New album from Teeth of the Sea

Teeth of the Sea release their fifth album Wraith on 22nd February, a string of dates accompanies the new offering. 

Saturday 23/02 FRANCE Rouen le 3 Pièces
Tuesday 26/02 FRANCE Nantes La Schene Michelet
Wednesday 27/02 FRANCE Lille La Malterie
Thursday 28/02 BELGIUM Gent Charlatan
Saturday 02/03 UK London Moth Club
Friday 12/04 UK Todmorden GOLDEN LION
Saturday 13/04 UK Manchester Soup Kitchen
Friday 26/04 UK Ramsgate Ramsgate Music Hall
Saturday 27/04 UK Bristol Rough Trade

The Manchester gig features ex Ascension man Doug Hemingway’s new band Trianglecuts.

Here’s a teaser

Pre order from Rocket Recordings via Bandcamp here

Photo by Al Overdrive
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New Barnett + Collocia

Barnett + Coloccia is the musical collaboration between Faith Coloccia (Mamiffer, Mára and recently vocals on Jóhann Jóhannsson’s ‘Mandy’ soundtrack) and Alex Barnett (Oakeater, Champagne Mirrors).

Each record begins the same, with a reunion of two good friends catching up on life changes, new ideas on existence, magical occurrences, and difficult experiences. The ideas in the reunions between Faith and Alex plant the conceptual seeds for each song. The music itself takes influence from cinematic soundtracks, 20th century classical and early electronic music.

The project is a true collaboration in the sense that the songs never end up as one person’s vision, rather they end up somewhere new, where the whole is a strange extension beyond the sum of the parts.

Recorded over three days by Nicholas Wilbur at Anacortes Unknown. Randall Dunn’s production helped to realise each song as a space in time event.

With two previous albums released by the Blackest Ever Black label, B+C continue their singular approach on SIGE with VLF their third outing into the unknown, which sees release on 22nd February 2019.

Here’s a teaser – which sounds remarkably good

Fashion Victims

Interview with Stewart Harris bass player and vocalist with Cambridge band The Scissors about their new album “Look Good In Cheap Clothes” which is released on German Shepherd Records on December 7th 2018.

 Where and when was the new album recorded?

We recorded it mostly over the summer and early autumn, in our own little rehearsal space; trying to do it fast this time to see if we could make an album more quickly. When you get it down faster, it’s a better snapshot of where you are at the time; hopefully a more coherent album – which was especially important given the more diverse sounds we were using.

The Scissors 3

On that point in some areas this album feels like a completely new direction for the band with different sounds – do you agree?

Yes, we wanted to broaden our palette, and come up with sounds that fit the songs, not worrying that we had to sound a certain way. Part of that came out of an opportunity a short while back to do a backing track for Ian Moss’ spoken word project. That was a different way of working, which we really enjoyed, so (as well as re-working that track to fit our own words) we tried a similar pared-down approach on a couple of other songs too.

Give is a brief summary of each tune – describing what its about

– ‘Plug me in’: examining our (toxic) relationship with social media channels. The insidious nature of how its positioned in our lives now. Sonically, a bit of an early 80s new wave vibe on this one;
– ‘Parking cars’: ambition and personal disintegration considered via the metaphor of metropolitan traffic management. Garage punky old-school Scissors sound;

– ‘Death engineer’: a reflective and moody thing about the horrors and ubiquity of inbuilt obsolescence. Stewart gets to play his upright bass on this one, with Simon on Fender Rhodes piano. May contain dangerous hints of lounge jazz.

– ‘Look good in cheap clothes’: ‘we all are undressed in the end’ – pretty self explanatory, this one. The backing track started out as part of the Ian Moss spoken word project, and Stewart wrote new words for it.

