Jeshimoth Entertainment Jute Gyte are somewhere out on the periphery of metal doing something that could probably best be described as “amazing”. It’s a one-man project of Adam Kalmbach, who has taken a look at metal and gone “I wonder what happens if I make something that’s a bit black metal, but using microtonal serialism” and then done exactly that.
London 20 July 2019 It’s 6:30 — SIX FUCKING THIRTY — on a Saturday evening and I have never seen The Forum so packed so early (in fact, I’m not entirely sure I’ve ever seen it this early at all). The place is an oven. Fortunately, metal crowds tend to be the nicest crowds, so a room filled with this many daytime drinkers isn’t likely to erupt into […]
Honeystreet, Wiltshire 1 August 2019 Nestled within the rolling Pewsey downs, tonight’s debut from Luminous Foundation (a freshly inked joust between Téléplasmiste’s Mark Pilkington and Urthona’s Neil Mortimer) takes place at The Barge Inn, one of the few Wiltshire country pubs that have escaped gentrification, a canal side drinkery and campsite that’s always been the home of the interesting, conspiratorial and now danceable electronics.
Castle Face I had a real soft spot for the slightly psychotic electro-punk disco dust-up of Six Finger Satellite and was sorry when they called it a day both times, so it is good to hear that Rick Pelletier is back on the scene with Dare Matheson and Jon Loper, both of whom helped out with the band the second time around.
Hastings, for those not hip to the south-east coast of England, is a funny old place. In some senses it’s got that run-down seaside town vibe. On the other some banging folk and a small but keen crowd of local weirdos turning out on a Tuesday night for an evening of rackets
Crammed Discs Band Apart were a short-lived US/French duo that blossomed at a time that put them in the eye of the New York No-Wave storm. Vocalist Jayne Bliss was a poet who had been performing with various members of the US avant-garde such as Bill Laswell and Don Cherry. On being introduced to Marseille-based musician M Mader, they judiciously decided to set off on their own sonic adventures […]
Dio Drone / Dirter Promotions About a year ago, we discussed a pioneering piece of Harvard University research, Thorsten A Cardy’s 2005 work “An Experimental Field Study of Ambient And Drone Based Music on Temporal Perception in Higher Mammals”. (The Annals of the American Academy of Auditory Zoology), which demonstrated how extreme ambient / drone music stimulates the part of the brain called Shatner’s Bassoon, which is the […]
Hubro The title and track names for Exoterm‘s first album read like stage directions or parts of a screenplay, and the atmospheres that they produce over the course of the six tracks on Exits Into A Corridor are dark and foreboding but suffused with a giddy mania.
Dreaming Of Ghosts is the pairing of Robot Koch and Fiora and their second single appears in the form of the Shallow Water EP, which is released on 2 August via Trees and Cyborgs. The track is remixed by Hamburg’s Skyence (Modularfield), and comes from Dreaming Of Ghost’s forthcoming debut album.
Courier The latest beautifully packaged release from the ever-reliable yet increasingly diverse micro label Courier is the four-track EP Silences‘ from south-east England-based duo of the same name, James Green and Nick Dawson. Intended as the first in an ongoing series, the recording took place on one day in Southend and the end result takes you far away from any obvious points of familiarity.
Sub Rosa Premiering seven compositions, this Noise of Art CD by the Opening Performance Orchestra, a Czech avant-garde and noise group from Prague who milk their “no melody, no rhythm, no harmony” ethos completely, documents the long-lost sound of Futurism
Epping Forest Until 28 July 2019 Something is stirring in the forest. Epping Forest to be precise, that area of ancient woodland straddling the divide between London and Essex. The woodland there has existed since Neolithic times at least, and scholars now believe it was granted legal status as a royal forest by Henry II as far back as the twelfth century.
First Terrace The first side of FTS003 is a gentle amalgam of mechanical whirs and snipping conjunctives. One of Pierre Bastien’s robotic creations — a specially adapted Casio that conducts a huge sound sculpture, a Mechanical Orchestra invented by Cabo San Roque in Barcelona. The hiccuping apparatus is ever-present, delicately puckering a slow pulsing organ backdrop as this trumpet sauces its sinews.
UMC I first bought a copy of Apollo: Atmospheres And Soundtracks when it came out in 1983 on vinyl and a copy has remained in my collection ever sincem as its one of my all-time favourite Brian Eno albums. The early 1980s were as many artists began to explore this area and records were beginning to sell rather well.
Robyn’s Rocket Robyn Steward is a London-based experimental trumpet and cornet player who took up the cornet at the age of eight, but after a period of inactivity took up the trumpet after meeting Andy Diagram of James, Spaceheads and David Thomas And Two Pale Boys in 2016. Her use of the trumpet, played through various effects as a means of improvisation, produces a series of meandering and thoughtful […]
Upset The Rhythm Unlike the pebble-dash that passes for indie these days, this lot show how it’s done, sabotaging the commercialism for the (un)common good, deliberately submerging their lyrics, knifing the flow with a juxtaposed jab to fearlessly craft something unique and as changeable as the British weather.
6 July 2019 Bristol This year, the Stolen Body-curated Astral Festival has chosen to spread itself over three of Bristol’s city centre venues. Thankfully, the Rough Trade sweatbox, the rather charming restaurant/bar at the Lanes and the grandiose SWX are all within a stone’s throw of one another. Unfortunately, the timing of things does mean that it is impossible to take in all bands, and considering it is […]
Infrequent Seams There’s often something worth listening to when you get a not-entirely-composer working in a relatively (or entirely) “classical” setting. And here we have Elliot Sharp composing for an orchestra, a choir and (arguably something more typically Sharp-ian, if that’s not an oxymoron), electronics / bass clarinet.