Archive for the ‘Albums’ Category

Organ Donor – Malplacé

Posted: 21 March 2023 in Albums
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Thanatosis produktion – 24th March 2023

Christopher Nosnibor

Having frothed with enthusiasm over Mammock not so long ago, I was particularly thrilled to discover Organ Donor, a Swedish/Greek outfit featuring members of Viagra Boys, Grismask, VÖ, Mammock, Angles, Fire! Orchestra, Aurora Ensemble, CBVB and the Mute. Admittedly, I’d expected something more guitar-driven and noisy in the rock sense, but expectations are best when confounded.

Malplacé evolved through improvisation, resulting in what they describe as ‘6 diverse yet coherent tracks, spanning from instrumental kraut, to mystic themes perhaps reminiscent of John Lurie or Loren Connors, to dark, minimal pulsating improv and punkish, full-on, noise outbursts.’ Diversity and coherence tend not to converge too commonly, and in truth tend to sit at opposite ends of the spectrum.

As the rippling vibes and subtly trilling horns of the abstract jazzy post-rock of the first track, ‘A Sleeping Beauty’ meander their way from the speakers, I’m struck by just how far a cry this is from Mammock and The Viagra Boys, and, on reflection, this is something to be pleased about. Why have a collaborative side project that sounds like your main project? It’s like having a hobby that’s the same as your dayjob. You can insert your own example here, because, well, I can’t help but feel that too labour  the point with explicit examples would be crass.

‘Touch’ spills jazz juices across a chiming guitar that jangles over an insistent yet mellow groove, where post-rock meets psychedelia and krautrock. Sometimes, for a moment, I find myself wishing there was slightly less sax, but then, again, the overloading nature of the jazzery is what makes this what it is, and things get really scratchy and discordant on the ten-minute ‘Stemless’. This is one of those freeform pieces that hurts the brain. Everything jars and flits, and toots and parps, squeaks and squawks and twangs and pings, like rubber bands being stretched and plucked across pans and bin lids, bowed notes bend, drone and grind, and it sounds more like a scrap than a song. It groans and wheezes and stutters and heaves, to the point that it’s enough to induce motion sickness.

‘A Sleepwalking Beauty’ provides a welcome moment of rest and tranquillity, before ‘Power Tools’ goes all out on the avant-jazz noise frenzy trip. It’s noisy, noisy, and noisy, a wild chaotic and cacophonous blast and an instant headache which feels a lot longer than a minute and a half.

In contrast, ‘Sci Fi Marmots’ is slow and smoky, an odd yet sedative piece where everything melts away into a haze. I’m tired, and need sleep. I’m all the more tired after experiencing the bind-bending chaos of Malplacé, but have to hand it to the guys in Organ Donor for creating an album that has the capacity to both exhilarate and drain the very life through aural excess. It’s a significant achievement.

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Matt Elliott – The End Of Days

Posted: 20 March 2023 in Albums
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Ici d’ailleurs – 31st March 2023

Christopher Nosnibor

Matt Elliott, since breaking out from the Third Eye Blind moniker, has maintained a fairly steady flow of output, with an album every three years or so, with this being his ninth.

Farewell To All We Know (2020) and The Calm Before (2016) were just the most recent, with the former bring a dark, lugubrious affair: the title carried connotations of facing finality, something that doesn’t really sit comfortably in Western culture outside of the realms of art – and it seems that death has become an even greater taboo in recent years, with anything which references death, and particularly suicide – requiring a trigger warning.

Given that suicide is the single most common cause of death in males under the age of forty-five in the UK and a high on the tables in the US and many other countries, and that death is the sole inevitability in life, I feel it’s something to be faced up to, not shied away from. It may be a contentious view, but we don’t get to choose whether to leave the room in real life, so why in art? Perhaps bringing these subjects out into the open – in the same way as mental health has finally become accepted as being something we can discuss – would render them less triggering. Herein lies something of a contradiction, in that we now discuss mental health, but not the effects or consequences. And have we really broken the barrier on mental heath? I often hear or see people saying they’re not having a good day or week because ‘mental health’. It’s progress, in that historically people would have rather said they had the shits than were struggling – but there’s further to go, especially if we’re to be sure that ‘mental health’ doesn’t become the new ‘upset stomach’ that gets a pass from disclosing what’s really wrong. Not because prying is to be encouraged, but there’s talking and there’s talking, and if we’re really going to talk about mental health, then shutting a conversation down by using the phrase isn’t going to make that happen.

