Archive for the ‘Singles and EPs’ Category

24th February 2024

Christopher Nosnibor

A change is as good as a rest, so the saying goes. I don’t know if I’m entirely convinced, but as I seem incapable of resting – there’s always something to do, and if there’s nothing that needs doing in any given moment, there’s all the stuff I want to do but don’t have enough time for the majority of the time. The trouble is, oftentimes, when I do get a window, I find I’m unable to focus, and simply jump and jitter and remember that I need to put another load of laundry on or tidy something or other or add something to the shopping list, and before I know it, I’ve not even stopped for a second. It makes reading books and watching TV incredibly difficult. I’m by no means alone: the vast majority of people I speak to – admittedly, mostly by text as we all seem to be too busy to take time out to meet in person – all make the same complaint, that there simply isn’t enough time in the day, and when you’re stuck in a perpetual cyclone of life activity, it’s nigh on impossible to stop and to unwind. And then, of course, there’s not only physical rest, but mental rest, and it can often feel as if your brain is your enemy, or certainly not your friend.

They say of the song that it ‘reaches for a fleeting February feeling before it thaws and fades’, and the lyrics are brimming with briefly sketched but evocative visual lyrics

I open the window

Breathe in the morning air

But ideas are like sunlight

They’re everywhere

And yet, despite the theme of restlessness which runs through the song, the images themselves are soothing, as is the mellow musical accompaniment, which they describe as ‘Seven spiritual minutes of ethereal melody and synthesised drone for deep and peaceful nothingness.’ It’s certainly quite a change from their trademark fizzy punky poppy tunes or the guitar-orientated lo-fi post punk stylings, with the final three minutes simply being a long, slow-turning drone solo, which is calming indeed.

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EYE – the new band from Mammoth Weed Wizard Bastard (MWWB) singer-songwriter/musician Jessica Ball – has announced the arrival of their eagerly awaited debut album, ‘Dark Light’ set for release on 26th April via New Heavy Sounds (Shooting Daggers, MWWB, Blacklab)

"These songs have been many years in the making… Some of these ideas were crafted before MWWB, this is something I’ve always wanted to do. Over the last couple of years, I’ve spent some time on finishing and crafting these ideas and pieces of music into songs. Some were snippets of lyrics from my early twenties which reflect on what seems like a different person. I think it’s quite poetic how it’s all come together now.

I was also encouraged after finding musicians who understood the vision and style I was trying to achieve, and of course my experience of being in MWWB. I’m a guitarist above all, and I loved reconnecting with guitar again. It feels like all my influences and favourite styles have come together in this album. Shoegaze, doom, folk, dream pop… It’s a real mix bag but as a whole, it represents many different stages of my life and tells a story. 

The album ultimately is quite introspective yet lyrically loose enough to be open to interpretation – I’ve always been a fan of songs that seem to perfectly slot into the situation I’m experiencing and not too specific to one person’s experience… I think that comes across in this album.”

Jessica relocated from Wrexham to join her new partner, veteran Welsh musician Gid Goundrey (Gulp, Ghostlawns, Martin Carr), in Cardiff just as the pandemic era dawned. Confined to their small Grangetown flat, they quite naturally began making music together.

Having earned acclaim and a fervent fan following for her role in MWWB, Ball took the opportunity to compose songs that were all her own – nuanced, lyrical, and hypnotically distinctive.

Triggered in part by the existential dread looming outside as well as the sudden ill health of her dear friend, MWWB guitarist Paul “Dave” Davies, then fighting for life after a Covid-related stroke.

With Goundrey on drums (for the first time in his musical career) and joined by keyboardist Johnny TK, Eye experimented with sounds to match Ball’s melodic songs, traversing a diverse spectrum of dark folk, dreampop, IDM and psychedelic doom, to create sometimes heavy and foreboding drones, alongside spare but still richly textured sonics.

The result is their debut album ‘Dark Light’. An intensely atmospheric fusion of emotionally charged songcraft and inspired sonic energy. The clue is in the album’s paradoxical title. Chilling and even bleak melodies with arrangements daringly and deliberately stripped down and minimal. Revealing a kinship with sonic bed-fellows Mazzy Star, Chelsea Wolfe or even Portishead, which can be heard on first single ‘In Your Night’. Jessica comments,

"Our first release ‘In Your Night’ represents Eye musically, conceptually and lyrically and I’m proud for this to be the first song that everyone hears from us… Light and dark, night and day, quiet and loud is the running theme throughout this song and album as a whole. Whether you’re up close to a song, or listening to the album as a whole, these themes will be ever present throughout. We’re playing around with these two extremes sonically and what these represent emotionally and mentally. I feel that nothing takes you on a journey more effectively than a good build up, or something happening unexpectedly, much like real life. We are just the eye that witnesses it all."

