Exclusive Premiere: WTCHS – Tiger

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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

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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!

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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!

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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

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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

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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!

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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

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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

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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/