purchase lasix RICHARD: I’ll ask another generic question and we’ll go one by one. This generic question is: can you tell me about your instruments? And like… what it is, do they have a name… what is your relationship with your instrument?
It’s not so unusual to see a heavy act take over The Bird these days, but go here The Pissedcolas, always uncommon faces in the scene, like to remind us of the limits of our sound equipment once in a while. Their newest release, a 12″ vinyl offering, will extend this to the stereos of their fans, but to launch it this drone/psych/garage/distortion group took roost in a packed Bird with a host of other bands. Continue reading LIVE REVIEW: The Pissedcolas at the Bird, 21.08.15
The vitriolic Nottingham duo returns to form after a short revue with Key Markets, an album probably meant to take aim at some notion of consumerism. Does this represent the bitter taste at the back of lyricist John Williamson’s throat following the commercial success of its predecessor,Divide And Exit, the 2014 outpouring of bile to universal acclaim that brought quanto costa viagra generico 200 mg online a Firenze Sleaford Mods not only into the national spotlight, but turned them into music industry buzzwords on the international stage?
Probably. It’s hard to make out – Williamson’s lyrics stagger in jagged, unfocused zigzags like a blinded bull. Williamson quickly falls into a droll, irritated hum, akin to a mass of hornets not quite disturbed enough to leave their nest. With Andrew Fearn’s stripped back instrumentation, kit and a wet, sloppy kiss of a bass, the album rolls over you like a train over tracks, creates a drone, a haze, and sends you off, that sound-blocking you do at your retail job to avoid thinking too hard about your bleak at best future in a receding economy.
That’s admirable in itself, you could say: the new Sleaford Mods’ album is the experience of hopelessness. Continue reading ALBUM REVIEW: Sleaford Mods, Key Markets, 17.07.15
http://cinziamazzamakeup.com/?x=comprare-viagra-200-mg-online-generico-a-Roma Hideous Sun Demon are something of Perth, Australia’s best kept secret – shielded from the national spotlight neighbours source url Tame Impala or go here POND might enjoy, Hideous have been brewing like the bacteria in that cup of coffee your science teacher left at the back of the classroom that one time, crawling from the ooze with their first album Sweatand practically an ecosystem of fellow grotty boy garage bands: before then buy pfizer canadian viagra online Cool Band, Kitchen People and Aborted Tortoise to name a few.
It’s hard to explain what they sound like without using that tactile language: like the black stuff that comes out of a roadkill kangaroo, like the thick, viscous fake blood – the stuff that smells of liquid plastic – that squirts out of Ozploitation horror films, like pen ink spilt over your foot from a poorly executed stick ‘n’ poke, like that one patch of the couch no one will sit on after that one unfortunate happening at that one terrible party, the one that Gideon brought that THC-moonshine to, the one where the toilet was blocked up five metres down and Tom woke up six kilometres away naked in a park the next day. Or maybe take a bit of grunge fuzz and grind, a bit of psychobilly dexamphetamines, add the manic hoots and screeches of frontman Vin Buchanan-Simpson panting over the muscles of a gym junkie in ‘Flex’ (“Feel them crawling under my skin/Is it bigger?/Is it bigger?”) or word salad of ‘Ohio (Is It Dead Yet?)’, sprinkle a pinch of metal in mad shredding guitar solos and a dash of psych in extended psych-outs like ‘Neon Sound’, and you have an approximation of Hideous Sun Demon. Continue reading BAND PROFILE: Hideous Sun Demon, 08.07.15
Cardiff ‘post-culture’ band WªLL are out of step with the world. Post-everything harsh and abrasive, these four young (post) punks pose to deconstruct the genre again in 2015 – and truthfully, with emo and pop punk behind us, it’s ripe for deconstruction. God Is In The TV Zine previously saw them open for established and notorious post-hardcore act Future Of The Left in Cardiff earlier this year, but the 25th of July marks the release of their first EP, titled ‘Object’, at the Abacus art space, in benefit of Cardiff sexual assault crisis support group New Pathways.
With a pedigree of DIY cerebal post-hardcore influences like Fugazi, OFF!, and Savages, WaLL have set themselves a high bar, and matched with their ferocious, confronting energy live and frontman Kieran Welton’s weird promotional hashtags via the band’s twitter @wall_sounds – #postculture, #depressionisoppression, #iamobject, #iamsubject, #object, #object, #object, and the ever present ‘here come the hot chocolate kids’ slogan – give the project an indefinable quality hard to manifest in the studio. Object has gestated long in recording and production, and to much surprise and still absolutely none at all, has come out perfectly formed and already walking with the blood and caul still in its hair. Continue reading ALBUM REVIEW: WªLL, Object, 22.07.15
Y Dydd Olaf (The Last Day), an album inspired by Owain Owain’s 1976 Welsh-language dystopian science fiction novel of the same name, marks another entry in the ever-growing archives of cambrofuturism — Welsh futurism, a lens through which a disenfranchised culture can find an identity in an imagined future — and similarly draws on electronic, krautrock inspiration for that peculiar sound: think late Super Furry Animals, the Manic Street Preachers’ Futurology, and ’80s psychers Llwybr Llaethog.
Gwenno is no stranger to this territory and her airy vocals and beautiful, bold production let the imagination run wild. A blissful experience that effortlessly transcends the language barrier.
Authors: Brett Morgen with Richard Bienstock
1/2 of a star
This is the accompanying coffee-table book to the most recent Kurt Cobain biopic of the same title, and that a film about Cobain has a coffee-table book should tell you all you need to know about it. But just in case you’re the kind of scum inclined to spend fifty bucks on a Nirvana conversation piece, let’s look closer. Continue reading BOOK REVIEW: Cobain: Montage Of Heck, Based On The Acclaimed Documentary Film (2015)
Director: Don Hardy Jr
Starring: The Residents
The Residents, for the uninitiated, are that band your weirdo friend tried to impress on you at your weakest moment – drunk, high, hungover – late at that one party. You barely remember anything about them apart from jerky images, eyeballs in suits and dissonant but strangely soothing music; or else you’re their biggest fan and one of those people in desperate search of the next weirdest thing to impress your musically jaded friends with the sheer breadth of your taste.
In the interest of disclosure, I am that friend.Continue reading FILM REVIEW: Theory Of Obscurity – A Film About The Residents (2015)
Director: Asif Kapadia
Starring: Amy Winehouse
Winehouse obsessive Asif Kapadia’s documentary hits cinemas four years after the star’s early death. What felt in equal parts shocking, mysterious and inevitable in 2011 has been largely left alone apart from the usual hyenas picking over tragic deaths for tasty morsels and giggles, and – for the most part – Kapadia’s narrative marks a relief from that, although the shadow of ‘too soon’ is still stands long over the footage. Continue reading FILM REVIEW: Amy (2015)
The Adelaide two-piece The Hard Aches bring Pheromones into the punk world with a stripped-back, barely-driven guitar and kit and a penchant for pouring their hearts into their lyrics.
If you’ve been craving gymnastic vocals scolding over drink driving; emotional hardcore based around moving out of a friend’s house because things are weird now you’ve had sex and you’re sure they’ll be happier even though your other housemates are terrible people; or just a particular young, white, urban Australian perspective, it’s a gem in a narrative begging for expansion but representing a specific and closed chapter.