Category: take cover

Fugazi vs. Minus The Bear

yearning for Fugazi, we rummaged in the web to find some possible live footages of the post-hardcore band, as we found this incredibly refreshing version of Waiting Room, filmed by Jim Spellman in 1988 at wilson centre, in Washington D.C. originally recorded on the very same year, the track was however released first in 2014 in First Demo, a collection of 10 tracks taken from the original demo tape that is depicted more or less as the last Fugazi’s album to date.

despite the poor quality of both the video and sound, the nutty vitality exuded by the legendary band is truly enjoyable, especially when you get to know the considerable number of covers that circulate on the web (among others, Arcade Fire, TV On The Radio and Red Hot Chili Peppers).

the vivid energy spread by the band and the audience singing in collusion, this mordant outlet is so exhilarating punk that it contrasts admirably with the cover offered by Minus The Bear. a bit spick-and-span, this version is nevertheless invigorating in a gentle and somehow funny way.


Ty Segall & Mikal Cronin vs. Pink Floyd

sometimes, amazing things happen. especially when a band, or a musician, that you really really enjoy, covers a band, or a musician, that you really really enjoy. this is what happened with Take Up Thy Stethoscope And Walk, a song originally written by Pink Floyd, taken from their 1967 debut album, The Piper at the Gates of Dawn.

this psychedelic short piece marked the début of Roger Waters’ songwriting, supported by Syd Barrett’s frenetic guitar and keyboard parts by Richard Wright. drums and timpani were also provided by Nick Mason. the title of the song refers to John 5:8 —”Jesus saith unto him, Rise, take up thy bed, and walk”.

Ty Segall & Mikal Cronin offered a vitamin, punchy cover to Take Up Thy Stethoscope And Walk on their 2009 album Reverse Shark Attack, and revisited the song again at The Echoplex in Echo Park, CA., on the occasion of the 25th anniversary of In The Red Records (home of Ty Segall & Mikal Cronin, Thee Oh Sees, Meatbodies, among others). the video was shot by Johann Arteaga Ramos (Dream Films Los Angeles).

Nothing vs. New Order

Nothing, an amazing shoegaze, post-metal band from philadelphia which excellent first album Guilty of Everything belonged to our top of the top 2014, announced last december the release of  Tired of Tomorrow, a new album expected during spring 2016 via Relapse Records and revealed at the same time a very handsome cover of New Order‘s Leave me Alone.

taken from New Order’s second album Power, Corruption & Lies, the 1983 original already offered very polished, superb guitar/bass lines.

and Nothing’s tribute is as noisy as we could have expected.


Grinderman vs. APTBS vs. Unkle

diving back into Grinderman 2 RMX – an album realeased by Grinderman in 2012, two years after the release of the original Grinderman 2 by the Mini Seeds – this side-project of Nick Cave And The Bad Seeds was a thrilling example of beautiful wildness.

at the personal department Mr. Nick Cave (guitar, vocals, piano), Mr. Warren Ellis (tenor guitar, violin, viola, mandolin, backing vocals), Mr. Martyn P. Casey (bass, guitar, backing vocals) and Mr. Jim Sclavunos (drums, backing vocals) officiated as a zestful, delicious garage rock team.

with a repertoire made of two unique albums soberly called Grinderman and Grinderman 2, the project brought a touch of fresh air to Nick Cave and reminded Seeds’ enthusiasts as well that this sumptuous writer gentleman was not only the fantastic poet, composer and singer of The Bad Seeds, but beforehand a terrific awaken guitarist. for the occasion, Warren Ellis armed himself with a tenor guitar and a violin and a viola and a mandolin, Jim Sclavunos took over his usual drumming job from the Bad Seeds and Martyn P. Casey perpetuated his guitar and bass collection.

et voilà, Grinderman blessed us with two musical nuggets before taking their leave.
breaking up after an impeccable discography, what a perfect decision.

from Grinderman 2 the frog enjoyed quite a lot the punchy Worm Tamer, which original was already a handsome noise monument, especially at his best in this RAK Session

in Grinderman 2 RMX, the (non-sleeping) beauty was revisited by the excellent U.N.K.L.E, which electronic psychedelia enlightened this pure rocking heavenliness,

but also by the amazing A Place To Bury Strangers, who solemnized it with a typical and electrifying diabolical guitar sound

this is highly enjoyable isn’t it?

