Posts Tagged ‘EP’

30th August 2019 – Retratando Voces

Christopher Nosnibor

This split release, which pairs Leeds solo artist Black Ribbon with Nottingham duo Don’t Try, follows up on the former’s remix of Drahla’s single ‘Twelve Divisions of the Day’ and the latter’s 2018 single, ‘JWAFJ’, emerging on a German label. Mixed and mastered by Wayne Adams of Bear Bites Horse Studios, and featuring artwork by Hayden Menzies (METZ), this has got the lot behind it – and it delivers on all of its promise.

Listening to the dark, goth-tinged post-punk vibes that permeate both contributions, it makes sense: you get the impression that however much there’s been a sustained renaissance for all things goth-tinged and post-punk here in Britain (which, let’s face it, hasn’t been especially great of late), these are artists who will likely fare better on the mainland, especially in Germany.

Black Ribbon’s ‘Interception’ arrives in a squeal of feedback before clattering percussion and angular synth discord pave the way for a driving dark disco groove. It’s a magnificently mangled hybrid of DAF, Gary Numan, The Human League and early Foetus. Take away any one of the elements and it’s a different animal, but it’s the collision of all things at once that make it special. Done differently, it could be a straight-ahead electropop tune, albeit with an industrial production and early 80s vibe. But with incidentals exploding all over the place, while the vocals, heavily treated and low in the mix have a robotic tone and veer between blank monotone and rising desperation.

Transitioning through a series of passages with some expansive instrumental segments, it stretches out to build a masterfully epic listening experience. Fading out just shy of nine minutes, its end brings a disappointment that its not much, much longer.

The Big Black comparisons that have been hovering around Don’t Try are of merit in the context of ‘Melancholy Chapters’, the drum machine pounding relentlessly behind a gauze of guitars reminiscent very much of ‘Bad Houses’ from Big Black’s debut. Notably, this was Albini and Co’s attempt to sound like The Cure. And while it captured the claustrophobia of 17 Seconds, it did so with everything cranked up to eleven. Don’t Try bring the goth via Big Back loop full circle here with a pulverising six minutes of hard-hitting bleakness.

However, something about ‘Melancholy Chapters’ calls to mind other acts, notably to my ear The Screaming Blue Messiahs, particularly in the sneering vocal delivery. It’s kinda punk, kinda something more sophisticated. That doesn’t mean it’s not direct, hard-hitting, heavy: if anything, this is denser and packs more impact than their previous releases, which have focused on primitivism and treble.

It may only contain two songs, but this feels like a massive release, a landmark of sorts, and something deserving of a lathe-cut clear vinyl 12”. It’s challenging and likely divisive, with both acts taking something that could be accessible and rendering it with degrees of difficulty. On a personal level, this is much of the appeal: I crave art that makes demands, and admire the makers of the art that does so. But it’s more than that: art that challenges probes into the soul and the psyche, it alerts the senses and makes you feel. Against a backdrop of sameness that induces a numb torpor, we need that jolt, that kick, that buzz to remind us we’re alive. And this does that.

Hayden Menzies Artwork

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Christopher Nosnib0r

The press release froth on about how Milton Keynes pop-punkers Get Your Head Straight have just launched their new single, ‘Swansea’, which is taken from their excellently received debut EP, Contrast.

The fact it’s pop-punk – and I’ll admit a certain genre prejudice here – notwithstanding, ‘Swansea’ is a neatly performed slab of generic bilge. The guitars are up in the mix, but you get the impression that’s more by accident that design, as the production is okay to middling at best. Meaning, what may sit as ‘dynamic’ elsewhere simply conveys ‘slapdash’ in context. Call me choosy.

And it really is a terrible name for a band.

Undogmatisch – UNDOGMA3 – 19th January 2018

Christopher Nosnibor

This all sounds very complicated, both in terms of concept and execution. This is the first in a series of releases which contain remixes of tracks from the album Madame E, by Mirco Magnani and Ernesto Tomasini. So far, so straightforward. Madame E is ‘a free reinterpretation of Georges Bataille’s short novel Madame Edwarda (publ. in France 1941), in which Eroticism, Religion and Death are interlaced.’ Bataille is by no means an easy read. And while I’m yet to hear Madame E, ‘Plaisir’, at least in its remixed form, is by no means an easy listen.

