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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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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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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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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Ahead of the re-release of the epic TRINITY E.P. this October NFD are proud to present stunning new video for a special edit of Surrender To My Will (No Mercy), The Enchanted version. Featuring American alternative DJ & Model, Ashely Bad in the role of the Witch and the NFD frontman in the role of the Demon the video is more of a movie short than a music video with strong atmospheric Gothic visuals tell the tale of a venture to Hell and back.
Watch the video here…
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Norwegian doom rockers Kal-El today share a music video for the second track off their two-track EP titled Moon People, which is scheduled to be released this Friday, September 22nd via Majestic Mountain Records.
Watch the video for ‘Universe’ here:
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Recorded at Lydplaneten, engineered by Tory Raugstad, produced by Kal-El and mixed and mastered by Ruben Willem, this new EP shows the Stavanger five-piece merging elements of sci-fi space rock, fuzzed-out stoner rock and psychedelic doom, while maintaining a strong proficiency at writing catchy riffs and intoxicating grooves.
Christopher Nosnibor
Engineer Records
I have mentioned – more than once – that I’m not fan of punk pop. But I am a strong believer in that there are two kinds of music – good and bad – and that there are exponents of both in any genre. A quote that sticks in my mind is Morrissey’s declaration that ‘all reggae is vile’. Now, I’m no fan of reggae, but that doesn’t mean that reggae is shit, it simply means that most reggae is not to my taste – but then there are reggae-flavoured songs and bands I absolutely fucking love, from The Special to The Ruts, not to mention some of Bauhaus’ dub/reggae dabblings. But vile? I suppose this was one of those early hints that Morrissey was a racist twat, along with his comments about needing to be black to get on Top of the Pops or whatever it was. Only back in the mid-80s, it was simply viewed as being niggardly, misanthropic, and contentious because it made good press.
I know absolutely nothing about the band, or the release: this is one of those CDs that just arrived through my letterbox. Some people would worry about how people find their email address or whatever, but I’ve come to be comfortable with people sending me stuff, because, well, as long as it’s downloads and CDs and books, rather than death threats, it’s a good thing.
Bed of Snakes definitely sit at the punkier end of the spectrum, rather than the poppier end. and it’s an instant grab with ‘Bridge to Nowhere’. It has the drums right up front and centre, the guitars crackle with crunch and big speaker volume, and the vocals are lower in the mix than the mixed-for-radio stabs at success that’s depressingly commonplace. There is, to my ear, nothing more irritating than clean vocals at the top of the mix on a tune that purports to be punk… and even in general. Mix really does matter, and with guitar-based music, the vocals should sit in it, rather than dominate, way above it. Too much vocal just sounds… wrong. But this, this is perfect, And those vocals are gritty, full-throated, raw, they grab you, and they’re riven with energy and sincerity.
‘Over You’ slumps into middling mediocrity and it would take far longer than the song’s two minutes and thirty-seven seconds to list the bands it sounds like. For me, it’s two and a half minutes of wondering why. Why do something so derivative? Why, when you can clearly do so much better, be so much more exciting? I suspect that radio play is the goal. Let’s write the tune that could get radio play, guys! I get the rationale, but no-one wins here.
But they’re back hard and heavy on the closer, ‘Stolen Moments’. As on ‘’Bridge too Nowhere’, the guitars are big and gritty, and the sound is dense and there’s a punchy, passionate edge that feels real. And two outta three ain’t bad: Bed of Snakes have proved that they’ve got guts and grit, and some knack for riff-driven tunes. Let’s have some more!
Solo experimental electro-industrial outfit, Nebulae Complex has just unveiled their new EP, Bryozoan Operator.
Inspired by peculiar plant and deep sea life amongst other themes, Bryozoan Operator paints an almost alien, yet familiar planetary landscape as viewed through remote sensing instrumentation. While Bryozoan Operator is not a concept EP, each track tells both its own story and also belongs in a loosely-tied and loosely-defined aesthetic universe of the entire EP.
The EP opens a new musical era for Nebulae Complex. It signifies a shift to harder-hitting electro-industrial beats with layered vocals while continuing with an intricate sound design. The sound and music morph organically and sometimes unexpectedly, albeit with solid precision and intention.
As a taster, they’ve produced a video for the track ‘Bleachburn’. Watch it here:
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