RhoDeo 1549 Aetix

Hello, so today NWW presents a soliloquy for Lilith, Lillith a woman that's been 'around' 5000 years, not even Yahweh and his angels could control her, starting out as a second class Deity with the Sumerians 3000BC, a 1000 years later the Babylonians were already tought to fear her as a woman who led men astray 1500 years later the Jews upon leaving Babylon took with them a fear of a demon who killed babies and created an astonishing backstory for her as they wrote the old testament.... Lilith being Adam's first wife who refused to submit to him, she fled from paradise and Yahweh decided to create a more demure version of female, Eve. In the ages that followed she stayed in the Jewish sages thoughts and they kept on demonizing the unruly Lillith, no surprise then that by 1500 AD Christians were thought to fear her and blame her for every childs death. Interestingly the greeks had a version of her called Lamia. In the myth, Lamia is a mistress of the god Zeus, causing Zeus' jealous wife, Hera, to kill all of Lamia's children and transform her into a monster that hunts and devours the children of others. Then there's the famous 1819 poem of John Keats which probably inspired Genesis and their track "The Lamia" which btw was preceded by a track called Lilywhite Lilith opening that trippy side 3 from the 1974 double concept album The Lamb Lies Down on Broadway.. All this is just a limited summary, here's a link to get some in depth background to what looks to have been the worlds first feminist..Lillith Yes the supersticious patriarchy really needed lots of words to describe their fear of her...


Today's act was originally a band, formed in 1978 by Stapleton, John Fothergill and Heman Pathak. The band has performed in many genres such as avant-garde, experimental, industrial, noise, dark ambient, and drone. For the third and final time NWW. ... N'Joy

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A loose experimental project formed in 1978 by Steven Stapleton, Nurse with Wound explored abstract music -- influenced by Krautrock, freewheeling jazz improvisation, and Throbbing Gristle but including a heavy debt to surrealists Dali and Lautréamont -- with an overpowering release schedule of limited-edition albums and EPs. Stapleton worked with an ever-changing list of collaborators during the early years of Nurse with Wound, though Current 93's David Tibet was the only frequent recording companion during the 1980s and '90s.

Nurse with Wound's first three albums (Chance Meeting on a Dissecting Table of a Sewing Machine and an Umbrella, To the Quiet Man from a Tiny Girl, and Merzbild Schwet) reflect a naked, minimalist slant with long periods of quiet suddenly interrupted by guitar chords inspired by the avant-garde wing of psychedelia/jazz-rock, chains, music boxes, and found-sound recordings. By the early '80s, Stapleton had begun to incorporate noisy, abrasive rhythms that put him more in line with contemporary EBM masters like Skinny Puppy and SPK. Though Stapleton continued his surrealist slant, he often moved back to more empty recordings. These works -- beginning with Soliloquy for Lilith in 1988 -- came to light in the context of the growing ambient/electronic movement, however, putting Nurse with Wound squarely in line with music trends for the first time.

Stapleton recorded two split singles with Stereolab during 1995 and continued his hectic, uncompromising release schedule from his base in southern Ireland. In 2005 the double-CD compilation Livin' Fear of James Last offered an overview of their output. That same year the two-CD compilation Judas as Black Moth was released through the Sanctuary label. On May 5, 2005, Stapleton recorded an improvisational live piece in Vienna and released it in 2006 under the title Soundpooling. Tooth, Teeth, Milk, Skin, Teeth was released in mid-2007, while NWW's terrifying 1982 cult classic Homotopy to Marie was reissued on CD just in time for Halloween 2007. Three new albums were issued in 2008: Huffin' Rag Blues, The Bacteria Magnet, and The Continuous Accident. In early 2009, the retrospective Paranoia in Hi-Fi: Earworms 1978-2008 prefaced a slew of new albums including Space Music, The Surveillance Lounge, and May the Fleas of a Thousand Camels Infest Your Armpits.

