Posts Tagged ‘Post-Punk’

Ashley Reaks – The Body Blow Of Grief

Posted: 4 November 2024 in Albums, Reviews
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25th October 2024

Christopher Nosnibor

As is the case with his collage artworks, there is a sense of physicality about Ashley Reaks’ recorded work. His album titles tend to be brief but evocative, visually or otherwise: Compassion Fatigue; Track Marks; Growth Spurts; Winter Crawls… these are titles which evoke a sensory response – a shudder, a shiver, a skin crawl. The Body Blow Of Grief – Reaks’ fourteenth solo album – lands with an impact before you even arrive at the music itself.

I suppose – as is often the case when it comes to any music – there’s a personal element to my response here, and I make no apology for this. As I have touched on elsewhere, art is personal, in that it elicits a response which is unique based on a multitude of factors, ranging from life experience to emotional state and the mood of the moment. But the very phrase, The Body Blow Of Grief, lands like a punch in the stomach, and I’m aware that, while recently bereaved, having lost my partner of twenty-two years and adjusting to life as a single parent to a twelve-year-old, I am acutely sensitive to things which many others wouldn’t be. And yes, grief hits like a body blow. It knocks you, hard, socks the air out of your lungs and leaves you feeling weak, dazed.

Reaks’ music very much sounds like his artwork looks: a collage, a collision of styles, disjointed elements overlayed unapologetically; instead of smoothing over the joints, Reaks revels in the ruptures. Because this is where the vitality of life is found.

‘Home is Where the Hurt is’ may be a fairly obvious piece of wordplay, but the album’s opener digs deep into this seem, one which is a rich source of material in Reeks’ exploitation of trauma and its effects. ‘I can’t really feel what’s real’, he confesses against a backdrop of dubby bass and honking horns, before a shuffling beat settles into a tidy groove. It’s a bit Interpol meets Madness before lurching into post—rock territory and tapering out in a rippling tingle of layered guitar.

While the topics may be heavy, The Body Blow Of Grief is remarkable for its levity, its musicality, it’s easy tunefulness. I don’t mean necessarily that it’s all air and light – because it really isn’t.

There’s some quite tight, choppy, indie guitar on ‘No Place In The Nature Of Things’, a song that squirms and twists its way through almost seven-and-a-quarter minutes.

‘Somewhere To Hide Among The Swarm’ takes the bold step out into the swarm to offer some-full-on progressive rock flavours.

Across the course of the album’s eight tracks, Reaks walks through the familiar territory of previous albums with leaning toward dub and post-punk, but ventures into altogether newer territories with some spaced-out prog-inspired explorations, and ‘Hobbling Like A Refugee’ has an eighties feel that unexpectedly delves into electropop and AOR. It’s not polished to the levels of the 80s rolled-up jacket sleeve bands, but it alludes to the slickness of the era, but the dark lyrics are a stark and uncomfortable contrast. ‘Mongrel Nation’ is a slice of chunky post-punk laced with the bombastic excesses of Muse and a few jazzy twists.

The last track, the eight-minute epic ‘I’m Not a Fossil’ is a multi-faceted, multi-headed monster propelled by some strong technical dtrumming.

As always, Reaks presents us with an album that’s complex and layered, but The Body Blow Of Grief feels like a step up in the ways it opens horizons to new levels of boldness and ambitious sonic vistas.

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Listen: ‘Insomnia’ by Ghost Painted Sky

Posted: 3 November 2024 in Recommended Streams and Videos, Singles and EPs
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Goth rock/post-punk band, Ghost Painted Sky recently unveiled their latest single, the introspective ‘Insomnia’.

Ghost Painted Sky have always tried to write songs that are true to their own life experiences, while also tapping into something a little more universal. With the new song ‘Insomnia,’ they explore some of the most familiar of common modern plagues: stress and sleeplessness.

Raw, claustrophobic, and perhaps a bit more aggressive than some of their previous material, ‘Insomnia’ is the sound of the night fight against the thousand micro-demons of anxiety that crawl and claw around the edges of peace and sanity.

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GHOST PAINTED SKY began as the solo studio project of David Strong, as a way to process some major life changes through songwriting, which resulted in a debut self-titled EP released in 2014. The following year brought a second short EP, The Shadows Breath, and the first live performances.

