Posts Tagged ‘noisy’

Originally released digitally on 14th March, and recorded at Hermitage Works during November 2024, the four track EP will receive its first physical release and will be available via Bandcamp.

Mixed and mastered by Max Goulding and Nathan Ridley.

Track Listing

One Window Open

Polar

Unit

Void Request

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Liner Notes (by Fred MG):

Bo Gritz have been at it for ten years now. Or do we mean five?

You see, while the trio of Benjamin Salt, Max Goulding and Finn Holland have been together since 2015, they are also one of those groups who have a significant fork in the road in their past, specifically the Coronavirus pandemic. Lockdown gave Bo Gritz the opportunity for a hard-ish reset, with the band using all that time as a chance to work new synthetic textures into the tried and tested combo of guitar/bass/drums/vocals. Coupled with them securing a new permanent practice space in South London, the Covid period ultimately led to the hair-raising noise-rock of Bo Gritz’s most recent LP, 2023’s Chroma.

On Prang, Bo Gritz continue to reap the benefits of their new era. This is a potent four-tracker, industrialised and bristling. From the single-note lurch that heralds first track ‘One Window Open’ to the last thwack of closer ‘Void Request’, Prang’s barely-shackled chaos makes for an unpredictable and arresting listen. It’s ambitious, grizzly and extremely hard not to fall for.

At the noisier end of rock, there’s a strong modern lineage of album openers which get all their mileage from a stomping single-note riff. To a list which includes Pissed Jeans’ ‘Waiting On My Horrible Warning’ and Death Grips’ ‘Giving Bad People Good Ideas’ we can now add ‘One Window Open’. The track sitting just below mid-tempo allows space in the beat with which Bo Gritz can gesture towards all manner of beat-based stylings, from mercurial junglism to broken-beat techno.

The stall set out, Prang’s other three joints also tow the line of order and bedlam. ‘Polar’ is screed with strange, almost-tuneful noise which sounds like a revving motorcycle fed through an ungodly array of outboard gear. Occupying a space between texture and melody, this sort-of-lead line increasingly becomes the centrepiece of the song as things go on. Something similar takes place on ‘Unit’, and this track’s nervous twitching also has one thinking of that instrumental version of ‘Breathe’ by The Prodigy which used to be on the soundtrack of one of the Wipeout games.

As with the instruments, so with the vocals. Across this EP, Holland assimilates a sense of barely-controlled chaos into both the lyrics and delivery. The way in which ‘Polar’ sets lurid imagery (‘they said his eyes were cut out’) against the straight-laced sloganeering of capital (‘business must only get better’) makes one think of Thom Yorke’s star-making era cut with a little of that Gilla Band hysteria. ‘Void Request’ – a joint with a hint of Leeds lifers Bilge Pump in its DNA – finds Holland barking stentorian code one minute, muttering in the background the next.

Times change, but humanity doesn’t. Whether Bo Gritz had been doing their thing for five, ten or fifty years, the feeling at the heart of Prang – the suppressed horror of contemporary civilisation, the ugliness lurking underneath the workaday – is one for the ages. It’s just that now, in Bo Gritz’s new phase, they’ve got the emotional and material tools to deliver their message with a viscerality which feels thrillingly contemporary.

30th August 2025

Christopher Nosnibor

Just when you think every genre hybrid has been done, and are feeling worn and jaded by everything, someone chucks you something unexpected. You’re not even sure if you like it, at least not at first, because, well, the different elements are all good independently of one another, but in combination..?

It’s taken until their third album for me to discover Australian ‘Industrial Synth Crust’ outfit Schkeuditzer Kreuz, the brainchild of Kieren Hills, and ‘better late than never’ is one angle to take with it – although another is ‘would I have been ready for it before? Would I ever be ready?’

Swan Grinder is as ugly and intense and industrial as its title suggests. Spasmodic drum machines sputter and blast all over, underpinning pulsating electronic basslines and ear-shredding blasts of noise and distortion. And all of this provides the backdrop to raw, rasping vocals. In some ways, I’m reminded of really early Pitch Shifter – but with the wall of guitars replaced by abrasive squalls of electronic noise.

