Articles by Jon Buckland
If the band’s name merely alludes to connotations of religious rites then the music fully insinuates a world of clandestine ceremonies carried out in reverb-waking halls slung with red drapes and lit by the flicker of candlelight.
Drones of calamitous power and resonance rise alongside and slice through one another. Billowing like a hungry, grey smokestack coughing molten embers of dense noise out into the atmosphere.
Their name brings to mind clashing ideas of groaned apathy, writhing sadness, and unendurable ecstasy. All of which help to inform the post-punk soundscape of these Sub Pop debutants. Their music sounds like the endless summer twinkle of Los Angeles brushing up against those dark Mulholland nights.
Unsurprisingly the tone of this album is more overtly sorrowful than on the previous record. It appears to come from a much rawer place. It is infused with the drain of aches. And so it is a more mature release, filled with weight of experience and the weariness of suffering.
Recurring every three years, Deliquium is the product of the hard work of the two directors of MilkandLead – a pair of Italian Francescos (Vertucci and Carvelli) who have been involved in boundary-pushing installations, set design, film making, photography and graphics for well over a decade.
Shift is less of a dramatic transformation than it is a patient moment to collect thoughts.
Underpinning vast swathes of ‘Genocidal Majesty’ is a theme of anxious suffering. A trembling can be felt within the shifts between notes. Despite its apparent aggressive exterior, there is a fragility being protected at the heart of it all. Whilst De Jong is employing the supposed best form of defence, this sentiment cannot help but seep through. From the wide-eyed anguish of sonic gales to the transposing despair of processed electronics, a narrative of hurt blossoms.
The ethos of the band hasn’t changed one bit. They still deliver perpetually driving songs which build up into smothering walls of noisy delight. It’s merely the palette that has been modified.
Guitars are reduced to little more than ambience and occasionally strummed discordance as Keiji Haino exorcises like a priest with a satanic gym membership and a new years resolution that will NOT be broken this year.
The always present, visceral, sheer force of Prurient has not wained. This is one to crank up louder than you would normally dare. Edge yourself a little closer to the realities of Fernow’s confrontational live experience and split those ears of yours.
Death of Lovers can’t help but find beauty in the gnarled streets of North East Philly which, despite well known claims, ain’t always sunny.
Tatty Seaside Town, AKA Papa C, AKA Colin Wakefield has been at the heart of the Brighton DIY music scene for well over a decade . . . This, his second all-dayer of the year, has been entitled ‘Friends & Favourites’ and it’s easy to see why. Regulars, familiar faces, and leading lights of the British underground are all in attendance.
Imbuing each recording with a sense of invigorating and rejuvenating optimism, Broderick somehow captures a life-affirming buoyancy that is laced with such a gentle sliver of melancholia that it never tips over into saccharine indignity.
The Vatican Cellars is largely singular in focus and intent. It has a sinister, if borderline pompous, air to it. Terrifying, anxiety-inducing drones teeter into genre-baiting, nefarious organs. Pianos plink and plod over sonic gusts from sweeping 80s synths and this creates a feeling akin to the score of The Thing… if it was directed by Dario Argento and soundtracked by Goblin.
Across these tracks a dynamism is apparent which gives credence and weight to the initial concept – a cyclical consideration of life and death. Tender ivory tinkles ring out like the echo of a distant star’s glint and then bone-shuddering cello and dramatic chords thump downwards with aplomb.