Two tracks; fifteen minutes of fearsome post-hardcore grunt, groan, riff and thrash from Eleanora splashes out of the speakers as if the very devil was grinding out the best tunes behind them, goading the band into producing yet more screamed crescendos.
Tight as the screws which surely must be holding down the drummer’s kit in case it should get beaten off the stage, “Mammon” shifts gears and swerves with the erratic control of a rally driver careering headlong into an ice-storm while their co-pilot yells out a constant stream of incoherent rage at the all-encompassing elements rather than anything resembling useful directions.
“Amenable” starts off in just that fashion, a pleasant churn of guitar soon joined by a frying-pan bass sprawl until the doomy whole coalesces into a dirgesome trudge
Continue reading Eleanora – EP […]
Magic + Dreams
Of Human Bondage; salvation through restriction. An intriguing premise, where all the artists in the series were given not just the limitation of time per se but the ultra-specific requirement of actual track times (0:06, 0:23, 1:11, 2:37, 3:03, 3:14, 4:20 and 6:06) to conform to. It doesn’t matter if the actual mathematics is wrong, that it’s 60 seconds over. The extra minute seems necessary.
While Ashley Paul and Hacker Farm don’t appear aligned, this isn’t the first time they’ve appeared together; I saw them both at Salvage: A Hacker Farm Field Trip and there’s textural similarities if you listen closely enough. True, Ashley Paul’s music is more unfolded and sparse than Hacker Farm but they are both brittle commodities, prone to falling apart if you stop paying attention. Paul’s music
Continue reading Hacker Farm – 12,000 Seconds/Ashley Paul – 12,000 Seconds […]
There’s a certain mild krautishness nurturing in those Kinder Egg diode flashes, a light-hearted flush of danceability that’s swimming in the real and the synthetic in equal amounts. Oddly punctured textures and filtered sequins that seem to bubble-burst plenty of satisfied grins, a childlike tinkering perfectly matching the lurid orange vinyl and crayoned graphics of its package.
Innard Listeningestion by Now
“Innards” starts the ball rolling, its super-cute measures amok with squelching Paddington Bear galoshes bouncing off cling film-coated puddles. A curl-e-whirling of vocals, light and airly remainders to a tinselated rhythmic goodness, popsicles dream-feeding soft cushioned contours and jangling xylo-tonics of a catchy number that’ll haunt you with its fancy footwork. “Listening Forward To It” adds an increase in tempo, the beat toothpasted
Continue reading Now – Innard Listeningestion […]
More Than Human
Board a hovercraft to ride the autobahn of yr dreams on this lovely fissure from Ekoplekz, via the good sonic alchemists at More Than Human Records.
2014 has been a big year for Bristol’s Nick Edwards, following two of his highest-profile — and highest production value — releases on the braindance juggernaut Planet Mu. Mike Paradinas, AKA µ-Ziq, worked head-to-head with Edwards in sequencing the material, then presenting the material with a nice lustrous sheen of a mastering job and coating each in saliva-inducing artwork. It was Ekoplekz at his glossiest and most accessible, although the sounds in the grooves were still signature.
On the Influkz EP it seems that Ekoplekz is getting back to his roots; back to the
Continue reading Ekoplekz – Influkz EP […]
It may seem ambitious to propose a histoy of techno in only four parts on one 12” single, but if there’s anyone who can do so, it’ll be the two drummers, bassist and one-man soul sonic force of K-X-P — Timo Kaukolampi (of Op:l Bastards), Tomi Lepannen (also of Circle and Pharaoh Overlord, among many others), Tuomo Puranen, also of of Op:l Bastards, and Anssi Nykänen. K-X-P are Finland’s première exponents of the current wave of drummers mixing up with synthesists (see also Zombie Zombie, Gum Takes Tooth, Temperatures and Jakob Skøtt for starters) taking trance music to some pretty far-out, analogue-worshipping places; and their dedication to the endless groove, the timeless Öm (which they reflect in the name of
Continue reading K-X-P – The History Of Techno […]
With “2024” blasting straight down to business like Pan Sonic at their grittiest and crunchiest, Centaure finds Franck Vigroux a very long way away from his guitar extrapolations and explorations (such as the recently-released Ciment). Instead, he’s got electronic beats to flay and some serious noise to bring on three tracks and a remix which will effectively sandpaper any soundsystem they grace and most likely render any nearby dancefloors well and truly scourged, quite probably in a biblical sense.
“Vesuve” could easily give Atari Teenage Riot some aggro, though as it’s (brutally) instrumental, the nihilistic attitude can be content to be implied and delivered through the force of the chunky rhythms rather than needing to be screamed in situationist slogans,
Continue reading Franck Vigroux – Centaure […]
The Dark Is Rising
When it comes to art that is inspired by the horror genre, it can fall into two camps:
1. Art that references horror tropes and classic works of that genre, or. 2. Art that seeks to recreate the sensation of watching, reading, or listening to those works.
With Carmilla (Marcilla)/Spectral Visions, from purveyors of classic British doom, Moss, the band goes more for the former, setting classic Gothic Victoriana to crushing, distorted guitar riffs and monolithic drumming. If Moss’ masterpiece Cthonic Rites was the sound of crawling through a darkened thicket to arrive at some blasted hilltop surrounded by sacrificial megaliths, this EP might be seen as a filmic version of the same events. While it might not be
Continue reading Moss – Carmilla / Spectral Visions […]
West Norwood Cassette Library
Following his recent albums Four Track Mind and Unfidelity, Ekoplekz has now released a six-track EP on the wonderfully-monikered West Norwood Cassette Library label. Rock La Bibliotek is in a different format and has a totally different vibe. On it he offers up a more minimalist sound, and while the richer radiophonic aspects of the albums has been put to one side, with some distinctly retro sounding bleeps and squelches, the Ekoplekz approach to production still renders tracks that are dripping with atmosphere.
