17 Oct 2019

Julie's Haircut Guest Mix for 'I Heart Noise'

Julie's Haircut have created a great guest mix for 'I Heart Noise' website, 

listen here: I Heart Noise


Louder Than War review PETBRICK 'I'

Louder Than War review PETBRICK 'I'

An all-out, heavy, noise powerhouse is the best way to describe debut album by Petbrick. Rhys Delany was lucky enough for an early listen.

Petbrick will be unfamiliar to most. The collaborative minds of electro-gabba enthusiast Wayne Adams and punishing metal percussionist Iggor Cavalera is an all-out, heavy, noise powerhouse.

The pair came into contact after Cavalera saw Adams’ Big Lad outfit perform at Camden Underworld. The two kept in touch via email and a sacred bond over Eurorack modular synth gear. When Cavalera visited Adams’ Bearbiteshore Studio, the creation of Petbrick came to be.

The pair bring in their past experiences ranging from hardcore punk to breakcore dance music. The combination of the pairs fruitful backgrounds helped create a uniquely invigorating assault, custom fit for accelerated rage. Iggor says of the project, ‘We wanted to do something different than the other projects we were involved in. Making horrible noise was the first concept behind Petbrick’. This idea of being a genre-free onslaught has captured an intense spirit inspired by nothing but raw power.

The album is a connection of friendships. Not only is this the coming together of Adams and Cavalera, but also featuring the talents of Dylan Walker, Dwid Hellion, Laima Leyton and Mutado Pintado. Walker, of grindcore group Full of Hell, provides signature screams and growls that sound akin to the screams and growls of Wayne Adams electronic distortion, heard on the track Radiation Facial. Similarly, Dwid Hellion of Metalcore punk band Integrity provides a vocal exorcism on the track Some Semblance Of a Story. Cavalera’s wife and collaborator, Laima Leyton, brings a melodic counterpoint on the song Coming. Finally, we have Mutado Pintado, of Warmduscher and Paranoid London, delivering a stream-of-consciousness ramble whilst channelling the spirit of Donald Trump on Gringolicker.

Whilst the album is delivered at breakneck speeds, you can still find fleeting moments of an elegiac atmosphere. Songs such as Sect and Dr Blair come at a distinct change of pace when compared to the breakcore Roadkill Ruby and the disorientating Jesus Dropkick.

Petbrick represents a boundary-free soundworld in which either member could explore whatever musical predilection or peccadillo they were possessed by and come out with something compelling. Electronic experimentation, hardcore attitude, dystopian dread and in-the-red dementia collide, to bring you Petbrick. I, is more than merely an exercise in the life-affirming flame of oppositional punk spirit scorching all or any musical boundaries in its path. It is an uncompromising soundtrack to a short-circuiting new era.

Read the full review: Louder Than War 


Ave Noctum reviews PETBRICK 'I'

Ave Noctum reviews PETBRICK 'I'

My expectation of this album by the duo called Petbrick was of something electronic and industrial. But there’s talk too of punk attitudes and experimentation, so maybe my expectation was off the mark. The duo in question are Wayne Adams of Big Lad and Iggor Cavalera of Sepultura but that’s no great help as it’s that they, and Iggor in particular, wanted to try something different to reflect in some form or another the modern world. So, I really had no idea what to expect.

Actually the above does cover it – electronic, punkish, industrial and representative of a dystopian age. The wind whistles but in a psychedelic way like Hawkwind’s “Silver Machine”. The drum hammers away and all in all, the anarchy of the obscurely titled “Horse” is intriguing. That’s normal compared to “Radiation Facial”, a piece of wild and experimental electronic chaos, not as it happens, much different from the similarly named Igorr from France, but with the harshness of Wumpscut, not to mention elements of Ephel Duath, or Rammstein. “Guacamole Handshake” is even more outlandish, experimental, industrial and harsh. Apart from the regular drum beat, the computers have taken over to mess with us. My goodness, it’s dark out there. It’s clever too, as it comes back to mash with us after giving the impression the factory shift is over. “Roadkill Ruby” is pure Wumpscut with its amped-up vocal and the frenetic, irregular industrial techno framework.

