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.
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.
Bouquet of Dead Crows are:
Antoinette Cooper : Vocals
Neil Bruce : Guitars
Graeme Clarke : Bass
Andrew Coxall : Drums, Percussion, Trumpet, Synths & Keys, & Backing vocals
In this modern world where the bland and the safe seem to be more commercially acceptable than the cutting edge, and thought provoking work gets little traction, it’s hard to maintain a positive perspective on the music industry. Operating outside of the norms of that industry is one action which gives blessed relief from the mundane. Self releasing and self promoting is hard work, it will cost you money, and time, and it may not reap the financial results that might be deserved, but you will at least get your music out there. When we set up German Shepherd records nearly three years ago now we had no real plan, we had some ground rules, and some small objectives, but we didn’t have an end game. Perhaps that was a good thing. Expectations might have been too high. There is frustration in this. A sense of disappointment that music we genuinely feel deserves to be heard and enjoyed isn’t getting the sort of exposure that others are. But we carry on. By Christmas we will have released 53 albums, EPs and singles this year. Some will say that is too much, they might be right, but it came in, we liked it and so we sent it out into the world.
The 49th of those releases is from Moss Skellington. Those who know what we do will realise that this is a partnership between Ian “Moet” Moss (aka House Mouse) and Moff Skellington. The two have collaborated on two previous singles, and two live events, in the last 18 months. The time was right for an album.
The methodology is fairly simple. Ian writes some words, and sometimes narrates them into a sound file. Moff builds a musical world around them with his battery of unique instruments. The component parts are then sent over to me for a degree of cutting, pasting, and fettling, and then Ian and Moff may add more vocals. The resulting whole is then mixed and mastered for sending out into the world. This eschews the need for expensive recording studios and other such trammels of the music industry. Most of it is done on a home studio, a phone, and a lap-top. These things are possible nowadays.
The album is called “The Lump” and comprises seven tracks. It represents two artists at their creative peak who are both cutting edge and thought provoking. The music is grounded in traditional folk forms but don’t be put off by that genre description. This is the folk of Comus and that ilk, not some chap in a woolly jumper with a finger in his ear. it is folk with bits added, a hint of Tom Waits, a smattering of Pere Ubu, a dusting of Fripp and Eno, an echo of Faust, a whimsy of Kevin Ayers, and nod towards modern urban forms like grime. Moss’s well renowned vocals and lyrics are of course the centre piece, but the added value is Moff’s particular use of music to create new and vivid backdrops for the words.
The subject matter is intriguing, the title track appears to be medical in it’s nature but on closer examination is revealed to have much deeper meaning. The combination of dark urban synth sounds, blues harmonica and squeeze box is utterly unique. “Chalk and Cheese”, which has a great call and response between the two protagonists, describes relationships in a honest way. “Look at the Fool”, with african rhythms from Moff, is a piece of Moss biting wit which requires close hearing. “Posh Nosh” derides the current obsession with food in the “Masterchef” era. “Serial Killing” is a dark tale of murder and mayhem on the underground. The 17 minute “The Mouse Engine” is a magnum opus which takes you through a word-scape which Lewis Carroll would have been proud off, rich with imagery, and utterly marvellous. The album closes with the plaintive waltz “The Other Side of the Looking Glass” which offers a glimmer of hope for the future.
Exceptional , unique and stunning. It should be listened to and is a primer for outsider music. it is released via German Shepherd Records on 25th November 2016.
Well chums there’s been an extremely eclectic mix of things in this week so without further ado lets look at some of the exciting new music coming your way….
Los Angeles-based Cleopatra Records and artist-run cassette label Practical Records present Rachel Mason‘s new album ‘Das Ram’ LP on November 18th…
Avec Le Soleil Sortant De Sa Bouche release their second studio album “Pas pire pop, I Love You So Much on January 20, 2017″…
Keeping up my Antipodean musical obsession I was recently contacted about Fraudband. They are a duo from Melbourne with their own, rhythm based take on psychedelic-rock. They steer clear of the typical sounds within this genre by leaning on influences such as Sonic Youth, Dirty Three and The Birthday Party and they sound like this…
Berlin-based trio The History of Colour TV is back with new music, presenting ‘Wreck’, the first single from their forthcoming third album ‘Something Like Eternity’. You can stream the single here.
