Multiple bands named The End:
1) When Norwegian baritone saxophonist… Read Full Bio ↴Multiple bands named The End:
1) When Norwegian baritone saxophonist Kjetil Møster (Møster!, The Heat Death) joined forces in the studio with Swedish baritone sax burner Mats Gustafsson (The Thing, Fire!), Norwegian noise-jazz guitarist Anders Hana (MoHa!, Ultralyd, Noxagt), versatile, powerhouse drummer Greg Saunier (of the San Francisco-based avant-rock band Deerhoof, who participated in the album, but has now been replaced by Børge Fjordheim of Cloroform) and the extraordinary Ethiopian-born experimental singer Sofia Jernberg (Fire! Orchestra), the resulting sonic maelstrom was so fresh and ferocious, so daring and audacious, so darkly apocalyptic that The End seemed like the only name for this band of rebels.
Their uncompromising debut on RareNoise, Svårmod Och Vemod Är Värdesinnen (a title whose approximate translation from Swedish into English could be stated as “Dark melancholy and sadness are senses to be valued”), is delivered with sledgehammer authority by the subversive crew.
The two-baritone onslaught of Møster and Gustafsson with the addition of Hana’s baritone guitar provides a low-end assault on Svårmod Och Vemod Är Värdesinnen that feels like a gut-punch to complacency.
“The double baritone has lots of raw power, which is a big part of what this music is all about,” says Møster, who has previously appeared on two RareNoise Records releases, Jü Meets Møster and Reflections In Cosmo. “We try to break through to the raw senses, the expressions of energy that wants to burst but never does.”
“We have talked about such a collaboration for many years,” adds Gustafsson, who previously appeared on RareNoise releases by Slobber Pup (Pole Axe) and in collaboration with Japanese noisemaker Merzbow (the Cuts series). “And when Giacomo of RareNoise offered us the chance we grabbed it immediately, of course. We just needed to really put together the most kickin' band ever.”
With Jernberg , Hana, Saunier (now Fjordheim), they have put together a dream team on Svårmod Och Vemod Är Värdesinnen. “Now that we have The End as a working unit it feels extremely exciting to see where we can take the music together,” says Gustafsson. “It’s amazing for me to play alongside Mats’ boundless energy,” adds Møster. “He has revolutionized articulations of saxophone playing and has been one of my big influences ever since I heard The Thing’s self titled album from 2001.”
Add the potent contributions of Hana and Saunier to the mix and you have a combustible crew capable of nuanced ambient expression with Jernberg’s ethereal vocals floating over the top and hellacious crescendos fueled by her intense banshee wailing.
“Anders is one of the most creative guitar players I have ever heard,” says Gustafsson. “He stopped playing guitar seven years ago but Kjetil and me convinced him to pick it up again to join this group, which he happily agreed to. He ROCKS!”
Møster adds “Anders and me have driven thousands of kilometres together all over Eastern and Western Europe in old tour vans playing numerous concerts with Ultralyd, which released five albums, most of them on Rune Grammofon. He’s a very unique player.”
Hana’s chainsaw guitar work, reminiscent of Jimi Hendrix’s noise guitar explorations on “EXP” from Axis: Bold As Love, fuels the dark opener Svårmod (Troubled Mind), which also introduces The End’s muscular and imposing two-bari sound. Hanna’s repetitive guitar riff provides a catchy hook on the Captain Beefheart-like Vemod (Sad Mind), underscored by Saunier’s polyrhythmic drummer and featuring Jernberg’s freewheeling wordless vocals.
The epic Translated Slaughter, which sees Jernberg whispering/talking Gustafsson’s lyrics at the ethereal opening, gradually builds to a frantic crescendo that has the singer wailing with cathartic abandon over the top. Jernberg repeats her riveting performance on Don’t Wait in which she once again recites/sings Gustafsson’s cryptic lyrics.
“Text, music, art…it should all be read and listened to in open ways and manners,” says the composer. “It is not up to me to explain, really. It is up to the listener/reader to understand, or try to understand. Or at least to ask the questions to find out more. All creative art and music should point out new doors, not open them up. To open a door, you have to do it yourself. We can’t do it for you. So the lyrics pretty much speak for themselves, especially in ‘Don’t Wait.’ That message should be pretty obvious for anyone.”
Møster’s Both Sides Out has a particularly dark, almost requiem kind of feel to it, which he acknowledges. “Requiem is a good association,” he says. “What I had in mind was actually some kind of mourning for the state of mind that the western world has entered post-Trump. In the lyrics I am Trump’s psychoanalyst, letting him pour out his inner feelings so he can stop being so tense and hard. I think the blood flow of the society is being strangled by face masks and ‘violation’ of unnecessary rights.”
