
Please be good. I was vaguely relieved to read he's putting the Black Sheep-isms to one side for this one. 11 shit hot songs - that's all I want! And the first of 2 Cope albums promised this year. Yep.
I haven't listened to Copey for a little while so I've been getting myself in the mood with Autogeddon and Rite Now. Both brill in their very different ways! I liked the days when you had no idea what a new Cope album would sound like - it might be psychedelic balladry, massive electronic Krautrock freak outs, garage rock, metal, pop. It's felt a bit same-y (sound and style wise) in the past few years (bleedin' orchestral percussion!). I might go for Black Sheep (the album, not the band) next. I hope it's as good as I remember (which was pretty good).

ordered!!!

only managed to hear the first four tracks before leaving for work this morning. Sounds great...but is that bloody 30" bass really the only drum on it?

I hate to be ungracious when the artist is the host of such a fine web site and hence provides the meeting point for this community of fellow travelers but surely I am not the only person listening to this record and shaking with laughter at some of it? Buy Folk The Banks instead would be my advice. Better sleeve too as it happens if you want to have something that Occupies your record collection. Sorry but to my mind he is simply much better (a pop genius in fact) with metaphysics than with geopolitics.

cruel, Ian, cruel. I'm certainly not laughing like I did at the execrable Kate Bush album - perfect case of emperor's new clothes there.
I'm listening to it - thru crap speakers at work - and am finding it very pleasant listening. The bass drum doesn't interfere too much with my enjoyment like I feared it would, and there are some great tunes included. A better production wouldn't go amiss, but I am happy so far.

I like it a lot on 1st listen - in a Black Sheep (album, rather than project) stylee!
love
Moth

Cool stuff.

Does JC play all the instruments? Who's whit him? The usual suspects?

Being the hypocritical white extreme liberal antiestablishmentarianist that I am, and a longtime lover of tuneful Cope anthems, I can imagine which side of the fence I'll fall on. Even if it does get a bit too on the nose, lyrics have always mostly washed over me, anyway. I'm imagining this as a semi-sequel to Black Sheep [the album].

Just given it my first listen. I'm preferring the "Leila Khaled" disc so far, especially the title track - who is this Lucy Brownhills?
sorry
Initial Impressions
1. This two cd thing is getting increasingly pointless and wasteful.
2. Get a drum kit for fucks sake.
3. Raving On The Moor is pretty damn good.
4. Some good tunes in there, just bored of some of the usually dreadful bassdrum accompaniment.
I love Julian, i just long for some Jehovahkill quality material. I know that was 20 years ago but i don't think he's done anything particularly different since Citizen Cain'd. I still like a few tracks on each album but my interest has definitely been waning.

Hmm...I dunno. All this waving of semi-automatic rifles, detonations as percussive accompaniment and revolutionary posturing...surely, to lend the whole endeavour credibility, the next step has got to be nothing less than a sustained mortar attack on London's financial district. Failing that, a simple political assassination will do.
I need to switch on the six o'clock news and be faced with some shaky mobile phone footage of Julian's instantly recognisable silhouette scrambling for cover from the bombed-out remnants of 30 Millbank. I wanna hear Julie Etchingham utter the immortal words "...and today, former singer with 80s new romantic band The Teardrop Explodes has been charged with a sniper attack on George Osborne...". Otherwise, I'm just not ever gonna be able to take this album entirely seriously.
By the way, 'Raving On The Moor' is a great song, an instant hit, very 'Autogeddon Blues'. The rest of the album...well, it's early days. I suspect, or hope, it's a grower.

I've given it a first listen and really enjoyed it. I have to admit I haven't listened closely to the lyrics yet, but it did seem that only a small portion of it is actually heavily political. Otherwise we've got woden, lunar mysticism, alien autopsies... I am uncomfortable with the militaristic sleeve imagery, but the songs themselves were strong.
It's basically Black Sheep (the band) doing melodic old-style Julian Cope songs, in much the same way as Citizen Cain'd / Dark Orgasm were Brain Donor doing melodic old-style Julian Cope songs... it's folky, quite sparse, droning, but always tuneful, and with singing, not shouting or ranting.
It occurs to me that Cope's early albums were all about doubt, and his later albums are all about certainty. Which is a lot harder to like and empathise with, especially if you don't agree with him. However, he's found a viewpoint and he's going with it, and he's engaging with current outside realities... if he'd stayed with the solipsistic introspection of 'Fried' etc he'd have ended up a Morrissey-like self-parody. Again, that kind of narcissistic, drug-damaged navel-gazing is more attractive from someone in their early twenties than a family main in his fifties. Which isn't to say that revolutionary posturing is any more dignified, but at least he's got fire in his belly.

