Posts Tagged ‘Post-Punk’

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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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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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

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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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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‘Never Sever’ is the third single from Norwegian band Mayflower Madame’s eagerly awaited album Insight, set to release on November 1st.

While their previous singles, ‘A Foretold Ecstasy’ and ‘Paint It All in Blue’ refined their signature blend of post-punk, shoegaze and psychedelia, this new track reveals the band’s more direct and energetic side. Their sound is still spun with alluring dark textures but is now profoundly interwoven with rays of light and a bittersweet melancholy.

Additionally, the track introduces a touch of rock‘n’roll swagger in the verses seamlessly merging with dream-pop elements in the choruses, making ‘Never Sever’ one of their most accessible songs to date. Lyrically, the song captures a nostalgic feeling of being unable to reclaim—or unwilling to let go of—a haunting past.

Watch the video for ‘Never Sever’ here:

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Mayflower Madame have announced they will be returning to the UK and Europe for a tour this Autumn.

FULL DATES (with ticket links):

Sat 5 October – Return To The Batcave Festival – Wroclaw, Poland – Tickets

Sat 2 November – Goldie – Oslo, Norway – Tickets

Wed 13 November – The Moon – Cardiff, UK 

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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This Friday, BERRIES return with a second glimpse into their self-titled new album, in the shape of new single ‘Balance’.

A tempered and touching acoustic lullaby by the trio, it marks something of a handbrake turn from the sound and fury of previous single, ‘Watching Wax’.

“Let’s balance out time like we said we would” coos vocalist Holly Carter, atop a single laden with silky guitar lines, hushed harmonies, and a pin-drop atmosphere.
Urging us to find that time to sit back and enjoy the moment, BERRIES say of the track: “’Balance’ talks of those promises we make ourselves. Filling our time with things we want to do, not just need to do. It’s quite easy to get caught up in busy schedules, rushing around with busy brains but this song reminds us to stop and take it all in.”

Unlike anything else the band have released previously, it arrives as a tantalising new insight into their highly anticipated second album: BERRIES, which is due for release on 18th October via the Xtra Mile Recordings label.

As its eponymous title makes clear, ‘BERRIES’, is the sound of a band determined to make a statement with their second full-length outing. While the band have never shied away from brutally honest admissions or difficult subject matters like struggles with mental health, BERRIES finds them weaponising them into a set of fearlessly assertive tracks that seize strength from darkness. As BERRIES explain:

“This album is about battling intrusive thoughts and finding contentment in your day, however big or small those moments are. It’s a journey to finding your own space and being comfortable in it. We haven’t held back with this album – it’s raw, honest, and a true reflection of BERRIES.”

Check ‘Balance’ here:

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BERRIES – HEADLINE TOUR 2024
OCTOBER

23 – Brighton, The Prince Albert

24 – Nottingham, Bodega

25 – Leeds, Hyde Park Book Club

26 – Manchester, Gullivers

29 – Bristol, Thekla

30 – London, Lexington

31 – Norwich, Waterfront

NOVEMBER

1 – Southampton, Heartbreakers

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Buzzhowl Records – 27th September 2024

Christopher Nosnibor

Once again, following the release of a four-way split showcasing local talent a few months ago, Stoke proves the be the spawning ground of more off-kilter noisy noise, this time from no-wave duo Don’t Try with their second EP. As an additional point of note, and also something of a recommendation / hype point, the EP’s artwork is courtesy of Dan Holloway, of USA Nails/Eurosuite/Dead Arms fame, who worked with the band previously on their 2018 single ‘JWAFJ’. To accompany the release, Dan has also realised a video in his own inimitable style.

Like ‘JWAFJ’, their first EP, Elvis Is Dead was released in 2018, meaning it’s been a full six years since they last released anything, suggesting that on the output stakes at least, they’ve been living up to the band’s name.

