Archive for May, 2019

Buzzhowl Records – 12th July 2019

Christopher Nosnibor

‘Dingy’ as a descriptor isn’t to be taken as a negative here: and it’s a dingy mess or murk that opens Damn Teeth’s second album, with the intro to the first track, ‘You’ll Only Make It Worse’ manifesting as extraneous noise before the beats and the bass kick in to drive a snaking electrogoth behemoth. It’s Depeche Mode with the pained twist of Nine Inch Nails and the abrasion and detachment of the classic Wax Trax! sound. It’s a development from their 2016 debut, but make no mistake, they’ve not mellowed any, instead utilising the same elements to present something more focused and harder-edged.

And so Real Men pounds and grinds, at times bordering on the psychotic, as grinding Suicide-inspired synths provide the backdrop to vocals that veer wildly from snarling angst to clinical robotix. I could sling all the quintessential electro-based industrial acts in here by way of touchstones, but I’d only be filling space, because the chances are you already get the gist. Bu it’s also way, way more than that: the helium-falsetto on ‘MRA Soundsystem’ is unexpectedly more reminiscent of the late Billy MacKenzie of fellow Scots act The Associates (who also had tendency for ‘busy’ arrangements).

‘Dominant Muscle’ may be manic, even shrill and frenzied, but musically, it’s pretty lightweight and calls to mind Sigue Sigue Sputnik’s ‘Love Missile F1-11’ crossed with the first Foetus album, in that it combines a relentlessly driving synth rhythm backing track with extraneous noise and deranged vocals. And this is really the shape of things: jolting, jarring, jerking all over, Real Men is an album that doesn’t sit comfortably, instead revelling in layers of anguish, pain, discomfort, with a substantial dose of self-loathing in the mix. But as much as it’s got masochism in its soul, so the sonic pain inflicted on the listener is a wilful act of Sadism.

‘Deserving Pest’ comes on like NIN on ‘Reptile’ – all the sleaze, all the S&M, and I can’t help but be reminded of Marc Almond’s early output: it’s groove, but it’s also got a strong current of self-punishment. ‘Pink Pitbull’ pursues new levels of annihilistic torture, a hybrid between Dead Kennedys and a Swans album played at 45rpm. It’s fucking horrible, and so, so, disorientating, but simultaneously so magnificently punishing it’s positively addictive.

‘The People vs The Real Men’ feels kind flimsy with its throwaway synth groove that’s equally retro and low-budget, but it’s redeemed by the distorted vocal barks that provide a grit that cuts against the mechanoid backdrop, and it culminates in crescendous multitude of screaming, maniacal vocals that penetrate and remind us that lo-fi electronica doesn’t correspond with tame.

Closer ‘Coasting on Genetics’ feels a shade derivative, but that’s by technoindustrial standards, and even then, it packs a punch as it whips extraneous noise into a whorl of noise.

Real Men is a challenge, and it’s unquestionably niche. But it’s a work of twisted genius that will repel the majority, while those who dig it are going to go absolutely nuts for it. and yes I’m going completely nuts.

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Damn Teeth - Real Men

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…And You Will Know Us By The Trail Of Dead have announced a European headline tour for September / October 2019. These shows will be in support of their as-yet-untitled new album, due out later this year. The full list of dates is as follows:

14th September – Leffingeleuren, Leffinge, Belgium

15th September – Le Petit Bain, Paris, France

16th September – Melkweg, Amsterdam, Netherlands

17th September – Doornroosje, Nijmegen, Netherlands

19th September – Stadtgarten, Cologne, Germany

20th September – Sommercasino, Basel, Switzerland

22nd September – La Santeria, Milan, Italy

23rd September – Strom, Munich, Germany

25th September – Festsaal Kreuzberg, Berlin, Germany

26th September – The Stage Club, Hamburg, Germany

27th September – Forum, Bielefeld, Germany

29th September – The Waterfront, Norwich, UK

30th September – The Deaf Institute, Manchester, UK

1st October – Oslo, London, UK

2nd October – The Cluny, Newcastle, UK

3rd October – The Caves, Edinburgh, UK

…And You Will Know Us By The Trail Of Dead recently celebrated 20 years of the album ‘Madonna’ with a European tour in February, performing the album in its entirety.