With a discography numbering over 150 records, Gustafsson explains what his latest RareNoise release represents to him: “Just sheer joy of sharing ideas and music together. We had time to rehearse and to play three gigs before jumping into the studio – that was worth a lot for us because I feel that everything really fell into the right place for us in the studio. The music we recorded is really a wet dream of favorite influences to bring together for me. And I think me and Kjetil share the most essential sources and inspirational platforms here. We wanted elements of free jazz, noise, alt rock and more to blend and create something new. And it all led to a music that, at least me, I have never heard before.”
“We are never into creating a special mood in the music,” maintains Gustafsson, who is also member of bands The Thing, Fire! and Nu Ensemble. “That is up to the listener to create or hear. We don’t entertain, we don’t illustrate. We play music. New music. I don’t wanna analyze it too much here. Everyone should listen freely and think and act freely upon hearing it all. It should all be open.”
Regarding the translation of the The End’s album title, Møster says:
‘To me it says something about appreciating difficulties, that we don’t necessarily have to please each other all the time, that expressions that go against the grain and cause friction are valuable too.”
Those renegade expressions are readily apparent on Svårmod Och Vemod Är Värdesinnen, The End’s formidable RareNoise debut.
SOFIA JERNBERG : VOICE
MATS GUSTAFSSON : BARITONE AND TENOR SAX, LIVE ELECTRONICS
KJETIL MØSTER : BARITONE AND TENOR SAX, ELECTRONICS
ANDERS HANA : BARITONE GUITAR
GREG SAUNIER : DRUMS AND VOICE
https://endisnear.bandcamp.com/
2) The End were a mathcore/metalcore band who hail from Mississauga, Ontario, Canada. They have been repeatedly compared to bands like Dillinger Escape Plan and deathgrind group Discordance Axis, as well as Neurosis. Their third album, Elementary, was released on Relapse Records on February 6, 2007. The album’s sound is unlike previous albums, with sung vocals and pop song structure. This change in sound has pushed many to compare the band to similarly accessible metal acts such as Tool, In Flames and even Opeth.
In October 2007, The End announced that they would cancel their upcoming tour with Between The Buried And Me because guitarist Andrew Hercules had left the band. No reason has been given as to why he left.
Members
* Aaron Wolff - vocals/percussion
* Steve Watson - guitar
* Sean Dooley - bass
* Anthony Salajko - drums
Former members
* Tyler Semrick-Palmateer - vocals
* Andrew Hercules - guitar
Discography
* Demo (1999, Hornby Records)
* Transfer Trachea Reverberations from Point: False Omniscient (2001 Re-Define Records, re-released in 2002 by Relapse Records)
* Within Dividia (2004, Relapse)
* Elementary (2007, Relapse)
3) the End: A Japanese pop / rock group fronted by Nakayama "UK" Yukiko (formerly of idol group BiS and jazz-rock group Morphine Tokyo) founded in December 2015 , the End released their first song "Tokyo Night" in January, a remix of a song by UK's previous band, Morphine Tokyo.
Other than UK, the band members are miifuu (a SCRAMBLES-affiliated keyboardist who has composed songs for BiS and Especia, among others), Senor Yamano (guitarist), and Takada Metal (formerly the bassist from ELLEGARDEN). the End are currently releasing a digital single every month, covering a wide range of sounds, from the trap-influenced "Dungeon" to the classic rock of "good bye again".
4) An Argentinean Pink Floyd cover band with original members on the group : Guy Pratt (former bassist for Pink Floyd and David Gilmour) and Durga Mark Broom (original chorus of Pink Floyd).
5) The End were a British band formed in 1965 by Dave Brown (bass, vocals) and Colin Griffin (guitar, lead vocals) following the demise of the Innocents. Nick Graham (keyboards, vocals) and John Horton (saxophone) joined from Dickie Pride’s backing group, the Original Topics, and Roger Groom (drums) of the Tuxedos completed the line-up. The band was produced by Rolling Stone Bill Wyman, who arranged for them to tour with his group. After the tour, Grooms quit and was replaced by Hugh Atwooll, an old friend of Graham. Horton would also quit, but continued to work with the band on their second single, “Shades of Orange”. In 1969 the band released the album, Introspection.
