Welcome to the world of Nash The Slash - I've been enjoying, promoting and selling his records right from the first FM album, on to his first solo 12" EP and beyond. In fact I have even recently dug out some of my original correspondence with the man himself for a future project. The music he has played has always been above category so you won't find his work on a 'prog' list or a 'psych' list or even a 'synth' list (especially as he's never used one anyway). But the quality and originality of the music he has played has always been the consistent and dominant factor, with every new release an adventure, from the cover versions album to the album designed to be played at any vinyl speed on the record player, the latter still to see the light of day on CD. But what you do have on CD now is a set of releases that is just fanatstic, new and old, sounding great and all highly recommended.
NASH THE SLASH: Lost In Space CD
Seventy seven minutes of prime vintage Nash. The tracks are all previously unreleased in this form, being demos (although the sound quality remastering has been so good you'd never know) from the FM days of the mid seventies and early eighties. All the tracks are played by Nash together with Cameron Hawkins, FM's synth player/co-vocalist/bass pedals/bass/sequencer. The first four originate from '76/'77, and the album opens with a wonderful near fourteen minute version of FM's "Black Noise" track, with some incredible work that showcases why Nash is such a unique musician, with electric mandolin and violin, he's creating both rock section and orchestral interlude within the same piece from just two instruments sounding like so many, while the synth serves to add to the overall atmospherics of the song, the extended 'multiple violin'/synth mid-section being a thing of great beauty by anyone's musical standards - a stunning opening track. There follows two more versions of tracks later to appear on the "Black Noise" album, equally atmospheric and if anything posessing as much warmth, if not more, and emotion as the album versions. This period of demos ends with a steaming rendition of The Who's classic track 'Baba O'Reilly', a long-time stalwart of the Nash live set, here with a rhythm from sequencer and a violin set to imitate the Townsend power chords, the result being a simply sublime interpretation of the track like you've never before heard, even for Nash. The we move on to the '84 demos, with four tracks that paved the way for the later "Contest" album. Here the tracks are played by the two musicians joined by Martin Deller on drums and so they are altogether more powerful, but lose none of the atmosphere that has been created to such incredible effect to date, including a version of The Animals' sixties classic 'It's My Life'. The album ends with a superb live recording of FM in concert in Toronto in 1977 doing a nine minute version of King Crimson's classic track 'Starless', one that faithfully recreates the structure of the original, starting with the slow song portion and opening out into a fine slice of FM power as the elctric guitar-sounding mandolin, synth, bass pedals drums and violin create a sound worthy of Crimso at their most fiery but also their most emotional too, and anyone who likes this track, but is maybe not familiar with Crimso's work, should contact me and I will recommend a couple of great places to start to investigate the Crimso catalogue. There are nearly twenty minutes of bonus 'hidden' tracks that follow which you really have to hear. So, overall, as immaculate a dig into the Nash 'FM-era' archives as you'll hear with every track a gem, and here's to more historical releases like this in the future.
NASH THE SLASH:Blind Windows CD
He's back....for the first time ever on CD and it's just superb.
The CD begins on a tranquil yet flowing note in the form of 'Fever Dream' where a gorgeous languid melody line of the synths and guitar sounds, over the slowly undulating rhythm from drum machine and electronics, simply flies out to the heavens with a spiralling guitar-like line and the feel of some of Froese's mid-70's guitar excursions only more relaxed. 'Masquerade' is a tune that will be buzzing around your head for ages as the layers cascade and soar over the lead melody line with brief interludes of swirling electronics and bass synth style sounds, over which the guitar-like electric mandolin solos to majestic effect, sounding, as throughout the album, more like a cross between a synth and a guitar sound, but is really an electric mandolin through a whole bank of effects and devices, a Nash trademark. Again, the feel is relaxed but excited, joyous melodies and stirring solos. 'Blind Windows' starts with swirling synthy type sounds and distant el mandolin, then, from the back of the mix, emerges a spiralling sequencer rhythm which becomes louder, joins with a huge rumbling bass synth style undercurrent of equally splendid rhythmic force and over this are heard layers of the mandolin, electronics and more to create a furious yet mid-tempo piece of storming electronic rhythmic atmospherics, eventually fading to great effect. 'The Million Year Picnic' is another fantastic tune , starting with a buzzing sequencer rhythm and delightful splashes of electronic melody and then suddenly.....bang.... in comes a scorching lead multi-layer comprising surging electric violin, again heavily treated to sound fantastic, combining with the sparkling howls of electric mandolin, the backdrop rhythms from perc and sequencers, all over which the melody lines just soar through the heavens, at 3m40, over all too soon, but a track you will just want to play over and over again.
