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Prurient Pleasure Ground CD

 Prurient Discography of CDs

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Pleasure Ground begins with a high-pitched electronic screech that could probably be used to call for dogs if it were any higher, and whether or not one lasts past the first ten seconds of that will determine if Prurient's latest album will be of interest. Recorded by Prurient (aka Dominick Fernow) in a Valentine's Day 2006 session, Pleasure Ground isn't exactly Songs for Swingin' Lovers!, but issues of love, lust, and life are the lyrical core of the album, as decipherable thanks to the abbreviated lyric sheet. Fernow's agonized screams on the opening "Military Road" give the song some shape once a scraggly rhythm counterpoint appears to vary the initial wail. "Outdoorsman/Indestructible" works the opposite extreme of distant, looming tones and echoed, spoken words -- though completely different from Prurient's usual approach, it's no less unsettling for that. "Apple Tree Victim" makes for a strikingly melancholy conclusion, the three-note descending melody via feedback squall sounding an endlessly sad sunset, while Fernow howls a blunt, harsh lyric touching on, quite literally, sex and death. Perhaps the most surprising song in context is "Earthworks/Buried in Secret," thanks to the sudden, strikingly beautiful guitar (perhaps) loop that swirls through the background of the more expected combination of vocal extremity and fuzz. It's a lovely counterpoint to the anger and on-the-edge feeling of the album as a whole, and the contrast works wonders. ~ Ned Raggett

Prurient: Dominick Fernow.

Recording information: 02/14/2006.

Uncut (p.79) - 4 stars out of 5 -- "PLEASURE GROUND marks out Fernow as both visionary and innovator."
Mojo (Publisher) (p.103) - 4 stars out of 5 -- "Fernow's trademark onslaught of harsh, visceral electronic noise and shredded-throat screaming is given ominous weight with the addition of doom-heavy, speaker-rattling synth tones."
Pleasure Ground Music


Detailed Pleasure Ground Music Information



List Price $13.98 (You save $2.89)
Category Rock/Pop Albums, Rock CDs, Jazz Instrument, New Age, Classics (Silents / Avant Garde)
Label Load
Orig Year 2006
All Time Sales Rank   122355  
CD Universe Part number 7303788
Catalog number 101
Discs 1
Release Date Nov 14, 2006
Studio/Live Studio
Mono/Stereo Stereo
Personnel Dominick Fernow
Prurient Pleasure Ground Songs


Prurient Pleasure Ground Album Track Listing



Windows MediaRealAudio Media1.Military Road
Windows MediaRealAudio Media2.Earthworks/Buried in Secret
Windows MediaRealAudio Media3.Outdoorman/Indestructible
Windows MediaRealAudio Media4.Apple Tree Victim

Pleasure Ground Review


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A top a cappella group from Canada, the four singers in Cadence are versatile, very musical, technically skilled, and have a joyful group sound. On Twenty Four One, their music ranges from pop and rock to R&B and jazz with the songs including originals, pop songs, and a few more jazz-oriented pieces. The rich harmonies, heated scat singing, use of "body percussion," and willingness to take chances makes Cadence one of the most interesting a cappella groups currently on the scene. ~ Scott Yanow TWENTY FOR ONECADENCE is Dylan Bell [tenor], Ross Lynde [tenor], Carl Berger [baritone] and Kevin Fox [bass]. The group enjoys working with both pop and jazz, and covers the gamut of a cappella techniques - Great harmonies, scat singing, vocal percussion, killer bass lines - you name it, it's all there. This CD includes a mixture of pop covers, original compositions, and jazz-flavoured material. When recreating pop classics the group maintains the essence of the original versions while adding their own stamp. You gotta love Dylan's Steve Gadd drum groove combined with Carl's Paul Simon-esque lead on "Fifty Ways to Leave Your Lover" or the nod to Queen included in Ross' solo feature, "The Things We Do for Love." On the jazz side, CADENCE combines their highly-produced vocal sound with swingin', high-energy arrangements. They also add a nice dose of bebop scat singing: check out the retro swing style of "Hit That Jive Jack," or the funky rendition of the Joni Mitchell classic "Drycleaner From Des Moines." ...
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Allen's Odyssey is bassist James King's long, long overdue, recording debut as a leader, his coming out party as a composer and an affirmation of his considerable musical virtue as accompanist and soloist. This program of nine originals from King's pen should also be heard as King's testament to his values, his aesthetics, his purposes -- to that which he holds most dear in life and in music. Above all, I hear Allen's Odyssey as a statement in favor of, in celebration of, fortitude and self-determination. A native of Houston, Texas, James King has been a fixture on the Washington jazz scene since the late 1970s. 'King James,' a first-call bassist, is highly valued for his versatility, his sensitivity and his sumptuous, unimpeachable, impeccably swinging time. He is also a touring artist with a constantly expanding national and international resume.

'I've been in DC so long, I got my tattoo,' he laughed. 'I got my membership.

' But as King reminds us with 'A Texas Thang' and 'Going Home,' 'You can't,' as he put it,' get away from where you came from.

' King's most important mentors were legendary Texas Tenor Arnett Cobb, composer/pianist Consuela Lee Morehead (School Daze), trumpeter Andrew 'Tex' Allen and Carl Adams (formerly with Ray Charles). 'A Texas Thang' is the first movement of King's suite dedicated to those early influences and the deeply soulful sense of the groove they imparted to him. 'Going Home' is a burning, in King's words, 'minor blues with a different head, altered head.

' Well, I am hearing that groove, that soul King identifies as a Texas attitude, processed through the approach, the open, organic approach and edge of Coltrane, Tyner, Garrison and Jones from the early 1960s. What was radical, raw and a discovery then is now classic, a purified musical essence.

Hearing this you might ask yourself, when is thing a thang? Is thang a proprietary Texas thing? I don't think so. Thang is a part of the national vernacular. Maybe in King's Texas there was a little more ang in the thang, a little more brown sugar in the barbecue sauce, subtly more, musically more, pleasing not cloying, a gentle sweetness.

Certainly a sense of graceful hipness and sweet assurance permeate three selections closest to the heart of the composer - ...

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