A collaborative work with krautrock legend Faust was released on CD in 2007 as Disconnected with a vinyl edition carrying additional mixes following in 2008. A NWW album entitled Huffin' Rag Blues, primarily a collaboration with British sound artist Andrew Liles, was issued in 2008 with a companion mini-LP entitled The Bacteria Magnet. A remix of Sunn O)))'s ØØ Void entitled The Iron Soul of Nothing was given a limited release with an expanded reissue of the out-of-print studio album The Man with the Woman Face following. An album of new material entitled The Surveillance Lounge was then released as a CD with a limited triple CD called The Memory Surface. A CD of new material entitled Space Music will be released on 17 November 2009.

A recent collaboration was a result of the chance meeting of Nurse With Wound's Steven Stapleton and Graham Bowers, both artists were appearing at Bangor Sound City's first art/sound event 'Wet Sounds' curated by Joel Cahen located at the Bangor Swimming Pool, North Wales, in January 2011. Both were admirers of each other's past works and felt that a collaboration on a new piece of work could be an interesting and exciting prospect, consequently 'Rupture' is the first full-length work, and is released as a Double Vinyl album/LP, a CD and Download. The Vinyl album and CD have been released through Dirter.

The follow-up to last year's Rupture sees Steven Stapleton and Graham Bowers exploring the inner reaches of the psyche. The thematic work, Parade was released on the interdisciplinary arts group/record label Red Wharf and distributed by Cargo. The third collaboration, ExcitoToxicity was released July 2014, and the fourth, Mutation released March 2015 all through Red Wharf and distributed by Cargo.

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Collecting several Nurse With Wound tracks from various compilations from the early to mid-'80s, the Automating albums are a good place to start for someone who doesn't want to jump into the more conceptual releases with longer tracks. Not all the pieces are the same as the compilation tracks, with some being drastically changed. One example, the opening piece on Vol. 1, "Dueling Banjos," is actually two different compilation pieces superimposed on each other with added sounds for something completely new. Clunky military rhythms, noisy squalls of feedback, and a hilarious comedy bit about becoming a registered nurse add up to a strange and memorable cut. The delightfully titled "Stick That Chick & Feel My Steel Through Your Last Meal" is creepier and more jarring, as mutated sax and bizarre female vocals are collaged with crashes of percussion and abrupt juxtapositions. "Nana" and "Ciconia" offer more in the way of weird collage, while "I Was No Longer His Dominant" has spoken word with a minimalist backdrop of slowly shifting drones and silences. "Fashioned to a Device" is probably the weirdest piece among several very strange tracks, with bizarre chanting loops and a background guitar drone that changes textures, while the claustrophobia of the piece builds and builds. All in all, Automating, Vol. 1, like the companion Vol. 2, offers a great selection of material from this unusual artist.

NWW - Automating Volume One  (flac 328mb)

01 Duelling Banjos 11:20
02 Stick That Chick & Feel My Steel Through Your Last Meal 7:00
03 Nana Or A Thing Of Uncommon Nonsense 5:38
04 Fashioned To A Device Behind A Tree 7:33
05 I Was No Longer His Dominant 9:10
06 Ciconia 10:29
07 Automating (Again) 6:43

Previously included on the following releases:
• Track 1: Hoisting The Black Flag (UD 06), The Ladies Home Tickler (UD 00), The Swinging Reflective (UD 069), Psilotripitaka (UD 0134)
• Track 2: The Fight Is On (LAY 10)
• Track 3: The Elephant Table Album (XX 001)
• Track 4: Fur Ilse Koch (WDC 881021), Mi-Mort (Mi-Mort 3)
• Track 5: An Afflicted Man's Musica Box (UD 012), Mi-Mort (Mi-Mort 3)
• Track 6: Masse Mensch (SLP 001)
• Track 7: Born Out Of Dreams (FRLP 1).