Then we go away from the 'Bedside Companion' mini into the first track on what was his second release and his first full length album, 'Dreams And Nightmares'. Thoughout this album the layers of instruments
and devices all work to superb effect, more developed, fuller sounding, layered and a sensational set of
soundscapes. But the combination of compositions from the rhythmic/melodic, through the insistently catchy tunes to some gloriously atmospheric, spacier pieces, makes for one gem of an album from start to finish. The album opens with a delightfully melodic/rhythmic piece centred around a string-synth like heart, tumbling percussive rhythms and spiralling lead lines, followed by 'Ylla', the first of the atmospheric tracks, with flowing synth-like soundscapes and background thunder sample plus distant layers enhancing the overall mood of the track. The comes the sprightly, dynamic and powerful melodies of 'The Chase', full of bass-y electronics, keyboard-style stabs and lashings of scorching el violin, spiralling out of sight and sounding more electronic, over the flowing electronic and percussive rhythmic base. Then come two longer tracks in the form of the nearly 10 min 'Un Chien Andalou' and the nearly 8 min 'Blind Windows/Countervail'. 'Chien' is awesome with layers of flowing el mandolin rhythms over which combinations of the fantastic el. violin leads are multi-tracked and combined with further layers to breathtaking effect, the whole thing creating a soundscape that's melodic, dynamic and heartbreakingly effective as the music climbs higher and higher in powerful yet relaxed form keeping you utterly enthralled throughout the total length of the track as the solos soar over the melodic and rhythmic backdrop. Then comes the next section beginning with a chugging bass synth like rhythm over which a string synth-like layer travels effortlessly on as the more familiar violin-sound refrain enters and the layers and soundscapes are built to magnificent effect creating a sort of dark tension; that fades and the track finishes on a very spacey set of violin/string-synth style layers to quite brilliant effect. 'Blind Windows/Countervail' is a mighty track with even more layers, swirling stereo effects, a wide range of electronic soundscapes and phased bass/synth-like backdrops and lead passages, all a bit like something off "Neu '75" only more electronic. The second half features a cauldron of swirling soundscpaes in vintage Euro-traditions as electronics, effects, distant violin and more, create a soundpool of monumental proportions, flowing away free of melody or rhythm. Next up is 'Mooncurse' a throbbing monster of a composition with massive bass-heavy electronics leading into a screaming lead line that flies over the mighty foundations and the whole effect is positively mind-warping as the intensity increases. After this, follows one of THE most beautiful instrumental tracks EVER and you surely cannot fail to be moved by the glorious melody and rhythm lines created from the combination of strings, el mandolin and electronics as the cyclical tune/rhythm unfolds and is crushingly gorgeous, music for lost loves and the like, happy and sad at the same time - just wonderful. The final track, 'Til Death Do Us Part', is a spacey piece with a scorching el mandolin line, thunderous backdrop and surrounding electronics, all very beautiful and powerful at the same time, all quiet until it suddenly booms out of the speakers with more layers from electronics and a red-hot violin core all swirling sequences, dynamic drums and phased organ/synth-style electronics. Then come the first of 4 previously unreleased bonus tracks in the form of 'variations' on the 'Bedside' tracks, essentially being decelerated versions with a new beauty and solidity revealed as the compositions slowly unfold.
