As if the advertised two hours plus wasn’t enough.
Anyone else found the hidden third disc for the new album yet?
As if the advertised two hours plus wasn’t enough.
Anyone else found the hidden third disc for the new album yet?
In the 1990s, heavy metal band Dürt Würk was poised for breakout success — but then lead singer Terry Hunt embarked on a solo career and rocketed to stardom as Koffin, leaving his fellow bandmates to rot in rural Pennsylvania. Two decades later, former guitarist Kris Pulaski works as the night manager of a Best Western – she’s tired, broke, and unhappy. Everything changes when she discovers a shocking secret from her heavy metal past: Turns out that Terry’s meteoric rise to success may have come at the price of Kris’s very soul. This revelation prompts Kris to hit the road, reunite with the rest of her bandmates, and confront the man who ruined her life. It’s a journey that will take her from the Pennsylvania rust belt to a Satanic rehab center and finally to a Las Vegas music festival that’s darker than any Mordor Tolkien could imagine
Grady Hendrix’ My Best Friend’s Exorcism was one of my favourite horror novels of recent years, funny, scary, and touching. For his new book he’s swerved into the world of heavy metal and legends of musicians selling their souls in. there isn’t actually a crossroads here, but there might » Continue Reading.
The first track from their upcoming album was released this evening, and it is predictably exquisite. Starts with four minutes or so of Deafheaven business as usual, ie full on hammering drums, black metal shrieks, and shoegazey metal guitars, then it goes all classic Thin Lizzy for the middle section before winding down to a gorgeous slow, chiming, lengthy cinematic outro. I know most of you are going to hate it, but it’s the best thing I’ve heard in months, horse staggers and all. It’s brutal, shimmering, happy, melancholy, beautiful, and exciting. I’m already past the mandatory six listens, and can’t wait for the album (July 13th! It has a terrible title!).
And the video is just lovely.
Graceland – the dance remixes. I had to check the date to be sure it wasn’t an April Fool, but apparently this is actually a thing.
Year: 2018 Director: Alex Garland
Natalie Portman’s Lena is a college biology professor whose soldier husband Kane (played by Oscar Isaac) disappeared, presumed killed, on his last secret mission. She’s stuck in grief and refuses to move on. And then, one day, he mysteriously returns. But he’s different, with no memory of what’s happened to him. His health rapidly deteriorates, and he is rushed to a military compound where Lena discovers that he was a part of a Special Forces-esque team sent to investigate the location of a meteor crash in the Florida swampland. The region has been enveloped in “Shimmer”, a mysterious effect that is changing the land under it, and one that is slowly expanding outwards. Kane is the only person from several expeditions who has returned from this location, now known as Area X.
Desperate to know what has happened to her husband, Lena volunteers to join up, and is assigned the next mission, heading into the unknown with a team of scientists, whereupon Annihilation reveals itself as the psychedelic Alien. This small group of explorers stumbling into something huge, unknown, and lethal has the same sense of nature and biology frighteningly out of kilter, but » Continue Reading.
Trying to make it sound like a bad horror sequel there.
Anyway, March is upon us, time to start posting reactions to the mixes you have (hopefully) received. I’ll post a comment for each group, and then please reply to that with your thoughts. Please send myself and / or @moseleymoles your tracklistings if you haven’t already, and if you are yet to send your discs get your skates on!
And I think we can all agree, upon looking out of our windows, that MM played a blinder when he picked this theme…
The Old England, Bristol
You know the coda to Julian Cope’s Safesurfer, where the song is eventually overtaken by wave after wave of molten guitars until the whole thing reaches orbit? That’s Chris Forsyth’s starting point I think to myself as, eight minutes or so in, ‘High Castle Rock” reaches yet another explosive climax and momentary wind down only to fire up and away again like an arcing electrical cable.
An hour previously I’d walked into the Old England for the first time. It’s not big. The seventy or so people here fill the room quite comfortably, and you have to get on stage and sidle past the bass player if you want to get to the gents. It has a faded, some might say ragged, glory, the kind of place you didn’t think they made anymore in these days of corporate sponsorship and branded promotions. Forsyth himself looks more professorial than rock star in his suit jacket and owlish glasses, while the Solar Motel rhythm section are unassuming longhairs. They don’t look like the kind of people who are about to kick off the best ninety minutes of my week. On this first exposure to » Continue Reading.
