Posts Tagged ‘Single Review’

Modern Technology / 72% – Split 7”

Posted: 4 March 2021 in Singles and EPs
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Human Worth – 5th March 2021

Christopher Nosnibor

I am, unashamedly, a massive fan of Modern Technology, and have been from day 1. And their DOIY label, Human Worth, too. Not only do they make and release amazing music of immense weight, but they have real principles, donating a cut of the proceeds of every release to charity, and being thoroughly nice guys on top is just a huge bonus.

The label’s latest release – their first 7” single – is absolute gold (despite actually being marbled silver and black) And that’s another thing: the quality of the label’s product is magnificent, from the design to the finish. With vinyl’s resurgence, we’ve witnessed a greater attention to the physical product as an artefact to behold and to cherish, for all the reasons fans of vinyl spent about 20 years going on about at every opportunity while people moved away, first towards CDs and then towards streaming. I suppose aficionados of the ‘physical product’ proffer the same kind of case for vinyl as books, but when Kindle fans counter that ‘it’s just like a book’, the common retort is that what’s even more like a book is a book, and there is simply no substitute. Streaming fans don’t even have that: all they have is ‘convenience’, but they simply don’t grasp how much is missing from the experience when interacting with a physical format.

I may digress, but it’s relevant: when presented with a gut-punching welter of noise, it always hits harder when blasting from a fat chunk of wax through some speakers with a bit of poke. And shit, is this a gut-punching welter of noise.

Modern Tech and 72% crossed paths just days before life was placed on pause in March 2020. Sharing a bill for Baba Yaga’s Hut in London, no-one foresaw the year that was to come. With the prospect of live shows remaining tentative at best, this single feels like a necessary release of energy.

It’s 72%’s ‘Drowning in a Sea of Bastards’ that’s the (nominal) A-side, and it’s a squalling, full-throttle noise attack. It’s actually the drumming that dominates, while everything else collapses in on itself to create a volcanic sonic explosion of frenzies guitars that are played in such a way as to not really sound like guitars as much as a wild cacophony. There’s screeding feedback and all kinds of chaos flying every whichway, and somewhere, buried low in the mix, are some anguished vocals. You can’t make out a word of it, but the sentiment transcends language.

Meanwhile, Modern Technology continue to go from strength to strength. The first new material since their debut album, Service Provider in September, ‘Lorn’ is a six-minute monster. The droning feedback that howls from Chris Clarke’s bass is more mid-rangey than usual, bringing a sharp, brittle edge to their dark, dingy abrasion that’s pushes forward slow and heavy, propelled by Owen Gildersleeve’s crushing percussion. When the chords hit, they hit hard, and – as is now well-established as integral to their distinctive sound, Clarke’s vocals, distorted and buried in a wash or reverb, snarl and growl all the rage, landing somewhere between Lemmy and Al Jourgensen circa Filth Pig. It’s a trudging slow-burner that builds with a cumulative effect.

Oh, and there’s more: a brace of bonus tracks, starting with a head-shredding remix of ‘Drowning in a Sea of Bastards’ by Wayne Adams (Ladyscraper / Big Lad / Petbrick). Unrecognisable against the original, it’s a pulversing mangled mess of clanging metal and industrial-strength overloading distortion. Gnarly as fuck, it’s bloody brilliant. And as a double bonus, the additional cut from Modern Technology is another new track, ‘Ctrl’. In something of a departure, it finds Clarke deliver a spoken-word piece against a backdrop of thick, booming bass and slow, slow drums. As the murky layers build, so does the crushing weight of a track that’s reminiscent of Swans circa 1984: it’s claustrophobic and suffocating, and makes you feel tense.

It may only be fifteen minutes in total for all four tracks, but to describe the experience as intense would be an understatement, and I find myself simply too blown away to conjure a pithy one-liner to wrap up. Yes, it’s absolute dynamite.

AA

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72%xMT_B_DrowningInASeaOfBastards

The Armed – Average Death

Posted: 3 March 2021 in Singles and EPs
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Sargent House – 2nd March 2021

Christopher Nosnibor

What to make of The Armed? The lineup is immense, comparable to Revolting Cocks, Pigface, or KMFDM, to the extent that you don’t really know who does what on which song or even who’s in the band or who just tuned up at the studio or rehearsal session. The videos for new single, ‘Average Death’ and its predecessor, ‘All Futures’ don’t help: is it even the band we’re watching? And ultimately, does it matter?

