Chance Meeting on a Dissecting Table of a Sewing Machine and an Umbrella

Nurse with Wound, Chance Meeting on a Dissecting Table of a Sewing Machine and an Umbrella (United Dairies, 1979)My first two experiences with Nurse with Wound from this era were The Ladies' Home Tickler and The 150 Murderous Passions. I think you will excuse me for expecting this, their debut release, to have been somewhat surprised by this, their first disc.Instead of ear-bleeding powerelectronics one finds on the two releases mentioned above. Chance Meeting on a Dissecting Table... is very much in the avant-garde/cut-up sound popular at the time in the sonic underground (it was also the genesis of noise behemoth Merzbow).The stuff here is nothing too out of the ordinary, but then that probably shouldn't be surprising, given that the twenty-fifth anniversary of the album's original release is this year (note the reissue has a fourth track on it; that's the version I was listening to while mulling this review over). It's certainly intriguing enough, and I seem to have liked it a whole lot more than most of its reviewers. It really is what its title expresses; there are so many types of different musical styles linked up in here that a listener unfamiliar with cut-up is likely to be turned off immediately. (If you're trying to convince your friends to like NWW, for god's sake, start them off with Second Pirate Session, not this!) Blues mixes with classical mixes with film scoring mixes with musique concret.I get the feeling this is one of those albums that needs to grow on you over a long period of time. I prefer the other discs I know from the early years of NWW, but then I like powerelectronics. Your mileage will most probably vary. ****

I still remember the day i first got this cd. I was around the age of 13 and at a record fair for a local radio station. I was looking for obscure experimental noise to furthur pollute my mind. And yes did i find it. I picked up this album and a Nocturnal Emissions cd as well...Over a decade later i am still enjoying this cd and discovering new aspects of it with every listening.If you are looking for something different, you should definitely check this cd out. Worth the import price.ps- this must be a reissue of the cd i have...seems to be the same though, no changes.

With the vinyl being rarer than hen's teeth, it's a good thing this classic has finally been put on CD for all those to get a glimpse into the early magic of Stapleton and NWW. At this point NWW was a trio: Stapleton and two friends, whom having never played any instruments in their life, scammed some free time at a local studio, brought some "instruments" in for the afternoon and proceeded to make a thoroughly unprofessional yet inspired racket. No rehearsals, no plans. This is it, and it still sounds good. A mixture of musique concret, faux-Krautrock, industrial noise and Euro-style improv, it's a heady mix that shows what a few chums with their heads screwed on tight and a large record collection can spew out in an afternoon. For true greatness, however, I recommend beginners start with NWW's "Spiral Insana" from 1986, or even "An Awkward Pause" from '99, coz those are where the real goods are. As an endnote, "Chance Meeting..." also features the infamous "NWW List" in its liner notes, a ridiculously huge and wildly esoteric list of "inspiration" the band was drawing from, and you gotta give 'em credit where it's due... I mean, how many teenagers back in 1979 were even aware of Amon Duul, John Cage, Third Ear Band, Sonny Sharrock, Cromagnon, Evan Parker, Plastic People of the Universe or Debris, let alone willing to advertise the fact?

Those, who love art and art-music whould appreciate this CD.This is most excellent remastering of a great spontaneous session of most genius acid freeks. There is a lot of new and absurd patterns and unusual sounds but no music whatsoever. As far as i know, the invention of "atmospheric" sounds is partly due to that people.Buy and enjoy.

If you happen to run across a NWW fan, chances are they will either a) speak of the greatness of "Chance Meeting" with the glowing eyes of an acned geek on the verge of getting the latest game console, or b) rabidly inquire as to where they can acquire this lost treasure. Truth be told, however, it's a pretty crap album. Obviously, NWW is a love-it-or-loathe-it project anyway, but even for someone like myself (a NWW fan), this is a rather embarrassing glimpse into what I would even call the "formative" years of NWW; this simply sounds like (and actually is) three guys (yes, NWW was once more than just Steve Stapleton) who can't play their instruments playing their instruments. Nowhere are the tape mutations that have made NWW such a unique and awesome force; they just sound like they want to recreate the first Faust album---which was a classic if there ever was one---and fail miserably. I only give it two stars because "the Six Buttons of Sex Appeal" has its endearing moments.

Don't want to see this stuff while looking for sewing items...not happy!!!!

Ahould not have to look at nudity while searching for actual sewing tables.