In 2017, Lisa Wood began contributing vocals with the Scars EP, and then with the first full-length Ghost Painted Sky album, Flightless, released in the summer of 2018. Lisa has since become the second official member of the band and the primary vocalist, continuing through the Ephemeral Wake EP (2021), and a series of singles – of which ‘Insomnia’ is the latest – offering previews of what to expect from the forthcoming second full-length album, Failure Blooms. While David remains the principal songwriter,
Ghost Painted Sky continues to include work with musical collaborators and live band members (including current violin player, Aurora Grabill and guitar player, Michael Boudreau) while continuing the ever-present theme of songwriting as vessel for personal exploration and catharsis.

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Watch: ‘Crippled Crow’ by Mayflower Madame

Posted: 15 October 2024 in Recommended Streams and Videos, Singles and EPs
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‘Crippled Crow’ is the final single by Norwegian band Mayflower Madame’s much anticipated upcoming album Insight, out on 1st November via Night Cult Records/ Up In Her Room/Icy Cold Records.

Compared to the album’s previous singles, this newest track expands on their distinctive fusion of edgy post-punk and dreamy shoegaze, incorporating aspects of noise-rock and darkwave. Driven by a driving bass line and dynamic drumming, the song leads you on a captivating journey – from the haunting verse melodies to the intense guitar passages in the choruses, culminating in a powerful ending. It evokes feelings of longing and remorse amidst the wintry streets of Oslo, intertwined with a burning desire for transformation and catharsis.

Check the video here:

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Mayflower Madame return to the UK and Europe for a tour in November. Tickets are available here.

FULL DATES

Sat 2 November – Goldie – Oslo, Norway – Tickets

Wed 13 November – The Moon – Cardiff, UK – Tickets

Thu 14 November – Daltons – Brighton, UK – Tickets

Fri 15 November – The Strongroom Bar – London, UK – Tickets

Sat 16 November – Hot Box, Chelmsford, UK – Tickets

Thu 28 November – Noch Besser Leben – Leipzig, Germany

Fri 29 November – Kulturhaus Insel – Berlin, Germany – Tickets

Sat 30 November – Chmury – Warsaw, Poland

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Berries – Berries

Posted: 12 October 2024 in Albums, Reviews
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XTra Mile Recordings – 18th October 2024

Christopher Nosnibor

Berries have been on our radar since 2017, and now, just over two years on from How We Function, they return with they eponymous second long-player. They’ve done a good job of building the anticipation with a run of well-spaced singles, starting back in the summer with ‘Watching Wax’, before revealing an altogether previously unseen side with the acoustic-led ‘Balance’. So which Berries will we see come to the fore here?

It’s more than a pleasure to report that it’s the very best Berries which manifest across all of the album’s ten cuts, all of them sharp. Ten tracks is in itself significant: it’s the classic album format of old, and all killer, no filler, and no faffing with interludes or lengthy meanderings. The whole album’s run-time is around half an hour: it’s tight, it’s succinct, the songwriting is punchy and disciplined, and has the feel of an album as was in the late 70s and through the 80s, planned and sequenced for optimal effect. But they also manage to expand their template within within these confines: there’s some mathy tension in the lead guitar work, and there are flourishes which are noodly without being wanky, and they serve more as detail rather than dominating the sound.

‘Barricade’ kicks in on all cylinders, uptempo, energetic, post-punk with punk energy amped to the max. By turns reminiscent of early Interpol and Skeletal Family, with some nagging guitar work scribbling its way across a thumping rhythm section, it’s a corking way to open an album by any standard. ‘Blurry Shapes’ is a crafted amalgamation of mathy loops in the verses and crunchy chords in the choruses, all delivered with an indie-pop vibe which is particularly keen in the melodic – but not twee or flimsy vocals. and Berries just packs in back-to-back bangers.

‘Watching Wax’ lands as the third track, a magnificent coming together of solid riffing, chunky bass, and sassy vocals. ‘Balance’ provides a change of pace and style immediately after, and it’s well-placed, wrapping up side one.

‘Jagged Routine’ starts off the second half with a choppy cut that brings in elements of poppy post-punk, math-rock and circa 1987 goth alternative rock. I’m reminded rather of The Kut, but then equally The Mission in the final bars, while ‘This Space’ steps things up with a dash of Gang of Four and a mid-00s technical post-rock flavour compressed into a driving rock tune that clocks in at just shy of three and a half minutes.

On Berries, Berries sound perhaps a little less frantic and frenzied, and maybe less confrontational and driven by antagonism than on their debut, but as a trade-off, they sound more focused and more evolved. The introspective introversion of the form creates an intensity that suits them well.

