- February 2014
- December 2013
- September 2013
- August 2013
- May 2013
- April 2013
- February 2013
- November 2012
- October 2012
- September 2012
- July 2012
- June 2012
- May 2012
- April 2012
- March 2012
- February 2012
- December 2011
- October 2011
- September 2011
- August 2011
- July 2011
- June 2011
- May 2011
- April 2011
- March 2011
- February 2011
- January 2011
Author Archives: jason
Written by jason. Posted on 20/02/2014.
Swiftly following the release of their successful third album MASTER, Teeth of the Sea are proud to present a limited Record Store Day LP release of their re-imagined score to Ben Wheatley’s metaphysical midnight movie A Field InEngland. This work sees London’s most adventurous and intrepid psychedelic adventurers allying motifs and psychic spectres from Jim Williams and Blanck Mass’ music and reinterpreting them to their own ends, arriving at a bold and richly atmospheric transmission that takes the rites and revelations of the original work into pastures new.
Originally spurred into action by a commission for Cork Film Festival in November 2013, Teeth of the Sea worked on the audio-visual reworking with their long-standing visual collaborator Benjamin Barfoot (who also created the jaw-dropping ‘Reaper’ video last year and worked on the band’s previous ‘Beyond The Transfinite’ piece, which debuted at Bestival in 2012).
The first performance of A Field In England - Reimagined, in the converted church venue Triskel in Cork in November 2013, wasa resounding sell-out success, as was a repeat performance at the enormous screen one at Hackney Picture House in January 2014.
Inspired by this reaction, the band entered Lightship95, the studio housed on a converted ship on the Thames where they also recorded MASTER, to record the music to this half-hour travelogue. In the process, they found themselves travelling down unforeseen sonic avenues- taking a notably more melodic and pastoral approach, these three tracks find them channelling influences like Flying Saucer Attack, Bobby Beausoleil, Popol Vuh and ‘La Novia’ era Acid Mothers Temple to mercurial and transformative effect.
Teeth of the Sea’s goal was to take the mind-games, the malevolence and the magick of the film as fuel for a work that exists on a parallel dimension to the earthen realm on which the protagonists carry out their actions. Housed in a sleeve featuring all-new artwork by Rocket Recordings seer Johnny O, and available in a limited edition on thick red wax, A Field In England - Reimaginedrepresents that psychic quest made gloriously manifest.
Written by jason. Posted on 06/12/2013.
Here’s some 100% hi-octane grooviness c/o the long awaited debut from Star Spangled Banana – pioneers of the happening sound soon to be known to the masses as BUBBLEGRUNGE!
Yes, believe it! Dirty amps tweaked to a happenin’ rhythm and floor-shaking beat, eviscerating the soul of your tired and over-referenced Nuggets comps and bustin’ you loose with some wild grunt and grind! The songs may be familiar, but you will be too furiously wigging out to even care who or what wrote them in the first place.
It’s an ever-lovin’ tribute to the bubblegum greats of yore – The Beatles, The Monkees, Paul Revere, Tommy James, Flipper and more.
The limited edition ‘banana yellow’ vinyl (500 only) LPs comes loaded with a free CD of the musick.
Tracklisting: 01. Let Me, 02. I Can Only Give You Everything, 03. Save My Soul, 04. Let’s Talk About Girls, 05. Hanky Panky, 06. (I’m Not Your) Steppin’ Stone, 07. Circle Sky, 08. Goody Goody Gumdrops, 09. 1.2.3 Red Light, 10. Surfer George, 11. I Wanna Be Your Man, 12. Why Don’t We Do It In The Road, 13. Sex Bomb, 14. You Can’t Do That, 15. Buzzsaw, 16. Bonus Track
Written by jason. Posted on 23/09/2013.
Fire Records will be releasing ‘Peace on Venus’ by Philadelphia’s foremost purveyors of psychedelic rock, Bardo Pond. Delving deep in to their subconscious to bring it to the conscious, the band again dazzle us with their gift for heavy riffs laced with soaring vocals and swathes of sound.
The recording process of ‘Peace On Venus’ used the principle of the Quintessence, which is a principle cited by the 16th Century physician Paracelsus, who noted: “Nothing of true value is located in the body of a substance, but in the virtue thereof, and this is the principle of the Quintessence, which reduces, say 20 lbs. of a given substance into a single Ounce, and that ounce far exceeds the 20 lbs. in potency. Hence the less there is of body, the more in proportion is the virtue thereof.”
As Michael Gibbons from Bardo Pond says: “We wanted to make an album that held true to the single vinyl format LP, and have that be as potent a listening experience as possible. A Less is more statement in essence… The basic tracks were recorded live as a full band here in our studio the “Lemur House”, and subsequently tracked here as well giving a live quality to the tunes.”
More information on Bardo Pond written by Tony Dale, R.I.P., from a feature in The Ptolemaic Terrascope:
The world’s most essential psychedelic rock experience should defy rational explanation and scholarly deconstruction. No tablature can define for you what these latter day cosmic couriers bring to the table, no lyric sheet will give you access to their text; you put the music on, close your eyes, and dream your equivalent of the pond into existence.
