Forgiveness and Exile is Chris Connelly's ninth solo work, the follow-up to 2007's critically acclaimed The Episodes. The album is again produced by Tim Kinsella (Cap'n Jazz, Joan of Arc), Ben Vida (Town and Country, Terminal 4, Bird Show), and Connelly himself, and the musicians comprise the same jazz and improvisational band that played on The Episodes. This time, however, Connelly's group is augmented by the addition of four of his oldest friends: David Miller (Fini Tribe), Shirley M   [ read more ]

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Murder, romance, ghost stories, disasters, paganism, whiskey, all are covered on Pentland Firth Howl, the tenth solo release by Chris Connelly. The album is a song cycle about his native Scotland, though this is no playful romp in the heather! With only one other accompaniment, the arrangements are as bare and spartan as the landscapes Connelly invokes with his words and melodies. Pentland Firth Howl was produced by psych/folk wizard Zak Boerger from Those Wonderful Evils and features artwork    [ read more ]

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Forgiveness and Exile is Chris Connelly's ninth solo work, the follow-up to 2007's critically acclaimed The Episodes. The album is again produced by Tim Kinsella (Cap'n Jazz, Joan of Arc), Ben Vida (Town and Country, Terminal 4, Bird Show), and Connelly himself, and the musicians comprise the same jazz and improvisational band that played on The Episodes. This time, however, Connelly's group is augmented by the addition of four of his oldest friends: David Miller (Fini Tribe), Shirley M   [ read more ]

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Connelly's second album -- recorded with a crack studio lineup consisting of Zechman on bass, PiL vet/Pigface nberlord Martyn Atkins on percussion, and Chris Bruce on guitar -- is a dark stunner, and one of the most affecting albums ever recorded. While the connection can be overstated, the album is dedicated to Connelly's fiancTe, who killed herself during its recording. Not surprisingly, a shadow of doubt and anguish hangs over much of Phenobarb Bambalam, resulting in some deeply f   [ read more ]

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With his reputation as a neo-industrial shouter long since established, Connelly went a long way toward completely confounding all expectations of him with Whiplash Boychild, a commanding and often quite surprising solo effort of equal power and delicacy. The opening track, "Daredevil," sets the pace. Connelly's commanding, Bowie-like croon -- delivering either a sourly romantic lyric couched in political terms, or vice versa -- soars out over an arty groove, making for a fine start. Calling    [ read more ]

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After trawling some heavy depths on Phenobarb Bambalam, Connelly took a generally sassier and, dare it be said, glammier approach on Shipwreck. Not that the more melancholic side of life wasn't addressed, and quite well at that, but most of the songs have a sharp acoustic/electric guitar kick and at once rough and carefully produced feel to them that steers away from both the subdued and sprawling arrangements prevalent on Phenobarb. "What's Left but Solid Gold?" and the brawling {&"Drench   [ read more ]

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Between 1997 and 2004, Chris Connelly made a handful of small recordings -- Ultimate Seaside Companion, Blonde Exodus, Largo (with Bill Rieflin), Private Education -- that stood outside virtually every scene and genre. These were elegant, poetic chamber pieces that captured various states of the human heart, whether in passion, delusion or somewhere in between. This was music that struggled to come together, and was held together musically while it lyrically fell apart, albeit as gracef   [ read more ]

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While it's true that Chris Connelly's contributions to Ministry, the Revolting Cocks, and the Damage Manual have earned him a deserved reputation as a squalid industrial rocker whose love of all things darkly humorous and "tribal" will go down in the history books documenting the era. But in taking his solo recordings as entities unto themselves, one can't help but think he might wish it were otherwise. As early as Whiplash Boychild there were traces of the "other" Chris Connelly: the s   [ read more ]

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