New releases on Warp Records will always have the benchmarks set by the label’s most forward thinking artists such as Aphex Twin and Squarepusher to live up to. Tonight Clark, having dropped his first name of Chris from his title as an artist, had the chance to show off new material from his limited edition EP Throttle Furniture ahead of a full album later this year and 65daysofstatic were showcasing their album from last year, One Time for All Time.
You might say they had a 5 year plan and you might be wrong because this two-discs worth of material containing three albums, an EP, John Peel Sessions and a live album, shows that they were all over the place. Whatever the theory, what characterises this whopping 64 tracks worth of material is a distinctive freshness to the feel of this album. Unlike a lot of bands today, Dan were a group of mates from Darlington who throughout the majority of their career, sound and appear to be in absolute disregard to any formal aesthetics or pretension of style to the extent that their not even one of those bands who you could tag as “not giving a fuck”.
Black Ox Orkestar are a fabulous entity fundamenatlly existing as a Jewish folk group and bringing back the powerful and often haunting moods and scales of old traditional forms, but reinterpreting or updating them to include other, perhaps more modern, influences. The group formed in 2000, and Nisht Azoy is their second album, following 2004’s Ver Tanzt, and continuing the same themes.
Manchester based newcomers Chase and Status display their stylistic versatility with a release seemingly tailor made for DJ Zinc’s Bingo Beats label. The title track “Druids”, is a FM inflected, Hazard influenced party piece, unpretentious in its melodic simplicity but brimming with dance floor appeal. Side B features “Believe”, an uplifting and soulful number, sitting comfortably on the heavy side of a liquid tip, but retaining an element of Chase and Status’ more rugged sound in the bass.
Once again, DJ Fresh (D.Stein) proves his unsurpassed production skills and ability to weave mammoth dancefloor monsters. Most certainly on a euphoric, parody tip, “The Immortal” blends electro funk samples, a throbbing, punchy bass, tongue-in-cheek vocals and gritty, distorted drums.
It may be a forgone conclusion that the imminent push of the group has been financially inspired by the success of other electro indie outfits such as The Killers and The Bravery, but never fear; there is nary an overpriced coiff (or indeed, in vocalist Bnaan’s case, hair to style) in sight. The production sandpaper has happily left a few rough edges, much to the album’s benefit, and the influences are candidly displayed with as much congruity as a Picasso painting’s facial arrangement.
The ‘my life is shit’ philosophy of the blues runs like a broken vein throgh the history of popular music, and particularly following the success of Kurt n Courtney’s primal screams, the industry has found profit in packaging/emphasising troubled individuals and their dark backgrounds. Unlike the faux-angst of Avril or Alanis, Jaed’s debut album documents a truly troubled adolescence of abuse, drug addiction and homelessness.
With the home recording in mind, the frequent sampling of opiate chanting and the various use of twinkling bells and tambourines, the mood is distinctively organic, the smell distinctively of joss sticks and used yoga mats. These intrinsic qualities both work for and against the album.
Birdpen are a rocktronica act who have recently expanded to a full band to give their live shows a bigger and fatter sound. Birdpen combine melancholic singing with spine-tingling acoustic guitar ambience, electronic orchestration and kicking percussive rapture to nourish and comfort the heart. With two eps under their belt, they have been receiving a lot of praise from critics, with many comparing them to The Beta Band. They have six dates in the south east of England coming up over the next few months so I caught up with Dave Pen to discover more.
Apparently, backstage these guys didn’t bring beer or amphetamines only a load of Willy Wonka chocolate bars. Gees it showed, whether it was through the guitarist’s hair or the oompa lumpah keyboards, this chocolate was refined.
Think Circus Vargas meets Sleepy time Gorilla Museum and the Tosca Tango Orchestra. This album is truly a rift in the daily atmosphere of copycat, non-daring redundancies. Full of odd time signatures, precisely orchestrated instrumentation and wild outbursts of spontaneity and chaos, this album is like an eerie trip through time and space. Melodies from the clarinet, trumpet, accordion and violin interweave and swirl until the listener is left with an abrupt halt or change. The packaging even features various pictures of the band members sporting porky pig masks.
