LOOP A Gilded Eternity; Fade Out; Heaven's End; The World In Your Eyes CD/LP Reissues

On Nov 15, 2012, at 7:41 PM, steve m wrote:

Are these recent reissues or from 2009? if the latter, not sure of any hook - pretty well reviewed at the time - terrific band, amazing these guys got by me –

From: yourfleshmag@blab.net
Subject: Re: Loop
Date: Thu, 15 Nov 2012 19:50:19 -0800
To: avalanche50@hotmail.com

Recent re-issues. Not sure what you mean by there not being a hook being the reissues have taken place with good reason... even by your own admission they slipped by you the first time.

In a message dated 11/19/2012 11:53:21 P.M. Eastern Standard Time: yourfleshmag writes:

Hey, Howard

 These Loop re-issues you serviced us on, are they for Vinyl re-issues or the CD ones that came out a spell ago? Label?


On Nov 20, 2012, at 4:37 AM, howlingwuelf wrote:

Dear Peter

The Loop re-issues are the same that came out in the UK  a few years ago. These are their first domestic U.S. release.

The downloads are of the CD versions. LP vinyl version do NOT have the second disc of bonus material.


On Nov 20, 2012, at 7:25 AM, steve m. wrote:

So i can buy the CDs already at Amazon for $9.74 used, $17.95 new, dated 2009, and get the extra tracks to boot - - i will amend the review to reflect this - 'not a review but a reminder' 

So this is how it goes: The labels first put previously issued material on CD with bonus cuts. This alienated a generation while earning labels an assumed huge profit. The labels subsequently failed anyway and paved the way for an explosion of downloading music for free by listeners who were way smarter than any corporate honcho.

No one had much sympathy when the music industry died a wonderfully painful death over the years, avaricious bastards getting their comeuppance.

The book Appetite for Self-Destruction by Steve Knopper will fill you in.

The popularity of vinyl, hence the reissue of these already reissued CDs, now results in records sans bonus cuts. We’ve come full circle.

Buying these maybe makes sense for student-loan wealthy, soon-to-be-indebted 20-year-olds, grad students living with parents or record collectors. For the rest of us, gimme the files. I’ll run them through my digital to analog converter.  The sound is great.

Now that we’ve set this straight, these are the four UK Indie-charting Loop releases released between 1987 and 1990.  The label only provided me with digital versions, so I have no idea what the fidelity is on the actual records. Should I assume it’s good? How about the packaging, which is supposed to be excellent? I can’t tell you.

I can say that to fresh ears, just about every cut on these is mind-bending, and I have the extra tracks from the CD releases of a few years back—the only comparison I have is a Led Zeppelin box of outtakes and 35 second demos of guitar licks. I keep listening and Loop keeps giving. On what I presume is the 2nd disc of Fade Out, there are five pieces simply called “Guitar Loop,” which are all slabs of feedback akin at points to Neil Young’s Arc.

Remember, you don’t get that on the vinyl.

Starting with Heaven’s End, I am smitten, the wah and distortion of “Soundhead” and ringing endorsement of the post-Jesus and Mary Chain drone and thrum that swept the Isles, stopping just short of shoegazer. Too much personality for that.  The brave cover of Suicide’s “Rocket USA” is the only failing moment on the CD, er LP, only because Loop can’t move it forward.

The World in Your Eyes, a collections of singles and extra tracks, delivers a heavier vibe, the masterpiece being “Thief (Motherfucker),” a throttling five minutes that makes anything Jane’s Addiction did sound like grand theft. The bands were formed around the same time; who stole from who?

The production on Fade Out is the only gripe—it’s a tamer drum sound tap-tap—and a Hawkwind thing in the approach that makes no sense, especially when the songs are as strong as the previous releases.

A Gilded Eternity is considered Loop’s Exile on Main Street, a deep dive into psyche-world where songwriting, sound and execution all merge for the perfect life form. It’s true—everything works, even the outtakes are sturdy and aggressive, turning into soundscapes and brief musical workouts within the confines of five minutes or so.  It’s the rare case in which the cutting room floor equals or exceeds the quality of the originally released takes.

Again, you don’t get that on the vinyl.

Maybe my stating “amazing these guys got by me” is a bit self-serving; I’m happy to play catch up on great music, and always feel like I come to shit a half hour later than the pack.

It’s distressing that the news hook had to be explained to me amidst this bent on sucking every dollar from the consumer.  ‘Now, with none of the bonus material that we gave you a few years ago, the vinyl version.’ Hardly an enticing sales pitch.

There are a lot of download sites out there that send the signal to these labels and their barrage of pedantic reissues. We ain’t gonna take the bait. [Revolver]



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