The Sixth Chamber | Crippled Souls

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Crippled Souls

by The Sixth Chamber

If Edgar Allen Poe sang the blues in a dark, heavy rock form....
Genre: Metal/Punk: Proto-Punk
Release Date: 

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  Song Share Time Download
clip
1. Contagious
The Sixth Chamber
3:18 album only
clip
2. Plastic Doesn't Feel Pain
The Sixth Chamber
2:37 album only
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3. Crippled Souls
The Sixth Chamber
3:18 album only
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4. Hollywood Princess Doe
The Sixth Chamber
2:29 album only
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5. Paradise Lost
The Sixth Chamber
3:12 album only
clip
6. Possessed Redux
The Sixth Chamber
3:05 album only
clip
7. Ritual Murder
The Sixth Chamber
3:33 album only
clip
8. Witch Doctor
The Sixth Chamber
4:14 album only
clip
9. Guerrilla Tactics
The Sixth Chamber
3:44 album only
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10. Crossed Fingers
The Sixth Chamber
3:00 album only
clip
11. Mesmera's Gaze Redux
The Sixth Chamber
3:59 album only
clip
12. Imperial Horror
The Sixth Chamber
2:56 album only
clip
13. Tyrant Mutations
The Sixth Chamber (Featuring Kjehl Johansen and the Circlons)
2:08 album only

ABOUT THIS ALBUM


Album Notes
The original lost classic sound and vision of LA’s The Sixth Chamber is captured on the newly released Crippled Souls, with riffs and lyrics inspired by a mind-melting spectrum of alienation, paranoia, betrayal, hallucinations, false hopes, mental illness, murder, oppression, obsession, war, imperialism, graveyards, moonlight, insanity, despair, confusion, dreams, desperation, hell, horror and the irrational. The trappings of a great underground rock story. Yep, it’s all here.

Gathering momentum from the experimental weirdness and sonic confusion of its debut effort Molded Truths, it was time for The Sixth Chamber to kick into full-fledged rock mode for its next album. An unrivaled dark and heavy power rock trio was born in the storm that became the 2003-2004 Crippled Souls era of the band with Rahne Pistor (bass/vocals) welcoming the addition of Sevan Kand (guitar/vocals) and Joel Gausten (drums) to the group. This lineup held ferocious power and intensity, drawing on the visceral backgrounds of the three musicians involved with influences of metal, punk, doom and death rock with an acute creativity and listenability that many of the other dark, heavy groups lacked. The sound, though clearly in the realm of blistering and heavy, never degenerated into the trap of becoming unlistenable cookie monster speed metal, a trap many of the band’s contemporaries chose to fall in to. The Sixth Chamber, from this time period to the present, instead has always found itself having a classic and timeless sort of feel and always INSISTED on an original sound. In these days, the band crudely and painstakingly jabbed its way about town fighting tooth and nail for inclusion on many live bills, eventually finding its way onto the stages of Los Angeles haunts including Kenneth Anger night at Uncle Stinky’s Creepshow, Spaceland, Knitting Factory, Que Sera, The Garage, Vice Media’s stage at Sunset Junction, Don Bolles’ Club Screwball and for years headlined the twice yearly Solstice celebrations at the Sponto Gallery on Venice Beach to great fanfare and excitement.

The majority of this album’s material was hashed out and rehearsed by Kand and Pistor in Pistor’s tiny Silver Lake apartment at Sunset and Sanborn with whom Pistor shared with a fellow struggling musician. The hard-hitting Gausten later arrived on the West coast with the intention of completing this powerful lineup of the group. Gausten and Pistor had previously worked together on the East coast backing up Misfits guitarist Bobby Steele in his band The Undead in New York City.

In those days, Kand’s mother, former Christian Death member Gitane Demone, would often come by and work on collages and paintings and rehearse her new acoustic songs at the apartment making for memorable moments of to-the-marrow-of-the-bone deep creativity and fun times. When the constant pressure to not make so much noise at the Sanborn apartment became unbearable, the band would rehearse at Germs/45 Grave drummer Don Bolles nearby guest house in exchange for buying Don a slice of his favorite white pizza. Not having any trust fund babies among the group as is common in LA, the band could not afford a proper rehearsal space in those days.

Ahhh to be young and desperate and just different, feeling cast out and subhuman, foregoing all comforts for love of rock ’n’ roll. Coming close to being thrown out on the street homeless, Pistor was evicted from his Silver Lake apartment and three subsequent apartments due to noisemaking during the writing and rehearsing process of Crippled Souls and subsequent material. Risking self-destruction and misery to make these recordings see the light of day was a routine occurrence for members of the group. So much for LA being a fertile place for musicians, instead the environment presented a nightmare of constant obstacles. In those days it was sometimes difficult to afford food, just struggling to become the most inspired musicians they could, clawing like animals at turmoiled and tortured inspiration, with only raw creativity and the endless gusto of youth boldly backing up the band’s mission and vision.

