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drummer Greg Saunier (of the San Francisco-based avant-rock band Deerhoof, who participated in the album, but has now been replaced by Børge Fjordheim of Cloroform) and the extraordinary Ethiopian-born experimental singer Sofia Jernberg (Fire!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.

These Walls
The End Lyrics

Jump to: Overall Meaning ↴ Line by Line Meaning ↴

And with These Walls we will never need the sun. These knots are eyes and
every stain's an effigy. To never be shown in the open world. These Walls
have no voice, they only rot. And every faded smear's an epitaph. They were
loving once, only to be killed and rebuilt by human hands. And made mildew
with memories. But the grain makes shapes. Oh so clearly. And we can see it.
With the faces of our history. The only things that are truly ours are
enclosures with locked doors. These Walls are just like bars and words.
Constructs to be worshipped as such. Our house. And with These Walls we will

never need the sun, or time. They are too sublime.

Overall Meaning

The lyrics to The End's song These Walls is a poignant reflection on the nature of walls and the way in which they function in the lives of humans. The singer suggests that the walls that surround them are more than physical structures; they are also symbolic of the boundaries that humans create in order to protect themselves from the world outside. The singer imagines the walls as having eyes, knots, and stains that all represent different aspects of human experience. The walls serve as a repository for memories, both good and bad, and are imbued with a sense of history that is unique to them. Despite their imperfections, the walls are a source of comfort and security, a place where humans can retreat and find solace from the chaos and uncertainty of the world outside.

Line by Line Meaning

And with These Walls we will never need the sun.
These Walls are so beautiful and awe-inspiring that we will never need the light of the sun to illuminate our surroundings.

These knots are eyes and every stain's an effigy.
Every imperfection and discoloration on these Walls have a story to tell, like eyes watching over us and effigies of past events.

To never be shown in the open world.
These Walls are not meant to be exposed to the outside world, as if they have a secretive purpose or hidden meaning.

These Walls have no voice, they only rot.
These Walls have no way of expressing themselves, and are slowly deteriorating over time.

And every faded smear's an epitaph.
Every faded mark on the Walls is like a commemoration or remembrance of something that once existed.

They were loving once, only to be killed and rebuilt by human hands.
These Walls were once built with love and care, but have since been torn down and reconstructed by human intervention.

And made mildew with memories.
The accumulation of memories on these Walls have caused them to become moldy and old over time.

But the grain makes shapes. Oh so clearly. And we can see it.
The natural grain of the Walls has created beautiful patterns and shapes that are clearly visible to us.

With the faces of our history.
These shapes and patterns on the Walls represent the faces and stories of our past.

The only things that are truly ours are enclosures with locked doors.
The only things we truly own and control are the things we can physically lock away behind closed doors.

These Walls are just like bars and words.
These Walls are like prisons and written words, imprisoning the memories and stories they contain within them.

Constructs to be worshipped as such.
These Walls are structures that should be respected and admired for their beauty and meaning.

Our house.
These Walls are a symbol of our home and the memories we share within it.

And with These Walls we will never need the sun, or time. They are too sublime.
These Walls are so magnificent and awe-inspiring that they transcend the need for natural light or the passing of time.

Writer(s): Sean Dooley, Steve Watson, Aaron Wolff, Andrew Hercules, Anthony Salajko Copyright: Release Relapse Music

Contributed by Gabriel E. Suggest a correction in the comments below.

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