Archive for the ‘Singles and EPs’ Category

T.N. – Siddung

Posted: 2 January 2024 in Reviews, Singles and EPs
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15th December 2023

Christopher Nosnibor

This is an odd one which will likely baffle and bewilder many of those who encounter it – which will likely be far fewer than it deserves. It’s rare for a track that isn’t thrash or grindcore to run to less than a minute and a half, for a start. I know absolutely nothing about T.N. beyond that they’re from Spain, but T.N.’s ‘Siddung’ is a sliver of minimalist hip-hop that sends a shiver down the spine.

If commercial hip-hop has come to be synonymous with bragging and banging, flashing cash and blades, it’s worth remembering that its roots were a different kind of ‘street’, and with acts like Last Poets emerged from spoken word, the jazz and beat scene of the late 50s, giving a voice to black culture and the civil rights movement.

This track is something of a hybrid – it’s ‘street’ but it’s introspective and uncomfortable, and after an atmospheric introduction, halts just as it seems to be finding its groove. It’s difficult to unravel the track’s meaning or intent: ‘siddung’ is patois for ‘sit down’ – as the cover art relays in a literal sense – but beyond that…?

It feels more like a sketch than a complete song, but one could imagine an album containing maybe twenty or so of these vignettes would add up to paint a quite compelling picture.

ALTR∞ – Infinite

Posted: 1 January 2024 in Reviews, Singles and EPs
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12th December 2023

Christopher Nosnibor

German electro duo ALTR∞ seem like a pretty chipper pair, pronouncing the arrival of their second EP with the theatrical, Shakespeare-referencing proclamation ‘The world is not a stage, it’s a dancefloor: welcome to the Cosmic dancefloor of Eternity!’

They go on to explain how the ‘INFINITE’ EP is a celebration of the complexity and the beauty of life and the connection that binds us all! The broad spectrum of music influences, woven into the EP’s music tapestry, symbolises the infinite flow of ideas and references that shape and drive the Collective Consciousness. We hope that these songs will make you feel free: dancing and releasing all worries and troubles! We wanted to try new things, while exploring a more dancefloor-oriented sound, while still sticking to our own style. The energy was there and the rest just happened as usual – immersing in the magic of the studio and channelling our feelings!’

The EP’s four tracks span just over eighteen minutes, and while they are certainly very rhythmically-orientated, in terms of commercial dance, they’re not what anyone would call bangin’ dance choonz – not even your dad or your grandad. Sonically, Infinite sits somewhere in the middle ground between the minimal techno favoured by Gilles Peterson on his 6 Music show, and the kind of stuff I find modular synth fanatics noodling out at the Electronic Music Open Mic nights we have around the country.

‘I Saw the Future’ is, ironically, a squelchy analogue workout that’s decidedly retro, and the sparse vocals are more 90s dance track dub remix than avant-garde futurism. The vocal snippets add layers or mystique and esotericism, ‘Hurricane’ brings more urgent beats, clattering hand drums rattling over a thudding bass drum and pulsating groove, with weaving synths conjuring an expansive and trace-like atmosphere. The last track, ‘Infinite Mind’ pulses away in an inwardly-focused way.

This isn’t music that will send you wild or dance yourself into a frenzy, but will instead likely catapult you into inner space, and inspect your own psychological circuitry – in a most pleasant way. It kinda sounds like the cover looks.

AA

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Angry Old Man – Quatram

Posted: 31 December 2023 in Reviews, Singles and EPs
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10th December 2023

Christopher Nosnibor

It’s widely discussed how recent years have witnessed attention-spans ever shortening, as the effects of life in postmodern society impact our day-to-day lives. Bombarded constantly by a million media sources, adverts popping up all over everything all the time, using multiple devices and apps simultaneously, we’re all expected to be everywhere and doing everything all at once. It’s no wonder that streaming services record a skip rate of over 50%, and in the region of 25% of songs are skipped within the first five seconds. In my line of work, I have to decide pretty swiftly if a release is worth my time and the expenditure of energy on devoting words to it, but five seconds? That said, any track that starts with a howl of feedback is always going to grab my attention, so Angry Old Man are onto a winner here with ‘Quatram’. The question is, can they capitalise on it?

