Heresy thread at WDYLM/OA

I posted my initial thoughts about this CD at the Why Don't You Love Me/Other Artists thread above.

OK these are my honest views on disk 1.

Daniel Watkins - Tristesse. Great opening track to use as it captures beautifully that clear day view that the Church can achieve and project so well. Well done for that Daniel and I really like your vocal delivery here. I particularly love the chime like qualities of the fluid/organic guitar work in the distance and would love to really hear this more clearly but unfortunately the main acoustic strum guitar is very prominent and I feel this eclipses some of the very beautiful things happening in the background. I also get a bit of hi-end digital distortion occassionally in parts, was a lot of compression used or are my speakers and headphones f*cked?

Cosmetic Attitude - Constant in Opal - I have owned this on a CD for about a year and love it. It is labyrinth and has a texture and flavour like rich dark chocolate. I feel like I'm being hypnotised. It has that "other place" feeling so difficult to capture and Matt also frames it. Matt is probably the best singer on this CD. One of my favourites on the disk this. Also if you haven't done so already get to hear "Aberdeen" by Matt, one of the best songs I've heard period.

Alton Broussard - Almost With You. Excellent intro that moves into a bouncy, happy version that plays with the shape of the vocals well. Not an absolute highlight for me but I like it.

Maurizio Tommasini - I really like this version; I think it is Maurizio's vocals. I would love to hear this sung in Italian. This is perhaps the best overall production on this disk and the use of guitar is stunning; this man can play so well.

Davide Valecchi - Pharoah - This is a dark place. I'm getting Suicide meets Kluster, Neu! and early Kraftwek, with an industrial scariness SPK and Throbbing Gristle achieved. In fact Davide's vocals aren't too far removed from Genesis P.Orrige's. I love this.

John Black - Youth Worshipper - This version really smacks out of the speakers with a digital crispness and crunch. I find this one difficult to judge because whenever I have cranked it up it distorts (?). Maybe my speakers are gubbed. I like John's vocal delivery and the synth-trumpets.

Tony Pucci - Bel-Air - This version has a freshness and innocence that is quite engaging. Again I'm getting a bit of high-end frizz through the speakers (!). I'm really into the Jefferson Airplane style wah-wah outro; Good version but pedestrian compared to Tony's second offering on the CD, the jaw-Dropping Names.

Noel Riddell (w/Daniel Watkins) - Already Yesterday - Loveliest song on the disk IMO. The guitar arrangement really brings out the beauty of this and yes it is a great 12-string solo. Daniel also does a great delivery.

Tom Edgington & Paul Best - Loveblind - This where I will get unpopular. Much as I love the sound of this (and I do), apart from the fact it is a different vocalist I cannot tell the difference between this version and the original. I obviously like it but I would have enjoyed more of a challenge. Luckily they gave me that on the second version!

Alton Broussard - My Birthday, the Moon Festival - I love the intro to this and sonically it is very beautiful with a dark undertone present throughout.I would have personally preferred the vocals less swamped in reverb and a bit higher in the mix but that aside I really like it. I love the sudden disappearance at the end.

Charcoal Ed - Invisible - This could/should be on Parallel Universe! As I have already said this voice reminds me of someone (she uses this voice daily as her communication method) and it is quite nice to picture her delivering this. Try to imagine a real woman delivering this when listening and you'll see what I mean. The inherent sadness in the voice is astounding in this context. Another one of my favourites on this disk.

Robert Lurie - Authority - My favourite track on the disk beyond doubt. I'll never listen to the original again without thinking of this (but maybe not vice-versa). Robert brings out the full fragility of relationship here and the monotonous bass tone underpinning this leaves the floor unstable and tricky to cross. As I already said total genius.

Altres