Exclusive Premiere: WTCHS – Tiger

lt.php

Californian noise-rockers WTCHS have been molding their under-appreciated sound for two years by now. They are by no means underachievers, it’s just that a lot of people might not have heard about them – or their sound. Starting out in May 2012 with their single “Adult Crimes“, a rather low-keyed presence in sound with comparisons to; Danzig before he got bloated. Moving on from their rather stoner-rock themed first single to an EP titled “Wet Weapons EP“, which virtually holds the same sound true. Though it’s combined with slightly more indie-pop and math rock, the sound-scape itself stays true to a general atmosphere found in their earlier release. Move on to January of 2013 and their sound gets even more gritty, more noisy – when they begin to punch into noise rock for real. This release, “PIE-002“, featured not only their track “Future Fires” but also tracks by Bleet, Wild Domestic and I Smell Blood. In April, their sound got paved into a combination of their earlier noise-rock sound, but featuring an even more math-rock-inspired outfit, dealing with anguish and changes in the landscape of sound only appropriate for those wanting to deal with the harsher side of their sound. The release was a split together with Thoughts On Air called “WTCHS​/​Thoughts On Air“. In September, a few months later, they put out a split together with Das Rad – titled “WTCHS​/​Das Rad” – featuring a less rock’n’roll side of themselves, instilling hope of a noise-pop future. They’re been released by labels such as Buzz Records, Out of Sound, PERDU and Sonic Unyon.

Their latest release, which came out in half a year after their split with Das Rad, is their first full-length album ever. It could be said to be their debut-album. This album, being simultaneously released by different labels, have a well-rounded sound and it feels like they’ve hit their mark with it. Therefore, the logical conclusion is an album instead of a split, single or EP. It’s titled “It’s Not A Cross, It’s A Curse!” and touch different territories of sound, making it a nostalgic trip back into their lowly presence with indie-pop as a mere placeholder, to noise-rock, away into math rock – crossing genres as they pass into something they can call their home. I’ve been given the opportunity to exclusively premiere a track from this release which was put out on the 4th of April. The track “Tiger” from this album is featured exclusively for your listening pleasure. You can stream and listen to the track itself down below, and you can also buy their release from themselves, or their different labels. Check it out, because this is something you wouldn’t like to miss. They’ve got a lot to offer musically, a stringent response to an unhinged world.

Review: Destruction Unit – Sandy Sessions

tape

Ascetic House have been busy pushing out their January program, in full. So while you slept on it, Invisible Guy kept counting. According to the newsletter, they have a rather unique approach when putting out their releases. They planned 31 cassettes for their program, but each individual release was and is only available on the day that it is released. A new release appeared the next day, but since it’s already the 31st, it’s kind of late to write about their program. The releases were not announced in advance, so it was randomized. For those that follow the Asceticism of Ascetic House, these releases will ship out in the end of the month, which would be today.

Some of these releases may also end up in distribution, at selected record stores and distros. Lucky for you, each one of the out-of-print releases (meaning every release), have been put up as a free download. Unfortunately, that means that you’re turning up rather late for the physical edition. Me too. These releases remain up on their website for download until this evening, when I’m writing this, and tomorrow they’ll be gone. For me, it’s not the point to give you anything more then a taste from Ascetic Korp (Soundcloud), and write-ups of these different releases.

Since they made a concept of their own, Invisible Guy will blindly follow their concept, but he will move astray from the set dates. Because he’s out of luck this time. Each day, he will bring you a review and let you listen to a piece of a track from the release which he is reviewing.

First up is Destruction Unit and their recently released (in the January program) session “Sandy Sessions“.

1st of January!

artwork

Destruction Unit have been around since 2004, and probably before that, even. They’ve released albums, singles and E.P.s on labels such as Empty Records, FDH Records, Volar Records, Sacred Bones Records, Jolly Dream Records, Discos Cagados, Disordered Records, Lo-Fi Records, Suicide Squeeze and BIG LOVE Records. One live-record and a session have been reserved for release on Ascetic House. The band consists, and have consisted of Ryan Rousseau, Rusty Rousseau, Nick Nappa, JS Aurelius, Andrew Flores, Justin Keefer – some of whom are a part of Ascetic House. They play a combination of psychedelic garage and noise rock. We’re going to get into their latest release, the session-release “Sandy Sessions“. Four tracks, namely “Time Traveler“, “Desert Snow“, “Poison Breath” and “Do Drugs (Nihilism)” were recorded in Brooklyn, New York at Heaven Street studio by Kyle Keays – a day before the 29th of October, when the Hurricane Sandy reached its epitome. This was when it hit New York and New Jersey, where the severest damage was done. Therefore: “Sandy Sessions“.

