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posted 1 month ago with 0 notes

SPECTRES - HUNGER
Released 11th March 2013
Howling Owl Records are probably the most interesting record labels for guitar music around right now. Based in Bristol, they put out releases from noisy bands which nobody’s ever heard of and turn them into noisy bands which sell out EPs a month before they’re released. Spectres are one of the bands fronting Howling Owl, in fact the label is run by the band’s two guitarists, Adrian Dutt and Joe Hatt. It’s clear that these men have taste in and a passion for loud, loud rock music, Hunger being where they have most recently channelled it. The band’s first proper release, aside from the odd tape here and there, since their 2010 EP, Family, Hunger steps it up several notches in terms of volume as well as in it’s pure abrasiveness. For a band already renowned for their techniques in the pulverisation of ear drums, that’s saying something. It’d be worth releasing Hunger for the look on that unsuspecting buyer’s face who just wanted a new Spector record.
Hunger kicks in with Pull, a 47 second preposition to Rattle The Cage. It sets up this song amazingly, creating so much tension, exploding when Hatt’s vocal leads the band into the EP’s lead track. Rattle The Cage is a brutal pummelling of instruments, but a very catchy one. The combination of Hatt’s pained moans, relentless drums and thrashing guitars distorted to hell and back immediately showcases Spectres’ sheer intensity on this EP, and that’s just the beginning.
I Was In A Box opens with a brilliantly menacing guitar riff which pushes the band into another pounding exercise in the inducing of tinnitus. This riff, along with the ridiculously vicious sped up version featured about halfway through the track, proves Spectres’ masterful prowess in creating discordant, insane music that places them alongside bands like A Place To Bury Strangers and Health. I Was In A Box is about tenfold the intensity of Rattle The Cage, but still manages to fit in a quivering, delicate section, focusing on Hatt’s sombre croons; “I wanna catch trains to anywhere, I wanna go on my own, come back on my own”, before leaping straight back into the maniacal, ear shattering noise of the chorus with reckless abandon.
A moaning, droning guitar start’s off Maybe You Shouldn’t Be Living Here, Hunger’s penultimate track. Maybe You Shouldn’t Be Living Here works around an awesome kraut rock bassline, with bursts of overdriven guitars flying in every now and then. It’s Hunger’s most unusual track, it’s major vocal harmonies adding an incredibly twisted happiness to Spectres’ usual wall of noise. It sticks out a bit, but Maybe You Shouldn’t Be Living Here is just as brutally fantastic as the rest of Hunger.
The EP comes to a close with Threshing Machine. Gradually fading in, the track gives I Was In A Box a run for it’s money in terms of evilness. Threshing Machine’s threatening verse slams into a nasty, nasty chorus, Hatt’s desperate yells of “Just tell me” turning even the strongest stomachs. After a couple of rounds of this, Spectres’ introduce a major chord sequence which, like Maybe You Shouldn’t Be Living Here, throws in this sort of tormented happiness before Spectres’ finish off Hunger by absolutely destroying this riff, pounding their instruments over and over and over, until the track abruptly cuts off.
Hunger is a massive achievement for Spectres. It captures the band’s innate ability to push themselves just that little bit further; every time you think Spectres have reached their maximum threshold on Hunger, they get even more intense. It’s the work of a band who manage to make four men with guitars sound like Sonic Youth from hell, and that’s pretty fucking cool.
Hunger is available to stream and buy here