The press release suggests that Farewell To All We Know was ‘a harbinger of the collapsological crisis that was COVID 19. What can be built when everything is down, when everything has crumbled, ideals and beliefs, a sense of commonality and community?’ Of the new album, it poses further questions: ‘What is left when you are without words? What is left? Death, perhaps, but also life… What is left? A form of awe that dulls? An enthusiasm that dries up? A curiosity that no longer makes sense?’

As the title suggests, with The End Of Days, Elliott once again has his focus placed firmly on finality. And just fifteen minutes surveying the news suggests that we really are living at the end of days: plague, natural disasters… it’s not a question of if, but when, and how? Will climate change bring about the end of days for humanity, or will we wipe ourselves out with nuclear apocalypse before we reach that point?

‘All life’s wasted time’, he intimates on the title track which opens this delicate six-song suite – a sparse acoustic folk tune that has a lilting quality that’s easy on the ear. It sounds like he could be singing this sitting in a rocking chair by the fire, but brings a tear to the eye as he articulates the parental worries many of us – myself most acutely – feel.

And even all the smiles on children’s faces bring you pain

When you think of what they’ll face

And if they’ll even come of age

A world resigned to flame

Because we’ve burned it all away

You – I – feel so helpless. Turning down the heating, turning off the lights – you tell yourself you’re saving the environment, but you’re only making your life more difficult while industrial complexes around the globe churn out more pollution in a minute than any household will in a lifetime.

‘We need to wind time back to the eighteenth century before the industrial revolution and show them now’, my daughter told me over dinner this evening. She’s eleven, and she’s right, and I feel the anguish flow through me as the horns swell in a rising tide of warped brass atop the flamenco guitar in the closing minutes of this ten-minute epic.

It’s not the last, either. ‘Healing A Wound Will Often Begin with a Bruise’ is over eight minutes in length, and ‘Flowers for Bea’ is an immense twelve and a half. ‘Song of Consolation’ sits between folk and neoclassical and is achingly beautiful, but offers little consolation. Because what consolation is there?

Incorporating jazz and baroque, The End Of Days feels less darkly oppressive than its predecessor, sliding perhaps into bleak resignation to provide the soundtrack to the drinks in the basement bar on the last night on earth. Yes, tonight we’re going to party like it’s goodbye forever. This is the album to which to clink glasses and hug and cry and share final gratitude for those who have been there for us, made our lives worth living as we swallow hard and brace ourselves for the inevitable.

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Gianluca Iadema – ID[entità]

Posted: 18 March 2023 in Albums
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Mille Plateaux – 14th April 2023

Christopher Nosnibor

ID[entità] is a collaborative work between composer, performer, sound and multimedia artist Gianluca Iadema and Swiss vocalist, improviser-composer Franziska Baumann, which developed over the span of 2017 to 2021, and is as much a work of decomposition and deconstruction and reassamblage as anything.

We’re deep into the territory of artistic concept and execution here, as the accompanying notes detail how ‘the Italian artist composes for the electronic and the acoustic voice, searching for similarities and contrasts that take styles of glitch, techno, and pop music to the extreme. Far from melody and accompaniment, he composes an oscillating interplay of the acoustic and the electronic environment, morphing and sculpting the two realms as equal sound materials. Rarefied moments, melodic outbursts reminiscent of Renaissance vocal music, and rave rhythms give rise to sonic textures embedded in a minimalist framework. The compositions are conceived in “spaces” rather than linear development, although an “ergodic” narrative is present. With a cubist approach, the spatially sculpted sounds transform into intimate moments and vice versa, thus allowing atmospheres to separate identity and non-identity. Born as a cycle of compositions for electronic voice.’

Cubism in music is something I have never considered, let alone encountered, and so I am – naturally – curious to discover what the album’s ten pieces would contain.