– ‘I dream in X-ray vision’: Another garage punky one, about feelings of isolation shot through with ‘b’-movie imagery. Seeking a soulmate from the Black Lagoon;

– ‘Edgelands’: about those strange between-places where urban areas meet the countryside, in a quasi-mythic wasteland of forgotten and unwanted detritus and overgrown weeds. A playground for the adventurous and trap for the unwary;

– ‘When is a boy not a boy?’: to thine own self be true, regardless, essentially. Thunderous lo-fi garage punk;

– ‘Ufotopia’: strident celebratory psych-glam-stompf that partly disguises a lyric about wilful self-deception. This track bookends with the opening track; but this time, wariness of the internet and its plastic pleasures has been discarded, embracing the fake with wild abandon. At least until it all fades away, leaving a lone sparkly piano playing in the void…

Other than you being in about five other bands are the others up to anything else?

Simon is going to pimp up his new tricycle with some flower stickers; Toby is staying in a lot and writing to his penpal; Huw, we suspect, is building a space rocket in his back yard. Per ardua ad astra!

cheap clothes

parasitic insects teach us humility

1987/8 …. the murky years between post-punk and the emerging Madchester.  The Manchester Music Scene was in some sort of flux. The nationwide scene was dull, with Duran Duran, Spandau Ballet and Stock, Aitken and Waterman dominating. On a wider stage the Sonic Youth influence was palpable, “Daydream Nation” was the album on everyone’s lips, the since self-disenfranchised “Moody Chops” had his first solo album out, “Surfer Rosa” was making the Pixies a thing. Michael Jackson dominated the charts. The Fall hit a pre “Brix-exit” creative high with “The Frenz Experiment” and “I Am Kurious Oranj”.  Similarly Wire returned with the incredible “A Bell Is A Cup”. “16 Lovers Lane” both celebrated and destroyed The Go-Betweens as Grant and Amanda’s romance ended. Dave Graney and Clare Moore were moving between The Moodists and Coral Snakes/White Buffaloes and London & Melbourne. In Manchester clubs went in another direction, availability of ecstasy started to change the musical landscape. Towards the end of the year “Bummed” presaged what was to come.

Out of this context Boz Vile and Art Carbuncle, plus a drum machine called Sissy, conceived and delivered Flea.

The Boardwalk was a venue and rehearsal rooms at the bottom of Little Peter Street, now long gone and replaced by the “Great Northern Square” – it was the venue of choice for aspiring rock acts and a central part of an ongoing music scene. Many of the bands that would dominate the emerging scene started there. Flea were part of that collection of artists. They were active between 1988 and 1993 playing at many of the key gigs in the city around that time period.

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Flea dissolved in 1993 when there particular brand “micro chip axe murdering” failed to connect to the psychedelic haze of Madchester in full flow.  Another example of genuinely talented musicians with cutting edge music being lost in a morass of the mundane. Their edgy, anarchic, sound was more in tune with what was happening in America and I have no doubt that if they had relocated to America’s West Coast they would have received a warmer welcome and achieved some longevity.

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“parasitic insects teach us humility” collects recordings from 1990/1 in Bedford and Manchester and the release on German Shepherd Records emerges from that labels’ relationship with Boz Hayward, and also an appearance at the Star and Garter in September 2017 supporting The Cravats when the duo (and Sissy) re-emerged after a 25 year gap. Rat’s other band Dead Objectives also played the gig. A follow up gig at this summers Manchester Meltdown lead to a continuing conversation about releasing the album. Several months later it gets general release on November 16th.

I don’t need to say any more – have a listen…..

Immediate

I’m late to the party as usual on this one. They are a Manchester band but a friend from Northampton brought them to my attention. They are a six piece (yes I know the photo only has five but it’s the only one I could be bothered to grab) called D.U.D.S. (or possibly d.u.d.s. depending on what part of the internet you are looking at). There appears to be quite a bit of internet chat and 6Music action so I suppose I ought to file them away in the “not obscure enough” pile but I was quite taken with the Trout Mask guitar of the opening track so I persevered.

As I continued it became clear I was back in 1982 again.

In summary it’s Beefheart plus Gang of Four plus James Chance/White plus Talking Heads plus early DEVO, maybe a bit of early Tuxedomoon,  plus any number of noisy guitar oiks who were hanging around Oldham Street/Swan Street at the time of Hex Enduction Hour. If you are as old as me you will have heard it all before and be mildly bemused about the rotational nature of music (time wise that is…if you hang around long enough all types of genres come back round again). If you are under 40 and haven’t mined the back catalogue of Manchester post punk (i.e. 1980 to 1985) then you are in for a pleasant surprise as their angular atonal brashness is quite arresting.