Overall, then, an utter triumph. It's been mastered quietly, so turn it up, but once you do, you can't possibly fail to be captured by the emotional range and depth of the music, the amazing and unique soundscapes and textures on 75+ mins of thoroughly excellent instrumental music that sounds like nothing and no-one else, uniquely Nash The Slash.
NASH THE SLASH: Children Of The Night CD
This has been a long time coming, eagerly awaited more than anything by most fans, and one listen to the mighty opening track confirms that the remaster job is absolutely perfect, loud and clear to a degree that you'll find hard to believe. Even the drum machine rhythms sound incredibly solid on track two, following the screaming violin and guitar-like scorching mandolin leads of the instrumental 'Wolf'. With its three unique Nash covers of 'Dead Man's Curve', '19th Nervous Breakdown' and 'Smoke On The Water', here retitled 'Dopes on the Water' with appropriately improved lyrics, plus a set of roiginal songs and instrumentals, this has to be one of the finest albums of his career and possibly one of the finest albums of the eighties….period! The sound is strong with electric mandolin sounding like electric guitars, violin soaring to uncharted heights like nothing you've ever before heard and the Nash effects box doing the rest, this is one full sounding gem that is a treat from start to finish and you tend to have forgotten just what a great 'rock' album this was, although it sounds more electronic for those who haven't yet got into the guy's music. As a bonus, there are six previously unreleased tracks and versions that are added to the CD so you get more than just a complete album, and this has to be seen as one of the best archive releases for a long, long time - fans will be delighted while those who've never before heard his work should start right here and get into the bandaged world of possibly the most unique yet wholly accessible musician and vocalist in the world today - and then you will be hooked. No messing.
NASH THE SLASH: Thrash CD
You can't categorise this - the Nash following ranges far and wide from synth fans to rock fans to space-rock fans and beyond. This is his first album of all-new material in aeons and is absolutely sensational. With ten songs and two instrumentals, all originals and all performed by Nash on his arsenal of electric guitars, electric violins, electric mandolins, programming and effects section, every track is worthy of his classic material from the early days. The production is outstanding this time around and the music just leaps out of the speakers at you. The tracks are all delivered in the familiar Nash vocal style, with a huge sound and solos that catch fire, all with that unique sound that is Nash The Slash. The instrumental work from the rhythms is some of the best I've eve heard from the man, with a set of solid electronic and percussive rhythmic foundations carrying the tracks along, while the scorching lead work from the violins, guitars and electric mandolin could not come from any other musician. To witness the Nash performance live must be one of the best things around in the world of live music right now, but, if we can't get him over here to play live, then this has to be the next best thing. With a thunderously spacey and full-sounding eerie space-rock style atmospherics, this is an album that has quality written all over it and fans will not be disappointed by any part of it. Simply, you have to get this album.
NASH THE SLASH: Nosferatu CD
Not the official follow-up to "Thrash" although still the brand new studio album, this is an instrumental album that oozes pure class and atmosphere from every second of its sixty-three minute running time. Much of the album is exactly that - atmospheric - as Nash uses the violin, electronics, occasional electronic drums and his bag of musical tricks to come up with an album that is spellbinding and is one of those albums that, once started, you have to listen to right through to the end. There are choirs, strings, layers, textures and it mostly has the feel of a classic space synth music album without the synths, in other words a wholly fresh, organic and heartfelt set of soundscapes that have the feel of synth music but way more heart and soul, more textural delight - in fact more humanity and that's the key factor. The music is just gorgeous yet with an occasional dark, sombre overtone, all in keeping with the subject matter of the film for which the soundtrack has been made. Just occasionally we hear glimpses of his more powerful worlds, as electric guitar briefly mixes with the strings or surging electronic depths will emerge, and the unmistakeable Nash sound and mood comes out into the open like sun pouring suddenly down from behind a passing cloud. The whole album is beautiful, substantial, uplifting, almost classical in some ways (and that in the best possible sense of the word), full of flowing music that instantly seeps into your heart and never lets go from open to close. This is a fantastic album and anyone into absolute top quality, warm, melodic and atmospheric instrumental music just has to hear this sensational new album and prepare to be amazed.
