Posts Tagged ‘No Wave’

Cruel Nature Records – 24th June 2022

Christopher Nosnibor

Hot on the heels of second album Can’t Be Arsed, Cruel Nature have repackaged the eponymous debut from the Manchester makers of ‘kitchen sink punk for the 21st century with a whole side’s worth of remixes from both previous releases – including two pretty radical reworkings of snarling single cut ‘Brain Driver’.

First, to revisit the debut – it’s a primitive, noisy document of disaffection. Adam Stone’s drawling, sneering vocal style is vintage punk, less about holding a tune as conveying attitude, and from the off they set the tone with the seven-minute ‘Food Chain’. A thick, dirty bass grinds out just a couple of notes over a plodding drum while Stone vomits vitriol. If ever a track encapsulated the monotonous drudgery of existing in Boris Johnson’s Britain, this is it. Most of the songs churn away for around seven minutes, but if you’re wondering just how far a band can push low, slow, trudging bass repeating the same simple motif atop a plodding beat, then the answer lies in ‘Half Priced Chickens’ – and the answer is just shy of fourteen minutes. This quarter-hour slog is a gloomy, dark, monotonous trudge: the kick drum sounds like a wet lump of wood, and the sneering shoutiness is replaced by a blank monotone spoken word, and in combination, they create an oppressive sonic fug. The scenes depicted are mundane. Words drift in and out – mobility scooters, office, boyfriend, cough mixture, cheese pasty – and these objects assume bleak resonance as you ask yourself, ‘is this it? Is this life?’ and the answer is there, slumped, devoid of energy, eyelids half closed: yes, this is life. And this is as good as it gets. And it’s fucking endless. Until it ends, in a swampy morass of slow decayed distortion and noise.

The final track, ‘Bunker’ locks into an uptempo groove, but while the drums rattle and bounce away, the mood remains tense, equal parts The Fall and Uniform. As the track progresses, so the anguish builds, and the effect is cumulative Stone hollers roughly about world war as feedback wails and the bass and drums just batter on, and on. Same old, same old…

There’s nothing pretty about Pound Land – the band or the album – and this is a good thing: they deal with the gritty reality of living in shit times. Pound Land articulates the languorous torpor of demotivation, of waking daily to feel the aching anguish of being beaten by life, every minute of every day. Sonically, it’s a long, long way from early Swans, but the density and oppression are very much shared aspects.

By the end of the five tracks, you’re absolutely harrowed and drained.

The remixes are a nice addition, though. The Ruffians on the Train Remix of ‘Brain Driver’ ventures into swampy, almost avant-jazz / trip-hop territory, before kicking into gnarly space-rock swirl. The drums are crisp but overloading, while the bass is pure punishment. Where remixes for most other bands are either dancier or more ambient or whatever, this set – with three of the six from R.O.D., these are primarily exercises in accentuating the gnarliness of the originals, with everything simply sounding even heavier, more crushing.

Pound Land is the real soundtrack to the now. They may have to change their name to Tenner Land before the year’s out the way things are going, so you’d be wise to bag this while you can, and hunker down before things get really tough…

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Having announced their debut album Admire last month with first single ‘Pls, You Must Be a Dream’, LA-based noise duo GHXST has now shared new track ‘Marry The Night’.

‘Marry the Night’ is a love song for nights after hours spent walking through empty streets. The track opens with a lulling atmospheric loop that gradually opens into heavier spaces, with Shelley X’s signature delayed vocals echoing against drop-tuned guitars. Throughout, a drum machine pulses, like beats echoing from outside a Brooklyn warehouse. It’s gloomy listening, but the gloom is somehow warm and inviting. 

The video is a compilation of stories shot on iPhone by friends of the band. Scenes jump from New York to New Orleans to Palau to Los Angeles. There’s no narrative, but the moody, b&w scenes feel like flipping through someone’s lost memories from an endless day.

Watch the video here:

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A Place To Bury Strangers share the video for ‘My Head Is Bleeding’ from their new album, See Through You, out now on vinyl via Dedstrange.