My Brightest Diamond vs. Son Lux (2)

my goodness, Son Lux and My Brightest Diamond stroke again!

non content to enlighten the autumn with a new album called This Is My Hand, Shara Worden and My Brightest Diamond spoiled us lately with None More Than You, a first EP.
the first title is a remix of Dreaming Awake by Son Lux – a lullaby which was originally performed as a duet with Colin Stetson‘s breathtaking sax. this fantastic collaboration between Shara Worden and Colin Stetson isn’t the first one, since Worden sang twice on Stetson’s New History Warfare Vol. 2: Judges, a very ambitious and fascinating album released in 2011.


along Son Lux’s remix, the EP offers another beautiful version of Dreaming Awake under the form of a layer orchestral cake. this is absolutely delicious and, icing on this very cake, the symphonic version was recorded and filmed live in Yonkers, New York, where it brought the police to an decaying power station.

this Mason Jar Mix version shows Shara Worden’s virtuoso flair for composing, decomposing, recomposing melodies and also her generosity to involve regularly young musicians in her projects.

among the other titles of None More Than You, the doubtful synthesizing Whoever You Are illustrates Worden’s appetite for frills and flounces, and seems to confirm (alas!) the very 80’s set she had presented in late february during Stargaze Festival at Volksbühne.

fortunately, two other beautiful aerial songs extend the magic of the opening title, with That Point When and Dreams Don’t Look Like.

Codes In The Clouds vs. The Echelon Effect

today we explore two beautiful ambient styles, in order to escape the sullenness of the past days and thank the summer for its good sunny vibes.
well, as a matter of fact, this very summer has just turned back into fall again, as i decided to leave the frog’s den and spend a little time with you.
and yet, now that skies are virtually as grey as the cover of Paper Canyon, we couldn’t find a better moment to celebrate again and again the fantastic Codes In The Clouds.

so today, how about rejoicing with two exhilarating music projects made in England, but in grey shades?
on one hand, the freshness of a cinematic post rock with the excellent Codes In The Clouds, that had already set a precedent in the pond, as the frog was still a tadpole, unable to speak any other languages than its mother tongue.
and to bring this freshness even more beans and a feel-happy-as-a-clam note, it may be appropriate, on the other hand, to use a laptop, a few loops, some field recordings, a glockenspiel, and, why not, ask David Walters of The Echelon Effect, whether he could participate to an uplifting experience?

on the program today, a great song from Codes In The Clouds’ first album Paper Canyon released in 2009 on Erased Tapes, remixed by The Echelon Effect, which physical copies of their last double-album Atlantic/Pacific (featuring Ciaran Morahan from CITC) should be realised soon.

the brilliant A Distance Between Us, with CITC’s delicate but non-cheesy guitars,

and a very euphoric and joyful remix by The Echelon Effect,

Radiohead vs. Four Tet

2003 blessed us with one of the best Radiohead’s albums, a praiseworthy follow-up to the tour-de–force Kid A and above all Amnesiac.

Hail To The Thief was a response to the 9/11 war on terror and showed the band’s return to guitars and ability to write breathtaking melodies. on the album’s track listing, a hazy ballade called Scatterbrain (As Dead As Leaves), paved the way to the brilliant closing title, A Wolf at the Door (It Girl. Rag Doll).

and this very Scatterbrain is our cover of the day, for it uncovered the excellent Four Tet.

Radiohead’s mild version,

Four Tet’s (fantastic) highly rhythmic remix,

My Brightest Diamond vs. Son Lux

today, one of our favourite singers meets one of the most inspired composers.
indeed, as My Brightest Diamond decided to release her Shark Remixes in 2010, Son Lux revisited Inside a Boy and To Pluto’s Moon, among others.

Inside A Boy, with My Brightest Diamond’s splendid orchestration,

Inside A Boy through Son Lux’ dazzling eyes.

To Pluto’s Moon, an original wonder by My Brightest Diamond,

To Pluto’s Moon, reinvented by Son Lux.

happy friday!

Rival Consoles vs. Jon Hopkins

first cover of the category, with both fantastic Rival Consoles and Jon Hopkins.

Insides, an original track by Jon Hopkins.

Insides, revisited by Rival Consoles.

happy friday!