Montréal trio Lungbutter deliver an exciting, exhilarating and relentless barrage of astringent low end noise-punk, sometimes turning towards sludge rock and slowcore. It’s a rare treat when I get a tune sent in that stops me in my tracks, the preview track from their debut album immediately demanded my attention.
With no bass player in the band Kaity Zozula’s triple-amped guitar sound occupies a wide tonal space from low-end bass to insistent treble, somewhere near the sort of sound Buzz Osborne conjures for Melvins, but also reflecting Moore/Renaldo in the midst of their forays into guitar distress. The song structures are built around guitar riffs of varying tempos supported by Joni Sadler’s muscular, deliberate drums. Ky Brooks’ wry sing-speak vocals remind me of Carla Bozulich (without the growl) and Kim Gordon (but a bit more laconic) and a small portion of Patti Smith – the lyrical content is fascinating, literate and thought provoking.
Constellation have signed them and release their debut full-length, Honey, on May 31st.
Here’s a remarkable taster from the album which can be pre-ordered here.
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.
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!
A bit of a long gap between this blog and the last one – mostly due to being busy organising gigs and releases for German Shepherd . We are doing two stages at this years Salford Music Festival, on Friday 30th September and 1st October, and there’s been a touch of fettling required due to various unforseens. It’s all settled now and we have four bands on the first night – The Junta, Bouquet of Dead Crows, The Scissors and Kit B, and five bands on the second – Rose & The Diamond Hand, Taser Puppets, Poppycock, JD Meatyard and West Coast Sick Line. The line-up is very attractive and it’s free so i’m hoping a few will turn up at the Eagle Inn in Sunny Salford. The major issue at the moment is the great amount going on in Greater Mancunia and the challenge is to get those hardy souls who like cutting edge music out into the night to watch the bands. There may be further antipodean adventures later in the year, but i’ll keep my powder dry on that one. Anyhow the cricket season is nearly over which means I should have some spare time. One more match to go………
So, as I have not done anything on the blog for a couple of weeks, things have mounted up. Of necessity therefore here are some brief notes to whet your musical whistle……
Et Tu Brucé return with a new video for “Laska”, which is on their eponymous album. A band which manages the clever balancing act between a recognisable sound and being innovative without resorting to genre cliches and industry cloning. A delightful tune well worthy of a listen.
Following the release of their self-titled debut album in 2011, and 2014’s Mutations, Obake are back. Their third LP, entitled “Draugr”, signals both a return to the origins of the band “and a purification of their sound” whatever that means. It is released on October 28th via Rare Noise Records. No material as yet but I will share on receipt.
Cardiff’s Slowly Rolling Camera have announced the release of a new one called “All Things” on 4th November…….soulful vocally with some interesting stuff going on behind it by the sounds of it….one to watch out for I would venture.
Cinematic post-rock, a bit Sigur Ros but less ethereal, is the order of the day from Floating In Space. New album “The Edge of Light ” is out on October 14th, You get some glimpses of the content here below. A rich confection of sounds…..
So the promo on this next one says “Honesty comes in many forms, with DUNT, it’s a clattering blow to the consciousness via an Edinburgh-based genre-melding punk/speed metal four-piece.” My immediate reaction revolved around what the hell the drummer was up to in the video…..i’m not sure on this one, i’ll leave you to make your own mind up, i’ve never been a big skate punk fan….but it will get some airplay on one of the podcasts.
Graney and Moore are back with a new one, as part of the “one release a month” project for 2016, and it’s a bit special. When DG goes for the jugular on “political” issues he does it with some style and class. The object of his ire on this one is fairly clear and more power to his elbow for that. Musically Dave and Clare never fail to disappoint and the variety of material in this run of singles has been pretty damn fine. I love the cover image ……..
Talking of matters Melbournian, a plea to the chaps at Witch Hats to release their latest album “Deliverance” in digital or indeed CD form so that those of us who don’t do vinyl can have a copy. Unless I am missing something I can’t find a non-vinyl version anywhere.If you aren’t blown away by the opening track “Weekend Holocauster” then I fear for your mortal soul.
