|
Following is the first deconstruction of the
SALMON construction. A brave young writer clambers up the steep, impregnable
edifice of fortress SALMON, ultimately only able to gaze in awe at the
scale of the towering noise.
Salmon ........Ding Dong Lounge
Kim Salmon has responded to audience taunts demanding more hard rock by
staging his own festival of the power chord.
Salmon’s eponymous show celebrates the genre of heavy rock, and Salmon’s
own role in exploring the possibilities presented by thundering chords.
Opening act The Kits played a lively support, mixing succinct pop riffs
and a look and feel in the Black Rebel Motorcycle Club/Strokes region.
But whereas The Kits showed an understanding of Contemporary New York
Rock 101, Kim Salmon’s quintuple guitar, dual drum assault was a
postgraduate course in Rock as Dominant Musical Discourse. With his guitar
the baton, Kim took on the role of conductor, combining the orchestral
precision of Herbert Von Karajan, and the axe wielding brutality of variously
Jimmy Page, Pete Townshend, Wayne Kramer and, obviously, Kim himself.
Backed by the drumming of Clare Moore (who hasn’t missed a beat since
1974) and Michael Stranges (looking like a pirate John Belushi), and companion
guitarists Dave Graney, Ash Naylor, Penny Ikinger and Anton Ruddick, Salmon
took the thematic (and usually pretentious) approach of concept rock shows,
and delivered with a brutal assault.
The set list – which, in a unique move, was distributed to the audience
at the door – was a musical text in itself, with subtle
tributes to Kim’s own Perth punk history (CHEAP AND NASTY), the garage
rock inspired revenge (Punk Fatwa) and corny contemporary references (Axes
of Evil). The vocals consisted of sampled screams and cliched rock intros,
confirming that with true rock, the lyrics are nothing more than a distraction.
The opening set concluded with a heavily orchestrated version of the Surrealists’
brilliant Non Stop Action Groove, exaggerated and extrapolated to highlight
every
modicum of kool.
This is concept rock for the discerning. And once you embrace the concept,
it all falls into place. Word is that Salmon will
next appear at the Tote in mid-September. Everyone who believes in the
power of rock should get along.
PATRICK EMERY ...Beat magazine
|
Kim,Ash,Anton, Dave...
KIm,Ash, Anton,Matt,Penny,Dave...
|
|
If you go click this image you can go to an internet radio station that
has a recording of the release night set by SALMON on 23-05-07
Clare Moore at a rehearsal...
Here is the view from Spain.....
KIM SALMON. What else do we need to say? Just naming the Master
of swamp sound is more than enough to guarantee total quality.
Mr. Salmon flies free in this new project. His wish seems to be developing
the maximum brutality. A band of evil instrumental songs with 6 guitars
(Kim Salmon and Penny Ikinger among them) and 2 drum sets, all of them
perfectly sincronized by pairs.
Kim Salmon manufactures this project wich reminds us of a cross between
the most primitive sounds of Seattle grunge (begining of MELVINS or GREEN
RIVER), as well as Ozzy Osborne´s BLACK SABBATH, all of it mixed
with the original touch of Kim Salmon´s SCIENTISTS or SURREALISTS.
THE DRONES, as well as everybody who has been able to see them live, melt
in good words about this amazing new project from Maestro Salmon.
In order to increase the widness of this album, Mr. Salmon does the first
half in studio, and ends it with a live concert. Released by BANG! Rcds.
on CD with triple cigipack cover, as well as limited double LP deluxe
edition (embossed cover, thick vinyl 500 copies, gatefold...) For extreme
sounds lovers only.
"If you have heart problems, avoid to listen to it", Penny Ikinger.SALMON
is looming.
What is Salmon?
SALMON is five guitarists…generating scrap-yards full of metal for
two drummers to belligerently pound, slam and flam their way through!
SALMON is 8 individuals of iconic stature wildly shape-throwing and shredding
their way through the biggest barrage of demonic power-chords known to
human kind.
SALMON does it tough!
In SALMON nothing gets in the way of what counts.
In SALMON what counts are the RIFF and the BEAT…. played heavy.
What about songs you ask?
SALMON doesn’t need your puny songs!