To think, there was really nothing like this before the 90s. While the 80s are the subject of great affection, and there’s a broad consensus that this was the decade of innovation, with the exception of grunge, the 90s are largely portrayed as a retrograde decade, with a return to ‘rock’, guitar-orientated music, and, in particular, the Britpop era, something born out of a nostalgia for the pre-punk era and a golden age which never really was. And now this period is revered with what one might even call a double-nostalgia; folks in their forties getting dewy-eyed over their teenage years listening to music that was nostalgic for the music of their parents’ generation. There’s something inherently sad about that, really.

But the alternative scene of the 90s was something else again. It was here that all kinds of metal migrogenres were birthed, while rap and rock came together and industrial metal emerged, melding crushing guitars with electronic elements. And there was also just so much weird shit percolating through various channels, and it wasn’t just something you had to tune in to John Peel late at night in the middle of the week for: with the major labels getting in on the action, you could catch the likes of Ministry and Butthole Surfers on MTV.

Anyway. There’s nothing sad about Swan Grinder. Angry, perhaps. Deranged, almost certainly. But sad? Nah. While there are elements of the construction which share common ground with , say, KMFDM, or PIG, the overall sound is altogether dirtier, gritter, rawer – and then there are the vocals, which are pure metal. As such, the result is a different kind of hybrid – hard, abrasive, and as nasty as the image the title conjures.

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One of Aural Aggro’s favourite bands of recent years, Pound Land have kicked off 2025 with a live album recorded late last year, available at the bargain basement price of Pay What You Like and free to stream.

Their third live release, it captures them almost a year and a half on from Live at New River Studios, which featured an altogether different – and one off – iteration of the band, and on storming form, a mess of feedback, thunderous percussion and dingy bass. The majority of the set is lifted from Mugged, with a full-on rendition of ‘Pistol Shrimp’ and the trudging grind of ‘Power to the People’ bringing the pace to a mid-set crawl. It also provides the first live airing of new song ‘Cunt Do It’, which comes on like The Anti-Nowhere League’s Animal fronting Swans as they tackle a Hawkwind cover.

It’s pretty bloody brutal, and absolutely bloody brilliant.

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Born from a love of experimental rock, noise rock, early industrial, sludge, and doom, Guiltless (featuring members of A Storm of Light, Intronaut, Generation of Vipers and Battle of Mice) heralds the coming of a heavy music which looks both inwards and out to convey the encompassing mixture of hope, despair and determination which comes from observing life as we know it today. Guiltless released their debut EP, Thorns, via Neurot Recordings in early 2024. Crushing and cheerless, it seemed to welcome the apocalypse looming on our collective horizon.

On March 7th 2025, Guiltless shall release their debut full-length album Teeth To Sky via Neurot, a record more pulverising, focused and introspective than what came before.

Today they share the bruising title track today, which combines the gnarled sensibilities of The Jesus Lizard, Cherubs and Barn Owl into a rumination on Mother Nature’s revenge. “The title track represents a surrender to nature’s unstoppable force,”  vocalist Josh Graham says. “As climate extremes continue to grow and impact virtually everyone on earth, we are now facing the impact of our forefathers’ actions, and our children will live through a new and unprecedented future.”

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Photo credit: Gulnaz Graves

2nd October 2024

Christopher Nosnibor

Christ only knows what this is intended to be a soundtrack to, but the debut long-player from chaotic Welsh post-punky alternative rock act Baby Schillaci could be loosely considered a concept album. The soundtrack to a schizophrenic episode, perhaps?

Opening with ‘## TITLE SEQUENCE ##’ and with ‘## INTERVAL ##’ breaking the sequence midway through, there’s a semblance of a structure here, and while some of the titles do hint at a narrative art in keeping with ‘real’ soundtracks – ‘DISINTEGRATING SMALL TALK’ and ‘JACKIE’S GIRL’, for example, elsewhere there just seems to be more of an interest in brutality and mortality – consider ‘BLUNT FORCE TRAUMA’ and the crazed, explosive single cut ‘THE FLATLINERS’.

