Archives by month/year

Z‘ev – Face The Wound

Label: Soleimoon Format: CD

Face The Wound - sleeve detailFace The Wound is a Sprache Opera, a dialogue between the male and female voices. Known for working with found sounds, Z’ev assembled the narrative of Face The Wound from 30 cassettes collected from thrift shops, garage sales, and flea markets. The rhythms of the voices mix with the rhythms of electronic percussion and electronic textures. The journey through Z’ev’s assembled narrative isn’t an easy one, I’d go as far as saying it’s apocalyptic. Scene three deals with incest. “1 + 1 = kill your parents” and laughter punctuate the ever shifting and unsettling voices. Religion is never far away. One of the sources Z’ev worked with is recordings of media evangelists. References to the end times appear again and again. Face The Wound is dark, but there’s also an uneasy catharsis.

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Ozric Tentacles – Pyramidion

Label: Stretchy Format: CD

Ozric Tentacles - PyramidionLike Hawkwind before them, the Ozrics have stuck to their groove with determined, singled-minded commitment to spacey reggae bass and soaring, intricate guitar line. Rushy, twiddly synths, flute twirls and all the expected head, ears and what’s left of the brain in the sky moments ride over faux-Arabic percussion and nifty keyboard throbs. It’s all very lysergic, and as they’ve been at it for 17 years now (is it really that long? How time flies when the bonghits keep coming…) there is nothing left to chance for the preparation of an Egyptianate UFO trip to the stars on Pyramidion, Techno influences included.

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Tony Hill’s Fiction/The Bohmans/Blind Plastic (live at The Klinker)

The alien awaits its moment of stage glory (pics: Tango-Mango)

The Klinker The Sussex, London 20 September 2001

Well, The Klinker was its normal inchoate self: the irrepressible Hugh Metcalfe yelling “We start in ten minutes” as a half dozen apparently unrelated machine operators tinker with toy tape recorders, laptops, bits of wiring, large wineglasses, violin bows and Super 8 projectors. I concieve a momentary connexion between autism and the avant-garde – the unconnectedness, the lack of affect, it’s all here tonight at The Klinker.

Blind Plastic

Blind PlasticBut behind this buzz of overgrown childsplay there stand devices rarely seen at this venue: a full drum kit (without ethnicky extensions or innovative modifications), big Roland guitar amps, a Strat copy and a Westone bass. Tonight Tony Hill

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Matmos – California Rhinoplasty EP

Label: Matador Format: CDS,12″

California Rhinoplasty EP - sleeve Taking as its sample base the sounds of plastic surgery operations, “California Rhinoplasty” does precisely what the title describes; only funkily. Not for Matmos the obvious route of ambinece as the bones rasp and the noses are broken with a hammer. Instead, every sound becomes grist(le) to their sampler’s mill to make a groovy shuffle of sprightly plops, squeaks and chugging bass. Part of the fun comes from trying to discern the drills in the fizz of a high tone or the smack of suction in the rhythm; the most obvious sound is that of the bleeping heart monitors. Just for laughs, MC Schmidt plays a mean nose flute to accompanying the nasal reconstruction; jaunty whictlings lead into the jolly noise that cauteized muscle makes. Never mind the sample-spotting though; what counts is the

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Matmos – A Chance To Cut Is A Chance To Cure

Label: Matador Format: CD,LP

A Chance To Cut Is A Chance To Cure - sleeve In their latest album Matmos use the bone crunching noises of plastic surgery for their samples. So if you’ve had a nose job be warned, Matmos might have transformed the noise of your nose being broken into a snare. Well, here it is … A Chance To Cut Is A Chance To Cure is a collage of sound recorded in clinics and operating theatres. There are copious medical dramas and documentaries to lift samples from. But that’s too easy. Matmos actually went into the hospitals to get their sounds, after gaining the trust of the surgeons and patients.

You might also think that an album with kick drums sampled from breaking bones would be dark at least, hardcore Gabba in all probability. You couldn’t be more wrong. That’s

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Conflict (live at The Dome)

Tufnell Park Dome, London 2 September 2001

A history lesson… Everything you think you know is wrong. The last ten years never happened. Mrs. Thatcher’s still in power, The Dome‘s still standing (Tufnell Park that is… not the Big Tent), and Conflict are still gigging. We are ruled by a bunch of corporate whores who’d sell out their own party for some cash from Ronald McDonald.

Hang on a minute…

Okay, fuck the history. Apart from the Thatcher bit (although I always prefer to refer to her as Baroness Thatcher – it has more of the melodramatic villain about it. “Mrs” Thatcher always sounds like the sort of person you’d buy delicious home-baked sponge cake from at a village fete, rather than some Nazi bitch from Hell) we’re bang up to date. (OK, technically the last ten years DID happen, but… oh, fuck off).

And that’s why Conflict are here.

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