TOD 19

1st April 2019

Christopher Nosnibor

I can’t recall if my rants about infantilism as the latest tool of oppression in the arsenal of late-to-the-point-of-crumbling capitalism have made it to any reviews or commentary pieces, or if they’ve been contained to nights down the pub with old friends, after which ideas for delivering incisive critiques have evaporated with the fumes of alcohol the following morning. The greatest likelihood is the latter. Anyway. In summary, the term ‘adulting’ is indicative of the millennial inability to deal with life in general (which I get, because we all struggle, but part of being an adult is stepping up and enabling the next generation instead of cowering in the face of responsibility and running to one’s parents for help in filling out forms for car finance or doing a spot of DIY), and the fact that I find myself surrounded by people in their late 20s accessorising with the same all-things-unicorn my seven-year-old daughter is already growing tired of is a clear symptom of a deeper societal issue. Is the unicorn the symbol of the snowflake (a term I abhor, for the record)?

I write from a position which is both central to, and exempt from, the gender wars which are raging all around right now, and will be open in saying that I don’t write from a position of relating. I’ve suffered prejudice simply for that, too, but we’ll not revisit that here. The key point is that inclusivity isn’t about where you’re from, but how you treat others. Irrespective of gender, I’ve always been an outsider, and know that outsiderism from wherever you’re standing is hard.

Maybe I should just shut up with the commentary and stick to the fact that Neverlanded are giving away their debut EP, F.u.U. (that’s Fluffy Unicorns United) in exchange for a donation to Mermaids UK, a charity which ‘offers support to transgender and gender variant children and young people, their families and supporting professionals’. And regardless of the music, I can only give total backing for a band who are willing to launch their recording career with a view to promoting something other than themselves. Alongside Modern Technology (link) who are donating the proceeds of their debut to Mind and Shelter, Neverlanded seem to be leading a new generation of socially-conscious philanthropic artists who are more concerned with making a difference in whatever small way they can than fame and wealth.

It’s a double bonus that the EP’s four tracks, ‘Brainsane’, ‘MesS.O.S.’, ‘This Friend Of Mine’, and ‘Scream 4 Ice Cream’ are more than just solid, but remarkably strong.

They pitch themselves as being for fans of Placebo, L7, Silverchair, Garbage, Nirvana, Cranberries, Pixies, and Refused, which lands them right in the heart of the melee of 90s alternative, and it’s precisely what they deliver.

‘Brainsane’ pounds in with a riff that’s as beefy as hell, the drawling vocals and loud / quiet dynamic straight out of 1993 in the best possible way, because it balances rawness and emotional sincerity with a full gutsy sound. If ‘MesS.O.S.’ is poppier, it’s poppier in the way that Nirvana’s ‘Been a Son’ is poppier. The slower, almost dream ‘This Friend of Mine’ is well-placed, and the lack of angst is no detractor, not least of all with it being followed by the lo-fi grunge-out of ‘Scream 4 Ice Cream’ that drives the EP to a lurching, overdriven close.

Not only is F.u.U total quality from beginning to end, but it succeeds in contributing to a well-explored genre without sounding remotely generic: in fact, it’s exhilarating in its passion and purity.

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Neverlanded - FUU

Pretty Ugly Records – 24th May 2019

Christopher Nosnibor

The London synth duo follow up on last year’s debut double A-side ‘Are You Ready’ / ‘Hell Is Where the Heart Is’ with ‘Modern Witchcraft’, which according to the press release ‘sees the band explore Britain’s lost highways in their darkly psychedelic animation’.

Having spent the last few months holed up with Dave M. Allen (The Cure, Sisters Of Mercy, Yassasin), Matt Kilda and Willow Vincent have been experimenting hard, and this singe is the first fruits to be revealed from the forthcoming ‘Cheer Up The Apocalypse Is Here’ EP.

