Articles by Chad Murray
“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.
We knew this weekend was going to be fucking ridiculous but, seriously, it was absolutely fucking unreal. Each band was bringing their best and defying expectation. Each new signee delivered emphatically and the old favourites upon whom the label was b …
Through The Dread waste sees Capac traverse a spooky new terrain, experimenting with gothic ambient soundscapes and an interesting use of structure to create perhaps their most well-rounded release yet. Where the sea froze over their last offering, here a torrent floods over the record and envelops the listener in a sub-aquatic serenity.
Every moment in this universal existence is unique, whether it feels that way or not. Don’t pass up opportunities to be part of the story.
This is the label that brought you Teeth of The Sea, Pigs x7, Hey Colossus, Goat and Gnod. Not to mention Gnoomes and a litany of other great bands. For those who may not know all of these bands, allow me to introduce you to The Best Label in The World: Rocket Recordings via its spectacular roster of insanely brilliant bands.
8 Years of Chaos. Eight years of Kunal Singhal let loose and running wild over London, putting on bands and taking names. Eight years of what has to be the most RPG music promotion in the world. Eight years of good gigs, good people and good times and eight years of “new music for open minds”.
If you’re looking to explore black metal, but generally think most people can’t scream for shit; check this album out. It’s shoegaze and psyche soaked black metal for people who appreciate atmosphere but are repulsed by pretension and affectation.
The usual Patkus charm of layered guitar parts that are delightfully mellow and sedately but, greatly enhanced by extremely effective strings work that adds a divine serenity into the tracks.
Abandoned Glow is essentially an album that sounds like what I imagine the aliens from Killer Klowns From Outer Space listen to. Erected from a labyrinth of grotesque and menacing sounds it exudes an almost constant sense of unease and at its most friendly sounds like some sort of gnarly late night solo venture into psychedelics. Flange Circus is revitalising the scary clown scene; it’s a dirty job but, someone’s gotta do it.
“We are a feminist band – and we try to “live feminist lives” – not just play songs “about” feminism. We hope our message is clear – our lyrics are pretty overt and we shout them as loud as we can”
Everything I’ve heard from them has completely blown me away and Digitalis is no different. Here we find a new side of the band, one that is somewhat more glittery and shiny and nice but, is no less intriguing and enrapturing than their previous offerings.