NASH THE SLASH: American Banadges CD
Complete with four bonus tracks not on the original LP release, this is the almost legendary Nash cover versions album, originally released on vinyl in 1984 but now on CD for the first time and sounding fresher and more vibrant than ever, in fact in the light of its sixteen years absence even more relevant now, in this age of looking back and tribute bands. It opens with a rousing cover of Grand Funk's 'American Band' where all the Nash trademarks are in evidence, electric mandolin-as-guitar, keyboards, programming flying along superbly. Elsewhere on the album he's ably aided by ex-FM cohorts Cameron Hawkwins and Martin Deller, plus guest guitarist too. There follows a rip-roaring version of Steppenwolf's 'Born To Be Wild' while Juicy Lucy's 'Who Do You Love" gets a searing treatment with caustic electric mandolin diving all over the spectrum. '1984', the Spirit not the Eurythmics version, gets a suitably spooky treatment, but, like all the tracks here, a full-sounding rock-esque production and performance, the whole lot of them giving everything to a set of classic material. 'Hey Joe' & 'Psychotic Reaction' complete the picture to perfection, but then you have the bonus tracks. Two are "club mixes" of previous tracks, while the third is a demo of King Bee' recorded for the original album but never made it, and sounding suitably bluesy in a way only Nash could do, harmonica in there too, while finally we have the original single version of Jan & Dean's 'Dead Man's Curve' (it was them wasn't it??), still sounding just fantastic in the hands of the one-man band that is the immortal and timeless Nash The Slash. Overall, a good album, highly underrated, now sounding positively stunning and even better than before - essential and then some.
NASH THE SLASH: And You Thought You Were Normal CD
For a start, this album contains some of the all-time great Nash tracks. Then there's the fact that it's the first time on CD, it's been remastered, had its original running order changed and now comes with previously unreleased bonus tracks. So, as an addition to the collection, it's pretty darned essential. But why?
In detail, the album was originally recorded and released in 1982, with one vocal side and one instrumental side. Now, they are all mixed in and the 'new' version has a thematic flow to it that gives it an altogether wholly new profile, the result being an album that somehow sounds way better than you could ever have imagined. Starting with a cruising instrumental based around fuzz mandolin, electronic drums and swirling synth, the tone is one of layered strength and melodic force, which moves onto track two where a typical Nash song is played out on a backdrop of electronic rhythms, electronic drums and surround-sound melodies, the echoed vocals giving an air of menace to the song as the lead melody soars out to excellent effect. Then comes a four minute instrumental that is pure vintage Nash, exuding all the elements that make his music so unique and so accessible, with plenty of fuzz, sequencer style rhythms, scorching leads and swirling backdrops, all with a bite, urgency and flow that is positively jaw-dropping, and all in just four minutes. Then comes the imploring song that is 'Citizen' with a hook that'll be in your head for hours and a lead break that will blow you away. A whole treasury of delights and only four tracks in. As space is at a premium, let me say that the rest of the album, including the fantastic previously unreleased tracks, is superb through to the end, making this a decided equal with the more 'recognised' "Children" album, and certainly up there as one of the best Nash albums around.
