Archive for December, 2019

Mary and the Ram (the studio project of The Trembling Hellish Infernal Nightmare Generator’s Kiran Tanna and The Parasitic Twins’ Dom Smith) have released the video for latest single, ‘Eclipse’ which was released on October 18, 2019 through Syndicol Music.

For Fans of The Dresden Dolls, Death From Above 1979, Marilyn Manson, Nick Cave and Nine Inch Nails.

Recorded at Melrose Yard Studios in York, UK and co-produced between Kiran, and New York-based Kallie Marie (Explosives For Her Majesty), the band have also hooked in the talents of Dave Ogilvie (The Weeknd, NIN, Skinny Puppy) for mixing, and mastering by Howie Weinberg (Thirty Seconds To Mars, Mars Volta, Nirvana).

Dom had this to say on the video:

"’Eclipse’ is the darkest thing we’ve put out. I could tell you what it’s based around lyrically, but we wanted some solid occultish symbolism so that people can make up their own minds – is it about dark relationships? is it just our nightmarish fantasy? There are numerous themes and ideas in Duncan’s animated work, and we look forward to people’s interpretations."

MaTR has also made efforts to expand the live sound, recruiting musicians from both York and Hull to join the group as full-time members: Edward Alan Logie (Modern Mood Swings) and Sarah Shiels (Black Delta Movement). Live dates will be announced soon.

Watch the video for ‘Eclipse’ here:

Christopher Nosnibor

This one’s been languishing in the vaults for a while now, but one of the things about recording prolifically is that sometimes it takes time to catch up on the release schedule. And so Gintas K’s variations in a-moll for a granular synthesis gets to see the light of day in the middle of a solid and steady release schedule which has seen the release of one or two albums a year for the last three.

Of the six sequentially-numbered tracks, all but one are well over the ten-minute mark, and the shortest is over eight minutes in duration.

Not a lot happens, at least initially: repetitive synth stabs on a single note with varying levels of force shift into different notes. They begin to overlap, and a fuzz of distortion decays the edges. Gradually it slides into a mess of overloading noise: the synths crackle and burn among a billowing walls of darkness.

Across the album, scraping granularity and stuttering dominate the foreground. It difficult to settle to a constant flickering, a crackling distortion of interrupting signals, and the sensation is disorientating, dissonant, disruptive. By the third piece, the sounds has degraded to a rumbling crackle. This sonic disintegration could likely be taken as a metaphor for something. But for what? Well, from a reception theory perspective, you can insert your own metaphor as appropriate. To me, it feels like a sort of glitched-out panic attack, a mental collapse as a response to the crumbling culture at the tail-end of 2019. A decade slumping to its bitter end in an amorphous mass of fragmentation, with rhythms reduced to swampy surges back and forth, and fractal notes dance skittishly.

The fifth piece introduces some softer tones, an ambient wash that’s cracked and damaged, bur nevertheless hints at something mellow… and then it tears apart from the seams as a heavy fog of noise descends, and the final composition splinters and breaks, the shards bursting apart in slow-motion to leave rubble and dust.

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Gintas K – variations in a-moll for a granular synthesis

We’ve been bigging up Modern Technology since the release of their eponymous EP – not just because it’s powerful musically and lyrically, but because the duo believe in trying to make a difference in a bleak world. And so we’re inordinately proud to be involved in the latest Human Worth charity fundraiser, which sees proceeds donated to Mind and Shelter, and which sees their first Leeds show in 9th February 2020. It’s headlined by percussion-heavy racketeers Cattle, and they’re joined by one of Newcastle’s heftiest, sludgiest bands in the form of Lump Hammer, Leeds’ finest maker of manic electronic noise, Territorial Gobbing, and relative newcomers, …(something) ruined, a brutal power electronics duo consisting of Paul Tone (Foldhead, Inverted Nepal) and one Christopher Nosnibor.

The event will be held at DIY venue CHUNK, and tickets are a mere £5.50, available via this link. There’s also a super limited run of Early Bird cheap tickets: just 15 in total, then onto Advance Tickets which saves money on door and guarantees entry.

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Pulp front man Jarvis Cocker may be a bit more mainstream than your usual artist featured at Aural Aggravation, but this is crisis. Besides, there’s no question about the prospect of getting a song entitled ‘Cunts Are Still Running the World’ that slams capitalism and right-wing governments to number one would be an ultimate act of subversion. Which is why it gets the Aural Aggro vote (unlike the cuntiest of cunts, Boris lying bastard Johnson).