This second single release, ahead of the album’s unveiling in April demonstrates that The Armed are master of churning noise, differentiated by an uncommon accessibility. That is to say that I have no idea what to make of this. While ‘All Futures; was a raging, rampant blast of noise that called to mind Nine Inch Nails, ‘Average Death’ spirals into some heavy shoegaze. If industrial shoegaze isn’t a thing before now, it should be as of this release. It’s deeply immersive, a glorious wash of soft edges, propelled by a squalling wall of noise and frenetic drumming.

So while The Armed and their videos are all the questions, there is no question over the killer nature of their songs.

AA

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Kids Love Surf – Moment

Posted: 2 March 2021 in Singles and EPs
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Christopher Nosnibor

Hailing from Hastings, Kids Love Surf came together during the eternal year of lockdown, coming together due to a shared love of dreampop to collaborate remotely from March 2020. Following on from debut single ‘OYO’ which found favour with BBC introducing.

‘Moment’ is everything its rainbow-hued cover art suggests: a dreamy drift of 90s shoegaze, with soft synths and guitars bathed in washes of reverb and effects. The drums are muffled beneath the layers while the bass strolls around amiably, not driving anything, not even holding it down, but simply wandering, and it’s a latticework of jangly guitars that layer away behind a vocal that’s low in the mix and kinda dreamy in a 90s indie sort of a way. There are hints of Stereolab and Disintegration-era Cure in the mix here, and it’s all very mellow and melodic.

As is so often the case with this style of music, I find there’s relatively little to say. That’s not a criticism or complaint, but more of an indication of how, on a personal level, I find myself detached and floating free, how I struggle to engage in the details beyond the effect, beyond the superficial. Because it seems to be less about ]engagement and more about atmosphere, how it speaks beyond words via the medium of music.

The mid-tempo ‘Moment’ is a soft wash of tripping indie that’s easy on the ear, and do you really need a message or much substance beyond that? I’m content to just let it glide….

elkyn – something

Posted: 26 February 2021 in Singles and EPs
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17th February 2021

Christopher Nosnibor

It’s completely fitting that ‘something’, the new single from the Leeds-based artist elkyn is accompanied by a truly expansive video that slow-pans an immense landscape – a slow-panning view over a valley in the Lake District which touches me more than I’d have expected. But then, The Lakes is my happy place, a space away from the world and while the swinging pan shot is close to inducing motion sickness, it’s also a perfect accompaniment to this dreamiest of tunes.

The track follows up on last year’s single ‘if only it was alright now’, as well as the debut EP Beech. The song maybe but a mere two minutes and ten seconds of acoustic guitar, simple synths and basic drum machines, backing Joseph Donnelly’s hushed, introverted vocal musings, but it’s a world unto itself. And being drawn into that world is a breathtaking experience, and one that is far, far greater than the music alone.

The vocals are a soft wash that melt into the marshmallow instrumentation, meaning you focus more on the overall tone and atmosphere than the words themselves – words that according to the liner notes contain ‘a heart-felt personal confession of feeling hopeless and desperate.’ That’s certainly a relatable emotion, and, paired with the visuals, combines a certain tension and a sense of claustrophobia and entrapment with magnificent space and freedom.

The sensation is vague, the mood is intangible yet touching, and ultimately, elkyn has – again – delivered ‘something’ special.

Finding Aurora – The Last Call

Posted: 26 February 2021 in Singles and EPs
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19th February 2021

Thinking big is maybe the starting point for bands who want to go places. How many local bands have you seen or heard and thought ‘but these guys could, and should, be huge?’, and yet five years later they’re still plugging away at the pub up the road playing to maybe forty people. Yes, you need material and a decent show, but more than anything, progress takes drive – the drive to play further – and further – afield, and more often, to get some decent PR and do some marketing. Sadly, all the word of mouth in your hometown won’t lead to world dominance, even at a snail’s pace, however good your songs are.

This four-piece garage rock band from Newport, South Wales clearly have some motivation: starting as bedroom project in late 2017, they’ve won themselves a substantial fanbase on the Welsh circuit (playing their debut gig not in their hometown but in Pontypool, and working up to selling out 100+ capacity gigs in both Newport and Cardiff), and as a statement of their intent and ambition, they recorded their debut EP with Jeff Rose (Skindred and Dub War).