And to conclude our diversions in Melbourne, shoe-gazers, Bloodhounds on My Trail, have a new single out called ‘Over The Wall’ via Texas-based Moon Sounds Records. Reverb drenched stuff which has a timely autumnal feel. Vocally it touches on Barney Albrecht in my head for some reason. Real wall of sound stuff.
Back to the nothern hemisphere and northern britain and I am contractually obliged to advise you of the release of a new one by Moff Skellington, his 31st album. Moff’s been making Mark E. Smith look like a bit of a slacker of late, with his fourth album this year. Sublimely titled “The Gloating Mustards of Error” the bard of Abstercot is in fine fettle exploring, as he does, that strange place between dreams and reality embodied by Eddodi. I live in eternal hope that the rest of the known universe will eventually catch on to what this guy is up to, his unique use of language and musical instruments deserves recognition in an “entertainment” business stuffed with tribute bands and industry clones.
Sofia Härdig‘s new one appears to be about maps and car parks at least in video terms. Musically it sort of hovers between Banshees and PJH, the promo people aim to draw a Sonic Youth comparison which I don’t get, and a Pixies comparison, which I sort of get…..good stuff
The promo says “Newcastle based alternative five piece Bernaccia mix choral and tribal rhythms together with sweeping soundscapes and neo-psychedelic guitars. September 2016 sees the release of their next single “Angel””. I say, the revolving door of post-punk, pre-goth, pre-shoegaze comes around again with a nod towards the noir cinemania of say Crime and the City Solution, and one or two other things of that ilk, it reminds me of a cold November night in a half empty Hacienda in 1983 , you know before youth culture finally cottoned on……said track is featured on the most recent Aural Delights Podcast – see how I slipped the shameless self promotion there whilst you were not looking…..?
To conclude, following on from the recent “Bath White” EP by 50FOOTWAVE , a further release from indie music legend Kristin Hersh, renowned for her solo work and as frontwoman of Throwing Muses. Called ‘Wyatt at the Coyote Palace’, the double CD and book combination releases in the UK on October 28, 2016 . Ms Hersh is on tour in UK and Eire during November landing at Gorilla,Manchester on November 13th for those of you who live around these parts. I’ve asked for a review copy of the new album for which I wait with baited breath….
The last few days has been dominated by bringing together, for German Shepherd records, the much needed and anticipated release of the collected works of Southend’s Stripey Zebras. A band that just about survived 1980/1, they were heavily influenced by The Fall, and the album “We Are Mighty, We Are Stripey” combines the bulk of their historical recordings (and I use that word loosely as they are mostly mastered from a cassette). It will be released in January. It’s the sort of lo-fi post-punk DIY music that was around in those days and has a timeless charm. Musos will no doubt moan about lack of fidelity or “chops”, but I think it is wonderful. You should expect a more fulsome review in due course. It’s a 24 track release combining home and live recordings, with a hidden bonus for those who purchase.
The announcement from Relapse records about the new three track 25 minute release from Agoraphobic Nosebleed, complete with teaser video, is very tempting. Hopefully i’ll get a review copy. There work to date has been well above average and the snippets sound very exciting indeed. It’s called “Arc”.
Gordy Duncan Jr who happens also to be a member of the excellent Girobabies has a new solo album out – from the sampler track it sounds excellent.
The new Sugarmen single is good in a bouncy, indie, jagged guitar sort of way. It came out on Rooftop Records on December 4th.
Blackpool based instrumental rock band Goonies Never Say Die have finally released a mini album of material. Recorded from October 2012 to February 2013 the project was abandoned by the band who felt they were retreading old ground too much. The recording was recently listened back to and was deemed not to be as bad as they thought. The recording was made by one of the numerous previous line-ups of the band, the current line up are half way through writing a new album that will probably also be held back for 10 years and released on cassette tape delivered by pigeon one random rainy day!