Bardo Pond has the outward specifications of a rock band — guitars, bass, keyboards, drums, occasional but crucial flute and violin and vocals — but the rivers that converge into the band’s oneiric flow have their headwaters in the outlands of ecstatic jazz, free noise and the avant-garde. Their slow-motion avalanches of churning instrumentation and voice suggest drugged states but don’t necessarily require them. They alter brain chemistry by the alchemical effect of distressed sound alone, aspiring to become engineers of the soul’s passage to alternate states of consciousness.
At the foundation of the pyramid, the drums of Jason Kourkounis and the bass of Clint Takeda lay down a sinewy, sexy and hypnagogic bottom end. At the centre of the pyramid, the twin guitars of John and Michael Gibbons send out emissaries of fire, flaying flesh from bone in a storm of holy liberation. Isobel Sollenberger inhabits the place where the pyramid meets the eye of their storm, weaving fibres of voice, flute and violin through the din.
I heard someone comment recently that the limits of music have now been defined, bracketed by John Cage’s silence at one end and Merzbow’s maximum noise at the other, leaving only the option of filling the spaces in between. Bardo Pond demonstrate how much scope there is to innovate within that continuum. If rock music is to have any relevance in the new millennium, it is bands like Bardo Pond that will make it so.
Written by jason. Posted on 16/09/2013.
Fuzz the new west coast trio - Ty Segall (drums/vocals), Charlie Moothart (guitar/vocals) andRoland Cosio (bass).
They’re heavy-rock lifers – three California-bred dudes who have been refining their riffs and getting weird together since high school (which wasn’t that long ago, actually).\
Ferocious, with a sludgy, psyched-out, proto-metal sound steeped in shredding fuzztone guitar, FUZZmore than lives up to its name. Comparisons to Blue Cheer, The Jimi Hendrix Experience and Black Sabbath have been made and are not far off the mark. The band’s two 7″ singles sold out in about ten minutes each, while early live shows caused a frenzy and multiple cases of tinnitus on both coasts.
If you are not already aware of Segall, well, what’s up? He’s one of garage-rock’s most prolific sons. He said he was going to take it easy this year, but by the time you finish reading this press release, the one-sheet for his next record will have already arrived in your inbox (probably). Moothart plays guitar in theTy Segall band and was also a member of The Moonhearts, which included Cosio on guitar. Way back in the early ’00s, all three played in the Epsilons.
Fuzz was formed in/around 2011 as a collaboration between Segall and Moothart, but its only within the last year that the pair had sufficient time to guide the band out of side-project limbo and into a recording studio. Since then, they have released two singles, “This Time I Got a Reason” (Trouble In Mind) and “Sleigh Ride” (In the Red). Around the time of the second single, Cosio joined on bass.
They are not dabblers or dilettantes. Fuzz have flipped through used bins, hard drives, and record collections of the world, seeking out the finest weirdo cuts. The band’s self-titled debut LP, which was recorded by Chris Woodhouse (Thee Oh Sees, The Intelligence), dives deep, drawing inspiration from the more esoteric reaches of heavy metal pre-history. There are Sabbath and Hendrix nods obviously, but on “Sleigh Bells” you might also catch a whiff of UK progressive blues business like The Groundhogs, particularly when the song quits its 10/4-time intro and reboots into full bore choogle. Maybe you’ll even glimpse the ghost of Australian guitar-legend/sharpie guru Lobby Lloyde sniffing around “Raise.”
The mood is not light. The songs project a state of perpetual paranoia and eroding mental health. And as it should be, you know? It’s a record for the burners.
|(Trouble In Mind Stage)|
Written by jason. Posted on 29/08/2013.
For about a decade now, Dirtbombs front man Mick Collins has threatened that the band’s next release would be their “bubblegum album.” After a couple of records of mostly originals, a compilation of singles and an album of Detroit techno covers, one might have suspected that the concept either fell by the wayside or was a farce to begin with. Well, at long last, here is Ooey Gooey Chewy Ka-Blooey!
It’s understandable to assume that a bubblegum record by The Dirtbombswould be cover versions by groups like the 1910 Fruitgum Company, The Ohio Express and The Archies. After all, the band already has two albums of cover songs under their belt which salute specific genres. That is not the case in this instance. Mick Collins wrote ten new tracks which pay homage to the sound and style originally popularized in the late ’60s / early ’70s by producers / exploiters like Kasenetz-Katz and Don Kirschner. While the usual Dirtbombs’ double-drums, fuzzy guitars and soulful swagger are present, Ooey Gooey is sugary, sunshiny pop rock that recalls Josie & the Pussycats, the Banana Splits and Lancelot Link & the Evolution Revolution, to name but three. It’s all sing-along choruses, childlike themes and a contrived innocence—not the kind of record one would’ve predicted from a guy who once fronted The Gories.
The original bubblegum music was a cash-in produced on an assembly-line using studio musicians and hired songwriters, who dashed out the stuff as quickly as possible and most likely forgot about it even quicker. While The Dirtbombs adhere to some of this original approach by using a list of guest musicians so long there wasn’t room to credit them on the album cover,Ooey Gooey Chewy Ka-Blooey! is actually a carefully crafted work almost two years in the making.
