Fascinating Things : Issue 49

As you will be well aware,  if you read this nonsense on a regular basis, there is a lot of new music out there which barely gets the recognition it deserves. It is a sad indictment of the increasingly polarised music mainstream that a handful of artists dominate the media when arguably more talented folk don’t get a look in. The so called arbiters of taste peddle the promo gubbins that pluggers and labels zap their way. When I listen to some of the dross that gets peddled on so called hip radio or red buttons I get a tad grumpy.

I’m also acutely aware of the passage of time and the regular repackaging of formats so that material from across the long history of my music listening regularly reappears in what is the latest “hip” format. Following the deification of vinyl over the last year or so the CD lovers (of which I am one) have started the inevitable fight back against what must be the biggest con job the music industry have foisted on the public since 8-track cartridges. There will be several friends and acquaintances that will vilify me for calling out the great god Vinyl but I remain convinced that the great listening public have been tricked into purchasing music in a format that has inherent built in obsolescence and is horribly overpriced as well as being bad for the environment and taking up far to much space. Whatever, it’s all about opinion, if you want to  collect vinyl because it fills you with misty eyed nostalgia of a time, in the vast majority of cases when you were not  even born,  and where music was more legitimate because it was played on a  dansette, that’s fine with me. I don’t recall it being much fun picking up a copy of “Selling England By The Pound” at the shop on Piccadilly Station approach and having to take it back several times because of the skips, jumps and crackles. As things stand I couldn’t possibly afford a home that could house all the vinyl versions of the music I have collected over the years, CDs are pushing it a bit space wise but I can just about accommodate them, MP3s on external hard discs are the most convenient option as the moment.

I must reference the sad death of Keith Emerson. ELP have got a bad press over the years, and I would be the first to admit that after “Brain Salad Surgery” my interest in them waned, not helped by that completely over the top BBC feature on them and their touring excesses. Notwithstanding that Emerson’s early work with The Nice still stands up well and the first four ELP releases had some fine moments. I saw the band twice. The first time was at the Oval in 1972 when “Tarkus” had just been released; on the day they stole a march on Genesis with Peter Gabriel in his red dress and foxes head (Foxtrot had just come out), with two giant Tarkuses appearing on stage. The second gig was in 1974 -ish I think  at a cavernous Wembley Arena where the band were reduced to mere cyphers and which more or less put me off stadium gigs for life. Emerson, for all the faults of ELP at their worst, was a fine showman and his marriage of classical music, jazz and rock was innovative.

Enough of my ramblings what can I share with you this week which you may not have heard elsewhere, or isn’t getting the wider attention it deserves? :