posted 2 months ago with 0 notes

TTNG (THIS TOWN NEEDS GUNS) - 13.0.0.0.0
Released 22nd January 2013
13.0.0.0.0 is the sophomore LP from This Town Needs Guns, or most recently, TTNG. The album follows their 2008 debut, Animals, however 13.0.0.0.0 doesn’t showcase exactly the same band as that album. Only half of the cast of TTNG’s debut, Chris and Tim Collis on Drums and Guitar, are present on 13.0.0.0.0. The posts of Bass and Vocals are assumed by a new member, Henry Tremain. This fairly drastic line-up change is one of many that TTNG have been subject to, with Tim Collis now the only remaining member since the bands inception in 2004, and although it has taken TTNG almost five years to deliver their second album, on listening it seems like a relatively natural progression from Animals.
I think it would be fair to say that Animals is one of my favourite albums in this genre. I find it so listenable, nothing particularly taxing whilst managing to remain interesting, I can listen to it whenever. It’s lack of effects draws focus to the instrumentation, a simple ‘rock band’ set up but with meticulously complex individual parts playing off one another is something that I value greatly in guitar music. As much as I love processed music and heaps of effects, I also find it incredibly refreshing for a band to rely completely on their technical prowess and song-writing ability to create a whole album, even more so one that’s damn good.
As you’ve probably gauged, for me 13.0.0.0.0 has a lot to live up to. However I’m mostly concerned with whether the band can pull it off again than whether Henry Tremain will ruin TTNG. For me, Animals pulls towards the instruments rather than the vocals. TTNG’s singer on Animals, Stuart Smith, provides texture and flavour in amongst the clean guitar tones and gives listeners something to sing along to. It’s nice, but not the focal point.
The most surprising thing about the first track on this album is it’s poppiness. Cat Fantastic opens 13.0.0.0.0 with what appears to be a toning down of complexity in the guitar and drums whilst Tremain takes centre stage with a sweet, simple and singable vocal line. Despite this being kind of the opposite of what I liked so much about Animals, Cat Fantastic is an incredibly enjoyable song. The indie pop sensibilities that TTNG apply to this track make it easy and accessible, but beneath this the awkward time signatures and difficult guitar parts that keep me returning to Animals are still there, surfacing every now and then to remind you who you’re listening to. It’s not only accessible, it’s incredibly infectious.
Havoc In The Forum seems more typical TTNG, this time the complex instrumentation is clear throughout the track. However, again I find myself being drawn to Tremain’s vocal. It’s not that the musicianship is less interesting than on Animals, but that TTNG’s new singer’s voice is so sweet and relaxing, his parts so simple in contrast to everything else happening around him, that it’s so hard not to listen to him. Havoc In The Forum is a far more aggressive track than Cat Fantastic, with more drive and a thudding drum part, it discards any fears that TTNG might have gone all pop.
Left Aligned is slow with broken riffs underlying Tremain’s sweet melodies to start with, before a more regular rhythm is introduced in a section with pretty guitar harmonics. The track speeds up near the end in a reinvention of the verse, using more complex parts than in it’s first appearance. Though this is a solid track it seems a little on the short side and could maybe have done with a bit more to it. Essentially made of three sections, it doesn’t showcase the wonky breakdowns or inventive song structures that TTNG are undoubtedly capable of, maybe it should’ve done.
In The Branches Of Yggdrasil see’s TTNG step into the world of effects. A two minute instrumental built on bass and drums with a lucid guitar part shimmering in the distance, static builds throughout In The Branches, eventually cutting everything but the bass off. I’ll Take The Minute Snake reaffirms this interest in the expansion of texture. Minute Snake is built in three sections, the first relatively simple and easy with click-clacking percussion, the second pounding and aggressive with a thumping breakdown using only drums and bass. The final part of this song once again uses twinkly guitar harmonics and even ticks off the use of glitchy electronic percussion from TTNG’s to-do list.
2 Birds, 1 Stone And An Empty Stomach is a sweet acoustic track, the first half of which features minimal use of fiddly guitar parts, primarily built upon pretty chords with Tremain’s vocal taking centre stage. It leads to a more typical TTNG track with full band instrumentation during the second part of the song but keeps the acoustic element with twinkling guitar lines and piano chords. Nice Riff, Clichard is another short instrumental interlude, similar to In The Branches. Another simple guitar melody hovers above some glitchy beats and some interesting synthesized sounds are thrown in as well. Whilst this definitely sees TTNG experimenting, it seems unnecessary to be throwing more than one of these little jams into your album. Nice Riff is an idea but not quite a track, and that’s fine, it might be a prelude to the track that comes after it, a suggestion of what’s next but Triptych, isn’t really anything to do with Nice Riff. Whilst it’s a solid track, it leaves me feeling that Nice Riff isn’t really adding anything to this album. As if two interludes wasn’t enough TTNG follow up Triptych with yet another interlude, Pygmy Polygamy. To me this excessive use of brief interludes just makes it seem a bit like TTNG are having trouble filling out 13.0.0.0.0. Usually when interludes are used in an album the artist might be trying to split the album into parts, but there are no obvious changes in the mood of this album after these interludes, the full length tracks that come before and after seem like they could sit next to each other in the album quite happily, the separation just seems weird.
The next two tracks, A Different Kind Of Tall (Small) and +3 Awesomeness Repels Water are good tracks and solid additions to this album, however they don’t really do anything that hasn’t already be done by earlier tracks, A Different Kind especially, it’s calming breakdown sounding like a less interesting version of the one in Left Aligned. +3 Awesomeness again doesn’t really do much that you haven’t already heard something similar too on 13.0.0.0.0, however it presents really polished and interesting versions of what TTNG can do. It features a really badass instrumental section from about halfway through, the weird time signature, furious guitar tapping and pretty chords make it one of the best moments on this album. What annoys me is that this is not where the album finishes, 13.0.0.0.0’s album closer is a final interlude like instrumental, 13.0.0.0.1. I find this instrumental the most frustrating on the entire album, just a minute long and less than thirty seconds before starting to fade out, 13.0.0.0.1 could have summarised the album. That would seem like the obvious reason to end an album with a track like this, only 13.0.0.0.1 doesn’t really represent or relate to anything else on 13.0.0.0.0 at all. It just seems like a shame to end an album with what to me sounds like music commissioned for an advert. It doesn’t do anything, it just sounds a bit pretty.
For me, 13.0.0.0.0 started off well but it kind of went downhill from about halfway through, with the exception of +3 Awesomeness. It’s not a bad album by any means, I’m just not sure if it’s a good one. When you discount the interlude tracks on 13.0.0.0.0 there’s only eight songs, none of which are particularly long. Maybe if these interludes were replaced with a couple more full length tracks 13.0.0.0.0 would have done it for me. The interludes bring some interesting textures to this album, definitely some sounds that weren’t there on Animals, as do the other tracks on 13.0.0.0.0. It’s undeniable that TTNG have made a different album. Just not necessarily a better one.
13.0.0.0.0 is available to stream and buy here