In the post-punk void that was 1978, Nurse With Wound founder Steven Stapleton bluffed his way into getting studio time to make this album on the pretence that he had an avant-garde band. He hastily assembled a group of 'musicians' and within six hours of their arrival at the studio, the original Nurse line-up had recorded this album of sonic bedlam the like of which even the John Peel Show had never known.Stapleton is said to have played percussion, which roughly translated means he messed about with a drum kit and xylophone. Nobody actually played anything, they spent the day mercilessly torturing innocent musical instruments and recording their subsequent cries of pain. I wouldn't say it was anti-music for a blank generation but it made even the most extreme examples of premeditated racket of its time sound like chamber music. Having said that, listening to this album will not trigger spasmodic movements of the body as other late seventies recordings did, mainly because the listener soon becomes too traumatised to engage in physical pursuits of any sort.Though not as weird and wonderful as some of the more planned insanity NWW would later produce it's still as odd as a rabbit with a boob job, but it is the chaotic spontaneity that makes it interesting. If you need order in your life and hate anything that challenges the status quo, you would probably regard this as treasonable. To those who are open to the idea of a less conventional arrangement of known and unknown chords, I would describe this as a sleeveless anorak for a deaf spaniel.

....being stuck in a tube carriage on a very hot day and everyone else has Walkmans playing very loud, leaking, all playing the same tune, maybe Ornette Coleman, or Atomic Kitten, something like that, but not quite synchronised, and you haven't got a Walkman, but you're trying to read Nietzsche, in German, and you've only got a Berlitz phrasebook to help you, and that's got half the pages missing, and suddenly you realise that you've reached your stop, and you fight your way out, and there's a moment of blessed relief, until you hear a busker on the platform, and he's playing exactly the same tune, and he's got Nietzsche's face.Try it, you might like it.

オリジナルは、1979年のデビューLP。　確か500枚限定プレスで、極一部が日本に流れたが、あっと言う間に入手不可。　入荷と同時に、輸入盤屋のスタッフ連中が自分たちで購入、店頭に並んだのは10枚あったかどうかという噂もあった。　ほとんどの音楽ライターも、その存在さえ知らなかった。　そうだよなあ、当時はロンドン・パンク、ニュー・ウェイヴ、ニュー・ロマンティック、etc、アメリカは不景気から手軽な娯楽としてレコードが売れ、出せば捌ける状態。　レコード会社から次々大量に送付される無料のサンプル盤を、ターン・テーブルにのっけるのが、やっと。　あの頃、最も面白い音に通底していたのは、就職もせずバイトで食い繋ぎ、脚を棒にして専門店を巡り、全国の通販リストをこまめに集め、脚を棒にして専門店巡りを日常としていた、変態的にマニアックな一般の洋楽オタクだった。　そんな彼等の間でも、ナース・ウイズ・ウーントの名前が浸透するのは、もう少し後だったと思う。　　おそらく、３度めとなるCD化。　ド素人だったスティーヴン・ステイプルトンが、「スタジオ空いちゃったから、君、使ってみる？」と言われ、知人２名と作ってしまったという偶然の産物。　後にNWWの代名詞ともなる、凝ったテープ・コラージュ、純然たるノイズ群とは違って、ジミヘン、はたまた、そのフリークだった元プロコル・ハルムのロビン・トロワーが、ドイツのカンやファウストに加わり、馴染んでギターを弾いているような１「Tow mock purojections」（６分17秒）で、幕開け。　２「The six buttons of the sex appeal」（13分06秒）は、ラジオ・ノイズのようなガチャガチャピーという無機的ながら凶暴な破壊衝動が窺えるギターが延々と続き、バックに不穏なシンセ、狂ったような女（？）の叫びが入る。　ピンク・フロイドの「神秘」は先鋭的ながらも、一応ロックにおける曲の構造を具えていたが、こちらは、さらに進めて前衛的。　３「Blanｋ～」（28分21秒）は、まるでフランスのピエール・シェフェールが提唱した現代音楽系のジャンルmusique concrète（ミュージック・コンクレート）も導入したような、想像力を刺激する世界。　ジョン・ケージやクセナキスからも影響を受けていたそうだからなあ。　４曲目はボーナス・トラック。　オープニングから長々と続くモノローグというか、詩の朗読は、ほぼ同時期クレプスキュールから出たリチャード・ジョブソンのアルバムを思い出させる。　あちらのバックは、もっと華やぎがあったけれど。　次第に、人声に、それとなくいろんな音や別声などが静かに絡んできて、声にも様々な効果処理が加えられてゆく。　ちょっと、初期スロッビング・グリッスルにありそうなナンバー。　直情的なカタルシスの無さ、何時訪れるかという期待もある退屈さをじっくりと愉しむって、何の因果か、真っ当な道から外れ、狭い路地裏に入り込んでしまったインダストリアル＆ノイズ・ミュージック・ファンの、哀しい特権的かもしれないと書けば、大袈裟過ぎるよね、ははは……。

快晴の日の休日の昼間に部屋で一人で大音量で聴くと、異様な感覚を得られます夜の真っ暗な地下室でも一度聴いてみたいですね

Excellent de bout ne bout, mais trop court!!! Le deuxième titre est particulièrement excellent. A la limite del'expérimentale, plaqué de solo de guitare. Belle découverte pour moi!