  • Southern Lord will be bringing back the early work of Wolfbrigade (then Wolfpack) in a trilogy of reissues encompassing the Swedish d-beat hard core goups first three LPs (A New Dawn Fades, Lycanthro Punk and Allday Hell), which will be available from April 15th, as well as a boxset including the remaining two EPs released before their name change. This marks 20 years since the release of their first two records Bloodstained Dreams and A New Dawn Fades. Expect a new album from the band later in 2016.
  • Formed in Liverpool in 2014, Indie Pop/Rock band Seprona practice in an abandoned pub on the outskirts of Liverpool city centre where they have locked themselves away, writing profically. Each band member brings their own influences to Seprona’s sound, but the band agree that the likes of Arctic Monkeys, The Black Keys, Interpol and Radiohead are their common denominators. Facebook: http://www.facebook.com/seprona
  • I got sent the below with absolutely no information other than the soundcloud link, which would normally put me off, but I was impressed by the sounds so I thought I would share it and let you have the fun of finding out more. It reminded me of early Phillip Glass in places, which is no bad thing.
  • Lauren from the ever excellent Rarely Unable says “The collaboration between Bonnie ‘Prince’ Billy and Bitchin Bajas shares a passion for arresting the moment in the process of now. Their ability to stretch time, coupled with their ability to explore and meditate on words, make them the most pertinent of partners. On Epic Jammers and Fortunate Little Ditties, they combine forces to travel down a celestial path that knows no bounds – won’t you follow?” You can watch a video at another site as I have nothing I can embed for you. It’s Will Oldham cast in a new light, which is no bad thing, and there are echoes of Neil Young in some of it, but the Bajas influence is strong and good. It’s out on March 18th and you can pre-order it here.
  • After a bit of a hiatus the eclecticians at Superstar Detroyer as back with their unique brand of math and madness. They have just released I.I.A.H.S.W.E.S EP by BRITNEY which is a riotous melange of chunky red zone bass and heavy percussion in a Beastie Boys punk soup with a sprinkling of post punk overkill and the occasional dip into manic piano distress. Fascinating and slightly disturbing. Also new on the label, on April 11th, but with nowt to embed from it, is  the excellent Polymath with an album entitled “Melencholia”..
  • The refreshingly heavy duo Rusty G’s are back with a full length album and a new single. Having got quite excited about them last year I can confirm that the band have continued their fine run of form with some blistering rock noise. A hell of a bg sound for a pair of people and well worth some of your time. They have a small tour coming up and are well worth checking out.
  • Ghold return  with a new album PYR (Ritual Productions, 7th May), which also marks the band’s first recording as a trio with multi-instrumentalist/guitarist Oliver Martin. They play Islington Mill, Salford on May 11th as part of a run of dates. More info to follow on the release but its out 7th May on LP, DIGI and CD formats, the latter comes with a bonus track.
  • I have been featuring the new Rangda release (as well as working my way though their back catalogue) over the last few podcast. I was pleased to get an interesting video of The Sin Eaters from the new one “The Heretics Bargain”.  I’ve seen a couple of bad reviews of the album which I thought were a tad mealy mouthed, this is good stuff and continues the work of some fine exponents of multi guitar rock.
  • As previously mentioned Moulettes are a Brighton based British band of Björk, Frank Zappa and Gentle Giant loving multi-instrumentalists that weave in and out of several genres with 3 part harmony female vocals, amplified Cello, distorted Bassoon, Auto-Harp, Guitar, Drums, Bass and Synths into an incomparable alt.pop/rock/folk universe. Since the success of ‘Constellations’ (No.7 Indie Charts, Spiral Earth Best Album 2014), Bajian Irish Londoner Raevennan Husbandes has joined the band on Vocals and Electric Guitar. With this new line-up the band have made their fourth Album ‘Preternatural.’ Sadly they have failed to send anything through to share but you can pre-order it in several formats over at their website.
  • Seven years on from 2009’s Afterlife EP, Amenra are to release a new collection of songs, titled “Alive”, a counterpoint to the band’s Mass series, featuring brand new compositions and cover songs, as well as appearances from special guests and additional musicians. This marks their second acoustic release, and first live release.It was recorded at Ancienne Belgique in Brussels by Hein Devos, and mastered by Frederic Alstadt. You can hear a track in advance of its release below. More details regarding tracklisting and release dates will be shared in the near future. Alive is set for release at Roadburn Festival, with all pre-orders scheduled to ship in the week following the festival. Pre-orders will be available via Consouling Sounds. Hypnotic stuff.
  • Almost three years in the making, ‘Soundtrack Doom’ band Merrin have  released their follow up to 2013’s “Doom Cinema”. “Midnight Movies! is a 6 track collection of songs inspired by late night movies. Everything from horror, to kung fu, to post apocalyptic action movies and the plain bizarre, the band have broadened their scope beyond simply rehashing Goblin scores  to deliver something more unique, unpredictable, cinematic and very much in the spirit of the films they take inspiration from. It is also the first release to be recorded with a full band present for the entire session. The result is an album that sounds heavier and more driven than before, featuring Chris Purdie on all guitars, Arturs Reirs on Drums and Misha Hering on Synth, the band sounds bigger and more epic.
  • Joy abounds with news of a new Melvins album and it sounds like a cracker. The band, who have a history of imaginative line-up changes, feature not one, but six different bass players on their appropriately titled new album, “Basses Loaded” (June 3, Ipecac Recordings).  The collection features Buzz Osborne and Dale Crover joined by Nirvana’s Krist Novoselic, Redd Kross’ Steve McDonald, Butthole Surfers’ J.D. Pinkus, Big Business’ Jared Warren, Mr. Bungle/Fantomas’ Trevor Dunn (aka Melvins Lite) and Crover swapping the drum kit for bass in the Melvins 1983 iteration. Here is a taster via Rolling Stone. They will be back in Europe in the summer, the only date pencilled in so far is in Bristol but hopefully more will follow.
  • The duo of Stuart Dahlquist and Edgy59, under the banner of The Poisoned Glass, have released the video for ‘Toil And Trouble’ ahead of the launch of their debut album 10 SWORDS on April 22nd via Ritual Productions. The video uses footage of a performance of the work of Bauhaus artist and choreographer Oskar Schlemmer – the surreal costume design and faceless dancers mesh with The Poisoned Glass’ aesthetic, which echoes Peter Hammill at his most cinematic and intense. I’m looking forward to the album based on this teaser.
  • ……..and to close Richard Citroen & Stephanie B, aka Lola Dutronic are back with a new video from the excellent “Lost In Translation” album – a marvellous band.
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Drum and Bass……

Ghold‘s highly anticipated second full-length has been confirmed for release by Ritual Productions on March 16th. The band has shared a selection of the gargantuan sounds present on Of Ruin for the curious…

The two components of bass and drums are bound together  tight on Of Ruin with explosive results. Intrinsically heavy and elastically supercharged, Ghold create a heavy package. The wealth of ideas presented by Paul Antony and Aleks Wilson on Of Ruin ably demonstrate why commentators tipped them as one to watch for 2015.

Album engineer Dan Miller recalls the process; “We basically locked our selves in the studio, slept on the floor, and just really pushed everything as far as we could. It was a real heady environment of manic creativity, where anything and everything was tried, and a lot of the more weird or offbeat ideas ended up really working. The result I think is something at times pretty heavy and mean, but also quite beautiful, warm, lush and completely original.”

The  duo fuse elements of power violence, doom, gloom and heavy rock with epic vocal arrangements. Since their inception in 2012, Ghold have been steadily amassing fans, following their self-released, self-titled demo in 2012, an LP Cassette and CD release in 2013, and from countless shows performing alongside the likes of Stephen O’Malley, Yob, Pallbearer & Årabrot.

Of Ruin, mastered by James Plotkin, shall be available on CD and LP formats via Ritual Productions on 16th March, the band will officially launch their album on 20th March at the Black Heart in London.

http://www.ghold.co.uk

Photo credit : Daniel Ali