Upset The Rhythm Waiting there patiently for over thirty years, Normil Hawaiians‘ third album Return Of The Ranters finally got the airing it deserved in late 2015, thanks to Upset The Rhythm. An act that kick started a re-issue campaign to get all their recordings back into print, finally re-addressing the group’s bad luck story with a vengeance.
Michael Rodham-Heaps
448 posts
Blue Tapes Stuart Chalmers has created a lot of interesting soundscapes with minimal means. Live he’s a walkman wizard, dealing out an aesthetically beautiful seance of strange and slippery shapes, tangling up dialogue with wah-scarred short-wave.
Bristol 11 November 2019 “My vagina’s really angry”, goes the walkie-talkie on the table, crackling in flick-knifed distortion and abrupt statics. DJ Ductape has a few people scattered about outside the venue, supplying miscellaneous inputs to her show — one random conservationist, the other drumming railings and yet another going Mozart with random Casio melodies.
(self-released) A re-visit to one of my favourite Legendary Pink Dots albums, Asylum Relaspe re-shapes the patients’ mood, and propels its themes with new perspectives. Some tracks are obvious nods to Asylum’s original content, but others are more slippery with context, wiggling out of the woodwork, adding to the fun as Patrick Q Wright’s musical nous excites the eleven tracks therein, his fevered violin playing and voice spinning […]
Editions Mego Back in the late nineties, in an attempt to distract myself from the drilling sounds whilst waiting to be seen by the dentist, I flicked though this lad mag (I forget the name of it). Amongst the usual antics I spot this review for The Elbow Is Taboo, worlds removed from the normal chart-friendly preferences of the publication,
Bristol 25 October 2019 Well, we may have missed The Jesuits, but Bristol’s Perverts more than made up for any disappointment. The charismatic leader was decked out in a silver jumpsuit, Elvis musical staves stitched to his legs and noddy-eared headgear completing the look. He danced the stage like a demented Tellytubby with this peculiar bent-knee jig as the music behind him jutted like a no-wave convention of […]
Young God / Mute Michael Gira has never shied away from the bareness of the bulb’s inspection – his narrative always gnaws at the fragmented prism of the self, right from the sweaty simplicity of their beginnings to the sophisticated diatribes of the later years, even including the physical force of Swans‘ recent rebirth.
Bristol 6 October 2019 Getting to finally see the Circle offshoot Pharaoh Overlord is a real treat, a melodic spattered-smorgasbord of kraut-inspired groovesomness. Theirs is a full-on sound, juttering in multiples, holding a riff perfectly, mulling it round in daggering dynamics, then throwing it to a glittering horizon that combines with the strobe lighting to just eat into your head.
London 14 September 2019 After a tortuous journey through London and around the building site that is Hackney Wick at the moment, we find ourselves standing outside Studio 9294, one of the many curious venues that Baba Yaga’s Hut uses for its shows. Steel shuttered doors and a street art facade lead us into the concrete bunker that is serving the three bands tonight.
Rocket Composed of British-Iranian musician and composer Kavus Torabi (of Knifeworld, Guapo, Gong and Cardiacs fame), Coil and Téléplasmiste’s Michael J York, and Steve Davis (yes, snooker’s number one of yore, now fully bewitched by all things modular), The Utopia Strong‘s self-titled debut LP is a light and airy piece of work.
Finders Keepers “Categories strain, crack and sometimes break, under their burden — step out of the space provided”, goes the intro to the Nurse With Wound list – as the rivery wound within the typographics become your rabbit hole, the spidery black text your ladder. Mythology is a strange thing: a seed of truth dropped in the enquiring mind some might say.
Mute At last, Chance Vs Causality, the long-lost Cabaret Voltaire soundtrack to a 16mm film by Babette Mondini, sees the light of day. Up until now, only a fragment had surfaced on a b-side to their “Silent Command” 7-inch back in 1979. Would loved to have seen the film, and if the sleeve art is anything to go by it was an artsy collage to be behold.
Metropolis Two years in the making and a pre-fortieth anniversary celebration taster of live things to come, Angel In The Detail finds the sonic trio of The Silverman, Erik Drost and Edward Ka-Spel on good form.
Salisbury Plain 17 August 2019 The British Army first started to clear the settlements from Salisbury Plain after the First World War, but it was during the preparation for the D-Day landings in 1943 that they chose to evacuate all the residents from the little village of Imber, in the north-west section of the plain, and it was never re-inhabited. This area is opened up for a few […]
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.
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
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.
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.