Pink and white noise and strains of feedback which register in the range of bat-hearing jostle against jolting ruptures of panoramic bass frequencies and irregular, thumping, electronic beats. It pulsates and throbs and bristles and jars. With soaring, semi-operatic falsetto vocals drifting over the ever-swelling electro-industrial grind, it comes on like a deranged and super-intense hybrid of Scott Walker and Whitehouse. Maybe that could be a future project, by way of a counterpart to Walker’s collaboration with Sunn O))). Or maybe tis already fulfils that ultra-niche gap in the market.

So where’s the complication? Well, this release is credited to Ken Karter, the remixer, for a start, despite it containing music originally composed by Mirco Magnani and Ernesto Tomasini. So, this release is the first in a series which sits under the banner of MADAME E. Rèintérprétations et Remixes, which will be released periodically as one-sided 12” singles in limited editions of 10 – which is barely a test pressing – and digitally. These are designed to ‘include different points of view from artists somehow close to the album’s topics and atmospheres’. And after the last remix taken from the album, the whole remix series will be published as an album titled MADAME E. Rèintérprétations et Remixes.

I’m not entirely sure of the purpose of the individual digital releases, but that’s a question of economics and practicality. This is clearly less about practicality and convention than it’s about art.

It’s a release which invites meandering dissections and deep, analytical appraisal. It’s a release which likely deserves it, too. But there’s a time and a place, and a work so deeply invested in intertext and context. We’re in the realms of critical theory and reader reception, with a work which purposefully challenges its own place and function. But when high art meets populist electro tropes, anything goes. And with this, anything goes.

AA

Plaisir

Bearsuit Records – 23rd September 2017

James Wells

Multi-instrumentalist Hayato Takeuchi hails from Japan. Beyond that, I know nothing in terms of biography. No that it matters. It’s all about the music, and the music on this EP is… different. Different from what? Pretty much everything. Yes, it’s a typical Bearsuit Records release.

The five tracks on offer here are dizzying, bewildering, multitonal works which play with time signatures and textures at the same time. There are all shades of oddness here, from the whistling loop over wonky synths and a sparse beat on the piano-led ‘Usan Kosao No Usoushiki’, and the playful theatrical noodles of ‘Mr Henderson No Ai To Replica’ is a fairground waltz that skips lightly through a space that revels in experimentalism. Weird and woozy, dramatic and quirky are Takeuchi’s key themes here. The final track, ‘Anata To Watashi No Kyoukaisen’ sides gracefully into crystalline, cloudlike ambience which tapers and turns subtly in a space of its own creation.

There’s no way of putting a tag on this that’s in any way informative, and to pick it apart is to destroy its intrigue. Weird and special, and special in its weirdness.

AAA

Hayato Takeuchi

American artist and performer Jarboe and Italian occult duo Father Murphy will be touring together Europe this Autumn, promoting a collaborative EP out September 22nd on Consouling Sounds. Ahead of the release and impending tour, they’ve unveiled a trailer by way of a taster.

You can watch it here (tour dates are below):

YYY

September

22 BE, Eeklo – N9

23 DE, Krefeld – Südbahnhof

24 DE, Berlin – Quasimodo

26 CZ, Brno – Kabinet Muz

27 CZ, Soulkostel – Soulkostel

28 PL, Poznan, LAS

29 PL, Torun – Klub NRD

30 PL, Gdansk – Smoke Over Dock II Festival at B90

October

1 PL, Warsaw – Distorted festival at Klub Hydrozagadka

2 PL, Lodz – Dom

4 LT, Riga – Gertrude Street Theater

5 RU, Moscow – 16 Tons

7 RU, St Petersburg – Place

10 SWE, Stockholm – Kraken

11 SWE, Karlstad – Tinvallakyrkan

12 NO, MOSS – House of Foundation

13 SWE, Gothenburg – Culture Night Festival at Goteborg Public Library

14 DK, Aarhus – Tape

16 CH, Basel – Unternehmen Mitte (Safe)

17 CH, Geneve – Cave 12

18 IT, Pistoia – Bruma Vol.III

19 CH, Busto Arsizio – Circolo Gagarin

20 FR, Lyon – Sonic

21 FR, Paris – Instants Chavirés

23 UK, London – St. Pancras Old church

24 UK, Leicester – The Musician

25 UK, Glasgow – Cottiers Church

26 UK, Preston – The Continental

28 BE, Bruxelles – Magasin 4

29 NL, Utrecht – Tivolivredenburg

November

2 PT, Lisbon – ZDB

3 PT, Porto – Understage

American artist and performer Jarboe and Italian occult duo Father Murphy will be touring together Europe this Autumn, promoting a collaborative EP out September 22nd on Consouling Sounds.

