Tag: post punk

Die Goldenen Zitronen – Flogging A Dead Frog (art-punk)

Formed at the inception of what would come to be known as the Hamburger Schule (from which they vehemently distance themselves), Die Goldenen Zitronen had their beginnings as an identifiably punk band, but a commitment to creative, aesthetic and political rigour has led them to a variety of stylistic positions, some quite avant-garde. Entertainment might be claimed as a touchstone of punk aesthetics, though, and in that sense, as well as in the overtly political character of many of the songs, it would seem fair to argue that this album of predominantly electronic New Wave/ avant-funk sounds is still clearly situated …

Ashley Reaks – Before Koresh (avant-rock)

Ashley Reaks speaks from outside. His work is most obviously ‘outsider art’ if you look at his visual work, rather than his music: his collage-based pieces, deliberately ugly as they are (although they are often richly and decoratively patterned), with their disturbing, and frequently sexually explicit iconography, position themselves unequivocally away from the mainstream, far from the clean white gallery wall (metaphorically, at least – I have no idea what his shows look like!). Aside from the fact that he uses his own work as cover art, Reaks does not refuse socially conventional framing devices for his music in …

Various Artists – Singles and EPs

The Stringers are a four-piece from Ontario, that plays rock music of the old school – which doesn’t mean that it’s ‘old-fashioned’, but that it’s pop music, god dammit! This is entertainment, with no pretensions to any kind of creative territory beyond that compass; all too often that can imply some kind of highly manufactured, overly polished and self-consciously vapid ‘product’, but this is all about melodies, grooves and the raw sound of musicians making it happen together. Crisp, tight performances are represented in an immediate, close-quarters production, through arrangements that evince a good understanding …

Various Artists – Singles and EPs

There’s a gentle oddness to these songs, cradled in gleefully brutal drum machine sounds and fugal laminations of electric guitar ostinatos. The executioner of the latter is subtly ‘off’, in both pitch and articulation, contrasting the fascistic precision of the former, but colluding with it to efface the performer, along with any notion of their heroic ‘star status’, from the centre of the performance. This is music whose own production sets out to tell us that its author could readily be substituted by a rudimentary machine, or by some other random person; but the songs, and the gloomy disregard with which …

Various Artists – Singles and EPs

Wayne Myers, singer, songwriter and principal instrumental culprit, sent me this mini-album in early February according to my records, but it somehow slipped through the net and never got reviewed. Well, better late than never. Sleeping Beauty is pure poetry. I intend that as a value judgement, but also a literal description; Myers is a poet who works in the medium of song. Now I’d think of it as a species of insult to say that this was an EP of poems set to music, but that’s not what I mean: these are songs, written as such, and the musical materials they incorporate are neither a commentary …

Ashley Reaks – Compassion Fatigue (1-8) (avant-prog)

‘Concept’ albums have been a mixed blessing on the history of rock music. The idea that an album might have some connecting theme running through the various songs collected on it has been a controversial one, bitterly opposed at times by those with a strong doctrinal commitment to a particular model of popular music, and of rock as a subset thereof. However, some very interesting music has been articulated over a longer term than the three minute single permits, and I think rock (along with most other varieties of popular music) has long since proved its capacity as a …

Godzilla Black – The Great Terror (avant-rock)

I wasn’t supplied with a lyric sheet when this album was submitted for review, so my assessment of its verbal content is a bit fractional, but there’s no mistaking the central thrust of things, as evident in the title, and in the baleful, malevolent eyes of the infant staring out at us from the cover. This is dark shit. I don’t know where Godzilla Black see themselves, in the grand continuum of not-mainstream rock music; there are certainly echoes of a great many interesting zones of creative practice, and given the great prog-thaw that has taken place in recent years, I have little difficulty in describing their music as …

Various Artists – Album Roundup

We’ve all seen some pretty rough justice in the wake of global capitalism’s recent crises, but Greece has suffered worse than any other part of the developed world. The Figures Of Enormous Grey And The Patterns Of Fraud appears to be a response to these circumstances, although it’s too complex an album to be pinned down quite so glibly. Choral voices are layered with a complex variety of rock textures, ranging from post-rock atmospherics, through mathy convolutions to heavy prog riffing. It’s the big epic sweep of things that tends to predominate, rather than the individual voice or the…

Diane Marie Kloba – It Is All An Illusion (avant-pop)

Diane Marie Kloba’s music, on this and the four albums that have preceded it over the past decade, is made out of recognisable stuff, and works in a recognisable way. Imagine a house: it’s made of bricks, timber, roof tiles, glass, all the usual stuff; it’s structurally sound and weatherproof; it has features, like doors, windows, gables and all the rest of it, that look like those features usually do. But imagine that they all meet at crazy angles; that the doors are upside-down, or leaning on their sides; that the conventional notion of visual proportion, that makes almost every domestic dwelling …

Various Artists – Singles and EPs

Positive vibes abound on this perfectly formed EP produced by the estimable Rich Huxley, whose main gig Hope And Social sits in exactly the same affective territory; clear-sighted optimism is the order of the day, and because the songs are notably lacking in trite sentiment or spurious closure the effect is genuinely uplifting. The musical engine that drives the feeling is a light but deep acoustic groove, which swings hard with an upbeat lift on even the most laid-back of the tunes. The band is locked in so tightly that it’s hard to credit how relaxed they sound, and the dynamics are shaded and weighted with real sensitivity; the mix strikes a perfect balance between separation and integration, or more to the point, it has a shedload of both, so although

Various Artists – Album Roundup

Blood has a bad rep, but it’s honestly a good thing; there’s blood all over Shall We Live Forever? Blood and darkness. The hot blood of life and passion; the welcoming dark of all-night celebration and vodka-induced blindness… I’m pretty certain the answer to the question posed in the title is ‘no, so what are we waiting for?’ This is communal gypsy folk, with equal parts groove and lyricism (and great playing), a life-affirming panegyric to the sacred pain and hedonism of life. Some tunes are also on the earlier Budmo!, but get it anyway. It’s impossible not to like.

Buke And Gase – General Dome (indie rock)

Buke And Gase armour themselves in symbols; the inquisitive listener’s eye, probing the album’s packaging for keys to the music’s meanings may find some affective affinities between its appearance and the sound (that’s a matter for their own aesthetic conscience), but its gaze will be reflected, denied admission by the obviously meaningful but unyielding glyphs that adorn it. The duo have announced that clues to assist in the decoding of their bespoke graphical alphabet will be meted out on their website once the record is on general release, but in fact everything you need to crack the code is right there on the cover (I have to thank my daughter for spotting the album title, from which everything else fell into place) …

Caution Horses – City Lights (pop-rock)

The songs on City Lights are tightly orchestrated in guitar driven arrangements of a sort that might be attract the irritating descriptor ‘soft rock’, but sound more to me like a species of post-punk, à la Joe Jackson. A prominent, mid-rangy bass weaves sinewy counter-melodies through a weft of cleanly recorded and crisply played drums, while bright and rhythmically precise (acoustic and electric) guitar fills out the harmony; a variety of other elements are added to this basic structure, such as analogue synth and multi-tracked trumpet in ‘Sound of America’, a guitar and scat unison solo in ‘Letting Go’, electric piano and flute in ‘So What?’ or organ in ‘Start A War’. On paper that sounds like a recipe for an elaborate mess, but …