Hiphop pioneers Dälek will be touring this month for a week of live shows, following on from the release of their 2016 comeback LP, Asphalt For Eden (Profound Lore), the first new record from the NYC trio since 2009. Ahead of these shows, they have released a brand new track, ‘Molten’, and the wind-tunnel production and furious wordsmith delivery that have become the group’s calling card have been amped up to reflect the song’s theme… dates are
22/11 – The Louisiana, Bristol
23/11 – Saint Lukes, Glasgow
24/11 – Chunk, Leeds
25/11 – Thomas House, Dublin
26/11 – Corsica Studios, London
27/11 – Islington Mill, Sunny Salford
The Comet is Coming have released a new single, “Final Eclipse”, which you can stream and purchase now via Bandcamp. It is the first new music from the three-piece since the release of their critically acclaimed, Mercury Prize-nominated LP Channel The Spirits, though the band had also shared some remixes since it’s release. They are playing Band on the Wall on December 11th.
Lawrence English, composer, artist and Room40 curator returns with a brand new record “Cruel Optimism” on 17th February 2017, here’s a taster….
Camilla George is set to release “Isang” on Ubuntu Music early next year. This will be her debut album – the MOBO nominated saxophonist, composer and teacher is already an established musician on the jazz circuit ….not sure if this track is on the album but I’m having to use this rather than the ones I’ve been sent as they are can’t be shared at this stage. What i’ve heard sounds excellent so watch out for this artist…
Dallas shoegazers Bloodhounds On My Trail have released a single ‘Places Like This’ and announced their ‘Haunted Isles’ EP….
Southern Lord are reviving the music of Philadelphia’s lost punk heroes, Ruin. Long considered a treasured local delicacy of the city’s earlier hardcore scene, Ruin released two albums during their original run, 1984’s He-Ho and 1986’s Fiat Lux, both of which will be combined for a vinyl release this December. The LP will see release on December 9th and pre orders are now live via the Southern Lord store.
Canada’s budding Label Obscura has announced that it will release a limited run vinyl reissue of ‘The Coastaline Fire’ LP – the final album by Ontario indie rockers Chore before they disbanded in the early 2000s. All tracks have been remastered for vinyl. It’s a damn fine album and is well worth checking out…
And finally, Friday 18th sees the release of the latest collaboration from Ian Moss and Andy Quayle as Moss Skellington. Following on from two well received singles the duo have now completed their first album “The Lump”. Characterised by Moff’s unique musical vision and Ian’s sharp polemic and biting wit with words, the album brings together two iconoclasts to create a unique musical vision. With subjects as diverse as posh food, murderers and sibling relationships the album provides a heady mix and includes the magnum opus the 17 minute “The Mouse Engine” which was premiered in Leeds earlier this year. The album was mixed by Space Museum who also contributed to the title track.
You’ll be able to download the album from midnight 18th November via Bandcamp…
Southern Lord have just announced the signing Ohio-based band Crypt Rot for the release of their debut release, “Embryonic Devils” in early 2017. The group, formed by several current/former members of Homewrecker share have shared an early stream of album track “Chapters Of Torment” and also announced new live dates in the USA, including a set at The Power Of The Riff.
For the recording sessions of “Embryonic Devils”, the band enlisted Bill Korecky at the Mars Compound (Integrity, Ringworm, Homewrecker), the sample track reveals a ferocious high-gain sound which demands attention.
Beginning in Ashtabula, Ohio in early 2016, Crypt Rot was formed by lead vocalist/guitarist Ryan Sposito (former frontman of Homewrecker), drummer/vocalist Matt Izzi (Homewrecker, Scorched), guitarist Joe Dedomenic, bassist Steve Cray (formerly of Homewrecker), and additional vocals from Allie Dioneff. The band is influenced by old-school Swedish death metal, punk, and hardcore, including bands like Carnage, Dismember, Death, Cannibal Corpse, Repugnant, Deicide, Dissection, and more. We are promised drop tuned aggression, full of tempo changes, scorching harmonies and relentless riffs, lyrically conveying a creative focus on life and death, politics, anti-religion, suffering, and personal insanity, with each song displaying a sense of destruction in a unique, and brutal form.
Sounds pretty epic and I shall share the album on podcasts when it arrives.