Strange, strange sound it what they contain. This is perhaps one of the oddest voice-orientated works I’ve heard since Mike Patton’s Adult Themes for Voice. Like Patton, Iadema showcases just how strange, unsettling, and unnatural the human voice can sound. That most familiar of things can also prove to be the most uncanny when its familiarity is twisted out of shape in any way. Against straggling strains of digital glitchery and fear-chord drones, we gets breathless utterances, muttering mumbles and off-key scales.

I hear eerie discord and dissonance; I hear voices bent out of shape to create forms that aren’t natural or humanly achievable without manipulation – but being human voices, they resonate subconsciously as belonging within the psyche. I hear stuttering glitches looped into helicopter rotors and panic attacks and sultry, soporific drones. I feel choral exultations and moments of contemplative spirituality. I hear uncertainty and a sense of unease. I hear scrambled bleeps and fluttering microtones, snippets in foreign tongues, a sensation akin to Wiilliam Burroughs’ cut-ups whereby words, sounds and images collage together to portray the world as we experience it, consciously and subconsciously, and simultaneously rather than via chronologically-sequenced narrative. There’s trilling and milling, humming and murmuring, and a sense of something just beyond reach, beyond knowledge, beyond perception, and a sense that something is somehow wrong. I may not hear Cubism, but then perhaps I’m not sure what I’m listening for, but I do hear fragmentation, sonic manipulation and all kinds of jarring effects.

With the majority of the tracks stretching beyond the five-minute mark, ID[entità] is a long album, and one which despite being quite calm and gentle in tone, with protracted ambient stretches hovering in an unsettling mist.

It’s a unique and visionary work which pushes multiple boundaries at the same time. ID[entità] is not always an easy listen and it’s by no means immediate, but it is accomplished and utterly compelling.

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Bruno Muerte – Errors

Posted: 18 March 2023 in Albums
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24th February 2023

Christopher Nosnibor

This Oxford based act describe themselves as ‘Techno Western New Wave Electroclash’ and ‘Synth lovers’. Unfortunately for me, this description conjures images of moustachioed hipsters circa 2009. The pair may well, be, choosing to keep their mugs off the record, and I’m all too aware of just how the field of instrumental electronic music is very much the domain of middle-class white guys tinkering with expensive toys. This lack of cultural diversity may be a leading factor in there being so much sameness stylistically.

Sameness isn’t really a criticism one could level at this album, for while it does assimilate many common tropes of contemporary synthesizer music – in that its inspirations are often retro in origin – stylistically, Errors offers a broad range.

‘Science of Errors’ is a punchy piece of electropop with some big, bold proggy sections that surge along in a rush, and it’s a strong start. ‘Conga Cop’ is very much a tune of 80s TV show vintage style. It’s extremely busy in terms of arrangement, stabby synths shooting over a hectic rhythm and samples flying around there and there, before going altogether more minimal on ‘Phil D’Ophear’, a much darker slice of techno where the dense bass dominates. Elsewhere, ‘Wibli Wobli’ packs a driving, energetic groove.

Errors is big on ideas: it’s positively bursting with them, and consequently, there is a lot happening, sometimes, if not all at the same time, then densely packed together, to the point that sometimes it feels as if there’s too much happening. And not all of the ideas necessarily work perfectly: the Clangers whistling over a microtonal waltz on ‘Satomi’ is novel and fun, but little more, but it’s Bruno Muerte’s willingness to experiment and the mix-and-shake approach to making music that’s a large part of the album’s appeal.

As they write in the accompanying notes, ‘One of the basic rules of the universe is that nothing is perfect. Perfection simply doesn’t exist without errors.’ It’s refreshing to hear: Errors, then, is not a quest for perfection, but a celebration of imperfection and the joy of being creative. And ultimately, it’s joy that Errors brings.

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Sleep Kicks – The Afterdrop

Posted: 17 March 2023 in Albums
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17th March 2023

Christopher Nosnibor

In the feast or famine equation, there’s rarely a true drought when it comes to quality new releases, but this month really does seem to be one for an eye-popping proliferation, and the arrival of Sleep Kicks’ debut album after a succession of singles and EPs is a most welcome arrival along them.

Having previously showcased – and raved about – previous releases, it’s a joy to see The Afterdrop finally land. Most of those previous singles – ‘My On Demon’, ‘No Chains’, ‘Hall of Shame’, ‘Neptune’’, and, most recently, ‘Words in Vain’ are featured here, along with a different recording of ‘Exodus’ from the one that appeared on the Summer EP back in July 2020. It’s marked as an edit, which makes me curious to hear the full-length version performed as a full band.