The guitar riff in the verse of ‘Narrow Tracks’ is so, so close to a lift of ‘When You Don’t See Me’ by The Sisters of Mercy that it makes me feel nostalgic for 1990, but finally gives me cause to rejoice in 2024, as they’ve incorporated it into a layered tune that has many elements and just works. Having waded through endless hours of bands doing contemporary ‘goth’ by making some synth-led approximation of a complete mishearing of anything released between 1979 and 1984 by the bands that would be branded goth by the press, it’s a source of joy to hear an album that captures the essence of that period without a single mention of the G-word.

Berries is a fantastic album. It gets to the point. It has power it has energy in spades – and attitude. They also bring in so many elements, but not in a way that lacks focus. In fact, they sound more focused than I would have ever imagined. This album deserves to see Berries go huge, and it’s got to be one of my albums of the year simply by virtue of being absolutely flawless and 100% brilliant.

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Red Lorry Yellow Lorry – Driving Black EP

Posted: 7 October 2024 in Reviews, Singles and EPs
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COP International – 6th December 2024

Christopher Nosnibor

What a year this is proving to be for bands who have lain dormant, at least on the studio front, for quite literally decades. And when it comes to Red Lorry Yellow Lorry, it really has been a long time. The last Lorries release was an ultra-limited gig-only affair back in 2015, with just 50 copies pressed for Leeds in the August and 100 for Valencia the following month. Said EP featured two new songs, ‘Safe as Houses’ and ‘Piece of my Mind’, which were listed as being from the ‘forthcoming album Strange Kind of Paradise’. Time passed, and it really didn’t look like the album would ever see the light of day. But now, this official EP presages its arrival in February 2025, some thirty-three years since they called it a day with Blasting Off (1992).

The Lorries always stood apart from their contemporaries: whereas the Leeds post-punk scene of the early 80s clearly favoured black in every possible way, the band’s guitar sound was steely grey and like scraping metal, and paired with murky bass and relentless percussion, they forged an industrial clang that, was the perfect mirror to both the landscape and the times. Chris Reed’s baritone was less theatrical and more gnarly and angry-sounding than your archetypal goths which would follow. Fans will already know and appreciate all of this, but with so much history – and so much time having passed – some context is worthwhile, especially for those unfamiliar.

During their 80s heyday, they built a catalogue of outstanding 12” releases, with some of their best cuts not on the albums, and with Driving Black, they’ve added another. It contains six tracks, with two mixes of the title track – I gather the original will feature on the album – long with a mix of the as-yet-unreleased ‘Chickenfeed’. ‘Safe as Houses’ and ‘Piece of my Mind’ finally get to be heard – and owned – by more than 150 people, and hearing them again in this context reminds me of the buzz I got when first heard them almost a decade ago: they’re unmistakably RLYL, and if they’re more in the vein of the material on Blow and Blasting Off, the one thing that’s remained consistent throughout the band’s entire career is their sonic density, that claustrophobic, concrete-heavy heft, with ‘Piece of Mind’ being a solid mid-tempo chugger and a grower at the same time. It seems that the two tracks from the 2015 EP didn’t make the album cut – but this can be seen as good news, if they have material of this quality going spare. The same is true of ‘Living With Spiders’, a frenzied track which has spindly guitars crawling and scratching all over it. It would be a standout, but the consistency of quality across the EP means it’s one more cracking tune.

The strangest thing is how time – or our perception of time – seems to become evermore distorted. Perhaps some of it’s an age thing, but… I remember at the time, The Sisters of Mercy’s release of Floodland was hailed not only as the rebirth it was – stylistically and in terms of commercial success – but as a huge comeback after a great absence. But Floodland arrived only just over two years after First and Last and Always. Even more remarkably, I seem to recall the release of Crawling Mantra under the name The Lorries that same year was considered something of a comeback and a departure, even though Paint Your Wagon was released only the year before. The world seemingly lost the plot when The Stone Roses delivered The Second Coming after a five-year gap (and they really needn’t have bothered). And now, while Daniel Ek is advocating the production of ‘content’ on a constant basis, we have bands putting out their first new material in an eternity, and rather than having forgotten about them, fans are fervent – and rightly so.

