Skullflower – Last Shot At Heaven (1993, Noiseville)
“There Are few releases that I am more proud of than this one, the stellar Skullflower
album “Last Shot At Heaven”. This was the first US Skullflower full length CD
(discounting reissues) and according to many Skullflower fans, their best album. I tend to
agree. I remember very clearly the first time I heard this album, I was pulled in a trance as
my ears were swept away by walls of feedbacking guitars. This album is amazing, plain and simple. ” from the label.
Despite having long since broken out of the mold, Skullflower has always possessed and spontaneously exhibited the momentum of Rock music; There are unchanging viscerality and physicality in their music that pounce and gorge on the listener’s psyche imbueing her whole body with a viperous bracer. And the Guitar. Skullflower is the equivalent of a forsaken berserker wielding a guitar with all his might and gusto instead of a sword compared to those dour knob-twiddlers and fingertipping monitor-gazers however kindred to eMego-ers and other noise/drone stalwarts Skullflower is in terms of the sonic palette. For all the noises and drones they have been honing, they’re born to rock.
Last Shot At Heaven, where the familiar mode of Rock has not been declouded and heavily deformed yet, greatly manifests the above described nature and orientation of Skullflower. The nearly unceasing cocky wah-wahs and distortional caterwaulings leading the album will cater to many of the fans of those obstinate, ragged modernists’ blasphemous take on blues; Often, this iteration of Skullflower recalled to me Bardo Pond, and even 90’s prominent blues-punkers Railroad Jerk though for a brief moment. And in this album, there certainly are some archetypal musical ideas that Ausie psych rockers Grey Daturas might have picked up and pushed to the broader, more lysergic realm.
Cop a load of a young Mr. Bower on the album cover. How cool !