It’s ALL about the ENERGY with ‘Last Call’. The intro just powers in all guitars and guns blazing, positively popping and at a hundred miles an hour. The clean vocals keep it accessible to a wider audience, but it’s not a sanitised, cleansed, crisp and commercial cut: here, Finding Aurora prove it’s possible to do melodic and ballsy riffing at the same time. And what’s more they pack it into a tight three-minute burst. With a killer chorus backed by some big guitars, it’s pretty hard to fault, and you’d have to be deaf not to hear the mass potential here.

AA

Single artwork

SENSES – Drop Your Arms

Posted: 21 February 2021 in Singles and EPs
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12th February 2021

Christopher Nosnibor

Coventry quartet SENSES have had a stuttering journey to bring them here, with the release of ‘Drop Your Arms’ as a taster for their impending debit album – which has been a long time in coming. There is a classic tale of burgeoning progress being stalled and creativity stifled by label wranglings. Throw in a global pandemic and you’ve got the perfect recipe for a stalled career. It’s almost as if some labels are more concerned with contractual constrictions than the nurturing and promotion of creativity and new music.

But you can’t keep a good band down forever, and regrouping after a hiatus to embark in a multi-media project designed to take their music to the masses and to the next level, and ‘Drop Your Arms’ is the opening gambit that prefaces the debut album Little Pictures Without Sound.

Yes, it’s indie at heat, but it’s also so much more: it’s also big, bold and anthemic – and swings between the throbbing anthemic stylings of Doves with the darker post-punk currents of early Editors (whose producer Gavin Monaghan was involved in the early recording work) – I’m specifically thinking ‘Bullets’ here, particularly when it ratchets up around the mid-point. Then again, I’m equally reminded of The Psychedelic Furs’ debut album and their ‘wall of noise’ that really hit hard.

There’s a darkness and a seriousness about ‘Drop Your Arms’, a track that drives and bounces with an effervescence and energy that’s as infectious as it is undeniable. In short, it’s a cracking single, and if the rest of the album is half as good, it’ll be a corker.

AA

SENSES_Drop Your Arms_Single Artwork

to.do.list – Teetering

Posted: 16 February 2021 in Singles and EPs
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14th February 2021

Christopher Nosnibor

A Sunday is an unusual day to release a single but then, the ‘Teetering’ single release is can be considered a Valentine’s gift of sorts, from polyartist Carmina Budworth. It’s a love song, a song about falling in love, that point on the brink of uncertainty, the excitement and anticipation of something new, told vividly through hazy images of the kind of drunken night out with music and people that seem so very long ago. And as such, it’s not only a love song to an individual, a song about that moment, but can be taken as a love song to the time before everything stopped.

Recorded in between lockdowns back in June of last year, it’s a song of optimism, of new beginnings. It lands at a time when after what has been for many the longest, hardest winter, there is a growing sense of optimism for new shoots of life concurrent with the coming of spring, and ‘Teetering’ conveys that spirit of optimism tempered by trepidation.

There’s a timelessly old-fashioned or vintage feel to the song that goes beyond the traditional Argentinean tango and 60s pop vibe that’s laced with soul, and it stands in contrast with the swelling drum machine beats that eventually grow to lead the backing and propel the song to a blossoming flourish of a finish that’s entirely contemporary.

Carmina has a distinctive and unusual vocal style, which is at once soft and strong, delicate and powerful. That’s not to mention her impressive range, that spans a ponderous whisper to sky-soaring freedom, and it’s enthralling. Carmina carries the listener on a wave that builds and lifts and stops before the drop. It’s a wonderful experience.

The ‘Malica Surprise’ mix pins down a smooth electropop groove with a crisp, solid beat and bulbous bass that brings new dimensions to a song that’s already multi-dimensional, making this quite a package.

AA

Artwork

Arcade Fortress – Sabotage

Posted: 12 February 2021 in Singles and EPs
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19th February 2021

Christopher Nosnibor

After a few months out, Richard Fox (lead guitar, bass guitar, keys, producer) and Gavin Connolly (vocals, rhythm guitar, piano), aka Arcade Fortress return with the first taster for a new album in the form of ‘Sabotage’ – their first new material since the album Create More than You Destroy last September.