Chris Reed’s reuniting with David ‘Wolfie’ Wolfenden – Leeds alumni who first appeared with Expelaires in 1979 along with one Craig Adams, who would do a stint as a member of The Mission’s touring lineup – is most welcome, because they’re simply a great pairing, and this is nowhere more apparent than on lead track ‘Driving Black’, which is vintage Lorries, kicking off with urgent, driving drums, before the throb of bass and rhythm guitar and a sinewy lead guitar, sharp and taut as a tripwire cut in and casts a thread right back to their earliest work in terms of style and structure.

The parallels between now and the 80s are uncomfortable; we may have ditched a Conservative government, but workers are still feeling the pinch, and global tensions are off the scale. That the BBC’s apocalyptic movie Threads is getting only its fourth screening – to mark its fortieth anniversary – feels worryingly relevant. And so it is that Red Lorry Yellow Lorry still sound essential and contemporary is equally testament to their songwriting and delivery, and the bleak times in which we find ourselves. Putting the social and political backdrop to one side, the Driving Black EP is an absolute triumph. There are no half-measures, nothing is weak or half-arsed, and it’s – remarkably – as if they’ve never been away.

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The Ex – Great! / The Evidence

Posted: 2 October 2024 in Reviews, Singles and EPs
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Ex Records – 20th September 2024

Christopher Nosnibor

It’s hard to conceive that The Ex have been going for a full forty-five years. It’s more than understandable that the pandemic proved a challenge for them, a band accustomed to getting out and doing it live. As their bio points out, in 45 years they did more than 2000 concerts in 45 countries. But creativity isn’t something that can simply be switched off. Again, to turn to how their notes set it out, ‘The pandemic was a standstill for many, including The Ex. Or perhaps it was more a kind of recharging, as the band is back on national and international stages with new music, ready to return to the studio… It was time for a new 45rpm 7” single. From the brand-new set they are playing full-on this year, they picked two blinking tracks: ‘Great!’ and ‘The Evidence’.

For some reason, I’ve always considered The Ex to be more of an album band, but as the compilation Singles. Period evidences, they’ve released a fair few singles through the years. And what’s interesting is how they clearly approach singles and albums very differently, exploring expansively on albums in the same kind of way they do live and striving to see just how far out they can push things, while exercising remarkable discipline and concision with the single releases, with tracks of two or three minutes and rarely exceeding four in running time. This awareness or tailoring of material to medium is quite a rare thing, but illustrates their phenomenal versatility as musicians, and also provides some insight into their methodology and creative processes.

‘Great!’ is. It’s an uptempo meandering sliver of discord whereby the musicians play across one another rather than together to spin a slice of angular post-punk that’s not a million miles from The Fall in their early years. ‘The Evidence’ – which clocks in at under three minutes – is more focused-sounding, and more noisy. Both songs are the work of a band who are still firing on all cylinders with ideas and energy.

This single is exhilarating in unexpected ways. It sounds fresh – and yes, it might also sound like it’s from circa 1979, but it sounds authentically 1979, rather than some old buggers trying to recreate and rekindle the vibe of their youth. Just what their secret is, I don’t know – although one suspects the fact that they’ve continually striven to create, and to create something new, something different, is a significant factor. In life, as well as with musicians, it’s so easy to simply settle, to adopt a routine, to take the easiest path within an established comfort zone. Fair enough: most people want an easy life, especially when they reach a certain point. But, critically, to accept a diminishing scope for activity is to consign oneself to a future of diminishment in every way. This clearly isn’t the mindset of The Ex, and this single provides ‘The Evidence’ that they’re still ‘Great!’.

And after that shameful punchline, I should probably get my coat – but shall instead pour another drink and get to the next review – because diminishment is stagnation and death, and re-engaging with The Ex post-pandemic is an invigorating experience.

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Baby Schillaci – The Soundtrack

Posted: 1 October 2024 in Albums, Reviews
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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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Listen: ‘The Flatliners’ by Baby Schillaci

Posted: 30 September 2024 in Recommended Streams and Videos, Singles and EPs
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Swansea Alternative band ‘Baby Schillaci’ today have shared a blistering new track ‘The Flatliners’ as a thank you to everyone who has supported the band as release date for highly anticipated furious debut album ‘The Soundtrack’ draws closer on the 2nd October 2024

This debut album promises to expand their sonic horizons while retaining the raw, confrontational edge that has become their hallmark.The albums raw and unflinching approach has alerted the attention of National Radio with KEXP, BBC 6 MUSIC, RTE2, BBC RADIO WALES and has provoked positive reviews with Backseat Mafia, God Is In The TV, Listen With Monger, Amplify The Noise, Fame Magazine, Niche Music, Aux Magazine, No Transmission and many many more…..

