Archive for August, 2019

Music is serious business and you have to be willing to power through on your journey to worldwide success, and Petrol Hoers (with all his Horse Problems and Cross Word Puzzles), is here to guide you.

Of the record, Hoers neighs: "I HOPE YOU ENJOY MY ALBOM PLEASE PRETEND YOU DID NOT HEAR THE BUCKFAST PUN I WOULD LIKE TO USE THAT IN ANOTHER SONG…"

Mixing elements of comedy, industrial, grindcore, gabba and punk music, Hoers is your real alternative in 2019.

Not much is known about this hefty equine phenom, but he does really like Squats, and believes that its very important while you give his new album, ‘I Don’t Know, Just Horse Stuff, I Guess’ (released on August 31) a listen, that you do some too.

Why the long face?

Listen to ‘Music is Serious Business’ here:

Opa Loka Records OL1904 – 14th September 2019

Christopher Nosnibor

Seeking a vehicle by means of which to explore the more ambient and experimental aspects of industrial music, Fire in the Head’s Michael Page began recording as Sky Burial in 2006. Thirteen years on, The Forcing Season: Further Acts of Severance is his sixteenth album under this guise. Owing more to the gnarly noise of Throbbing Gristle than the mellow sonic swathes of Royksopp, The Forcing Season isn’t what many fans of more populist contemporary ambient would consider ambient. The subgenre classification of dark ambient, with its industrial connotations is perhaps a closer demarcation, but it’s still not entirely accurate, as there are extensive passages of levity and tranquillity within the album’s ten tracks, simply titled I through X.

Progenitor of the ambient music, Brian Eno said that ‘Ambient music must be able to accommodate many levels of listening attention without enforcing one in particular; it must be as ignorable as it is interesting,’ and The Forcing Season certainly meets this criteria: its strength lies very much in the exploration of contrasts. There are stretches where it is extremely easy to zone out, and the lack of clear structure accentuate the drifting, amorphous nature of the compositions. ‘VII’ and ‘VII’ are exemplary, as slow-turning crystalline drones eddy in a rarefied air form smooth, soothing sonic expanses that somewhere along the way build levels of turbulence or otherwise jolt the listener out of that fugue-like state with jarring tonal incongruities. In short, it’s also interesting, imbued with a sort of suspense over when the next unexpected turn will come, when next there will be a sudden switch from background to foreground, from comfortable to uncomfortable and challenging.

‘I’ opens the album gently with soft waves of sound, but soon takes a turn for the more attacking, with smooth, chilly synths layering down over abstract washes and muted beats consumed by juddering bass undulations and wailing mid-tone pulsations that rub against one another at differing frequencies and echo in different times to disorientating effect.

‘II’ moves into more murky atmospherics, with a low, throb providing the backdrop of incidentals that scrape and scatter like breaking glass. There are flickers of discernible melody in the conventional sense for a brief moment on ‘IV’, as tinkling keys ripple tunefully and offer a certain relief. But this isn’t about relief, at least not sustained relief: The Forcing Season is an album built on turmoil.

The final track is the definition of ‘sprawling epic’: twenty-seven minutes of dissonance, as flickers and whistles of bat-pitch feedback and twitters flutter around dank low-end drones, clunks and a mid-range hum that hovers like mist in a graveyard. Over time, a grating, grinding swell of sound grows in volume and density and immense thunderous crashes punctuate the sustained surge… before it too tapers away to be replaced by an ominous hum rent with thumps and crashes. And from hereon it gets darker, denser, more unsettling as difficult drones with serrated edges eddy around beneath dungeon door thuds and whip-crack explosions of noise. And gradually the tempest abates, simmering down gradually to spacey waves of cinematic spaciousness that ebb and flow.

Because it’s truly ever-shifting, The Forcing Season: Further Acts of Severance is difficult to place and difficult to digest – which ultimately renders it an artistic success.

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ArtiosCAD Plot

Uniform & The Body’s monolithic collaboration, Everything That Dies Someday Comes Back, has been unleashed via Sacred Bones.  They’ve unveiled their new video ‘Day of Atonement’ via Consequence of Sound’s Heavy Consequence.

The video is a Super 8 film by artist Alexander Barton. He explains, “I wanted to make an abstraction of violence. The film’s character is in low resolution, a changing of disguises, an ambiguous identity, shadowed ideologies and masked by the skyline. The hooded figure is evasive to society. In this collection of images, he has prepared himself and represents the threat of the unknown.”

Comprised of an amalgam of abrasive influence that spans Swans-y dirge and purge, Whitehouse’s clenched-jaw noise, middle-period Ministry’s penchant for metallic post-industrial everything, New Order’s nose for melodic emotionality, and Juicy J-inspired beats, Uniform and The Body’s approach delves deeper down the rabbit hole than before, igniting a sonic world of terror and bliss poised to grip the throats of fans yet again.

