Christopher Nosnibor
CHUNK is a rehearsal space in Leeds which also puts on live shows. They’re the very epitome of DIY: it’s a couple of damp, crumbly rooms on an industrial estate some 40 minutes’ walk from the train station. They don’t have a license or a bar, so their gigs are BYOB, and they have a solid manifesto that stipulates ‘no bigots’. Divey as it may be, it’s a safe and accommodating space that’s crated its own scene, embracing the weird, the wild, the noisy, a hub for disparate outsiders. And I’ve seen a fair few decent gigs there, a fair few of which I’ve written about here, and in the company of decent people. Hell, I’ve even performed there: CHUNK facilitated my meeting with Paul, aka Foldhead, an event which would mark the arrival of a new musical entity in the form of …(something) ruined.
Spaces like this are rare these days. Everyone’s in it for the money, and no-one else has any. And so you have to love CHUNK for its commitment and integrity.
Sadly, commitment and integrity don’t pay bills, and this release is specifically pitched as a fundraiser for vital repairs. Less sadly, it’s a showcase of the acts who’ve emerged around CHUNK, and a celebration of the thriving underground scene in Leeds, which has recamped to CHUNK and Wharf Chambers now the Brudenell – ever-awesome as it is – has stepped up several notches from the student hangout it was a decade ago to a three-room venue of international standing. CHUNK have also expanded to a label branch – Voice of Chunk – to disseminate the works of the CHUNK community, and this release, on that label, captures the spirt of the scene perfectly.
This compilation reflects both the sense of community and the diversity of the scene centred around this space, and a fair few of the acts featured have been covered here at Aural Aggro.
The first track is a rough ‘n’ ready demo of a song Beige Place – whose debut live show I witnessed in this very venue – have been playing on their recent dates supporting Shellac. Yes, read and digest. Wonky, cronky, oddball, shouty no-image math-rock misfits from Leeds support Shellac on UK tour. And inexplicably divide Shellac fans. Kudos. This doesn’t actually need any more work, beyond perhaps mastering by Bob Weston. Its raw, ragged discomfort is everything it should be.
Cattle – who I’m elated to be featured on a bill alongside in February – bring a crashing swell of nihilistic nose with ‘Found in a Tract of Land’, and Cattle’s drummer Steve Myles also features on the contribution from Groak, who tossed ‘Lemnian Earth’ into the mix because they’re winding down and elected to support the venue instead of holding out hope of a new EP.
Elsewhere, M-G Dysfunction introduce an electronic element to the mix. Black Antlers impressed me when I caught their debut performance at CHUNK (where else?) in June, and the appearance of ‘Insomnia’ here marks their debut release, and showcases some brooding, shuddering electropop that comes on like a goth Goldfrapp or Zola Jesus without the operatics.
I’ve had the pleasure of bringing Territorial Gobbing to York, and as much of that pleasure was derived from observing the bewildered expression of many of the audience members. ‘Whose Big in the Karaoke Underground?’ is a disorientating mess of sounds, incongruous fragments, bleeps and bloops randomly spliced together, and Thank’s ‘Good Boy’ is noisy another highlight, although it sounds like it was recorded from the room next door. Meanwhile, Open’s ‘The Love Machine’ is an overloading, pounding psych racket, and Groak’s curtain closing ‘Lemnian Earth’ is s snarling, blackened assault that’s as raw as roadkill.
Having picked out some highlights, it’s worth pointing out that there isn’t really a duff or dull moment among the fourteen tracks here, and while not every act may be to everyone’s taste, that’s something to celebrate, being indicative of a scene that promotes diversity and where the most disparate acts perform side by side and support one another. Above all, this compilation shows – once again – how the Leeds alternative scene is thriving and continually producing new and exciting music by artists who dare to be different.
CHUNK is a rehearsal space in Leeds which also puts on live shows. They’re the very epitome of DIY: it’s a couple of damp, crumbly rooms on an industrial estate some 40 minutes’ walk from the train station. They don’t have a license or a bar, so their gigs are BYOB, and they have a solid manifesto that stipulates ‘no bigots’. Divey as it may be, it’s a safe and accommodating space that’s crated its own scene, embracing the weird, the wild, the noisy, a hub for disparate outsiders. And I’ve seen a fair few decent gigs there, a fair few of which I’ve written about here, and in the company of decent people. Hell, I’ve even performed there: CHUNK facilitated my meeting with Paul, aka Foldhead, an event which would mark the arrival of a new musical entity in the form of …(something) ruined.
Spaces like this are rare these days. Everyone’s in it for the money, and no-one else has any. And so you have to love CHUNK for its commitment and integrity.
Sadly, commitment and integrity don’t pay bills, and this release is specifically pitched as a fundraiser for vital repairs. Less sadly, it’s a showcase of the acts who’ve emerged around CHUNK, and a celebration of the thriving underground scene in Leeds, which has recamped to CHUNK and Wharf Chambers now the Brudenell – ever-awesome as it is – has stepped up several notches from the student hangout it was a decade ago to a three-room venue of international standing. CHUNK have also expanded to a label branch – Voice of Chunk – to disseminate the works of the CHUNK community, and this release, on that label, captures the spirt of the scene perfectly.
This compilation reflects both the sense of community and the diversity of the scene centred around this space, and a fair few of the acts featured have been covered here at Aural Aggro.
The first track is a rough ‘n’ ready demo of a song Beige Place – whose debut live show I witnessed in this very venue – have been playing on their recent dates supporting Shellac. Yes, read and digest. Wonky, cronky, oddball, shouty no-image math-rock misfits from Leeds support Shellac on UK tour. And inexplicably divide Shellac fans. Kudos. This doesn’t actually need any more work, beyond perhaps mastering by Bob Weston. Its raw, ragged discomfort is everything it should be.
Cattle – who I’m elated to be featured on a bill alongside in February – bring a crashing swell of nihilistic nose with ‘Found in a Tract of Land’, and Cattle’s drummer Steve Myles also features on the contribution from Groak, who tossed ‘Lemnian Earth’ into the mix because they’re winding down and elected to support the venue instead of holding out hope of a new EP.
Elsewhere, M-G Dysfunction introduce an electronic element to the mix. Black Antlers impressed me when I caught their debut performance at CHUNK (where else?) in June, and the appearance of ‘Insomnia’ here marks their debut release, and showcases some brooding, shuddering electropop that comes on like a goth Goldfrapp or Zola Jesus without the operatics.
I’ve had the pleasure of bringing Territorial Gobbing to York, and as much of that pleasure was derived from observing the bewildered expression of many of the audience members. ‘Whose Big in the Karaoke Underground?’ is a disorientating mess of sounds, incongruous fragments, bleeps and bloops randomly spliced together, and Thank’s ‘Good Boy’ is noisy another highlight, although it sounds like it was recorded from the room next door. Meanwhile, Open’s ‘The Love Machine’ is an overloading, pounding psych racket, and Groak’s curtain closing ‘Lemnian Earth’ is s snarling, blackened assault that’s as raw as roadkill.
Having picked out some highlights, it’s worth pointing out that there isn’t really a duff or dull moment among the fourteen tracks here, and while not every act may be to everyone’s taste, that’s something to celebrate, being indicative of a scene that promotes diversity and where the most disparate acts perform side by side and support one another. Above all, this compilation shows – once again – how the Leeds alternative scene is thriving and continually producing new and exciting music by artists who dare to be different. We need this space! Please support it.
AA
Aural Aggravation 