The aforementioned ‘title sequence’ brings tension – a stark piano and brooding bass builds and ultimately yields to a surge of expansive abstract dissonance, but with a widescreen, cinematic feel, before ‘ULTRA HD HAPPY FACE’ blasts in with some thick, scuzzy guitars and there’s a strong early 90s alternative vibe to it. But as much as it’s Jacob’s Mouse and the Jesus Lizard, it’s got that roaring grunge revival thing going on, and calls to mind Pulled Apart by Horses’ debut album. ‘tHe AnTi suNCreaM LEaGUe’ comes on like Therapy? in collaboration with Sleaford Mods with a bit of Rage Against the Machine going on, which on paper shouldn’t work, but it’s an absolute riot: furious overdriven guitars nagging at a cyclical riff paired with a relentless, vitriolic spoken word rant hits the mark, and again reminds us – at least those of us who were there – just how eclectic the 90s alternative scene was. This was the decade when shit got weird, in a good way. It was a time which will be forever synonymous with grunge and Britpop, but it also gave us the previously unthinkable musical hybrid of the Judgement Night soundtrack, and a whole host of less-than-obvious crossovers. Pop Will Eat Itself were a one-band hybrid of infinite proportions, while Faith No More were more contained but no less genre-busting, and there was just so much weird shit happening the only question was as to what’s going to happen next. Sadly, the answer was Oasis, and while interesting stuff was still happening on the fringes, Oasis simultaneously killed indie and alternative and musical innovation with their turgid pub-rock monopoly.

Built around a thick, low-slung, grinding bass, ‘DISINTEGRATING SMALL TALK’ has something of the industrial roar of Filter about it, but then again, some of the stoner swagger of Queens of the Stone Age. These guys don’t limit themselves when it comes to their songwriting. Genre? Pfft. Look, if it sounds good and they get to kick out some dirty noise, it’s good. And this IS good.

‘THE FLATLINERS’ starts out like early Interpol before flooring the pedal and accelerating in a deluge of guitar and frenetic drumming, and it’s like at least three songs in one, and it’s this crazed shift from one thing to another which defines The Soundtrack. Closer ‘BLUNT FORCE TRAUMA’ is a sort of motoric workout where The Fall and The Black Angels collide, but the sound is solid and it builds to a mighty climax.

The thing The Soundtrack needs now is the accompanying movie… I’ve no idea what it would look like, but it would be wild!

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Cruel Nature Records – 11th September 2023

Christopher Nosnibor

For those unfamiliar with ShitNoise, their bio describes them as ‘a noise punk band hailing from Monte-Carlo (Monaco). Formed in February 2022, the band has undergone several lineup changes. Currently, it consists of Aleksejs Macions on vocals and guitar, Vova Dictor on guitar, and Paul Albouy on drums.’ What’s more, they reckon their third album, I Cocked My Gun And Shot My Best Friend, ‘showcases their most energetic and mature work to date… Departing from their previous noise-centric style, the band blends grungy guitar riffs, metal-influenced double-kick drums, and a more polished production. The album explores themes of confronting the harsh realities of society and the lasting psychological impact of traumatic events. Through gritty soundscapes and stream-of-consciousness lyrics, it paints a raw portrait of present-day existence and the enduring human spirit in the face of adversity.’

I’m often wary of bands and artists who claim to have matured: all too often it means they’ve gone boring, that they’ve lost their fire and whatever rawness, naivete, edge, that made them stand out, drove them to make music in the first place. But these things are relative, and ShitNoise isn’t just a gimmicky moniker, but a fair summary of what they do. Here, they’ve stepped up from no-fi racket to lo-fi racket and evolved from the trashy punk din with dancey and electronic elements that at times sounded like a Girls Against Boys rehearsal recorded on a Dictaphone, toward a more wide-ranging and experimental approach to noisemaking. As for the album’s title… well. Was the act an accident, one of stupidity, gross negligence, or intentional? Either way, as the adage goes, with friends like these… ShitNoise are certainly not the friend of sensitive sensibilities, or eardrums.