Personnel : Colin Giffin (guitar, lead vocals); Dave Brown (bass, vocals); Nicky Graham (keyboards, vocals); Terry Taylor (guitar) and Hugh Atwooll (drums). (Gordie Smith & John Horton - sax, incidently Horton designed the 'Introspection' album cover)
Over the years of their existance, The End enjoyed the active help of Rolling Stone, Bill Wyman. They had been previously introduced to Wyman by producer Glyn Johns who had spotted them backing Elkie Brooks and were amongst the support acts for the Stones September '65 tour following the release of 'Out of Our Heads' along with the Spencer Davis Group; Unit Four Plus Two and The Moody Blues. A debut single 'I Can't Get Any Joy' had duly flopped and any plans Wyman had regarding the band were then thwarted by lack of action on the part of the Stones manager Alan Klein's office. So it wasn't until nearly three years later on signing to Decca (ironically the Stones label) before any further releases kicked off again. In 1968 'Shades of Orange' / 'Loving, Sacred Loving' appeared, both songs were built up during the sessions for the Stones album 'The Satanic Majesties Request' and have appeared over the years on various Stones bootlegs which seems a little odd as apart from Wyman the only other connection is Charlie Watts who plays tabla. 'Shades' was a wonderful song with dreamy atmospheres whilst 'Loving' featured Nicky Hopkins on harpsichord. In the same year, the album 'Introspection' also appeared and is one of the highlights of the English psychedelic scene, no collection should be without it. 1969 gave the band the chance of an appearance in the Spanish underground movie, 'Al Escondite Ingle's' ('To The English Hiding Place') making a playback of 'Cardboard Watch' whilst walking in the street.
Shortly after this, The End's original line-up fragmented as the band mutated into Tucky Buzzard (still under Wyman's management). Colin Griffin left to pursue a solo career and Hugh Atwooll returned to the End's adopted home, Spain, to work with the likes of Miguel Rios. Remaining members - Nicky Graham; Dave Brown and Terry Taylor recruited Paul Francis on drums along with Terry Taylor's former colleague from The Mode, Jim Henderson as lead vocalist. Incidently two points of interest, firstly Jim had also contributed backing vocals on Introspection and The Mode is not the same band who recorded Eastern Music on Rubble Two : Pop Sike, Pipe Dreams. Tucky Buzzard went on to record five Lps before splitting up in the mid-Seventies.
Tenth Planet has served the band well, issuing three albums worth of unreleased recordings. The first volume 'In The Beginning' (TP 025) highlights the earlier recordings; the second 'Retrospection' (TP 033) includes album outtakes and a version of 'Black Is Black' which was inspired by the group's friendship with Los Bravos. The final offering 'The Last Word' (TP 047) looks more at the final line-up with the band going through the transitional period around the end of The End and the beginning of Tucky Buzzard.
6) A post-black / rawgaze / experimental band from Kalyan, Mumbai, India
The end was formed in late 2012 by Souvik Das aka Svartblod, the debut demo album "You made the rain disappear..." was released on Hammerkrieg Productions (US) in mid-2013, it was received with very good reviews and response internationally, the band also made the album free for download on their Bandcamp page. The end plays a mixture of post-black metal and shoegaze, mostly remniscent of bands such as Lantlos, Alcest, Hypomanie, etc.
official sites :
www.facebook.com/theendofficialdomain
http://theendblackmetal.bandcamp.com
www.reverbnation.com/theendblackmetal
7) An alias used by Christian Gierden of Society Suckers aka Karl Marx Stadt
8) A Montreal-based group with Kyle Butler, Jordano Aguzzi, Daniel Meltzer and Simon Arès. They are an exciting indie-acoustic project from which you can expect to hear lots in the near future!
9) A Hungarian nuptial-rock group formed in 1992 , from Temerin (Serbia)
10) A Street-Punk/Oi! band from Indonesia, group formed in 1993. http://www.myspace.com/madeinindonesia
11) A California band The End, who released two singles for Kabron Records in 1966/67.
12) London band THE END were founded in 1985 so have been together for some considerable time now and as such they have undergone many changes over the years, none of which to do with their sexual orientation, so they tell us. They continue blindly on with their impeccable ear and fondness for a good tune. And on.
"SO WHAT ARE THEY DOING RIGHT NOW?” I hear you whine with that really annoying little voice of yours! Well, today, ANDY and ALAN, are still the band's two-man (obviously!) songwriting team - they write the songs that make the old world stink. They continue to write, record, perform and argue nearly every day and are, for all intense and purposes, currently working on a new CD. They have a massive backlog of new songs waiting to be recorded, when Alan can be bothered to read the instruction manual for his 16 track recorder!