Diminished Men – featuring Steve Schmitt on guitars, drummer Dave Abramson (Master Musicians of Bukkake, Eyvind Kang, Secret Chiefs 3, Climax Golden Twins, Grails, etc.), and Simon Henneman on bass, release a new album on February 26th. Titled Vision In Crime, the latest record from the three piece is a full length album that moves through jazz, ethnic and soundtrack territories. Here is a taster:
The first German Shepherd release for 2016 will be a single from Loop-aznavour. Bury’s finest purveyor of theremin soaked punk will be delighting your ears with “The Dance of the Chicken Lady” and “Charles’ Neurotic Fear of Giraffes”.
Recommended newish releases received during the last week are:
The Holy Soul – Fortean Times – Sydney band with a stunning new album……really like this a lot, don’t be fooled into thinking it’s a specific style by the first track it gets seriously different and interesting as it goes along. As heard on Dave Graney’s excellent Banana Lounge Broadcasting Radio Show this one immediately goes into the “Best of 2015” list
The Cavemen – The Cavemen – WIld Cramps style garage rock with a punk edge, good for head-banging after six pints of industrial strength cider.
Kharlos – Don’t think about dying – more wild garage stuff…..pretty intense stuff!
Peacers – Peacers – Mike Donovan out of Sic Alps doing his usual slacker lo-fi pop thing, there’s a nod towards Don Van Vliet somewhere in the DNA of this type of music.
Holy – Stabs – Swedish band – lo-fi aesthetics, garage sensibilites, and soaring psychedelia it says in one review i’ve read. It’s OK but it won’t change the world.
Heather Leigh – I Abused Animal – you’ll either love this or hate it. One woman with a pedal steel guitar and a voice doing amazing things. Heather is well known on the avant garde jazz improv circuit and to some extent this seeps into a remarkable album which combines acapella folk, mesmerising songs and loud distorted guitar noodlings. A challenging listen but well worth it.
The last German Shepherd release of the year will be a single from the ever excellent Staggs called “Funk Me Jesus” which includes a remix from Space Museum. The band were recently described (by me) somewhat like this:
“Small fractures in the space-time continuum create sonic leakages leading to the release of snippets from the cultural whirlpool of late 20th/early 21st century music, art, film, politics, and television. Ridley and Scott curate a melting pot of these snippets of sound, add a tablespoon full of irony, an ounce of righteous anger, a liberal dose of self-deprecation, and a splash of good humour. They create an aural feast of unique and yet familiar sound. No one is safe from Scott’s viperish wit as the peccadillos of the great and good, and those who should know better are exposed, eviscerated and served with a delicious brandy butter sauce. The music of Staggs is socially relevant, robust, makes you laugh and what’s more you can dance the Watusi to it. Be safe and warm and listen to Staggs!”
Whereas The Shend came up with the more pithy “Guaranteed floor-fillers at the Hieronymus Bosch Disco Fun Night”. Whatever they are best described as their new single is great and I commend it to you.
Since I last wrote a couple of nice things have happened. Firstly I am now working with the excellent music venue Band on the Wall in Manchester to compile a monthly “new jazz” podcast which will reflect some of the jazz artists that will be playing at the august establishment as well as featuring some of the best new jazz releases. I am hoping to feature up and coming jazz musicians especially from the Greater Manchester area in those podcasts as well. I have an abiding love for the place as I have seen some of my favourite artists there over the years so it is a real treat for me to be doing this for them. Secondly I am now a featured blogger on the excellent Hype Machine website which highlights some of the best new music.
Talking of the Band on the Wall I was pleased to note that the legendary Curved Air will be playing there on Thursday next. Sadly I cannot attend due to ongoing post ankle fracture problems but my good buddy Stephen Doyle is attending on my behalf and a review of the gig will appear on the blog, courtesy of SD, in due course. It’s a long while since I saw Sonja and Co (supporting Mott The Hoople in Northampton back in the dark ages) so I am keen to hear what Steve and his wife Yvonne make of the performance. More information and ticket options can be found here.
