I believe what we have here folks is the last proper studio disc from German weirdoes 39 Clocks. Oddly, out of all the bands from the father land that have gained some tread in underground psych circles, these guys usually go unmentioned. The principal duo making up the group, J.G. 39 and C.H. 39 are joined by some additional players to fill out this disc, which doesn’t really sound too far detached from earlier offerings from the band. And while nothing on here is shocking any longer – the disc was released in ’87 – it’s a manageable amalgam of low fidelity pop, some folk, whatever passed for punk at the time and out of tune warbling.
A few of these tracks wound up on the De Stijl records compilation released a few months back. But hearing all of this assembled in the manner that it was initially intended – especially from such an obtuse group – I think moves to solidify any meaning that the group intended to imbue all of this with. The fidelity of 13 More Protest Songs, on the version I copped at least, is average being ripped from the original vinyl. And no, I don’t think that this has been reissued as a full length, just chopped up to be included on Zoned, that compilation. But the band and its approach to recording doesn’t necessarily beg for all too much technology. For all the far reaching figuring, this group is just a rock band with some unique ideas about how songs should sound.
At times this skewed perception works to the benefit of all involved granting the lesser portions of songs like “But You Know” a creepy psych feel that, today not too many that try to get there can. But before one can write off the group as a Velvet Underground appropriating mess of nonsensical guitar solos and various other weirdo noises, a cursory listen to P.F. Sloan’s “Eve of Destruction” might change one’s mind about what 39 Clocks is able to do.
Yeah, basically, “Eve of Destruction” is a folk song – they even break out the harmonica to good affect. But while this duo’s amidst coping a Robert Zimmerman vibe here, 39 Clocks winds up getting into the same territory as Spacemen 3 – who were at about the same time covering Dylan as well. The occasional, blaring harmonica might be a nice touch here, but even better is the distant, soloing electric guitar line that persists throughout the track. And that’s where the Spacemen relation comes in. It’s not as dreamy as anything from the Brit ensemble, but “Eve of Destruction,” while sounding unlike most everything else here, is unquestionably a high point on this disc.
After releasing this forth disc, the band, it appears, broke up. After having waded through a good portion of the ‘80s it’s not all too surprising to find that 39 Clocks were more than a bit weary of traversing the landscape of tiny, dingy clubs in Europe. And while that’s a bummer, at least they’ve begun to get their due, even if it’s posthumously.
PREVIOUSLY:
Printer-friendly version