Up until recently, if I added an album to my Apple Music library via the iTunes store, or whatever they call it these days, it would also appear on my phone more or less right away, and vice versa. This has stopped happening, and I can’t figure out why (haven’t messed about with any settings or the like). It is amongst the most minor of irks, but an irk nonetheless. Can anyone shed any light on it?
Looking at all the albums of the year stuff going on around here, there’s a marked lack of dance music. I’m sure there was loads of great stuff out in 2017, but a lot of it went under my radar, and didn’t get much attention here without @poppy-succeeds to lead us. So I figured I would create this thread, and then those of us who like our electronica can use it to tip each other off throughout the year when they hear something worthy of note. I’m looking at you @moseleymoles, @leicester-bangs, @tiggerlion, and of course whoever else wants to add something. Techno, psybient, drum and bass, lo fi house, whatever – bring it on!
I’ll start with this late 2017 monster from Phase Fatale. It’s techno with very clear roots in 80s/90s industrial and EBM music, all thudding drums and dystopian synths. It’s on Dominic Fernow’s Hospital Productions label, and fits right in with his Prurient and Vatican Shadow work. Top stuff.
Two new songs and Franz Nicolay back on board! Wish I could justify the London shows in March.
The four shows at Brooklyn Bowl are pretty much upon us. We are calling this year “Massive Nights” and we are predicting massive things indeed.
In anticipation, we are sharing with you two new songs that we recently wrote and recorded:
1. Entitlement Crew 2. A Snake In The Shower
We recorded these in Brooklyn just this month. We hope to play them at the shows, so we thought we’d share them in case you want to sing along.
These will be available for the fans here on Bandcamp for this week, and next week we will make them available via the major digital music providers.
If you choose to download these two songs, a donation will be made to benefit the K+L Guardian Foundation. ALL monies received from downloads will be transferred to the K+L Guardian Foundation.
The K+L Guardian Foundation was formed to benefit “Jersey” Mike Van Jura’s children after he suddenly passed away in November 2012 at only 36 years of age. Jersey Mike was the unofficial leader of » Continue Reading.
I know people round here like a bit of Steve Mason. His new project is a collaboration with Martin Duffy of Primal Scream under the name Alien Stadium. They’re calling it a mini-album, but round my way four tracks is an EP, amirite? Anyway, it’s called Living In Elizabethan Times, and it’s very good, with plenty of of cosmic grooving. Puts me in mind a bit of Julian Cope when he’s got his pop head on. Out December 1st, but it’s streaming now.
This time last week I’d never heard of Ezra Collective. I only picked up on them through reading the write up in a local gig guide*, although according to Boilerrom.tv, they are “pioneering a new wave of UK jazz music”, so that’s me told. Anyway, “that sounds alright”, I thought, and so I gave this, their second EP, a whirl. Turns out it is ABSOLUTELY BLOODY FANTASTIC.
The Collective are a bunch of young Londoners, born out of the Tomorrow’s Warriors project. It’s lively stuff, driven by an irresistible rhythm section that pulls together afrobeat, hip hop and reggae. On top of this, there’s winding flights of trumpet and sax to get lost in, and some sterling piano playing. It’s wonderfully fluent, rich, constantly grooving, and generally makes me glad to be alive. It’s built on tradition (the closing track here is a version of Sun Ra’s Space Is The Place), but looking outwards, to other musics and to the future. I am already way past the mandatory » Continue Reading.
Let’s be honest, the most I was hoping for from this film was “not actually disgracing the original”. Even when Denis Villeneuve was announced I only allowed myself a little flicker of hope, but the initial reactions are overwhelmingly positive. I am now officially excited.
What does it sound like?:
Do you see what happens, Larry? Do you see what happens when you find a stranger in the Alps?