Hitting the scene in 2023, Baby Schillaci are swiftly carving out their position in the alternative Welsh music scene with their raw, unfiltered sound. Rooted in post-punk and noise, the band’s aggressive yet intricately layered compositions evoke comparisons to seminal acts like Mclusky, At the Drive-In, and Fugazi. Their music is a relentless assault on the senses that challenges and captivates in equal measure.

Baby Schillaci’s reputation has been forged from their ferocious live shows with echoes of Nirvana, Public image & the Manics mixed with their own unhinged, visceral style. The intensity and unpredictability of their shows have drawn a devoted following.

Known for their relentless energy and erratic performances, Baby Schillaci continue to push the boundaries of the craft with an LP that encapsulates their unfiltered essence.

Hear ‘The Flatliners’ here:

Baby Schillaci Main Press

Watch: ‘But Today’ by Soror Dolorosa

Posted: 18 September 2024 in Recommended Streams and Videos, Singles and EPs
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With their final single in advance of their new album, the melancholia driven mid-tempo track ‘But Today’, 

Soror Dolorosa present a different facet of Mond. Illuminated by a visualiser, this song channels classic Wave sounds into an expression of sorrow and regret. ‘But Today’ is taken from the forthcoming new full-length of the French post-punk gothic rockers, which is entitled Mond (the German word for ‘Moon’), and has been slated for release on October 4, 2024.

Check it here:

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Soror Dolorosa comment: “The last advance single ‘But Today’ is also the final song on our new album and one of my favorites so far”, mastermind Andy Julia writes. “Creating the different phases of the song was the result of a magnificent teamwork. It gave me particularly great pleasure to get my vocals and the choirs into harmony with the keyboards that you can hear in the chorus. This might well be our most progressive track on Mond that also has the most complex structure. We felt thrilled when we noticed that the complexity was not mitigating the efficacy of the groove and the brilliance of harmonies. Our producer James Kent told us: ‘This reminds me of the Fields of the Nephilim, what a smash!’. All of us in the band were rather thinking about Depeche Mode when we designed the sound and that particular tone of the guitar riffs. I could hardly visualise this song more efficiently than by unveiling the artistic process behind the creation of the cover artwork for Mond that was inspired by my muse. At the beginning of the shooting we had this idea of creating a mysterious character like the myth of the Ancient Greek seer Pythia. Therefore, we began to work with poses of a veiled lady who utters prophecies while having divine visions in a state of trance. Yet with the passing of each hour, the spirit of the moon goddess came over us and Angélique’s naked body finally reflected the light of the stars that are falling apart somewhere between the flame of the sun and the cold nocturnal light of the moon in a perfect symbiosis.”

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Watch: ‘Made of Rain’ by Beauty in Chaos ft. Ashton Nyte

Posted: 10 September 2024 in Recommended Streams and Videos, Singles and EPs
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Beauty In Chaos, the evolving revolving worldwide aural entity, presents the closing track on their Dancing With Angels album – their fourth record to date, recently released via 33.3 Music Collective.

Introduced by a vibrant video, filmed and directed by Fernando Cordero / Industrialism Films, ‘Made of Rain’ features the brooding baritone of Ashton Nyte of legacy goth rock outfit The Awakening, who will also release their twelfth album in mid-October.

“It is no coincidence that we chose a release date of September 10th, as it is six years to the day that we introduced Beauty In Chaos to the world with ‘Storm’, which also featured Ashton. It is a true blessing to have Ashton back for our fifth song together. As we have come to expect from BIC, this new video is visually and conceptionally very different from the latest BIC single ‘Holy Ground’,” says Michael Ciravolo.

Ashton Nyte adds, “I am delighted with how the ‘Made Of Rain’ video came out. I think Industrialism Films have captured the sense of isolation and the desire for connection I was writing about. The dreamlike quality of the video reflects the inner struggle beautifully.”

Beauty In Chaos formed in 2018 by guitarist Michael Ciravolo (formerly of Human Drama and Gene Loves Jezebel and current President of Schecter Guitars) with Grammy-nominated producer Michael Rozon (Ministry, Jarboe, Wayne Hussey, The Melvins).

Watch ‘Made of Rain’ here:

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