Posts Tagged ‘Groove’

Watch My Dying – Egyenes Kerőlő

Posted: 21 January 2025 in Albums, Reviews
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24th January 2025

Christopher Nosnibor

These are dark days. I feel as if I’ve written words to this effect a lot in recent months and years. It would perhaps be rather too much to expect there to be the sunrise of a new, optimistic dawn breaking over the horizon, but when there is nothing but the glow of flames beneath a pall of smoke on so many very real horizons, any sun on the metaphorical horizon is eclipsed by a billowing pother and clouds of ash. And then, last night, I felt my heart sink yet deeper still as Donald Trump signed away the protection of the Arctic in his quest for ‘liquid gold’, and declared a ‘state of emergency’ over the Mexican border and promised mass-deportations – ‘millions and millions’, being his megalomaniacal mantra, while the man who owns him, the richest man on the planet, who seeks not only world domination, but galactic domination, threw Nazi salutes to a huge crowd of fanatics.

Fighting the urge to assume a foetal position on the hearth rug in front of the fire and stay there for the next four years in the hope there may still be a world after that, I poured a strong winter ale and took some time to sift through my submissions for something that might make suitable listening.

Listening to light music in the face of such darkness and despondency feels inappropriate, somehow, so stumbling upon the latest album by Watch My Dying felt fortuitous. Extreme metal has a way of providing a means of escape, sometimes.

According to their bio, ‘Watch My Dying has been a cornerstone of the Hungarian metal scene for 25 years, a hidden gem for international fans of extreme metal. Formed in 1999 in Hungary, the band quickly became a defining force in extreme tech/groove metal throughout the early 2000s… Known for their philosophical and socio-critical Hungarian lyrics, WMD stands out in the extreme metal genre, with excerpts of their work inspiring novels and poetry in Hungary.’

It’s the title track which opens the album, with a slow, atmospheric build, before heavy, trudging guitars enter the fray, and it’s only in final throes that all fury breaks loose.

While there’s no shortage of archetypally death- and black-metal riffs, WMD forge a claustrophobic atmosphere with chunky, chugging segments, enriched by layers of cold, misty synths, and some thick, nu-metal slabs of overdrive, too: ‘Kopogtatni egy tükrön’ is exemplary. ‘Jobb nap úgysem lehet’ provides an interlude of heavy drone and hypnotic tribal drumming before one of the album’s most accessible tracks, ‘Napköszörű’ crashes in. It’s hardly a party banger, but brings together industrial and metal with a certain theatricality, finished with some impressively technical details – but none of it’s overdone. ‘Minden rendben’ is more aggrotech than anything specifically metal, and it’s a banger.

Egyenes Kerőlő isn’t nearly as dark as a whole as the first few songs suggest, but it’s still plenty heavy and leads the listener on something of a sonic journey. They cram a lot into the eleven tracks, especially when considering that the majority are under four minutes, with three clocking in around the minute mark. It’s certainly varied, and while not all the songs have quite the same appeal – the last track, ‘Utolsó Fejezet’, borders on Eurovision folk – the fact that they’re in no way predictable is a strong plus.

So many technical players are so busy showcasing their skills that they forget the value of songs. This is not the case with Watch My Dying: the groove element is strong, and there are melodies in the mix – just not in the vocals. The end result is more accessible and uplifting than I would ever have imagined. I almost forgot that the world is ending for a good twenty minutes.

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Karobela – Afterthought

Posted: 6 January 2025 in Reviews, Singles and EPs
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20th December 2024

Christopher Nosnibor

Here we are on the cusp of the second week of January and still mopping up releases from December. And that’s ok. I don’t get why everyone is so hung up on the end of year / new year thing anyway, and I certainly don’t get why so many end of year lists are published in November. It made sense when we were tied to print media, and monthly magazines went to print a good month in advance, meaning the December editions were being written in October to hit the shelves at the end of November, but in the age of the Internet? Nah. And the sheer volume of music being releases means that things often have a slower diffusion, in contrast to the 80s and 90s when people raced to buy 7” and CD singles on the week of release after a big advance push which was essential for that chart placing, which meant Radio 1 Top 40 airplay on a Sunday afternoon and the possibility of being on Top of the Pops.