Well i've given it a good listening to this morning and i think it's his strongest collection of melody driven stuff in a long time. Disc one is more black sheep acoustic style stuff and has elements of Skellington in there as well. It's also far more bluntly political lyric wise. But has some gems, Cromwell in Ireland and As The Beer Flows Over Me being my faves. The final track Hooded And Benign has one of the most beautiful electric guitar motifs on the intro too. Assuming it's Copey playing but not sure. Disc two is far more laid back and mellotron filled, the title track Psychedelic Revolution really stands out and is the most overtly political song on Disc two, the rest of the disc flows really well and again is full of melody and songs. A more melancholic listening experience overall, but i think it will stand the test of time more than disc one. So musically great all round but lyrically blunt at times is my overall opinion.
The one thing i'm not overly comfortable with is the gun on the cover and the advocation of violent revolution that seem to underpin everything at the moment. I find that hard to stomach.
"When it gets down to having to use violence, then you are playing the systems game. The establishment will irritate you: Pull your beard, flick your face to make you fight. Because once they've got you violent, then they know how to handle you. The only thing they don't know how to handle is non violence and humour." - John Lennon.

Probably be a week or two before I get this but I am genuinely looking forward to it now having digested all the comments. At least people seem enthused about the music.
Yeah, the gun thing is a bit...phluuuurrrphmmm. Thing is, putting aside the non-violent/Violent revolution thing aside for a minute, (though just for the record, I think I'd rather get stuck in a lift with Ghandi than a window-smasher) it can look all a bit...silly. Funny, I remember seeing Public Enemy years ago when they had the 'Security of the First World' guys on stage in their military wear and with their fake Uzi's doing dance steps to the music. It didn't look kick-ass or menacing or whatever it was supposed to be to me; it looked unbelievably camp as a row of tents. Probably not the desired reaction but there you go.

A few words about the record:
Cd1 is not my cup of tea! I' m a bit tired of that type of songs, explosions, etc. Vive Le Suicide is the best track for me. The others... well... hummm... Nope!
Cd2 is amazing! Those first two songs are Top! X-mass In The Woman's Shelter is the best of the entire record. And to end properly The Death of Rock'n'Roll is fuckin' great!
Love you Julian, like always, but put the arms aside and give us some more good tunes, dude!

I've listened to it now, and I think I'm going to have to sit on the fence somewhat. Some good tunes, some not so good words. I do get a bit peeved at the swearinesses, I know I shouldn't but it means I can't play it in front of the fambly or Mrs Squid won't be pleased. That in turn means it sits getting dusty generally.
I must admit I think my musical tastes have moved on a bit too. A few years ago I might have been more enamoured of a song-based revolution-touting album, but these days I'm more into either fuzzed up psychedelic rock or spacey electronic things. I love the mellotrons and guitar sounds and his chords, but to my ears it isn't really that psychedelic, which is a pity. The most psychedelic thing is some of Holy's synth noises on the 2nd CD, and even they don't go quite far out enough for my taste.
Still, it isn't bad. Better than some of the senseless wham blam boom repetition of the Black Sheep stuff which I really found pretty unlistenable. And it might grow on me, it's early days yet. The Hooded and Benign track did send a good old tingle up my spine. Just a shame the tingles weren't more plentiful.
Cool album, fine compositions, Julian H. super symbiose Band ... Excellent !

Gonna spike some fuckers tonight
Hahaha
Brilliant!

A great start to a year of albums. Definitely Black Sheep in its overall feel, though I don't agree with the outtakes idea. A thematic sibling certainly.
Highlights for me so far is As The Beer Flows Over Me, a fine companion to I Can Remember This Life from Black Sheep, and X-Mass In The Woman's Shelter.
Go Copey!

after being dragged away for a weekend with the in-laws, where I wasn't allowed to listen to any music (!), twas very pleasant to be able to come hoe and put the CD on again. Tho I had already been humming a few tunes anyway, so damned catchy are some of the tunes, which can only be a good thing.
And after a few plays, I'm coming round to the idea that it's actually Copey's strongest album in years. More varied, better tunes, more thoughtful, some of it sounds almost Teardopian, while there's still plenty of Black Sheep there too. It's full of revolutionary posturing, some of which is rather laughable, but hat is often the intention I can only think - no one can take Revolutionary Man seriously, it's plainly a pissed off rant and a simple reaction to being treated like a terrorist. As such it is a fine companion to Vive La Suicide, like a sudden realisation of 'ohh, shit, THATS why you do it.' Good stuff. How anyone can live in this world and not want to blow shit up, I dont know.....
After his well-meaning but grotesquely naive criticisms of Islam and praise for utterly reactionary cunts like Churchill and the wrong Pankhurst I'm more than happy to hear him try and adjust his sights tyo more worthy targets!
And I'd sure rather listen to a pop star that actually attempts to think through some of the political and psychosexual issues of our day than one who just pumped out the same old cock rock or pseudo-spritual tosh.