Phoebe Bridgers is a disgustingly young LA artist. She’d previously put out a 7″ on Ryan Adams’ label, and this debut is produced by Bright Eyes’ Mike Mogis, and features a duet with Conor Oberst, all of which gives you a pretty good idea where she’s coming from. It’s not a million miles from the Julie Byrne album that got some traction here earlier in the year – the sound is basically folk, with a bit of invention and studio trickery. The songs are built on foundations of acoustic guitar and piano, with support from electric guitars, synths and strings, and then some wilder sounds thrown in. A plane passes overhead above the Twin Peaks twang of opener ‘Smoke Signals’, and there’s a moment in the gorgeous crescendo of album highlight ‘Scott Street’ where among the wordless vocals and building strings you hear the bell of a child’s bicycle, then the choo-choo of a steam train. Okay, it sounds daft, like the Mad Professor dubbing Joni Mitchell, but it works beautifully. It strikes me » Continue Reading.
Bournemouth International Centre
The first night of Nick Cave’s European tour. This is the first time he’s done the arenas in the UK, but any worries about stepping up to bigger venues were misplaced. It was bloody fantastic. The setlist looked very similar to this show that @junior-wells went to, but what you don’t get from a list of songs is any idea of the sheer power of the full Bad Seeds unit. One of the great bands, restrained when they need to be, and kicking off like a hurricane on the likes of ‘From Her To Eternity’ or the revamped monster that is ‘Jubilee Street’. Cave is a superb frontman, prowling from end of the stage to the other, reaching out and grabbing hands. It sounds crazy to say it about the Berlin junkie doom merchant I grew up listening to, but these days his crowd rapport and total control of the audience are more reminiscent of Bruce Springsteen than anybody else (and he’s up there on stamina as well – this was a two and a half hour show). The Skeleton Tree stuff sounds huge, and translates to the » Continue Reading.
and enjoy two hours of last week’s gig in Cork, courtesy of French TV
Beautiful Days is a festival organised by the Levellers down in dear old Devon. It’s an unashamed hippy / counterculture festival with a strong family vibe. I’ve been going to Bearded Theory in Derbyshire for years, and this is cut from the same cloth. It’s bigger (17k cap, I believe), and older – this is the fifteenth , but the first I’ve been to. It’s always been on the radar, but the stars have never aligned for me until this year. The entire Dynamite family attended, which made it an unusual festival experience for me (less cider, more facepainting). I will spare you the detail of craft tents and childrens’ theatre performances, but alongside the music offerings they were more than enough to keep my little(ish) one entranced for the weekend. There are loads of interesting food stalls around, with far more than the standard burgers on offer, and us hippy herbivores are really well catered for. No Gandhi’s Flip Flop, unfortunately, but you can’t have everything. Unlike the big corporate festivals you’re allowed to bring your own food and drink into the arena, but despite that the bars are rammed all weekend. They’re » Continue Reading.
We have very much enjoyed delivering the LOVEFiLM By Post service to you. However, over the last few years we’ve seen a decreasing demand for DVD and Blu-ray rental as customers increasingly move to streaming. Due to this, we will be closing the LOVEFiLM By Post service on 31st October 2017.
Until then, you can continue to rent movies and TV shows on DVD and Blu-ray discs as usual. There is no need to take any action. You will not be billed for your LOVEFiLM subscription after 30th September 2017, and you can continue to enjoy the service until it closes on 31st October 2017.
As someone who loves great movies and TV shows, you may like to know that a Prime membership includes access to stream thousands of Prime Video titles.
Curious to see what others think about streaming movies – I have never been satisfied with the picture quality when I’ve tried it. And Amazon Prime’s streaming library was pretty shoddy last time I looked.
*Goes off to Google Cinema Paradiso*
This is a thread where you can post your reactions to the mixes you have (hopefully) received. The more in depth and rambling the better, to keep things lively. If you signed up and haven’t posted yours out yet, consider this your very last alarm call!
We’ll try this as one post. I’ll put up a comment for each group and those members can put their views across as replies to that comment (and anyone else with something relevant to say can jump in of course). Once all reviews are in I’ll go back and add the tracklists to the comments and the recriminations can begin (“you made me listen to Yes!”). Hopefully that format will not become too unwieldy. Let’s go.