The first song “Time Traveler” is a catchy piece of music, which derives the most out of the psychedelia, which just sits there and looms at the beginning – whilst they rev up the noise rock, keeping a steady tempo – just so I can nod to the track and go with the rhythm. It’s constant. When it’s been going for roughly two minutes, the singer’s canned voice is picked up and as he reaches his epitome, all hell breaks loose and the psychedelia sips in like it came from a breach in the hull. The guitars are absolutely wild, gracing you with the reverberant that acts as distortion, clashing with the wildly played drums. Suddenly, it speeds up and reaches into a whirlwind of screeching guitars, gradually speeding it to its utmost limit when everything comes together once again – just to fade out into the blue. It feels like you’re caught with the wind, it feels like you’re experience what had been hitting and should just hit – New York City (amongst other cities). So the name itself is prophetic, as you’re caught in the maelstrom of guitars, drums, vocals and bass – which winds you up until you loose yourself to it. You have a clear sense of where it’s heading in the beginning, but then it picks off from there and leaves you totally clueless. You never know what hit you, until you realize it afterwards. It’s simply stunning, in the literal sense of the word.

Now, “Desert Snow“, the second track – starts off more like a rehearsal. Featuring slowly-paced psychedelic delight, entwined with the ramblings of the vocalist – rather than the up-tempo garage schtick. It’s like a lullaby, if you’d force it into a concoction of noisy rock melodrama. When you’re about to be included into their lullabies, it instead whirls into a mesmerizing feverish dream. There’s even more psychedelia included here, as if you’d be out on a whim and into wonderland. A seemingly nauseating experience when it has drawn you in for a constant rhythmic swaying, sincerely for you by the guitars and the continuous tempo by the drums. We’re at the crescendo, but we can’t get away from there. It’s like you’re dragged into the quicksand, quickly forming around you, as the snow pours down. Therefore; “Desert Snow“. A brutally chilling experience, traveling through time and space with the psychedelic vibes you’d only get from such a setting. Most of it’s predictable, but when they hypnotize you with such a fantastic performance, even though it’s just a session – you’re flabbergasted. There’s certainly no lack of energy, as they pounce away and fade into obscurity, leaving only a deserted mind. Emptied of all significance, fading into the quick-sand – never to be seen again. It’s a once-in-a-lifetime experience, I reckon. Effin’ good one at that, but like some other tracks, it’s simply meant to be heard only once. You might disagree, but it is memorable, but I don’t want to ruin it.

Charging at you in a slow-paced motion, moving forwards – is the track “Poison Breath“. Yes, it breathes down your neck. Feels like you’re a part of the chase, but you’re chased, therefore you’re not only the one going to be feasted upon – you’re actually not the predator. When listening to this, I feel active and not passive. I’m slowly starting to think that they’re tricking me into this story of theirs, which has been built up since the last two tracks, only to get more obvious in this one. I don’t give much for the sound, because it feels quite repetitive. But that is probably the point, just to slowly mold into where the vocals come in – as they play their part. Locked into a closet, dampened and psychotic – far away. It’s jam-packed with the most robust, but noisy rock you’ll ever hear. Feeding into the enormous distortion generated by their general atmosphere, but also generated by their manipulation of their instruments – in regards to their setting. Chugging riffs, outdrawn riffs, crazily psychedelic guitars and an abundance of feedback feed into the most psychedelic garage rock. This crossover can be considered to be a success, if you’d ever find it below all the grimy and muddy dung that is shot your way. This track is probably the most flipped out yet, but I’m not hoping for much either. Regarding the track that comes after this, the name of that track spells even more disaster. Disaster in a totally maddening, but positive way – if that even makes sense.

The name of this track is “Do Drugs“, and is credited as “Do Drugs (Nihilism)” when reading Discogs. Well, if I’d ever get surprised by anything so far, it would be the classic rock vibe that it delivers in the beginning. A solo-driven guitar with a gurgling vocalist that spews out his toothpaste with water. In regards to the name of the track, and the music at hand, this is probably how you’d feel if a hurricane had hit you the day after – and you saw it in some kind of psychotic vision. Or maybe it’s simply a call for total decadence, who knows. “A-aa-aa-aahh“, is all I hear, as the vocalists words (that I can decipher) echo round and round, in my brain. Let’s hope they never start a dentistry, because they’d pull out your teeth without any mercy. With nippers. It’s by this time that I frankly get annoyed by listening to this release, but it’s actually the final track, so I sit down and try to endure the enormously boring tempo that has stirred up the total carnage that is in my headphones. By then, the song has already ended in an outdrawn sigh and a bang. But it fades out quietly, into a silent snip that cuts it off. Yes, this release is so sickening and dirty that you’ll have to use something else to clean your ears out. Even though it’s the shortest song on the release, it feels like hours just went by, as if the heat-wave just hit me. I feel totally deserted.

Listen to a track from a release by them of the Ascetic House program, the January program of course. It’s not a track from this release, unfortunately, but it’s from another. So get on with it.

Florent Pevee from Kabul Golf Club has passed away!

KGC3

I’m saddened to hear that Florent Pevee of the noise-rock band Kabul Golf Club just passed away on Friday, the 29th of November. This band was probably one of the more interesting additions to the blog this year, so far. When you hear about something like this, you simply can’t imagine the pain one has to go through when they loose one of their closest friends. I can’t imagine how that would feel and I’m sending my condolences to the band themselves for their loss. Therefore I want to honor their request and put up their video as they stated, they’re also going to send free copies of their album “Le Bal Du Rat Mort” to anyone who sends their postal address to their mail. Because this is what they wanted for him, to keep it alive, even though Kabul Golf Club as a band, dismantled on the 29th of November. I’m sorry for your loss, and I hope that this honors him and the music he participated in making. Rest in peace, Florent Pevee.

