Posts Tagged ‘noise’
This album, to put it short: is incredible. From the subtle, braille covered packaging and insert littered with graphs and equations (thats the reason why you only see a plain green cover here, you have to feel the cover), to the moody post-hardcore that lurks threateningly within, this is just the whole package. If there was any doubt before, this proves that Month of Birthdays are one of the most unique, creative, and downright great bands we’ve got on these shores right now.
For much of the album, you’ve got blissful, mellowed, chilled-out tunes to play late at night and lose yourself in the beauty of. It’s all very tidal. Small waves mind you. But every now and again you get caught up in a huge tsunami like “Of Chickens” which booms out whilst Cath gets all loud. For much of the rest of the time you get super-quiet, meandering songs with lots of repetetive guitar, softly-softly drumming and wandering vocals that soothe and ease you through the small hours if you happen to still be up. Don’t turn the light on. “Anticipated and Intercepted” practically stops in the middle whilst four fifths of the band go off for a cup of tea leaving one person to strum a guitar with the volume on 1.
I guess they recorded some of the songs at lower levels than others intentionally, because this creates a totally wonderful effect of contrast. The quiet songs really are quiet unless you turn them up. Which would kind of defeat the object, as from time to time these quiet songs break into sweeping power without requiring your over attentive ‘help’. Getting back to “Anticipated and Intercepted” again, that one totally unexpectedly introduces some lumbering hardcore chug-chug at one point after seemingly heading down the ‘pretty’ path for much of the song. Inspired! Also, you’ve got to love a song (“Mind Comes To Thoughts”) which uses a sample of a BBC radio travel report and you can even hear cars buzzing past in the distance behind some truly lovely, gentle guitar. No singing until 5 minutes in too. Fucking yes, Month of Birthdays really know how to push my buttons.
It’s tough for comparisons. Some of the really twinkly bits remind me of Rainer Maria, or sometimes the Van Pelt. Perhaps mixed with the moody tendencies and dynamics of Indian Summer? Bob Tilton maybe? But for the band’s sound as a whole, you got me. Yikes, truly an original sounding record! I’m running scared. (Source)
Northern hemisphere: Winter is not over yet!
Southern hemisphere: Winter is coming!
People living around the equator: lucky bastards!
Here´s new fuel to fan the flames of your winter depression, Breach from Luleå, high up in Northern Sweden where winters are long and dark. Gripping ultra intense bass driven heavy noise, somewhere between New School Hardcore, Doom and Noise Rock. Or in other words: Neurosis, Shellac, Unsane, Entombed, Voivoid and whatever now comes to your mind. This band has a great deal of talent and on their second full length “it´s me god” from 1997 they give you the proof for that. Breach create a very dark and brooding mood, a tone-painting of frustration, glimpses of hope, but mostly just darkness. But there is beauty in this darkness…
it took a very long time, but here it is, I reuploaded the Engrave record for you and all the other readers of my blog who are interested or just missed this record so far.
That´s what I wrote about it almost 2 years ago:
Engrave were chaos-core pioneers in Germany, mixing the brutal and chaotic energy of US-bands like Orchid, Botch and Converge with the more emotional influences of famous german mid-90s screamo bands like Loxiran, later followed up by worldwide succesfull acts like Yage. The music is so intense, it will grab you at your neck and shake you maniacly, with only a few chances to breathe. So participate and steal from death some intense, melancholic, desperated moments of life. After some split releases with the finest band out of Europe, Yage (Germany), Standstill (Spain), To die for (Italy) – this is their first full length and last release as well. With this record from 2003, Engrave prove their songwriting skills and present their best and most varied compositions to date, combining frantic spursts of noise and fucked up rythms with melodic and quiet elements.
After nine years and two albums, Seattle noisecore pioneers Botch decided to quit in 2002, leaving us with this EP as a parting gift. And it is a fine gift. Although only just over 22 minutes long, “an anthology of dead ends” is full of the angular song structures, unexpected tempo changes, and just plain noise, that made them probably the most consistently exiting band of their type. Botch combines the technicality of metal and the raw ferocity of punk with complex time structures, similar stylistically to bands like Coalesce and Converge. Evil Math Rock! The devastating combination of noise, indie rock guitar, rhythmic density, and scathing vocals is about as subtle as hitting your face with a sledgehammer.
Their final EP topped up everything they stood for in 21 minutes. It showed their abilites to create, minmalistcally (‘Spaim’), how to create noise within acceptable pop boundaries (‘Japam’), create haunting ballands (‘Afghamistam’) and how to top it all off with one huge agressive jam session (‘Micaragua’). And I promise, you can listen thirty times to this record and still will be able to pick up new details.
Two men from Leeds, but a wall of sound. James Islip on the drums and Andy Abbott with a baritone guitar transform into monsters when entering the stage, make more noise than they should be able to. Often improvised, always loud, always hypnotic and enthralling, That Fucking Tank always leave an impression on the audience with their heavily riff-reliant intensity.
Take the slab-heavy mathematics of Shellac and injecting them with an elastic twang reminiscent of the Minutemen, always in the way of a good solid groove, be it fuzzed-out bass note roars or clanking staccato funk, these five songs on “a document of the first set” are guaranteed to have your puny frame forming unimaginable contortions in vain attempts to keep up with their multi-directional racket. You may feel your head bobbing erratically, joints grinding, clicking and locking uncomfortably while each toe tries to sneak your feet in a different direction, but I swear you won’t regret a single aching tendon.
“A document of the first set” is the debut from these two Ex-Kill Yourself members, recorded in a few brief moments in the top of a pub before a William E. Whitmore gig and catched perfectly the best moments to listen to That Fucking Tank: live and loud. The fine people at Jealous Records turned it into a record in May 2004 and the band with this delightful non-radio compatible name is releasing stunning records until today and regularly plays live gigs on the British Isles and Europe. Make sure to check them out, robust and riff driven math noise.
…some desperate moments of life. Engrave were chaos-core pioneers in Germany, mixing the brutal and chaotic energy of US-bands like Orchid, Botch and Converge with the more emotional influences of famous german mid-90s screamo bands like Loxiran, later followed up by worldwide succesfull acts like Yage. The music is so intense, it will grab you at your neck and shake you maniacly, with only a few chances to breathe. So participate and steal from death some intense, melancholic, desperated moments of life. After some split releases with the finest band out of Europe, Yage (Germany), Standstill (Spain), To die for (Italy) – this is their first full length and last release as well. With this record from 2003, Engrave prove their songwriting skills and present their best and most varied compositions to date, combining frantic spursts of noise and fucked up rythms with melodic and quiet elements.
Everything pictures black. (reupped!)
The band from Fugazi bassist Joe Lally, Frodus guitarist Shelby Cinca and Frodus drummer Jason Hamacher, formerly known as The Black Sea. For their debut full length from 2004 they spent eight months of recording intermittently in their home studio and continue on the hard-edged driven way, with razor sharp guitars and pounding drums. Cinca tends to deliver his lyrics with ragged shouts, but also exhibits impressive control over his screams, which at times manage to border on melodic. Lally’s smooth, even tenor, meanwhile, offers a balance that’s highly effective in driving home the political rage that seethes within the band’s lyrics. But this rage sometimes could been presented in more poetic lyrics, they are too simplistic sometimes. But the music is still fantastic, once you hear the rhythm section starts creating solid grooves amongst all the crashing guitars, you just can’t turn it off, Decahedron grabs you by the throat right from the start! It is a memorable post-hardcore full-length debut and if you liked the Black Sea EP (or Frodus and Fugazi), you have to get this one!
Delete false culture! (file is down, leave a comment if you wish a reup)