Articles by Chad Murray
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.
I actually went to grab a cup of tea at this start just so I had something to spit out in utter disbelief as to how fucking superb it was. I fucking love this track so much, this album has just totally blown my little pea-brain to fucking bits.
I’m intrigued and I hate to say that a band has actually made me enjoy something “groovy” but they did it.
I definitely think this album is a must for bassists and there’s certainly a lot of potential for the sound to expand in various ways but, as it stands this is a pretty compelling record and I’d say a successful experiment with the tired, de facto, nuclear band line-up.
Spooky screams and metal so suspiciously serious it makes you wanna dance.
A seamless continuation of relentless anguish and unwavering fury.
If you like Star Wars and stoner music, you’ll get a kick out of this. There’s definitely some potential to push the boat out further going forward and it should be interesting to see what path Bantha Rider take now.
This is a promising debut and a somewhat rare example of interesting post-rock in 2017. Its dark, brooding atmosphere contrasted with its kind-hearted centre makes for a pleasantly dichotomous listening experience.
Unimaginable pain and terror serving as a euphonic experience.