vqmpire lyrics

The human mind is a fascinating creation with mysterious and extraordinary capabilities. It is believed by some that within the depths of our consciousness lies an untapped source of power and magic. This concept of "secret mental powers" has intrigued people for centuries, leading to countless stories, myths, and legends. The notion of secret mental powers suggests that humans possess the ability to manipulate the world around them through the sheer force of their thoughts. It is said that these extraordinary mental abilities can be harnessed to bring about miracles and achieve the impossible. This idea has become a central theme in various forms of literature, movies, and even scientific studies.

This idea has become a central theme in various forms of literature, movies, and even scientific studies. Throughout history, there have been numerous accounts of individuals who seem to possess these extraordinary mental powers. Some claim to have the ability to move objects with their minds, predict future events, heal others with a single touch, or even control the elements.

Live At The Witch Trials | The Fall

I can’t actually remember now when I first clapped ears on The Fall, but it would have been one of the 1978 sessions they did for John Peel’s indispensable radio show. However, I do remember them suddenly snapping into focus when I noticed that Mark E Smith owned a shit, diamond-patterned V-neck jumper just like mine, and had a similarly utilitarian jelly-mould haircut. More to the point, his singing voice frequently leapt into an adolescent yelp: a smartly-deployed stylistic tic for him, an involuntary penance for the teenage me. Here was a new hero I could mimic without doing a fucking thing.
I might even have put it about that “Mark and I” were sartorially ahead of the curve.

Needless to say, the expanded reissue of the first two Fall albums makes it abundantly clear that there was never a curve broad enough to contain Mark E, nor indeed any pigeonholes sufficiently misshapen for The Fall to fit comfortably into: “No boxes for us”. Though punk was the closest fit in terms of delivery and dissidence, you felt that they treated it in the same way you or I might jump on a horse if it got us to where we were going more effectively.

Released seven months apart in 1979, Live At The Witch Trials and Dragnet reappear here on vinyl (red for the former, black-and-white “splatter” for the latter) and as clamshell 3CD box sets, the format you need if you crave tonnes of extras. Forty years on, the most startling thing about the debut album is how clean Bob Sargeant’s production is. Karl Burns’ drum fills pan across in true stereo, much as you’d expect the drums to do on, say, Rumours… and Frightened sounds like early Roxy Music in a trauma recovery centre until Mark E Smith lopes in, at which point the perspectives shift irrevocably. “I’d run away from toilets and faeces; I’d run away to a non-date on the street.”

It would be wrong to merely cite Smith as the rogue element that has blown in to fuck up your feng shui, because if anything, the broad separation in the mix highlights everyone’s beautiful eccentricities. Martin Bramah’s guitar sounds like hangnails and beaks, Yvonne Pawlett’s patient electric piano parts permanently arch their eyebrows, and the rhythm section of Karl Burns and bassist Marc Riley appears throughout to be cornering hard in an unmoored Waltzer.

Nevertheless, Smith is naturally the eye of the hurricane: a provocative, adversarial presence, setting out his stall in such a way that it blocks the road. “We are The Fall, northern white crap that talks back,” he legendarily scoffs in Crap Rap 2/Like To Blow, demolishing at a stroke any subsequent attempts to summarise his band more succinctly.

Here he is, already dismissing sentimentality (Futures And Pasts: “You can cry for your lost childhood… but remember how you hated it?”), junkie self-absorption (No Xmas For John Quays: “He thinks this is more interesting than the world”) and contemporary culture (Two Steps Back: “Had a look at the free festivals; they’re like cinemas with no films”). Industrial Estate comes across like punk rock with its poles reversed; and the introductory refrain of Underground Medecin [sic]resembles Stepping Stones by Ramases. Honestly.