Right away, ‘My Head is Bleeding’ gushes from the speakers with pummeling drums and whirring, anxious electronics–preparing listeners for one deafening blunt-force chorus after another. Wispy synthesizers and lacerating chemical burn guitars engage in a heated call-and-response while Oliver Ackermann extends a desperate plea for sanity to whichever metaphysical entity might be listening. “This song is about internally begging to a God when you might not necessarily believe in one,” says Ackermann. “It’s that moment where there’s just a sliver of hope that anything in your head might connect you with the Universe and actually make a change.”  

In the accompanying video from director Travis Stevens (Jakob’s Wife, Girl On The Third Floor), flesh and blood commingle in a pileup of heaving, mysterious biomass as a mechanical womb gives birth to an oily, ectoplasmic form. Says Stevens, “The entire album rips but there’s a plea to transform suffering into joy in this song that I really sparked to. In order to emulate the raw unpredictability of an APTBS performance, I tried to create a similar magical combination of flesh, emotion, intuition and technology."

Watch the video here:

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A Place To Bury Strangers announce the release of their sixth album See Through You on 4th February 2022. It’s not just a return to form for the band, but also a return to their fiercely independent, DIY roots on their own label, Dedstrange.

Outpacing even their own firmly blazed path of audio annihilation, this 13-track album repeatedly delivers the massive walls of chaos and noise that A Place To Bury Strangers are renowned for. It’s an explosive journey that explores the listener’s limits of mind-bending madness, while simultaneously offering the catchiest batch of songs in the band’s discography. It’s a nod to the art school ethos of the band’s origins, while forging a new and clear direction forward.

The first single ‘Let’s See Each Other’ is an intimate and disarming love song from a forgotten future. Syncopated memories and deconstructed fantasies of lovers lost in a city that doesn’t know their names. The accompanying video, directed by David Pelletier, features the band destroying the song while imploring people to reunite.

Watch the video here:

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Photo by Ebru Yildiz

Christopher Nosnibor

The last time the once-ubiquitous Blacklisters graced us with their presence in Leeds was back in 2017. A lot has happened since then, including some substantial geographical ones for the bandmembers. In fact, there was a time when it seemed as if the band was no more: following the release of Adult in 2015, things went quiet, bar the unexpected release of the Dart EP in 2017 via Too Pure. The arrival of Fantastic Man in 2020 came as a surprise. A welcome one, but a surprise nevertheless. Consequently, tonight’s double-header with associated / offshoot ace USA Nails is a cause for excitement: their fifth album, Character Stop, released just last month is a truly outstanding example of the angular / mathy / noise genre. And what a lineup!

In a late change to the advertised schedule, Care Home’s debut is shelved, with the band replaced by Hull noisemakers Cannibal Animal. Sound-wise, they’ve changed a bit from when I last saw them back in 2018 – less swamp-gothy, more post punk in their leanings, less claustrophobic and with more breathing space in the songs. Yet for all that, it’s very clearly the same band.

Cannibal Animal

Cannibal Animal

The set lands with a throbbing drone before they power into some hefty chords. They’re not pretty, sonically or visually, but Christ, they kick ass. Strolling basslines and wandering spacious guitars shifting into ball-busting riffs. Busting bad moves throughout Luke Ellerington makes for a compelling and charismatic performer as he leads the band through a set that sounds like a collision between Pissed Jeans and The Fall.

The guy from BELK seems to have got his dates wrong and has come dressed for Hallowe’en – or at least made-up for Hallowe’en. The Leeds act are a screamy thrashy guitar and drum duo. They’re as heavy and fuck and there’s a mental moshpit from the off. Shifting pace and dynamics nonstop, it’s primitive and brutal with full on frenzied riffery and screaming vocals. Everything about their sound is abrasive, jarring, angular, although at times it’s a shade thin, and they possibly would benefit from some bass.

BELK

BELK

USA Nails don’t only benefit from some bass, but place the bass at front and centre to powerful effect. And that bass has that ribcage-rattling tearing cardboard sound reminiscent of Bob Weston. The emphasis may be on attack and hard volume, but they fully exploit the dynamics of these. The two guitars are often still for the verses bar feedback, bursting into life for the choruses. Along the way there are some expansive bass-led spoken word stretches that call to mind The Fall, with frequent forays into hardcore punk. It’s a strong set that flips between sub-two minutes and longer workouts, and it’s all killer.