At times quite dark, the collection also reaches into psychedelic territory through layered, progressive trancey episodes and some contorted dissonance. However, in throwing the more conventional sound palette out the window, Nick Edwards has nonetheless
Continue reading Ekoplekz – Rock La Bibliotek […]
It’s 1967, The Beatles are No 2 in the charts with “Strawberry Fields,” Pink Floyd are playing The UFO Club, The Incredible String Band are discovering layers of the onion and Hapsash are designing posters to blow your mind. Fast forward 20 years and you have the Alice in Wonderland Club, The Dukes of Stratosphere, The Magic Mushroom Band and Freakbeat magazine. Now in 2014, yet another new wave of psychedelia has been making its way back into the underground clubs and venues for the last couple of years. One of the best bands to get the psychedelic/progressive tag is Purson and this new EP (OK, in my day a four track disc was called an EP) or mini-album shows
Continue reading Purson – In The Meantime EP […]
White Label Music
Like the former colonel of the First Earth Battalion, Jim Channon, whom Jon Ronson encountered in the story he recounted in The Men Who Stare At Goats, Radio 9 are apparently encouraging their charges – their listeners – to embark on a mission to achieve the impossible, and walk through the walls; though maybe via the more simple expedient of metaphysically opening up the doors of perception rather than shifting their molecules into different arrangements.
This seems to be the case on “A Futuristic Journey by Car,” where Leon Muraglia sings of “endless streams of light” (the title of Radio 9’s recent album) and “moving without sound” in wasted wastrel style over rhythms lifted straight from the
Continue reading Radio 9 – Learn to Walk Through Walls EP […]
Front & Follow
Martin Jenkins is a force of nature, releasing mountains of cassettes, EPs, 12″s, and free downloads since the inception of the Pye Corner Audio Transcription Services moniker in 2010. He’s the closest thing we have to a poster boy for the current state of the hauntological current, giving us an insight into its present, and a possible trajectory for the future.
This slight EP from Front & Follow is an elaboration on PCA’s track for their much-lauded The Outer Church compilation, which could be seen as a hauntological state-of-the-union address. For those that missed that essential transmission, here’s a chance to hear your favorite technician’s contribution in an elaborated form, packed with two essential addendums, the
Continue reading Pye Corner Audio – The Black Mist EP […]
Blending shimmery blurs of electronics with West African-derived polyrhythmic loops and swerves, this taster from the forthcoming album from drum-loving noiseniks Gum Takes Tooth shimmies and shakes with a deftly-assured sway, ripples of synth and coasting vocal drones layered sparsely over and around the hypnotically-intertwining beats. If this is anything to judge by, then Mirrors Fold should be quite the LP to both satisfy the body and befuddle the brain.
It’s also no great surprise to find that singular exponent of harsh industrial grind turned rhythm enthusiast Cut Hands remixing the track on the the flipside of the 7″ vinyl either. Here, William Bennett applies his own particular brand of faux-Afro-futurism to the track, drawing out booming bass and
Continue reading Gum Takes Tooth – Buried Fires […]
More Than Human
This latest transmission from Moebius finds him pushing further at the boundaries of an idiosyncratic take on electronic rhythm-based music which have often characterised his solo recordings and rummaging deeper into the swirling vortices of synthesized experimentalism that he helped pioneer in the ’70s as part of Cluster. “Inmedin” is the piece most resembling the former output, all twinkling electronic bells and chimes over a ponderous bassy rhythm which slurs ominously among the desertified synths which glide around and above with more than slightly sinister intent. It’s beyond ambient and into the atmospheric, an ominous lurker winding up like a shaman setting up for a long haul ahead at the rumbling threshold of consciousness.
Bleakest of all is the ponderoulsy
Continue reading Dieter Moebius – Nidemonex […]
So I defrosted my fridge yesterday. Inches thick in ice, it was. Had to take a hairdryer to it in the end. Scalding hot air. Huge expanses of frozen water. A lot of wrenching, smashing and cries of frustration. All in all, it was a lot like the new Godflesh EP.
Decline And Fall is the first new material from the reactivated Godflesh project in thirteen years, and right from the start, “Ringer” sees Broadrick and Green going back to their roots in chuggy minimalist brutalism. The drum machine’s back, and it restores to Godflesh that sense of cybernetic onslaught that their last release, Hymns, was missing. When they’re on it, as they are here, it’s impossible
Continue reading Godflesh – Decline and Fall […]
In the past couple of years or so there has been a resurgence in synthesizer music, with more and more titles being released every month by various labels. Most of the work I have heard has been of a high quality and is generally packaged well. Many of these albums make use of, and note on their sleeves, old analogue synthesizers to create these sounds. John Elliot’s Outer Space have been around for a number of years now, running concurrently with his now defunct band Emeralds, and mainly releasing tape-only items in the early days. Over the last couple of years there has been a rash of vinyl releases from Elliot which, as a vinyl collector, has pleased me greatly. So here
Continue reading Outer Space – Phantom Center EP […]