Articles by Jared Dix
Intention or the ‘hand of the artist’ seem absent from the picture as if the tape had captured ghosts in the studio. The music is full of soft drones and washes of sound in which more recognisable instrumentation appears briefly before dissolving, Czukay’s beloved short wave radio burbles in from time to time.
Hundreds Of Days is a thing of delicate, shimmering beauty. It wraps around you like a warm breeze in an unfamiliar place. It’s your new favourite harp record.
Across the record their tunes unfold in an unhurried and slightly directionless manner, turning this way and that on a whim. The journey has no particular goal, it’s all about the ride.
On his horror soundtrack for Hereditary, Colin Stetson opts for mood and texture throughout and when he pushes the discomfort into noise it’s gratifyingly abrasive at the same time as being densely layered up.
Warmduscher front like a barely capable garage band but there’s a fistful of styles dragged though the grinder for this twisted song cycle. Each one coated in their unique grime and carried off with lopsided élan.
It’s possible to hear the last 30 to 40 years of American avant rock spooling through the background of this album; no wave and hardcore, math rock, post-rock, noise rock all feed into it but none of them overpower the band’s own voice.
A totally raging crust punk joy, but one that’s finally had a bath and put on a clean T-shirt. It’s more than OK.
Sarah Louise is one half of House and Land, Deeper Woods is her solo Thrill Jockey debut and sees her take a decisive step by leading with her voice.
They do not mess about. Road tested and honed their songs have no fat on them, they’re short and punchy, packed with twists and turns, Dunstan’s literary meditations suddenly bursting into infectious terrace chant choruses at the drop of a bon mot.
It’s a wild eyed bonfire of exhausted expectations that reclaims the controlling dismissal “hysterical, irrational” as a fierce chant of identity. It’s a brilliant record, let it brighten your summer.
If Virtue Signals is not quite the ‘Brexit-themed rock opera’ Adams jokes it is, it still pokes its fingers into the cracks that have opened up but swerves the well worn arguments and clichés – nobody says the B word.
It’s spoken word kitchen sink poetry over clanky car boot electronics and it’s fantastic.
AJA’s self titled debut, on the mighty Opal Tapes, is a bracing half hour of caustic, seductive, electro-noise.
This restless willingness to push things further, to bend and break forms just to see what happens, is Gnod’s greatest gift. The results here are two side long tracks that form a unified whole, finely balanced between the band in loose experimental mood and the sort of abstracted soundscaping Liles gets up to in his solo outings.
Their name has often seemed odd to me because their music deals not in our physicality but in mental anguish and emotional torment. The unceasing existential horror of life. The Body conjure something truly apocalyptic and heart sick where lesser lights indulge in scary devil pantomime, somehow achieving a greater resonance and sincerity despite sometimes almost comedic levels of bleakness.
Finland’s wild, near mythic, psych-horde are back bringing the usual tasty blend of psych-kraut-space rock grooves. It’s light on its feet and the quicker, restlessly motorik numbers alternate with a couple of more laid back, wide eyed dreamers.
To begin the run in to this year’s already amazing looking festival, the good people of Supersonic have brought back two great bands from last year to kick things off with a bang!
How are a band this great not more widely beloved? It’s a sackload of riffs and great thick fuzzy guitar, irresistible forward motion. If you like Hey Colossus but you’ve not checked them out you’re really slacking – imagine if ‘Hot Grave’ was a band.
I’m worried that my back might go. I’m worried that my voice might disappear. These are the things I worry about. Not sex. Not drugs. I’m not being facetious when I say that if I was going to die on tour, please let it be on stage and not in a service station toilet.
There’s four tunes that didn’t quite make it onto Okovi and four remixes of tracks that did. It doesn’t even pass the half hour mark so I guess it’s basically a fans only treat but that’s not to suggest there isn’t a lot to enjoy here.
There’s a lot to take in here, but the short version is – this is incredible, inspiring, wonderful music. Influential, experimental and wide ranging but crucially never aggressively difficult or unwelcoming.