"But what of the old members such as the legendary MARTIN?" Well, he moved to Wales and grew infeasibly large sideburns which are a fire risk. I have been reliably informed that Martin's "burns" are one of only two man-made objects that are actually visible from space - the other being the Great Berlin Wall of China of course. When relaxing, Martin likes nothing more than to pop open a nice bottle of red wine, light a few candles, draw a hot bath and then slip into a Megadeth gig.
BAZ still performs as a solo artist in his own riot and even finds time to write songs in his very spare time. He can be seen at ALL the finest Karaoke bars in Essex, still belting out "I'm A Believer" in very fine style... even after a few beers - in fact, especially after a few beers! He has been told on more than one occasion that he is much better than The Monkees who, to this day, have never performed in Romford or in wigs.
PAUL, a band member for one gig, has installed the Reason music package on his Mac and now spends every waking moment nodding his head in time with an electronic pulse. He has recently taken up alcoholism and a wife.
The whereabouts of BIG JIM is a complete and utter mystery... at least it was, until recently! He was allegedly spotted performing mime at a local pub-like venue in an overly-tight body suit. Although that is probably just another one of those unsubstantiated rumours...
All of which brings us pretty much bang up to date! Sadly, Martin's Garage was recently torn down by developers, but at least there was a statue of the band fully erected in its place! Many fans still gather there today to lay flowers and each other and daub offensive graffiti on nearby walls and old ladies. The same big ice-cream man stops nearby on hot summer days... rumours abound that it's actually BIG JIM!
THE END looks likely to continue right into the NEXT century - defying medical science fiction and that!
Their EP, comprising of 4 new songs, is cunningly titled "The Bunny From Your Dreams EP" http://www.last.fm/music/The+Bunny+From+Your+Dreams and is now available via the usual legal and illegal downloads sites or here: https://itunes.apple.com/gb/album/the-bunny-from-your-dreams-ep/id868028314
Hope you've got plenty of time to spare and, most importantly of all, a working set of ears.
THANKS FOR LISTENING!
13) Punk band from Mora, Sweden, that released a single 7" in 1979.
1) When Norwegian baritone saxophonist… Read Full Bio ↴Multiple bands named The End:
1) When Norwegian baritone saxophonist Kjetil Møster (Møster!, The Heat Death) joined forces in the studio with Swedish baritone sax burner Mats Gustafsson (The Thing, Fire!), Norwegian noise-jazz guitarist Anders Hana (MoHa!, Ultralyd, Noxagt), versatile, powerhouse drummer Greg Saunier (of the San Francisco-based avant-rock band Deerhoof, who participated in the album, but has now been replaced by Børge Fjordheim of Cloroform) and the extraordinary Ethiopian-born experimental singer Sofia Jernberg (Fire! Orchestra), the resulting sonic maelstrom was so fresh and ferocious, so daring and audacious, so darkly apocalyptic that The End seemed like the only name for this band of rebels.
Their uncompromising debut on RareNoise, Svårmod Och Vemod Är Värdesinnen (a title whose approximate translation from Swedish into English could be stated as “Dark melancholy and sadness are senses to be valued”), is delivered with sledgehammer authority by the subversive crew.
The two-baritone onslaught of Møster and Gustafsson with the addition of Hana’s baritone guitar provides a low-end assault on Svårmod Och Vemod Är Värdesinnen that feels like a gut-punch to complacency.
“The double baritone has lots of raw power, which is a big part of what this music is all about,” says Møster, who has previously appeared on two RareNoise Records releases, Jü Meets Møster and Reflections In Cosmo. “We try to break through to the raw senses, the expressions of energy that wants to burst but never does.”
“We have talked about such a collaboration for many years,” adds Gustafsson, who previously appeared on RareNoise releases by Slobber Pup (Pole Axe) and in collaboration with Japanese noisemaker Merzbow (the Cuts series). “And when Giacomo of RareNoise offered us the chance we grabbed it immediately, of course. We just needed to really put together the most kickin' band ever.”
With Jernberg , Hana, Saunier (now Fjordheim), they have put together a dream team on Svårmod Och Vemod Är Värdesinnen. “Now that we have The End as a working unit it feels extremely exciting to see where we can take the music together,” says Gustafsson. “It’s amazing for me to play alongside Mats’ boundless energy,” adds Møster. “He has revolutionized articulations of saxophone playing and has been one of my big influences ever since I heard The Thing’s self titled album from 2001.”
Add the potent contributions of Hana and Saunier to the mix and you have a combustible crew capable of nuanced ambient expression with Jernberg’s ethereal vocals floating over the top and hellacious crescendos fueled by her intense banshee wailing.