Having frothed and foamed exuberantly about the band’s melding of dark post-punk with soaring pop aspects with each single release, I’m running low on my reserve of superlatives. But there are four new songs here, and then there’s also the question of how it hangs as an album – whether or not if feels like a padded-out singles compilation or an album proper.

I suppose the first thing to point out is that while all of their previous releases have been digital-only, The Afterdrop is receiving a vinyl pressing, meaning the songs finally feel solid and tangible in a way they perhaps didn’t before, and with the atmospheric instrumental opener, ‘Reflections’ lifting the curtain on the ten-track set, it does very much feel like an album rather than simply a collection of songs. It’s dark and spacious, with robotic drumming driving it along.

It’s then straight into the vaguely gothy post-punk of ‘Words in Vain’, with its stonking bass and fractal guitars, a tune that on its own should have earned the band global domination on a par with Editors and Interpol. ‘Neptune’ is synthier, but its poppiness is countered by dark undercurrents, and it’s a rush, as is ‘Exodous’ – a thunderous bass and brittle guitar that’s pure Interpol circa Turn on the Bright Lights defining the side.

In previous reviews, I’ve also likened Sleep Kicks to fellow Norwegians A-Ha: some of this is down to Terje Kleven’s vocal qualities – rich, varied, and with a knack for inflection, but equally, they’re a band I’ve always returned to because there’s there’s a darkness to their pop that I feel has been largely overlooked, and it’s this amalgamation of darkness with a pop sensibility that is what I’m driving at with Sleep Kicks.

‘Silencer’ – another one of the new songs – is slower, sparser, but brims with brooding and emotional resonance, and, once again, it’s magnificently crafted. This is true of every one of this album’s ten tracks. ‘Orbiting’, another song which hasn’t been released before, is bittersweet bliss and again revises the 80s spirit with a brooding yet accessible slice of guitar-driven desolation.

Again, in a just world, ‘No Chains’ would have been their ‘Pompeii’ and would have seen Sleep Kicks on the same pegging as Bastille – again, there are similarities, but the fact is that Sleep Kicks are by far the better band. It’s an unjust world where it comes down to label backing and pluggers. But then, we know it’s an unjust world, and the music industry sucks. But there’s a world outside the industry, and ‘Hall of Shame’ with its choppy guitars and snaking bass runs is as good a song as you’ll hear all year. But then, so is ‘My Own Demon’. In fact, The Afterdrop is an album without fault, and as good an album as you’ll hear all year, or ever.

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Fern – Deformed

Posted: 16 March 2023 in Albums
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Dret Skivor – 3rd March 2023

Christopher Nosnibor

Fern’s Deformed is appropriately titled: this some mangled shit. From the slow, deliberate, rolling grooves that boom and bow through snarled up noise, while against it, crisp, crunching beats thump and stutter, Fern keeps things interesting and innovative, but more than anything, keeps it uncomfortable.

Deformed sits within that bracket of dark ambient that’s deeply dark, but not entirely ambient, and doesn’t for a second let you settle into it, instead twisting and squirming awkwardly, refusing to solidify or confirm to any one fork of style.

‘Intro’, the minute-long splurge of wibbly dissonance set the scene nicely for the following twenty-five minutes of oddball electronica. The liner notes offer ‘Respect to Portishead, aphex twin, faster katt and Mindacid for inspiration (samples)’.

The majority of the album’s ten tracks are brief sonic snippets, most being well under three minutes in duration, and in many respects, Deformed feels more like a palette sampler than a fully realised work – although that is by no means a failing, as it gives the album an immediacy that further evolution would likely dilute.

It’s four tracks in that Deformed really starts to take (strange, twisted, unexpected and indefinable) shape: ‘Greyhats’, a live recording – it’s unclear if it’s live in the studio or soundboard, but there’s no crowd noise and it fades at the end – is aggressive, dark, and difficult.