Instead of lamenting the absent comma, I shall instead concentrate on focusing my energies on celebrating the taut goth-hued electropop of ‘Modern Witchcraft’. It mines a supremely retro seam of 80s bleakness, pulling together Gary Numan, The Human League, and Depeche Mode, with the warmth of analogue condensing against a chilly atmosphere and brittle, stripped-back production to evoke a sense of desolation, of isolation.

Whichever fan review suggested Sex Cells are ‘helping define the anxiety and utter dread of late-stage Capitalism’ was on the money: if it’s the sound of the 80s intensified for the post-millennial world, it’s fitting, given that the parallels between then and ow are clear – only then, we only had one clear enemy and cause of social division, and less CCTV.

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Sex Cells

Metropolis Records – 24th May 2019

Christopher Nosnibor

Dark, slithering atmospherics – the sound of a postindustrial, postapocalyptic, Bladerunner cityscape, with twitching broken cables fizzing sparks showering into anonymous alleyways – mark the opening of Nero Bellum’s solo debut. A low, gut-churning bass grinds in against hefty beats – not snare drums, but blasts of distorted noise, and as such, ‘Another Prayer to Lucifer’ sets the tone.

Representing two years’ work, with each piece being recorded live, ‘improvised, with no overdubs, and without the use of computers in the creative process’, NFRNº marks a clear departure from the industrial metal of Psyclon Nine.

It’s still got an industrial feel, but it’s about atmosphere rather than brutal attack. Everything is dank, murky, indistinct, and while many of the arrangements are sparse, there’s an oppressive density which permeates the album as a whole. Monotonous, hammering beats thud dolorously, pounding relentlessly against whirring electronics with serrated edges, and each piece bleeds into the next to forge a sprawling mass of discomfort. The album’s impact stems not from its range, but precisely from it’s lack, bludgeoning the senses with trudging repetition and tonal similarity. There is next to no light here, only varying shades of darkness and inhuman bleakness.

‘An Angel’s Offering’ hints at some sort of redemption, with blooping, skittering interloping synth lines that venture into (comparatively) accessible dance territory, before ‘The Beauty in Something Broken’ offers the first pang of melancholic yearning from amidst the relentless stream of emotionally-desensitised machine-made noise.

The reprieve is but brief, though, and ‘Stranded’ wavers back down the path toward darker territories, casting an air of uncertainty and trepidation with its quavering drones. The closing pairing of ‘A Candle Once Burned’, which is more the sound of hope being extinguished rather than light, and the onset of a purgatorial emptiness, and ‘Never Good Enough’ wanders in shadow, formless, with no sense of closure as it fades to nothing.

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Nero Bellum – NFRNº

20th May 2019

Christopher Nosnibor

5 guitars follows very quickly the eponymous debut by n, which is Nathan Lyons (concept, guitars) and Neil Physick (software, field recording, processing, arrangements, production, artwork). Its predecessor was the result of musical free association inspired by ‘random’ words: 5 Guitars is less determined by creative process and emerges from more of a conceptual space, in that, according to the accompanying text, it ‘explores the idea of the instruments having their own spirits, benign or malignant, and of a guitar maturing over time then slowly completing its natural life, remembering the past in distant tones’.

This is a work which is very much geared towards the evocative, the listener finding their own place within abstract works and finding the meaning. Only, the listener doesn’t so much find the meaning as project it from their own experience. Does the universal lie in the personal? Most definitely, although 5 guitars isn’t an album that has any grounding in the personal, as much as a space between.

The spirits of the different guitars float into the air, the concept not so much lost in translation as dissolving into vague sonic nebulousness.

Warm, distant drones define the first piece, ‘Red Kay’, which hovers and hums in a mid-range swell which ebbs and flows in a calm, natural way. It bleeds into ‘Effector’, which almost disappears at times, dissolving into the most vaporous, background of ambient.

The narrative and concept isn’t overtly discernible from the music itself: the tracks don’t demark a clear linear progression from mellow tones to decay.

