Archives by month/year

Krautzone – The Complete Works


Krautzone - The Complete WorksKrautzone have to be one of my favourite new bands of the last couple of years. Not only are the covers of the albums (by Komet Lulu) so beautifully designed, but the music is powerful, hypnotic, trance-like and just plain out there. Here, we are treated over two CDs to the complete recorded works of the band, plus one never-before released bonus track that gives you enough stoned out vibes for you to go searching the astral plane for a whole evening. All of these releases have been on very limited vinyl editions, so this is a good way to get everything for a fraction of the price the LPs now command.

My review of the first CD Kosmische Rituale can be found elsewhere, so its best you probably

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JK Flesh – Nothing Is Free EP


JK Flesh - Nothing Is Free EPAt first listen, Justin Broadrick‘s latest outburst of noisemongering — here incarnate as JK Flesh in industrial electronic style — might just be a assumed to be a bit too content to stick to the tried and tested formula of harsh beats, dubby echo effects and the sound of a machine drum stomping on the human corpus forever (or at least for around an hour or so).

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Thighpaulsandra – The Golden Communion

Editions Mego

Thighpaulsandra - The Golden CommunionIf one artist could embody epic, Thighpaulsandra would try to top it. Rumour has it his first solo record was so big he had to spread it across two releases and one of those was a double’s worth. Musically well travelled and mustering a mind-boggling proficiency of styles, he happily hopscotches from classical to avant electronic, proggy free jazz to full-on kraut and a whole of betweens, and he’s even personally responsible for the most catchy songs I’ve ever heard from a bastion of the experimental.

All his albums to date have been odd(ysseys), this one included, genre-jumping journeys into a sweet unknown. I’ve loved his solo stuff ever since I grabbed his Some Head EP at Coil‘s Persistence Is All gig,

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Cozmik Onion Express 2.91414 / Sculpture / Yuki Tsujii (live at New River Studios)

London 16 September 2015

Out on the margins of London’s more fashionable postcodes, things are brewing and ticking over quietly to themselves once again. One such night of music and more takes place in the calmer reaches of Manor House in the unhurried Bohemian environs of New River Studios’ performance space, filled for the evening with Reuben Sutherland‘s engrossing video projections. As the audience begins to trickle in, Reuben blends and stirs his various liquids into a suitably cloudlike backdrop, providing suitable echo to the deluge of autumnal rain which passed through the city earlier in the day, soaking and saturating everything in its path.

Yuki Tsuji at New River StudiosYuki Tsujii opens his solo performance with meandering guitar as recursive as the bends of the swollen New

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OZmotic and Fennesz – AirEffect

S Object/Folk Wisdom

OZmotic and Fennesz – AirEffectInspired by Chris Marker’s fragmentary post-apocalyptic time travel film La Jetée and purporting to involve a mysterious black box dating from the Anthropocene era, AirEffect seems at once an imaginary soundtrack and the illusory object of its own investigations.

Stanislao Lesnoj‘s haunting saxophone circles SmZ‘s shuffling drums and other percussion while Christian Fennesz‘s guitar and electronics scrape and shimmer. All the time a plethora of broken, cut and pasted voices and environmental sounds ebb and flicker across the soundscape, their processed jitters and occasionally eerie whispers creeping and crawling into the listener’s perceptions in a dreamlike nagging at the unfamiliar.

The dynamics that the trio deploy are often highly effective and immersively engaging. Like tuning into overlapped, glitching

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Arrow Films

Zardoz blurayIf you were to look for a definition of the term “cult movie”, you might find the huge stone face of Zardoz staring back at you from the page, bellowing “the gun is good, the penis is bad”. Because it is for this and dozens of other images of batshit unheimlich that Zardoz has earned its cult status.

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Lloyd Cole – 1D Electronics 2012-2014

Bureau B

Lloyd Cole - 1DA companion to the album he and Hans-Joachim Roedelius recorded together, released as Selective Studies Volume One in 2013, 1D takes sketches and solo parts that Lloyd Cole created as part of the process, but that were ultimately unused for the record as a duo. Composed entirely using a modular synthesizer, and instrument that Cole was learning to use as he went along, the eleven tracks here sound satisfyingly complete, even given the knowledge that much of the music was intended for Roedelius’ parts to be overdubbed later.

Glassy chirps and tinkling sequences are largely the order of the day, Cole tweaking and adjusting the generative music, often more in the fashion of an arranger than a composer, as is

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The Men That Will Not Be Blamed For Nothing / Brian Damage and Crystal (live at The Barfly) / Not Your Typical Victorians

London 10 September 2015

Sold out, The Barfly is pretty rammed tonight with the by-now-traditional rabble of goths, rockers and punks both steam and… erm… the other kind. For tonight is the launch of The Men That Will Not Be Blamed For Nothing‘s third and latest album, Not Your Typical Victorians.