Immediately after, ‘Heaven in my hands’ is a murky mangled mess of distortion and mid-range, drums overloaded and crackling in a grey blurry sonic haze, and ‘Give Your Soul Away’ is a skull-pounding beat-driven assault, and the samples pile in thick and fast. ‘Porthole’ is dense, robotic, repetitive, and while dance elements are a defining feature of the album’s style, this is by no means a dance album: it’s stark, it’s bleak, detached, and in places, unsettling.

Deformed is many things: easy, predictable, comfortable, are not among them.

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The Eurosuite – Sorry

Posted: 11 March 2023 in Albums
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Human Worth – 10th March 2023

Christopher Nosnibor

There’s something of a tightness around the noise scene , especially around a nexus of London acts who swap members for side projects and collaborations on a remarkably frequent basis. This is a good thing, for while all of these projects share much common ground, each offers something distinctive and unique, too, a different twist or angle from the others.

Human Worth has given a home to a number of releases from acts which have emerged from this mini-melting pot, notably recent output from Remote Viewing and Fucking Lovely. And now they’re really spoiling us with the latest endeavours from The Eurosuite, who, their bio informs us ‘consist of 4 lovely people who make disquieting no wave songs that will equally pierce your ear drums and move your hips’ and whose ‘previous musical endeavours include USA Nails, Nitkowski, Screen Wives and Mister Lizard.

What Sorry has in common with both the Remote Viewing and Fucking Lovely releases is, that like most Human Worth releases, it’s noisy. It’s also absolute class.

But it’s also very different, with electronic elements not only incorporated, but highly prominent. The first track, ‘Cup of Water’ is sparse and atmospheric, with glitchy mechanised drums bouncing about, and it’s intriguing and really quite gentle – and then they bring the noise with ‘BODY’ where it really does all kick off – and kick off it does, with frenetic drums and guitars blasting away like crazy.

The electro/noise rock crossover is unusual – while they’re by no means the first act to do it, their approach means they don’t really sound like anyone else, not least of all because the range across the album’s span is quite remarkable. Noisy as it is, the noise is quite contained for the most part, or otherwise countered by the synths to conjure an equilibrium of sorts – or, at times, a jarring, jolting contrast.

‘Seven’ showcases just how hard it can hit when everything’s cranked up and going full-tilt, but then again, ‘LIB’ throbs and pounds and nags like a melding of DAF’s ‘Der Mussolini’ with I Like Trains’ latest output, but as performed by Big Black. They leap and lurch between jarring, jolting blasts to rather more accessible structures, and I’m variously reminded of Killing Joke, Selfish Cunt, and Daughters – the latter not least of all because of the manic energy and intensity, as well as the skewed angular noise that cuts across the rhythm section.

‘Total’ throws it all into the mix as it goes big on a mathy post-punk vibe while packing on some dense guitars and thudding bass into its two-minute duration, with hints of …Trail of Dead, and again, it positively crackles with a frenetic energy. The last song, ‘The Dream’ is truly climactic, an explosion of squalling guitars, thudding drums and sparking electricity.

Sorry is an album of contrasts, of variety, and an album that doesn’t give a fuck for genre or convention. For these reasons, Sorry is an exciting album. It’s an album that doesn’t sit still for a second, and it’s impossible to predict where it’s going to go from one bar to the next, never mind one minute to the next. It’s dizzying, but also – to use a phrase popular in the tabloid press – jaw-dropping. Sorry is a sonic frenzy and endlessly inventive, and if it leaves you feeling punch-drunk and giddy by the end – Sorry, not sorry.

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Abrasive Trees – Epocha

Posted: 10 March 2023 in Albums
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10th March 2023

Christopher Nosnibor

Epocha gathers together Abrasive Trees’ output from 2019-2021 – a brief but pivotal period for the band released four singles and EPs which found them evolving and solidifying their sound. They’ve been variously described as Post-Punk/Post-Rock/Post-Folk and permutations thereof, and all of these elements are in the mix in a style that has gothic – but not explicitly ‘goth’ overtones across the course of the nine tracks gathered here.

Although ostensibly a five-piece centred around Matthew Rochford in their current incarnation, these recordings feature a host of contributors, notably Mark Beazley of Rothko and Band of Holy Joy, who was also involved in elements of production, mixing, and mastering the tracks, and among others. It’s perhaps because of what these individuals bring, both in terms of playing style and instrumentation – with cello, e-bow, organ, and dulcimer among the array of instruments which augment the standard setup off bass, drums, and guitar.