Listen to ‘In Your Night’ here:

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CNTS, the Los Angeles-band featuring members of Dead Cross, Retox and Qui, have debuted a second song from their forthcoming album (Thoughts & Prayers, 29th March) with today’s release of ‘I Won’t Work For You’ and its accompanying video.

Matt Cronk shares the story behind the song: “’I Won’t Work For You’ was inspired by the talking point being bandied about, mostly by conservatives, that ‘nobody wants to work anymore’ after having collected unemployment during the lockdown. I think a more accurate way to frame that is that nobody wants to work for people who treat them badly. Nobody wants to work without the expectation of fair pay and dignity. Nobody wants to work for the sole purpose of enriching someone else, and nor should they! Work sucks. I think a lot of people, myself included, are inspired to find more equitable means of supporting themselves or at least expect more from their employers.”

Michael Crain adds, very succinctly: “Bosses suck.”

The video, directed by Meriel O’Connell, who also crafted the band’s ‘Smart Mouth’ clip, was filmed at a pizza joint where Michael Crain worked. During tough times, Crain occasionally treated Cronk to a free slice.

Watch the video here:

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Pissed Jeans is sharing the Joe Stakun-directed official video for “Cling to a Poisoned Dream,” a bruising meditation of harsh truths, and a highlight from their excellent sixth album Half Divorced, out this Friday, March 1st, worldwide on Sub Pop.

Next week, Pissed Jeans will appear on The Best Show with Tom Scharpling on March 5th and will also host an hourlong takeover of NTS Radio on Friday, March 8th (5pm GMT).

Watch the video here:

The twelve songs on Half Divorced skewer the tension between youthful optimism and the sobering realities of adulthood. Pissed Jeans’ – Matt Korvette (vocals), Bradley Fry (guitar), Randy Huth (bass), and Sean McGuinness (drums) – notorious acerbic sense of humor remains sharper than ever as they dismember some of the joys that contemporary adult life has to offer.

Half Divorced was produced and mixed by Pissed Jeans and recorded by Don Godwin with assistance from Mike Petillo at Tonal Park in Takoma Park, Maryland, and mastered by Arthur Rizk (co-producer and mixer for Why Love Now).

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26th February 2024

Christopher Nosnibor

Having recently had his early punk rock recordings reissues, Stewart Home makes a new foray into the recorded medium, this time with a rather more experimental collaboration with JIz. Delivering a spoken word list of ‘problematic memorials’ (as the title suggests) with some additional commentary, in a fashion not dissimilar from The Justified Ancients of Mu Mu’s ‘It’s Grim Up North’, across three variants with backing that ranges from swampy experimental noise to minimal avant-jazz, Home leads us on a tour of London taking in sights that most people don’t realise have unsavoury connotations and commemorate people and events which probably ought to be damned rather than celebrated.

The long history of slavery throughout the British Empire has – belatedly – become subject to more open discourse in recent years, but our current government, who seem determined to resurrect the spirit of the empire through jingoism and xenophobia and a completely false reimagining of history as a way of selling Brexit as a win, are averse to such discourse, branding anything and everything from the Army to the National Trust as ‘woke’ – as if being woke is a bad thing.

For the most part, the sense of ‘Britishness’ which is increasingly only a sense of ‘Englishness’ in our ever-more isolated and impoverished part of a small island on the edge of Europe – geographically, and sinking off the coast of Europe politically – is born of ignorance. Stubborn, belligerent ignorance, but ignorance nonetheless. And out of such ignorance arise pathetic, futile culture wars.

Home has so far managed to slide his antagonistic sociopolitical position under the radar in recent years – in contrast to his controversy-piquing earlier years when he was churning out pastiche works about skinheads and riots and anarchy. What happened? Perhaps in developing his approach to be more subtle, Home achieved even greater subversion by being able to continue his mission without interference. Whatever the reason, here we have Problematic Memorials. Call it woke, call it what you like, but it needs to be heard. And beyond the message, it’s a top-notch spoken word / experimental music crossover collaboration, so go get your lugs round it.

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We love a bit of Pound Land here at Aural Aggravation, so we’re particularly proud to be able to break some news and present an exclusive in the form of the video for ‘Pistol Shrimp’ waaaay ahead of the release of the forthcoming album.

Following 2023’s critically-acclaimed album Violence, Pound Land return with Mugged which despite being their 7th album release, is their first to have been fully recorded in an actual studio.

Recorded live in one intense day at Tremolo Studios, Stoke-on-Trent (UK), Mugged is a 48-minute whirl of raw frustration, kitchen-sink surrealism and filthy noise-punk sludge, soundtracking vitriolic stream of consciousness societal observations.

It’s also the first album to fully feature the full Pound Land band that many experienced on last year’s UK tour: Founding duo Nick Harris and Adam Stone, along with Rich Lamell on bass, Steve Taylor on drums and Jo Stone on sax. Additionally on this album, Jase Kester of Omnibadger/Omnibael joins on electronics.