They wanted to convey the following message to everyone, as they want to keep his memory alive through his music: “Anybody who wants to receive a FREE copy of “le bal du rat mort” has to send his postal address to: kabulgolfclub@gmail.com

Review: Plymouth Fury – Vaudeville

coverHard-hitting, able to riff you out of the world, your classic new rock types. Making it a joy to present themselves through sound, is the band Plymouth Fury, featuring the members Worzo, Will and Stephane Kurdijaka. These fellow from France start off with the song “Balone De Noche“, which hits the roof instantly. With its rough and dirty rock textures, calling to the roots of the working class rock’n’roll that have outlived their own hegemony. The intro is simply an astonishing work of craftsmanship, where the drums sheer power and the naive riffing doesn’t let you anticipate what is to come. A shade of grey, lay over a span of colorful and enigmatic warmness. When they rip it off, all hell breaks loose and the classical touch of rock’n’roll ‘riffery’ goes a long way to prove itself vital. Even though it’s mostly a sign of the revival, or a new wave of rock’n’roll, they surely pave the road for even more simpleness within the same genre. No compromises, just straight up and down, rock music. Without the strained touch of modernization, constrained to a gritty – almost noise-rock-esque edge.

When you need more, tuning into the second song “The Basement” – is simply enjoyable. Here, we find a more mellow sound, still furiously generous within the rockin’ department. It becomes fairly obvious, with the name and all, that everything is rooted in a 60’s nostalgia turned on its head. Towards a more sinister and heavy sound, which leave no moments to be dull. Generally, the overtly concealed vocals, beneath a gritty layer of distortion – doesn’t turn you off the slightest. Because the sound-scape packs such a furious punch, that you’d simply ignore most of the lyrical content anyway. Which is a thing in itself, to decrypt with your own ears. This, in turn, puts a lot more focus on the instrumentation – rather than the singer. He might not be at the forefront, but they sure as hell balanced it off well. Cojones is the least he’s missing and the raspyness of the vocals, the sheer energy of him terrorizing your ears, is indeed a fraction that can’t be limited to the instrumentation at large.

Next up is the song “Ajo y Agua“, which seems to be a little bit more timeless. In the sense that the music is like an endless desert. Imagine an hourglass, pouring out sand throughout the top to the bottom. This is what it feels like, if you’d enter a state of forceful timelessness. As the time is against you, they pour down the most wicked baseline that could ever be featured in an intro, at you. Contributing to the overt reality that is about to face you, because you’re in a race against time – whereas one can only be the winner. Therefore, the energy is further energized, the riffs are intensified and the vocalist is completely insane. Insanity has struck, as you need to move fast, when the drummer strikes the last crash. Switching in between two states of minds, one more subliminal and the other one a total eclipse of every rock’n’rollers dirty heart. Tough shit, because this is complete grittiness, combined with the virtuoso that is Plymouth Fury. It signifies the last letter in their name, and it also makes it pretty clear that it can’t get more engaging and fierce.

Tumbling through the weeds, entangled in post-punkish fervor, comes the song “Maelstrom Libido“. The mayhem that has been wrought upon the listening ears, are nothing in comparison to this annihilating piece of strung up, rock’n’roll, flirtation. It will have you dancing with one foot in the post-punk category and the other in the pure rock’n’roll. Even though its crushingly beautiful, there are calmer moments within the song which lead up to the pathway of the totally flipped out sense of what you’d love to hear. Nothing can be more energized than the top of Plymouth Fury’s excellence – as they speed away with your senses, leaving you nothing more than an inspiring tone ringing in your ears. It’s telling that they’re convenient enough to freak out on the riffing, but keep it tempered until its unleashed in its full splendor. The symptomatic relationship between the rhythmic and considered, with the furiously speedy renegade sound. A probable cause for tight drums, distorted baselines and a hell of a temper.

With that said, here’s where everything changes. This seems to be the line between their harder and speedier stuff, as they slow down immensely with the song “I love you Leigh“. Which sounds more like a ballad, oriented with an almost indie rock sounding atmosphere. Filled to the brink with emotions, sincere lyricism, continued with a bombastically backing sound – together with a singer whose voice never ceases to amaze. It doesn’t matter in what situation he uses it in, whether it be furious rock’n’roll, or britpoppy indie rock. Prolonged riffs, conquering the most stale hearts, breaking the wall between different nuances in each genre. For this cannot be seen as anything else than a love song. Whomever this is dedicated to, should be proud over that particular fact. These boys are all about making it as pleasurable and ambitious as possible. It’s not even cheesy, because it hits deep. One probable cause would be the recognizable vein, in which they deliver tenfold. You’re dragged down, put up and then put down. Just to be built up again.

