Posts Tagged ‘Uniform & The Body’

Uniform & The Body’s monolithic collaboration, Everything That Dies Someday Comes Back, has been unleashed via Sacred Bones.  They’ve unveiled their new video ‘Day of Atonement’ via Consequence of Sound’s Heavy Consequence.

The video is a Super 8 film by artist Alexander Barton. He explains, “I wanted to make an abstraction of violence. The film’s character is in low resolution, a changing of disguises, an ambiguous identity, shadowed ideologies and masked by the skyline. The hooded figure is evasive to society. In this collection of images, he has prepared himself and represents the threat of the unknown.”

Comprised of an amalgam of abrasive influence that spans Swans-y dirge and purge, Whitehouse’s clenched-jaw noise, middle-period Ministry’s penchant for metallic post-industrial everything, New Order’s nose for melodic emotionality, and Juicy J-inspired beats, Uniform and The Body’s approach delves deeper down the rabbit hole than before, igniting a sonic world of terror and bliss poised to grip the throats of fans yet again.

Watch the video here:

AA

Uniform Live Dates continue…

08/19: San Diego, CA – Casbah *

08/20: Phoenix, AZ – Valley Bar *

08/22: San Antonio, TX – Paper Tiger *

08/23: Austin, TX – Barracuda *

08/24: Denton, TX – Rubber Gloves *

08/25: Houston, TX – White Oak Music Hall *

08/26: New Orleans, LA – Poor Boys

08/27: Birmingham, Alabama – The Firehouse

08/29: Tallahassee, FL – Wilbury

08/30: Tampa, FL – Orpheum *

08/31: Gainesville, FL – High Dive *

09/01: Atlanta, GA – Masquerade *

09/03: Nashville, TN – Exit/In*

09/04: Asheville, NC – The Orange Peel *

09/06: Baltimore, MD – Joe Squared

09/07: Washington, DC – Black Cat *

09/08: Jersey City, NJ – White Eagle Hall*

09/10: Brooklyn, NY – Elsewhere *

09/11: Boston, MA – Paradise Rock Club *

09/12: Portland, ME – Port City Music Hall *

09/14: Toronto, ON – Lee’s Palace *

09/15: Grand Rapids, MI – Pyramid Scheme*

09/17: Chicago, IL – Lincoln Hall *

09/18: St. Louis, MO – Delmar Hall *

09/20: Denver, CO – Marquis Theater *

09/21: Salt Lake City, UT – Metro Music Hall*

09/23 Seattle, WA – Neumos *

09/24: Portland, OR – Doug Fir Lounge *

09/26: San Francisco, CA – Great American Music Hall *

09/27: San Jose, CA – The Ritz *

09/28: Camarillo, CA – Rock City *

09/29: Los Angeles, CA – Echoplex *

* w/ Boris

The Body Live Dates continue…

06/09: Denver, CO – Denver Hex at Lost Lake Lounge

07/09: Kansas City, MO – The Riot Room

13/09: Providence, RI – Columbus Theatre ^

14/09: Hudson, NY – Basilica Soundscape ^

15/09: Brooklyn, NY – The Bell House ^

^ w/ Assembly of Light

Sacred Bones – 16th August 2019

Christopher Nosnibor

I’ve barely recovered from Uniform’s last punishing album and the gut-punching spectacle of hearing it played live when they land a second collaboration with The Body, only a year on from their first, the punishing noise-fest that was Mental Wounds Not Healing. An album that roughly ravaged and picked deep into the scabs and scars, it was everything you’d expect from two of the most uncompromising acts around right now.

NY purveyors of sonic violence Uniform carve their own trench of frenzied fury, and if they lack variety, where they excel is in their capacity to relentlessly attack, spitting and spewing their raging antagonism and venomous vitriol, while experimental noise duo The Body have largely forged a career from adding layers of abrasion to myriad collaborations – and this one is no exception.

The press release provides a fair summary of the kind of noise contained on Everything That Dies Someday Comes Back: ‘Comprised of an amalgam of abrasive influence that spans Swans-y dirge and purge, Whitehouse’s clenched-jaw noise, middle-period Ministry’s penchant for metallic post-industrial everything, New Order’s nose for melodic emotionality, and Juicy J-inspired beats.’ It’s all in there, and none of it’s pleasant, although somewhat ironically, when pressed against the full-tilt ferocity of Uniform, The Body serve more as a counterbalance, as if the two have a certain cancelling effect on one another’s most extreme aspects. The result, then, isn’t intensified – it simply wouldn’t be possible – but mangled and mutated into a different distillation of the component parts.

‘Gallows in Heaven’ is perhaps a misleading opener, stylistically, sonically, and in terms of mood, in that it’s goth to the core, a deep, surging three-chord bass sequence and thunderous mechanoid drumming at its core. With a wonky, fractal guitar line weaving over the top, it’s a vintage slice of post-punk – only there’s feedback and extraneous noise all over and backed off in the distance, Michael Berdan’s vocals, eternally petulant, the epitome of fucked off with everything.

If ‘Not Good Enough’ sounds a bit like standard Uniform but with additional electronic noise thrown over the top of it, the thumping disco groove that underpins ‘Vacancy’, which shudders, shimmers, and howls, is another kind of proposition altogether. A snarling electronic bass booms in along with a jittery sequenced synth rhythm, and this is something that’s got ‘80s dancefloor’ all over it – or would have were it not for the mess of noise all over it.