The fact that the songs aren’t simply presented chronologically – and remixes have been omitted – does give this disc a more the feel of an album set than a compilation, and this makes for a journey-like listening experience.

The album opens with ‘Bound for an Infinite Sea’, the lead track of the EP bearing the same title from September 2020, and the chiming guitarline is reminiscent of The Nephilim era Fields of the Nephilim, and sets the expansive atmospheric tone that defines the sound of Abrasive Trees.

While there are vocals, they feature sparingly, rippling up between the lengthy instrumental sections. On ‘Replenishing Water’, this manifests as a percussion led swirling psych groove, whereas elsewhere, as on the slow, hypnotic ‘Before’, the vibe is rather more spaced-out and trippy, and there’s certainly an experimental, almost-jam-based aspect to the music in places.

Predominantly, though, there’s a contemplative, brooding nature that seeps through the rich yet subtle arrangements, and at times, in the folkier parts, I’m reminded of Last Harbour (granted, not a comparison that will likely leap out to many, but so often the best bands are underrated and under the radar). The dark, moody ‘Alone in the World’ is eerie, haunting, and other-worldly.

In pulling together these recordings, released variously on cassette, vinyl, and hand—packaged CD, one would hope that Abrasive Trees will find new converts, even if there are only 100 copies of this CD-only release – if its existence steers people to the digital versions of the original, then it’s all to the good, although it has to be said, as a fan of physical media, Epocha is a lovely item, as well as a well-realised document of the band’s first phase.

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(Image links to Bandcamp)

Hands Up Who Wants to Die – Nil All

Posted: 9 March 2023 in Albums
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Human Worth – 3rd March 2023

Christopher Nosnibor

Irish foursome Hands Up Who Wants to Die feature members of Shifting, No Spill Blood, and Wild Rocket, and – as you’d expect from an album released on Human Worth – it’s heavy. But it’s not just lumpen-headed thumping: there’s a lot to absorb on Nil All – and so much more than noise.

The opening of ‘Clothbound’ is atmospheric, subtle, intriguing. And then the bass slams in like a lump hammer. The guitar, rather than following with any direct riff, creeps around, twisting and turning, while the vocals are those of a strangled gargoyle – ugly, menacing, perturbing.

There’s a fair array of stylistic variation across the album’s eight tracks, and it’s this unusual relationship between the guitar and bass that is most intriguing. ‘0-0’ is a deconstructed jazz semi-spoken word piece where neither bass nor guitar confirm to the time signature of the drumming: Enablers may be a touchstone, but ultimately, this is something unique. The same is true of the low and slow theatrical math-rock of ‘L’inconnue’ that comes on like a dreamed reimagining of Shellac that lumbers its way into a howling psychodrama before slowly falling apart over the course of an eight and a half minutes that will make you feel like your limbs are slowly being separated from our body.

Satre famously wrote in Nausea that ‘hell is other people’ and this messy-sounding gut-churning bass-driven, feedback-strewn behemoth is a worthy soundtrack which corresponds with the urge to purge after too much time among the masses – like the excruciating torture of a trip into town on a weekend or lunchtime. It’s a crushingly heavy dirge, and the guitars nag and gnaw at your skull while the bass kicks you hard in the guts. And then it goes off-kilter and lumbers and lurches all over, and that hellish throb continues into the grainy drone of ‘Hell Is Just More Of What’s Already True’. It may only be a couple of minutes long, but it’s lugubrious as fuck.

‘God’s Favourite’ is like a three-way pileup of Shellac, Pavement, and Her Name is Calla, and these guys seem determined to drag the listener through some dark and difficult places – sonically and emotionally. This, of course, is the selling point for Nil All. It’s an album that rages, raves, groans and sighs as it explores those uncomfortable spaces and challenges the listener in a way that delivers optimal rewards. It channels the pain, anguish, and confusion of being alive and articulates it in a way you didn’t realise was possible.

Signing off with the blasting noise-fest that is ‘Ludger Sylbaris’ – a morass of booming bass and sinewy guitar havoc – Nil All is not overtly uplifting or cathartic. It’s schizophrenic, twisted, dark, unpredictable, deranged. And absolutely fucking top.

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