ohh, And the title track is pure Luke Haines, which seems almost appropriate, them being the two greatest writers of rock autobiographies n all that.

ne thing that occured to me re Vive La Suicide....
I'm slightly surprised there is no evidence of Cope having read Black Panther Huey P Newtons great autobiography, Revolutionary Suicide. It actually really fits with the theme of the album, and makes plan what I think Cope ius trying to express. For Newton, suicide is usually a 'reactionary suicide' - black men (in particular) killing themselves out of despair. What the world needs, says Newton, is revolutionary suicide - you put yourself on the line, knowing that eventually you will be killed, but that in doing so you are challenging that world and making it better.
It also fits in that Newton explicitly quotes Che Guevara in it, as an inspiration. Being a revolutionary mans loving all of humanity, whilst having to give up on the love of specific individuals. You must learn to conquer fear of death to live a life without fear, one where you can genuinely choose how to live.
"Think about what you would die for, and work your way back from there, and then you'll know what you should do with your life."

well, without wanting to turn thyis just into an argument about the use of political violence.....
I think focusing on "political street fighting" is largely missing the point of how change really happens.
Steve Jobs? Ask the workers in his shitty Chinese factories how revolutionary they think he is. He's as unpopular as Mao I'd imagine.NOw if you'd said the US military/library service for hte development of the internet, then you kmight have been on to something! That (and Guttenburg) did make a profound revolutionary change to society, absolutely humungous. Capitalism can be revolutionary (tho not so much any more, modern advances are generally much smaller than they were one or two hundred years ago), tho these days it usually requires the state to actually carry through the idea of change and make it a reality for actual people. And even then, they still leave the vast majority of power in the same hands. The internet has opened up spaces for the promulgation of radical ideas, but it is still dominated by the same old bourgeois enterprises. And will be until we change the whole basis of how our society is run.
Violence isn't nice, at shouldnt be mytholgised or idolised, but it shouldnt be denied either. Or we will face a future of a boot stamping on a human face - forever.
Love & peace man (with a gun discreetly hidden in the shed)

Next lyric question:
In the title track: if you're a greedhead, a fatcat, a morepork, a moneybags; you're going down.
It doesn't really say 'morepork' there, does it? Anyone worked out the actual line?
(sounds like 'board whore' in the second chorus....doubt its that either)

Supporting the need for violence in the abstract doesnt mean supporting every actof pseudo-politcal violence. The prick with the fire extinguisher was a fucking prick, end of. Violence should, must, only be used when there is no alternative. But it is woefully naive, imho, to think that that situation will not, does not, crop up even in a 'democracy' like Britain. Just take a look at the history of Ireland and the 'brits' actions there. Or even there actions against (mainly) peaceful demonstrations such as the Poll Tax or last years anti-cuts demos.
If it is acceptable to use violence in Homs, when and where else does it become acceptable? We shouldnt - indeed we would be idiotic to - jump imeediately into 'insurectionary acts to spark the revolution' (which was what the RAF & John Brown did), but we must never forget that they will never, ever ever ever, give up their power of their own free will. If we want to achieve a fundamental change in society, it will take education, patience, discipline, love, AND, sadly, probably, violence.
And the modern International Brigade? Actually their have been quite a few, apparently. But they get thrown into Gitmo if anyone finds out.

Just giving it my first listen now.
Doesn't take itself entirely seriously, does it? :)
What a truly superb album!
I was away on respite in Cornwall the week it came out and so had it sent home for when I got back.
I had seen Julian play in Bournemouth last October and was moved to tears (in a superb way!) by 'AS THE BEER FLOWS OVER ME' so was well chuffed to hear it on the album - at last!
Yet again he proves he can turn out yet another classic album, now I really must go visit some BIG houses in the country! bfn Drudes x

Its not even a full size replica (AK - 74 with PSO scope). . . . well Toys R Us ;)

Can anyone make out the worrds in the track 'psychedelic revolution' - it's driving me nuts trying to work it out: 'if you're a greed head, you're going down, if you're a fat cat, you're going down' WHAT IS THE NEXT BIT? the best i've come up with is 'if you're a pork whore' but surely not? What d'ya think?

