Posts Tagged ‘UK’

Crease is the debut full-length album of deconstructed electroacoustic postpunk songcraft by Montréal guitarist and producer Kee Avil, whose touchstones range from Scott Walker and Coil to Fiona Apple; (early) PJ Harvey and (later) Juana Molina to Eartheater, Pan Daijing and Smerz—or like Grouper produced by Matmos.

Chiselled twitchy minimalist guitar, sinuous electronics, industrial and prepared-instrument micro-samples, furtive rhythmic propulsion, all galvanised by the anxious intimacy of finely wrought lyricism/vocals: Crease is one of those debut records that excites a wide range of peerless references precisely because it’s so compelling and convincing in its own idiosyncratic originality, vision, detail and execution.

Ahead of some extensive touring, Kee Avil has unveiled a video for album track ‘Drying’. Watch it here:

20.05 Vigo ES Radar Estudios

21.05 Lugo ES Liberdades Sonoras

24.05 Leeds UK The Brudenell*  

25.05 Glasgow UK The Hugs and Pint*

26.05 Nantes FR Whine Nat White Heat

27.05 Dublin IE Pepper Canister Church*

29.05 Manchester UK The White Hotel*

30.05 London UK Oslo*

31.05 London UK Oslo*

01.06 Vienna AT Replugged

02.06 Prague CZ Underdogs

03.06 Brussels BE  Les Ateliers Claus**

04.06 Antwerp BE wunderkammer x de studio 
*with Suuns
**with Horse Lords

~

Canada / Spring
10.06 Toronto ON TONE

11.06 Ottawa ON Pique Summer Edition

17.06 Montreal QC Suoni Per Il Popolo – official Crease release show

25.06 Vancouver BC Vancouver International Jazz Festival

~

Europe Summer / Fall
10.08 Berlin GE A l’Arme

13.11 Utrecht NL Le Guess Who?

And more to be announced.

2619df4e-9efd-81dc-5ba4-9665a4611309

Southern Lord – 23rd April 2022

Christopher Nosnibor

Covering multiple works in a single review feels like a major short-changing exercise, and I feel I should apologise to the artists involved in advance. It kind of depersonalises and maybe even cheapens the coverage, and I remember how I felt when the book version of my PhD thesis finally received a review, only to find that it was in an article alongside three other books. It may have been a paragraph of praise, but nevertheless, it was a solitary paragraph in a long article. Nine years of work, 90,000 words and 300 printed pages given a one-paragraph thumbs up… meh. But still, better than a thumbs-down or no paragraph.

A decade on, it’s still not settled with me, and I always try to do better. But sometimes, bundling makes sense and feels justified and this is one of those times.

Having spent many a virtual column inch in recent years bemoaning how Record Store day has made a deep descent from being an event that served to raise awareness of independent record shops to another cash-in for major labels cranking out shitty reissues on limited colour vinyl to wring yet more funds from completists while at the same time driving some of the most shameful scalping activity anywhere on line, it’s a relief to find something positive about RSD 2022.

That something comes of course from an independent label in the form of Southern Lord, who, as a sidenote, had commendably stuck to producing outstanding vinyl releases regardless of trends, fashions, popularity, or Record Store Day, and, admirably have continued to release whatever the hell they please, with a catalogue that’s an equal balance of cult hardcore punk re-releases and cutting-edge works of crushing weight that perpetually push the parameters of metal, with recent releases from Neon Christ and Big | Brave highlighting the polarities of the label’s interests.

This pair of RSD releases exemplify this span to perfection, and while admittedly one is a reissue, the other very much is not – and as such, they represent the label’s standard release scheduling. As the press releases outline, ‘The Catatonics were one of NYC and Syracuse’s pioneering hardcore punk bands…While the band’s seminal Hunted Down EP has remained one of the most highly sought-after releases of the genre, the heightening collector’s price made this 7” inaccessible to most people. Southern Lord has now elected to re-release this EP as a 12”, with bonus tracks.” And, meanwhile, Forest Nocturne is ‘the first full length solo venture of Greg Anderson, under the moniker of The Lord. Inspired by the great horror film composers of the 70s and 80s, Anderson turns his back on the riff worship of Goatsnake or SUNN O))) and instead creates a truly unsettling atmosphere heavy with tension, offset by 90s Scandinavian death metal’.

The Catatonics release certainly gives value for money: the original 1984 7” released on Anorexic Nympho Records featured five tracks: this reissue features a whopping eighteen. Following the bonus intro cut if ‘Descending in E’, the original EP accounts for tracks two to six, while the rest is an almost exhaustive gathering of compilation tracks, early demos and live recordings, all remastered from original tapes. Only two of the eighteen songs run beyond three minutes, with most clocking in under two, and this is rough and ready, ball-busting full-throttle, relentless fury, nonstop-pounding hardcore at its rawest and most furious, and the live cuts are particularly raw and brutal, making this a unique and comprehensive document of another underground band’s short but high-impact career.