Time is escaping me at a rapid rate due to lots of other workloads, with no time for considered prose. So this time it’s just a series of videos and soundclouds of things that I reckon you should wrap your ears around. They are out now or due soon. Plus there’s a list of current favourite listens at the end of the post showing what’s on rotation on the I-Pod at the moment….and a bit of shameless self-publication at the bottom. Enjoy!
Apologies for the lack of written FT action of late but i’ve been waylaid by the combination of a kidney stone and a lot of activity around German Shepherd Records.
As usual there is a lot to catch up on so i’ll dive straight in…….
Ash Borer will release their third full length album, ‘The Irrepassable Gate’ on December 2nd, 2016 through Profound Lore Records on CD/DLP/Digital formats. Psychic Violence will handle a cassette edition as well as a deluxe art edition of the DLP to be released at a later date than the standard run.
Jason Simon, best known for his work as the guitarist and singer for the seminal heavy psych band Dead Meadow, releases his new solo record Familiar Haunts. On Familiar Haunts Jason takes his love of the haunting Appalachian banjo playing of Dock Boggs and old time Americano Folk music to create a heady mix where wheezing organs come up against Maestro like drum machines and delivers on the weirdness inherent in old folk/country and blues tunes.
Members of the Melvins (Buzz Osborne and Dale Crover), At The Drive-In (Omar Rodriguez-Lopez) and Le Butcherettes (Teri Gender Bender) have formed a new rock band, Crystal Fairy.
Crystal Fairy’s self-titled debut arrives February 24 via Ipecac Recordings with the song “Drugs On The Bus” streaming now. A limited edition 7” featuring “Drugs On The Bus” and “Necklace of Divorce” was available October 10 via Amphetamine Reptile.
Sacred Bones Records will be releasing the new 12” release Ghosthouse from NYC heavy industrial duo Uniform, ahead of a full-length record due out in early 2017.
For the uninitiated, Uniform are old friends Ben Greenberg (ex-The Men, Hubble, and the producer/engineer responsible for much of the Sacred Bones catalog) and Michael Berdan (ex Drunkdriver, York Factory Complaint) and formed in New York City in 2013. Uniform open the hood on Godflesh’s engine and make some dangerous adjustments, creating grimacing punk-laced deluges of distortion and decay that often speed up in to punishing extreme metal levels of intensity.
Ghosthouse shares a basic configuration with the previous Uniform releases, but the tools have evolved far beyond their initial drum machine and bass synth setup. These songs have grown from a broader palette of sounds – shots, explosions, implosions, impacts, ricochets, collapse; the sounds of conflict, war, and destruction that we witness every day. The three songs on Ghosthouse show the incisiveness that Greenberg and Berdan now have at their command. The result is the most sonically confrontational Uniform material to date.
OST is the mental-illness-rock project from Irish born, New York based musician Shane Harrington. Growing up in the murder capital of Europe Limerick City, (or Stab City as it is referred to in the media) Harrington spent the first half of his life staying inside, drawing and playing music. Before leaving Southill (the most crime ridden ghetto in Limerick City) at 16, he lived in a housing estate between two feuding gangs. Here, his family home (as well as his fathers car) were set fire to multiple times. Prior to this his house had been burgled while he was still inside, he had witnessed the attempted murder of a neighbor and his mentally unwell mother and politically active father had divorced. The following years gave way to art college, touring Europe with DIY punk bands and eventually moving to New York.
After being asked to be the new guitarist with NY noise-rock legends Skeleton Key, as well as curating shows and showing art with the likes of Sonic Youth’s Lee Ranaldo, Harrington finished work on his 3rd album. Uncaused is the result of two years of experimentation, a tapering off from high dose SSRIs and a deep researching into some fringe philosophies.The lyrics deal with themes of mental illness, trauma, psychology, therapy industries and social issues. Guitars, bass, sequencers, synths, organ, art, engineering and mixing were all handled by Harrington.
I would normally be put off by the description indie/folk/country but Brooklyn based Aircrafting prove to be an exception to the genre classification.
They began as the DIY recording project of Jon Tehel and Daniel Jacobs, who produced collections of hazy lo-fi folk tunes recorded to cassette 8-track. In 2015 Nicole Lawrence, Pat Floyd, and Lee Bones joined the duo—transforming the project into a fully realized live band. “Dreamers” is the first full-length record from the group as a five-piece band. They are reminiscent of The Band but also have a full modern sound which encompasses everything from folk ditties and country ballads to full-on rockers and long smouldering jams