Iggor himself defines this as “horrible noise”. Indeed on go the short circuiting and sounds of “global malfunction”. “Sect” is typically disturbing and harsh, representing a dead world the electronic waves have sucked all life out of humanity. But it is powerful. “Gringolicker”, vocalised by Warmduscher’s Mutado Pinado, is apparently about Donald Trump. When I heard it, I equated it stylistically to a dark techno version of Public Image Limited. Guest vocalists feature throughout but the net result is the same – dark techno vibes and sinister sounds. “Jesus Dropkick” sounds confrontational and indeed is. The sound suggests intergalactic warfare, or a convention of daleks. Or even the factory where Daleks are welded together. The pace picks up to insane levels on the roaring “Some Semblance of a Story”, fronted by Integity’s Dwid Hellion. It has an element of Ephel Duath’s “Pain Remixes the Known”. Perhaps appropriately after all these murderous techno pieces, the album ends morbidly and menacingly, and of course in a sea of sound waves with “Dr Blair”. You have to like electro music, industrial sounds and a healthy dose of experimental noise, but this really is a interesting album and a vivid representation of a world in turmoil.

I liked “I”. It’s not a band for the optimist, nor is it one if you want straight line songs, but it is one for the modern dystopian age.

 Full review here: Ave Noctum


Tom Tom Rock review Julie's Haircut - In The Silence Electric

Tom Tom Rock review Julie's Haircut - In The Silence Electric

Here is a few words translated:

An Italian band rich in history: Julie's Haircut return with In the Silence Electric. In the Silence Electric is the ninth album in the almost half-century long career of Emilian Julie’s Haircut. And it is the second, after the beautiful Invocation and Ritual Dance of My Demon Twin, to go out for the English label Rocket Recording. Attentive as always to the iconography for the cover, this time they chose a work by the German avant-garde artist Annegret Soltau. An image in which the face is tightly tightened by a black thread that wraps around it, until, as the artist declared, "It was similar to the act of mummification. I took the scissors and freed myself ». Julie's Haircut - In the Silence Electric Rocket Recording - 2019 And it is this dialectic between restriction, constraint and desire for freedom and rebellion, but also between silence and electricity, as the oxymoric title says, which runs through the work of Julie's Haircut, in an alternation of traces where flashes of light open onto vast mental and psychedelic horizons to others where darkness looms slowing the pace and clouding the senses.

In conclusion… Julie's Haircut confirm with In The Silence Electric that they have reached full expressive maturity. The shoegaze, alternative, jazz, tribal and kraut influences create a fascinating and enveloping, hypnotic and spiritual psychedelia, where the irrational, dreamlike, esoteric, restless element opens up to faint rays of hope in a future that perhaps dwells only between spaces sidereal.

For further reading vist: Tom Tom Rock 


16 Oct 2019

Astral Noize Interviews PETBRICK

Astral Noize Interviews PETBRICK

“I’ll only do two-pieces now, I can’t be arsed with any more members,” laughs Wayne Adams – esteemed producer, member of projects like Big Lad, Death Pedals and Johnny Broke and now, apparently, a staunch duo-only musician. The reason? He and Iggor Cavalera, best known as the original drummer of Brazilian thrash legends Sepultura, have formed Petbrick, a psych-punk onslaught of industrialised noise. Meeting at Adams’ London studio, Bear Bites Horse, Astral Noize arrives in time to see the band taking some professional promo shots, and is soon asked to help out. What we didn’t yet know whilst we stood there holding a strange lighting device is that this kind of impromptu circumstance is exemplitive of the band’s journey thus far – their laid-back nature, offhand songwriting and genial origins are a key factor in their success. Indeed, it’s easy to see why Adams prefers the simpler setup of two-pieces.

When the duo first got together, they didn’t even plan on writing music. Iggor, now a London resident, was impressed enough by a Big Lad gig in Camden to email Wayne, after which the two stayed in touch. They bonded over modular synth gear, and eventually met up in the studio, where initial jamming sessions fueled by coffee unexpectedly morphed into a musical project in the making.

“We’ve tried to keep that process going,” Adams tells us. “Where there’s no preconception or anything. It’s very much like we get in the space and we just start. It might be a drum beat, it might be a synth-line, it might be a noise, whatever.”

“All those things, once we get together, they start taking shape and then at one point they become a song,” says Iggor.