posted 3 months ago with 2 notes

MXLX - BLACK META
Released 7th November 2012
2012 has seen Bristol’s Matt Loveridge involved in a number of superb releases. A second album from his Kraut Rock outfit BEAK>, cryptically titled ‘»’, was released in June, whilst debut full lengths from four of Matts solo projects have dropped throughout the year; Klad Hest’s ’Impaled Breath’, Knife Liibrary’s ’Drowners’, Fairhorns’ ‘Doki Doki Run’ and MXLX’s ‘Black Meta’. MXLX releases noise music, Black Meta being the projects finest work to date and I daresay, one of the finest albums of 2012.
Black Meta is definitely not going to be for everyone, in fact it’s going to be a very select few that enjoy this album. Noise music is kind of like Marmite in that you either love it or you hate it, but pretty much everyone hates it. The sheer brutality and harshness of Black Meta is enough to put listeners off in the first few seconds. However, those who find something worth their time in Black Meta will find a lot. Despite being only four tracks long, this album clocks in at just under an hour. Each track is slow moving with harmonious drones underlying static chaos. It’s challenging, but extremely rewarding.
On first listen Black Meta’s opening track, Everything Happens So Much, almost made me cry. I still can’t listen to it without a lump in my throat. Bursts of apocalyptic noise stab at your ears like shards of glass, slowly developing into a continuous stream of harsh feedback. The chords which lie underneath this hellish exterior are nothing less than beautiful. This Merzbow meets Stars Of The Lid formula creates a track that I found to be incredibly moving.
Get Rad For The Bliss Rush is a frenzy of deafening white noise from the start. As the piece develops a repetitive progression of pensive drones rises through the noise. Slowly, the noise turns into screeching feedback accompanied by a wailing vocal soaked in reverb. From this the noise breaks up into electrifying clatters and bursts as MXLX presents the listener with a shockingly evil section of monotonous spoken word. What is being said is undecipherable but, with the voice of someone who desperately requires an exorcism, you’d rather not know. Get Rad ends with a short vocal piece, seemingly disconnected from the doomy aquarium soundtrack that preceded it. The lyrics here are again undecipherable, though they needn’t be as the solemnness of the voices is so clear. The harmonies used and the voices that sing them create something hauntingly beautiful, an atmosphere in which MXLX is an unquestionable expert.
I Grew Dissatisfied And Went Into A Frenzy is Black Meta’s penultimate piece and arguably its darkest. Despite this, I feel that this could be considered the most typically ‘listenable’ track on the album. Only eight minutes long (MXLX’s idea of a snappy single) and with minimal use of the harsh white noise that characterises the rest of Black Meta, I Grew Dissatisfied is built upon chords rather than chaos. However, this in no way detracts from the sense of sheer apocalyptic doom that feels even more prominent on this track than others on this album. A quivering voice whispering “I don’t want to die” over and over opens the piece, returning as it closes, squealing “I’ll kill you”. Cracks of what sounds like the most intense thunder possible are present throughout the track and the chords used in I Grew Dissatisfied sound like the point where heaven and hell meet at the end of the world.
Fuck You, I’m Planet brings MXLX’s debut effort to a close. Black Meta’s longest track at twenty minutes, Fuck You is a truly epic conclusion to this storm of an album. A glimpse of the low, reverberated acapella that brought Get Rad For The Bliss Rush to a halt, swiftly followed by the sort of sounds you’d imagine R2-D2 might make if you spilt coffee on him, introduces the track before a wavering high pitched drone takes over the piece for the next fifteen minutes. The noise that surrounds this drone builds throughout the course of the track until it is truly deafening. The harshness and duration of this noise, for me, initiates a state of complete fixation, the trance like feeling induced by musicians like Sunn O))). At around the ten minute mark a hint of acoustic guitar begins to slip past the static, by fifteen minutes having taken over the track almost completely. The repetitive plucking melody of the guitar, accompanied by a low murmuring vocal, is as equally trancelike as the fifteen minute note that came before it, however it offers an immense relief of musicality to the listener. These final five minutes of Black Meta are immensely reflective and even peaceful, a truly incredible anti-climax to one of the harshest albums you may ever come across. Just as this final acoustic section is packing up noise begins to return, quickly building over the guitar until it takes over, unbelievably harsh, completely deafening, and then stops.
Black Meta is an album that can only sound so good when described. For someone to understand quite what this album is, where it’s coming from, where I’m coming from, they need to listen to it for themselves. If you choose to listen to Black Meta, listen to it the whole way through, start to finish. Bathe in the madness, allow the chaos to absorb and envelop you. Cry, if you need to. Because once you allow this album to take control of you, you’re in for something that I can only describe as, truly fucking awesome.
Black Meta is available to stream and buy here