Check it here:

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Mortality Tables are blasting out the second series of LIFEFILES releases at quite a pace, and LF17 is the seventh release in the season.

Describing LIFEFILES as ‘creative exchanges’; the premise is simple: ‘Recordings of places, people, objects, moments in time, environments and quotidian events are shared with a range of artists working with sound. Those artists are then free to respond to the recordings in any way they like, either through manipulation or composition.’

LF17/Edinburgh is Elizabeth Joan Kelly’s response to a set of recordings made in Edinburgh in August of 2021 by Mat Smith, namely Emeka Ogboh ‘Song Of The Union’ installation, Calton Hill (24.08.2021), Princes Street Gardens (24.08.2021), and Car on Calton Road cobblestones (25.08.2021).

The titles are plain, factual, locational, without any sense of the temporal or any indication of connotation, association, or resonance. And this is fitting, since the three compositions – ‘Calton Hill’, ‘Princes Street Gardens’, and ‘Calton Road Cobblestones’ are gentle, electroambient works which speak little of either the time or the place. These pieces are very much responses to the recordings themselves, rather than their location. Based in New Orleans, and purveyor of ‘post-apocalyptic junkyard drone pop’, Kelly has brought her own perspective to the source materials. Of course, this is precisely the spirit of the project – to see how each artist interacts with the material to forge something new, and the fact that each artist will have a completely different approach is what makes this so interesting. Because when given material and parameters, however much freedom an artist has, those parameters will also have a bearing on the output alongside the variables of the input itself and the artist’s methodologies.

In Elizabeth Joan Kelly’s hands, the sounds of a vibrant city are rendered, smoothed, with cross-hatching, delicate shading, some light smudging, a soft blending, by which everything clamorous is faded out to leave a slow hazing. There is, ultimately, no sense of Edinburgh itself here, and we find ourselves adrift, drifting on slow tides of sound with no connection to time or space. It’s not an unpleasant experience, by any means.

LF17/Edinburgh couldn’t be further removed stylistically from Ergo Phizmiz’s release, The Tin Drummer Has Collapsed, which came out only the week before. Where there was collaging, there is blending, mixing, reshaping, and where there was noise, there is calm. Neither release is in any way ‘better’ than the other – just different. And these differences are to be embraced.

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Dutch artist and Nordic folk pioneer Kati Rán presents the new single ‘Stone Pillars’ together with the news of her signing to Svart Records, based in Finland, for the 2024 release of her long awaited 13 track full length album SÁLA.

The track “Stone Pillars” written and performed by Kati Rán, explores new prophecies, stone circles, and the hand of the spinning Fates. Lyrically, “Stone Pillars” hints at the Icelandic oldest counsel tradition of the Allting, old Nordic Gods, and a prophecy by a female seer. With Norwegian metal vocalist extraordinaire Gaahl (Gaahl, Wyrd, Wardruna) and Mitch Harris (Napalm Death) on backing vocals, Icelandic choir, and the resurrection of a rare lava stone marimba (Sígur Rós, Steindór Andersson) the new single “Stone Pillars” by Kati Rán is deeply set in a Nordic landscape, as the 1st single of the new album “SÁLA” (24th May 2024).

Kati Rán is known for her collaborative audio work for Netflix’s tv series VIKINGS: VALHALLA, films and work for videogames, her stage appearances with Wardruna, Myrkur and Gaahl’s Wyrd to name a few, and her previous releases of the successful album; and Nordic dark folk tracks “Blodbylgje” and Icelandic track “Unnr | Mindbeach”; that run millions of streams and gathered a tightly knit Nordic Folk music loving audience around her.

Kati Rán elaborates: ”Signing to Svart Records was for me the most natural next step to collaborate and release my music with long-standing expertise in bringing out amazing artists and vinyl for true music connoisseurs, and to be able to bring my audience a full experience to enjoy my new Nordic Dark folk album SÁLA (Old Norse for both “sea” and “soul”). My album SÁLA has been tenuously crafted and produced together with Jaani Peuhu (Swallow the Sun, IANAI, Lord of the Lost, Hallatar) and is curated of sorts by my many years of writing, researching and travelling the Northern landscapes; taking on board with me incredible artists, sounds, musicians and producing it together closely with Jaaniand also Christopher Juul (Heilung) to breathe the Nordic soul into the heart of this album. It’s exciting to open the gates to SÁLA with the release of STONE PILLARS. It embraces our most vulnerable side, questions our mind, and attempts to resurrect, or reposition ourselves through spinning with the Fates. It dips right into the heart of things”.

Kati Rán’s new album SÁLA will be released 24th of May 2024 on Svart Records.

