Articles by Jared Dix
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.
Half an hour of driving psych grunge custom made for slamming in the tape deck of your rusting piece of crap hatchback, cranking the volume and daydreaming you’re actually Kowalski tearing out across the American desert in ‘Vanishing Point’.
A power trio raised on Sabbath and fuelled by Haribo they’re so young two thirds of the band are still at primary school. Yeah, it is a kid’s band, but don’t be too quick to dismiss them, they play a kind of charming punk doom that’s worth a listen.
On a collaborative score for a dance performance Dutch sound artist Machinefabriek delivers an absorbing piece that can stand on it’s own.
I was quite unprepared for just how great a record ‘The Subversive Nature of Kindness’ is from the very first listen, gorgeous repeating patterns of glowing, chiming, tuned percussion form the bedrock of their sound around which other elements come and go. I’ve played it a lot over the past week or so, it only grows richer and more absorbing with repeat plays and still it often seems too short and goes straight back on again.
Aidan Baker/Simon Goff/Thor Harris improvise a wonderfully subtle and atmospheric set of droning krautrock. It’s a richly textured and remarkably coherent record, well worth your time.