LORD000_12inch Standard LP Jacket

The Lord’s debut is a very different proposition: it’s clearly contemporary for a start, although it’s steeped in vintage metal stylings, and driven by an understated and simple but gut-churning bass that digs tunnels beneath your ordinary lives. Forest Nocturne is an album that twists and turns, and more significantly, gnaws like rodents, and like woodworm, at the smooth, flat planes of sonic normal. I say ‘normal’, as if that’s a thing – but The Lord conjure vast aural expanses, broad vistas that invite the listener to bask in the rich density, before tearing it to pieces.

A slow, swelling church organ droned doomily on ‘Church of Hermann’, a piece which is truly awe-inspiring. This is an instrumental album that definitely marks a departure for Anderson and feels more like early Earth than Sunn O))). Then again, it’s doesn’t really sound or feel like either.

Thick swells of strings that build into brooding, megalithic waves, define the power of this instrumental work. ‘Forest Wake’ starts with the wail of a siren, and brings bulldozing bass and power chords wrapped in gut-punching clouds of distortion. Those clouds dissipate for a time, and the atmosphere looms large and heavy as things unfurl, but take a moment to breathe and there’s nothing to see here other than smoke and that absence… It grinds, and it absolutely fucking kills, going full Sunn O))) drone doom on ‘Old Growth’. Forest Nocturne is hard and harrowing, immense, epic, beautiful, and yet at the same time devastating. The last track, ‘Triumph of the Oak’ is a new shade of heavy, an angering mess of thrashing chords that crashes down so, so hard.

810538

Finally, thanks to Southern Lord, there are releases that are actually worth getting up and queuing for at the weekend.

BIG | BRAVE are pleased to announce European tour dates in April and May 2022 in support of their latest album, VITAL out now on Southern Lord.  Dates and details below.

On their fifth album VITAL, the core trio of Robin Wattie, Mathieu Ball and Tasy Hudson traverse minimalism and instinct, structure/freedom and meticulous timing, elements that have been the cornerstones of BIG | BRAVE’s precise, rhythmical sound. Lyrically the album explores the weight of race and gender, endurance and navigating other people’s behaviours, observation and protest. VITAL was recorded with Seth Manchester at Machines with Magnets.

BIG | BRAVE EUROPEAN TOUR DATES 2022

+ Fågelle

08/04/2022 FR Dunkerque Les 4 Ecluses
09/04/2022 UK Ramsgate Ramsgate Music Hall
10/04/2022 UK Sheffield Record Junkee
11/04/2022 UK Leeds Brudenell Social Club
12/04/2022 UK Newcastle The Cluny2
13/04/2022 UK Norwich Norwich Art Center
15/04/2022 UK Glasgow Broadcast
16/04/2022 UK Manchester The White Hotel
17/04/2022 UK Leicester The Soundhouse
18/04/2022 UK Bristol The Crofters Rights
19/04/2022 UK London Electrowerkz
20/04/2022 BE Antwerp Kavka
22/04/2022 GER Hamburg Hafenklang
24/04/2022 SWE Göteborg Showdown
26/04/2022 NO Oslo Blå
27/04/2022 DK Copenhagen Pumpehuset
28/04/2022 GER Bremen MS-Loretta
29/04/2022 GER Schorndorf Club Manufaktur
30/04/2022 AT Innsbruck pmk *
02/05/2022 AT Linz KAPU
03/05/2022 CZ Prague Bike Jesus
04/05/2022 PL Warsaw Hydrozagadka
05/05/2022 LI Vilnius XI20
06/05/2022 LV Riga Noass
07/05/2022 EST Tallinn Svetaa Baar
09/05/2022 PL Gdynia Desdemona Club
10/05/2022 GER Berlin Kantine Berghain
11/05/2022 GER Dortmund Junkyard
12/05/2022 FR Paris Petit Bain
13/05/2022 FR Pau La Ferronnerie
14/05/2022 ES Oviedo La Salvaje
16/05/2022 PT Lisboa ZDB
17/05/2022 PT Porto Hard Club
18/05/2022 ES Madrid Wurlitzer Ballroom
19/05/2022 ES Barcelona Sala Vol
20/05/2022 FR Toulouse Le Connexion Live
21/05/2022 FR Lyon Sonic
22/05/2022 CH Geneva Cave12
24/05/2022 FR Strasbourg La Maison Bleue
25/05/2022 CH Zürich Rote Fabrik
26/05/2022 FR Metz Young Team Festival 22 
27/05/2022 BE Ghent dunk!Festival
29/05/2022 RU Moscow Bumazhnaya Fabrika
30/05/2022 RU St. Petersburg Lastochka

* no Fågelle, plus Trialogos

BB

The album, Seaside Donkeys, may have had its release postponed and live launch rescheduled, but lockdown isn’t going to stop Yorkshire post-punk powerhouse Percy from getting their musics to the masses.

‘Will of the People’ encapsulates everything that is Percy in a fraction over three minutes: ramshackle, Fall-esque rattling guitars, a thumping rhythm section, needling synths and sneering sprechgesang vocals with a flat tone and overtly Northern inflection spitting fury at the stupidity of thee masses over Brexit. A band like Percy could only ever come from the north of England. Fact.

It’s a blistering blast of disaffection, and it’s ace. Check it here: