Posts Tagged ‘EP’

28th March 2025

Christopher Nosnibor

In the early days of the Internet, although graphics were basic and the majority of sites were predominantly text, weird shit proliferated in a different way from the way it does now. Sites like rotten.com, active from 1996 to 2012, homed the kind of gruesome, graphic, morbid stuff that had the potential to traumatise a person for life, although there were very few videos online in the late 90s. However, one video which achieved notoriety was the ‘Traingirl’ footage, in which a woman is seen stepping onto a train track directly in front of a speeding train. And yes, on seeing the title of this new release from Hull noisemongers Bug Facer, that was almost immediately where my mind went.

The EP’s title perfectly encapsulates the unstoppable sonic squall of the music it contains: three wild, jolting, jarring sonic blasts that hit hard.

The band say of the release: “On this EP, we tried to emulate the energy we have at our live shows – like a big wall of noise and chaos. By recording everything in one room, all playing together at the same time, you can capture that energy of a live show & the chemistry unlike when you’re getting into overdubs. Compared to our 1st EP Triple Death, we’ve changed a lot as a band & finally we feel people can experience the energy of our live shows on record”.

Having witnessed one of their live performances late last year, I can vouch for this. The production is unpolished, bringing the immediacy of the live show, and the volume, too. Man Killed by Train FEELS loud.

They’ve certainly had an eventful journey to arrive at this point: starting out in 2022 as a duo, they subsequently expanded to a quartet, yielding the Triple Death EP and Lord of the Rings-inspired single cut ‘Fiery Demon Attacks Old Man on Bridge’ – and now they’re down to a three-piece following the departure of co-founder James Cooper. But this has seemingly resulted in a newfound focus, and as is often the case with the power trio format, the individual members play harder and louder to compensate the absence of that second guitar or whatever it may be.

‘Coke Cola Shop’ tears out of the speakers to deliver two minutes of discordant sonic chaos with crunchy bass, screaming guitar, and frenetic percussion. There’s some shouting going on in the middle of all of it, too.

‘Spinosaurus’ may be mellower at first, hinting at a swirling psychedelic space-rock groove, but it never really settles, instead lurching restlessly here and there and ultimately coming on more like Fugazi than Hawkwind. And then they really let fly for the finale: ‘Sweat Pea’ is simply explosive, with tom-heavy rolling drums driving a serrated buzz of guitar. The bass is so immense, so dense, it makes your stomach lurch. It’s a full-on pileup where punk, noise rock, sludge, and dirty metal collide, and petrol tanks explode and there’s broken glass and broken bodies and carnage all over. It’s raw, savage, completely without compromise – or a chorus in sight – and without question their strongest statement to date.

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Liquid Len Recording Company – 28th January 2025

Christopher Nosnibor

I suppose I lost track of ‘new goth’ bands at the end of the 90s, and am still a way behind even now I’m a bit more back on it, and so History Of Guns, described by Mick Mercer – the authority on all things goth, who’s Gothic Rock Black Book was a bible for be when I was 13 and discovering the scene, as “By far, the most inventive UK band to have got their hands caught in the Industrial threshing machine” – bypassed me.

As the parenthetical numerals in the title suggests, this is a remixed version of their debut single, released twenty-five years ago, and it’s accompanied by a brace of new songs by way of B-sides, in the way things used to be done back then, when you had 12” and CD singles – and while I don’t get nostalgic for much, there was something special about these formats. Then there’s the fact a 12” single used to cost about £3.50 and a CD single a couple of quid – which probably sounds as incredible as a £1 pint or 3p tin of beans (Kwik-Save, No-Frills, c1995) to anyone under 35 – meant they were affordable, accessible.

But while we’re talking nostalgia and the passage of time, the accompanying video uses footage, originally filmed by Danni Cutmore on a VHS camera, of the band writing and performing the song at Earthworks studio in Barnet in 1998. It’s grainy, fuzzy, saturated, and looks like it could just have easily have bene shot in 1988, or even 1978. On the one hand, digital technology means the quality of video footage, even when shot on a cheapy mobile phone, is usually crisper, and isn’t prone to deterioration – but on the other, it’s so commonplace, it has less currency and less buzz about it, somehow.

The music itself… yes, it’s got that vintage post-punk feel to it, spun with an industrial edge, and pitching the band alongside Alien Sex Fiend, Cabaret Voltaire, Nitzer Ebb, Coil, Nine Inch Nails, Deathboy, The Prodigy, and LCD Soundsystem is all quite fair enough.

The classic spindly goth guitar sound spins spidery webs across a thumping drum machine, and there’s that quintessential low-slung bass groove… not to mention Del Gilbert’s theatrical baritone which looms powerfully over all of it. But then there are shuddering laser synth blasts which bubble up from nowhere, fizzes and whizzing and bleeps create the sensation of listening to two songs at the same time. Perversely, it somehow works, not least of all because there are strong hooks and the beat hits just right.

First B-side, ‘i am defective’ shows how they’ve evolved: it’s a dubby instrumental which leans far more into the electronic territory which only coloured their debut single. It’s also harder-edged and more overtly industrial, too, not just with the electronics, but the crunching, serrated guitars which cut in and threaten speaker damage. ‘LMS (Deep Mix)’ – a radical reworking of ‘Little Miss Suicide’ is in the vein of Rosetta Stone circa The Tyranny of Inaction – at least to begin with, but then swerves hard into the kind of electronica that qualified as technogoth or even cybergoth and reminding me why I drifted from the goth scene at the time. Now, I’m a bit more open to these things, and as an example of hard-edged industrial goth, it’s solid.

This release presents a neat straddling of the band’s formative years and their current sound: a clear win for fans, and a neat introduction for the unfamiliar.

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German Synth pop trio BEBORN BETON unveil the video single ‘Ticket to the Moon’, which is a cover track from the ELECTRIC LIGHT ORCHESTRA album Time and taken from the forthcoming new EP To the Stars. The EP has been slated for release on November 22, 2024.

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BEBORN BETON comment: “The song ‘Ticket to the Moon’ was originally released by the British rock band Electric Light Orchestra on their 1981 album Time, which is one of our favourite records from that era”, vocalist Stefan Netschio writes on behalf of the trio. “We have been thinking about recording a track from that album for quite some time. Given the context of the EP, we felt that the appropriate moment had finally arrived. Alain De Grox aka Synth Heaven once again supported us in the creation of the video. He uitilised amazing excerpts from the CGI Animated Short ‘Ad Astra’ with kind permission of these ArtFX School students: Lauric Bonnemort, Clementin Massin, Pierre Vallerich, and Florian Coquaz. We would like to express our sincere gratitude to everyone who made this project happen.”

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‘Pagan Synth’ band, ESOTERIK has just dropped the latest single from their forthcoming EP, Archetypes.

For their latest single, ESOTERIK brings light to the archetype known as the ‘Shadow.’ The silent observer always watching from behind the scenes, waiting with indifference for what comes to pass. They say you must make peace to move forward, but isolation has always tasted better. Nothing is inherently good or bad and imbalance provides perspective. Without a light to shine the subconscious feeds eternally. However, in absence of light a shadow cannot exist.

On the upcoming EP, Archetypes, ESOTERIK examines the tropes that have weaved a thread across societies for centuries. “It’s such an interesting topic and really highlights the power of language whether written or passed down via word of mouth. The legends hold a commonality that span through time and culture. Before the world was connected by technology, these stories held the experiences and wisdom for generations to come. Whether they are steeped in symbolism or ritual, the lessons are still infused and if sensational that only ensures the survival beyond our limited life spans.”

Watch the video here:

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Phoenix-based metal band Buried has just released a gripping lyric video for their single ‘No Saviors,’ off the band’s forthcoming debut EP, Infect and Replicate.

‘No Saviors’ is just a taste of what’s to come from their debut EP, set for release in early 2025. With this powerful introduction, Buried is poised to establish themselves as a force to be reckoned with in the metal world.

Watch the video here:

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Founded by the creative forces of Preston Wilson (bass) and Alex Valdés (guitar), they sought to channel their vast array of influences into a sound that melds multiple genres. In search of like-minded bandmates, they brought on Erik Scott, a powerful drummer with a diverse style, and Ben Rosputni, a fierce vocalist who had shared the stage with Preston in a band 15 years prior. Their reunion added a layer of depth and history to the band’s formation, grounding Buried in both experience and renewed passion.

Buried’s music can be described as a mix between the heavy, doom-laden riffs of Black Sabbath and the aggressive intensity of Burn the Priest. Infect and Replicate is set for release in early 2025, promising to introduce their powerful sound to metal fans everywhere.

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Photo Credit: Fargone Productions, Mikel Pickett

As the follow-up to the instant classic that was their debut single, ‘Never Say Forever’, we’ll just let this one speak for itself…

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Distortion Productions – 5th July 2024

Christopher Nosnibor

Released to coincide with the start of their US tour to promote the album HEX, released in March, HEXPLAY offers up remixes of three tracks from the album, by artists including Leaether Strip and Red Lokust.

Remix albums and EPs do tend to be a bit of a mixed bag, and my cynical side says they’re an easy way of milking maximum product from the material an act has – and the fact that the Grendel remix of ‘Veridia’ already appeared as a bonus track on the digital version of HEX does little to dispel this notion with this release (the album contained seven new tracks including lead single ‘Witch Lit’ released the year before, expanded with three remixes, and there was previously a standalone Stabbing Westward remix of the title track).

There are two further mixes of ‘Veridia’ here. Of these, the Leaether Strip reworking which opens this set is the most radical, transforming the dark electrop of the original – which clocks in at just over two minutes – into a sprawling five-minute exploration of brooding esotericism, with a hint of Eurovision-friendly groove. Pushing the bass up in the mix, it’s darker and denser than the original, and adds new depths and dimensions. Placing it up front was a sound decision, as for my money, it’s the strongest track here.

In the hands of Third Realm, the contemplative mid-tempo ‘Raining Roses’ is transformed into a cinematic anthem, and it’s a triumphant reworking – not a huge stretch in terms of imagination, but it simply makes the song so much bigger.

SPANKTHENUN take ‘Witchlit’ in a darker, murkier direction, straddling stuttering techno and ambience. It’s quite a departure from the original, unexpectedly tense and claustrophobic, and if it lacks the magical, haunting nature of the original its quite brutal treatment is big on impact and shows the song in quite a different light.

The last couple of tracks are solid enough, but perhaps a shade predictable, and certainly lacking the impact or imagination of those which precede. This is what I mean when I say that remix releases are a mixed bag, but I’m equally aware that this is a question of taste, and some will likely prefer the versions I’m less enamoured with.

Here, the source material is strong, which definitely gives the remixers a head start, and while I’ll often find myself asking ‘why mess with perfection?’ credit is due on this occasion for offering versions which, if not improving on the originals, certainly bring something different and worthwhile.

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31st May 2024

Christopher Nosnibor

There seems to be a proliferation of alternative rock acts emerging of late, many with female vocalists, which can only be a good thing. As the ‘Lips Can Kill’ tour, which saw Tokyo Taboo, Yur Mum, Pollypikpoketz, and Healthy Junkies team up to offer a package deal demonstrated, women can – and do – rock every bit as hard as men. Not that this should even be a topic in 2024. But it is, and since – despite Taylor Swift achieving true world dominance beyond even Madonna – women remain criminally underrepresented, especially in the rock and alternative fields, it’s a topic that should be tackled head-on, but not in a patronising, tokenistic way.

With ‘Maybe’, the last track from their debut EP, which they’ve been drip-feeding over the last eleven months, Nottingham quartet Octavia Wakes stand on their own merits. It’s a cracking tune, with bold, overdriven guitars stacked up-front as the vehicle for a strong, melodic and hooky vocal.

As is the case with so many great songs, it reminds me of something, but I can’t quite place it, and as such, ‘Maybe’ achieves that joyous blend of freshness and familiarity.

The bassline and guitarline at the start is reminiscent of Editors’ ‘Bullets’, but played at double speed, and the song positively fizzes with energy: it’s busy, urgent, grabbing, punky and catchy without being punk-pop. While lyrically, it’s pretty raw and feels personal, telling as it does, ‘the story of a male friend reacting poorly to being spurned, making the protagonist question their own decisions and how those choices make others see them… Along with the idea of being made out to be the bad guy whichever way the scenario plays out.’

Sometimes, you just can’t win. Unless, of course, you consider channelling that situation into something artistically strong. With ‘Maybe’, Octavia Wakes emerge triumphant – and maybe they’re ones to watch for more of.

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26th February 2024

Christopher Nosnibor

Having recently had his early punk rock recordings reissues, Stewart Home makes a new foray into the recorded medium, this time with a rather more experimental collaboration with JIz. Delivering a spoken word list of ‘problematic memorials’ (as the title suggests) with some additional commentary, in a fashion not dissimilar from The Justified Ancients of Mu Mu’s ‘It’s Grim Up North’, across three variants with backing that ranges from swampy experimental noise to minimal avant-jazz, Home leads us on a tour of London taking in sights that most people don’t realise have unsavoury connotations and commemorate people and events which probably ought to be damned rather than celebrated.