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USA Nails

With the last train to York departing at 23:13 and Blacklisters not due on until 11pm, I was presented with the option of disappointment or sleeping on a bench. I gather that they were good, though, and just hope we don’t have to wait another four years.

Joe Cardamone (formerly of The Icarus Line) returns with his second solo offering: the soundtrack to his film series Quarentina. The album will be released physically on July 2nd via Sonic Ritual, and it’s available on DSP’s now.

Joe has now shared the video for new track ‘Baby Blue’. He says: "Crying on the dancefloor just to impress the woman that has already left the building. She’s checking her phone while you spill your heart out. Fuck it might as well put on a suit and sing your face off into the mirror".

Watch the video here:

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5th June 2021

Christopher Nosnibor

The only way to remain sane through all of this madness is to embrace it, or at least some of it. Then again, ( kröter ) have been ahead of the curve in the madness stakes for some time, as the conveyor-belt of releases over the last couple of years have shown, since they were all culled from some epic sessions around 2018.

*f is their third album of 2021, and the sixth album to be culled from these sessions. Remarkably, rather than a random collection of offcuts and flow-sweepings, it contains some of the most outstanding material yet, and one has to wonder how much did they actually record?

They’ve spent a lot of time sifting through the material and chopping it into tracks and sequencing them into albums – with varying degrees of cohesion – but as they note, ‘as usual, there are no second takes in this pond. All is nutritious, spiraling and slowly growing legs.’ These legs are long and hairy, and the sprawling eleven-minute ‘Trajectory’ is a dingy, dirgy grind dominated by a crunchy, dirty bass groove and plodding beat. It’s kinda post-punk, kinda no-wave, kinda noise-rock, and if there are moments when Mr Vast’s vocals hint at a Jim Morrison-esque swagger, the whole thing reminds me most of Terminal Cheesecake, for those who can handle an obscure reference point.

‘The Letter’ is swampy, minimal, meandering, while ‘The Rock’, another low-oscillating slab of dark industrial-leaning synth is propelled by clattering percussion and features snarling, growling manic vocals. Vast is a versatile vocalist, even if on this set his delivery isn’t particularly angled towards melody, as he drones and yelps and drawls and yowls all kinds of atonality over repetitive electronic grooves.

It all comes together on the eighteen-minute ‘casper hauser in the mirror’, a thumping, humping, ketamine-paced motoric industrial jazz odyssey. Vast sounds utterly deranged as his voice wanders lost, aimless, as he half speaks, shouts, raps and yawns out abstract lyrics that drift out in a drift of reverb. Again, around the six minute mark, it sounds like Kraftwerk fronted by Jim Morrison circa LA Woman, and yes, it’s a pretty fucked-up experience, and the atmosphere is not only intense, but also dizzying, bewildering in its hypnotic pull. It transports the listener to another place, out of mind if not out of body, conjuring an almost trance-like experience. It may be some kind of woozy, weirdy, hippy shit, but it’s also affecting. There’s much to be said for the power of repetition, and this just goes on, and on… and on. It’s not nightmarish as such, but it is trippy and disorientating.

This is a fair summary of the album as a whole: *f really does pack in the weird shit, and if the initial tone is one of quirky, oddball fun, the overarching experience is rather darker. The disorientation it creates is less kaleidoscopic joy and more the nausea of excess, and a kind of unsettled bewilderment. ( kröter ) depart from Hunter S. Thompson’s adage that when the going gets weird, the weird turn pro, and instead forge their own path, whereby when the going gets weird, the weird gets even weirder, and a few shades darker, too. Which is cool, because who wants their weirdness to be predictable, after all?

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A Place To Bury Strangers share new single/video ‘I Might Have’ from their forthcoming Hologram EP out 16 July on founding member Oliver Ackermann’s label Dedstrange. Following lead single End Of The Night‘, ‘I Might Have’ is a fuzz-soaked sonic disaster in the best possible way. Past reflections collide with the brutality of a disintegrating world, stories of personal trauma, acceptance, and human failings emerge from the rubble of noise and destitute motorik rhythms. This is A Place To Bury Strangers at its most honest and unfiltered. Hologram serves as an abstract mirror to the moment we live in and ‘I Might Have’ smashes that mirror into a thousand pieces.