“Anders is one of the most creative guitar players I have ever heard,” says Gustafsson. “He stopped playing guitar seven years ago but Kjetil and me convinced him to pick it up again to join this group, which he happily agreed to. He ROCKS!”
Møster adds “Anders and me have driven thousands of kilometres together all over Eastern and Western Europe in old tour vans playing numerous concerts with Ultralyd, which released five albums, most of them on Rune Grammofon. He’s a very unique player.”
Hana’s chainsaw guitar work, reminiscent of Jimi Hendrix’s noise guitar explorations on “EXP” from Axis: Bold As Love, fuels the dark opener Svårmod (Troubled Mind), which also introduces The End’s muscular and imposing two-bari sound. Hanna’s repetitive guitar riff provides a catchy hook on the Captain Beefheart-like Vemod (Sad Mind), underscored by Saunier’s polyrhythmic drummer and featuring Jernberg’s freewheeling wordless vocals.
The epic Translated Slaughter, which sees Jernberg whispering/talking Gustafsson’s lyrics at the ethereal opening, gradually builds to a frantic crescendo that has the singer wailing with cathartic abandon over the top. Jernberg repeats her riveting performance on Don’t Wait in which she once again recites/sings Gustafsson’s cryptic lyrics.
“Text, music, art…it should all be read and listened to in open ways and manners,” says the composer. “It is not up to me to explain, really. It is up to the listener/reader to understand, or try to understand. Or at least to ask the questions to find out more. All creative art and music should point out new doors, not open them up. To open a door, you have to do it yourself. We can’t do it for you. So the lyrics pretty much speak for themselves, especially in ‘Don’t Wait.’ That message should be pretty obvious for anyone.”
Møster’s Both Sides Out has a particularly dark, almost requiem kind of feel to it, which he acknowledges. “Requiem is a good association,” he says. “What I had in mind was actually some kind of mourning for the state of mind that the western world has entered post-Trump. In the lyrics I am Trump’s psychoanalyst, letting him pour out his inner feelings so he can stop being so tense and hard. I think the blood flow of the society is being strangled by face masks and ‘violation’ of unnecessary rights.”
With a discography numbering over 150 records, Gustafsson explains what his latest RareNoise release represents to him: “Just sheer joy of sharing ideas and music together. We had time to rehearse and to play three gigs before jumping into the studio – that was worth a lot for us because I feel that everything really fell into the right place for us in the studio. The music we recorded is really a wet dream of favorite influences to bring together for me. And I think me and Kjetil share the most essential sources and inspirational platforms here. We wanted elements of free jazz, noise, alt rock and more to blend and create something new. And it all led to a music that, at least me, I have never heard before.”
“We are never into creating a special mood in the music,” maintains Gustafsson, who is also member of bands The Thing, Fire! and Nu Ensemble. “That is up to the listener to create or hear. We don’t entertain, we don’t illustrate. We play music. New music. I don’t wanna analyze it too much here. Everyone should listen freely and think and act freely upon hearing it all. It should all be open.”
Regarding the translation of the The End’s album title, Møster says:
‘To me it says something about appreciating difficulties, that we don’t necessarily have to please each other all the time, that expressions that go against the grain and cause friction are valuable too.”
Those renegade expressions are readily apparent on Svårmod Och Vemod Är Värdesinnen, The End’s formidable RareNoise debut.
SOFIA JERNBERG : VOICE
MATS GUSTAFSSON : BARITONE AND TENOR SAX, LIVE ELECTRONICS
KJETIL MØSTER : BARITONE AND TENOR SAX, ELECTRONICS
ANDERS HANA : BARITONE GUITAR
GREG SAUNIER : DRUMS AND VOICE
https://endisnear.bandcamp.com/
2) The End were a mathcore/metalcore band who hail from Mississauga, Ontario, Canada. They have been repeatedly compared to bands like Dillinger Escape Plan and deathgrind group Discordance Axis, as well as Neurosis. Their third album, Elementary, was released on Relapse Records on February 6, 2007. The album’s sound is unlike previous albums, with sung vocals and pop song structure. This change in sound has pushed many to compare the band to similarly accessible metal acts such as Tool, In Flames and even Opeth.
In October 2007, The End announced that they would cancel their upcoming tour with Between The Buried And Me because guitarist Andrew Hercules had left the band. No reason has been given as to why he left.
