18 Jun 2018

GNOD – one of ten bands you must see at this weekends Supersonic Fest on Louder Sound

They Say:

10 bands you need to check out at Supersonic Festival 2018
Supersonic Festival co-founder Lisa Meyer talks us through the acts you simply can't afford to miss this year

Originally starting out life as a one-day festival in Birmingham in 2003, Supersonic Festival has grown into one of the world's most important events for new and exciting music. Cherry-picking the finest in experimental music from all over the globe, the festival's line-up grows increasingly diverse with each passing year. 

But with so much on offer, it can be a struggle to work out what the festival's must-see bands might be. So, we turned to Supersonic co-founder Lisa Meyer for her guide to the festival's most essential viewing. Here, she guides you through Supersonic's ultimate must-sees:

"Literally the best album title ever which came out on great UK label Rocket Recordings: JUST SAY NO TO THE PSYCHO RIGHT-WING CAPITALIST FASCIST INDUSTRIAL DEATH MACHINE. Their music is reflective of the world we’re living in right now and their driving rhythms bring an audience together into one heaving mass, absolutely brilliant live band."

Read the full piece here: Louder Sound


15 Jun 2018

Echoes and Dust reviews Lay Llamas Thuban

It says:

Thuban is Lay Llamas 5th album and their second for Rocket Recordings, after 2014’s Østrø. Thuban (the Arabic for ‘snake’) is named after the star closest to the North pole from the fourth to the second millennium BC, just so you know!

The album begins with Eye-Chest People’s Dance Ritual with a loose drum-driven track, overlayed by a lush, spacy vocals driving the melody and an african style guitar break in the centre. There’s someting of the way Karl Hyde (Underworld) treats his vocals that makes me think a Lay Llamas/Underworld collaboration would yield some interesting results.

Holy Worms came out a a single in April this year and has a killer afrobeat rhythm, with retro synths and a phat funky jazz bass. Silver Sun was another single that made it onto the album. It starts like a satellite breaking up on re-entry, and then morphs into a heavy pounding bass/drums combo with a crazy sax solo over the top...

Read the rest here: Echoes and Dust


Lay Llamas Thuban - released today

Today sees the release of the new Lay Llamas album 'Thuban' in all good record shops.

The album features contributions from GOAT, The Pop Group's Mark Stewart and Clinic. The 8 track album album is the brainchild of Nicola Giunta, and involved as many of twelve different musicians yet with Nicola writing lyrics, singing, producing, mixing and recording at his home, whilst utilising new instruments from marimba to sax to kalimba to pilot this craft to dimensions unknown. The result has been a step beyond the kraut-damaged psychedelic mantras of 'Østro' into a realm seemingly without boundaries, one in which a pan-global fascination with rhythmic hypnosis and an unquenchable experimental zeal manifests hermetically-aligned revelations aplenty.

Buy from here: Bandcamp

or stream here Spotify  Apple Music


Some great reviews have been coming in for the album:

"an album that already promises to be among the best in 2018.” Rolling Stone

"an album that is once again a journey, literally out of time.” 5/5 - Il Mucchio Selvaggio

"the new masters of the Made in Italy psychedelia.” Album of the Month - Rockerilla

"a timeless cosmic rock album.” 85/100 Rumore

"...with Mark Stewart, Clinic and Goat, Thuban is the invocation ritual of a new digital tribality." Linus Magazine

"with no doubt a great record." Buscadero

"a determination to push boundaries." Soundblab

"mesmerises you with its sincere eclecticism and wide sphere of influence." Psych Insight

"a marvellous album."  4/5 – Primal Music

"undoubtedly one of the albums of the year."  Dayz of Purple and Orange


14 Jun 2018

Primal Music reviews Lay Llamas album Thuban

It says:

It’s been four years since the release of Italian-based sonic manipulators ‘Lay Llamas’ sublime debut album ‘Østro’ on Rocket Recordings and since then their sonic manifestations have gone from strength to strength. Since the departure of Gioele Valenti (now with his own band – JUJU) ‘Lay Llamas’ have come solely under the command of Nicola Giunta who has reimagined their collective sound into something otherworldly, melding the rhythmic side of krautrock with afrobeat, neo-psych, electronica, spoken-word and experimental atmospherics. Having put out a number of smaller releases on labels such as Backwards, 4 Zero and ArteTetra, ‘Lay Llamas’ under Giunta’s guidance have played on the live circuit with some heavy hitters from the modern psych scene such as the infamous ‘Goat’ at London’s Roundhouse and effortlessly managing a sonic demolition job of some considerable force at Liverpool International Festival of Psychedelia. Now they have returned to Rocket Recordings to unleash the latest chapter in this fascinating story. Their latest long player entitled ‘Thuban’ is an eight track sonic rollercoaster of unparalleled psychic abandonment featuring contributions from members of ‘Clinic’ and ‘Goat’ along with spoken-word contributions from Mark Stewart of ‘The Pop Group’ fame. ‘Thuban’ gets it’s official release on the 15th June 2018 and is available to pre-order right now on various formats via rocketrecordings.bandcamp.com 