This, it seems, is Petbrick’s process. As a studio-based project, the band don’t rehearse tracks, rather they write as they go, reacting to life and the world around them. And the lack of conflict, not to mention the fun the band have along the way, is integral to their creative process.

“You come to a certain age in your life when you don’t want to make music with people that you don’t really enjoy being with,” says Iggor, reflecting on roughly 35 years as a musician. “I used to do that when I was fifteen and all I wanted to do was play music. Now, I want to eliminate all the drama from music. I want to have people around me that I want to hang out with.”

His bandmate agrees: “Yes. It’s like, do I like this dude? Yes. Can this guy play drums like a motherfucker? Yes. Sweet, I’m in.”.........

Read the whole interview: Astral Noize 


Rockol review Julie's Haircut 'In Silence Electric'

Rockol review Julie's Haircut 'In Silence Electric':

They say (translated): 

"In The Silence Electric", the long night of Julie's Haircut 

Few dreams and many nightmares in the new album of the Emilian band, suspended between the shadows that regulate science and magic.

Silence, illusory, transformed into a long journey, electric and nocturnal. An expanded cosmos of fogs and reverberations that Julie's Haircut transfer to the metaphysical anxieties of "In The Silence Electric", the second album that the Sassuolo original band publishes for the English label Rocket Recordings, adding another couple of pieces to its mosaic composite of structures and alchemies.

A hypnotic progression that allows the ghosts that crowd the album to come out into the open in the esoteric fumes of "Emerald kiss" and then, still in the obstinate and nervous race of "Until the lights go out", between flashes of new wave, ambient and oscillations narcotics that come straight from the frantic avant-garde of Pink Floyd's "A Saucerful Of Secrets" as well as the obsessions of David Lynch and the soundtracks of John Carpenter and the Goblin. "Lord help me find the way", almost a heartfelt prayer to a luminous entity that can indicate a safe road, marks a saving moment of relaxation before turning once again into a black abyss in which nightmares and dreams take shape from the same material .

The new work takes up the tradition, by now consolidated, of the Emilian sextet of a free creative approach, but departs from it for a sequence of pieces with a more defined form, in their own way sought in a completely fluid manner. accompanies the different phases of the sleep of a night full of tension, the traces of the disk evoke a mysterious elsewhere of dark flashes, populating the darkness of all kinds of ultramundane forces, bearers of a darkness so enveloping as it is capable of sudden accelerations in which to dive almost unconsciously, before waking up again safely, Julie's Haircut beat the times of an aesthetic, cerebral environment , yet concrete. An interweaving of shadows, recalled right from the start with the sweetish dirge of "Anticipation of the night", which, in fact, offers the prelude to the dark that is about to arrive ready to swallow everything. A viscous flow able to manifest itself in the unresolved contrast between the whispered melody, the cascade of notes on the piano and the long dissonant drone of the electric guitar, the first glimpse of what the group itself defines “an incredible and versatile soundscape built through layers on instrumentation layers and a slow-burning voice. "

A hypnotic progression that allows the ghosts that crowd the album to come out into the open in the esoteric fumes of "Emerald kiss" and then, still in the obstinate and nervous race of "Until the lights go out", between flashes of new wave, ambient and oscillations narcotics that come straight from the frantic avant-garde of Pink Floyd's "A Saucerful Of Secrets" as well as the obsessions of David Lynch and the soundtracks of John Carpenter and the Goblin. "Lord help me find the way", almost a heartfelt prayer to a luminous entity that can indicate a safe road, marks a saving moment of relaxation before turning once again into a black abyss in which nightmares and dreams take shape from the same material.

Visions and contaminations of different genres, from post-rock to free jazz, that the Julies treat without interruption, making "In The Silence Electric" a disc with an arcane charm, pulsating with frantic - and threatening - drum patterns, guitars, keyboards, bass and sax, as well as hidden voices, often filtered, that seem to come from a far space, from the urgent cosmic flights of "Sorcerer" to the ghostly hermitage of "The return". The group, escaping from the classifications, returns in the dense atmospheres of the album that sense of exasperated impotence represented on the cover by the constrictive laces that gag the face of the German artist Annegret Soltau. Tones distant from the pop art of the poster "Libertad para Angela Davis" which twenty years ago showed itself triumphant in the graphic of the official debut "Fever In The Funk House". Today, that exuberant sound with the image of the curly African-American activist mythologized by the Cuban graphic designer Félix Beltrán seems to belong to a distant past, given the thousand trajectories that Julie's Haircut have crossed in their personal search without boundaries of sounds and suggestions, making themselves one of the more dynamic - and together long-lived - export band of our independent panorama.