So what happened?

A fun little Facebook group, started by a couple of lefty music fans has, this week, become the focus of national and international attention.

Rising from nothing to 20,000+ members in its 4 days of existence, the FB group ‘Fancy Getting “C**ts Are Still Running The World” to UK Xmas No. 1?” has now received the endorsement of Mr Cocker’s label Rough Trade Records AND the man himself – and he’s decided that proceeds from single sales this week will benefit SHELTER, the homeless charity.

Purchase the song from iTunes (or wherever) from now until the end of Thursday 19th December. Links:
https://music.apple.com/gb/album/running-the-world/260670939?i=260670974


https://uk.7digital.com/artist/jarvis-cocker/release/running-the-world?h=01&f=20%2C19%2C12%2C16%2C17%2C9%2C2

If you can afford the 99p, please do buy it and buy it from more than one place!

Equivalent is to stream it at least 100 times, i.e. on Spotify or similar. (more streaming details below)

https://open.spotify.com/track/3vHqlBYlLgog7dOJn8K0Tu?si=YwvBUL9sSnG36BivwH0UJA

CURRENT CHART POSITIONS –
iTunes – no. 3
Amazon – no. 3
7Digital – no. 1

SOCIAL MEDIA

https://www.facebook.com/groups/618955365312116/

https://twitter.com/Jarvis4Xmas

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8th December 2019

Christopher Nosnibor

The latest release from Yorkshire electronic noisemaker Foldhead comes with no information whatsoever. It features just one track, and laser synth sounds throb space-age pulsations into a void of distant dissonance and static air. Voices crackle somewhere almost subliminally as if tapping into the mutter line. Change the frequency. Same distorted, indecipherable message. Feedback. Hiss. Hum. Extraneous noise. Sounds like something… something indefinable. Something out of range. Something unsettling. Not painful, but uncomfortable.

At the four-minute mark: silence. Is that a low rumble or simply the heating and my laptop’s hard-drive?

The ponderance is disrupted by crawling, squalling extranea, a mess of feedback and treble, scrapes and hovers, a mid-range, mid-air act of defiance against comfort. The volume takes unexpected incrementals steps upward, while the stuttering rotary stammerings continue to churn and thrum. Faint trills of treble and low-level grinds emerge and fade. The swell of sound is increasingly unsettling as the volume and density increases… ad then, an abrupt end. Silence. This is how it ends. This is how everything ends.

Now, I like noise, but am often relieved in some sense when it ends. Foldhead’s latest isn’t as oppressive as that, but there is a certain sense or the pressure lifting after the end. It may only be ten minutes in duration, but Radio Dust MAG 4.wav has a certain sonic intensity from which there is no escape until that silence descends.

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Foldhead - Dust

Panurus Productions

Christopher Nosnibor

The text accompanying this ultra-limited and micro-niche release forewarns of ‘Blackened hardcore that follows three simple rules:

1. Do you remember earth, fluid, accident, stone and teleport? Perhaps

2. And the smell, a blade under the water three floors up, correct? Yes

3. And fresh marble lines submarine quarters, but they kept asking you about a garden you imagined some months ago now? A back garden in a terraced house, yes, built like stairwell, garden on each step

The figure, the face, the temple I knew of before recording this record. Some months post and now I understand why a mansion. Walking the body until it knows naturally to consume.’

The cryptic final paragraph, I don’t claim to comprehend, but the result is a five-track cassette with a running time of ten minutes with a lot of block caps. It’s also harsh, noisy, and brutal, and in the tradition of all things black and blackened, the production is from the toilet and the playing is at a thousand miles an hour. The result is a churning blur of gut-churning guitars and drumming d fast the individual beats melt into an oozing morass of pulverising thunder.

‘A VISION OF THE ROTATING MUSCLEMAN BETWEEN THREE COBRAS’ begins with some banal spoken-word monologue about trousers before exploding in a barrelling blast of dirty noise and shattering feedback.

The longest track has the longest title, and ‘A CELEBRATION OF THE CAREER OF A SKELETON THAT PLAYED BASEBALL AND BEAT PEOPLE UP AT THEIR HOMES’ is a brutal and blistering assault. It’s three minutes of battering, harsh noise that emerges from a billowing build-up of amorphous noise disturbance that churns and scrapes and glitches and funnels, before breaking into one final tumultuous thrashabout. There may even be vocals in the dank morass of overloading noise, or there may not: it all melts into a dingy sonic mudslide. Perfect.