Some of the band’s best memories were frequently sharing the stage with LA punk scene and avant garde originals including Saccharine Trust and the Chuck Dukowski Sextet (Black Flag’s bassist). Times were strange in LA’s underground music scene and the band gravitated toward the company of many interesting iconoclasts and eccentrics, making for some broadened horizons and consciousness expanding experiences.

Learning experiences aside, it would be sanctimonious and untrue to put any overtly positive and pleasant spin on this era. In reality, it was a time a of dreariness, struggle, betrayal and hostility with little to no rock ’n’ roll glamour or success. A sordid tale of young musicians lost and struggling to find themselves musically in a hostile and frustrating environment. Although it indeed had its moments, these just certainly were not the good old days. The good old days in fact never existed. The band found itself constantly rebuffed by snobbish and unsupportive promoters who were seeking only bands clinging to cookie cutter trends. Labels, managers and producers fell through with empty promises, unwilling to take a chance on these tortured, inspired sounds.

It was a time of struggle, rejection, hostility and abandonment to which the only true saving grace to rise out of it was this very recording you are about to hear today. To make matters worse, the band itself was quickly unraveling. Kand left the band in mid-2004 (only to return 2 years later) and by this time Gausten was already slowly but surely on the way out the door as well.

With Pistor down in a pit of disillusionment and despair but not completely decimated, Palo Henderson stepped in to complete the guitar tracks on the well-in-progress but yet-to-be-completed Crippled Souls album. Henderson contributed standout guitar playing and an enthusiasm for the music that no doubt contributed to saving and salvaging the nearly-aborted album.

In another moment of pride for the band, legendary underground music producer and artist Geza X (known for producing Dead Kennedys, Black Flag and the platinum-selling "Bitch," by Meredith Brooks) emerged at the end of the studio process working a stellar remix on the album and giving tutelage in production skills to Pistor.

The Crippled Souls era of the band climaxed with a 3-night performance in the fall of 2004 in New York City at CBGBs and the Knitting Factory as part of the Drop Dead Music Festival with a new Sixth Chamber lineup that included Pistor, Henderson, Patrick McHugh and Mr. Swiss billed alongside Ausgang, Skeletal Family and others. McHugh's tenure with the band ended directly after the series of festival shows due to some sort of hazy fiasco in involving hard drugs, booze, urine, fighting and women (McHugh would eventually return to the band 4 years later). The last show of the Crippled Souls era featured a performance alongside Geza X and members of Saccharine Trust at Beyond Baroque, Los Angeles’s long running non-profit avant garde poetry space near Venice Beach. Pistor, Henderson and Gausten rounded out The Sixth Chamber lineup for the memorable Beyond Baroque show.

After hearing the Crippled Souls album, legendary rock manager Bud Prager (Mountain, Megadeth, Foreigner) decided to begin working with the band and encouraging hard work and songwriting development due to his impressions of the Crippled Souls recording.

From the shattered fragments and against all odds, what came out of this era was one surprisingly excellent album and a band in transition. A full-fledged sonic capsule of this turbulent moment in time. With a maximum dose of that special, starry-eyed inspiration that only disaffected youth under 25 seem to be able to bring to a record, the music is now finally rescued from being lost, saved from a fate of endlessly floating in the black hole of ticking time.

NOTES ON “TYRANT MUTATIONS”: Kjehl Johansen, guitarist of early Los Angeles punk groups The Urinals, 100 Flowers and Trotsky Icepick, was a guest guitarist on some early Sixth Chamber studio recordings, and also played the first two live shows ever as guest guitarist for The Sixth Chamber in late 2002. In 2004, while working on a studio recording with his band Kjehl Johansen and the Circlons, Johansen asked Pistor to return the favor and contribute a guest vocal on his record. Hence, “Tyrant Mutations” was conjured up, taking on a lyrical theme of Orwellian oppression, corruption and hopelessness. Musicians on “Tyrant Mutations” include Steve Andrews (guitar), Hunter Crowley (drums), Tom Hofer (bass), Kjehl Johansen (guitar) and Rahne Pistor (vocals).

**The Crippled Souls CD includes a full color 12-page lyric booklet that features distorted photography of The Sixth Chamber by 1960s psychedelic experimental filmmaker Leland Auslender.

The Sixth Chamber Crippled Souls lineup:
Rahne Pistor - Vocals, Bass Guitar
Sevan Kand - Guitars (tracks 5-12)
Palo Henderson - Guitars (tracks 1-4)
Joel Gausten - Drums

All lyrics by Rahne Pistor
Music compositions by Rahne Pistor (tracks 1-6,11) and Sevan Kand (tracks 7-10, 12)
"Tyrant Mutations" music by Kjehl Johanson and copyright/licensed from Mustard Only Music



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Bengu

Great music
Yeah so great album that enjoy every single song..Congratss!
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