This is a one-track, 41 minute live EP recorded at Galeria Ze Dos Bois in (unsurprisingly) Lisbon on 4th October 2005. It sees something of a change in delivery frow KFW’s usual OCD — the normal 3-year cycle of incessant editing and remastering of his last few releases has been eschewed for a straight-to-hard disk, as-is encapsulation of the KFW live experience.
They played a song from the yet to be recorded album. It was called “Idle Chatter” and it was by far the best performance of the night. Lisa Francais’ high pitched scream really knocked the socks off the Test Icicles and their drunken shambles of covers.
This is the first album from MGR, or Mustard Gas and Roses, side-project of Mike Gallagher, guitarist for doom/post-metal luminaries Isis. The album contains five tracks of instrumental desolation spread over an expansive fifty-two minutes.
Mogwai are back, and with some effect. Although their fifth studio album doesn’t prove to be quite the extremely-heavy effort that early suggestions had it seeming to be, Mr Beast is a very accomplished record full of emotion and intensity — and one which at points does indeed return to the noisy territory which although the live show still always offered, the recordings had generally developed away from.
Every religion began as a cult. In their early years, Belle and Sebastian possessed near-totemic powers for their small but impassioned band of disciples, as fervent as the followers of similarly wistful, self-deprecating, and sometimes sexually conflicted artists like The Smiths, Felt, and Orange Juice a decade prior.
When The Movielife broke up, Vinnie Caruana formed I Am The Avalanche and guitarist Brandon Reilly formed Nightmare Of You. While I Am The Avalanche began where The Movielife left off, Nightmare Of You follows in the vein of Straylight Run; a mellow indie band that features more accomplished and mature songwriting than before.
The Bristol academy was packed to the rafters for the hippest gig of the year. The kids were there, the museos were there, the curious were there, the BBC was there, and the Arctic Monkeys were waiting in the wings. You could hardly hear for the buzz.
In a double-headed beast of a tour alongside drone-lords Sunn O))), Earth came to London in support of their recent double-titled release Hex; or Printing In The Infernal Method. The sound the band offer on Hex is faily removed from previous Earth releases, however, it contains elements distinctly apparent throughout the band’s career. That career is a long one, spanning over fifteen years, and one containing multiple personnel shifts, all around the core of mainman Dylan Carlson.
Brighton’s metal beast Johnny Truant have been extensively touring ever since delivering their powerful second album In The Library of Horrific Events. Back at the end of last year they played Southmapton Joiners and whilst singer Olly entertained the hordes of adoring female fans upstairs in the venue, the rest of the band joined me for a chat and introduced me to their horny new guitarist.
After releasing their debut album Words Of Betrayal on Ad Altiora, York’s finest melodic metal band Beyond All Reason headed off around the UK with Johnny Truant and Blood Roses. When the tour hit Southampton’s Joiners, we rounded up Venno [vocals, guitars], Russ [guitars, vocals] and Nick [bass, vocals] into one of the dingiest corners of the dirty backstage basement to have a few words. And now after rumours of conversation about such taboos as emo, Def Leppard and the York folk scene, and with the cassette tape of the interview having been found after being lost and presumed dead, we can finally find out what was said…
Through their style they’ve always retained a sort of DIY ‘fuck you’ quality to their sound, initially sounding very much unlike anything else and then later on down the line paying very little attention to anyone else’s sentiments as they delved and scraped at the bottom of detuned, low frequency cesspits. So it comes as a little bit of a surprise when I read the blurb on their fifth official studio album and come across the labels country/western and epic rock.
Easily one of the strongest Drum and Bass tracks recently released, “Incline” is a spitty, sci-fi roller. Choppy, energetic drums complement a pulsing distorted rave sound, punching through the mix in a style somewhat akin to Total Science’s “Defcom 69”.
Bambata style conga loops, a heavy Valve sound to the bass and well implemented atmos and vocals. Not earth shakingly innovative DnB, but if you like the originals, you can’t go wrong.
This is the second album by San Franciscan post-rockers, Enablers, following 2004’s End Note. Their skeletal frame is provided by a guitar/bass/drums of Joe Goldring/Kevin Thompson/Yuma Joe Byrnes, who echo the scratchy avant rock of Slint, and this is augmented by the spoken work allusions of Pete Simonelli — a beat poet and darkside narrator.