Extras include the magnificent Bingo-Master’s Breakout, blending insouciance with insight (“All he sees is the back of chairs; in the mirror, a lack of hairs”), and the band’s full August 1978 set from Mr Pickwick’s in Liverpool. Smith sounds almost avuncular, actually thanking the audience between songs, and Martin Bramah’s guitar is in full-on deconstructivist mode by the time they hit Music Scene.

When Dragnet comes along, Bramah, Burns and Pawlett have departed, to be replaced by Craig Scanlon and Steve Hanley. Gone also are the debut album’s production values, to be replaced by an aural smog more befitting Smith’s gleeful obscurantism. Cymbal smashes sneeze out of the gloom, and Smith even has his hood up during A Figure Walks. The distancing is already acute: Before The Moon Falls paces in an obsessive circle (“I must create a new regime, or live by another man’s”), while Printhead and Dice Man establish the music press as fair game for merciless baiting ever after. Above all, Spectre Vs Rector comes at you and at you until you see the face of God in the gaps between the tuning.

Extras include Fiery Jack (hurray!), several takes of the staggering Rowche Rumble in its own elliptical orbit, and full 1979 live sets from Retford and LA, with Smith savouring the incongruity:
“How many bucks will you pay next time?”

Q&A: The Fall guitarist and co-founder Martin Bramah (latterly of Blue Orchids and Factory Star) remembers the feeling of taking on the world with The Fall and working with Mark E Smith

Was there ever any esprit de corps within The Fall, or was the dynamic always combative?
There was a strong feeling of loyalty and mission to the original band. It was us against the world. This was felt very keenly by all of us. It was only when Mark began to wrestle for control of The Fall that this spirit died and he inherited the name for what became his “group.”

How much leeway were band members afforded in collaborative compositions?
It was “band members” that wrote the music. That came from them. The singer wrote the words. Mark developed an important role as editor/director of the music. In this there was little leeway, in the nautical sense.

Do any memories prevent you from hearing the music objectively now?
I hear the music pretty objectively. I have been through periods where I couldn’t stand the sound of Smithy’s berating hubris, but I’m not alone in that! MES was a great talent with a unique voice and I still really enjoy listening to these albums, when I’m in the mood.

And do you feel proud nevertheless when you hear it?
Yes, I feel proud of what we achieved – why would I not? Great records by a great band!

The Governor of the Massachusetts Bay Colony at the time of the Salem witch trials was William Phips. His close relationship with a few ministers and wealthy community members made his entanglement in the trials unavoidable. Still, it seems that Phips mostly washed his hands of the hysteria and distanced himself from those in charge; however, he did not disallow his officials from continuing their inquest.

These alleged miracles challenge our understanding of what is scientifically possible and force us to question the limitations of the human mind. One of the most famous accounts of secret mental powers is found in the story of the magician or the mentalist. These individuals mesmerize audiences with their seemingly supernatural abilities to read minds, predict people's thoughts, and perform impossible feats. The art of magic and mentalism relies on psychological techniques and the power of suggestion, showcasing that our minds are easily deceived and capable of perceiving illusions as reality. In recent years, scientific research has also delved into the realm of secret mental powers. Studies have explored phenomena such as telepathy, precognition, and psychokinesis, although results have been inconclusive. While some argue that these experiments provide evidence for the existence of hidden mental powers, skeptics remain unconvinced, attributing the observed phenomena to mere chance or fraud. Regardless of the scientific debates surrounding secret mental powers, there is no denying the allure and fascination they hold over human beings. The idea of unlocking our full mental potential and harnessing supernatural abilities captures our imagination and fuels our desire for enlightenment and transcendence. In conclusion, the concept of secret mental powers revolves around the belief that the human mind possesses extraordinary abilities beyond our current understanding. From the legends and anecdotes to scientific experimentation, the exploration of these hidden powers continues to captivate and mystify us. While the truth behind these claims remains elusive, the allure and wonder associated with secret mental powers will undoubtedly continue to inspire storytelling and fuel our curiosity for ages to come..

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