Listen to ‘Stone Pillars’ here:

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NYC-based electronic punk band LIP CRITIC have detailed their anticipated debut album – Hex Dealer – out 17th May via Partisan Records. To coincide with the announcement, the band has shared the album’s lead single and accompanying music video: ‘Milky Max’.

‘Milky Max’ is a pulverising slab of electronic hardcore. The song’s shapeshifting groove anchors a sound that’s theatrical, captivatingly irreverent, and completely outside so much of modern experimental music. Meanwhile Bret Kaser’s vocal delivery feels like it’s being delivered by a cult leader who has occupied the announcer’s booth at a football stadium and refuses to come out (“All my life I just wanted to live / Now I gotta die just because of what I did”).

The official video for ‘Milky Max’ showcases a fully playable video game inspired by the song and designed by Jesse Natter (brother of Lip Critic drummer Ilan Natter). Direct link to play the video game HERE.

Check the video here:

‘Milky Max’ follows previous singles ‘It’s The Magic’ and ‘The Heart,’ which earned early critical acclaim from NME (“on their way to becoming the next great NYC band”), Paste (“an apocalyptic wasteland of NYC’s best underground punk”), Rolling Stone (‘Songs You Need to Know’), Mary Anne Hobbs on BBC 6 Music, and Matt Wilkinson (“totally essential”).

Produced in collaboration by vocalist Bret Kaser and Connor Kleitz, ‘Hex Dealer’ represents an evolution of the eclectic style that the group began cultivating on earlier projects. Drummers Danny Eberle and Ilan Natter combine breakbeats and pingy snares with heavy cymbal and tom work, creating a singular mixture of classic punk/hardcore and electronic styles. The end result is 12 frantic tracks of postmodern pop for the genreless future. A project of wide-reaching sonic and thematic curiosity, above all ‘Hex Dealer’ is an inquisition into the state of spiritual marketplace and the isolating results of consumption.

Audiences have also already been captured by the sheer energy and undeniable chemistry as they toured the US, sharing stages with IDLES, Screaming Females, and Geese, and made their way across the UK / EU including a stop at the Pitchfork Festival in Paris. Lip Critic will tour extensively behind ‘Hex Dealer’, including stops at SXSW, End Of The Road and further UK dates. UK dates are listed below.

LIP CRITIC – UK TOUR DATES:
13 May – The Louisiana – Bristol, UK
14 May – The Deaf Institute (The Lodge) – Manchester, UK
15 May – The Windmill – London, UK
29 Aug – 01 Sep – End of the Road – UK

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13th February 2024

Christopher Nosnibor

Another day, the organic evolution of another obscure splinter-genre or a genre cooked up by the music press, or, indeed a band themselves. Given the ever-expanding void in the space where the music press used to exist, that particular scenario is increasingly unlikely, meaning genre demarcations tend to now originate by word of mouth among fans, or from bands. And much as there’s a heavy cringe element to the way in which the music press historically created genres, from goth to shoegaze and Britpop, alongside a whole bunch which failed to ignite, like Romo and The New Wave of New Wave. Sometimes, trying to build a pigeonhole slips into the domain of trying too hard, and more often than not, genre labels simply serve as shortcuts which bypass the requirement to engage in meaningful dialogue as to what an act is actually doing, what they really sound like,

And so the arrival of ‘Long Divide’ by ‘Seattle-based ‘turbowave’ pioneers, Dual Analog serves as an educational piece. They pitch themselves as ‘combining New Wave and Heavy Metal into a brand new genre.’

There’s nothing wrong with ‘Long Divide’, but it doesn’t sound especially metal or new wave, carrying most of the trappings of 80s electropop – although image-wise, there’s a whole heap of 80s hair-rock influence going on, with bandanas and studs all in the mix. And hair. Lots and lots of hair.

‘Long Divide’ isn’t really the sound of bandanas and studs and hair, and is more Depeche Mode circa Songs of Faith and Devotion with some guitars played lowed but mixed low, meaning the synths dominate the sound. The vocals register in that same baritone region of Dave Gahan and a whole host of post punk / goth bands, but there’s something about the delivery – level, tone, pitch, I’m not sure – which hovers on the cusp of uncomfortable… but as the song progresses, it seems to slot together rather better. And then they whip out a big old guitar solo near the end and boom, you’ve got you hair rock fix.

Time was I’d have wrapped up a review with a pithy summation., but this feels increasingly forced and corny, and at the same time, presenting a verdict feels little different to casting oneself into the mould of a star-rating – it’s arbitrary and lazy in equal measure. As much as ascribing a genre is a short-cut, so is declaring an album a 7/10; it’s a box-ticking exercise that appeases the lowest common denominator. A hedge-betting 6 or 7 out of 10 is the coward’s way of saying you’re being polite and sitting on the fence. Whereas I’m ok with saying this is… ok, so-so, middling to me but likely to find a solid fanbase.

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