By a sly rock’n’roll rhythm that sets everything on its edge. The song “Tati“, is as short and stout by name, as the song itself. Here, you’ll get more accommodated in the drummer’s sphere, as he is the one delivering in this song. But not alone, of course. It feels as if he’s got the perfect rhythm matched to the perfect sound-scape. The laidback attitude that is flowing throughout the song, is paired up with the near funkiness of the spaced out guitar riffs. Some of it actually reminds you a lot of the earlier ska-punk bands, at times, from Sweden. With almost all attributes of that genre stripped, and laid into an overtly cheery but vague rock’n’roll stew. You can hear the hints of psychedelia also, but you’re not getting chocked with an avalanche of it. Even though it might not be the best they’ve shown of themselves, it’s certainly the standard formula of what they’re about. These pesky genrehoppers can’t just stay in one genre, they just have to mess around. That’s why you love what they’re doing.

Whilst the song “Black Ravines“, is a total embodiment of the stated words, in a vague sense. Here, you’ll get a roaring baseline, accompanying frictionless riffs that simply bounce of the walls and reverberate through the whole sound-scape. Wandering in the desert, concocting a sinful breakdown, with both melody and rhythm escaping each others grasp. But with cojones, and a sip of wonderful bourbon, you’d be able to join them on their journey. It touches the base of sludge, the tip of doom and a heavy dose of slowly-paced rock’n’roll wonderfulness. At heart, it’s a little bit bluesy, which isn’t a bad thing at all. You’re moved by each element of the song, as it builds up to knock things down. The breakdowns in the song are amazing, but they follow the basic portrayal of their sound in other tracks, as it usually does. However, it’s noticeable how much of the characteristics have changed, and how much that is actually static. Sometimes the static is a little bit too much and you grow tired of the sound. But, it’s almost always revitalized in one way or another.

Finally, at the end. This time the song is “The Snake“, which change their modus operandi. Instead of breakdowns here and there, building up, knocking down – it’s a steady trip that engages with all of the elements, just to unleash a battering of hurt, as everything is put in place. It feels like a closing track, and rightfully so, it is. Here’s one of those tracks you’d be singing along with your buddies, in an alcoholic frenzy. Something that should be done live, as the riffs strike with their monotonic wrath, making themselves a little bit more audacious, but at the same time tame. The drums in the end are simply magnificent, and in all fairness, it’s been a pretty good trip. When it comes to the album as a whole, there are some things that keep you from listening to it, but it’s more of a modern thing than anything else. If you look at it from another perspective, this album is surely one that would be steadfast and survive a couple of re-listens. However, I don’t know if it’s got anything above that. I hope so, though. Since it’s thematic and virulent, with an edge that is missing from today’s generic throwback rock’n’roll, Plymouth Fury are certainly heading in the right direction.

Spotlight: Ancient Animals – Ruins

940785916-1

By popular demand, or rather, by The Pocket Rockets – I delve into the world of Ancient Animals. Which is weird, because I see no animals around here. Oh, wait, there they are! Last year, they released an EP titled “Ruins”. This macabre duo, consisting of Dan Reyes and Andres Freyre, will make sure you’re in for a peculiar trip. A description might not be enough, but think of a sickly drone, trying to catch its last breath. Dirty, gritty and troublesome, eclectic to the fullest extent possible. Which makes them focus a lot on the general atmosphere, which is somewhere in between a manufacturing plant and an electricians everyday business. Sometimes upbeat, uptight and with the absolute audacity – to punch you in the gut, and then pour you a raining serenade of dirty riffs. Rock’n’roll to the core, at least when it comes to the values. They are crushingly stubborn, gazing through a smoky haze of white powder, maximum hedonism and apathetic ballads. Perfect, since it was a boring Sunday hours ago. Listen to their music down below.

Spotlight: Insect Ark – Long Arms

SOUNDCLOUD VERSION

Resistance is futile, surrender yourself to the atmosphere. Everything will be fine in the end. With Insect Ark, the debutante Dana Schechter, is slowly but surely morphing us into intellectual beings. Earlier, she’s also worked with Bee and Flower and M. Gira’s Angels of Light project. She’s got her base of operations Brooklyn. To be frank, she’s already released a 7¨ titled “Collapsar” on Somerset Records. However, she’s releasing her first EP, titled: “Long Arms” which feature swirly doom-passages, calmly oriented ambient, naive drones, a hint of sludge and noise rock – with a tip on the iceberg dedicated to the jazz-induced hallucinations that simply wants to shape you up. Experimental is the codeword, avant-garde is the common denominator. You’ll be indicted into the world of Insect Ark after you’ve listened to the EP, she will never let you go once you’re hooked on this wonderfully eclectic music. The EP itself can be bought for 11 USD over at bandcamp and you can listen through it down below. See you at the opened gates down below.

Twist Action Heroes presenterar: Then Comes Silence + In i Dimman på Debaser den 16/2!

BB-poster-16-feb-13

Ibland är det svårt att nå ut som artist. Ibland är det enklare. En låt på P3 Rock som går rakt in i själen kan räcka. Så var fallet för Then Comes Silence när de bokades till Debaserklubben Beggars Banquet, som senast drog överfulla hus med The Sword (US).