posted 5 months ago with 1 note

5 CHRISTMAS TRACKS!
1. Nathan Fake - Silent Night
Released on 7” in 2005, Nathan Fake’s arrangement of Silent Night is a great little oddity from the maker of some of the best acid rave records in recent years.
Listen here
2. The Fall - Hark The Herald Angels Sing
Nothing screams christmas like The Fall! Discordant snarls and twanging guitars characterise this fantastic rendition of Hark The Herald Angels Sing.
Listen here
3. Fixtures - Fairytale Of New York
Bath’s finest new band have tried their hand at a christmas tune this year with a cover of The Pogues classic, Fairytale Of New York. They’ve done a damn fine job I’d say.
Listen here
4. Flights - Carol Of The Bells
A christmas single released in 2011 from Bristol’s math rock connoisseurs, Flights. Christian metalcore act August Burns Red have also done a storming version of Carol Of The Bells but this just tops it.
Listen here
5. The Knife - Reindeer
From thebands self titled debut record, Reindeer is brimming with festive cheer! Well, it says about santa in it.
Listen here
The Particle Song will be back on track in 2013. No, really. Merry Christmas!

posted 7 months ago with 0 notes

DAPHNI - JIAOLONG
Daphni is an alias of Dan Snaith, a Canadian musician, widely recognised as the brains behind Caribou. Daphni sees Dan focusing on dance music in a more typical ‘one man with a macbook’ kind of way, a contrast from Caribou’s song-based structures. JIAOLONG is Dan’s debut full length as Daphni, and brings together five tracks previously released on various 12”s throughout 2011 (Yes, I Know / Cos-Ber-Zam - Ne Noya [Daphni Mix] / Ye Ye / Ahora / Jiao) along four new tracks (Light / Pairs / Springs / Long).
If you’re familiar with Dan’s work, you may find it difficult to enter JIAOLONG without expecting something that vaguely represents a Caribou album. It’d be fair to say that there is some similarity between JIAOLONG and Caribou’s dancier albums; Swim, Start Breaking My Heart, however, I don’t feel that any resemblance between the two projects goes beyond the inevitability of them being the same producer. JIAOLONG heavy handedly uses samples, beats and other typical electronic implements to create its tropical textures, and whilst some of these features are present on Caribou albums, they’re presented to be more ‘live’ sounding, illustrated by the live band Caribou tours as. JIAOLONG doesn’t try to make itself sound real, it’s shamelessly electronic, and as a result establishes Daphni as an act its own right.
Yes, I Know is a solid start to JIAOLONG, a thudding beat partnered with a bassline that feels fat enough to register on the richter scale, and that’s before the ridiculously infectious funk sample drops. Daphni manages to work this extraordinarily simple formula into four and a half minutes of fun. Cos-Ber-Zam - Ne Noya [Daphni Mix] is another track characterized by samples, this time a vocal taken from Cos-Ber-Zam’s Ne Noya. Daphni turns the afrobeat track into a dark dancefloor filler with droning bass and spiralling synths.
Ahora takes JIAOLONG into slicker realms with its punchy beat and airy flute, synth chords floating over the track. It occasionally breaks out with discordant bursts of melody which, although making for a nice contrast against the stripped back verse, don’t really develop as much as they could’ve in a six minute track. Ahora seems to be lacking in substance slightly upon close inspection, however still makes for a pretty solid addition to JIAOLONG.
Springs is a noisy track with squirming electronic sounds that live up to the title taking centre stage for the duration, whilst a bouncing post-dubstep bassline sits on top of the beat. Springs jumps around until it cuts out with a static wash, the start of Long, the albums closer. Long is a justification to the small problem I had with Ahora, this track feels like a six minute long breath as it grows and shrinks, sticking with one progressionfor the duration without allowing it to become wearing in the slightest. It’s a beautiful end to JIAOLONG.
This album is a fantastic debut for Dan’s Daphni project. Each track goes down a different alleyway, a different idea of dance music. Some may find it too bare, JIAOLONG generally works with one hook, one sound, one idea per song. But if you allow yourself past that and embrace the simplicity of JIAOLONG, you’ll find yourself entering one of the best electronic records you’ll hear this year.
JIAOLONG is available to buy here