Crossing the mirror of the dreamlike labyrinth, "In The Silence Electric", with its immersion in an unknown and dangerous world, seems to preserve a narrative articulated in a composite game of references with the fear, less immediate but concrete, of a reality now fatally exhausted. The primitive march of "Pharaoh's dream" and the final, bewitching, elegy of "For the seven lakes" thus follow a faint sigh, more and more distant until suddenly the silence returns, poised, once again, between the day and night. Between science and magic.

Read the original here: Rockol


Metal Injection say a few words on PETBRICK

Metal Injection say a few words on PETBRICK: 

PETBRICK, the new band featuring Igor Cavalera (Cavalera Conspiracy, ex-Sepultura) and Wayne Adams (Big Lad, Death Pedals), will release their debut album I on October 25. Needless to say, I'm loving everything they've released so far!

Sonically entrancing and captivatingly different, Petbrick is doing a hell of a job at tearing down musical boundaries and flexing their multi-creative styles as a single unit. So I couldn't be more stoked to premiere the release of a brand new track from the outlandish duo, in the form of an epic music video titled "Coming" directed by Dante Vescio, featuring Laima Leyton.

Read the rest of the article here: Metal Injection 


Trebuchet Magazine comments on PETBRICK 'Coming' Video

Trebuchet Magazine comments PETBRICK 'Coming' Video:

They say:


Dark industrial with roots in Sepultura.

Washes of electronica and pounding tribal beats in another stellar release from Rocket Recordings. This is a perfect track for the car or punishing cycles through the country AND one imagines they’d be absolutely mind-melting live. Along with Zonal and Author and Punisher, could this be the new wave of brutal synth metal? Enjoy this loud and without reserve....

Visit Trebuchet for more


System Failure review for Julie's Haircut 'In The Silence Electric'

System Failure (translated):

A hypnotic album that stands out for the balance between extrasensory intensity, ecstasy and anger. A record that has been made, through a singular osmosis process, by a band that is sure of itself so as to let the subconscious and metaphysical elements guide it in the right direction. A collection of evocative and coherent pieces, which see the mantric intensity we had known with the debut of the Italian band on Rocket Recordings (Uk), "Invocation And Ritual Dance Of My Demon Twin" (2017), expanding towards an incandescent splendor. Whether it is the profound ecstasy of 'Lord Help Me Find The Way' (as if the Spiritualized were catapulted into the Berlin of the '70s), of the threatening dream of' In Return ', or of the psychic aggression to the Suicide present in' Sorcerer ', everything is characterized by a singular boldness in the management of a colorful storm of electronics, tint of jazz, atonality and memorable vocal hooks. And yet, for all this - and paradoxically - 'In the Silence Electric' is the most adventurous and direct record of this mysterious and rebellious band.

Read the full review here: System Failure


Rumore Interview Julie's Haircut Luca Giovanardi

Rumore Interview Julie's Haircut Luca Giovanardi:
In the electric silence of the Julie's Haircut is enclosed a world made of a thousand suggestions. Musical, visual, artistic suggestions at 360 degrees, curiosity, spirituality, travel, physics and metaphysics. In The Silence Electric is the title of the band's new album, the eighth, the ninth if we consider (and we must consider it) the Music From The Last Command soundtrack, a double that actually makes this their second album of the year. A record that comes from a process of "osmosis" with music: "We welcomed the unexpected, leaving the songs to guide us to their final form, rather than trying to force them towards a precise direction", explains Luca Giovanardi, from which we did tell about what this process consists of: and from the answers, in the same way that a disc by Julie's Haircut comes out, a free conversation was born, one could say jazz, that goes from studio improvisations to Jungian psychology and psychomagia by Alan Moore, from pragmatic observations on how difficult it is to make a certain type of music in Italy to speculation about the time of St. Augustine. Take the time to read it all. And to listen to the album.

Read the full interview here: Rumore