Hemlighetsfulla Then Comes Silence släpper därmed loss sina mörka krafter, högljudda gitarrer och dödsromantik på Beggars Banquet den 16 februari. Som support har man med sig In i dimman som bjuder på vackra oljud och skimrande melodier med svenska texter.

THEN COMES SILENCE – ca. 22.30

Then-Comes-Silence

Then Comes Silence ger dig mörker och dödsromantik genom musik och ljud, framfört med gitarrer på hög volym. Det är hårt, överstyrt och generöst med effekter. Bandet har den senaste tiden blivit en snackis och jämförts med akter som Ghost och Goat, då kvartetten tillsvidare har valt en anonym profil. Vem som spelar i bandet är inte viktigt. Lyssnaren får skapa sin egen bild av de fyra medlemmarna.

Bandets identitet var också av mindre vikt då de bokades till klubben. Det viktiga var hur de lät. Och känslan de gav. Att vara iakttagen och attnågot smyger sig inpå. Saker som rör på sig, dörrar som knarrar, okända ljud. En plötsligt en isande vind som går genom rummet. Det kittlar och tilltalar.

Kittlar skräcknerven. Och tilltalar vår fascination för död, undergång, spiritism och förgängelse, vilket också samlar det nya bandet. Samt en kärlek till noiserock, goth, shoegaze och psychadelia. I november 2012 släpptes bandets självbetitlade debutalbum och släppte lös de mörka krafterna och lördagen den 16 februari står bandet Debasers scen. Det vill du inte missa.

IN I DIMMAN (support) – ca. 21.30

12824_373157862765496_494024984_n

In i dimman kliver in med fötterna nedsmutsade av 90- talets skitiga gitarrock och sprider en svag doft av unken Neil Young-skjorta i lokalen. Med det svenska språket i centrum låter bandet inte som andra band, inte ens som Kent. Eller kanske lite som Kent och Sonic Youth på en gång? Eller som om Dinosaur Jr mött en salongsberusad Cornelis och tycke uppstått?

Live slår bandet an en skör sträng hos publiken och målar det mörkt med en dimridå av vackra oljud och, för all del, skimrande melodier och inte minst hederligt gitarrös. Kom ihåg var ni såg dem först, för detta kan bli en av de kommande stora akterna som uteslutande sjunger på svenska.

Klubb Beggars Banquet presenterar härmed två rykande färska band till klubben som bara hittills i år fyllt Debaser till bredden med bland andra The Sword (US), Bombus och Dirty Passion. Arrangörerna Twist Action Heroes står själva i DJ-båset hela kvällen och bjuder på dans, kärlek och rock’n’roll hela natten lång. Som det ska vara med andra ord.

VAR: Debaser Malmö

NÄR: 19.00-03.00 (halva priset på all mat och dryck innan 21.00)

PRIS: Gratis innan 21.00, sedan 90:- (inget förköp)

ÅLDERGRÄNS: 20 år

OFFICIELL INFO: http://www.debaser.se/kalender/10219/

FACEBOOKEVENT: http://www.facebook.com/events/393808454046394/

Harvesting #12: Something forgotten – something new?

Now you’re in the realm of Harvesting, we’ve already reached beyond the number which is called “ten“. I’m hoping that you’ve been with us since the beginning, otherwise, you should join me in the march for even more Harvesting. I believe I will continue in this fashion, and I will introduce some nice things to you via this edition. There will also be a hell of a lot more stuff within the forthcoming editions, since I will pack them even full(er) with stuff you should listen to or may find good. In this edition I’ve carefully selected some of those releases that lie in the future or are new and some that I should’ve planted on the blog some time ago. The following bands and blogs are to be featured in this edition of Harvesting #12: Astro Children, The Foreign Resort, Sun Of Eyes, Leidkultur and Ribbon Around A Bomb. The last mentioned is a blog which is run by somebody from San Fransisco, so I’ve decided to interview the person behind Ribbon Around A Bomb this time around, hope you’ll enjoy it and the bands too.

Astro Children – Lick My Spaceship!

An interesting and naive record, with major shoegaze influences. With the first song “The One We Start With“, it sounds like they’re trying to employ something straight out of a cartoon-show. It sounds like something kids would listen to, or a happy-go-lucky kind of approach to both pop, with an alternative twist that clouds the more happier edge of it, into a more spaced out formula. But there’s a certain vilifying strength to the distorted background-noises, as I wallow through the sound-scape, with an increasing and tightened focus for the songs at hand. Even though the first song sounded like something I might’ve tried to listen to before, like Revillos meets a child-show, I think the second song “The Tribal Song (Suck My Shoe)” demonstrates perfectly clear that they don’t want to be categorized as what I’ve just said. There’s a more serious notion to this instrumental song than there was in the first song, but it served as a good opener, which made me think of them as more serious when I came to the second song. It might not be anything advanced, but I like the spaced out freakishness of the sound-scape, with a rock-oriented melody at hand but with a huge touch of the lunar sounds of shoegaze taking place in the foreground.