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Gum Takes Tooth – Silent Cenotaph


Gum Takes Tooth - Silent CenotaphThe live-wire pairing of drummer Thomas Fuglesang and electronic sound-mangler Jussi Brightmore have come on leaps and bounds, deservedly gathering admirers as they have done so, since their debut album, Silent Cenotaph. First released in 2011 , it’s now finally been blessed with a Tigertrap vinyl edition, wrapped up in as suitably bizarre a gatefold cover as its music deserves and Brightmore could devise.

The duo push the envelope of drums’n’FX-centred outfits with a heavy electronic bent, as exemplified by the distended visceral jolts of Lightning Bolt, the Moog-infested lurching thrills of Temperatures or the more trance-oriented Zombie Zombie. With tendrils which flow back to such luminaries as I’m Being Good and Blood Stereo, and their own joint genesis in

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Morphogenesis / Colin Potter and Jonathan Coleclough (live at Café Oto)

London 10 September 2015

Café Oto, a place that seems to be shorthand for Bobos to some people. However, tonight there were far more middle-aged music nerds than craft-ale and pulled pork enthusiasts (as there seems to be every time I’m at the venue, yet it has this reputation as being wall to wall, errr, the ‘H’ word).

First up was a duo featuring the mighty Colin Potter. Potter sat centre stage in front of an array of hardware (mixing desk, pedals, et al), whilst his accomplice Jonathan Coleclough activated various boxes taped to the walls etc throughout. At the start Potter stated that “anything could happen”, turning the mind toward catastrophe. Luckily, the man at the controls had control of the situation and we were treated to Colin’s tactile, vivid sound (his contribution to the Nurse With Wound‘s sound is undeniable).

Once underway, an icy metallic drone rose from

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Carter Tutti Void – f(x)


Carter Tutti Void - f(x)That foetal thump propelling this is cavernous; and at high volume it’s huge. Dynamically churning up the digital silt as collapsing structures fall through in cacophonies of brokenness, shadowy vectors that smoulder in the arch of pulsing ambiguity. Yep, my favourite trio Carter Tutti Void are back with more post-industrial mutations to be savoured.

The splintered majesty that started with Transverse (and I still can’t believe that was a live recording) has been given a studio makeover, transposing its predecessor’s pristine sheen with a f(x) glaucoma that dirties things up a touch. A darkened stage that lets those vivid (and vivid they are) splashes really shine, captures the slow disintegration of form beautifully — a perpetual collision and explosive gristle that banquets on its own mirage(ing) momentums.


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The Cosmic Dead / Snapped Ankles (live at Baba Yaga’s Hut)

The Cosmic Dead September 2015

The Lexington, London 9 September 2015

There is something about Wednesdays, something odd that doesn’t quite fit right. Wednesday is the square peg in the round hole. It seems to bring out a strangeness in the universe, as if all those planets and solar systems and galaxies out there somehow know that that it’s Wednesday.

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The Cesarians – Pure White Speed

Not Your Average Type /Genepool

The Cesarians - Pure White SpeedThe Cesarians are back, which is great news for all lovers of the dark and depraved, as well as punks and lovers of stuff that rocks hard who have become bored with endless guitar solos. Although they’ve long since broken their own self-imposed “no guitars” rule, that hasn’t stopped them continuing to resolutely plough their own brass-driven furrow to the end of the field where all the bad shit happens.

Their long-awaited new album is a two-part epic, and right from the moment you see the title Pure White Speed you know they’re not fucking around. And just like ACTUAL amphetamine abuse, PWS is the source of a veritable smorgasbord of exhilaration, paranoia, bliss, soul-searching, sleepless nights, bad

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Lucifer / Galley Beggar / Saturn (live at The Borderline)

Saturn live at The BorderlineLondon 3 September 2015

I cling unto the burning Æthyr like Lucifer that fell through the Abyss, and by the fury of his flight kindled the air.

Aleister Crowley

It had been raining for days. Every morning for the last week I awoke to the sound of water beating against the window. All it needed was the tolling of an iron bell and the first massive chord of “Black Sabbath” to make the mood complete. The night before the show a lightning bolt had struck my house. I was beginning to wonder what kind of omens these were and what they portending for Lucifer’s first show on UK soil.

First up is another band making their UK debut called Saturn.

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Nurse With Wound and Blind Cave Salamander – Cabbalism I, II & III

ICR / United Dairies

Nurse With Wound & Blind Cave Salamander ‎– Cabbalism I, II & IIILoving the way this triptych holds you sensory hostage. One of Nurse With Wound‘s most mellowest outings to date too, documenting three separate live concerts between 2011 and 2012 with the Blind Cave Salamander — a onetime support act that Steve Stapleton invited to be absorbed into the NWW sound world.

On paper this was meant to be a live rendition of Soliloquy for Lilith, a premise that (I feel) on listening quickly dissolves into something else entirely. There’s an underlying taste of the serpent within, that glowing magnetism/otherworldliness of the original still persists, but this feels piloted towards a future sense of itself.

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