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Antic Clay | Hilarious Death Blues

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Antic Clay GreatIndieMusic Antic Clay on Myspace, page two Antic Clay on Myspace, page one MYSSOURI on Myspace Antic Clay's vintage country cover band Sinners and Songriders, on Myspace The Official Sinners and Songriders website Tradebit MusicIsHere PayPlay Apple iTunes

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United States - Georgia

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Avant Garde: Avant-Americana Folk: Anti-Folk Moods: Mood: Brooding
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Hilarious Death Blues

by Antic Clay

"Nightmericana!" A dark ride across the scorched hide of America. Not without moments of beauty and hope, however. An audacious DOUBLE CD, in a hand-assembled, double-gatefold sleeve, embossed silver foil type and full-color lyric sheets.
Genre: Avant Garde: Avant-Americana
Release Date: 

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  Song Share Time Download
1. Clean Blues
4:06 $0.99
2. Broken Throat Blues
5:24 $0.99
3. The Table of Souls
9:32 $0.99
4. Look Down the Dark Barrel
5:06 $0.99
5. Wainwright
4:53 $0.99
6. Violence is Yours
4:05 $0.99
7. Islay and Ale
2:30 $0.99
8. On Holy Mountain
3:30 $0.99
9. Decades
5:34 $0.99
10. Thousand Star Hotel
4:24 $0.99
11. (disc 2) Filthy Lucre King
3:38 $0.99
12. Red Grass, Black Pasture
5:43 $0.99
13. Sago Mine
4:04 $0.99
14. Tithing Blues
3:08 $0.99
15. Non-Prophet Blues
4:11 $0.99
16. Furnace Song
4:49 $0.99
17. Hey John
3:09 $0.99
18. Wife and Widow
3:26 $0.99
19. Roll! Black Ocean!
4:32 $0.99
20. Estela
6:29 $0.99
21. Undrown Yourself
4:15 $0.99
Downloads are available as MP3-320 files.


Album Notes
ANTIC CLAY: Hilarious Death Blues (2007)
"Hilarious Death Blues is a dark, smoldering journey into isolated Americana. It's country music that's silently aware of the impending apocalypse, and doesn't pine over lost love and and the daily grind of an oppressive job. It's a low and lonesome sound that holds a mirror to existential angst and rages against entropy, ennui, murk and miasma with flourishing, poetic beauty."
--Chad Radford

"Former MYSSOURI frontman Michael Bradley has regained his sight and is now going under the name Antic Clay. Debuting with a double-disc dose of lonesome desert laments cheerily titled HILARIOUS DEATH BLUES, Bradley/Clay wanders a similar forlorn and spooked landscape as Jeffrey Lee Pierce, Nick Cave, Mark Lanegan, Simon Bonney and other blues-obsessed artsy white guys. Dark, minimal and restrained, two full discs of this approach proves to be a chore at one sitting, but overall this is chillingly haunting stuff, and a welcome direction for Bradley."


"Let yourself get taken in by the dark times emerging from this virile and exiled dumper, vessel of all the ancient echoes. The funerary heart for decadent Mormon. Antic Clay is not only about a more electrification prone to tension even if the man does cast his painful strength and his discreet vision and his wild poet constitution in the events. With Antic Clay, it is not only about rooting oneself in a rotten compost, reluctant to sustain a tree with hardly any ancestry.
No, as a matter of fact, beauty drags itself, as it happens, from something more foreign to traditions, infinitely more hidden.
From Antic’s voice, this splendid and rough thing, this ambivalence of cold and hot timbre you would say, and you wouldn’t be wrong.
From the brave and brotherly clap hands’ running, and to this can be added the tangle of a harmonica, which blades have been replaced by scraps of biting winds, combined with guitar-textures, knocking, eager for glissando dirt, so far and so close, breath of whiskey in the inside. The whitened bones of the horse’s carcass as primal harp, under the best of circumstances accompanying the bruised dusty yet glamorous murmurs of the death-a-billy cantor from an old incandescent Myssouri. Reverend Antic Clay is this curse of rebellious god, resisting song-writing, constantly swaying between hope and destruction, between, tabula rasa, erasing it all and the stoic and profound renunciation.

Don’t resist, get yourself emotionally assaulted by his outburst of urban funeral orations and rural incantations, by this viscous and irrevocable dirge when it recalls, in that furious and stately way, the sudden deaths with the broken hearts unable to be soothed, the ancestral and deep fears, the tears when it’s time for smoke in campfires."

