(Photo by Nick Pancorvo)


On October 25th, Petbrick released their debut album I via Rocket Recordings/Closed Casket Activities. The album is made up of ten tracks and on a few of those tracks, you’ll find guest vocals provided by Dylan Walker (Full of Hell), Dwid Hellion (Integrity), Laima Leyton (Mixhell) and Mutado Pintado (Warmduscher), who also has an album coming out tomorrow (Nov 1st). Thoughts on the album can be summed up quite nicely and succinctly using a quote from one of our very own writers, Chris Ball, who recently reviewed I, “when you need a good invigorating shower of filth and fury then I very much hits the spot.”

We caught up with the duo and asked them to pick three albums that have influenced them and their music. Wayne Adams answered the question. His picks are below.

Get the album here.

The band is currently on tour. For info on all the remaining dates go here.


Aphex TwinCome to Daddy EP

This EP was a really important gateway into electronic music for me, before I’d heard this record, I hadn’t really listened to much electronic music at all.

I think the first time I came across this was when I’d just started art school and we where all trading Minidisks, someone lent me a load of Warp/reflex Records stuff, Boards of Canada, the Braindance Coincidence compilation, Squarepusher etc. So this was a turning point for me and definitely the start of my interest into synths and electronic music.

Rather than the actual ‘Come to Daddy’ track I think it was the track ‘Flim’ that got me hooked, the track is still amazing! So simple, such a beautiful little melody and track, it was just the complete opposite to what I was listening to at the time, totally lived it and it was just a gate way into so much new music!

Venetian SnaresHiggins Ultra Low Track Glue Funk Hits 1972-2006

This was the first time I ever heard something that completely blew my mind! I’d been digging into weird electronic stuff but was still kinda just stuff on the Reflex and Warp stuff. At this time streaming stuff and peer to peer sharing of files were still kinda new technologies, so it was only really what the record shops in Brighton, where I was living at the time, had in stock that I was listening to.

Brighton was where I met all the Wrong Music crew, so at this point a couple of the guys on Wrong had also released on Planet mu, so there was a lot of crazy stuff Mike P was releasing being passed around. When I heard this record for the first time it had such a profound effect on me, like it wasn’t the most listenable of records but the sonics and the technicality of it were totally alien! At this point in time it was still hard to write music on a computer, it was getting easier, but it was still definitely a challenge! Like this was before Ableton live existed, so to hear something so intricate and aggressive was really exciting! I spent a lot of evenings trying to get close to what Aron was doing on this record, I think I sat at a cracked copy of Cubase for about two weeks before i even managed to make it make a noise, but for some weird reason I was totally compelled to try and make it work!

Minus – Jesus Christ Bobby

Okay bit of curve ball following the two other releases, whilst I was discovering all this electronic music I also had a parallel interest in super aggressive guitar music. I was playing in a Noisecore punk band, when this record came out, I think about the same kinda time as Jane Doe by converge but maybe a little before I think.

At the time it really felt as though both these records where pushing boundaries of heavy guitar music, these two records felt super raw, but also the guitar playing was pretty unique, closer to noise than riffs in my mind! They also had a punk feel to them, rather than the metal stuff it was getting bundled in with. I’ve always kind of aligned myself with a DIY punk ethos, as metal production was getting cleaner and more precise and sterile with the advent of computers being used to record albums. We where going the other way with guitar music so we where interested in how much noise you make with a guitar and drums whilst just about hanging on to an idea of a song. But with my electronic output it was also pushing what you could do with a home computer, really trying to find the limits of the machines and how mental you could make the music!

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