So, my somewhat belated coverage of this new single by Kent-based alternative act Karobela is anything but an afterthought. Boom.

The song is, they say, ‘a kick back, in your face retaliation to everyone who thought they could just kick you to the curb’. Many of us have been there: left out forgotten, excluded – not necessarily by design, but because ‘oops’. Well, you can tag along if you like, why don’t you? Out of sight, out of mind as the phrase goes.

The band have clearly put plenty of thought into this tune that’s structured around a low-slung bass groove and builds to climactic, impassioned choruses. It does teeter perilously close to classic rock / indie funk in places, but the energy and raw sincerity carry it through, and they sound like a band who will really grab certain demographics in a live setting, while the relatable content of ‘Afterthought’ is also likely to be a winner.

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Bloom – The Season – Xmas mouse mix

Posted: 26 November 2024 in Reviews, Singles and EPs
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26th November 2024

Christopher Nosnibor

Deborah Fialkiewicz has been keeping busy – as usual. Composer of contemporary classical, ambient, and dark noise works both as a solo artist and in various collaborative permutations and guises, she’s back with a new BLOOM release in collaboration with Daniel James Dolby. And it’s a Christmas single.

I’ve never been rabid about Christmas, and the last three years have seen a succession of difficult Christmases for me personally. In December 2021, my wife was diagnosed with stage 4 breast cancer. We weren’t even sure if she would be home for Christmas. She was, but was incredibly weak after three weeks in hospital, and that she was able to sit at the table for Christmas dinner felt like a miracle. We were in shock, and she was clearly unwell. Having made substantial improvements in rebuilding her strength through 2022, she deteriorated with the onset of winter, and again was weak and struggling over Christmas. It still doesn’t seem real that she only had another three weeks. And so Christmas 2023 was the first with just me and my daughter, aged twelve. We made the best of it, but it wasn’t the same. I detail this not for sympathy, but purely for context. It means that while around this time of year it becomes nigh on impossible to avoid festive fervour, with adverts depicting happy couples and radiant nuclear families, all the usual Christmas tunes and an inbox busting with new ones clamouring for coverage, and Facebook friends and work colleagues are dizzy with excitement over getting their decorations up, sorting secret Santa and planning social activities, I’m not feeling much enthusiasm, concerned primarily with getting through it and hoping distant relatives don’t think I’m rude or twatty for not sending cards out for the second year in succession.

When writing about music, I am often – and perhaps increasingly – aware that how we engage with it, how it affects us, is intensely personal and involves multitudinous factors. Sometimes, it’s something as arbitrary as the mood we’re in when we hear a song that will determine our response. And the chances are – and I’m no doubt not alone in this – hearing chirpy tunes when I’m down isn’t going to cheer me up, it’s going to really piss me off, or set me off. It’s impossible to predict. To be safe, I tend to try to avoid Christmas songs, which involves avoiding TV and radio – which is surprisingly easy if you spend large chunks of your time in a small room reviewing obscure music – avoiding shops – manageable – tacky pubs – easy – and ignore review requests for Christmas singles.

But there is always space for an exception, and Bloom’s ‘The Season’ is it. Deborah may have been posting pics on Facebook of the ‘festive mouse’ in the studio to mark this release, but said mouse is looking over a piece of kit called ‘Psychosis Lab’ made by Resonance Circuits. The cuddly cartoon cover art for this release is misleading, and for that, I am grateful.

It’s five minutes of deep, hefty beats melded to a throbbing industrial synth bass. Atop this thumping dance-orientated rhythm section, there are synths which bring a dark 80s synthpop vibe. In combination, the feel is in the vein of a dance remix of Depeche Mode circa ‘85 or ’86, around the point they began making the transition from bouncy pop toward altogether darker territories. It’s repetitive, hypnotic, pulsating, big on energy. But there are eerie whispers which drift through it all, distant wails like spirits rising from their graves. These haunting echoes are more evocative of Halloween than Christmas – and this is a significant part of the appeal. It’s a curious combination of ethereal mists and hefty, driving dance groove, which is simultaneously uplifting, tense, and enigmatic. It is not schmaltzy, cheesy, twee, or saccharine. It’s the season, alright. The season to be weird, to be unconventional, to accept those darker moods and remember that they will pass. It’s a Christmas anthem for those who aren’t feeling festive. And I will most certainly drink to that.