Watch the video here:

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Uniform Live Dates continue…

08/19: San Diego, CA – Casbah *

08/20: Phoenix, AZ – Valley Bar *

08/22: San Antonio, TX – Paper Tiger *

08/23: Austin, TX – Barracuda *

08/24: Denton, TX – Rubber Gloves *

08/25: Houston, TX – White Oak Music Hall *

08/26: New Orleans, LA – Poor Boys

08/27: Birmingham, Alabama – The Firehouse

08/29: Tallahassee, FL – Wilbury

08/30: Tampa, FL – Orpheum *

08/31: Gainesville, FL – High Dive *

09/01: Atlanta, GA – Masquerade *

09/03: Nashville, TN – Exit/In*

09/04: Asheville, NC – The Orange Peel *

09/06: Baltimore, MD – Joe Squared

09/07: Washington, DC – Black Cat *

09/08: Jersey City, NJ – White Eagle Hall*

09/10: Brooklyn, NY – Elsewhere *

09/11: Boston, MA – Paradise Rock Club *

09/12: Portland, ME – Port City Music Hall *

09/14: Toronto, ON – Lee’s Palace *

09/15: Grand Rapids, MI – Pyramid Scheme*

09/17: Chicago, IL – Lincoln Hall *

09/18: St. Louis, MO – Delmar Hall *

09/20: Denver, CO – Marquis Theater *

09/21: Salt Lake City, UT – Metro Music Hall*

09/23 Seattle, WA – Neumos *

09/24: Portland, OR – Doug Fir Lounge *

09/26: San Francisco, CA – Great American Music Hall *

09/27: San Jose, CA – The Ritz *

09/28: Camarillo, CA – Rock City *

09/29: Los Angeles, CA – Echoplex *

* w/ Boris

The Body Live Dates continue…

06/09: Denver, CO – Denver Hex at Lost Lake Lounge

07/09: Kansas City, MO – The Riot Room

13/09: Providence, RI – Columbus Theatre ^

14/09: Hudson, NY – Basilica Soundscape ^

15/09: Brooklyn, NY – The Bell House ^

^ w/ Assembly of Light

Bohemian Drips – BD10 – 30th August 2019

Christopher Nonsibor

January 2017: I was introduced to Microtub on receipt of their album Bite of the Orange.it prompted all kinds of tangential associations, few actually or specifically related to the album’s sonic contents. But then, that’s s often one of the great pleasures of music for me – the ideas and images it has the capacity to unlock. And while more conventional musical forms – especially lyric-orientated works – resonate on a more direct level in that sound and sentiment combine to connect with given emotional states, more abstract works have greater potential for far freer associations.

July 2019: I’m reintroduced to Microtub and reminded that I still don’t really grasp what a microtonal tuba is, and remain amazed by the idea of there being three microtonal tubas in existence, let alone musicians to play them. Because, yes, as the press release informs / reminds us, ‘Microtub is the world’s first and only microtonal tuba trio, exploring Just Intonation and the rich harmonic potential of the tuba. In collaboration with bohemian drips and Ace Tunes they bring us their new release Chronic Shift, featuring recorded material from the stunning “Großer Wasserspeicher” (large water tower) in Berlin-Pankow, mixed with analog synthesizers’.

It gets a bit technical after that: ‘Carefully recorded in binaural audio by the bohemian drips engineers, this unlikely combination of tubas and simple synth pitches provides a meditative and immersive experience, and an auditory glimpse into a truly unique acoustic space. By using Kunstkopf stereophony and the perspective of a so-called dummyhead microphone (Neumann KU-100), the acoustical scenary of the tank was captured in 3D-audio, relocating the listener into the actual recording situation’.

More usefully, we learn that ‘the title track ‘Chronic Shift’ is a rework based on the piece ‘Sonic Drift’, a Robin Hayward composition written specifically for Microtub. Not that I’ve heard ‘Sonic Drift’ to compare, or know if I’d be able discern the connections.

Still, the two pieces on Chronic Shift are yawning longform experiments in organic hum and drone that sound nothing like anything involving an actual tuba. Which is probably for the best.

BD010_front

The spellbinding new album from Chelsea Wolfe is out in just under a month and today she has given us another glimpse of her more folk leaning sound. Her new single, ‘Be All Things’ is an emotional journey and shows Wolfe at the top of her songwriting game.

Of the track, Chelsea Wolfe says “’Be All Things’ is about navigating the world as a woman: reconciling the soft and the strong, balancing the warrior and the goddess, and wanting to be everything and nothing at the same time. Telling stories through song allows me to explore so many facets of myself; so many lives within. Some days I want to be quiet and reach my roots into the earth, and some days I want to spring up from the ground and be all things.”

“The video is a culmination of footage taken in a few magical locations,” says Wolfe. “Around southwestern Iceland, while shooting the Birth of Violence album cover, inside Moaning Cavern in Northern California – a marble cavern 450 feet deep that I visited as a child and sang in as an adult, sending my voice out as heavy as I could against the powerful dampness and sparkles of the ancient cave walls. A special spot in nature not far from my home where the Manzanita grows up like a red and green tunnel, and a historic California hotel from the Victorian era where many from the past rested their heads.”