posted 9 months ago with 0 notes

CALL THE DOCTOR - HANDS WILL SHAKE
Hands Will Shake is the debut LP from Bristol’s Call The Doctor. This album offers 11 tracks of exciting and original girly pop rock from the female fronted four piece.
Hands Will Shake opens in a static haze with the albums intro track XXXX. Feedback leads this indistinguishable trance straight into the single Closer To Home. The song starts off with a few seconds of catchy chords, instantly thrown aside by a heavy as hell wall of distorted guitars. After a brief run of mayhem the aforementioned chords return, creating a verse which is carried along by breakneck speed drums whilst Call The Doctor’s vocal offers a focal point to this melodic rush. A quick build leads the track into an equally frenetic chorus with a feedback powered breakdown closing the section. Ending on an eerie guitar melody, Closer To Home is a great introduction to Call The Doctor, let alone Hands Will Shake.
For Your Leisure maintains the energetic tempo of Closer To Home, though takes a more stripped back approach for much of the song, featuring single guitar notes that decorate rather than power the the verses, however the song comes together for the chorus and features a syncopated breakdown towards the end of the track. Take It Out relents a bit in terms of speed, focusing on a warm chorus with colourful backing vocals, making use of a slightly less aggressive amount of distortion on the guitars.
Another single, Wrecking Ball, follows. The track explores the poppier side of Call The Doctor’s mindset with jangling guitar leads and a feel that’s fluctuates between melancholia and uplift, reminiscent of Radiohead’s Let Down. CTD go for a build comprising of only vocals and a snare role prior to the last chorus, instantaneously throwing a bucketload of tension at the track as the drums descend to toms, a bass line works itself into the mix and guitar feedback, the bands favourite method of transition, leads the track to its climax.
The Other Side plays to a similar dynamic to many of the tracks on Hands Will Shake, making for a solid addition to the album as CTD charge through its two minutes. Stood Beside Her is a different story altogether, a despondent drop in the tempo of Hands Will Shake, at moments the track abandons drums altogether before building to a powerful yet equally shady chorus, Stood Beside Her sets itself apart from many of the other tracks on this album, as brilliant as they are, and makes for a rather memorable point on Hands Will Shake, showcasing CTD’s ability to not only create more thoughtful pieces but to fit them alongside the heady moments that much of Hands Will Shake is characterised by without fault. A personal highlight.
Seventeen switches straight back to the inebriating pop punk that CTD do best, complete with their menacing breakdowns, feedback fuelled builds and catchy choruses. Follow Her Ribbons takes the basic ideology of Stood Beside Her and concentrates it into a brief and mournful track whilst its predecessor, Flaws, comes off as probably the most frenetic track on this album with a rapid drumbeat and harmonising guitar leads, Flaws even features some chant-like male backing vocals beyond the halfway point. Hands Will Shake ends with Little Bones, a lengthy yet energetic ode to CTD’s many ideas and musical reference points explored throughout Hands Will Shake. It’s a great way to wrap the album up as it culminates in a charming secret track.
Hands Will Shake not only shows Call The Doctor’s ability but their depth. It proves them to be a band capable of fitting fast-paced punk songs next to gloomy rock ballads, a multi-dimensional outfit with more than a few tricks up their sleeves. Certainly, something to be treasured in a rock band.
Hands Will Shake is available to stream here