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Downtime – Guts

Posted: 4 August 2024 in Albums, Reviews
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Cruel Nature Records – 26th July 2024

Christopher Nosnibor

Who’s got guts nowadays? Who even talks about guts nowadays? When I was growing up, guts was a big deal. Succeeding or achieving against adversity took guts and the papers would applaud. Now, you’ll occasionally hear of artists giving gutsy performances, but it’s rare.

But Downtime – ‘the dynamic duo of Dave Sneddon and Mike Vest’ – yeah, they’ve got guts. But then, Mike Vest clearly has restless guts, his monumental and ever-evolving CV listing Guitar Oblivions, BONG, Drunk In Hell, Blown Out, Haikai No Ku, Modoki, Depth Charms, Brain Pills, Hollow Eyes, Lush Worker, and 11Paranoias. Collaborations include Mitsuru Tabata (Acid Mothers, Boredoms), Aoki Tomoyuki (UP-Tight), Fred Laird (Earthling Society, Artifacts & Uranium). When does this guy actually sleep?

Anyway: the naming of this project is likely ironic, and Vest’s concept of downtime differs from that of the rest of the world. He calls it downtime: we call it having a night off to sleep after finally taking a piss.

On Guts, Downtime immerse themselves in long, long, guitar and rum noise workouts, exploiting textures to the max.

The album contains but two tracks, each stretching out to the twenty minute mark.

‘Black Cherry Soda’ goes deep into a psychedelic groove, but it’s dominated by layers of feedback and blistering noise. I’m reminded of Head of David’s HODICA unofficial live album, which captured the band intentionally sabotaging a showcase gig that would have landed them a record contract by playing none of the songs and instead blasting out an ear-shredding wall of noise ;aced with a slew of uncleared samples. As middle fingers to the industry go, this stands, even now, as one of the best. The track drives forward and crashes through every fence and gate standing in its way, picking up pace and volume as it careers, out of control, onwards, ever onwards, on a heartstopping collision course towards its final resting place – smouldering in wreckage having slammed headlong against a wall, feedback and howling tones still spewing forth from the calamitous chaos. But we’re still only seven minutes in… and then shir really goes off the rails in a tempest of truly shattering noise. Every minute sounds and feels like the end, and every second is pulverising. The mess of noise, underpinned by a deep, strolling bass, is a chaos of discord, but also a spectacular document of collaborative musical capability. And this sounds like the work of more than two people.

Colossal noise is an understatement, and ‘Blue Dream’ fades in where ‘Black Cherry Soda’ tapers out, on a tidal wave of feedback before locking into a hefty psychedelic groove with thumping percussion, a foot-to-the-floor bass thunder and a blistering guitar racket that’s truly tranportative.

Downtime have no such specific agenda here, but the bottom line is that that they’ve no interest in the machinations of bigger labels and are quite content to have their staunchly uncommercial noise released to a small sliver of ‘the masses’ by a label who actually cares about what they do. If you dig noisy psychedelia, you need this.

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Listen: ‘They’ by Adios MF

Posted: 3 June 2024 in Recommended Streams and Videos, Singles and EPs
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Adios MF is a musical collective spearheaded by Nathan Keeble carving fresh dark wave and electronica sound the underground of Sheffield. Their latest single, ‘They,’ was recorded between Brooklyn and Brixton, serves as a sonic manifesto of what’s to come. Their music defies categorisation, blending elements of post-punk, electronica, and avant-garde into a sonic tapestry that’s uniquely their own.

With sleek production by Nathan Saoudi and Richard Wilson yet coursing with enough detail and character to set it apart, with this impish 80s beat, sinewy guitars, metallic dapping keyboards, and sample loops, it forges a uniquely futuristic sound that’s at once both familiar and yet mirrors the churn of the cityscape.

With a sound that hints at the influence of acts like Human League, Depeche Mode, Kraftwerk and Molly Nilsson, the vocals are addictive and almost mechanical, driven with hooky melodic ticks that sink their nails into and won’t let go, and yet the lyrics reside with a disquiet at the creeping gentrification of urban redevelopment “They built a Starbucks on my street” and reference to shadowy figures who might take you away. It hints at a dark underbelly and Sci-fi dystopia where your every action is being watched.