NASH THE SLASH: View From The Gallery - One DVD
The most important thing here is that you're getting 50 minutes of all-new instrumental music from Nash. In its own right, for that alone, this is an essential purchase for Nash fans. However, this DVD really is something very special. It's a set of tracks, set to and inspired by, the paintings of Robert Vanderhorst, and the way the paintings have been photographed for this DVD, is nothing short of riveting. Now, I've never thought myself to be a particularly good judge of art, but these paintings just exude atmosphere and movement, so beautifully done, so soft and yet so strong. But the way the camera focuses on parts of and aspects of the paintings, making them come alive in front of you, with movement and shots panning in and out, will have you hooked to this DVD. The music is a perfect reflection of and companion with the visual feast, working so well on its own, but with the visuals, something of great emotion and beauty. In addition to this, you get separate features where you'll find biographies of both the artist and of Nash himself, a separate track that has a Nash commentary to the DVD and finally an exclusive, professionally shot, 8 minute recent clip of Nash live in concert. All in all, this really is one stunning DVD that you really will watch again and again - you have to see it to se what I mean - and the music is just sublime - Nash at his most atmospheric, joyous and peak playing and compositional genius - essential!!!
NASH THE SLASH: Lurid Livid And Live Vol 1: New Jersey 1983 Video
NASH THE SLASH: Lurid Livid And Live Vol 2: London, Ontario 1997 Video
NASH THE SLASH
H: Lurid Livid And Live Vol 3: Halloween In Winnipeg, Manitoba 1999 Video
Single camera shots, the '83 one is a close-up set, the '97 one is a long shot but great lightshow while the '99 one is somewhere between the two but with great visuals behind the musician. The sound on the '99 and '83 ones is perfect, while the '97 one slightly less so. All have different set lists, each with previously unissued material.
+
FM :Black NoiseCD
Now this is something very special. It is a space-rock prog album. It is like no other space rock album you will ever hear. It is basically a vehicle for the songs which are sung clearly and superbly with some great harmony vocals conjuring a sense of timelessness and a very wistful atmosphere which really makes you travel with the songs to the stars. I suppose actually it's more sci-fi rock than space rock with tracks titled 'Phasers on stun', 'Aldeberan', 'Hours', 'Black Noise' and more. The compositions themselves are beautifully structured, very dynamic and a mix of the prog and the powerful but not prog as you might think because the lead instruments consist of Cameron Hawkins' synth/piano plus Nash The Slash (remember this guy-a genius if ever there was one!!) on electric violins and mandolin, ably supported by Marty Dellar on drums with Hawkins overdubbing the bass guitar parts. Instrumentally the themes are superb, the textures exquisite and the soaring synths, violin and stunning mandolin work all mix together in a variety of settings to create some of the best sci-fi songs and inst passages you will hear on any CD. If there was any justice this set of insistent and unforgettable compositions would be hailed as a long lost classic in space music circles. Sheer genius.
FM :Retroactive CD
Recorded live in '94, this marked the reunion of one of the best and most underrated prog-space-sci fi rock bands on the planet. Complete with a bonus CD Rom track showing footage of the concert, additional music and a whole lot more, the audio section features over 50 minutes of immaculate quality performances of songs from the first 3 FM albums plus 3 previously unreleased tracks. Beginning with 'Journey' from the essential 'Black Noise' album, we hear a combination of mid-register vocals, swirling synths, a solid rhythm backing and a song with a Rush feel to it, only more prog oriented. Then follows the first of 2 covers in the form of the Yardbirds' classic 'Shapes Of Things', again with some excellent synth work, only this time the lead solo being done by Nash The Slash on guitar (or whatever treated string thing he's playing these days). Track 4, again from 'Surveillance', features splendid synth and violin interplay on a song that positively flies, with classic sci-fi, storytelling vocals giving an air of wistfulness to the exciting music and fresh attitude not even prevalent on the original studio version.. There follows a selection of tracks featuring vocals, synths, superb drum work and Nash's leads/fills from guitar/el mandolin/violin combinations, with he controls set on progressive space rock. The full sound and excellent production make the album radiate quality. The final 2 tracks are the superbly anthemic 'Phasers On Stun' from 'Black Noise', with high-flying vocals, gorgeous synths/ el mandolin interaction over the flowing rhythms. Finally, the appearance of a long-time Nash The Slash live favourite, the Who's 'Baba O' Reilly' with Nash on vocals, immaculate synth work and just a fantastic way to end an excellent album.