‘Patron Saint of Regret’ is little more than a mess of noise at first, evolving into some kind of fucked-up post-Wu-Tang trip-hop crossover that miraculously works, while ‘Penance’ takes the hybridisation a step further, a collision of thumping industrial beats and lumbering synth chords, with tinkling 80s synths worthy of mid 80s Cure or A Flock of Seagulls and impenetrable shrieking vocals by way of an interlude from the grating keyboard drone.

The stripped back ‘All This Bleeding’ brings the industrial clank of NIN and gentle cascading synth melody –paired with the raging rants – of Prurient together to forge something both anguished and atmospheric. Twanging guitars echo around punishing percussion and create an unexpected spaciousness amidst the claustrophobic intensity. The electronic inches to the fore, culminating in the sample-soaked ‘Day of Atonement’, which consists of little more than a droning synth bass over spiky drumming and Berdan’s distorted vocal amidst a howl of excruciating extraneous noise.

Instead of softening the relentless blows, the graded transition toward the album’s final cut only accentuates the unforgiving nature of the material: the churning maelstrom of dark ambience of ‘Waiting for the End of the World’ is the sound of the apocalypse as a jaunty tune plays in the background and ‘Contempt’ grinds into the desolation of nihilistic blackness.

This feels like the collapse of it all, the degradation of society, represented in sonic form. It sounds like the cover looks. Everything That Dies Someday Comes Back is nothing short of devastating.

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Uniform and The Body

Sacred Bones – 8th June 2018

I’m accustomed to feeling tense and anxietised. It’s more or less my default setting. The insomnia. The 4am sweats, the nocturnal panic attacks that feel like asphyxiation. There are peaks and troughs, of course, although I often find that immersing myself in music that probably ought to add to my unsettlement has something of a neutralising effect. After a few wavering weeks, during which I discovered that Naproxen isn’t the painkiller for me right now, experiencing shortness of breath, accelerated heartbeat and heightened anxiety being the most pronounced of the side-effects. None of this was especially conducive to writing, and even listening to music was proving to be less enjoyable than usual. The prospect of facing my inbox was more than I could reasonably bare most days. A week after my last dose, I’m feeling the calmest and most overtly ‘normal’ I’ve felt in a fair while. If this is perhaps excessive disclosure, it’s a question of context. However objectively I want to operate as a reviewer, listening to music as a ‘job’ inevitably entails an element of the personal. There’s simply no escaping this. Any response to art necessarily involves a subconscious and emotional element. A critic is a person, not a machine: we don’t critique and opine with algorithms.

Sifting through the scores of emails, I’m cheered to find a fair few releases to get excited about. Where to start? Well, this seems like a reasonable opener…

That Uniform and The Body should come together – or perhaps collide, screaming head-on into one another – is a logical, if terrifying idea. It’s pitched as ‘a collaboration that pushes both bands far beyond their roots in industrial music and metal – creating an immersive listening experience that truly transcends genre’. And I suppose it does. The Body have long pushed far beyond the confines of metal, and have forged a career that thrives on collaboration – or, put another way, a career that extracts new levels of nastiness by channelling carnage through other acts.

It’s a messy, murky sonic miasma that seeps from the speakers: a cacophony of impenetrable shrieking – like some mass acid-bath or people trapped in a burning room as the flames seer their flesh – tears through a thick aural sludge that’s heavy on bass and light on production polish.

A nervous drum machine pumps frantically, as though in the throes of a panic attack, beneath a mess of noise on ‘The Curse of Eternal Life’. The vocals are distorted, dalek-like, and there’s more screaming in the background, and with everything buzzing and whirring away, it’s impossible to know what the fuck’s going on, let alone if there’s any kind of attempt at a tune in there. It’s like listening to the Dr Mix and the Remix album played on a shit stereo through next door’s wall.

There are crushing guitar chords and crashing beats on the slow grind of ‘Come and See’, evoking the essence of early Swans or Godflesh, but with Michael Berdan’s sneering vocal style, there’s an overtly punk aspect to the pulverizing industrial trudge. It may be one of the most structured compositions on the album – in that there are actual chord sequences audible through the sonic smog – but it’s still hard going. But then, it’s no accident: neither act is renowned for its accessibility or ease of listening. And when two acts as uncompromising as Uniform and The Body meet, and there’s still no compromise, then the sum is instantly an exponential amplification of uncompromising. It was always going to hurt: it was simply a question of how much. And it’s nothing short of punishing.

When they do turn things down a bit, back off the guitars, and tweak musical motifs from the electronic setup instead of extraneous noise, there are hints of melody – and even grace – these emerge through the fog on ‘In My Skin’, and in context, it’s almost soothing. In any other context, though, maybe not so much. It’s like saying that Prurient are soothing in comparison to Whitehouse.

Mental Wounds Not Healing is – to use a term all too often tossed about in reference to anything a bit raw or intense – visceral. Listening to the album, I realise I’m grinding my teeth, chewing my lip and gnawing at the inside of my check. I’m clenching my jaw, tightly. My shoulders are hunched. Mental Wounds Not Healing isn’t just intense: it makes me feel tense. The density and lack of separation makes for a sound where everything congeals into an oppressive morass. The production – such as it is – only emphasises the claustrophobic sensation; being unable to distinguish one sound from another elicits a broiling frustration, and a certain paranoia, as you wonder if maybe there’s something wrong with the speakers or your hearing. It’s not pleasant, and the seven songs – none of which run past the five-minute mark – make for an endurance test. And yet for all that, it’s a powerful experience. It’s no wonder the wounds aren’t healing: this is the soundtrack to scratching and scraping at the scabs, picking away until the blood seeps once more. Insofar as any psychological damage foes, this isn’t going to help, but it’s fair reflection of various tortured states.

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