ADIOS MF say “’They’ is a Kitsch byproduct of existence amid the constant churn of urban development and the persistent buzz of drilling. It was written as a tonic to the realisation that resistance is futile; you must simply acquiesce to the world of urbanism and let it carry you along on its unpredictable journey, set to a naughty 80s beat.”

We dig it here at Aural Aggro, and you can get your lugs round it here…

Mayflower Madame – A Foretold Ecstasy

Posted: 11 May 2024 in Reviews, Singles and EPs
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10th May 2024

Christopher Nosnibor

Back in April 2020, writing on the release of their second album, Prepared for a Nightmare, I remarked that it had been four years since their debut, Observed in a Dream, and it had felt like an eternity. And here we are, a further four years on, and ‘A Foretold Ecstasy’ has landed as the prelude to album number three, due in the autumn.

Here, they’re straight in with that tight, solid rhythm section – a chunky bass with a hint of chorus to fatten it out while also giving it that classic spectral goth sound, melded to a relentless four-four metronomic thump, minimal cymbals, no flamboyant fills, just taut, a tense, rigid spine around which the body of the song grows. This, of course, is the foundation of that vintage gothy / post punk sound which originated with The Sisters of Mercy and, thanks largely to Craig Adams – who is arguably one of the greatest bassists of all time by virtue of his simple style of nailing a groove and just holding it down for the duration – carried on in The Mission. The Mish may lack some of the style and certainly the atmosphere and lyrical prowess of The Sisters, but the musical ingredients – and in particular that unflinching rhythm section – are fundamentally the same. And so it is that while the dominance of that thunking bass and bash-bash-bash snare may have become something of a formula, it’s hard to beat and absolutely defines the genre.

Mayflower Madame have always sat more toward The Mission end of the spectrum, whipping up songs which owe a certain debt to Wayne Hussey’s layered, cadent guitar style. But what they bring that’s unique is a swirly, psychedelic / shoegaze hue, a fuzzy swirl of texture and light. There’s a dark decadence, a lascivious richness to Mayflower Madame that accentuates the dramatic aspects of the gothiness: theatrical, flamboyant, but without being hammy or campy. And of course, Trond Fagernes’ vocals drift in an ocean of reverb, and the cumulative effect isn’t simply atmospheric: it carries you away on a sea of mesmeric sound.

With layers of synth which drift like mist across a production that balances dreaminess with a driving urgency, ‘A Foretold Ecstasy’ floats between haunting verses and surging choruses – and it’s hinting at their best work to date.

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PHOTO CREDIT: MIRIAM BRENNE

Listen: ‘Methastasis’ by Ornamental

Posted: 18 March 2024 in Recommended Streams and Videos, Singles and EPs
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German psych-rock collective Ornamental have just unveiled a new song off their first studio album Verwandlung Im Schlaf, which is scheduled to be released on April 11th via Pink-Tank Records.

Listen to this new seven-and-a-half beast of a track titled ‘Methastasis’ here:

Combining elements of heavy, psych-rock with 80’s influenced synthesizers, the quartet sound like the Germanic counterpart of King Gizzard & the Lizard Wizard.
Verwandlung Im Schlaf takes listeners on a exciting journey through various musical landscapes, and sometimes during the duration of just one song. ‘Esoteric Warfare’ for instance, send us on a drive through a desolate and monochromatic desert, while ‘Maelstrom’ sweep us off the road and transports us straight to space.

Originally formed as a solo project of Sidney Jaffe (Arcane Allies, Burnpilot) the band transformed into a power quartet with Jonas Hehemann (Burnpilot, Tv Strange) on bass, Rouven Bienert (Tv Strange, Ruins) on Guitar/Synth and Lennart Uffmann (Brandmann) on the drums.

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Andy & Grace – Reunited

Posted: 29 September 2023 in Albums
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Sinners Music – 30th September 2023

Christopher Nosnibor

As the album’s title suggests, this is not Andy & Grace’s first work together, but does come after some time since their last collaboration. By ‘some time,’ I mean a long time. Like two decades long. As the bio which accompanies the album outlines, they first met in the late 1990s ‘as founding members of the ambient chillout band Chillage People’, under which moniker they played ‘long, improvised sets in sweaty chill-out rooms in gloomy Sheffield clubs’ and resulted in the album Solid Water, released in 2001.