Melodic wind strewn instrumentation buffers and whirrs as the opening salvos of ‘Eye-Chest People’s Dance Ritual’ arrive pulling twinkling frequencies with it as swells of synth rise from deep below the mix. Metronomic drum patterns dance repetitively alongside the throb of melodic bass and sequenced electronics as those hazy vocalisations meander into audible range attached to woozy instrumentation and the pull of guitars. Instrumentally sublime, this opening track is deeply captivating and filled with sonic brilliance...

Read the full review here: Primal


Rocket Interview in latest Razur Cuts Magazine

Razur Cuts interviewed Rocket's Chris Reeder about the labels 20th Anniversary and the magazine has just been released.

You can buy a copy thru PayPal, just send £4.50 (includes postage )to email address;

Follow Razur Cuts on Twitter at: @razurcutsmag


12 Jun 2018

Watch Julie's Haircut live at the legendary Teatro Regio

On the night of January 27th 2018 Julie’s Haircut performed live at the legendary Teatro Regio in Parma (Italy). Only 100 members of the audience were allowed in to sit on the stage of the theatre with the band playing against the breathtaking background of the stalls and gallery.

Watch a simply mind bending rendition of lave favourite Purple Jewel


Transmission Luton reviews Goat's Let it Burn

They say:

So……….where do I start. Well let me just say that I believe this to be the best song I’ve heard since Arctic Monkeys released R U Mine? early in 2012. To put this into context, when that track was released I DJed in a converted toilet (Ginglik, Shepherds Bush) at The Rifles aftershow party and that night I played R U Mine? 5 times in total!  I’m DJing at Club 85 in a few weeks and this will certainly be on the playlist, and every single DJ playlist until I hang up the headphones. 

The other guys at Transmission HQ will tell you that I make sweeping statements all of the time, but this time its for real!, This is the best song in the last 6 years. Let me explain why as I obviously listen to the track whilst writing this.

Now I know absolutely noting about the band Goat but after a quick bit of research I find out they are a mask wearing, experimental, psychedelic rock band from Gothenburg in Sweden who’s back story claims they are just one of many incarnations over the last 30 years of a group from a small, voodoo-worshipping northern town named Korpilombolo. Now as interesting as this is, it doesn’t tell you quite how I feel about this track. And boy does it make me feel something. I feel like the coolest mother fucker to ever grace the planet when I hear it. Not many songs in the last 5 years or so make me feel anything...

Read the whole review here: Transmission Luton


Psych Insight reviews Lay Llamas album Thuban

It reads:

It seems a long time since I was grooving to the distinctive beat of ‘Østro’, the Lay Llamas first album for Rocket Recordings. That was at the label’s showcase night at the 2014 Liverpool Psych Fest, a night that I described at the time as  “the very pinnacle of my live music experience“: a statement that I stand by nearly four years later. The Lay Llamas set convinced me to buy that album, which has had regular plays on the Psych Insight turntable ever since. I have always liked how it seems to contain many influences without being beholden to them. It seems to drift in its own little cloud, and has retained its own unique appeal for me.

There have been other Lay Llamas releases since then, but none for me have quite matched that moment in time that ‘Østro’ did: until now that is. However, the only thing that that collective have in common with the current group is central character Nicola Giunta, who has assembled a new set of musicians (twelve contribute here) to produce ‘Thuban’...

See the full review here: Psych Insight


Julie's Haircut reveals, Live video, new ltd edition EP and UK tour dates via Echoes and Dust

Head over to Echoes and Dust now to watch an amazing video of Julie's Haircut performing at the legendary Teatro Regio in Parma:

Watch here: Echoes and Dust 

The band have also revealed a ltd edition, self released two track vinyl EP to coincide with their up-and-coming UK tour in September:

4 Manchester - Night People - Facebook Event
5 Leicester - The Musician Pub - Facebook Event 
6 Brighton - The Hope & Ruin - Facebook Event
7 London - The Shacklewell Arms - Facebook Event
8 Bristol - The Crofters Rights - Facebook Event

And about the EP:
Julie’s Haircut will be touring England next September. For the occasion, they will self-release a limited edition 12” single including the songs “Karlsruhe” and “Fountain”. Though both songs were previously released for digital download, this is their first physical release. Pre-orders for the record are open at this link: Shop


Stream Lay Llamas new album 'Thuban' in full via Rockerilla

Lay Llamas new album Thuban in released this Friday in all good record shops, but you can listen to it in full now via Italian site Rockerilla.

