that I gleaned from whatever it was that I happened to be listening to at the time of editing. And today’s
edit inspiration is going to be a bit, well, weird: ‘The Waking Hour‘ by Dalis Car.
I bought this disc eons ago on a whim because I was going through a huge Gothic and Peter Murphy phase. ‘Dalis Car’ was a musical group formed in 1984 by Peter Murphy (vocalist), Mick Karn (bassist, keyboardist, guitarist, saxophonist) and Paul Vincent Lawford (rhythm construction). The band was formed soon after Murphy and Karn left their former bands (Bauhaus and Japan, respectively). They took their name from a Captain Beefheart song from his album, ‘Trout Mask Replica‘. Initially, they recorded this one album (UK #84) and released just the one single, ‘The Judgement is the Mirror‘ (UK #66). The cover of the album features a detail from Maxfield Parrish’s seminal painting ‘Daybreak’. The recording of the album took place in unusual circumstances, as neither Karn nor Murphy spent much time together in the recording studio, preferring to send tapes back and forth between each other to work on alone.
Truthfully, I hated the album after listening to it the first time. In fact, I’m not sure there was ever a second time. But it seems that the true hidden beauty of this album is easier determined with age and experience because – you know what – it wasn’t as bad as I remember it being. In fact, I kinda dig it now. Huh.
I now think that this might be the best thing Murphy’s ever done (though he disowns it no doubt due to a bit of ego clashing with Karn and Bauhaus fans that simply couldn’t accept it but for some reason could accept Tones on Tail). I wonder if David J and David Sylvian could have come up with anything half this clever and imaginative? Doubtful. This album however might just spawn a whole new series of future posts here delving back into my high school/university Gothic phase. Who knows.