The long history of slavery throughout the British Empire has – belatedly – become subject to more open discourse in recent years, but our current government, who seem determined to resurrect the spirit of the empire through jingoism and xenophobia and a completely false reimagining of history as a way of selling Brexit as a win, are averse to such discourse, branding anything and everything from the Army to the National Trust as ‘woke’ – as if being woke is a bad thing.

For the most part, the sense of ‘Britishness’ which is increasingly only a sense of ‘Englishness’ in our ever-more isolated and impoverished part of a small island on the edge of Europe – geographically, and sinking off the coast of Europe politically – is born of ignorance. Stubborn, belligerent ignorance, but ignorance nonetheless. And out of such ignorance arise pathetic, futile culture wars.

Home has so far managed to slide his antagonistic sociopolitical position under the radar in recent years – in contrast to his controversy-piquing earlier years when he was churning out pastiche works about skinheads and riots and anarchy. What happened? Perhaps in developing his approach to be more subtle, Home achieved even greater subversion by being able to continue his mission without interference. Whatever the reason, here we have Problematic Memorials. Call it woke, call it what you like, but it needs to be heard. And beyond the message, it’s a top-notch spoken word / experimental music crossover collaboration, so go get your lugs round it.

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skoghall rekordings – 8th January 2024

Christopher Nosnibor

There’s nothing like a descriptive title to set out plainly what you’re getting. As the notes which accompany this EP release inform us, ‘Leeds postpunkspacerockers Farming Incident released a couple of LPs over their existence and ceased to be in June 2010… The three songs on this release are the first and only batch of recorded songs that were put to tape in late 2007 as part of the proposed 3rd LP which sadly never came into existence…… These songs were rediscovered by FI vocalist Dave Procter in December 2023 and are now released in their full glory.’

Agent Procter has been busy with myriad musical projects since the demise of Farming Incident, many of which have been covered here at Aural Aggravation, and his relocation to Sweden to escape the post-Brexit hell of this sorry island meant that we lost another great Leeds / York postpunkspacerock act in the form of boilersuit-wearing motoric mofos The Wharf Street Galaxy Band. Perhaps in another decade we’ll be treated to some of their final lost session recordings – but for now, we should keep our attention on the release at hand.

To establish the chronology, the band’s untitled third album, which was clearly very much in its early developmental stages, was in progress before their second album, Nine Degrees of Torture (reissued last year) was released. On the strength of just three songs, it’s difficult to determine the level of ‘overlap’ and / or ‘departure’ when weighing up the content of the next album versus its predecessor.

‘the message’ is a heavy-duty full-throttle blast that really transports the listener back to that bridging point where punk split into post-punk circa 79, and with its stonking bass and hectic drumming, I find myself thinking of Joy Division’s early demo recordings as Warsaw. It’s raw, furious, and all the fire. Busy, jangly, messy with treble and without even a smear of polish, it’s real alright. Procter isn’t a singer – he’s a vocalist, and the fact he strains for the higher notes – which is half the song isn’t just ok, but integral to the raw sound. He sounds rather like David Gedge on ‘the pit of doom’ as he sings ‘you’re slipping on the slope / grasping for the rope’, while the band scrabble and scratch away at the instrumentation. The guitar is a scaping chang of treble which chops and splinters into a mesh of top-end amidst streams of feedback.

‘menezes’ is another rough and ready guitar-driven explosion that’s more the sound of ’79 than ’07… although I’m struggling to think what the sound of ’07 actually was. There’s a sense that this was something of a murky spell for music. The post-rock explosion which had erupted circa 2003-4 which seemed to last an eternity was in fact dying of in 2007, and while there was undoubtedly good new music out there – and I was writing about it – there was no real dominant form, no genre which stood out as defining the period, and we trudged and lurched our way through a no-man’s-land of nothing much at all. Small wonder that a band like Farming Incident should peter out. They weren’t part of the zeitgeist: there was no zeitgeist. It’s a shame: Farming Incident were good, and their works in progress showed serious potential, however out of step.

As an aside, their page mentions that ‘All proceeds of any sales will go to Médicins sans Frontières. Thanks for your donation. Go to this link for more details -> http://www.msf.org and of course donate directly here -> http://www.msf.org/donate. Ta(ck).’ It’s good. Give it a blast. And give money.

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