Coughs-Fright Makes Right (2005)

After casually searching for a couple months, I finally found a copy of one of my all time favorite albums: Coughs-Fright Makes Right.  Released on Mythologie in 2005, this album got a very small pressing before Load Records decided to release it on CD.  After emailing Load to see if a repressing of this is ever going to happen (it isn't), I decided to track it down.  Eventually I found a used copy at Reckless Records for $20.

Quite a steal if I say so myself.  The cover is different from the more well known album cover, and appears to have been made by the band.  Inside is a flier that was typed up on a typewriter containing lyrics and a small bio which is worth reprinting here
Throughout modern underground music, there have been noticable trends which have led genres or scenes either into the waiting arms of mainstream culture or spiraling the opposite direction driving it further underground.  Such a trend can be traced through the american hardcore scene.  Certain midwestern hardcore music found a home in an amalgam of disciplines like 20th century classical, industrial, musique concrete, and death metal.  These not being exclusive, there are quite a few examples of this particular sort of music crossbreeding.  a specific documentary source for such crossover is the skin graft label.  utilizing the elements of music and performance art, the label gave a home to those who sought to expand their vocabulary beyond the basic formulas concocted for the genre. and alas a new wave of musical experimentation is on the rise.  coughs hailing from chicago are a sextet consisting of saxophone skronk, reeling keyboard repetition, tight bombastic percussion; comprised of oil drums and miscellaneous cookware, as well as a standard kit reconfigured; that immediately set them apart from what one would generally associate with hardcore.  kate gronner's guitar slices in accompaniment to james fianagam's horn and synth lines, and carrie biarsky's bass carves out patterns around seth sher and john ziemba's drumming techniques, while anya davidson's vocals sit atop this schizophrenic mess wailing and screaming until hoarse.  you take it from there.

Okay.  This album is great because of what it does.  It creates an auditory filth, muddled with the sounds of metal barrels and squeeling horns.  When Anya Davidson sings, her voice sounds truly raw, as though she both hates the listener and is bearing her soul to them.

This is an album of a band literally collapsing in on itself.  On some songs, the band sounds like they hate each other, and each is trying to outplay the other members.  Then, other songs, such as elimidate, appear, like a moment of sobriety when endorphins hit the brain.

I highly suggest everyone check out this album.  I uploaded it in two parts, but the second part does get cut short due to youtube's 15 minute rule.  This will still give you an idea of 95% of the albums sound.  I was unable to get permission from any of the band members to upload, though I did try.  This upload is intended to fit the copyright guidelines of fair use.


Listen to Part 1
Listen to  Part 2