posted 9 months ago with 0 notes

posted 9 months ago with 0 notes

OLO WORMS - YARD IS OPEN
Amongst the endless sea of bands out there, the angry ones, the happy ones, the soppy ones, the jangly ones, etc, you’ll occasionally find one that you can’t quite pin down, that don’t conform to a specific genre, or even a few genres. A band that make you think; I really haven’t heard anything quite like this before. OLO Worms are one of these bands. A Bristol based four piece with the most eclectic collective mindset you may ever come across, OLO Worms debut LP, Yard Is Open, is an album that you’ll find yourself treasuring in your record collection, or at least in your collection of ridiculous alternative physical formats; (The bands most recent release was made available as a plastic baby with a usb stick, containing three songs, attached to its umbilical cord). OLO Worms peculiar choice of formats somehow seems fitting for their unexplainable sound. Which I will now proceed to try and explain.
Yard Is Open, er, opens with Barnyard. A warm synth drone with the quality of warped vinyl starts off the track, it’s joined by a pitch shifted voice speaking at an ominously low frequency; “We didn’t understand. We don’t understand.” The track gets even creepier with a sweeping string hit, alien type effects and a reverse reverb covered voice, singing an almost mocking melody. OLO Worms somehow manage to make the track turn from creepy to chillout, the rest of the song features luscious guitar tones drifting over rattling percussion with a narrative courtesy of the aforementioned pitch shifted vocal. Barnyard builds with a horn section before drifting out, a brilliant downtempo track to start off an album.
Back From England in comparison feels more euphoric, with it’s horn section entering at the halfway point adding a sense of achievement to the track, a contrast to Barnyard’s wonder. Back From England features OLO Worms fascination of weird sounding vocals as it ends with this strange sort chant in a nasally voice, accompanied by group whistling and sampled big band hits. Ol’ Boozy’s Chug Thump again displays OLO Worms love of weird, a one and a half minute long country rumpus which completely disregards any expectations of what might have been next from the first two tracks. Ol’ Boozy’s Chug Thump feels reminiscent of Blur at their silliest; Ernold Same, The Debt Collector, Lot 105. It shows that OLO Worms priorities lie with having fun in creating music, that they don’t take themselves too seriously, something that is becoming increasingly rare to find in music.
Strays is the first single to drop from Yard Is Open. A pretty guitar pattern characterises the song in its early stages as it builds to the introduction of OLO Worms boyish vocals, somehow putting a fairly touching spin on what could be considered as a subject matter lacking in sincerity; “All the strays are coming home, we’re reunited with our pets.” Electronic drum hits partnered with synth bass fuel this strangely beautiful song as it rises to a semi-climax of vocal melodies and summery sounding guitar lines inducing smiles all round. Barbershop interrupts this happy scene, a somber sounding intro with a slightly dub feel backs an increasingly odd one-sided telephone conversation for the first half of this track before a creepy vocal begins an insistent story of how he “lightens up the mood with a haircut.” Distortion covered guitars with a bluesy rhythm similar to The White Stripes infused with the sound of a razor bring the song to a new level in it’s second half, again affirming OLO Worms undying love of fun music.
Whacked By Pillow is a sparse relief from the aggression of Barber Shop. A folky ballad until it’s second half where OLO Worms introduce fuzzy guitars and military style drums, however Whacked By Pillow never gets too intense and continues to maintain its folk roots with an OLO Worms twist. Snake opens with some electronic Aphex Twin esque silliness before turning into an urgent sounding moody electro tune perhaps fit to soundtrack a spy movie or something similar if it weren’t for the phlegmy grunts omitted at regular intervals. The lyrics only start in the very last section of the song, accompanied by wiggly synths and tribal sounding drums. Flipper is a sample based ode to electronica for the start, then guitar melodies play over one another making the song sound more like a band. Flipper goes through several different sections, each one sounding completely different to the last whilst all managing to fit alongside one another in the song perfectly.
Curves is a delicate singalong track with a lot of ambience surrounding it in the form of angelic backing vocals and dreamy guitar leads. Similar to Strays in its beauty and feel, once again OLO Worms manage to create an feel of pure happiness and content. Eating Every Living Thing again showcases OLO Worms taste for weirdness from the very first guitar tones, which are strange enough in themselves, the layers of vocals chanting the songs title, the clips of people chowing down; “I’m eating pizza” mumbled through mouthfuls, this time OLO Worms really do lighten the mood. Similar is the next track, Sometimes I Like To Take The Long Route Home, a plodding instrumental featuring mute trumpet that will have you in a fit of giggles from start to finish. The album wraps up with Sphinx, a slow and strange hip hop style track with african sounding percussion and some monotonous mc’ing that give the first half of this track a lot of, for lack of a better word, swag. The second half of this track turns completely, building to a electro rock finale that makes for an awesome end to Yard Is Open.
Yard Is Open is honestly one of the weirdest, most lighthearted and ultimately fun experiences that I have ever had with an album. Every track is loaded with surprises, little unexpected quirks, the sort of attention to detail that make OLO Worms so special. Every song on Yard Is Open is different from the last. Every moment, however weird, silly or even moving they are, registers with you. Each one means something, is special in some way and each one is necessary to make Yard Is Open the unquestionably fantastic piece of work that it is.
Yard Is Open is available to buy here