So sure, they’ve ‘matured’ inasmuch as they’ve broadened their palette, but in doing so, they’ve discovered new ways of creating sonic torture.

‘Ho-Ho! (No More)’ launches the album with shards of shrill feedback and distortion: it’s two and a quarter minutes of nails-down-a-blackboard tinnitus-inducing frequencies and deranged yelping that’s somewhat reminiscent of early Whitehouse, minus the S&M / serial killer shit. Not that I have a fucking clue what they are on about, and the noise is so mangled it’s impossible to differentiate any of the sound sources from one another – guitars sound like screaming synths, and there’s so much dirty mess in the mix everything sounds so broken you begin to wonder if your speakers are knackered.

Proving just how much they’ve ‘matured’, ‘Brown Morning’ barrels into churning noise driven by thunderous beats as the backdrop to a rappy / spoken word piece, after which the arrival of the fairly straightforward punk tune ‘Gum Opera’ feels like not only light relief, but somewhat incongruous. But then, in the world of ShitNoise, anything goes, as long as it’s noisy shit. And keeping on with the noisy shit, there’s the gnarly Jesus Lizard meets Melvins gone rockabilly slugging sludgepunkfest of the oxymoronic ‘Pleasant Guff’ to go at, and it’s abundantly clear that they’re absolutely revelling in following their curiosity in every direction when it comes to exploring any and all avenues of racketmongering. I Cocked My Gun is wild, and wildly divergent, stupid, chaotic, and fun.

If the off-kilter grunge of ‘X-Ray Phantom’, with its incidental piano tinkling along behind crunchy guitars hints at something approaching a kind of sensitivity – and a closet ability to write songs – ‘Endless Void’ demonstrates their capacity to step back from noise completely, and venture into near-ambient territories, and with remarkable dexterity.

But mostly, these deviances only serve to bolster the impact of the manic racketmaking which dominates the album, which brings us to the epic penultimate track, ‘Hashish (The Yelling Song)’ – a ball-busting seven-and-a-half-minute stoner-doom slammer that slaloms its way through some heavy drone and some explosive psychotic episodes… and we’re immensely proud to be able to present an exclusive premier of the video which accompanies this mammoth slab of sonic derangement right here:

Get it in your lugs. Let it permeate every cell. Bask in the insanity. With I Cocked My Gun And Shot My Best Friend, ShitNoise have really gone out on a limb, and while teetering on a precipice of madness, have proved that artistic fulfilment lies on the other side of mania. It’s a far more enjoyable place than the everyday in which we find ourselves of late, so why not dive on in?

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With every movement of American Standard, Uniform peels off a new layer and tells the story inside of the one that came before it.  It’s Uniform’s most intimate work to date, tackling themes of self-destruction and with a particular focus on vocalist Michael Berdan‘s lifelong struggle with bulimia nervosa. His lyrics sink down into the core of the innermost self, the small human being crushed in the grip of sickness. His bandmates join him, applying majestic droning that becomes both mechanical and omniscient. As the rhythms continually pulverise, Uniform gives themselves over to the grinding gears of an uncaring universe.

The thematic content behind American Standard can be divided down the middle into two distinct sections. While the A-side of the record deals with an individual who exists in a purgatorial state of physical and psychic crisis, the B-side serves to address how a lifetime of dealing with an eating disorder has impacted those around him.

Permanent Embrace,” available today, is the album’s final statement. Berdan tells, “It touches on a facet of the disease that I’m incredibly wary of facing. Built on a narrative foundation laid out by author and lyrical collaborator Maggie Siebert, the song revolves around the idea of a person holding a loved one as an emotional hostage. Seeing perverse beauty in a story about a car crash, the narrator relates the analogy of two automobiles twisted together to that of his last standing relationship. As he has broken down over time, so has the one who continues to stand by him. The object of his manipulative guilt trips remains locked in a hopeless situation, terrified of what he may do to himself if they were to finally leave.

The music reflects the psychic violence of the lyrics, as riffs and rhythms that wouldn’t feel out of place in the Unsane catalog careen into giant synth melodies before collapsing into itself. This is kind of our misguided interpretation of what Faith No More were doing on ‘Angel Dust’, and we hope that our tip of the hat to those masters of madness can hold a candle to their horrific splendor.”

For “Permanent Embrace,” Uniform teamed up with director Sean Stout on the single’s compelling visual. Stout tells, "Without sounding trite, when we first read Mike’s lyrics to the record our reaction was extremely visceral. They are brutally introspective and beautiful at times and we wanted to try visually to convey that range of emotion in a sequence of single images that unfold narratively and potentially shift their own meaning over time. Our concept was to intertwine images of an outer world-overgrown, rusting and moving on in its decay-with an inter-world that is largely going through the same process as a result, but is markedly separate as well. We never see one observe or interact with the other, yet they are the same and of the same world."

Watch the video for ‘Permanent Embrace’ here:

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Uniform wants to find what’s underneath. And what’s underneath the underneath. And what’s under that.
American Standard begins with a shock. A voice, a room, a face in a mirror. In the mirror stares a visage, doubled and staring back. Each line comes back to him: reflected and refracted in the unsympathetic glass. Forget for a moment that Berdan has been destroying his throat in Uniform for over a decade. Forget his highly stylised delivery on the band’s acclaimed collaborative work (alongside experimental doom titans The Body and Japanese heavy rock powerhouse Boris). Forget the entire tradition of abrasive vocals in aggressive music. Look for what’s underneath the songs, the form, and the style.

To help peel away this narrative of eating disorders, self-hatred, delusion, mania, and ultimate discovery, Berdan sought assistance from a towering pair of outsider literary figures. Alongside B.R. Yeager (author of the modern cult-classic Negative Space) and Maggie Siebert (the mind behind the contemporary body horror masterpiece Bonding), the three writers eviscerate the personal material to present a portrait of mental and physical illness as vividly terrifying as anything in the present-day canon. The result is an acute articulation of a state beyond simple agony, capturing the thrilling transcendence and deliverance that sickness can bring in the process.

American Standard is surely Uniform’s most thematically accomplished and musically self assured album to date. Sections spiral and explode. Motifs drift off into obscurity before reasserting themselves with new power. Genres collide and burst open, forming something idiosyncratic and new. There’s a grandeur, due in part to the addition of Interpol bassist Brad Truax alongside the percussive push and pull of returning drummer Michael Sharp and longtime touring drummer Michael Blume, marking his Uniform recorded debut here. However, this magnificence is most clearly attributable to the scale and power of guitarist and founder Ben Greenberg’s arrangements, matching ever elegantly to the intense lyrical subject matter.

Underneath it all, what remains is trust. A record of this range and depth, a piece of art so far out on a ledge, can only be attempted with an extreme and almost foolish amount of understanding between collaborators. American Standard stands firmly on the bedrock that Uniform’s two original members, Michael Berdan and Ben Greenberg, have been building on for over a decade.

In Greenberg’s words, “When we started this record, Berdan told me: ‘I trust you to come up with a solid foundation for this, however you envision this thing. I want you to realize it completely, because I believe in you.’ So I wanted to write something overwhelming and all-encompassing for Berdan to lead his narrative through… because I trust and believe in him.” For an album to defy simple genre exercises and become a work of art, the musicians behind it must push themselves so far beyond the frayed ends of an established comfort zone that they might never return. Without a shred of doubt, American Standard is a work of art, agonising in its honesty and relentless in its pursuit of sonic transcendence. It is hideous. It is beautiful. It is necessary.