Of course Ian Moss invented this type of music with the Dodos (not the american ones) and The Stepbrothers so it once again proves he was way ahead of his time.

Anyhow I’ll be playing track a week on Thursday but here it is if you want to check it out…….

duds

Motus Octo

Bouquet of Dead Crows return with their second full length and a fuller, more aggressive sound emerges, consolidating the tension between the hard rock of the music and Toni Cooper’s melodic vocals. The music takes on a much broader more orchestral sound, the riffs are heavier, the structures are more complex. The band have demonstrated a clear development of their sound in this release.

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The title (referring to the fact that there are eight tracks on the album), essentially means ‘eight movements’, or eight emotions.

Limited Edition Colour Vinyl Versions of the album plus T-Shirts and gig tickets are available at Music Glue . CD copies have completely sold out.

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Bouquet of Dead Crows are:

Antoinette Cooper : Vocals
Neil Bruce : Guitars
Graeme Clarke : Bass
Andrew Coxall : Drums, Percussion, Trumpet, Synths & Keys, & Backing vocals

The album was recorded and produced By Neil Haynes at the Parlour and artwork was by Stewart Harris

It releases November 23, 2018.

Tour dates to support this release….

NOVEMBER

15th – Esquires, Bedford
24th – Motus Octo launch at The Blue Moon, Cambridge
29th – Gringos, Norwich

DECEMBER

1st – Smokehouse, Ipswich
6th – Mama Liz’s Voodoo Lounge, Stamford

Sic Transit Gloria Mundi

In November 2017, before Ulver embarked on their European tour supporting the  successful The Assassination of Julius Caesar release , out of the blue they launched the EP Sic Transit Gloria Mundi digitally on their own Bandcamp page – under the radar of most. It followed a bit later on Spotify, iTunes, etc. They have finally got round to releasing the album in physical form for the first time by way of a 12″ vinyl upcoming on House Of Mythology on December 7th, 2018.

The new version of the release contains the three studio songs from the digital release with the addition of four live recordings.

In respect of the three studio songs the band report:
“The sad remains from the Caesarean banquet. Two songs we kind of left on the drawing board but resumed work on this summer. Additionally, a cover of a childhood favourite – one we actually started some twelve–thirteen years ago, around the time we first started talking about making some ‘pop’ music. This EP was finalised in our new studio in the old town of Oslo in September, and sent over to Youth’s in London in October, for imperial sound quality. ” 

Ulver also uploaded two videos, using footage from their  concert at Labirinto della Masone, Italy, in the summer of 2017. Two songs, “Southern Gothic” and “Transverberation” from that concert have now been properly mixed, alongside “Nemoralia” from Odeon Theatre, Tasmania,  summer 2017, and finally “Rolling Stone” from Grieghallen, Bergen International Festival from 2018.

The bands particular form of epic prog is in full effect here. Huge cinematic statements with Kristoffer Rygg’s vocals soaring effortlessly over massive reverb drenched soundscapes. The live tracks are especially fine with the band firing on all cylinders to deliver memorable performances, the version of “Rolling Stone” is a stand out statement from a band in fine fettle. The Frankie Goes To Hollywood Cover is a bit of a head scratcher in the context of the bands own material but that slight concern is abated by the quality of the rest of the release.

The band were previously featured on Aural Delights 228

Ulver
Photo – Ingrid Aas

The band has decided that for the time being these four live tracks will only be available on this vinyl edition. 25 minutes of exclusive bonus material, as a bit of a reward or incentive to those who still buy physical music.

The vinyl is available in three different colours: punk yellow, purple and classic black. The cover shows Francis Bacon’s Study of Velásquez’s Portrait of Pope Innocent X (1953),  Design iis by the immaculate Paschalis Zervas, + wolframgrafik.

For purchasing in the EU/UK 
For purchasing in the US