Members
* Aaron Wolff - vocals/percussion
* Steve Watson - guitar
* Sean Dooley - bass
* Anthony Salajko - drums
Former members
* Tyler Semrick-Palmateer - vocals
* Andrew Hercules - guitar
Discography
* Demo (1999, Hornby Records)
* Transfer Trachea Reverberations from Point: False Omniscient (2001 Re-Define Records, re-released in 2002 by Relapse Records)
* Within Dividia (2004, Relapse)
* Elementary (2007, Relapse)
3) the End: A Japanese pop / rock group fronted by Nakayama "UK" Yukiko (formerly of idol group BiS and jazz-rock group Morphine Tokyo) founded in December 2015 , the End released their first song "Tokyo Night" in January, a remix of a song by UK's previous band, Morphine Tokyo.
Other than UK, the band members are miifuu (a SCRAMBLES-affiliated keyboardist who has composed songs for BiS and Especia, among others), Senor Yamano (guitarist), and Takada Metal (formerly the bassist from ELLEGARDEN). the End are currently releasing a digital single every month, covering a wide range of sounds, from the trap-influenced "Dungeon" to the classic rock of "good bye again".
4) An Argentinean Pink Floyd cover band with original members on the group : Guy Pratt (former bassist for Pink Floyd and David Gilmour) and Durga Mark Broom (original chorus of Pink Floyd).
5) The End were a British band formed in 1965 by Dave Brown (bass, vocals) and Colin Griffin (guitar, lead vocals) following the demise of the Innocents. Nick Graham (keyboards, vocals) and John Horton (saxophone) joined from Dickie Pride’s backing group, the Original Topics, and Roger Groom (drums) of the Tuxedos completed the line-up. The band was produced by Rolling Stone Bill Wyman, who arranged for them to tour with his group. After the tour, Grooms quit and was replaced by Hugh Atwooll, an old friend of Graham. Horton would also quit, but continued to work with the band on their second single, “Shades of Orange”. In 1969 the band released the album, Introspection.
Personnel : Colin Giffin (guitar, lead vocals); Dave Brown (bass, vocals); Nicky Graham (keyboards, vocals); Terry Taylor (guitar) and Hugh Atwooll (drums). (Gordie Smith & John Horton - sax, incidently Horton designed the 'Introspection' album cover)
Over the years of their existance, The End enjoyed the active help of Rolling Stone, Bill Wyman. They had been previously introduced to Wyman by producer Glyn Johns who had spotted them backing Elkie Brooks and were amongst the support acts for the Stones September '65 tour following the release of 'Out of Our Heads' along with the Spencer Davis Group; Unit Four Plus Two and The Moody Blues. A debut single 'I Can't Get Any Joy' had duly flopped and any plans Wyman had regarding the band were then thwarted by lack of action on the part of the Stones manager Alan Klein's office. So it wasn't until nearly three years later on signing to Decca (ironically the Stones label) before any further releases kicked off again. In 1968 'Shades of Orange' / 'Loving, Sacred Loving' appeared, both songs were built up during the sessions for the Stones album 'The Satanic Majesties Request' and have appeared over the years on various Stones bootlegs which seems a little odd as apart from Wyman the only other connection is Charlie Watts who plays tabla. 'Shades' was a wonderful song with dreamy atmospheres whilst 'Loving' featured Nicky Hopkins on harpsichord. In the same year, the album 'Introspection' also appeared and is one of the highlights of the English psychedelic scene, no collection should be without it. 1969 gave the band the chance of an appearance in the Spanish underground movie, 'Al Escondite Ingle's' ('To The English Hiding Place') making a playback of 'Cardboard Watch' whilst walking in the street.
Shortly after this, The End's original line-up fragmented as the band mutated into Tucky Buzzard (still under Wyman's management). Colin Griffin left to pursue a solo career and Hugh Atwooll returned to the End's adopted home, Spain, to work with the likes of Miguel Rios. Remaining members - Nicky Graham; Dave Brown and Terry Taylor recruited Paul Francis on drums along with Terry Taylor's former colleague from The Mode, Jim Henderson as lead vocalist. Incidently two points of interest, firstly Jim had also contributed backing vocals on Introspection and The Mode is not the same band who recorded Eastern Music on Rubble Two : Pop Sike, Pipe Dreams. Tucky Buzzard went on to record five Lps before splitting up in the mid-Seventies.
Tenth Planet has served the band well, issuing three albums worth of unreleased recordings. The first volume 'In The Beginning' (TP 025) highlights the earlier recordings; the second 'Retrospection' (TP 033) includes album outtakes and a version of 'Black Is Black' which was inspired by the group's friendship with Los Bravos. The final offering 'The Last Word' (TP 047) looks more at the final line-up with the band going through the transitional period around the end of The End and the beginning of Tucky Buzzard.