Songs are for propping up weak riffs and lame beats that can’t stand
on their own.
SALMON has scientists working round the clock to come up with riffs so
hard they stand up on their own.
SALMON has carefully selected its crew from the finest available to drive
its stellar machinery. This crew comprises… Matt walker, Ash Naylor,
Clare Moore, Anton Ruddick, Mike Stranges, Penny Ikinger and Dave Graney
and Kim Salmon. These brave folk are indeed the right stuff for the
mission.
These brave folk have put themselves under the all seeing, all hearing
scrutiny of SALMON .
Other bands hustle record deals, then plan and record albums.
SALMON does nothing! A SALMON record album comes into existence like the
force of nature that it is! Like the ‘Big Bang!’ Indeed Bang!
records came to SALMON and the Album ‘Rock Formations’ came
into existence!
‘Rock Formations’ is the onslaught of SALMON made actual! In
CD or double gatefold vinyl album form! Now you can have the six axes
of evil and the twin drums of doom wreaking havoc in your own home!
Pretenders shall bow down before SALMON as it lays the rock and roll world
to waste. You may try to hide from the inevitability of SALMON but be
warned.
Resistance is useless!
I think it was the Barman once described Wolfmother as Dead Zeppelin
– or was it Led Purple – and professed nothing but spit and
bile for the band’s well worn (but celebrated) collection of neo-70s
riffs, screeching vocals and iconic rock theatrics. The same objection
can be (and is frequently) hurled at Airbourne, and a host of other rock
revivalist bands that have achieved local to significant success in the
last few years. Sometimes it’s simply a matter of irony –
you either see it, or you don’t. In a post-modern world, objective
truth is waste of time and money.
Kim Salmon’s six guitar, two drum rock’n’roll hydra, Salmon,
is a grab bag of neo-70s riffs, screeching vocals (albeit computer generated)
and iconic rock theatrics. But, unlike his artistic juniors or pale
imitators, Salmon (the auteur, not the beast itself) has actually thought
long and hard about this particular celebration of the power of rock.
Kim first showcased Salmon at the Ding Dong Lounge in Melbourne in September
2004; a subsequent show at the Tote was a quantum leap from the previous
gig and removed doubts from a few initially sceptical punters. The
original cast was impressive enough – in addition to Kim Salmon (with
his own trusty axe), there’s Penny Ikinger, Anton Ruddick (former
Swedish Magazine), Ash Naylor (Even) and Dave Graney all on guitar, with
Clare Moore and Michael Stranges (Ripe) on drums. Since that time
Matt Walker has found a spot as the sixth guitarist and rounded out the
sound beyond previously imagined proportions.
It’s always been mooted that Salmon might find its way into a recorded
format. Kim’s tight orchestral control of the project is well
known, and it was only ever likely to be released in recorded form if
Kim was perfectly happy with its final form.
With some serious interest from the Melbourne-ophile Basque label Bang!
– "Rock Formations" – has been now released and captures
the beast in two different settings. The first part of "Rock
Formations" is recorded in the captivity of a relatively sterile
studio environment.
It’s a survey of rock through the ages: "Punk Fatwa" is
the perfect punk rock call to arms, a melting pot of manic drum beats,
grinding guitars and patented Salmon screams, "Prog Suite II",
by way of immediate (and chronologically ironic) contrast, is a bruising
slog through the quagmire of 70s progressive rock, "It Wears A Kilt"
is glam rock in a glittering jar, Licensed to Rock is the soundtrack for
a journey through the suburbs in a hotted up Monaro, "Speed Metal
Rocker" is where most teenagers find themselves after a skinful of
cheap vodka and an armful of Black Sabbath records, "Alien Chord
Ostinato" is mood music for the metal generation, "Cheap and
Nasty" (based on a song written originally by Salmon and Dave Faulkner
in their Perth punk days) is a fist waving primitive punk ode, and "The
Axes of Evil" might be labelled pretentious if it didn’t come
armed with a big stick of hard rock riffage that’d scare the bejeezus
out of the most hardened long haired bogan.