Written by jason. Posted on 28/08/2013.
KAWABATA MAKOTO’S MAINLINER
One of the most celebrated Japanese Underground bands have returned! It may have taken over 12 years, but Kawabata Makoto, guitar guru and head honcho in Acid Mothers Temple, has finally decided to get his celebrated ‘psychedelic solid free attack group’ back together.
Support comes from three of Liverpool’s finest sonic terrorists The Left Hand, Fortunatus and Norweb. Get yourself in the mood for Liverpool International Festival of Psychedelia. FREAKOUT!!
Come early to ensure your place!
The Blade Factory at Camp and Furnace,
67 Greenland Street, Liverpool L1 0BY
Written by jason. Posted on 27/08/2013.
Beginning a new chapter of their ongoing legacy, Bristol’s psych rock band The Heads will follow in the footsteps of Enslaved,Circle, Justin K Broadrick and Neige (Alcest) as Artist In Residence at the 2014 Roadburn Festival.
“If that’s not a freakout, then I’m a Dutchman” – John Peel (on the airing of the first Heads’ Peel session).
“The Heads are a national institution” — Stewart Lee / Sunday Times.
With Heads’ members recording and releasing solo albums – Simon Price focusing on his solo project Kandodo (roping inWayne Maskell and H O Morgan to augment the Kandodo live performance) and Paul Allen leaving the fold to focus on his solo venture ANTHROPROPH, it seemed that The Heads might be on a constant hiatus. However, rehearsals for Kandodo’s forthcoming live shows made the remaining trio – Simon, Hugo and Wayne –to reconsider The Heads as a band, and start working out new jams with a view to recording new Heads material purely as a studio project.
The band’s idea was to record some new tracks with various guest lead guitarists and re-connecting via mutual friends (having briefly met in Seattle in 2000 where they all shared the same bill) it was a proverbial lightbulb flash moment: ”Ask John McBain!”– a man who’s work with early Monster Magnet, was a major influence on the Heads in their formative years. Having recorded and toured with Hater and Wellwater Conspiracy and guested on recent Carlton Melton recordings, John McBain, now based in San Francisco, was immediately excited by the proposition and agreed to jump onto the ride.
Roadburn is The Heads’ spiritual home, and they are honoured to be asked to be the Artist in Residence and are excited to have John McBain join them for this and new recordings. As part of the Artist in Residence, Kandodo will perform as a three piece on Friday April 13th at Het Patronaat. The Heads will play a live set for the first time with John McBain on Saturday April 12th at the Main Stage. The Heads (ft. John McBain)’ residency will lead in to a collaboration with fellow psychedelic travellers Carlton Melton in a one-off Roadburn exclusive performance on Sunday April 13th at the Main Stage as well.
Carlton Melton will also be playing their own set at Roadburn (scheduled for Saturday April 12th)
Of course, the fact LOOP are headlining, well, that makes it even more amazing, over three days at Roadburn 2014.
Written by jason. Posted on 13/05/2013.
Fuck Buttons are back with a new album and a string of live festival shows this summer.
Ahead of their appearance at the Primavera Sound Festival in Barcelona later this month, Fuck Buttons have announced that they will play a small warm-up show (their first UK live show in two years) at The Deaf Institute, Manchester on Saturday 18th May 2013.
Further details of the new Fuck Buttons album will follow shortly.
Written by jason. Posted on 26/04/2013.
Never ever thought this would happen – but LOOP have reformed. They will also perform at the last ATP staged in a holiday camp in the UK.
Robert Hampson explains:
It was a long time ago… and it didn’t really finish that well. I’m not sure anyone of us can really put our fingers on specific reasons, for they are legion, but after many many years of being asked why not play again, I can’t seem to find any excuses for why not to anymore.
To always pursue a forward motion has been my goal, but what goes around comes around as they say.
It seems that as much as you try to run as far as you can away from it, your past will always haunt you. I have never really slept well over the demise of Loop, it always felt unfinished. If I had a pound coin given to me for every time I get asked to reform Loop, I’d be a very rich man by now. I had always baulked at the idea, especially when I have been asked to perform songs with a pick-up band, something I could never do… ever.
It’s not that I am precious, but at the same time, without John and Neil holding down that centre, I’d never be able to wave, it would never be the same.
I’m so proud to say that the line-up of John Wills, Neil Mackay, Scott Dowson and myself have agreed to perform a limited number of shows from late 2013 to mid 2014 at various venues across the world. To perform from all stages of the Loop arc, enjoy it again, hoping that we make plenty of people happy again and maybe give people a chance to see it for the first time… then, we can put it finally to rest with a better feeling of completion and that a chapter is really over. I sincerely hope it maybe refreshing to us and to others. For some, it may simply not be on their radar anymore. Well, it’s simple enough for them, don’t buy a ticket. It’s going to blink and you miss it because it’s not going to be around long, I refuse to prolong it and for it to become embarrassing. It’ll be sharp and to the point…straight to your heart and then, it’s gone.
RH April 2013