6) A post-black / rawgaze / experimental band from Kalyan, Mumbai, India
The end was formed in late 2012 by Souvik Das aka Svartblod, the debut demo album "You made the rain disappear..." was released on Hammerkrieg Productions (US) in mid-2013, it was received with very good reviews and response internationally, the band also made the album free for download on their Bandcamp page. The end plays a mixture of post-black metal and shoegaze, mostly remniscent of bands such as Lantlos, Alcest, Hypomanie, etc.
official sites :
www.facebook.com/theendofficialdomain
http://theendblackmetal.bandcamp.com
www.reverbnation.com/theendblackmetal
7) An alias used by Christian Gierden of Society Suckers aka Karl Marx Stadt
8) A Montreal-based group with Kyle Butler, Jordano Aguzzi, Daniel Meltzer and Simon Arès. They are an exciting indie-acoustic project from which you can expect to hear lots in the near future!
9) A Hungarian nuptial-rock group formed in 1992 , from Temerin (Serbia)
10) A Street-Punk/Oi! band from Indonesia, group formed in 1993. http://www.myspace.com/madeinindonesia
11) A California band The End, who released two singles for Kabron Records in 1966/67.
12) London band THE END were founded in 1985 so have been together for some considerable time now and as such they have undergone many changes over the years, none of which to do with their sexual orientation, so they tell us. They continue blindly on with their impeccable ear and fondness for a good tune. And on.
"SO WHAT ARE THEY DOING RIGHT NOW?” I hear you whine with that really annoying little voice of yours! Well, today, ANDY and ALAN, are still the band's two-man (obviously!) songwriting team - they write the songs that make the old world stink. They continue to write, record, perform and argue nearly every day and are, for all intense and purposes, currently working on a new CD. They have a massive backlog of new songs waiting to be recorded, when Alan can be bothered to read the instruction manual for his 16 track recorder!
"But what of the old members such as the legendary MARTIN?" Well, he moved to Wales and grew infeasibly large sideburns which are a fire risk. I have been reliably informed that Martin's "burns" are one of only two man-made objects that are actually visible from space - the other being the Great Berlin Wall of China of course. When relaxing, Martin likes nothing more than to pop open a nice bottle of red wine, light a few candles, draw a hot bath and then slip into a Megadeth gig.
BAZ still performs as a solo artist in his own riot and even finds time to write songs in his very spare time. He can be seen at ALL the finest Karaoke bars in Essex, still belting out "I'm A Believer" in very fine style... even after a few beers - in fact, especially after a few beers! He has been told on more than one occasion that he is much better than The Monkees who, to this day, have never performed in Romford or in wigs.
PAUL, a band member for one gig, has installed the Reason music package on his Mac and now spends every waking moment nodding his head in time with an electronic pulse. He has recently taken up alcoholism and a wife.
The whereabouts of BIG JIM is a complete and utter mystery... at least it was, until recently! He was allegedly spotted performing mime at a local pub-like venue in an overly-tight body suit. Although that is probably just another one of those unsubstantiated rumours...
All of which brings us pretty much bang up to date! Sadly, Martin's Garage was recently torn down by developers, but at least there was a statue of the band fully erected in its place! Many fans still gather there today to lay flowers and each other and daub offensive graffiti on nearby walls and old ladies. The same big ice-cream man stops nearby on hot summer days... rumours abound that it's actually BIG JIM!
THE END looks likely to continue right into the NEXT century - defying medical science fiction and that!
Their EP, comprising of 4 new songs, is cunningly titled "The Bunny From Your Dreams EP" http://www.last.fm/music/The+Bunny+From+Your+Dreams and is now available via the usual legal and illegal downloads sites or here: https://itunes.apple.com/gb/album/the-bunny-from-your-dreams-ep/id868028314
Hope you've got plenty of time to spare and, most importantly of all, a working set of ears.
THANKS FOR LISTENING!
13) Punk band from Mora, Sweden, that released a single 7" in 1979.
Animals
The End Lyrics
Jump to: Overall Meaning ↴ Line by Line Meaning ↴
Feast your mind on this
Someone's eating you
Your worth
At least it's being used
All Praise The Cannibals!
The food circle
All Praise The Cannibals!
Ignore the infidels
So sink your teeth into the systems teat and drown
Quit beating your brains, because this is where you belong
All Hail The Tangible!
Our stable walls
All Hail The Tangible!