V/A: Music For The Third Millennium Vol 2 CD
Ever get the feeling that it'll be the third millennium by the time this series ends -I thought the first one was just a one-off, but now Mr Jenkins has gathered together an a range of synth superstars, together with a couple or three fantastic musicians from other areas, creating a selection of compositions, all previously unreleased and all exclusive to this album. The list of musicians reads as Deep forest, Bernard Xolotl, Dave Greensalde, Logicx System, Micheal Stearns, Nick Rhodes, Spiral Of Silence, Ryo Okumoto, Wave World, Nash The Slash, Michael Rother & Dieter Moebius, Clearlight, Modulus, Bernd Kistenmacher, Nick Magnus, & Paul Haslinger.
Clearly it would take an eternity to review each track in details so going through it, what are the highlights and the lowlights? Well, it starts badly enough with a slice of overly fast Deep Forest that owes more to an synth-playing ethnic Micky Mouse than anything, but then Xolotl rescues things with a gorgeous slab of symphonic synth textures, that ooze classical from every pore. Then you get Greenslade sounding identical to late seventies Edgar Froese care of some neat remixing, while Logic System let loose a giant slab of ultra-hard industrial techno-synth, laced with Kraftwerk-like melodies, Enigma-esque samples and furious guitar sounds, guaranteed to wake you up and shake you up. Stearns creates multi-layers and textures of glorious space synths with carefully placed samples to introduce a piece that amazingly turns into a drum-driven, synth-laden gem and, while wholly uncharacteristic of his overall cosmic image, is actually remarkably modern sounding but losing none of the old Stearns feel, as strings smother the surface and depth is the key word. Duran Duran's Nick Rhodes turn in a directionless piece of nothing, lacking any real purpose or heart despite its latent dynamics, although Spiral Of Silence start surprisingly well with a sea of twinkling synths, electronics and wordless female vocals, but then this poem is recited and you lose interest. Spock's Beard's synth/keys man Okumoto gives us a track of piano, mellotrons, synth choirs and synth that combines melody, tune and depth to excellent effect. Wave World, unsurprisingly, go for the all-out epic approach to space music, the perfect musical accompaniment to science fiction scenarios of stranded astronauts trekking through dense undergrowth on an unfamiliar and somewhat eerie planet. Nash's track is a neat piece of laid-back melody, a bit more symphonic than he normally gets, and sounding curiously English in its construction, but a track that builds as it goes, galloping gently along - not one of his best, but I suppose that's why it's here and not on one of his own albums. The Rother/Moebius track comes from their live concert in London in 2000 and is as lightweight as you'd expect with light drum samples, light synth melodies, all icing and no cake, making me quite pleased I didn't stick around to witness it when I was down there. The two minute Clearlight track is delightful - make of that what you will- with violin, rippling piano and gentle percussion, almost chamber music of a sort. Modulus wake you up with a piece of bass-driven, fast-paced rhythmic synth/sequencer stuff that is mood through and through and quite dark, as the synths, electronic drums and swooping space synths boom and layer on what is a very riveting track. Kistenmacher gets the Jenkins remix and comes out sounding a lot more polished, but the music mix leans more to Vangelis than Euro-synth, although just missing being great in either department, but still sounds pretty good. Nick Magnus again uses mainly piano and mellotron and really goes for tune, melody and atmosphere in a big way, creating a piece that rises up in anthem-mode, the sort of thing the BBC would use to bring to a close highlights of three days worth of athletics meetings or something similar - not a dry eye in the house. Finally Haslinger gives us a track that owes more to Michael Garrison than T. Dream, although as a mix of the two styles, it works surprisingly well. That's it - my overview for what it's worth - for the quality, about 7 out of 10 I suppose, and there's nothing in there other than the opener that would interrupt the overall flow for all but the most narrow-minded of synth music fans, so definitely worth a try.
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