The second part of the album sees Salmon unleased in its natural live
rock’n’roll environment, with a show recorded at Sydney’s
Metro theatre in early 2006. As well as the tunes on the recorded
part of the album, there’s some other live favourites, including
Blue Oyster Cult’s "ETI (Extra-Terrestrial Intelligence)",
grinding and gyrating "13th Bar Blues", two minutes of free
form guitar self-indulgence in "2 Minute Noodle" and the uplifting
prog rock love of "Guitarmony Suite". To cap it off there’s
a throbbing rendition of the Surrealists’ "Non-Stop Action Groove",
complete with Kim’s distorted electronic introduction of the band
members. Save for the occasional technical and sonic glitches, this
is the Salmon beast in its most appropriate and comfortable state.
The contradiction that lies at heart of Salmon – a barrage of macho
rock riffs as tightly choreographed as an Albert Hall orchestral performance
– is also Salmon’s intrinsic attraction. In fact, it’s
arguable that on this album Salmon has achieved with appropriate levels
of irony what many of his contemporaries continue to strive for without
acknowledging their tongues should be in their cheeks. -Patrick Emery
Aficionados of Aussie rock know the Scientists, who slithered outta the
Perth swamplands to terrorize the ’80s with their fetid brand of
low-twanging psycho-drone and influenced grungesters (Mudhoney) and noizniks
(Sonic Youth) alike. Sci mainman Kim Salmon now returns with a six-guitar
ensemble so skull-piercingly loud that it makes Glenn Branca sound like
Pianosaurus. From thug-punk riffer “Cheap ’N’ Nasty”
(co-written with Hoodoo Guru Dave Faulkner) to the malevolent “Prog
Suite” (featuring Salmon on Cookie Monster vocal samples) to a non-ironic
cover of Blue Öyster Cult’s “E.T.I.,” Rock Formations
is the sonic enema you’ve been needing but just didn’t know
it.
Harp magazine
|
A friend of mine once described Wolfmother as Dead Zeppelin – or
was it Led Purple – and professed nothing but spit and bile for the
band’s well worn (but celebrated) collection of neo-70s riffs, screeching
vocals and iconic rock theatrics. The same objection can be (and is frequently)
hurled at Airbourne, and a host of other rock revivalist bands that have
achieved local to significant success in the last few years. Sometimes
it’s simply a matter of irony – you either see it, or you don’t.
In a post-modern world, objective truth is waste of time and money.
Kim Salmon’s six guitar, two drum rock ’n’ roll hydra Salmon
is a grab bag of neo-70s riffs, screeching vocals (albeit computer generated)
and iconic rock theatrics. But, unlike his artistic juniors or pale imitators,
Salmon has actually thought long and hard about this particular celebration
of the power of rock. Rock Formations – released on the Melbourne-ophile
Basque label Bang! – captures the beast in two different settings.
The first part of Rock Formations is recorded in the captivity of a relatively
sterile studio environment. It’s a survey of rock through the ages:
Punk Fatwa is the perfect punk rock call to arms, a melting pot of manic
drum beats, grinding guitars and patented Salmon screams. Prog Suite II,
by way of immediate (and chronologically ironic) contrast, is a bruising
slog through the quagmire of 70s progressive rock. It Wears A Kilt is
glam rock in a glittering jar, and Licensed to Rock is the soundtrack
for a journey through the suburbs in a hotted up Monaro. Speed Metal Rocker
is where most teenagers find themselves after a skinful of cheap vodka
and an armful of Black Sabbath records, and Alien Chord Ostinato is mood
music for the metal generation. Cheap and Nasty (based on a song written
originally by Salmon and Dave Faulkner in their Perth punk days) is a
fist-waving primitive punk ode, and The Axes of Evil might be labelled
pretentious if it didn’t come armed with a big stick of hard rock
riffage that’d scare the bejeezus out of the most hardened long-haired
bogan.
The second part of the album sees Salmon unleased in its natural live
rock ’n’ roll environment, with a show recorded at Sydney’s
Metro theatre in early 2006. As well as the tunes on the recorded part
of the album, there’s some other live favourites, including Blue
Oyster Cult’s ETI (Extra-Terrestrial Intelligence), the grinding
and gyrating 13th Bar Blues, two minutes of free form guitar self-indulgence
in 2 Minute Noodle and the uplifting prog rock love of Guitarmony Suite.