Jarboe and Father Murphy’s connection runs deep. Jarboe continues to have a profound influence on Father Murphy’s musical path, and there is a strong, mutual understanding of what they define as a "sense of guilt", rooted in their Catholic upbringing, which informs their music, both together and independently. Approaching the EP, both Jarboe and Father Murphy each wrote a song, which they exchanged for the other to finalise, the result being a rich reflection of the spirit of both artists, and their meaningful bond. The Jarboe & Father Murphy EP was mastered by an infamous engineer, Davide Cristiani at Bombanella soundscapes studio in Italy, using a technique he calls "anti-mastering" whereby he irradiates the analogue master with deep, pure 432hz sounds in a process that somehow gives the master the same benefits than a defragmentation does to a hard disk. It works the sounds together in harmony, the result being much brighter and more real, which is very befitting to the release.

Father Murphy shall open with the rituality of their alluring live performance, followed by a haunting set that combines Jarboe’s unique voice and Father Murphy’s charmed sounds, together they shall draw upon Jarboe’s old and new songs, including the two brand new pieces from the EP. Full dates below…

LIVE DATES:

September

22 BE, Eeklo – N9

23 DE, Krefeld – Südbahnhof

24 DE, Berlin – Quasimodo

26 CZ, Brno – Kabinet Muz

27 CZ, Soulkostel – Soulkostel

28 PL, Poznan, LAS

29 PL, Torun – Klub NRD

30 PL, Gdansk – Smoke Over Dock II Festival at B90

October

1 PL, Warsaw – Distorted festival at Klub Hydrozagadka

2 PL, Lodz – Dom

4 LT, Riga – Gertrude Street Theater

5 RU, Moscow – 16 Tons

7 RU, St Petersburg – Place

10 SWE, Stockholm – Kraken

11 SWE, Karlstad – Tinvallakyrkan

12 NO, MOSS – House of Foundation

13 SWE, Gothenburg – Culture Night Festival at Goteborg Public Library

14 DK, Aarhus – Tape

16 CH, Basel – Unternehmen Mitte (Safe)

17 CH, Geneve – Cave 12

18 IT, Pistoia – Bruma Vol.III

19 CH, Busto Arsizio – Circolo Gagarin

20 FR, Lyon – Sonic

21 FR, Paris – Instants Chavirés

23 UK, London – St. Pancras Old church

24 UK, Leicester – The Musician

25 UK, Glasgow – Cottiers Church

26 UK, Preston – The Continental

28 BE, Bruxelles – Magasin 4

29 NL, Utrecht – Tivolivredenburg

November

2 PT, Lisbon – ZDB

3 PT, Porto – Understage

Metropolis Records – 16th June 2017

Christopher Nosnibor

Since their initial (slight) return with the EP produced in collaboration with Cubanate’s Marc Heal on his guise as MC Lord of the Flies in the spring of 2015, PIG have been on a real (sausage) roll.

Hot on the heels of the remix album Swine and Punishment lands the Prey & Obey EP, which features three new tracks spawned from the same swirling cesspit of sleaze which gave birth to The Gospel, the first PIG album in a decade. Bringing extra meat to the lineup for this outing is Sisters of Mercy guitarist Ben Christo, who also receives co-writing credit for ‘The Revelation’. Meanwhile, the eternal PIG / KMFDM overlap is maintained courtesy of the En Esch, who contributes a remix version of the lead (prime) cut.

‘Prey & Obey’ positively explodes with heavy-duty guitar-led grunt and chug. It’s vintage PIG, drawing all of the elements that define the band’s sound from the span of their career: Watts spits and snarls over overdriven guitars melded to a thumping industrial disco beat while a swirl of strings whip up the layers of drama. It’s all delivered with a knowing bombast and, and as such, sits up there with anything in the substantial PIG oeuvre.

‘The Revelation’ references PIG classic ‘Serial Killer Thriller’ in the sinewy lead guitar part, while Watts, snarling menacingly, juxtaposes bodily fluids and biblical references like only he can (and get away with). The third of the new tracks, ‘The Cult of Chaos’ is also of premium PIG standard; slower, grinding, it twists a goth-tinged lead guitar over a throbbing groove that’s equal parts guitar and electronic, while a brooding piano strolls around in the background

Of the remixes, the Leæther Strip remix of ‘Prey & Obey’ fits the predicable technoindustrial groove version requirement, while the aforementioned En Esch reworking is darker, murkier, grimier, and more atmospheric. Collectively, they make for a rounded representation of what PIG are about. There’s snout wrong with that, and Prey & Obey is not only a rip-snorting effort, but up there with the best PIG releases.

 

PIG - Prey & Obey