--Manuel Aubert a.k.a. BlackBird Merle Leonce Bone, Tours, France, Friday, June 8th. 2007.
(Translation: Paula Antunes)

Michael Bradley (aka Antic Clay) started the southern-gothic band MYSSOURI in Atlanta, Georgia in 1996. Drawing influences from Nick Cave, Johnny Cash, The Doors, 16 Horsepower and Joy Division, the band burned a dark and bright scar on the Georgia scene, playing myriad shows, festivals and conferences, including CMJ twice, and opening for well-known acts such as The Damned, Black Rebel Motorcycle Club, Concrete Blonde, Reverend Horton Heat, Detroit Cobras, The Angels Of Light, The Gunga Din, Waco Brothers and more. But they never were able to tour, and perhaps because of that the fire burned out after 7 years and 3 records. Myssouri disbanded in 2003. Bradley has continued on, playing stripped-down shows with his acoustic guitar and harmonica, and the artistic direction hinted at when he had Myssouri covering songs by the likes of Townes Van Zandt and Lee Hazlewood (and of course Johnny Cash) has become his clear and chosen path.

He adopted the name Antic Clay and traveled to a friend's studio in the mountains of Asheville, North Carolina. From these sessions comes the audacious double-cd debut "Hilarious Death Blues", a title inspired, like the pseudonym Antic Clay, by the dark westerns of reknowned American novelist Cormac McCarthy. Bradley/Clay sang, wrote and played most everything on the album, which has a feeling about it both archaic and modern, heavy on the reverb and sparse on the instrumentation like old Sun Studios recordings, very much inspired by late night lost highway AM radio, vintage country songs and the mythology of the Old West, although the lyrical content is far too dark and cynical to make it on the Grand Ole Opry. HDB puts you in an old dark wooden room with only a burlap curtain against the night wind, and a guttering tallow candle's incandescent dance across your old bottle of bourbon. It is best listened to loud. And alone.
There are bluesy dirges, somber western ballads, dissonant foot-stompers, tavern songs and even an unlikely sea shanty. The lone cover, "Decades" by Joy Division, is barely recognizable as the 'post-punk' classic. It is stripped to the root with guitar, harmonica, voice and violin, and made all the more powerful for it.

HILARIOUS DEATH BLUES is 3+ years in the making, and is more of a document of a period of time in a writer's life than a statement of intent. Indeed, Bradley's new side-project of vintage country covers "SINNERS AND SONGRIDERS" may reveal much about the future path for Antic Clay, strongly hinted at in the lonesome country swagger of the song "Non-Prophet Blues" (from album B, "The Horseless Rider).
Dark night in Nashville, here we come.



to write a review

daverede heim

smart folk
good folk musicians today make me want to read more, and Blind Michael Bradley is no exception. This album is an epic collection dusty roads, wrong turns and bad decisions. It show cases Michaels song-writing ability and and how much noise one man can make. Musically it's simple and to the point. Guitar, Harmonica, voice. But intellectually its dense. history and writing are a constant reference, but one that is obscure enough that most probably won't reconize it. Here is a song named for an old folk singer, there is an old chanty. The title of the album is a literary reference as is the artist's new name Antic Clay. But for all its love and understanding of olden things Hilarious Death Blues is a modern folk album. It's most apparent in the wry humor of Non-Prophet Blues.


Like folk-revival fused with the Necronomicon
Like folk-revival fused with the Necronomicon.


Dark Americana that is Timeless.
Evoking a time gone by, yet sustaining a sense of timelessness, Hilarious Death Blues is Antic Clay’s intense and striking debut. The music finds its base in a dark Americana and blues, implying a country and western that rings more true than the music produced by “country stars.” The music takes the listener on a journey through a desolate America, through ‘red grass and black pastures,’ through blood and sadness, searching for salvation. In fact, the double album does pair quite nicely with the world of (the referenced) McCarthy’s masterpiece, “Blood Meridian.” Despite the fact that this review is saturated with words such as dark, sadness, violence and so on, the album is not lost on humor, albeit sometimes pitch black, but other times somewhat playful.

As a whole the album’s design is compelling, but the individual songs are just as so. “Look Down the Dark Barrel,” “Tithing Blues” and “Hey, John” are full of swagger and intensity. The listener must prepare for the deep melancholy found on “Sago Mine” and “The Table of Souls,” where the guitar and harmonic sound grieved with loneliness. In certain songs such as the superbly rousing, “Roll! Black Ocean!” one can hear the Irish influence found in traditional American music. The excellent “Non-Prophet Blues” would fit right at home on Johnny Cash’s American Recordings series. Then there is “Violence Is Yours,” which in its own simple and unassuming way is actually breathtaking.

A note on the instrumentation which consists mostly of guitar, harmonica and Bradley’s commanding yet sensitive vocals: while somewhat sparse, these songs never seem like “stripped down versions” of themselves. They feel full and satisfying—from the wonderfully percussive guitar to the reverb on the vocals. It’s apparent this is a musician who knows what he is doing—someone making the best choices for his songs.

Hilarious Death Blues is formidable document, the sparse but unique packaging make complete the experience by providing the listener with a beautiful artifact to hold in hand.