There’s much of the intervening time unaccounted for, presumably because life. So many creatives in all media seem to suddenly disappear from view. Work, families, and ordinary everyday adult pursuits take over and there simply isn’t the time or the energy. Some accept this comfortably, even embrace it, others wrestle with the opposing forces of creative juices fermenting and slowly gnawing at their guts while enduring.

Whatever the reason for the gap in his musical CV, recent year have seen Andy becoming a part of the Electronic Music Open Mic (EMOM) movement, appearing at venues around the North of England playing with his modular synthesiser. This is where Sinner Records come in: Ian J Cole is also a face on the EMOM circuit, a musician in his own right, who recently established Sinners Records. And let’s not forget Grace – that’s Grace Griffin, who at the time of joining Chillage People, was already a highly sought-after live sound engineer, working with some of the biggest names in the music business.

‘You name them and it’s a fair bet that Grace will have worked with them,’ says the bio. On top of that, and being ‘an accomplished musician with a gift for crafting fascinating textures and grooves, she is also an adept photographer and video editor.’

She’s remained engaged in music. There may be a worry that after twenty years and their lives having taken such different trajectories, reconvening would bee awkward, but the clue is in the title, really: Reunited speaks of coming together, coming home and picking up where you left off. And listening to Reunited, for all its crazy crossover and stylistic divergences, it feels like an album that has been dying to get made, whether they knew if or not before they started work on it.

Over the span of thirteen pieces, the pair explore a host of soundscapes and varying moods, all incredibly rich in atmosphere, shifting constantly. The first of these, ‘Deady Long Legs’ transitions from shifting sands of electronic noise to somewhat unsettling echo-drenched ambience, eerie chimes and shooting stars spinning off course against a warping backdrop of slow-melting vintage synth tones and shuffling groundworks, and there’s a lot going on here. It’s an album dominated by rippling waves and space-age spins, and there are some tracks which find the pair go full dance – or EBM or EDM or whatever it is in America. The beats aren’t often dominant, but they are frequently driving. At times, the tones are brittle, reducing from full range to clipped, tight compressions mingling with undulating synths forge cinematic techno.

There are moments of expansive tranquillity, such as ‘Sad Major’, and this is an album that places tone and texture to the fore in terms of the way the sounds are sculpted into songs. It’s immersive stuff, and on a number of occasions I find myself zone out, not through boredom but the music enveloping my mind and body. And perhaps some tiredness, too. But ‘Forty Winks’ a bleepy wakeup, and one suspects the title is a reference to Josh Wink.

Reunited is the sound of old friends coming together and finding they still have an intuitive connection. There are some neat grooves – like the buoyant almost funk-tinged workout of ‘Groovy Machine’ and the stuttering harder beats of the mellow ‘Mallets of Entanglement’, and there are elements of playfulness in evidence, as on the skittering ‘Wasted in Da House’ and the irreverently-titled ‘When A Seagull Ate My Icecream’ – which reminds me of the time a giant cockerel nicked my baguette, but that’s a story for another time.

Reunited is a cohesive work which strolls through numerous different terrains of electronica, and shifts from light to dark, but mostly ambulates the spaces in between in fine style.

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Watch: ‘Sirhan Sirhan’ by Repo Man

Posted: 21 June 2023 in Recommended Streams and Videos
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‘Sirhan Sirhan’ is the first track unveiled from the new Repo Man album Me Pop Now recorded at Giant Wafer Studios in Mid-Wales by Wayne Adams (Bear Bites Horse) in June 2022.

Me Pop Now is coming out July 24th. Me Pop Now will be physically released through Cruel Nature Records and Totality on a limited run of cassettes and CDs respectively.

‘Sirhan Sirhan’ is jazzy and proggy and groovy AF and a whole lot more besides. Check it here:

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Kill, The Icon – Your Anger is Rational

Posted: 25 May 2023 in Singles and EPs
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Blaggers Records – 2nd June 2023

Christopher Nosnibor

London ‘synth-punk passion project’ Kill, The Icon, fronted by NHS Dr Nishant Joshi have been building their presence nicely in recent with a series of strong singles, kicking off with ‘Buddhist Monk’ in late 2021, and the trio have been kicking ass with pissed-off, politically-charged sonic blasts ever since, and gaining significant airplay and critical acclaim in the process.

