Posts Tagged ‘EP’

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

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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

Burn Church Press – 26th April 2017

Christopher Nosnibor

Just because I’ve spent the last decade whittling down my cassette collction from over 500 to fewer than 50 doesn’t mean that I don’t think the tape renaissance isn’t cool. It represents a return to the appreciation of tactile, physical media, as well as a format that has a certain fragility which adds to its appeal: the idea that the cassette was cheap, convenient but also potentially damageable and disposable means that it’s possible to enjoy something of an ambivalent or even conflicted relationship with cassettes, often on a tape-by-tape basis. The return of the cassette suggests bands are haring back to a bygone age when acts – before the advent of the CD-R – would sell tapes at their gigs. These were often bands too new or too skint or too unsigned to have any vinyl releases.

The title of the debut release by Newcastle post-punk band Lost on Me also reminds us of the pre-internet era when bands would cut a demo and send it around gig promoters and record labels the like in the hope of getting gigs and more exposure, or even a recording contract and the chance to record in a proper studio rather than on a beaten-up four-track borrowed from a mate.

‘Protection’ bursts from the speakers in a blizzard of fractal, interlooping guitars, a mass f chorus and delay, and one might be forgiven for an initial thought which incudes Editors by way of a reference point – I’m thinking forst album era, I’m thinking ‘Munich’ in particular. But then Martin Downing’s dense, dark baritone enters the mix, and its heavy timbre has far more ‘gothy’ connotations, calling to mind Chris Reed from Red Lorry Yellow Lorry.

‘Landslide’ is a chiming pop tune at heart with a nagging guitar line, but the throbbing bass and deep, growling vocal casts heavy shade across its sunny surface. Third track ‘Balance’ brings a sinewy tension and a density that, again, is reminiscent of the Lorries.

The stuttering bursts of drums propel the wistful, emotive closer, ‘New Beginnings’ into territories which bring together contrasting dynamics to good effect, and once more indicate that these guys have studied the darker (and often more drum machine driven) side of the early 80s alternative scene. The production also contributes to the effect in a major way, with deep, deep reverb all over everything and a slightly hazy, murky analogue veil hanging over the guitars, in particular the thick bass tones. It’s all in the details, and they’re certainly not lost on me.

 

Lost on Me - Demonstration

Heavy Baby Records – 21st January 2017

Christopher Nosnibor

Ok, so I’m not one to judge a record by its cover, but obviously there’s a lot to be said for packaging music in – or with – cover art which reflects the contents in some way. Heavy Baby Sea Slugs’ new offering, the Teenage Graveyard Party EP has artwork which says ‘sixteen minutes of raw, full-tilt sludge-metal racket’, and funnily enough, that’s precisely what it delivers (as one might reasonably expect from a band who previously released an album entitled Fistula Missile and who seemingly enjoy considerably more success in Japan and Taiwan than at home in Texas).

‘King Midas of Shit’ launches the EP with a savage deluge of nasty, gnarly noise, piledriving in at a hundred miles an hour. Talk about a sonic slap round the chops! It’s a frantic, frenetic and stubbornly unpolished aural assault which spits and snarls and spews in all directions.

The title track slows the pace and actually offer some semblance of a tune, with some proper singing and everything – at least until about halfway through when the band put their collective pedal to the metal and thrash their way senseless to the end. Don’t expect any cuddles from the bass-led thunder of ‘Pit Bait’, either. It comes on like a Motorhead 45 being played at 33.

The six-minute closer, ‘Zero-One’ really brings the grind with a downtuned, gut-churning trudge that’s somewhere between early Swans and early Melvins. It’s a gruelling dirge which makes no real attempt to get going, and instead spends is time making threats, with slow, heavy drums, scrawling feedback and yawning bass drone. It’s crushingly heavy, and feels like the soundtrack to an eternity in purgatory.

It may only be sixteen minutes in duration, but Teenage Graveyard Party is a gloriously unpleasant, dirty, mangled mess of noise. Party on, dudes.

 

Heavy Baby Sea Slugs – Teenage Graveyard Party