Posts Tagged ‘EP’

1st November 2019

Christopher Nosnibor

So The Shakin’ Nightmares gatecrashed my radar thanks to a message via Facebook from Dan Gott, guitarist and the man wit all the whoops and howls for manic rockabilly duo Snakerattlers. Since he books gigs at my favourite venue as a day-job he sees and hears a lot of bands, so if he reckons I need to hear an act, the chances are I really do.

They do the matching outfits thing – which is a bit Snakerattlers, but also reminds me of The Computers – and the four songs on this, their debut EP are kicking, but with a sense of order and a determined sense of identity.

‘(I’ve Got) The Shakin’ Nightmares’ kicks it off with a slow swagger and a reverb-heavy twang that struts its way into a swampy gothed-up surf riff that reminds me of The Volcanoes – which means I’m instantly sold. It’s very much about a well-worn template that has its origins in the blues and has been kicking around in various mutant forms since ‘The Hippy Hippy Shake’ in 1959, but it gets increasingly wild, twisting 60s psyche with grunged-up alt-rock.

They step up the pace on ‘Revenge’ which brings a frenzied punk aspect to the boogie-woogie wig-out and ‘I Wish’ chops a groove that sashays into the more straight-ahead rock closer ‘A Little Death’. It’s still dominated by a choppy guitar and some deep reverb, and these guys are cruising hard on an obsessive death trip. I can get on board with that. If it’s not sex or drugs, then rock ‘n’ roll needs death. We can’t all get sex or drugs, and don’t even necessarily want them, but we’re all going to die. And given the state of things, sooner rather than later seems increasingly appealing. On that basis, plus the basis of some solid tunes, The Shakin’ Nightmares have all the appeal right now.

Bearsuit Records – 27th September 2019

Christopher Nosnibor

Edinburgh-based Bearsuit Records has established itself as a reliable source of weird stuff, a large proportion of which comes from Japan, a country renowned for producing some of the most brilliantly bizarre music. Needless to say, I’m a fan, and admire label owner Dave Hillary’s unswerving commitment to giving niche artists a home.

A trilling fairground waltz with stuttering microbeats provides the backdrop to the ethereal vocal on the title track, leading the listener into the weird and wonderful world of Haq, which is a collaborative musical vehicle for Japanese duo N-qia (Nozomi and Takma, the latter of whom is renowned in certain cult circles for his eight albums released under the Serph moniker) and the ultra-prolific Ediburgh based enigma that is Harold Nono.

Evaporator is a quintessential Bearsuit release – meaning, it’s way, way out there, strange and bewildering, in the most otherworldly sense. Evaporator is an album that more or less defines cognitive dissonance. It’s a headfuck, but that’s not a criticism. We need to be challenged: all too often, we’re presented with sonic chewing gum and shrug and think ‘yeah, that’s ok’. Ok is not ok, of course: we’re swimming in a sea of mediocrity and we need to break free of is tireless tide.

It’s all going on – at once – on ‘Dustboy Horrorshow’, which collides dreamy post-rock with pounding double-speed beats before taking a brief turn for the heavy in the midsection, before the industrial grind is dispersed in a ripple of fairy-lit world music to fade. And it only gets weirder and more incongruously juxtaposed from hereon in.

Ballistic beats and floaty mellowness collide, and often, as they explore the space between The Cocteau Twins and the Prodigy and somehow, in their state of dementure, attempt to bridge it by fusion. This shouldn’t work, and in places, it doesn’t, but that’s all the more reason to celebrate their efforts: experimentation and collaboration shouldn’t be about perfection, and even necessarily about the end product. The creative process is what matters.

That said, the end product, weird and baffling as it is, has more than its share of moments, and this five-tacker comes with a bunch of remixes of the EP tracks as well as an alternative mix of ‘Bees in My Feet’ from 2013’s Nocturnals. The approaches to remixing are ide-ranging and varied, and serve to highlight just how eclectic the composite elements of Haq’s original compositions are.

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Haq – Evaporator

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

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.

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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.

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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