One of the better songs on this album, which I include when I review stuff, is the fourth song “Interlude“. Even though it might just be that, I like how they sound Astro, and therefore I can finally accept their name. The effects in that song are amazing and bring forth a sense of adventurous lust. I’d like to head into space anytime, thanks to this song. Hopefully they’ll finance my spontaneous request and fill me with joy, by docking in my spaceship and playing their tunes for me. If they’d ever need an environment to be in, space would be the first thing that would pop up in my head. I also like the fifth track very much, it’s like a ballad straight out of their alien hearts. Titled “Humiliation (Encore Song)“, where I get to hear more from the vocalist. I think her voice is absolutely fitting for this sound-scape and it sounds a little bit mournful, but at the same time the instrumentation in the background employ a semi-happy sound. So there are conflicting emotions whilst listening to this, but I think it’s got a good vibe to it and reminds me somewhat of our heroes from the same region: Opposite Sex. A pretty good album all-in-all, definitely something you should check out and get a taste of. We’ll all go to space someday.

Buy their album from their bandcamp and either receive a digital-only download for 7 US Dollars. Or you could get the limited edition album, with a hand-stamped and numbered recycled cardboard sleeve. Featured within this is a full colour insert and a pin-up poster. This goodness is limited to 100 copies, add some more dollars and you’ll get it for 15 US Dollars.

The Foreign Resort – Scattered & Buried

A familiar name in my vocabulary, returning with a pristine and totally new album. They’re actually one of the few bands I know that employ such an emotional sounding mix of post-punk, post-rock and new-wave. It’s noticeable in their first track on the album, titled “Delayed“. I’m also surprised over the fact that they’ve managed to balance the sound-scape so good, because every instrument can be heard and it gives the music that little extra touch. The vocalists voice is enthralling and pokes me at the base of my heart, since he really gives the instrumentation a face and voice to be reckoned with. Spilling out their hearts and minds into the miniature sound-scape, which can change at the blink of an eye and introduce a whirlwind of post-rock madness at the same time. The fluorescent riffs and the emotional edge to everything they do in this song is simply marvelous. It hits rock bottom and then carries you up on its shoulders once again, to fill you up with some kind of joy. It’s noticeable that they’re pretty varied and multifaceted when it comes to their music, which is even more present within their next song, “Buried“. A more up-tempo post-punk virtuosos, within a shell of post-rock. Fast drumming, flanged riffs and an induced feeling of some funkiness. I always find myself thinking about them being in between the mainstream and the underground, because they have some unconventionality to their music, definitely something that can be appreciated by both camps.

Their third song “Rocky Mountains” also employ about the same structure, but with more bombastic overtones this time around. A down-tempo sound-scape that reminds me more of bands on the industrial side of the sphere. They don’t let any influences slip away from them, utilizing these with extreme care and within a perfect range. The fifth song “Tide” is an emotional roller coaster, which enhances their standing, musically, in these times – to a pure maximum. I don’t know of any other bands that can keep such emotions and bring them to a whole other level. At least not in this genre of borderline post-punk/new-wave. I believe they can take it even further, which I hope they do. I hope that when I look back on these times, I realize how much of an impact The Foreign Resort made, at least within their realm. This album is much better than anything they’ve ever released before, and to have such a great line between the good and the old is just fantastic. There aren’t many bands that heighten their activity and make even better albums the further into their musicianship they get. You should be proud of yourselves and your music, because you’ve done a heck of a great job on this album and it’s surely in the top as one of the best releases 2012 had to offer. Let’s hope that you stay that way and lets hope it gets experienced by many, many more people in the years to come. I must also add that some of the remixes were good, but they got a lower number in my chart, because their original songs were superior in that aspect. I’d have to put in the following remix as an honorable mention: “Orange Glow (Novachild Remix)“, which was the best remix the album could offer. However, a big round of applause for this album, you must listen to it.

Buy their album from their site, so click this link. You can also get the physical CD from wherever you find it, but I think that Monolathe Recordings will supply you with it. There are a lot of options over at their site.

Sun Of Eyes – Bedroom Demo

This demo is really weird all-in-all, but contain some pure noise. The song “Idioten På Stranden (The Beach Idiot)” had me dying of laughter. Because I don’t know if this was meant to be serious, but probably not. It sounds like someone trying to hum something below water, so the only thing that comes out of it is incoherent babble. If you’ve ever tried to give away a sound when bubbling away under water, you should know what it sounds like. This sounds exactly like it. At the same time, the instrumental sounds pretty much Mediterranean. For some weird reason it reminds me of an old Onkel Kånkel song, at least in some parts of it. The fourth song “Clouded Judgement” is really one of the better songs on this album, it’s pure noise-rock at the core with an almost inaudible sound-scape. Reminds me of a lot of the earlier death-rock demos for some weird reason, but it’s also got a nice rhythm to it which keeps me listening to it. Even though I had to turn down my sound, because the noise is so overtly audible in the mix. Which in turn renders in both a plus and a minus, even though the song is good when you see to its structure and what kind of feeling I get from it, the noise is so loud that it’s annoying at times.