Lead track ‘my grazed knee’ with its gritty yet poppy synths and urgent, determined beats isn’t actually a million miles from the sound of The Eurosuite. It reminds us of the proximity of new wave to punk, and the reasons why new wave and post-punk are essentially interchangeable terms. And while punk did, undoubtedly, spawn some great tunes (I’d perhaps contend less great bands, in that many punk acts, with a few notable exceptions like The Ruts and Adverts, produced only one or two outstanding or even memorable sings, and were unable to deliver the entirety of a solid album, let alone a career), it was post-punk where things got interesting, after things had evolved from three-chord stomps. If punk was predominantly pissed-off, railing against boredom and just off the rails, what followed explored a greater emotional range, and was more articulate, both musically and lyrically. For all its rebellion and antagonism toward conventions and norms, punk very quickly established its own conventions and norms: post-punk broke down those definitions to explore in myriad different directions, fragmenting and evolving into countless new genres.

It’s been a long time since the advent of both punk and new wave now, and in theory, any contemporary exponent of either is liable to tie themselves to certain tropes. But contemporary punk bands, more often than not, seem to be so limited in their scope, whereas many current acts who align themselves with post punk / new wave offer a broader range – even the ones who have been lazily lumped into the bracket of Joy Division imitators. I mention this as I discovered both Interpol and Editors because they were constantly being compared to Joy Division, and while I came to like both bands very much, my first reaction was dismay laced with disappointment over how unlike Joy Division either act sounded.

And so, circuitously, we arrive back with Don’t Try. ‘my grazed knee,’ as I was starting to say before I embarked on my obligatory and epic detour, is a fuzzy, low-fi keyboard-driven cut that boasts a monstrous throbber of a grindy synth bass groove that lands between Suicide and Cabaret Voltaire’s ‘Nag Nag Nag.’ But it’s a lot harder, harsher, noiser, more aggressive, more antagonised. Punkier? I suppose it’s representative of the point at which that nascent industrial sound began to evolve, but there’s also a manic hardcore edge to it, which is more apparent on the harsh assault of ‘climax in the imax’. Here, everything is ratcheted up in its volume and intensity, there’s a clattering metallic snare sound that crashes like a bin lid through the song’s duration, and about two-thirds in, it sounds like someone’s started up a drill and it all suddenly goes slower and heavier and you start to feel like things are getting dark and tense. This is very much a positive, in case you’re wondering.

There’s a clear trajectory to this EP, a sonic evolution which moved forward with each track, and things turn full-on industrial on the third track, ‘ritual’, which manifests are a monstrous, relentless rhythmic pounding reminiscent of mid-80s SWANS and the heavy grind of Godflesh. The crazed, anguished vocals are howled, yelped, drawled, hinting at the manic howl of the Jesus Lizard (and so, equally, Blacklisters). After hitting what feels like a locked groove around the mid-point, everything explodes and the track – and EP – climaxes in a slamming wall of ear-blasting noise. None of it’s pretty. All of it’s good.

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PNKSLM Recordings proudly presents Stockholm garage punk quintet Kerosene Kream and their PNKSLM debut EP Buying Time, which is due out on August 30th on limited edition vinyl and digitally. Today the band is sharing live favourite "Psychedelic Ranger", a long time stable of the band’s raucous live sets, which follows lead single ‘Mindkiller’ which was released in June as the band was opening for the legendary The Gories.

Having shared the stage with the likes of Dungen, Illuminati Hotties, Holograms and Powerplant, Kerosene Kream is the latest group to step out from the Stockholm underground that gave birth to the likes of Viagra Boys and Holograms and the band have grown a reputation as a ferious live acts with shows around northern Europe.

Following the new EP the band is set to head out on dates including an appearance at the Left of the Dial Festival in Rotterdam, Netherlands as well as making their UK live debut in September at PNKSLM’s The Slime Ball at The Shacklewell Arms in London alongside Scandinavian shows.