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Press Photo By Joshua Zucker-Pluda & Sean Stout
Pictured: Founding Members Ben Greenberg (Guitar), Michael Berdan (Vocals)
Not Pictured: Mike Sharp (Drums), Brad Truax (Bass), Michael Blume (Drums)

First they were Omnibael, then they were Omnibadger, and now Omnibdgr… but under whatever moniker they operate under, they make interesting noise. And for that reason, we’re proud to present ‘The Last Remaining Punk Band’ by Omnibdgr from the forthcoming split release from Omnibdgr and Ye Woodbeast, which you can check out here:

Opening with an atmosphere that feels like a clammy version of the N64 Goldeneye music, Ye Woodbeast and Omnibdgr’s forthcoming split comes with a sense of dread that draws a common thread between the two sides of the 12". Heal Thyself is a murky, dub-inflected pulse that calls out to the dregs of society, and ‘At the Mercy of the Flea’ continues into further depths of nightmarish gloom with voices speaking out from shadowy corners. Track 3, the driving ‘Tony Lazarus’ is a character exploration that straddles psych-rock and desert blues. The textural complexity that Woodbeast fans love is still very much present, but some of the brighter, pop playfulness found on releases like ‘Music to Sink Ships to’ has drifted towards a darker, but tighter, pulse. This works fantastically in tandem with their lyrics which still continue along the band’s "usual obsessions: death, god and all the cunts we hate".

Side 2 is the domain of Omnibdgr. The duo ramps up the dread even more with 4 tracks of drones and gut-punch industrial noise rock. Feverous Earth opens their offering with 3 minutes of subtly textured drone that conjures images of abandoned container ships and space hulks. ‘Heavy Mist Pounded Our Eyes’ is a mechanical array of looping drum-machines, black metal vocals and samples about dopamine – sounding like huge, rusting wheels rotating and grinding. Finally, a discernible human voice (Jase Kester) emerges on ‘The Last Remaining Punk Band’ for a snotty, riff-led assault. The vocals move back into the machine for the final track, which is a relentless wall of drums and murky noise.

If you hadn’t guessed it yet, this is a dark, brooding release that showcases both bands at their bleakest. Within this, though, is a vast array of sonic approaches, smart songwriting and a clever juxtaposition of industrial and human unease. As the release slowly unfurls, the journey remains full of surprises at every turn. Don’t look behind you.

(Words by Nick Potter)

Out on 28th June 2024 via Dead Music Club as a lathe cut 12”.

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Pissed Jeans shares ‘Sixty-Two Thousand Dollars in Debt,’ a crushing new track about the heady excitement of shrinking debt-to-credit ratios, and a highlight from their forthcoming album Half Divorced.

Listen here – it’s a belter!

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Last month, the band announced the release of the album with the official video for indelible lead single ‘Moving On’ from director and frequent collaborator Joe Stakun (‘The Bar Is Low,’ ‘Bathroom Laughter,’ ‘Romanticize Me’).

Pissed Jeans’ Half Divorced is the follow-up to 2017’s Why Love Now, an album that took aim at the mundane discomforts of modern life. The twelve songs of Half Divorced skewer the tension between youthful optimism and the sobering realities of adulthood. Pissed Jeans’ – Matt Korvette (vocals), Bradley Fry (guitar),  Randy Huth (bass), and Sean McGuinness (drums) – notorious acerbic sense of humor remains sharper than ever as they dismember some of the joys that contemporary adult life has to offer.

Half Divorced was produced and mixed by Pissed Jeans and Don Godwin and engineered by Mike Petillo at Tonal Park in Takoma Park, Maryland, and mastered by Arthur Rizk (co-producer and mixer for Why Love Now).

Pissed Jeans’ previously announced international tour dates in support of Half Divorced span Friday, February 29th through Thursday, April 4th. Additional live dates will be announced soon.

Thu. Feb. 29 – Portland, OR – Mississippi Studios

Fri. Mar. 01 – Seattle, WA – Madame Lou’s

Sat. Mar. 02 – Los Angeles, CA – The Echo

Fri. Mar. 15 – Philadelphia, PA – Underground Arts

Sat. Mar. 16 – Brooklyn, NY – St. Vitus

Fri. Mar. 29 – Schijndel, NL – Paaspop Festival

Sat. Mar. 30 – London, UK – EartH (aka Hackney Arts Centre)

Sun. Mar. 31 – Manchester, UK – Manchester Punk Fest

Tue. Apr. 02 – Glasgow, UK – Stereo

Wed. Apr. 03 – Dublin, IE – Whelan’s

Thu. Apr. 04 – Leeds, UK – Brudenell Social Club

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