The tether to the bulls
Cut the leash and heal me
Cut the leash now kill me
And I am clawing at, I am scratching at the chains
I am the selfish beast I am
The trough is filled with deep red lips and glutton smiles
And it tastes like home
And I am one amongst the masses of the herd
My skin has been branded and burned
I am so afraid of being all alone
I am safe here, I am home
Now I'm home
Just cut this fucking leash
Raised in captivity
Force fed on my fucking knees
For the feast
Someone's eating you
Your worth
At least it's being used
All Praise The Cannibals!
The food circle
All Praise The Cannibals!
So sink your teeth into the systems teat and drown
Quit beating your brains, because this is where you belong
All Hail The Tangible!
Our stable walls
All Hail The Tangible!
The tether to the bulls
Cut the leash and heal me
Cut the leash now kill me
And I am clawing at, I am scratching at the chains
I am the selfish beast I am
The trough is filled with deep red lips and glutton smiles
And it tastes like home
And I am one amongst the masses of the herd
My skin has been branded and burned
I am so afraid of being all alone
I am safe here, I am home
Now I'm home
Just cut this fucking leash
Raised in captivity
Force fed on my fucking knees
For the feast
The lyrics to The End's song "Animals" describe a society that values consumption and the exploitation of others. The opening line, "Feast your mind on this, someone's eating you, your worth," sets the tone for the rest of the song, which is a scathing critique of a culture that values material possessions and power over empathy and compassion. The chorus, "All Praise The Cannibals! Ignore the infidels," suggests that the dominant culture is willing to do whatever it takes to maintain its power and that those who resist it are seen as outsiders.
The second half of the song becomes more introspective and personal, with the singer describing his or her own struggles with conformity and a sense of belonging. The lines "I am so afraid of being all alone, I am safe here, I am home" suggest that the singer feels trapped by societal norms and is willing to overlook their flaws in order to feel accepted.
The repeated refrain of "Cut the leash and heal me, cut the leash now kill me" suggests that the singer desires freedom from these societal constraints, even if it means risking their own life. The final lines, "Raised in captivity, force fed on my fucking knees, for the feast," suggest that the singer sees themselves as a sacrificial animal, raised from birth to be consumed by the dominant culture.
Overall, the lyrics to "Animals" are a powerful commentary on societal norms and the way in which they can both oppress and comfort individuals.
Line by Line Meaning
Feast your mind on this
Focus your attention on what is being presented
Someone's eating you
You are being consumed by the system
Your worth
Your value
At least it's being used
At least it's not going to waste
All Praise The Cannibals!
Celebrate those who feed on others
The food circle
The cycle of consumption and being consumed
Ignore the infidels
Disregard those who criticize this way of life
So sink your teeth into the systems teat and drown
Fully embrace the system and its ways
Quit beating your brains, because this is where you belong
Stop questioning and accept this as your place in life
All Hail The Tangible!
Praise the physical and material aspects of life
Our stable walls
Our secure and unchanging environment
The tether to the bulls
The connection to those in power
Cut the leash and heal me
Break free from the constraints and cure the pain caused by them
Cut the leash now kill me
Escape at any cost, even if it means death
And I am clawing at, I am scratching at the chains
Attempting to break free from the forces that hold me down
I am the selfish beast I am
Acknowledging one's own nature as self-serving
The trough is filled with deep red lips and glutton smiles
Those with power and control are indulging in their desires at the expense of others
And it tastes like home
This way of life is familiar and comfortable
And I am one amongst the masses of the herd
Recognizing one's place as part of the larger group controlled by the system
My skin has been branded and burned
The system has marked and scarred me with its influence
I am so afraid of being all alone
Fearful of facing life without the system's protection
I am safe here, I am home
Finding safety and comfort in the system
Now I'm home
Fully embracing the system as one's way of life
Just cut this fucking leash
Desire to break free from the constraints imposed by the system
Raised in captivity
Upbringing within the confines of the system
Force fed on my fucking knees
Being molded and trained by the system through forceful means
For the feast
For the benefit of those who consume the masses
Contributed by Charlotte D. Suggest a correction in the comments below.
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Steve Webster
I saw this band in new Brunswick, canada, when I was like 18. They came back once more then broke up soon after. I've loved this album ever since. I remember they opened their set with dangerous and animals was song 3? I think? Anyway it blew my fucking mind. Amazing music
metalbronie96
the vocals singing at 1:35 is really good.
Locohappy
I didn't like Elementary first either, but it grew on me and now it's propably my favorite.
Main Account
awsome song
gitsurfer27
Ah man this takes me back to a place in time :) ...........
afterkwiss
I miss The End ...
Kevin Student
I miss them too!
Thalis Kokkalhs
I think that all the canadian bands are a bit pro in music xD
itsNormanBates
its about time someone added this
Locohappy
Listening to it now =)