Listen to ‘Psychedelic Ranger’ here:

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Live

August 28 – Stockholm, Sweden – AG29 w/ Erik Nervous + Citric Dummies

September 7 – London, UK – PNKSLM’s The Slime Ball @ The Shacklewell Arms

October 17-19 – Rotterdam, Netherlands – Left of the Dial Festival

***more dates TBA***

Kerosene Kreem

Photo by Dan Kendall

Metropolis Records – 7th June 2024

Christopher Nosnibor

Oi, Nosnibor? Call yourself a goff? Well, yes… and no. Y’see, much as many people scoff at Andrew Eldritch insisting The Sisters of Mercy aren’t goth despite displaying so many of the trappings of goth, he does have a point, and one I’m willing to defend when it comes to my own musical preferences.

The Sisters, The Cure, Siouxsie, Bauhaus, bands I came to quite early in the formation of my musical tastes in my teens, are all largely considered exponents of ‘goth’, but were well-established long before the label existed. Tony Wilson said in an interview that there was something ‘gothic’ about Joy Division, and while they were contemporaries, and similarly dark, and – like the aforementioned acts – emerged from the post-punk scene, along with the likes of Alien Sex Fiend, The March Violets, The Danse Society, but somehow manage to avoid the goth tag. Ultimately, the whole thing was a media construct based largely on a false perception of a bunch of disparate acts who shared a fanbase. Just how much bollocks this was is evidenced by the fact the likes of All About Eve, New Model Army, and Fields of the Nephilim – again, bands who shared nothing but a fanbase, in real terms – came to be lobbed into the ‘goth’ bracket.

But then bands started to identify as ‘goth’ themselves, most likely as a way of pitching themselves in press releases, and things started to head south rapidly thereafter.

Having formed in 1981 and being signed to 4AD, home of The Cocteau Twins, and releasing their debut album in 1985 – the same year The Sisters released their seminal debut First and Last and Always – Clan of Xymox belong to the initial wave of proto-goth, in the same way X-Mal Deutschland do. Yet for some reason, they’ve bypassed me. Seventeen albums in, I’m perhaps a bit late to the party, and while I can’t claim to be fashionably late, it’s better late than never, right?

This does mean that I’m approaching Exodus with no benchmark in terms of their previous albums, and with the weight of recently-jettisoned preconceptions and prejudices. Perhaps not a strong standpoint for objectivity, but it’s worth getting these issues out of the way first.

It’s amusing to read how retrospective reviews of their debut criticised the fact it sounded cliché and dated, not least of all because of the synth sounds which dominate. What goes around comes around and vintage synths and drum machines, however tinny, fuzzy, basic, are all the rage once more, with people willing to pay crackers prices for the precise purpose of recreating those sounds.

Exodus sounds like an early-to-mid-eighties dark electro album, showcasing all of the elements of goth before it solidified, before the cliches became cliches. The drum machine programming is quintessentially mid-80s, a relentless disco stomp with a crisp snare cracking hard and high in the mix.

They slow things swiftly, with the brooding, moody ‘Fear for a World at War’ – a timely reflection on the state of humanity – landing as the second track. It’s moving, haunting, but drags the pace and mood down fast, samples and twinkling synths hovering and scrapping over a hesitant beat and reflective vocals.

‘The Afterglow’ combines chilly synths and fractal guitar chimes to forge a cinematic song. It’s unquestionably anthemic, and has the big feel of an album closer. Where can they possibly go from here? Well, by pressing on with more of the same… Much of Exodus is reflective, darkly dreamy, vaguely shoegazy, very Cocteau Twins – at least sonically, being altogether less whimsical in content. It’s undeniably a solid album, and one steeped in the kind of sadness and melancholy that’s quintessential brooding gothness. ‘X-Odus’ hits a driving techno goth sound that borders on industrial, but equally owes as much to The Sisterhood’s Gift, which is really the point at which ‘goth’ intersected with dark disco.

Eighteen albums in Exodus sounds predominantly like the work of a contemporary dreamwave / goth act plundering the old-school with some heavy dashes of late eighties Cure, and while many fans will be hard into it, to my ears, it’s good – really good – but much of its appeal is nostalgia and familiarity, and objectively, it’s just a shade predictable and template.

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