The answer is yes. The feedback gives way to a classic hard rock riff, soon followed by crashing drums. With real swing and swagger, it’s a riff you can really bang your head along to. The vocals, though, are grunge all the way, a gritty drawl. The guitars step up a notch and drive home, thick with distortion to a solid riff-centric ending. And clocking in at under two-and-a-half minutes, it’s just right for the attention-deficient. There’s no pissing about here, slamming in hard and leaving the job done before you know what’s hit you.

AA

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Scarlett Woolfe – Poor Suzy

Posted: 30 December 2023 in Reviews, Singles and EPs
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14th December 2023

Christopher Nosnibor

Scarlett Woolfe has been honing her sound and style and building a fan base in London throughout 2023, taking her solo singer-songwriter project to the stage with a full band. Her debut single, ‘Poor Suzy,’ it seems, has been quite a while coming, but there’s no doubt that it was worth the wait.

Her own choice of tags include ‘alternative rock’, ‘dark wave’, ‘post-punk’, ‘dark-pop’ and ‘gothic’, and these very much serve to give a sense of what to expect: it’s spiky, edgy, and oozes attitude. There are hints of early Garbage in the instrumentation, with the poppy elements balanced by just the right amount of grit and bite.

The lyrics ‘Poor Suzy / lying in the snow / Poor Suzy / nowhere to go’ are hardly Sylvia Plath, but it’s all in the delivery. I doubt I’m first do draw the obvious comparison, and certainly won’t be the last when I proffer that the Scarlett’s voice – and her delivery, which swoops and dives, and shifts effortlessly from breathy to full from-the-centre of-the chest strong – is strongly reminiscent of Siouxsie Sioux, It’s pretty punky, and pretty punchy to boot. Building to a climactic close, it all stacks up to make for a powerful single.

The artwork, too, captures the stark style of the post-punk era, and this feels something that’s been carefully thought out as a complete package by way of an introduction to the world of Scarlett Woolfe.

AA

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Velour Fog – Dopehead

Posted: 29 December 2023 in Reviews, Singles and EPs
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23rd October 2023

Christopher Nosnibor

I’m not quite sure what this is. There are a fair few fags being smoked, but there was some wide-brimmed hats being worn, too. What to make of it? The style says mid-80s goth, but there are some heavy stoner vibes… and then it slams in full metal. Long hair trailing and waving, heads banging in slow-mo, and rapped vocals over some sinewy guitars and a chunky bass.

It’s a bit RATM, it’s a bit Alice in Chains. It’s a bit OTT. It’s a bit retro. It’s crackers, but it’s good.

AA

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Erotic Secrets of Pompeii – The Wheel, the Spade, the Stars in Motion

Posted: 29 December 2023 in Reviews, Singles and EPs
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6th December 2023

Christopher Nosnibor

I hadn’t been looking for something that straddled Bauhaus’ more experimental cuts and David Devant and his Spirit Wife… But that’s how it goes. You don’t know what you want – or need – until you find it, and stuff lands on your lap when you least expect it. This is theatrical, crazy, over the top. It’s the sound of a band flipping out, melting down in every direction – more of a document of an electrical shock to the brain than the frazzled fizz of the frothing seafront.

‘The Wheel, the Spade, the Stars in Motion’ is no instant grab post-industrial froth: instead, it’s a frenetic electronic mania, all the froth and panic. The panic… the panic is real. It’s the soundtrack to waking up disorientated and wondering where the hell you are and what on earth is going on, and the video only adds to the bewilderment, the wackiness as surreal as the most inexplicable dream.

Strolling bass and wonky guitars are only half of a story which throws into the melting pot the sharp, sinewy guitar pop of Franz Ferdinand and the over the top agitated dramatics of The Associates.