‘I Might Have’ is about the insecurities of life and growing up and when you just have to turn around and say ‘F*ck it,’” says Ackermann. “Life sucks so we may as well have a good time.” The accompanying video visualizes this mentality as it shows the band raucously hanging out together in New York City.

Watch the video here:

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A Place To Bury Strangers 2022 Tour Dates – Tickets on sale NOW

Wed 09 March – Hafenklang – Hamburg, Germany  

Thu 10 March – Beatpol – Dresden, Germany

Fri 11 March – Klub Poglos – Warsaw, Poland

Sat 12 March – Futurum – Prague, Czech Republic
Sun 13 March – Randal Club – Bratislava, Slovakia

Mon 14 March – Durer Kert – Budapest, Hungary

Wed 16 March – Control Club – Bucharest, Romania

Thu 17 March – Mixtape5 – Sofia, Bulgaria
Fri 18 March – Eightball – Thessaloniki, Greece

Sat 19 March – Temple – Athens, Greece
Mon 21 March – 25th of May Hall – Skopje, Macedonia

Tue 22 March – Club Drugstore – Belgrade, Serbia

Thu 24 March – Mochvara – Zagreb, Croatia
Fri 25 March – Freakout Club – Bologna, Italy

Sat 26 March – Largo – Rome, Italy
Sun 27 March – Legend Club – Milan, Italy

Tue 29 March – Bogen F – Zurich, Switzeralnd
Wed 30 March – Backstage – Munich, Germany

Thu 31 March – Caves Du Memoir – Martigny, Switzeralnd

Fri 01 April – La Trabendo – Paris, France
Sat 02 April – Lafayette – London, UK
Mon 04 April – Kayka – Antwerp, Belgium
Tue 05 April – Gleis 22 – Munster, Germany
Wed 06 April – Melkweg – Amsterdam, Netherlands

Thu 07 April – Vera- Groningen, Netherlands
Sat 09 April – Hus 7 – Stockholm, Sweden
Sun 10 April – John Dee – Oslo, Norway
Mon 11 April – Pumpehuset – Copenhagen, Denmark

Tue 12 April Hole 44 – Berlin, Germany
Wed 13 April – MTC – Cologne, Germany

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26th May 2021

Christopher Nosnibor

It’s been a whole month since we heard from lo-fi bedroom duo Videostore, and their latest effort continues the narrative trajectory that’s been running through so many of their releases.

The pair describe ‘Bounce Back’ as some ‘Cathartic song writing after they closed down the Videostore and everyone lost their jobs… Channelling some New York new wave/ no wave with special thanks to Blondie and Sonic Youth!’

This one starts of slow, stripped back and sedate, but as it builds, it balances lugubrious wallowing with some clean, poppy backing vocals. It’s one of their longer songs, and it’s a slow-burner that simmers before finally going off toward the four-minute mark – and when it does go off, it blazes hard.

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16 November 2020

Christopher Nosnibor

The latest six-tracker from GHXT goes for the slow-building intro with the low, slow ‘Shimmer’, where the murky, distorted guitar drone and twang cascading out over a retro drum machine stutter that’s backed off in the mix but cuts through sharp as a whip. It’s the Sisters of Mercy’s Reptile House EP slithering into a stranglehold of The Black Angels on ketamine with a dash of Barbed Wire Kisses era Jesus and Mary Chain.

Two years on from the appropriately-titled Gloom EP, the New York duo return with another batch of weighty, dark material which demonstrates their continued evolution, and the fact the EP format is one which suits them particularly well.

While operating from a comparatively limited sonic palette – dense, overdriven guitar that’s got a big, thick valve sound, minimally-programmed drum machine, and reverb-swamped female vocal they manage to do a lot with it: ‘Come Home’ is Curve-y shoegaze, while ‘It Falls Apart,’ released as a single in October, is a big, bollock-swinging swagger of messy blues, boasting a monster lead solo that sprawls over the entire track. Gloom and blues and murk dominate, casting heavy shadows and a hint of goth over the mood, but there’s so much more besides: the rich timbre of the guitar as it spins a slow-unfurling picked riff on closer ‘Die High’ calls to mind recent works by Earth and Dylan Carlson.

As the nights draw in on the approach to winter and the world feels like an increasingly apocalyptic hellhole, there’s something comforting about GHXST’s brand of immersive darkness.