The album offers the experimental ambience with manipulated sound waves and extended notes over throbbing drones that we have come to expect from the band, playing around with ideas of texture and space, and sucking the intentful listener in and away. Its a reflective work, not offering a specific counterpoint to another record as offered with 1999’s Grace (to Neurosis’ Times Of Grace), but standing more as couterpoint to the general noise and speed of life.
Whatever People Say I Am, That’s What I’m Not’s release date was moved forward a week by popular demand and record shops were taking advance orders, but how does the album fair compared to this impressive hype? Luckily enough for the Sheffield boys, it’s only going to do as well as it deserves to: Domino’s newest chart hopefuls have mounted a mighty challenge to label-mates Franz Ferdinand’s throne of success, by making what could easily be the pop-soundtrack to 2006.
Anyone fearing the arising of another James Blunt however need not be alarmed, The Bad Robots may be radio friendly but their subject matter and demeanor are much less twatish.
The closest reference point to clumsily place this alongside is _Unknown Pleasures_-era Joy Division, particularly in its sparse but menacing rhythm section and bleak lyrical focus.
Sandwiched between two impeccable drummer-led tracks, new single “12” demonstrated exactly why Forward, Russia! are destined for great things: off-kilter lyrics and vocals backed by an energy that’s frightening. With choruses and little hooks bursting out at all sorts of odd angles, this is the sort of music that shouldn’t make sense but does.
The feel and themes of both the music and also the promo videos included on this ‘enhanced’ CD is that of a Crampsy type sex, voodoo, horror camp and the album does have a great weirdo party mood. Songs like opener “Fantomasofobia” and “Satan Jeans” are testament to this. The schlocky film samples which permeate the record lend to this atmosphere, and the song titles are just great, check out “Anton La Vey 66.6FM” and “Sex Euro and Evils Pop”!
This is the first record from Neurosis-lord Steve Von Till’s new project/moniker Harvestman. Where we have seen the folk leanings of the man in both Neurosis, specifically through the love of the Bagpipes (also present here), and on his two solo albums, Harvestman takes this further, and in a different direction.
Although some of the pieces on Crime and Dissonance have been previously available, this new double-CD compilation offers a choice, powerful and very wide selection (made by Alan Bishop, but no doubt with at least a guiding hand from Ipecac label boss and huge Morricone fan Mike Patton) from more obscure films made in the later 1960s and early 1970s, scores almost always ignored by the collections most easily available.
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’.