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.
The album itself consists of just two songs, the first nearing the thirty minute mark and the second closer to twenty. The duo have deliberately set out to work in longer forms than past works have seen suggesting the objective would be to give each song more scope to develop or to withdraw, to layer or to slowly shred, allowing possible melodies and rhythms more room to entice the listener.
Imagine a whiskey-stained, Lemmy-esque throat growling out lyrics over classic doom grooves and you’re right there in the middle of the Earthride sound. The band are classic doom, without a doubt; Vampire Circus fits right in alongside the dark rhythm and blues rock of Black Sabbath, Pentagram or Saint Vitus and will also entertain fans of doom’s younger brother stoner.
Armed with three boxes of 12” vinyl, four boxes of 7” and a collection of CDs, Scruff was laying on the jazz funk when I arrived almost two hours into his five hour set.
Musically, it’s classic Allister. “Blackout” is a dark and hard-hitting track that is full of sharp guitar parts, tribal drumming, and a chorus that’ll have you shouting along to in the car. “2 A.M.”, the slowest song on the album, displays longing vocals and bouncy guitar hooks.
In a turn of events that can only be described as Jurassic Park-esque, The Bomb have discovered prehistoric pop-punk’s DNA and set it out on show. The crashing powerchords of opening track “Up From The Floor” elicit a Pavlovian desire to dress all in black and mosh furiously with a can of cider (mine was a sheltered upbringing), and this sets the tone for the whole album.
When Beecher first arrived years ago they were championed for their blend of metal, melody and electronics. Nowadays all of these factors remain in some form but at least in the live act, or at least tonight, they are pure metal – the more emotional moments being swallowed up within the onslaught of noise.
LCD Soundsystem, the rock’n’roll dance band brainchild of James Murphy (DFA), have always sounded a bit flat on CD, but their live show injects verve and excitement to every song thanks to Murphy’s almost obsessive enthusiasm to entertain every single person.
Starting with a fattened-up metal version of the more introspective “Vultures” before fully announcing their arrival by blasting into the frenetic “A Day in the Death” the new album tracks were impressively performed in the live show, and gained a whole extra intensity and loudness.