Regina,Saskatchewan, based band Library Voices have released their new album ‘Lovish’. Their self-produced third collective effort, ‘Lovish’ was recorded in an old funeral home. The album was mixed by Dave Plowman and Alex Bonenfant (METZ, Crystal Castles, July Talk). The band have upped the fuzz and fidelity on this release, but have not lost any of their charming melodic pop elements. The 11 song album opens with the line “All of your heroes, they’re all assholes/but that don’t mean you should piss on your dreams” and then embarks on an anthemic 40-minute alternative rock journey. The cavernous reverb of an old Space Echo and a busted up tape machine provides the sonic backbone to this engaging guitar-driven album. There’s almost a mid-period Go-Betweens feel in places which of course ticks all the right boxes for me. One of the better albums of the year, especially when the band get the guitars up to full pelt and the punk psychedelia kicks in.
Father Murphy, the Italian duo comprised of Rev. Murphy and Chiara Lee, who have been inhabiting the underground since the early Noughties with a series of dark, disturbing recordings, have teamed up with producer Fabrizio Modonese Palumbo (Larsen) for a 10” EP, which is appropriately entitled “Lamentations” and is to be released by the avant-garde label Backwards on 20th November 2015.
Preparations continue for the release of SUNN O)))’s upcoming LP, “Kannon”, to be released this December via Southern Lord, and this week the album’s cover art and pre-order options have been released.
As part of the label’s ongoing 25th anniversary celebration, Relapse Records has released a 38-song label sampler available for free download via Bandcamp and Amazon MP3. The label sampler features songs from all of Relapse’s 2015 new releases including TORCHE, WINDHAND, ZOMBI, MYRKUR, ROYAL THUNDER and many more. It also includes tracks from the remixed and remastered reissues released in 2015, including music by PIG DESTROYER, SACRILEGE, EXHUMED, RAZOR, and more! Additionally, the sampler contains tracks from 2015’s new signees MAGRUDERGRIND, ILSA, SEVEN SISTERS OF SLEEP, WRONG, GRAVES AT SEA, and LYCUS. The 2015 sampler is also available for free streaming via all majorportals.
Additionally, Relapse Records released a massive 194-song sampler spanning the label’s entire 25-year history earlier this year.
The Scissors are self proclaimed as “Swirling Hammond organ fuelled psychpop with horrorshow freakbeat guitars and new wave post punk synergy”. They are from Cambridge and is the case with that places music scene there are all sorts of links. Band member Stewart Harris not only designed the sleeve for the recent Bouquet of Dead Crows album but also plays bass in excellent band The Seven Twenty. The Scissors have recently remastered their debut album as well as working on some new recordings which have been sent my way and will appear on a future podcast. Highly recommended!
I suggest you make a brew and get comfy for this one, it has been an extremely busy week. For those out there that say that there is no good new music out there, I beg to differ. A seriously eclectic selection awaits your visual and aural pleasure:
Father Murphy, the Italian duo comprised by Rev. Murphy and Chiara Lee who are troubling the underground since the early Noughties with a series of dark, disturbing recordings, this time team up with producer Fabrizio Modonese Palumbo (Larsen) for a 10” EP aptly titled Lamentations to be released by the avant-garde label Backwards on 20th November 2015. The release completes Father Murphy’s 2015 Trilogy of The Cross, which started with Calvary (a 10 minute long introductory piece released by Blue Tapes in January) and was followed by Croce (Father Murphy’s fifth album and first release for the San Francisco based label The Flenser, released back in March).
Recorded in Turin under the supervision of sound engineer Paul Beauchamp, Lamentations finds Father Murphy at a crossroad of sorts: instigated with the guidance of Fabrizio Modonese Palumbo, the core duo of Chiara and the Reverend opted for a slight alteration of their signature squalor-sound, whilst still remaining cheerfully focused on their thematic obsessions (namely: death, God, pain, forgiveness). Inspired by a tongue-in-cheek reading of the Book of Jeremiah, as well as the traditions that mark the orthodox Holy Week Lamentations, the band have produced two long compositions that Iam advised feel like classic Father Murphy material, yet are substantially enriched in respect to their usually spare sonic palette.
I will share this with you on the podcast when a review copy arrives.
Ritual Productions have announced the signing of The Poisoned Glass, a duo comprised of two members of the legendary doom band Burning Witch; vocalist Edgy59 and bassist G.Stuart Dahlquist.