posted 9 months ago with 0 notes

IDLES - WELCOME
In their own words; “Idles is a proper five-piece guitar band with a punk ethic that transfers itself into their incendiary live shows.” Welcome is Idles debut EP and it sees the band not only proving their claims but exceeding them. This EP is so covered in Idles punk ethic that at points you may have to remind yourself that it is an EP, not the live show. Welcome is raw, brutal, messy, catchy, and ultimately, fun as hell.
Welcome starts off slow with EP opener 26/27. The track begins with reverb drenched guitar rattling, setting up the track well, before a simple drumbeat kicks in, partenered by a messy guitar chord which rings out with feedback. An unexpected bassline that contrasts the droning guitars creates an eerie effect, allowing Idles to create a very particular mood within the first few seconds of this EP as restrained vocal delivery characterises the verse. Needley guitar notes build tension whilst the drums subtely complex before a chorus of angst driven post punk completes this sombere anthem. 26/27 breaks down after the second chorus in favour of a slow build to the songs climax, a strangely uplifting section that contrasts the rest of the song whilst being a perfect close to the track.
MEYDEI follows 26/27, a noisey post punk tune with a brilliantly infectious dance feel. MEYDEI opens with Idles trademark overdriven guitar chugging it’s way through the intro accompanied by a four to the floor disco beat which makes for a section of unquestionable catchiness. Once again Idles angst filled vocals are the focal point of the verse as the guitars hold back before building to MEYDEI’s chorus. Idles pull out all the stops and let loose on this section, the restrained vocals turn into desperate shouts, the muted chords become screaming melodys as the band create an absoultely flawless chorus with nothing held back. This is the moment that you fall in love with Idles, the moment of realisation that what you are hearing is something truly awesome. MEYDEI’s template is similar to 26/27’s, a breakdown after the second chorus to make way for an epic build that Idles do oh so well adds another dimension to this song. The track ends with syncopated guitar and drum stabs to make for a snappy finish. I found myself out of breath upon my first listen of MEYDEI. Idles manage to provoke the same amazement and speechlessness that few bands can in a live setting on record with MEYDEI. Oustanding.
As if you needed anymore convincing of Welcome’s greatness, there are still two more tracks on the thing. Germany is grungey and melancholic, fooling the listener into thinking it’s another somber 26/27 esque Idles song with it’s slow burning intro before the drums go double time, picking up the pace with fast and messy guitar leads. The lyrics convey this songs feeling of urgency; “Medicine, Medicine, I know that I need some medicine” whilst the strained vocal tone they’re sung in adds to this aesthetic. The chours to Germany feels more like an extension of the verse than a section in itself, but who’s complaining when the verse is this good? Idles add in vocal oohs for the full package and create a song bursting with attitude that is relentless in its feel and mood from start to finish.
Two Tone ends this EP in an energetic post punk frenzey. Opening with a scrappy guitar riff that builds to a verse built around the section, featuring layers of weird shouting which build on top of each other as the lead vocal offers something to grasp hold of in Two Tone’s swamp of noise. Feedback leads the track into an even heavier version of the verse complete with a sirening guitar melody that cuts above the rest of the track. The drums break away as the guitar riff, prominent since the start of Two Tone, continues through to the second rendition of the verse. The song repeats itself up until after the second chorus where Idles stop for a split second, only to launch back into the chorus with a different chord structure. Two Tone ends in a euphoric, noisey, messy, post punk haze. Everything great about Idles.
It’s so unusual that a band can create such a well rounded piece of work in such an early stage of their career. Welcome is perfect in every way, it finds a just the right balance between noise and pop, it’s flawless in it’s production, it’s raw post punk music powered by sheer angst and attitude. Like Public Image Ltd. Metal Box era meets The Maccabees, Welcome to Idles.
Welcome is available to buy here