Watch the video here:

Neurot Recordings – 2nd August 2019

Christopher Nosnibor

The best collaborations are greater than the sum of the parts, and transcend 2 + 2 = 4 equations of artists playing to type while rubbing up against one another in a predictable fashion. We often hope for more, but artists seldom really deliver.

The self-explanatory Neurosis & Jarboe, originally released in 2003, now fully remastered and with entirely new artwork from Aaron Turner, and available on vinyl for the first time sounds neither like Neurosis nor Jarboe, nor 50/50 Neurosis and Jarboe, but something that draws on the best elements of both to forge something very, very different.

The lugubrious slow grind of Neurosis is present in the low bass churn and the more ethereal elements of Jarboe’s vocals, which have brought grace to Swans since 1986 and her own solo work over a good two decades now. Both artists’ work has a certain timelessness about it.

In context, this is both noteworthy and, if not exactly ironic, a point of cognitive dissonance. In my head, 2003 is recent and this reissue is shockingly close to the original release. But this is the point at which the passage of time and its acceleration comes screaming in my face to remind me that 2003 was sixteen years ago. There are kids who’ve been born and are now of a legal age to raise families and to vote since the album was first released, and yet Swans calling it a day the first time around in ‘96 with Soundtracks for the Blind still feels quite recent. How is this album sixteen years old? Nostalgia isn’t what it used to be, and Neurosis & Jarboe has very much stood the test of time, largely because it doesn’t sound quite like anything else.

‘His Last Words’ is perhaps the most overtly ‘modern’ cut on offer, and after a slow guitar grind, hits a groove that straddles dance and psychedelia. But there’s a deep, dark atmosphere that creeps over this and the album as a whole, with the majority of the tracks stretching out beyond seven minutes and pushing repetitive motives which worm their way under the skin and penetrate the skull by means of sonic bludgeoning.

The nine-minute ‘Erase’ brings some heavy, emotion-wrought doom-country with a distortion-tinged vocal that alludes to a dirgy Come, with Jarboe sounding more like Thalia Zedek in the song’s early minutes before the anguished howl emerges, culminating in a throat-tearing, raw-spewing roar by its uncomfortable climax.

Then, ‘In Harm’s Way’ recreates the woozy two-chord grating attack of early Swans when they were at their most gut-churningly jarring and abrasive, and it hits hard.

So why remaster, and why now? What does it add? According to Steve Von Till, ‘We recorded this ourselves with consumer level Pro Tools back then, in order to be able to experiment at home in getting different sounds and writing spontaneously. The technology has come a long way since then and we thought we could run it through better digital to analog conversion… This new mastered version is a bit more open, with a better stereo image, and better final eq treatment’.

And because they got Bob Weston of Shellac, and engineer at Electrical Audio to work on it, it does sound bloody great and lands with maximum impact. And the new artwork’s rather nice, too.

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Neurosis and Jarboe

Svart Records – 30th August 2019

Christopher Nosnibor

The Portland two-piece described as purveyors of ‘noisy metal’ haven’t wasted time on naming their third album, which lands five years on from 2014’s Here in the Deadlights, and have instead focused on the contents and rendering it as maximalist as possible. There are a fair few duos around at the moment who manage to conjure a full-band sound. It’s impressive, but how do they do it? Big amps and lots of pedals is the usual answer, but with these guys, there’s got to be something more. I mean, the sound is huge. In fact, no, it’s way bigger than huge. Alchemy. It’s gotta be.

The album’s five songs are all at least seven minutes long, and are, without exception, hefty as hell riffmongous monsters, the noisy metal style being very much of the sludgy stoner persuasion, with Melvins being the most obvious and appropriate touchstone. But they’re no half-arsed style appropriators: there’s a lot going on here, and there’s a slew of other elements in the mix. Punk and psychedelia may sound like an awkward combination, but they pull them together effortlessly, along with a dose of really gritty thrash.

‘Caveman Waltz’ doesn’t sound like it’s actually in waltz-time, but steps up from a lumbering knuckledragger of a riff to doubling the tempo halfway through and thrashing out an uptempo throb with spiralling lead fretwork weaving a sonic mesh over the thumping percussion as the vocals go full-throated holler mode.

And they’ve got tricks galore up their (wizard’s) sleeves. The twelve-minute ‘Funeral of the Sun’ melds black metal and prog to create an expansive piece that rages and snarls but also features moments of rich atmosphere and strong melody.

Closer ‘V’ drives in hard with the most overtly thrash riff, but the vocals go all psych and the lead line is mathy and then… my head’ spinning with all of it after just a minute and a half. Nine minutes in and it’s all over.

You’ll likely often read that metal is running out of ideas, and that doomy / stoner / sludge has become a predictable parody of itself. And it’s not entirely untrue. But then an act like Wizard Rifle will present themselves and completely smash all preconceptions with a blend of killer riffs and wild innovation. Here, Wizard Rifle prove that there’s still a lot of ground to be explored through permutation and hybridity, delivering an album that’s solidly rooted in familiar territories, but at the same time explores new ground and doesn’t sound quite like anything else. At least, nothing I’ve yet heard.

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Wizard Rifle – Wizard Rifle