Damn - I've just read 13 pages of posts, trying to catch up with y'all. Homeopathy, metaphysiks, real and fake AK-47s, future and failed revolutions, the death/rebirth of rock und roll and something about pork.
And STILL I'm only on disk one of PR. And still loving it. There's something whimsical here that I've rarely gotten from Julian's albums before, a feeling of musical freeness and playfulness, even amidst the intensity and muck und mire. Somehow, it being a 2012 release and all, I imagined a Son-of-Interpreter or something, very spacerock and star-reaching. Instead, it's a very grounded album so far, the sound of Julian and folks making music together. I can almost feel the heat from the fireplace. I'm going to burn disk 1 to my iPod so I can finally absorb the lyrics, and I'll move to disk 2 tonight as well.
Odd note, maybe... I've never been a massive Stones fan, yet I discovered Let It Bleed not long ago and can't stop listening. There's something loose and together in common with these two albums, again to do with the sound of people in a room putting out some rawk.
I'll go back to waxing my harpsichord now, I reckon!

I got back to Mancunia and thus my pod yesterday to find Psychedelic Revolution waiting for me. Which was nice.
I must admit, I can't remember, having read the various 'nays' & 'Yays' on this thread, having quite such a feeling of trepidation when playing a new Cope album. Only had a couple of spins so far so it's early days but more 'yay' than 'nay' from me thus far. Bit late to the party but here's my initial impressions...
Sonically and lyrically it seems to be a continuation of the Black Sheep album and Preaching Revolution/Unruly Imagination material. Nice to see Julian tapping into his gift for melody, even dabbling with folky-prog nuances on a couple of tracks. I think the whole thing is a bit more playful and toying with absurdity than the gun-on-the-sleeve and overall stance might initially imply. I keep coming back to Julian's referring to himself more than once in recentish interviews of having a cartoon quality and there seems to me to be elements of that here. Afterall, it's an album called "Psychedelic Revolution" which, to me, has connotations of the 'peacenik' and 'revolutionary' almost at odds and jostling for space with each other like Cope's earlier, hippyish stone-hugger persona (remember when he was "fluorescing"? Happier Times maybe?) is finding it increasingly hard to define himself in the fuck-up Kapitalist kaos we are currently enduring. The whole last few years would seem to have been something of a reactive-phase (big on phases is Julian) in terms of contemplating and reflecting the world morphing into a pro-active phase, or at least trying to find a pathway through it all and this album seems to be another aspect of this phase.
I need to live with it a bit longer, but so far, although some of the lyrics and imagery are a bit uncomfortable to me, it's not quite as "RAGH! KILL!" as I feared. And, thankfully, there is humour still there as well as some lovely, catchy music.
ps Mind you, a bit worried that one of the photos is captioned something like "Kat Killer salutes the dawn at Yatesbury". Sticking it to The Man is one thing, but what have fluffy moggies done? 8^(

Addendum Copius:
Had a few more listens and some tracks are really standing out for me now - Hooded & Benign and Vive Le Suicide being two faves, though Ravin on the Moor is classic Cope.
Just to add to what I was gibberng on about- it really strikes me that, amidst all the revolutionary rhetoric, it seems that there's a real contemplation of mortality running through this album, ranging from a 'going out with a bang' style last hurrah to the inevitable mutability of the self. Some of this album reads like a defiant love letter to life and some of it comes over like a suicide note!
I can't help but wonder, what with the selling off of the record collection and a 4 album releaseathon promised this year, if Julian isn't having something of an 'end of days' of moment, whether it's fueled by the Mayan thing or just a general apocalyptic reaction to how things are in 2012. The 2012 thing has manifested itself in the artworks of other albums too.
Perhaps another phase is coming to an end?
listened to this album twice then forgot i had it. oh dear. will try to listen again tomorrow.
I'm one of those expats who decided to hooktail it off the fair island(s) of GB to a place too far afield, but as I'm coming back on holiday to take the family to various sites and places of interest in Wales and England, I'm wondering if there is any chance of finding 'Psychedelic Revolution' in a (sssshhhh) shop. We enter Brum for a while and I know that The Tempest is not there (a possible location), but wondered if anywhere else would be possible. I've ordered stuff direct from Head Heritage before, but I want 'the experience', 'the discovery' in a record shop.
BUT I don't want to spend too much time in London. Shame there wasn't a shop in Avebury!
Any pointers - I want the discovery in a record shop!