posted 10 months ago with 0 notes

posted 10 months ago with 0 notes

BRIDGES - PAWS
BRIDGES (formerly Why Kill Ian?) are a three piece from Bridgwater. Paws is the bands first EP as BRIDGES and it offers up three delectable guitar based indie pop songs which should be set to propel them into a newfound popularity. Each track on Paws shows a different side to BRIDGES, whilst they all provide irresistible pop hooks, of which BRIDGES seem to be masters of creating, that allow them to flow together excellently, thus creating an EP that can’t be faulted.
Bearpit opens Paws by cutting straight to the point, a tantalisingly tasty hook plays a quick run through before BRIDGES effortlessly switch to a bouncy Foals esque verse. When the vocals enter the verse changes, suddenly offering something that resembles the best moments from Arctic Monkeys, whilst BRIDGES are heavy handed with their vocal harmonies, creating a catchy and likeable section that can be relied on to induce toe tapping amongst even the gloomiest listeners. The verse transitions into a dancey pre-chorus with a more solid drumbeat behind it whilst keeping the stuttering guitar chords that characterised the verse. The chorus feels like an explosion, a massive anthemic hook that just can’t be refused, with harmonised vocals and a huge sound for a trio. BRIDGES turn to a section of staccato guitar stabs after the second chorus, which create tension with big silent gaps, the listener on the edge of their seat with anticipation. Bearpit builds with a tribal like rhythm before a final rendition of the chorus leads the song to its close.
Hunt In Packs follows up it’s epic predecessor with a catchy chord progression that continues through the verse. BRIDGES pick up the pace with a math orientated drumbeat which segways into the songs chorus, providing yet another fantastic pop hook before breaking down for a few seconds towards the end, only to speed right back up again with the verse. After the second chorus the song breaks down completely, with a beautiful guitar tapping melody leading this section which is even reminiscent of bands like This Town Needs Guns. The song builds from this section with vocals layering upon each other until the song reaches a rock based instrumental right before the last chorus.
Paws closes with Hollow, a track previously released as a free download under the Why Kill Ian? moniker. The version recorded for Paws is a spectacular finish to the EP. The song opens with a beautiful guitar and vocal combination that lasts for seconds before the song explodes with it’s hook, as catchy and brilliant as the rest on this EP but extremely heartfelt. The verse is more laid back whilst just as emotional, offering an interesting range of dynamics to Hollow, whilst it maintains consistency. The verse becomes more playfull with the introduction of a guitar note melody in its second half, taking the song to it’s chorus, which opens with BRIDGES trademark syncopated drum and guitar stabs, before getting into it’s full swing with the hook that graced the beginning of this song.
BRIDGES have produced something that is accessible, catchy and full of hooks, whilst maintaining the bands credibility. One of the reasons Paws is so special is that it can be enjoyed by everyone. It’s an all encompassing record, that draws influence from almost every style of music under the indie umbrella, brings them all together and works them into BRIDGES own idea of pop music. The results are astonishing.
Paws is available for pre-order here

posted 10 months ago with 0 notes

TIDAL WARS - VEILS / EARNING
Tidal Wars are a four piece from Weston Super Mare who create noisy, melancholic, post punk songs.Veils / Earning is the bands debut release, a double A side single which manages to accomplish the near impossible task of channeling Tidal Wars wide variety of influences and ideas into two tracks which display pop sensibilities whilst catering to the tastes of every oddball indie noise fan possible. A rare find indeed.
Veils opens with a pulsating drone, quickly accompanied by a murky bassline with a guitar tone to match entering the mix shortly after. As Veils gets into full swing a piercing guitar screech cuts above the melodic mush of instrumentation in the verse whilst the largely monotonous doubled up vocals give what feels like a slightly evil undertone to the song. A newly introduced guitar part rises above the rest of the verse, jumping between melody and dissonance before leading the song into a strangely uplifting yet sparse instrumental chorus, which contrasts the verse beautifully with vocal oohs and guitar melodies which intertwine and play off one another, creating a very pretty section that manages to maintain the shoegaze feel of the rest of the song. The second rendition of the verse feels more solid, with more use of guitar chords than single notes, slowly and subtly building the song up to the point where it explodes, just after the second chorus, with relentless drum and cymbal hits syncing to a wall of guitar noise and feedback which evolves into a noisy guitar solo with a drumbeat behind it, just before the song closes with it’s pretty chorus, offering relief from the assault of the previous section. Veils leaves the listener in awe of Tidal Wars, needing a few seconds to comprehend everything that just happened in the last three and a half minutes before turning to the flipside.
Earning introduces itself with melancholy guitar chords and accompaniment bass reminiscent of Echo & The Bunnymen, drums quickly build and vocals enter whilst a second guitar part flashes on and off, drenched in delay, adding a Tidal Wars imprint to the depressing shoegaze ballad of Earning. The song turns with a broken down instrumental section that shows itself to be the chorus, quickly building back into the verse with reverb coated guitars which allow the song to float somewhere between dreary and colourful whilst maintaining itself as being depressingly beautiful. It’s a well thought out formula that’s more than worthy of the five minutes of music that fills up the latter half of this single.
Veils / Earning sees Tidal Wars beginning to mark themselves as being the next modern noise pioneers, with a clear range of influences that allow this single to incorporate all the best moments from 80’s shoegaze to the gems from the 00’s post punk revival and so much more, Tidal Wars have produced a stunning debut with all the precision of the most established bands that Veils / Earning draws influence from. Watch out for them. They may well be your new favourite band.
Veils / Earning is available to stream here

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