The bio and background, for those unfamiliar with the band, is worth visiting, as the context of the music is important. As much as Kill, The Icon are a part of a growing swell of artists who are using their music to not only channel their frustration and to voice their dissent – in a way which can’t get them arrested, at least not at the moment, no doubt to Suella Braverman’s irritation – Joshi is also very much an activist.

Joshi made national headlines during the pandemic, being the first frontline NHS doctor to go public with concerns that staff were not being protected. In true punk rock style Joshi and his wife then launched a legal challenge against the government. They won the case, making huge change and were recognised by The FA and England’s football team. Fueled with frustration, in the summer of 2020 KILL, THE ICON! was born as an extension of Joshi’s activism.

You certainly couldn’t accuse these guys of being all mouth and no action, but of course, the power of music as a unifying force should never be underestimated, particularly when our government’s modus operandi is to divide enfeeble the populace. It wasn’t just Brexit, which say the country not so much split and cleaved in twain: now there is a war being waged on benefit claimants (or scroungers and fraudsters, as they’re portrayed, dehumanising society’s most vulnerable in the process); a war on woke (anyone who is opposed to racism, misogyny, homophobia is the enemy); a war on migration… everything is cut between ‘us’ and ‘them’, and the smaller the splinters, the less the likelihood of meaningful, coherent opposition, especially when even so much as having a placard in your car boot is likely to lead to a pre-emptive arrest.

While the four tracks on Your Anger is Rational have been released as singles in the run-up to its release, with ‘Danny Is A Hate Preacher’ landing just ahead of the release date, packaging them together as an EP presents a precise statement of what they’re about.

It’s ‘Heavy Heart’ that’s up first, a no-messing ballsy banger that calls out the racism that’s not only rife but seemingly accepted post-Brexit, and the second track, the gothy ‘Deathwish’ (accompanied by the first AI promo video) steps up on this, with its refrain of ‘No blacks! No dogs! No Irish!’. ‘They used to whisper / And now they shout’, Joshi observes, and sadly it’s true. For a time, it felt like we had progressed from the casual racism of our grandparents – I remember feeling uncomfortable hearing my late grandmother talk – without malice – about ‘darkies’ and ‘coloureds’, and feeling a certain lightness of being at the sense we had moved on, stamping out the BNP and becoming more inclusive… but then the right has risen again with Farage and UKIP and Britain First and Stephen Yaxley-Lennon and in the blink of an eye there are flag-waving racist cunts everywhere and Christ it’s fucking ugly.

And as much as Your Anger is Rational is a unified work musically, it’s lyrically and thematically that it really comes together. With a hard, driving bass to the fore, ‘Danny Is A Hate Preacher’ explores how indoctrination from an early age spawns the next generation of wrongheadedness, how violence begets violence, and I’m reminded of Larkin’s ‘This Be the Verse’. Your parents really do fuck you up. And now it’s not just parents taking kids to racist rallies, kids are being moulded by ‘influencers’ like Andrew Tate, and again, adults are buying into and propagating this obnoxious shit too: I’ve had to defriend a number of people on Facebook for sharing his content. My anger is, indeed, rational: we’re surrounded by cunts.

The last track, ‘Protect the Band’ is slower, more measured, but again, it’s a bass-dominated grinder with a monster groove, and it’s all pinned tightly together with some sturdy drumming and it’s a magnificent dismantlement of corporate hierarchies and the way they oppress workers into subservience. Protect the brand! But will the brand protect its staff? Will it fuck.

As much as Kill, the Icon are punk in aesthetic and sentiment, they’re very much new wave in their sound and approach. And while they’re strong on the punchy slogans and lyrical repetitions, KTI are more articulate and more nuanced than your average rabble-rousing punkers.

There isn’t a weak track in here. Musically, sonically, lyrically, they’ve got everything nailed and it’s tight: there’s no waste, everything is measured and weighed for maximum impact, but it’s still delivered with a coolness and a real groove, which makes this absolutely killer work.

your anger is rational

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