To cap it off there’s a throbbing rendition of the Surrealists’
Non-Stop Action Groove, complete with Kim’s distorted electronic
introduction of the band members. Save for the occasional technical and
sonic glitches, this is the Salmon beast in its most appropriate and comfortable
state.
The contradiction that lies at heart of Salmon – a barrage of macho
rock riffs as tightly choreographed as an Albert Hall orchestral performance
– is also Salmon’s intrinsic attraction. In fact, it’s
arguable that on this album Salmon has achieved with appropriate levels
of irony what many of his contemporaries continue to strive for without
acknowledging their tongues should be in their cheeks.
PATRICK EMERYSalmon - Rock Formations CD (Bang! Records/Munster Records)
Kim Salmon has ruled the Aussie rock scene for 30 years with godlike bands
like The Scientists and Beasts Of Bourbon, so what's he up to in 2007?
Speed Prog Metal!?! Well sorta. "Rock Formations" is a vicious
and aggressive sonic kick in the nuts with no less than SIX guitars and
TWO drums. Mr. Salmon means serious business, this ain't no limpdicked
give-the-people-what-they-want release, as Penny Ikinger states; "If
you have heart problems, avoid listen to it." There's hardly any
singing on the album, just fast pounding crunching riffs from hell. Imagine
Sabbath and Pink Fairies jamming with Slayer with a bit of a Hawkwind
vibe. Still I don't think "Rock Formations" would appeal to
the average metalhead. A very brave and uncompromising record, which is
also released in a limited (to 500) gatefold double vinyl edition.
http://bang-records.net
http://www.myspace.com/kimsalmon
If you dig: Slayer, Hawkwind, Sabbath
Jens
ROCK FORMATIONS – Salmon (Bang! Records/Fuse Music)
I remember the sniggers when this project was first made public. A six
guitar band with two drummers? All crowding onto the Tote stage? To
be “conducted” by Kim Salmon? And with Dave Graney playing (whisper
it) rock music??
Well, yes, yes, yes and decisively yes. This is definitely not a joke.
It’s a crack team of Melbourne based musicians kicking it out, letting
it out of their systems, with an air of abandonment and glee permeating
each and every track.
Most of the personnel present are of a certain age, and so have an involvement
or at the very least an interest in music which pre-dates punk- and that
deep grained love for the Led Zep, Pink Floyd & AC DC they were listening
to in their teenage years before the Ramones et al hove into view is blatantly
obvious.
Heavy boogie riffs, falsetto vocals, thumping glam beats, “TNT”-style
chants of “hey!”- they are all on plain view here.
You get nine studio tracks, plus a further 13 live numbers recorded at
Sydney’s Metro, including a take on Blue Oyster Cult’s “ETI
(Extra Terrestrial Intelligence)” and version of “Cheap and
Nasty”, a chestnut that Salmon co-wrote with Dave Faulkner way back
when.
With the band’s own tunes carrying titles like “Prog Suite 1
& 2” and “Licensed 2 Rock” there is obviously a sense
of humour at work here, but there is no irony to be heard. This is serious
as it wants to be, and as heavy as fuck in the main. There are tunes here
that would easily give the likes of Voivod and Slayer a good run for their
money.
There are minimal vocals from Kim, mainly confined to some vintage style
yelps and roars, screams of “All right!” and such. But it really
is an instrumental album at heart, with all those guitars combining in
huge overdriven harmonic riffs to give the tunes their body. That said,
at times it feels slightly hamstrung by not going the whole hog and giving
the songs the sort of lyrical treatment they deserve, and could certainly
carry. Short song length is another issue- some of these could have easily
been stretched out to true metal opus length of eight minutes or so.
Not sure of the lifespan of this project- due to other ongoing commitments
on the part of all involved the band may well never re-coalesce, which
would be a shame. The upshot is that this collection may well remain a
curious footnote, a solo oddity, in the annals of Australian pre AND post
punk rock. Hmm, but I bet Kim could write a cracker of a song called “Solo
Oddity” for the follow up though. - TJ Honeysuckle
|