NWW - Automating Volume One  (ogg  137mb )

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Where did this come from? An ambient album from Nurse with Wound in 1988 was an invigorating shock to the system. Soliloquy for Lilith was a complete turnaround from the kosmiche/noise that Steven Stapleton and crew had been coming up with. Six tracks, each roughly 20 minutes, one track per side of a triple-vinyl box set, each piece subtly different from the others, all with a quiet power to completely dominate the environment of wherever it is played. The mystery of the album lay in its unique sound source -- Stapleton merely looped a collection of effects pedals together and then found that by gesturing in the air around them, as if playing a Theremin, he could manipulate the tone generated by the electricity itself. What a wonderful discovery, and put to complete use here, as the possibilities in the setup are fully exploited over the course of two hours. Slow pulses in the lower register, similar to what Alan Lamb came up with in his high-tension wire recordings, complete with annular buzzes and high-end controlled feedback. It isn't far-fetched to see the roots of this album in the drone experiments of La Monte Young's Theatre of Eternal Music, or Tangerine Dream's epic Zeit. Occupying a completely separate corner of the massive Nurse with Wound catalog, Soliloquy stands outside of genre, and in the right frame of mind, outside of time. An absolute classic.

Nurse With Wound - Soliloquy for Lilith  (flac 405mb)

01 I 17:56
02 II 17:06
03 III 17:51
04 IV 17:51
05 V 17:29
06 VI 17:30

Nurse With Wound - Soliloquy for Lilith    (ogg 189mb)

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Like its predecessor, Automating, Vol. 2 gathers up Nurse With Wound tracks from several hard-to-find various-artist compilations, mostly from the mid- to late '80s. One might not think a collection of diverse tracks would be as cohesive as a regular NWW album, but all the material is strong, and with some added studio trickery and even melding two tracks together in the case of "Elderly Man River" and "Dance of Fools," volume two comes together extremely well. "The Strange Play of the Mouth" starts off with a loop of a woman singing, and then after half a minute the electronics kick in to create a surreal sonic collage, even throwing in snatches of show tunes like "My Favorite Things." The NWW take on "Old Man River" goes in a similar direction, as the piece rides on a clunky rhythm while lots of odd sounds rise and fall, ending with the loopy poetry, spoken by Diane Rogerson, on "Dance of Fools." Whereas the first side has similarities to the Sylvia and Babs record, the first track on side two moves in a direction similar to Spiral Insana, with the stabs of organ tones over a constantly changing soundscape, though with a more glacial feel. This is followed by the more spoken-word-oriented "Human Human Human" offering a futuristic vision where pets become food for people, and finally "Lea Tantaaria," based on a painting by insane-asylum inmate Adolf Wolfli. The CD adds as a bonus track "New Dress," another piece with a spoken-word component that also appeared on the NWW/Stereolab CD Crumb Duck.

NWW - Automating vol.2  (flac 271mb)

01 The Strange Play Of The Mouth 8:58
02 Elderly Man River / Dance Of Fools 11:10
03 Lonely Poisonous Mushroom 8:48
04 Wolfi 6:10
05 Human Human Human 5:46
06 New Dress 9:43

All tracks previously released in some form or other on various compilation LPs:
"The Strange Play Of The Mouth" was previously released on From A Trench, Rising From The Red Sand Volume One, In Fractured Silence, and The Pale Plague.
"Elderly Man River" was previously released on Devastate To Liberate.
"Dance Of Fools" was previously released on Could You Walk On The Waters.
"Lonely Poisonous Mushroom" was previously released on Freedom In A Vacuum.
"Wolfi" is based on the painting by Adolf Wölfi, titled "Lea Tantaaria" on the vinyl edition (Necropolis Amphibians & Reptiles).
Bonus track "New Dress" is identical to "A New Dress (Remix)" from Crumb Duck [ UD059 ].

NWW - Automating vol.2   (ogg 121mb)

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