Blue Magic, Welcome to the Club Welcome to the enchanting world of Blue Magic! Prepare to be captivated and transported to a realm where dreams come true and fantasies become reality. This extraordinary club is a breathtaking fusion of elegance, luxury, and the enigmatic allure of all things blue. Step inside and let your senses be overwhelmed by the enchanting ambiance that surrounds you. The walls, bathed in shimmering blue hues, exude an ethereal glow, casting a mesmerizing spell over all who enter. Each corner of this celestial sanctuary has been meticulously designed to indulge and enthrall its guests. The interior decor is a harmonious blend of modern sophistication and whimsical charm.
The Fall - Live At The Witch Trials LP
The first full-length album of The Fall, Live At The Witch Trials, is not actually a live album. Emerging out of a two-day studio session at Camden Sound in North West London during a sickly December of 1978, Witch Trials amounts to the sinister foundation of the band's diverse sound. Every song explores drastically different styles and wild terrain, leaving much to decipher over its eleven tracks.
"Frightened" has magnetic attraction / repulsion that shifts between Martin Bramah's skeletal guitar, Yvonne Pawlett's plastic keyboards and the lurching rhythm section of Marc Riley and Karl Burns. Mark E. Smith's mesmerizing bark and eerie lyrics warp the cosmic context with each repeated non-chorus. "Rebellious Jukebox" takes yet another turn and showcases the band's more melodic leanings.
One gets the sense that The Fall are in a time-travel hallucination (from 19th century witch trials to a scathing critique of the late-70s punk scene) where the band's snot-nosed scrabble afflicts the shape of pop to come. As Smith dictates, "We are The Fall, northern white crap that talks back."
Superior Viaduct's edition is the first time that Live At The Witch Trials has been available on vinyl domestically since its initial release in 1979. Liner notes by Brian Turner.
Track Listing:
- Frightened
- Crap Rap 2 / Like To Blow
- Rebellious Jukebox
- No Xmas For John Quays
- Mother-Sister!
- Industrial Estate
- Underground Medecin
- Two Steps Back
- Live At The Witch Trials
- Futures And Pasts
- Music Scene
Live at the Witch Trials
New reissues of the Fall’s first two albums find the band hungry, angry, and taking switchblades to a grim future.
Featured Tracks:
“Industrial Estate” — The Fall Via SoundCloudWhen the Fall’s “Industrial Estate” plays during the closing credits of High-Rise–Ben Wheatley’s new big-screen adaptation of J. G. Ballard’s classic novel–it’s more than a case of similar subject matter. True, the film is about urban malaise, and so is the song. But Ballard’s vision of a tower block turned hermetic, ingrown, incestuous, and cannibalistic unfolds with a clinical exactitude. On the other hand, “Industrial Estate” is a spew of dissonant chaos, fugue-state chants, and malfunctioning carnival organs that inhabits the liminal space between punk and post-punk–just like the rest of album it appears on, the Fall’s 1979 debut Live at the Witch Trials. At the time, the first wave of post-punks were taking Johnny Rotten’s “no future” rant and parsing it like surgeons, laying it bare and reducing it to its components like Ballard. The Fall were no exception but, where many of their contemporaries used anesthetic and scalpels, they packed switchblades.
Witch Trials came out in the spring of 1979, Dragnet in the autumn of 1979. Accordingly, these albums (newly reissued) are very much spring and autumn records, inasmuch as such acutely urban records can have ties to nature. The Fall came together in Manchester in 1976, the year punk conflagrated across England. Its working-class founder Mark E. Smith and his crew immediately hopscotched over punk, delivering an EP in 1978 (Bingo-Master’s Break-Out!) that tapped into everything from the Seeds’ keyboard-slathered garage rock to Can’s elemental clatter.
Witch Trials was both a step ahead and a step back with true punk bangers like “Futures and Pasts,” two-and-a-half minutes of eye-gouging and haranguing that unravels in hyperventilating gasps. That deconstruction quickly morphs from cheeky to sinister. “Rebellious Jukebox”—one of the first self-aware Fall anthems—churns and stutters, thrown into each successive moment by a serpentine bassline that coils like inside-out dub. Smith is all sneers and snarls, delirious as he struggles against and succumbs to rock’n’roll entropy. “We are The Fall/Northern white crap that talks back,” he taunts, chewing the microphone on “Crap Rap 2/Like to Blow.” Soon after, he takes a leap into the cosmic void: “We are frigid stars.” By the time the eight-minute closer “Music Scene” crawls its way into oblivion—en route, beating Public Image Ltd’s similarly distended “Theme” and “Fodderstompf” to the punch by months—the Fall had already established themselves as something far more wobbly and toxic than the emerging post-punk mass.