When I get to the fifth song on the album “Birthday Party Strychnine“, it reminds me a lot of their latest addition. Since I made a mistake of not reviewing this first, it might be a little bit weird in retrospective. But I have to say that this reminds me of some good old The Birthday Party. Maybe not as catchy, maybe not as violent and schizophrenic, but almost headed in the same miserable direction. That, in turn, is a great compliment for this band since I think its got some potential flowing out of the cracks. I don’t think this demo is that great to be fair, but I think it shows a potential of wanting and trying to be something. It’s also just a demo that they’ve released recently and I must say that they bring a whole other kind of music to the table than most of those that have released a demo in 2012. I appreciate this at times, but sometimes it’s just too much. Hopefully they’ll continue, since they’ve already put out something after this and I hope that they’ll get closer to their main goal – whatever that is. I’ll be keeping my eyes wide open for this band.

You can download this for free over at their bandcamp. Or send them a mail if you’re interested in buying the album, via the contact-button on bandcamp.

Leidkultur – For A Better World 7”

One of the first German hardcore punk bands that I’ve found myself. Since I like the German language a lot, I believe that the first song “Der Horst” packs a punch, German-style. It’s got one of the typical sounds of the old school American hardcore, but at the same time states its sovereignty within the sound-scape. Which sounds a lot like the older oi punk bands from Germany to one point or another, utilizing a great strategy of combining a pissed off vocalist with nice riffs and fast drumming. I like how they’ve crammed the baseline into the foreground instead of forgetting it in the background. Second song “Mariyam” is even more up-tempo, but adding a lot more melody to the mix and some nice tempo-changes before letting loose on the total destruction of the sound-scape. Feels like I’m in the pit already, invited by Leidkultur themselves. Running around in circles to this music or jumping up on the stage and doing some crazy stage-diving to this music would be a more concrete vision. Third song “Trottel Zum Aufziehen“, is a continuation of this great formula. There’s not much changing, but now they’ve also got a back-up singer in the mix. I like how the sound-scape is on the border of being to balanced, but has some kind of muddy feeling to it when listening through it.

Their kind of hardcore seem to be something special. With their last song “Giving Truth A Bad Name Since 1903“, the aggressiveness turns itself up a notch. But I feel like they’ve shown their steam in the other songs and leave this as a reminder in the end. It feels like the other songs, but it differs in a way that I really can’t explain. Maybe there’s a little bit more of a change, structure wise, because it switches from up-tempo to down-tempo in between and employ otherwise forgotten things in the mix. However, this album was pretty good and they’ve really bashed their way through my skull and made me realize that it’s a form of hardcore that I haven’t heard for quite a while. It’s got a little bit of that american touch, but I don’t know what I should call it. They’ve got a lot of steam, aggressiveness and attitude – like hardcore-punk should have more of. Which have managed to show me another side of hardcore, when I was thinking that I’ve discovered the most of it. Good album, maybe not the greatest, but definitely has a lot of potential.

You can buy their album from their bandcamp. Or you could venture over to their record-label, Spastic Fantastic Records, to acquire different sets of vinyls for the same release.

I interviewed the author behind the “Ribbon Around A Bomb“-blog, which I found to be very interesting. She goes by the name of “La Lengua“, and she’s based in San Fransisco.

What’s the story of Ribbon Around A Bomb, who are you and where do you think you’re heading?

– Ribbon Around a Bomb started as space to post my ruminations about art and music primarily for myself, and has evolved into collection of subversive material that other people use for both educational and inspirational purposes. I think it helps that the content is tied together with motifs like experimentation, the ‘60s/‘70s, and generally offbeat and radical ideas. RAB has also become a radio show with a focus on strictly female-fronted punk, noise, goth, hxc, post-punk, and DIY sounds. Both the blog and the podcast are most popular in Latin America, although I haven’t figured out why.

Oh, the projects I’m always trying to complete for the future! I want to do more interviews, more giveaways, and make it more interactive. I’’m working on mailing a compilation of rare French punk to readers, as well as making some cool design-y t-shirts to sell.

So you’re living in the San Francisco area? What usually happens around there, could you tell me about the shows in that area that can be interesting and have been?

– San Francisco is the shit. It’’s progressive and beautiful and a hot mess of different cultures, types of art/music, foods… everything. Best shows I’’ve been to since moving here about a year and half ago have been: Noh Mercy, fIREHOSE, Raincoats, Frightwig, Ceremony, and lots of small local groups that play all the time. Favorite venues include Slim’s, Bottom of the Hill, the Knockout, El Rio, Gilman, and Thee Parkside.

It seems like you’re concentrating on delivering female punk-bands, at least when you do your radio bit with RAB Radio. Why is this and what gems would you recommend for this blog?

– Really, I just feel like there are SO MANY female artists who make incredible punk music. It comes down to: I like it. That said, I think women put their own unexpected spin on aggressive music, and they don’t get as much credit as some of the more popular all-male bands, so why not support them as much as possible?

