Articles by Jared Dix
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.
In a filthy, corrupted world of lies and illusions it’s so hard to know what to believe in these days. Sweat knows, he’s a true believer in the soul shaking, transformational power of rock ‘n’ roll. Not the tired and tiresome ‘real music’ on ‘proper instruments’ dullardry clutching ever tighter to rock’s cultural corpse, but the electric energy and numinous possibility of its vital life force.
Consider some of the other bands touring their old 90’s hits and lack lustre new material wearily around and Space Gun begins to seem more remarkable. There’s not many of them sounded this charged and alive on their 6th, nevermind their 26th album, we should probably not take them for granted.
Quit The Curse is a warm and wonderful debut of swooning, feelgood indie pop and the only thing wrong with it is that it’s over too soon.
Two of the UK underground’s brightest and noisiest take a side each for a raging split LP.
“Because we don’t know when we will die we get to think of life as an inexhaustible well Yet everything happens only a certain number of times”
Swedish avant-rock heroes The Skull Defekts self-titled swansong sees them keep on pushing forwards right to the finish line.
Fear On The Corner has the feel of a procession swaying through the town, random observers pitching in on beer can cowbell and call and response chants.
An intense reduction down to the barest, most abstract essence of rock, an elemental locked groove with an admirably stubborn refusal to deviate or develop, the surface textures alter but nothing goes anywhere. The Orchestra of Constant Distress is like a tunnel boring machine grinding its gears in granite but pressing on because it can do nothing else.
Some great performances of great material, it’s a solid record, no doubt. No one embarrasses themselves here or makes a pitiful mess of any cherished classics, don’t worry. But from the title on down it puts itself in Don Van Vliet’s considerable shadow and no, it’s not as good as the originals.
It takes them about 10 maybe 15 minutes to achieve lift off tonight and from there it’s a fairly steady ascent into the stars. Swaying here and there from motorik grind to floatingly gorgeous melody they slowly turn up the intensity.
This record is the sound of daily misery being exorcised through the comforting obliteration of loud music and drinking bags of cans with your mates.
Leaning into the mist and darkness Hawksmoor wraps itself tightly in a heavy cloak of London mystery and twisted lore. The occult cartology of Nicholas Hawkmoor’s churches in Iain Sinclair’s ‘Lud Heat’ played out on the Moog and through decaying ‘Basinski’ loops.
Don’t you remember when you were young, the world was magical and you still believed? Before you got old and tired, saw the world for the raging skip fire it is and embraced your own crushing failure? Let this dreamy blend of hazy electronica and minimal post rock guitar take you back there.
Back at the start of the year, unassuming giants of experimental rock Charles Hayward and Thurston Moore got together to spend a pleasant afternoon improvising a bunch of free flowing noise jams. This LP is the exhilarating result.
URUK is a new musical project from Massimo Pupillo (Zu, Triple Sun) and Thighpaulsandra (Coil, Julian Cope, Spiritualized) come together for a lengthy drone piece that displays both their experience and mastery. ‘I Leave a Silver Trail Through Blackness’ is an immersive debut that patiently carves out its own soundworld.
2017 has been a good year for Jane Weaver. Modern Kosmology is a cracking album, by general consensus her best yet, and has seen her reaching a wider audience. It’s already popping up in end of year polls, and she rounds out this tour with her biggest ever headline show in Manchester, billed as a ‘MUST SEE live band version of Modern Kosmology’.
WARM DIGITS third album ‘Wireless World’ sees them streamline their sound, making a small but firm step towards pop. The tracks are tighter and brighter, an ecstatic, uptempo blend of clattering motorik beats, Moroder pulses, warm synths and sometimes surprisingly noisy guitar.