The lyrics are utterly barking, but shouldn’t be dismissed as mere quirky nonsense: there’s a genuine poeticism and flair for language on display here.

The maid was in the garden

Disfigured by a bird

That reactionary raptor

Left her undeterred

The specksioneer made it clear

harpoon held aloft

Declaring that his love for her

could melt the permafrost

Playing with the tropes of the Elizabethan sonnet, but at the same time spinning circles of Surrealist imagery, Erotic Secrets of Pompeii are a unique proposition, and for all the warped oddness, which shouldn’t work but does, ‘The Wheel, the Spade, the Stars in Motion’ is a cracking single if you can step back from the craziness for long enough to reflect and absorb.

AA

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John X Belmonte – Under the Stars of Andromeda

Posted: 26 December 2023 in Reviews, Singles and EPs
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18th November 2023

Christopher Nosnibor

As my sweep-up of singles released a few weeks back but still in the later stages of 2023 continues, we come to John X Belmonte’s ‘Under the Stars of Andromeda’. The New Yorker has been slipping out slabs of dark alternative pop since 2020, and has maintained a fairly steady output these last three years. Citing David Bowie, Depeche Mode and Kate Bush as influences, he promises ‘Haunting atmospheres, beautiful melodies, driving rhythms, and rich sonorous vocals [which] draw the listener into his musical dream world.’

With perhaps the exception of Depeche Mode from Black Celebration and later, these touchstones don’t really convey just how gothy Belmonte’s work is. ‘Under the Stars of Andromeda’ is a dark, stark electro cut that pulsates and has all the ingredients of the kind of electrogoth which started coming through in the mid 90s. There are chilly layers of synth which drift and hang like a freezing fog to conjure murky atmosphere, and as the track evolves, it feels that we’ve left earth and are being carried through clouds of dust particles, floating free of any gravitational pull, and a thumping techno beat cuts in and takes things stratospheric.

It’s the vocal which really defines the sound, and the genre leanings, too: Belmonte’s baritone croon is theatrical, taking obvious cues from Andrew Eldritch and Peter Murphy, and it’s subject to heavy processing and compression, meaning that while it sits tightly within, rather than above the music, in terms of not only mix but tonal range, it feels detached, dehumanised. It’s effective, in that it sounds menacing, and sends a shiver down your spine, as you wonder just what he has in mind when he says ‘we’ll find a better place.’

The synth sounds may be trancey and expansive, but clocking in at four minutes, ‘Under the Stars of Andromeda’ is neat and compact, structurally, and the production is faultless.

AA

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Panik Flower – Dark Blue

Posted: 25 December 2023 in Reviews, Singles and EPs
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1st December 2023

Christopher Nosnibor

New York’s Panik Flower, purveyors of shoegaze / super washed-out guitar indie rock released their debut single ‘Pretty Face’ in September 2022, and promise ‘dream pop with an understated heaviness. The result is a unique soundscape of soft harmonies, hard-hitting instrumentals and cutting lyricism that evokes the hazy nostalgia of distant memories – ones of love, loss and identity.’

Watching the video to single cut ‘Playground’, which features four of the bandmembers – presumably because it was shot before the current lineup coalesced – pulls a chord of sadness in my chest. It depicts an afternoon spent at a fair, emanating youthful carefree fun, the likes of which is never appreciated at the time, but only ever in hindsight. However aware of the finite nature of youth, there’s a period where it feels that your life lies ahead of you, and every day is a new day. And then, suddenly, it isn’t, and you’re clawing through life a day at a time, strangled by the suffocating sensation that every day that passes is a day lost.

As a jaded, downbeat, saddened old bastard facing decline, I can’t help but be envious of Panik Flower. My youth doesn’t seem so far away until I realize that the bands they remind me of, and the bands from who they draw influence, date from the 90s. The 90s feels like maybe a decade ago: the idea that 1993 was 30 years is both depressing and terrifying. But Dark Blue brings a flighty balance of joy and melancholy.