After the demise of Burning Witch in 1998 and going their separate ways, the two kept in touch, occasionally making overtures towards working together and knowing that they would when it felt natural. The Poisoned Glass started with the song ‘Silent Vigil’, a twelve-tone progression Dahlquist had originally intended as a tonal bass solo. After experimenting, he felt that the resulting sound was heavier, more despondent and unforgiving than any of his existing projects and sent the rough mix to Edgy, who understood immediately that this music represented perfectly both voices as a unit. It came naturally, as though it was meant to be, and with that, the duo formed, and set out to record as The Poisoned Glass.
The instrumentation is exclusively centred around bass guitar, organ, and voice – nothing more. In spite of seemingly limiting instrumentation The Poisoned Glass is far from minimalist; the atmosphere is bleak but so dense it is virtually without air. Dahlquist’s unison bass and organ is massive, building, evolving and expanding, punctuated by Edgy’s unbridled tenor and the irregular jarring of one or two note dissonant harmonies.
The Poisoned Glass will release their self titled LP on Ritual Productions in spring of 2016. More details of that to follow in the coming months.
Philadelphia psychedelic rock trio, Wizard Eye, release a self-titled new full-length on October 10th via Black Monk Records. Recorded in three days at Haddon Heights, New Jersey’s Gradwell House Studios with Steve Poponi producing and mastering by Dave Downham, the follow-up to the band’s 2010 Orbital Rites debut includes their signature brand of mind-bending riffs , bottom-heavy grooves, churning bass, otherworldly effects and raw vocals. Their roots are planted firmly into the lysergic soil of ‘70s acts like Hawkwind, Budgie, Blue Cheer, Captain Beyond, Motörhead and Black Sabbath, Wizard Eye shows the band operating at the pinnacle of its creative and musical abilities.
Paris’ based duo AaRON return with ‘Blouson Noir’, the first track to be lifted from their upcoming, self produced, third album ‘We Cut The Night’. The duo’s debut ‘Artificials Animals Riding on Neverland’ came out in 2007, it sold over 400, 000 copies and is considered a classic by many. Years to follow saw the accolade of another chart topping album (Birds in the Storm) and the pair being awarded with a European Border Breaker Award followed by a sold out tour. ‘Blouson Noir’ tells a tale of a late, sleepless and very much lovelorn night in New York City; walking alone in the cutting darkness through the concrete, the buildings, the sirens and the overpowering nature of it all with nothing but the sounds of Grace Jones “Strange I’ve Seen That Face Before” playing. “
The Insight deliver a stong post-punk sound with a Gallic tinge. They release album White Noise on 25th September. Manc/Scouse influences are strong throughout, lots of flanged guitars and reverby drums with dramatic vocals. You can pre-order on Bandcamp.
Written whilst under the influence, the stomping new single “Kicking the Habit” out 12th October, finds Greg Hooper and Gordo Francis of The Lost Art in a playful, raucous mood. The single comes from pair’s Special Edition version of their self-titled debut album set for release 2nd November. Included with the albumrelease are special remixed songs along with a fully notated score allowing fans to enjoy the duo’s music in a new and unique way. Mixing the old with the new, the varying cocktail of quirky remixes add extra flavour to this inspired thirst quencher of an album. It’s very good in a teetering on the edge of collapse way, sdaly however I have nothing to embed for you as the promo people seem to have neglected to send a link other than for the last single which seems a trifle odd. Anyhow it will be on next weeks Aural Delights so you can hear it then.
To celebrate her signing to First Word Records and announce her forthcoming mini-album ‘Of The New World’ Sarah Williams White has released ‘Winter Sun’ as a free download.
Here’s a little background to the track from Sarah herself:
‘I wrote this track to gratify all these images from films I had in my mind like Empire of The Sun, Fist of The North Star… imagery of a post apocalyptic/war-torn world, but nature with it’s strength and beauty just standing it’s ground! The Sun, or that something at the end of the tunnel that gives hope through darker times..
All my new music seems to have this underlying theme of time and repair, and the awesomeness of earth. Its a bit of a theme throughout my upcoming record Of The New World.
