Uxbridge four-piece Driving on The Right formed in August 2003. Having grown up listening to bands such as Girls Against Boys and Senseless Things, the band combines these influences with melodic vocal hooks to produce a ‘unique sound’. Within months of forming, the band had recorded and released their self-financed single “Casualties”.
The majority of songs follow a similar pattern of recourse to a distant third person, a longing anguish that flirts between desperate attempts of reconciliation to purgative expressions of newfound peace “I may not be happy now but at least I’m safer here”. The whole album bestows this transitory feel from the track titles themselves “Somewhere far”, “Nowhere Near”, “Ticking Away” etc, to the pace of the album with each song driven along by a strumming style, pared down and without any drums, which is gentle but deliberately stuttering allowing for greater focus on Smithson’s plaintive vocals.
Battles are an organic-sounding instrumental band featuring Don Caballero and Storm and Stress guitarist Ian Williams, electronic experimentalist Tyondai Braxton, Lynx guitarist Dave Konopka and Helmet and Tomohawk drummer John Stainer. After having signed to Warp Records, the band furthered their UK infiltration by making their way to Camber Sands upon the invitation of The Mars Volta for ‘The Nightmare Before Christmas’ All Tomorrow’s Parties festival in December.
What made this line-up even better was how you could make a link back to The Mars Volta, their members and their musical parts, for all of the acts there, threading it together and making the festival work well as a whole piece – as it should.
Lilian combines Alias’ beats and loops with his brother’s array of old jazz and orchestral instruments and has an almost bucolic nature to it. Heaven forfend we describe this as ‘chill out music’.
With a tantalising twin of musical ingenuity and an allurement to shake your organs to the organ — you have the paramount of parties for your Saturday night.
A futuristic, scientific dialectic is the diaphragm where Subtitle finds his muscular munition of words — the antithesis of the bestial and primal paradigm of those emcees that threat physical violence in their war of words.
Damo Suzuki is ‘universal’, and with this post-human attribute he is one of very few human beings still discovering new paradigms for pleasure; which still — most importantly — is inticing multitudes into the comprehension of the supertemporal nature of creative output.
By ordering his paws to never falter in pauses, he opened up a provocative pandora that takes hold of cognition; leaving the listener in focus of the minimalism in sound — not the abundances.
It is honourable that The Locust can slash the convential track time by at least half, and still disseminate the contents of the track further than the gluttonous convention and its many more seconds.
If you don’t already know, Jon Brion has composed soundtracks for films such as Magnolia, Punch-Drunk Love and I Heart Huckabees. He has collaborated with Elliot Smith, Tom Petty, Peter Gabriel, A Perfect Circle, David Byrne and countless others.
You can win 1 of 5 pairs of tickets to Mr Scruff’s New Years Eve bash at the London Forum on Dec 31st…
The sticker on the front of the CD states “Pure Fuckin’ Noise rampage! Plowing the fields sown by bands like Melvins or Jesus Lizard” which is pretty much spot on. This limited release EP, only 750 copies exist for the worldwide market, is indeed a fine example of the dirtiest, messiest, loudest punk noise and deserves a listen from anyone who can get a copy.
Although something of a cliche to use the word, Periphery does have some “glacial” moments; the slow, other-worldly grace of “Comfortable Expectations” being a case in point. But more frequently amongst the album’s duration is a sense of the organic.