When Destiny’s Child gave it a go in 1997 they were nervous enough to hire Pras and Wyclef Jean in an attempt to make this epochal track as boring and normal as possible, which is easy with Pras interjecting with what sound like burps. I wrote “endpoint” because for years “Just an Illusion” was loved but held under strict guard like the Ark of the Covenant, it was a treasure whose discovery might flatten the landscape. Recording this music while dressed on the album sleeve as rent boys at Studio 54-talk about an illusion. Americans took to “Just an Illusion,” whose beaded curtain of a synthesizer and mild ooh-ooh-ooh-ahs helped make it a favorite at New York’s Paradise Garage disco and a minor hit on the Billboard Black Singles chart. Connecting the so-called “New Pop” of Culture Club and late Roxy Music hits like “Dance Away” with the electro syncopations of Raise!-era Earth Wind & Fire, Night sounded like both a fresh new start and an endpoint. Listening to the record is like frenching a stuffed kitten (again, they were English). It shimmered it was the sort of record that left colored sparkles as it gently thumped, with the lightest of bottoms, toward a PG-rated closer. Produced by Tony Swain and Steven Jolley, who’d soon work with Bananarama, In the Heat of the Night was the lightest of R&B albums.
Just remember to have a little fun with the music along the way.In 1982, a male English trio named Imagination released In the Heat of the Night. But don't just take my word for it - try this little experiment for yourself: visualize the giant serpent Jormungandr opening its gaping maw, yawning widely in the air, and engaging in frantic combat with Thor as a song like "Pummelled" or "Oh No" is playing then see if you can escape associating the record with Ragnarok after. Our world is one where people can be inspiring, extreme, blown out, and ridiculous yet heartfelt it just so happens that Rafter's mortal coil is not mutually exclusive with the one where Norskmen walk the road to Hel and heavens are rent asunder by the duels of deities. The results are stunning: the moaning pop noise of "Interlude" sounds like it was crafted for a scene where rocky cliffs are opening, the sun's beams are blackened, and poison is being spewed forth into the sky.
For the rest of the album, Rafter goes for the jugular, calling forth all his pop sensibilities and jamming them into the visual equivalent of a bastardized stereo. Of course, he's entitled to have his own way with his own mind, but the frantic electronic de-rezzing of "Innocence, In A Sense" might as easily recall propaganda images of Surtr advancing from the south, his sword brighter than the sun. He calls the record his fantasy "like Darkthrone meets The Kinks meets Lee Perry". Ca c'est un peu bizarre, but a man is allowed to dream. Rafter admits that the design of Quiet Storm was fueled by inspirations of banjaxed death metal tapes, mortal folly, and "a wave of existential freakout, human mind explosion". Any notion of this being a black sheep that just happens to be chilling out on the CD is immediately dispelled by the rumbling creep of "Nothing Here Worth Stealing", which boldly trundles through a harsh winterscape that is filled with nothing but the battle fallout of Tyr and the hellhound Garm. In the background, the song's militaristic beats thunder ominously away, completing an introductory hymn that is anachronistically existential, yet unfathomably compelling. Take, for instance, album opener "Convenience or Death", whose defeatist tone suggests a sinking sun disappearing behind the raised spears of a metal army.
A certain poetic melancholy pervades the one-man record, allowing it to defy its lo-fi industrial metal tendencies and carve, out of oil, a canvas of horrifying proportions. Yet, Rafter's Quiet Storm seems strangely suited to such a bleak horrorscape - even if it is completely unintentional. There is no doubt that a personal music association may be just that - personal. Deep underground, the dwarves groan by their stone doors and whisper secrets older than the moon itself.
#A quiet storm album free
As this happens, the world tree Yggdrasil shudders and groans, anticipating the impending slaughter of the gods to the east, the ship Naglfar breaks free and begins sail. The Midgard serpent Jormungandr furiously writhes, causing waves to crash and threatening to swallow entire seas whole. Heimdall holds the Gjallahorn into the air and blows deeply into it just behind him, Odin converses with Mim's head. Review Summary: The soundtrack to Ragnarok.
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