Picked notes are discernible on ‘Tiesco’, but they’re carried in trembling washes that approximate chords but are much vaguer, less defined…. And definition dissipates to nothing amidst the undulating drones which surge beneath the tempered ripples of notes that drift gently over the indistinct, hazy backdrop.

5 guitars is vague, undefined, indirect and unfocused from a listening perspective. And that’s all fine. The concept may not be clear, but has no bearing on the listening experience, and certainly has no impact on the reception side of the project, which is a pleasurable wash of soft tones that more than fulfils its purpose in terms of background.

https://nsound.bandcamp.com/album/5-guitars

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n - 5 guitars

Portland, OR noisy metal duo Wizard Rifle who will release their 3rd album on 30th August through Svart Records, are streaming new track ‘Rocket To Hell’.

The band comment, “This sonic stew encompasses all the usual elements of Wizard Rifle: gut-punching, down-tuned sludge punk riffs interwoven with psychedelic overtones and triumphant builds with vocal harmonies and dual yells. Lyrically the song is much like a hangover from a thousand-year orgy of global greed. It deals with the shortcomings of mankind and the individual in the face of the apocalyptic consequences of its self-created extinction. Take the ride; strap in and blast off to this seven-minute rager.”

Stream ‘Rocket to Hell’ here:

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Wizard Rifle emerged from the metal groundswell of Portland Oregon in 2009 bent on annihilating the complacency of genre pigeonholes and throwback tropes. Their elusive sound contorts and leaps from sludgy and psychedelic, to thrash, noise and beyond, accented by vocal harmonies and shouts. On first listen, many scoff at the possibility that such a cacophony could be produced by just two band members, but seeing is believing the force that is Wizard Rifle, and skeptics become Kool-Aid guzzling disciples before the altar. Are you next?

Teaming with Nanotear Booking, Guitarist/Vocalist Max Dameron and Drummer/Vocalist Sam Ford have delivered frenzied live shows extensively across the US and Canada including appearances at SXSW, Psycho Las Vegas, Sabertooth, Hopscotch, Crucial Fest, and Musicfest NW. They have shared bills with the likes of The Melvins, High On Fire, YOB, Lightning Bolt, Nick Turner’s Hawkwind, Danava, and SubRosa, and hit the road with Bongzilla, Buzzov*en, Black Cobra and Church of Misery to name a few. Their two full length releases, 2014’s “Here in the Deadlights” and 2012’s “Speak Loud Say Nothing” have drawn great praise and kept critics and fans on their toes. Their upcoming self-titled LP, due out this summer via Svart, pushes the boundaries even further with the aid of metal mix guru Billy Anderson at the helm of the studio.

Wizard Rifle are preparing to join seminal psych metal band Acid King and rising nightmare grungers Warish for the Busse Woods 20th Anniversary Tour this summer in the U.S.

Acid King Busse Woods 20th Anniversary Tour Dates with Wizard Rifle and Warish

09/20 Portland, OR @ Star Theater – Hesh Fest

09/21 Seattle, WA @ Highline

09/23 Denver, CO @ Marquis Theater 

09/24 Omaha, NE @ Slowdown

09/25 Chicago, IL @ Reggies

09/26 Indianapolis, IN @ Black Circle

09/27 Cleveland, OH @ Grog Shop

09/28 Buffalo, NY @ Mohawk Place

09/29 Boston, MA @ Sonia

09/30 New York, NY @ Knitting Factory 

10/01 Philadelphia, PA @ Johnny Brenda’s

10/02 Richmond, VA @ Richmond Music Hall

10/03 Raleigh, NC @ Kings

10/04 Asheville, NC @ Mothlight

10/05 Atlanta, GA @ The 529

10/06 New Orleans, LA @ One Eye Jack’s

10/07 Dallas, TX @ Gas Monkey

10/09 Albuquerque, NM @ Sister

10/10 Mesa, AZ @ Club Red

10/11 Los Angeles, CA @ Satellite

10/12 San Francisco, CA @ Chapel

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