‘Winter Sun’ started out as a li’l instrumental idea with my Hohner Pianet over a beat of Timmy’s (Timmy Rickard is the drummer and engineer I work with) – I’d been listening to a lot of Roy Ayers! Then it kinda filled itself out over time into a more spacey harmonic piece with the poem and vocals, new b-boy drum grooves from timmy and my juno 106 playing the glaring Sun.’
It was released on 17 September 2015 and is an inventive jazzy tune which improves on repeat listening.
Cheeky London chappies The Black Sparrows release a new single , they describe themselves as punk n roll, dapper flat caps and waistcoats would normally be a turn-off but this lot manage to grab my attention wth a sort of Libertines/Heartbreakers looseness.
Gabrielle Papillon is a Canadian singer-songwriter with a fantastic voice. Her upcoming album The Tempest Of Old captures the pick-up-and-play honesty in her song writing with each track being beautifully produced alongside a yielding sense of time and place. The album , will be available for sale and download Friday 25th September 2015. Get You Well is the first single from the album. This is her fifth album so I think a check on the back catalogue will be worthwhile given the quality of the new one.
The Melvins, who are currently in the midst of a European tour, flash back to their 2012 attempt at a world record setting tour of the United States (plus DC) with the Noember. 13th DVD release of Across The USA in 51 Days: The Movie! The tour launched on September .5th, 2012 from Anchorage, Alaska and wrapped up fifty-one days later, October. 25th, on the sunny shores of Honolulu, Hawaii. “We figured it was time for us to do something REALLY crazy,” Buzz Osborne said at the time of the band’s transcontinental trek. The band documented the outing via Spin (http://www.spin.com/tag/melvins-tour-diary/) and also through a collection of never-before-seen video footage. I’m putting together an Aural Delights special podcast on the Melvins to coincide with their Manchester appearance (October 9th at Gorilla)
To be brutally honest I’m not sure Ben Chasney’s head is at these days. Drag City release Six Organs Of Admittance‘s latest Hexadic II on November 20th. The album appears to be an acoustic variation on the tunes on the preceding album, athough it’s best described as a transformational process rather than a faithful reinterpretation. It took me a few listens but I began to get into this enjoy what he is up to. He ploughs his own furrow and does it well.
…and finally, I am most overjoyed to find that the ever excellent Monster Island have a seven song EP out hopefully later this year. They are down in that there London on 10th October for a gig at The Windmill Brixton for International John Peel day. Here’s a little reminder of how wonderful they are.
There is a new single out from the excellent Damn Vandals which is released on 6th November.
The new album from Myrkur is absolutely stunning, the blend of ethereal ambience and throat shredding death metal is quite remarkable,
Melbourne based band The Sunday Reeds are Romana Ashton (vocals, bass) and Drew Jones (guitars). Their debut LP ‘Drowning in History, released through UK indie label Squirrel Records in 2009, led to an extensive European tour in 2010 which won the band a huge following but came at a cost. Then a couple, Romana and Drew split up in Paris, the City of Love, an experience that became the inspiration for their critically acclaimed EP ‘Amour Tragique’, a collection of five songs about love and loss. Latest single ‘Pretty People’ written by Romana Ashton, produced by the band and mixed by James Aparicio (Spiritualized and Mute Records) offers an insight into the direction of the album that the duo are currently writing. On one level ‘Pretty People’ is about cliques and their sense of self-importance, and on another, is a caustic social commentary about our culture’s fascination with ‘the trivial’, celebrity, gossip and fame by proxy. A video for the single will be released on the 12th of October to coincide with the official release of the track to the public. The Sunday Reeds plan to tour Europe in 2016.
Kranky have announced the upcoming Christopher Bissonnette album, Pitch, Paper & Foil, which is to be released on the 6th November. Continuing the explorations of the analog synthesizer ﬁrst revealed on his last album, Bissonnette’s deft touch in recording and mixing is a joy to experience. While most contemporary analog synth dabblers ﬁnd themselves unable to not overload the sound-ﬁeld with the endless array of possibilities the instrument provides, Bissonnette provides a master class in economy and control.