Lately I’’ve been really into Bizkids (Netherlands), As Mercenarias (Brazil), Vacum (Sweden) Sin 34 (USA) and Honey Bane/Fatal Microbes (UK). I don’t listen to many contemporary bands, but I like White Lung (USA), and of course Pussy Riot (Russia).

What kind of categories are steadily returning to your blog and what is their purpose?

– Art, music, things going’ on in SF. It’s all ultimately for me to create some sort of record or documentation of these things that are important to me, all in one space. I guess there’s very little purpose for the reader, but if they want to check it out, well by all means…

Since we’re pretty different when it comes to art – could you explain what you find interesting with modern art? Like the Bauhaus school of art, for example?

– I honestly don’t think that I can. Not in this interview, anyway.

What other blogs do you read on a regular basis when you’re online?

– Only the Young Die Young, Bad At Sports, and girl shit like Pinterest. For music: Good Bad Music, Maximum Rock N Roll, Mutant Sounds, DIE or DIY, (and recently!) Invisible Guy.

I’d also like to ask you something about your vinyl-collection, what does it consist of and where did you get your latest vinyls from, and which bands/artists?

– It’’s a clusterfuck of DIY punk, cowpunk, anarcho-punk, proto-punk, post-punk, folk punk, no wave, new wave, darkwave, hardcore, queercore, grindcore, noise rock, krautrock, garage rock, math rock, indie rock, avant-garde, minimalism, obscurities, desert/Southwest/American Indian songs, with a healthy dose of ‘60s soul and motown. Recent acquisitions include the Gits first EP from Thrillhouse Records in SF, and Yeah Yeah Noh’s “Cottage Industry” from a thrift store.

You also do travel a lot it seems – what’s your favorite place in America and what other countries do you like?

– New Mexico and New York are my two favorite places to visit in the states. As far as abroad, I loved Buenos Aires, Athens, Reykjavik, and Ho Chi Minh City. I’’m hoping my next trip is to Berlin to visit my sister!

What kind of labels do you like and could you recommend anything we should know of?

– I dig me some Acute, Superior Viaduct, SST, Fan Death, RRRecords, and 99.

You’re also very enthusiastic about the “no-wave” genre, what would you say is good about it and what would your own recommendations be that people might not know of?

– I can (and will) talk to people for hours at a time about why I love no wave so much. So I will attempt to keep this relatively short and bearable. But for me, I think everything (space-and-time, wise) lined up impeccably to produce this jarring, nihilistic movement that was destined to destroy itself. I still haven’t found a genre as abrasive and relentless as no wave. It NEEDED to happen. I think before I had no wave as a reference point in my mind, I felt desperate and confused. I didn’’t know how to think about music. The fact that material can exist that is at once art-y and theatrical yet no less authentic and violent… that’s important to me.

Plus, it’s just good, strange music. I love that it’s an extremely isolated and cohesive movement, but manages to include an enormous variety of influences- at times cerebral, funky, angsty, atonal, melodic, mellow… all tied by a certain violence. It’s not “pleasing” music. And that pleases me. If you haven’t listened before, it’s customary to start with Eno’s No New York compilation. Then I recommend digging more into DNA, all of Lydia Lunch’s projects, and Glenn Branca / Theoretical Girls. After that, you might want to check out NY post-disco like Bush Tetras and Liquid Liquid.

Thank you for this interview! Say what you want down below!

– Muchas gracias!

You can find her blog over here:

http://ribbonaroundabomb.com/

Rättens Krater – Stora Stöten 7¨ (2012)

The Cover?

There’s two men digging a grave, or could it be something else? I don’t really know, but the cover seems to be more on the cartoonish side when it comes to the letters. But then again, it seems to be somewhat poetic too. I like the flames over the “ä” and the black and white cover. There seems to be a lot of punk to this record, but at the same time melancholia. Maybe they’re digging some kind of grave to hide the goods they stole? After all, “Stora Stöten” means “The Big Hit“, as if they’d rob a bank or something. The vague shape of the two men digging is enough to instill some kind of noir feeling to it overall, with minimalistic hints here and there. Even though there’s an excess of white color, the colors blend together in a good way, it’s just that the edges seem a bit large to be honest. But maybe that was done on purpose, I don’t know.

Continue reading

Cambridge is falling down with Molasses!

So, I continued my search in a different category. I found some band called Molasses and checked their EP out which is titled “Whiskerbiscuit EP“. They also had one of the weirdest covers, with screechy pink in the background. Turns out that they’re a two-pieced noise-rock outfit, moving through different genres in search of influences. May include: punk, stoner-rock and some math-rock. Excitingly enough, this sounds like a blend of what is good with nostalgia and what’s good with not being stuck in the past.

As I haven’t written who they are, maybe that’s appropriate after some sentences of describing their music. The two girls are Katie Weeks, who play the drums and Alessia Lee that play guitar and sing. I listened through their album and almost 3/4 out of it was good and even remotely interesting. Since there’s a lot of stalemate bands out there, I think I’d rejuvenate your mind with another one of those bands that you usually find on weird occasions, such as this one.

Listen to Whiskerbiscuit EP below and buy the album if you wish, or download it for free.