Being the big girls blouse and general ponce around town that I am, I spent most of last night reading poetry. I discovered the American Mary Oliver, who mainly writes about nature and our place it. She’s really good, and not just because some of her verses read like NMA with a Pulitzer.
“Meanwhile the sun and the clear pebbles of the rain are moving across the landscapes, over the prairies and the deep trees, the mountains and the rivers. Meanwhile the wild geese, high in the clean blue air, are heading home again. Whoever you are, no matter how lonely, the world offers itself to your imagination, calls to you like the wild geese, harsh and exciting — over and over announcing your place in the family of things.”
So this is a thread to talk about poetry. Who are your favourite poets? Why? Quote us some of your favourite verses!
Not the Colston Hall, Bristol
This was one of a small series of concerts to celebrate the twentieth anniversary of the Bella Union label. I’d snapped up tickets as soon as they went on sale – how could I not? One of my very favourite acts, playing with a full orchestra and a Cocteau Twin? Yes please. There was a hiccup the day before, when the roof fell in on the original venue, the Colston Hall, and it was hurriedly moved to the O2 Academy in town. I was a bit anxious about this. The Academy is fine, but more of a scuzzy rock venue than the refined concert hall vibe of the Colston. It turned out okay though, as we found a place with perfect sightlines and the sound was mixed as well as I’d have expected up the road. A big shout to whoever was in charge of the logistics – I have no idea how they fitted thirty people, most of them seated, onto the Academy’s stage but they managed it. God only knows how rammed the dressing room was.
The support is a new signing to Bella Union, one Charlie Coxedge. » Continue Reading.
Thanks to everyone who signed up. You’ve all gone into my sorting hat, and fallen out in groups of three (apart from two fours) as follows:
I will repost the instructions in the comments. Time to get fretting about tracklistings!
New album out 1st September, which will do nicely to ease us into autumn. I wasn’t that sold on Rave Tapes, so hopefully this will see them back to their best. First impressions of the single are okay, a bit cleaner than before, with a very EITS sound (the album is coming out on Temporary Residence in the States – don’t know if that’s a new thing for them?)
I love the album artwork, might be getting this one on vinyl.
Year: 1900 Director: Ben Wheatley
Free Fire is the latest film from young British director Ben Wheatley and his partner Amy Jump, the pair of whom you might recognise from films such as High Rise, Kill List and Sightseers. It’s set in 70s Boston, in a warehouse where an illicit gun deal is going down between a delegation of IRA men and a South African gun runner, all under the eyes of a pair of American fixers. Things don’t go to plan, a couple of junior hotheads kick off, the situation escalates quickly, and before you know it the entire last hour of a 90 minute film is a manic 12-way shootout, with everyone trying to escape with a bag of money while making sure nobody else does.
This could have been one big injoke, a pub discussion taken too far, but it works, largely down to some great editing that establishes the location brilliantly, and a sharp script that establishes and defines each character well. Building on that, Wheatley has assembled a great cast to inhabit the characters. Armie Hammer’s ice cool fixer dude is very entertaining, the Irish contingent of Cillian Murphy and Michael Smiley (who will » Continue Reading.
new album incoming
Our third album is called Every Valley and is a story of industrial decline. It’s centred around coal mining in the UK, and in South Wales in particular, but it’s a story that’s been repeated across the western world and which has particular resonance in today’s political climate.
I have no personal ties to mining, be it coal or otherwise, and I have no family links to the area, but something about the story drew me in. This is an album about community as much as it is about mining; it’s the story of an entire region reliant on one industry, and what happens when that industry dies. What’s certain in my mind is that this album isn’t just about mining, and isn’t just about Wales. It’s a story reflected in abandoned and neglected communities across the western world, and one which has led to the resurgence of a particularly malignant, cynical and calculating brand of politics.
We recorded Every Valley in Ebbw Vale, historically a steelworkers’ town but one surrounded by coal mines, in the former lecture hall of their former workers’ institute. It seemed important to record in the valleys, as I » Continue Reading.