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MINESHAFT – VENUM LUXDOR DISCOVERY SUPER NOVA

Everyday Life Recordings – 10th December 2019

Christopher Nosnibor

Just when I thought I couldn’t love Moderate Rebels any more, they drop a brand new song just in time for Christmas, and landing two days before the most highly-charged and heavily-weighted general election in memory, it’s bursting with anti-government sentiment:

How come there’s always money,

For bombs? But never any

money… For the old, Or the

young, Or anyone… who isn’t

strong?

Beware. Beware of the

cheats. Singing you

love songs, Sing you to

SLEEP.

Boiled down to a simple lyrical repetition, the vocals – airy yet monotone – combine with a sturdy, motorik beat and simple, cyclical chord sequence overlaid with analogue synth tones, it’s an ode to media narcotisation and a nation sleepwalking to its doom, and another quintessential  Moderate Rebels cut. They’re still moderate, and still rebellious, and the fact they’ve chosen to release this now – and only make it available until the end of December – makes a clear statement of where they stand and what they’re rebelling against.

Apparently, they have 30 new songs ready to go, and I both hope and expect that’s 30 more songs of the same as the two albums to date. But they can wait until 2020, when they can be the soundtrack to – hopefully – celebration, or, and it’s a terrifying and gloomy prospect – commiseration.

For now, listen to this on a loop, and use it to hypnotize anyone who’s on the fence or you suspect may be a secret Tory. It’s time to get the bastards out and end austerity. And once again, Moderate Rebels get my vote.

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Moderate Rebels Cheat Artwork ideas (1)

…And You Will Know Us by the Trail of Dead bring fans another new song today with the release of “Into The Godless Void.”  Everything kicks into full pelt with this noisy and thrilling existential anthem that follows the news of the band’s first new album in six years, their upcoming 25th year anniversary and a European headline tour.  Just last month …And You Will Know Us by the Trail of Dead announced the January 17th release of X: The Godless Void and Other Stories along with their first new song and video for “Don’t Look Down” which Rolling Stone called “…a bustling rock track carried by rushing drums and fuzzy guitars….”

“Into The Godless Void” is a track that founding member Jason Reece says deals with “this existential woe that all humans tend to go through – feeling that weight that plagues the mind.”  Fellow founding member Conrad Keely adds, “Songs have a life of their own.  If you listen to them, they’ll tell you how they want to manifest.”

Watch the video for the track here:

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The band have also announced European headline shows in support of the new record, find the full list below:

Sun 09 Feb 2020 Dunquerque, France, Les Quatre Ecluses

Mon 10 Feb 2020 Paris, France, Le Petit Bain

Wed 12 Feb 2020 Cologne, Germany, Stadtgarten

Thu 13 Feb 2020 Bielefeld, Germany, Forum

Fri 14 Feb 2020 Basel, Switzerland, Sommercasino

Sun 16 Feb 2020 Reutlingen, Germany, Franz.K

Mon 17 Feb 2020 Munich, Germany, Strom

Tue 18 Feb 2020 Vienna, Austria, Flex

Wed 19 Feb 2020 Berlin, Germany, Festsaal Kreuzberg

Fri 21 Feb 2020 Hamburg, Germany, The Stage Club

Sat 22 Feb 2020 Copenhagen, Denmark, Loppen

Sun 23 Feb 2020 Stockholm, Sweden, Stockholm Nalen Klubb

Mon 24 Feb 2020 Oslo, Norway, Vulkan Arena 

Wed 26 Feb 2020 Amsterdam, Netherlands, Melkweg

Thu 27 Feb 2020 Nijmegen, Netherlands, Doornroosje

Fri 28 Feb 2020 Brussels, Belgium, Botanique

Sat 29 Feb 2020 Brighton, Sussex, England, Patterns

Sun 01 Mar 2020 Bristol, England, The Exchange

Mon 02 Mar 2020 Nottingham, England, The Bodega Social Club

Tue 03 Mar 2020 Edinburgh, Scotland, The Mash House

Wed 04 Mar 2020 Manchester, England, Night & Day

Thu 05 Mar 2020 Newcastle upon Tyne, England, Riverside

Sat 07 Mar 2020 Leicester, England, The Cookie

Sun 08 Mar 2020 Huddersfield, England, The Parish

Tue 10 Mar 2020 London, England, The Dome

Wed 11 Mar 2020 St Albans, England, The Horn

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Band Photo - And You Will Know Us By The Trail Of Dead - 22262