The first point of note is that this most definitely isn’t a cover of the Beastie Boys’ hit. This is a good thing, because you shouldn’t mess with perfection, and should always instead strive to create your own.

‘Sabotage’ is all about self-sabotage and self-doubt: the first verse is littered with images of war and combat, from naval battles to machine gun fire, before bringing things in closer to home, presenting an inner turmoil that melds domestic abuse with a n altogether more Fight Club themed feel, where all the torment and self-loathing coalesces into a harsh-inward facing nihilism and self-loathing:

‘In an abusive relationship with myself / It’s surprisingly hard to remove / This knife from my back / Stuck in my spine because of / My own frenzied attack’, sings Gavin over a sonic backdrop that builds nicely from a sparse picked guitar jangle to a fully-realised anthemic beast of a tune.

There’s nothing particularly fancy about it: it’s not innovative or unusual, but it’s a big tune with a big feel. There is simply no substitute for a killer chorus and a strong hook, and that’s precisely what Arcade Fortress bring here.

AA

Sabotage artwork

Ghlow – Not Fit for This

Posted: 2 February 2021 in Singles and EPs
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PNKSLM Recordings – 2nd February 2021

Christopher Nosnibor

It seems like a long, long time ag now, when I’d listen to the top 40 singles chart on a Sunday evening and be enticed to buy an album on the strength of a single. I didn’t even realise it at the time, as a pre-teen, that this was exactly the point: singles sell albums, and in some respects are as much a promo tool as a video or a TV performance or an instore signing. Time was, of course, that album sales made money, or at least made the biggest dents in recouping advances, although a hit single was always, and remains, the route to royalties.

Despite the devaluation of both the album format and the single trailer in the digital age, the practise persists and sometimes is actually pays off, because you’ll hit on a single release that completely poleaxes you with its brilliance – a song that will grab you instantly and compel you to rush out and buy the album or otherwise leave you on the very edge of your seat for its release.

‘Not Fit For This’ is that single – released ahead of Ghlow’s debut album, ‘Slash and Burn’, due out in April – is a sharp, stabby new-wave attack that comes on full-throttle and packs some real adrenaline in its scratchy squall of trebly guitars that blister and buzz all over a drum machine that palpates frantically as it tries to make itself heard and keep up with the explosive sonic blast. It’s got that early 80s vibe absolutely down, and it’s not just about the songwriting, performance, or the hazy production that positively oozes that dank basement 8-track vibe – it’s about the attitude and the intangibles, too.

Emille de Blanche has all the dark energy of Siouxsie Soux, and she brings all the serrated edges in this gothy tour-de-force, and everything coalesces into a distillation of tension-filled gloom that’s pretty damn special.

AA

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Beauty in Chaos – The Delicate Balance of All Things (Rapid Reiteration Mix’ ft. Cinthya Hussey)

Posted: 29 January 2021 in Singles and EPs
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33.3 Music Collective – 27th January 2021

Christopher Nosnibor

Beauty in Chaos’ ever-shifting lineup sees more evolution for the fourth single of their latest album, Out of Chaos Comes… a set of remixes with even more guest artists contributing. Originally featured on The Storm Before the Calm in summer of 2020, the track, composed by Michael Ciravolo – who’s credited not as the core member but the curator of the Beauty in Chaos project – with The Mission’s Wayne Hussey.

The story goes that ‘Along with BIC producer Michael Rozon, Ciravolo set out to strip down the ominous tone of the original especially for this remix release. After hearing Wayne’s wife Cinthya’s rendition of The Smith’s ‘Everyday Is Like Sunday’, the idea emerged for her to sing this new version along with Wayne’. This is actually one of three versions of the song which feature on the album, and it very much does date the dark, brooding vibe out and replace it with something altogether more smoky and sultry.

And so we have six minutes of sedate – and sedated – seduction, stripped back and slowly blossoming into a melodic chorus. The accompanying video highlights the low-level lighting mod it evokes, and finds Mr and Mrs Hussey showing off some quality rugs as well as some nicely contrasting outfits.

Quippy comments aside, this is a subtle explorations of contrasts which also tips a nod to the lyrics, and very much highlights the light and dark and shadowy hues evoked by the song. Rendered as more of a pop ballad by the remixing, the chaos is very much calmed to emphasise the beauty, and it works well.

AA

Beauty in Chaos feat. Cinthya Hussey (single cover)

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