And so it is that ‘Charades’ brings wistful indie vibes and some bold wells of guitar which grow and grow into crashing waves by the song’s finale. The title track is a solid FX-heavy indie tune with evocative vocals which bear a folksy edge reminiscent of All About Eve’s Julianne Reagan.

The aforementioned ‘Playground’ brings a heavy melancholy and an ache to the chest with its chiming guitars and panging vocal melody, as well as a sturdy chorus. Things get both poppier and also heavier in the choppy, chuggy final track ‘Dilute Me’, which brings big guitars and Garbage vibes and attitude to wrap up a solid EP that packs great songs back to back.

AA

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Rootabagga – Meatball Subwoofer

Posted: 25 December 2023 in Reviews, Singles and EPs
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21st November 2023

Christopher Nosnibor

Nova Scotia’s Rootabagga describe themselves as a ‘weird wiggle rock band’. I have absolutely no idea what that means. It’s not a genre. Is it? No… it’s not. Unless you count the song by Willie Mitchell as a template. ‘Meatball Subwoofer’ suggests not. But it turns out it’s a pretty apt description of this mangled math-rock, that sits somewhere between Queens of the Stone Age and Butthole Surfers, being demented drawling stoner rock, only with a nagging technical aspect with busy guitarlines tripping over one another all over – and then it goes ever more crackers, with full-throated shouty guttural vocals and there’s a dash of Dillinger Escape Plan going on… but ultimately, this is completely deranged.

A quick flick through their previous releases on Bandcamp – all standalone singles apart from their debut release, an album entitled Abbi Normal, which came out in the summer of 2020 – confirms that this is entirely representative of their output, and reveals something of a fixation with monsters and mythical creatures, not to mention some rap-rock / nu-metal leanings, which makes for an even more bewildering mélange.

I think it works. At least, most of it. No, it does. For all of its perverse outlandishness and oddity, ‘Meatball Subwoofer’ has a fairly conventional verse / chorus / bridge structure, only with some additional wibbly bits tossed in here and there – which is perhaps what they mean by ‘wriggle rock’. And then there’s the last forty-five seconds or so when it crashes down into the most brutal metal.

Very much one for fans of music that doesn’t conform and aren’t troubled by being addled and bewildered by a sonic bombardment of uncategorisable stylistic content.

AA

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Ooberfuse – Hard Times ft Snoop Dogg

Posted: 24 December 2023 in Reviews, Singles and EPs
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1st December 2023

Christopher Nosnibor

I’m aware that there’s a conspicuous absence of rap and hip-hop to be found in my coverage. I suppose that’s largely because it doesn’t really fit the rubric I envisaged for Aural Aggravation when I decided to do my own thing back in 2015. But occasionally I worry that this feels discriminatory, not to mention unjustly dismissive, of a huge swathe of music that could well appeal not only to myself, but visitors to the site. The fact I’ve raved about dälek on more than one occasion not only evidences that I’m not completely hip-hop averse, but also reminds me of the same. Some hip-hop is pretty dark, and also pretty heavy.

Snoop Dogg isn’t a name one commonly associates with dark or heavy, and my interest in this release was in fact piqued by noticing that Ooberfuse are playing a tiny venue in York ten minutes up the road from me here in York next week. How does an act who’s just released single with Snoop come to be doing that? The music industry is screwed, but it’s clear Ooberfuse aren’t doing it for the fame or the glory.

Said single, ‘Hard Times’ represents the best of hip-hop. It is dark, and it is heavy, and comes with a hard social message.

That many people find Christmas a challenging time, and in particular the homeless, is widely documented, but this documentation tends to remain the domain of the further corners of news outlets and adverts from charities. But against a stark, dark musical backing – and this is when hip-hop is absolutely at its best.

The first-person lyrics are direct and powerful, and backed by a shuffling beat and stark piano, it’s a hard-hitting track paired with an equally powerful video. One gets the impression that Snoop’s contribution serves primarily to draw attention – and I say ‘good’. This track needs to be heard and people really need to fucking listen. In a world where we have billionaires, there should be no such thing as poverty.

AA

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