ARTIST...: Severed Heads
TITLE....: Come Visit The Big Bigot
YEAR.....: 2017
LABEL....: Dark Entries
CAT.NO...: DE-180
GENRE....: Electronic
TIME.....: 83:57
SIZE.....: 192,48 MB
QUALITY..: 320kbps/44,1kHz/Joint Stereo
ENCODER..: LAME
SOURCE...: WEB
RLS.DATE.: 2017/09/20
WEBSITE..: https://play.google.com
TRACKLIST
01) (03:19) Come Visit The Big Bigot
02) (03:36) Twenty Deadly Diseases
03) (03:43) Army
04) (03:03) Phantasized Persecutory Breast
05) (03:02) Casey's Ion
06) (05:36) Propellor
07) (06:03) Confidence
08) (02:57) Sam Loves You
09) (04:38) Strange Brew
10) (02:53) Harold and Cindy Hospital
11) (04:57) Legion
12) (06:49) Harold And Cindy Hospital (Casualty Mix)
13) (06:31) Twenty Deadly Diseases (Extended Mix)
14) (03:57) Disease 22
15) (03:48) Disease 23
16) (03:50) Son Of
17) (04:00) George The Animal
18) (03:13) Nature 10
19) (08:02) Propellor Three (Kamikazee Mix)
Dark Entries is proud to present the deluxe 2xLP reissue of æCome Visit The Big
BigotÆ by Severed Heads, one of the longest surviving bands to emerge from the
Australian post-punk independent music scene. They began in Sydney in 1979,
incorporating elements of æindustrialÆ noise-generation, tape cutting & looping and
electronic sound synthesis. As the project developed song-structures and vocals were
employed in a more-or-less recognizable mutant electro pop style. After many line-up
changes featuring Garry Bradbury and psychedelic guitarist Simon Knuckey, Severed
Heads was the vehicle for composer Tom Ellard.
æCome Visit The Big BigotÆ was Severed HeadsÆ first record to be released
commercially simultaneously in Australia, North America and Europe in 1986. It was a
prime period for this 'industrial dance music' and Bigot was a respected album that
did well from the tour they did with Skinny Puppy that same year. Quite a few people
still define the band by this period. æCome Visit The Big BigotÆ was made on a Fostex
16 track recorder in TomÆs bedroom, employing the newly acquired AKAI S612 sampler
and Roland SH-101 to create most of the drum sounds. The album signaled a new
direction, flirting with the dance floor and the pop song. Presenting the Heads at
their most cohesive, while retaining their distinctive musical stamp. TomÆs vocals
are harmonized, slowed down, sped up, run through fuzz boxes, backwards, drum machine
rolls, sampled guitars, horn sections, and voices but with a subversive rather than
malevolent intention. Tape loops are more subtle and define their own space and
texture. Like the original Australian version of the album, weÆve included a bonus
disc featuring three extended remixes by Sydney DJ Robert Racic (who produced the
edited 7ö version of ôPetrolö we reissued in 2015), plus three B-sides from the
æTwenty Deadly DiseasesÆ12ö and two additional tracks from the same recording
sessions.
All songs have been remastered by Tom Ellard, who worked very slowly and methodically
with much better equipment over two years, letting each track have its own breath.
Final vinyl EQ and lacquer cutting by George Horn at Fantasy Studios in Berkeley.
Housed in a gatefold jacket featuring brightly colored, distorted, VHS graphics
output by Stephen Jones' video synthesizer, from the first vinyl edition on Ink
Records with layout by Eloise Leigh. Inside the gatefold are liner notes, lyrics and
song meanings by Tom Ellard plus an 3-page booklet with photos, interviews and press
clippings from the period. ôOn æBigotÆ we finally achieved the sound of a watermelon
thrown out of a top story window and smashing, recorded from the insideö Tom Ellard,
1986
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