You can pogo to Witch Trials; you can’t to Dragnet. Where Witch Trials is wiry, Dragnet is weighty. The eight months separating the release of the two albums saw a huge lineup change, setting the pattern of perpetual upheaval that would become the Fall’s constant. Most notably, guitarist Martin Bramah left, and his empty space was filled by existing bassist Marc Riley and new recruit Craig Scanlon. On Dragnet, Riley and Scanlon echo each other just out of sync, rezoning the rhythmic domain of the songs. “Before the Moon Falls”—an eerie track that hints at such contemporaries as Pere Ubu and Swell Maps—jangles with urgency and decay. “I must create a new scheme,” Smith vows, a dirtbag urchin with a brain too big for his skull.
Dragnet can be overwhelmingly dense, folding in viola-like guitar like John Cale’s queasiest recursion (“Muzorewi’s Daughter”) and then Krautrock-leaning funk spiked with garbled demands and harsh glossolalia (“Put Away”). But the heavy hand lightens by “Choc-Stock,” a singsong slice of feral nonsense akin to Syd Barrett with a head cold and a hangover. There’s an answer to Witch Trials’ “Music Scene” in the form of “Spectre vs. Rector,” but it’s nothing like its predecessor; its sludge and subliminal menace practically invented post-rock as an afterthought. The track is visceral, reeking of spilled pints and machine oil, evoking the industrial scum-scape that incubated it.
In a 2011 interview, Smith said that Ballard’s 1962 post-apocalyptic novel The Drowned World was the only book by the author that he liked. Even then, he referred to it only as “that one where the world’s underwater.” Erudition in the formal sense is never what Smith or the Fall were about, and that’s made plain on Witch Trials and Dragnet, where Smith’s loathing of cultured, mannered learning oozes from every fracture. Instead, the albums are celebrations–if not exhortations–of working-class precocity and street-smart intellectualism cobbled together from thrift stores bookshelves and stolen snatches of philosophy. Hungry, angry, and ugly: that’s the post-punk proclamation of the Fall’s first two albums, a flag that would fully unfurl with the release of band’s masterpiece, Hex Enduction Hour, three years later. But for a fleeting few seasons in 1979, in the hands of Smith and his gang of urban mutant malingerers, all that mattered was feeding the future to itself and seeing what got puked back up.
Live At The Witch Trials
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The interior decor is a harmonious blend of modern sophistication and whimsical charm. Cobalt blue velvet curtains drape gracefully from floor to ceiling, creating an enchanting backdrop for the masterfully crafted crystal chandeliers, which illuminate the room with a gentle radiance. Plush velvet armchairs, in a myriad of shades of blue, beckon you to sink in and lose yourself in their decadent comfort.
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The heart of Blue Magic lies in its captivating performances and dazzling shows. Prepare to be amazed as the club's talented performers take center stage, transporting you into a realm of pure enchantment. From spellbinding magic tricks that defy logic to astonishing acrobatic feats, each act unfolds with an air of mystery, leaving you in awe of the limitless possibilities of the world. The club's exquisite bar offers an extensive menu of handcrafted cocktails, each concoction carefully curated to evoke the essence of the blue magic. Sip on a Blue Velvet Martini, laced with hints of blueberry and lavender, and let its velvety smoothness caress your palate. Indulge in a Blue Lagoon, a tantalizing blend of vodka, Blue Curaçao, and citrus, that will transport you to a tropical paradise with every sip. Blue Magic is not merely a club; it is a place where dreams come to life. Whether you are seeking an unforgettable night out with friends or a romantic escapade, this magical haven promises an experience beyond compare. Immerse yourself in the ethereal beauty that surrounds you and allow yourself to believe in the extraordinary power of blue magic. Welcome to the club, where enchantment awaits at every turn..
Reviews for "The Symbolism of Blue Magic: Understanding the Deeper Meanings"
1. Sarah - 2/5 stars - I was really excited to read "Blue Magic: Welcome to the Club" after hearing such great reviews, but I was ultimately disappointed. The characters felt one-dimensional and I couldn't connect with any of them. The plot was also incredibly predictable, leaving no surprises or twists. Overall, the book lacked depth and failed to captivate my attention.
2. John - 1/5 stars - I couldn't even finish reading "Blue Magic: Welcome to the Club" because it was so poorly written. The grammar and punctuation mistakes were distracting and made it difficult to follow the story. The dialogue was also awkward and unrealistic. The author seemed to rely on clichés and overused tropes rather than creating original and engaging content. I would not recommend this book to anyone.
3. Emily - 2/5 stars - I found "Blue Magic: Welcome to the Club" to be quite a disappointment. The pacing was incredibly slow, and I struggled to stay engaged with the story. The world-building lacked detail, leaving many questions unanswered and making it difficult to immerse myself in the setting. The writing style was also rather bland and failed to evoke any emotions or excitement. Overall, I found the book to be underwhelming and wouldn't recommend it to others.