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Nadja – The Stone Is Not Hit By The Sun, Nor Carved With A Knife

Gizeh

Nadja - The Stone Is Not Hit By The Sun, Nor Carved With A KnifeThere’s a moment on The Stone Is Not Hit By The Sun, Nor Carved With A Knife, not long into “The Stone”, where Nadja hit their full metal mark, ramp up the drone-doom riffs hard and it becomes essential to reach for the volume knob in order to bring the levels up yet further.

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Nadja – Sv

Essence

Nadja - SvOriginally composed for two festivals in Berlin and taking its title from the SI unit of measurement of ionising radiation dosage in human tissue, Sv (or Sievert in full) is both immediately recognisable as Nadja and quite the departure for Aidan Baker and Leah Buckareff. While the duo’s love of all things droney and epically skyscraping is present and correct, so too is an incipient percussive trickle which ultimately rushes into a flood of bruising beats of an altogether more harsh kind than that for which they have largely been known in recent times.

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Nadja – Flipper/Caudal – Forever In Another World/Adoran – Adoran

Oaken Palace

Nadja - FlipperOaken Palace is a different kind of a label, as for a start it’s a charity, and all profits from each of its vinyl-only releases go to an environmental cause of the artist’s choice. Since Nadja have decided to support Whale and Dolphin Conservation with their album, it only seems right and proper that the LP should be titled Flipper.

“Drown” is a melancholic reflection, entering at a slower than Low pace, Leah Buckareff‘s bass plumbing suitable depths while Aidan Baker‘s hushed words are softly, semi-distinctly intoned in multiple layers of mourning for – or from? – a watery grave, one which blossoms into minor-key flowering as the guest strings of Peter Broderick‘s violin and Angela Chan‘s viola join a cleansing wash

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Nadja – Excision

Important

Most bands when releasing a collection of otherwise placeless split vinyl album tracks and remixes end up with a selection of shorter pieces compiled into what often ends up as some sort of a grab-bag of odds and ends. Not so with Nadja, who fit just four tracks on each CD of this two-disc set of recordings from 2007-08, and who also manage to make a coherent whole in the process, if perhaps in part through long-form osmosis – but what a way to trickle down…

“Jornada del Muerto” and “Perichoresis,” which open disc 1, come from a pair of split LPs which also featured solo tracks from Leah Buckareff and Aidan Baker. Here together their summed bass, guitar and drums (synthetic or otherwise) lay out the

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Nadja/Kodiak – (split album)

Denovali

Available on both heavyweight vinyl as a proper double-sided split LP and the more prosaic, though no less lovingly-packaged CD edition, this record serves partly as yet another waypoint on Nadja‘s seemingly unstoppable mission to collaborate with every possible combination of drone/doom-mongers across the known and occasionally unknown world.

It also contains Kodiak‘s “MCCCXLIX The Rising End,” a piece which starts off in a slow accretion of guitar-bridge feedback and cymbal-bowed disharmonies, before the rising swell of harmonics explodes into a slow doom-laden grind worthy of Corrupted. The clang of guitars is drowned comprehensively in effect-pedal sussurus, smothering and intense, the drums providing a intermittent markers on the way to riffs of such sporadic heaviness that would make Earth proud before a time-stealing descent into isolated piano strokes

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ThisQuietArmy/Aun/Nadja (live)

ThisQuietArmy+Aun+Nadja

ThisQuietArmy+Aun+Nadja

Casa Del Popolo, Montréal 16 September 2009

Another Alien8 extravaganza at Casa Del Popolo in Montréal: guaranteed visceral jiggling with nice folks who make confrontational music.

A panda bear stands behind a flower-strewn hill, arms aloft, beseeching a soldier. Rainbow beams explode from the bear’s mouth through the soldier’s torso. The contradictory poster for this Alien8 happening may have the candy-coloured hue of yesteryear’s psychedelia, but don’t expect a paisley love-in: inside the Casa, the music is heavier than a death in the family.

ThisQuietArmy (Eric Quach) combined my favourite sonic ingredients – loud, rumbling bass, heavy psychedelia and almost uncomfortably high-pitched sounds to wash over you. Architectural visuals matched the motion, adding to dreamy cinematic experience the sound suggests. Just as the drone meditation came to climax

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Nadja (live at Bardens Boudoir)

NadjaNadja Bardens, London 22 March 2009

Nadja

Having missed Nadja in 2008 I was on a mission to get to Bardens in Dalston. Despite the whole of East London being inexplicably gridlocked this particular Sunday evening, I wasn’t going to miss Nadja a second time. Fighting my way through the traffic was worth it, Nadja were awesome.

Standing either side of a table of effects pedals, Aidan Baker and Leah Buckareff laid down a serious wall of drone, a perfect buzzing fusion of doom and shoegaze. Nadja began fairly quietly and throughout the performance Nadjagradually became louder until they had reached

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Nadja – Skin Turns to Glass

The End

Skin Turns to Glass is epic stuff, I love it. Huge shoegazer doom from Toronto-based duo Nadja, who began as a solo project of Aidan Baker. In 2005 Leah Buckareff joined him allowing them to leave the studio and go live, though this album was originally released in 2003 in a slightly different version with Buckareff on bass and vocals. Between them they make a sound that could conquer the world.

Imagine My Bloody Valentine or Jesu, but much much slower. Big wailing riffs crawl along at snail pace like early Earth. Nadja are as slow as Sunn O))) but they are far dirtier sounding, rather than deep and booming. They don’t really have the doom sound that evolved from Black Sabbath via black metal and stoner rock. Nadja have the shoegazer lover of noise for the sake of noise

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