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.
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’.
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.
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.
Theirs is a music for the winter months, for grey skies and wrapping up warm in black clothes definately not sunny beach adventures! Lucky they released it now then…
First track “Kill the Dog, Tie Them Up, Then Take the Money” is an archetypical doom track, with epic downtuned, downtempo progressions in the tradition of Black Sabbath or the aforementioned Burning Witch.
This debut mini is produced by A’s Jason Perry who manages to forgo his band’s pop-metal bludgeon and bring The Riverclub’s melodic sensibilities to the fore. Opener “We’re on Empty Again” rattles along with the requisite buzzsaw guitars and shouty chorus and “Call If You Want To” does exactly the same – but even better.
“Sailing By Night”s folky melodics develop into a darker keys, synth strings take over and enveloping drum repetitions build and finish the song along with keyboard dramatics
The lead track on this EP, “Bootprints” is a gorgeous hammond pop swoon. The parping horns and catchy chorus of Blur or Badly Drawn Boy coupled with the King’s almost Ian Dury vocals.
The dance sound identifiable behind much of his work here explodes into an uplifting, cinematic house party — instead of a pulse underpinning depressed post-rock bardsmanship though this is a beach anthem, and much more uplifting than the title suggests.
Meatier, heavier, harsher and an all-round better offering than its predecessor (2002’s Repercussions of a Badly-Planned Suicide), In the library… shows off a bigger stylistic and technical range and draws on different traditions to create a diverse and compelling album.
Songs from all his collaborations and different handles are included and, interestingly, the different markers set throughout his career seem to sit well together on one long player.
It’s albums like this that reveal Funk music’s a transcendent production of the human spirit. I literally haven’t stop dancing to this ‘ish’ since the LP dropped.
There are certain records that take you back to beautiful, hazy days of never-ending summer sunshine and joy, records that evoke that the best of times, carefree and footloose, the aural equivalent of a week on a beach with a bottle of gin and a beautiful woman.
If the dance hall in Carnival of Souls (Herk Harvey, 1962) contained Daffy Duck and friends and groups of children chuckling to themselves, then Fantomas would be seen on the stage.
The tone of this record is a decidedly more subdued one that his last release. If Rockin’ the Suburbs was the disc you played at the party Saturday night, then Songs for Silverman is the CD you pop in on the way to breakfast the next morning.
The way that they write such perfectly crafted highbrow pop songs seems almost calculated, appealing to such a massive number of people all at once
Although remaining true to her simplistic, stripped-down sound, the record shows greater subtlety in arrangement. Behind the raucous guitar there is often a slick bass line underpinning everything.
Seamless production sees consecutive tracks merge from Tool-esque math-riffing, to ugly, hardcore jungle, (sometimes with a readily discernible time signature, sometimes not) using crashing, squelching drum samples overlaid with Alec Empire white noise and electro-screeching.