The eerie pull of Sky's otherworldly atmosphere was ignited by Eric Wetherell's soundtrack that for its time felt futuristic. Butterings of tensive harpsichord along with glockenspiel, timpani and cello that verged towards the experimental...
Michael Rodham-Heaps
458 posts
Dylan Eil Ton’s canvas is a beautifully charged one, texturally resplendent in the lowercase clamber of nature, the hissy brush of branch and canopy, the leafy scrunch of wondering feet. A satisfying minimalism conspiring with the knothole whirr of some aqualung and whispered disturbances on strung out heralds. Subtle magic pollinating in a sudden scattering of threadbare words to funnelling breath, or trembles of fluted exhale / intake suckling on a pebbling tide.
f like me you loved Thighpaulsandra‘s debut or the panoramic nature of his Golden Communion album, I’m glad to report the big-band sound is back with a vengeance on this new offering. ... Acid And Ecstasy is another extravagant triumph that I’m going to be listening to for years to come.
An illuminated hum, ending on a previously unreleased lop-lop mash-up of bird song, a possible remix of "Strange Birds" that would never re-surface on their live radar ever again. Live One is a seriously essential disc that documents a strong re-birth for Coil that over the ensuing years would never falter.
Made me wish I was more familiar with what was being played, but to be honest it didn’t really matter, for now I was caught up in the muscled savagery of it all. That all-in passionate and sweat-drenched prism of sharded lyrics and tons of wah-waded and drone-coated interest. A driven emphasis greedily keeping you up close and personal, crowned by this wedging might of double drums.
Utterly compelling sonics that pearl potently, splash morbidly into the piano pins of “Disintegrate”, hinting echoes of the next album, grasping at a haunting sadness that would be later expanded upon, but for now slowly falling into the expressionist despair of silence. It might be forty years old, but it still remains a brooding masterpiece. Thank you Dais for bringing Camouflage Heart back into the world.
A triangulation of talent, the '70s library album cover art repetitively alludes to a collaboration between three members of Bristol’s No-Wave wrecking ball, Repo Man (Liam McConaghy - guitar / Anthony Brown - bass / Bojak - sax, violin, vocals) collectively labelled Repo; and two members of Exeter’s free jazz trio Capri-Batterie (Matt (K) Lord on tenor sax and bass and Kordian Tetkov on all things percussive and squeaky), an extra contingent that swerves tastily in there, temples the tension with extra perspective.
If you like hazy guitar improv, this is solid. Four lengthy crafted excursions dusted in a ghosting of late ’60s psychedelia and geologically pinned to a Neolithic underground burial complex in Malta.
In scope and ambition, Alamut is a remarkable piece of work, performed live at a former Crusader castle in Ljubljana in 2022. Involving the RTV Slovenia Symphony Orchestra, the Human-Voice Ensemble vocal group from Tehran, the Gallina Women’s Choir and AccordiOna, the canvas full and sonicly rich, expertly conducted by Iranian-born Navid Goharib and of course all superbly subverted by Laibach.
Tocsin polished up the pared-down economy of Fetisch, broadened its expressive spectrum and increased its atmospheric pose. Producer Mick Glossop and engineer Felix Kendall did a great job of shifting the emphasis of Xmal Deutschland's sound, opening up the symphonic space and so elevating the drama. "Mondlicht"'s swooping dynamics are captivating, its pulmonary pull mining some grandiose theatrics as those heralding guitars unleash a siren spiral of voice, acidically rupturing, reined back in repeated refrains.
The arresting hugeness of a projected bird's eye breaks the darkness of the stage as Wardruna’s harmonising voices rise to a regularised patter, punctured by a defiant shell-like crunch. A sound that grows on a waltzing mirage becoming equally huge as the silhouetted band is suddenly thrown into illuminated focus.
Having totally missed their recent Bristol outing, I’m glad Upset The Rhythm are now offering a tantalising taste of Earth Ball in action. A duo of live cuts, each gig filling a whole side each.
Boy did Laibach bring the drama … the first third of the show cherry-picking their back catalogue, starting with a mangled noise-fest with lots of slanted perspectives and controlled chaos. A scampering scrapyard of debris and screeching guitar, the drummer coming out from behind his kit to supply an eerie air-raid drone from a spinning air-pipe as the keyboardist’s chords conjured a host of bent up, shattered shapes.
Stereocilia was here for the launch of his latest album Phases, but joining him on the bill was Deb Googe of My Bloody Valentine and Thurston Moore's band fame, and local soon-to-be legends Ex Agent.
Those former Yugoslav industrials certainly hit vital back then -- trumpet fanfares, pounding drum falls, those rousing anthem repeats; even today it’s still sonically captivating, so much so I didn’t think it needed a rework, but Laibach definitely saw potential in them old bones.
Pulled back from obscurity by label honcho Alan Gubby, these choice selections from the long-defunct Arcadia Cosmos sound library excite, get in your head, inspire. Sounds that inhabit their titles and more, gift-wrapped in the spiky jiver of a monochromed power station.
Bristol 10 January 2025 Support for The Jesus Lizard‘s eagerly awaited trip to The Fleece in Bristol came from that city’s own purveyors of mutant post-punk hip hop, Lice. Having not seen them since their extraordinary set at the Bristol Psych Fest back in the summer of 2017 where it was like The Beastie Boys fronting The Birthday Party. Since then, they seem to have picked up a […]
Whirring the hinge between this world and elsewhere, Téléplasmiste's Of Nature And Electricity’s’ compass points are plentiful -- exploratory. Gently coaxing themselves into the uncharted, a softly rounded trip into the infinite.