Articles by Chad Murray
This album is fucking repulsive and I love it.
“There’s an engrossing level of intrigue that will lend itself to many further listens and a more than ample level of riffage for me to blast tracks such as the climatic ‘Φυλαχτό’ on repeat”
I dare say they’re even more formidable on this record because you can hear exactly what they’re beating you around the skull with.
Ten years of face-melters, jazz odysseys and genre-defying avant-garde exhibitions later, the legend that is Kunal Singhal is preparing another all-day spectacular featuring some of his most enthralling bookings to date. Ahead of the Chaos Theory Festi …
Cracks Below The Surface is an excellent noise album that dead-eyed commuters and nocturnal voidlings will surely enjoy as a satisfying aid to a cerebral black hole.
The thing about Gnoomes though is that, as a band, they’re a uniquely melon-twisting experience. They’re equally as psychedelic and narcotic as the rest of Rocket Recording’s roster and yet, they sound like none of the other bands.
Animal Choir is a masterpiece and should be considered a foremost contender for everyone’s album of the year and beyond.
It’s not a supergroup, it’s a heritage, it’s like a proverbial mount rushmore for the psyche scene us fresh faced lysergic twits thought had just sprung from the ground like mushrooms from a spore kit.
” It feels like the band is jamming my face in a paper shredder and I’m weirdly into it. It certainly makes it seem as though the slow burn was worth the wait”.
“When you want to make something that depends on extreme emotions, make sure you really feel something and that you’re not just too afraid to turn a magnifying glass on yourself because people will know. Soft Issues are the real deal”.
“This record almost seems to renounce itself, what is the point of the individual songs? Sly and The Family Drone focus on the immediate and spontaneous, they’re a band well-known for handing out instruments to the audience to play wild and spontaneous improvised sets. It makes me wonder if this album is almost a critique of the demand for a recorded artefact from a band so, renowned for what they do in the now”.
I think on a simple level the band has crafted a cohesive, facemelter of an album that takes the listener through a variety of styles and directions.
“This gig was a fucking a dream come true”
The production work is fucking stellar throughout the record but, in ‘Skirmish In The Suburbs’ (and ‘Dream and Formaldehyde’) it really stands out, the whole track feels like climbing out of a warm bath at one thousandth of the natural speed.
I may not be qualified to say it, but this is how you make something truly extraordinary. Fucking hell.
“a monochromatic assault to the senses”
I’m left thinking “what the fuck actually is this record?” there’s bits of everything I value and it’s fucking great.
The first time I ever saw Pigs, Pigs, Pigs, Pigs, Pigs, Pigs, Pigs it was at The Lexington, two years ago, with Lower Slaughter. Then the second time was also at The Lexington, as part of a Quietus series that was going on with support from Richard Dawson. So, it seemed fitting to me that we should conduct the interview in the venue, and also get some beers in the process.
Chapel Perilous is one of the most formidable Gnod releases thus far and in a seemingly flawless discography, that’s certainly something to behold.
A nostalgic revival of classic sixties psychedelia; spangled, starry-eyed sounds and almost Syd Barrett-esque lyricisms ooze lysergic bliss and a kickback calm akin to a sunny afternoon.
I enjoyed watching Here Lies Man and discovering more of their dynamic but it essentially felt like listening to a slightly altered take on the record. . . With time, I’m sure they’ll be an excellent live band.