Listen here: Rockerilla

The album is picking up some amazing reviews:

"an album that already promises to be among the best in 2018” 
Rolling Stone

"an album that is once again a journey, literally out of time” 5/5 
Il Mucchio Selvaggio

"the new masters of the Made in Italy psychedelia” Album of the Month 

"a timeless cosmic rock album” 85/100

You can pre-order the album on ltd vinyl from here: Bandcamp


11 Jun 2018

Dance of Architecture reviews Gnod's Chapel Perilous

Roughly translated, they say:

Yes you have to talk about GNOD. It's a moral obligation. If I do not speak of GNOD, I do not see what is the purpose of this blog.

Yet, at first glance, it's just a rehash of the old school Swans. Yes but no.

The first track is based on this satanic triton accord, dissonance max, groovy drums, it's CAN mixed with SWANS, and there's this guy who tells stuff, I do not understand much but it looks like a program policy. It's a political group, yes, like MC5. It's CAN VS SWANS VS MC5. The guitars do not caress the ears in the direction of the lashes it is clear, they seem to look for something else, like a start, as a manifestation of will, they have a program that could perhaps be summarized to these few lines drawn from The Outside Zone: 1) unconditional freedom of life forces; 2) willingness to create; 3) exaltation of the multiplicity of thoughts, perceptions and feelings, therefore, of the non-conforming, the non-standard and the subversive which are its condition; 4) Vitality.

The singer screams "there's no space for me" it's one of the few things I can understand in the middle of this volcanic eruption. No space is unfortunately the condition of the alienated modern man, he has no place either around him or in his head. Open space is a beautiful program I find. So GNOD proposes to make fart some physical and mental barriers with electric eruptions. A good big ultra high temperature flow that aims to dissolve everything that gene, blocks, clutters. In other words, it is music ram, it is needed nowadays it is true, to tell the truth it has always been needed. This violence is legitimate, useful and Dharma compliant. It does not hurt anyone, it's the same order as blowing your nose, making pumps or splitting wood: high concentration of energy and expulsion...

Read the rest here: Dance of Architecture


Watch Hey Colossus play 'Hey, Dead Eyes, Up!' live at De Kreun


Watch GNOD live from Band in the Wall Manchester


Raven Sings the Blues reviews Lay Llamas 'Thuban'

It says:

Heading into Nicola Giunta’s second outing for Rocket there’s a sense that the Italian artist has reached further and deeper than he has previously under the Lay Llamas moniker. Where his previous outing saw fit to ruminate in the Krautrock kiddie pool, Thuban embraces an immersive psychedelic experience, roping in African polyrhythms, snaking Thai funk, German Progressive sweat and late ‘90s UK psych-pop. The tapestry he weaves out of those pieces makes it clear that Giunta’s record shelf runs deep, and while emulating (and to some extent, yes, appropriating) these sounds can often place an artist on a precarious perch, Giunta layers his influences like samples, finding the common threads in his preferred sounds and tightening the seams until they fit snug.

Given his curatorial bent and label affiliation it should come as little surprise that there is a crossover kinship between Giunta and Goat. The bands met while playing shows together and hit it off well enough for Giunta to snag a vocal contribution from band members on “Altair,” a tack that can’t help but sound like Goat as a result. Though the album is largely Giunta’s own, having parted ways with Lay Llamas previous steady vocalist Gioele Valenti, there’s a collaborative air to the record that accentuates its patchwork quality. Aside from the aforementioned Goat drop in, Mark Stewart of The Pop Group and members of Clinic also find their way to the grooves of Thuban and Giunta makes the most of the input of his influences...

Read the rest here: RSTB


Burger Records release ltd edition cassette version of MIEN's debut album

Our friends at Burger Records have released a  ltd edition cassette version of MIEN's debut album and you can buy it direct from them here: Burger Records

You can still buy the album on ltd edition LP which comes on 5 different coloured vinyl versions and CD from your local record shop or direct from: Bandcamp


Soundblab reviews Lay Llamas album 'Thuban'

They say:

The guiding star, Thuban’s galactic trajectory once brought it forward as the brightest and most visible star viewed from the Earth’s North Pole. The Pole Star. It remained there for over 2,000 years before its position was assumed by an ascendant star, and now cannot be seen by the naked eye. its relevance and heavenly splendour are virtually lost until it re-emerges as the Pole Star again in 20,000 years time.

The pretence of the Lay Llamas album, Thuban is to tout itself as a guiding force for cosmic wonder. The music is rhythmically connected with Afrobeat and German rock traditions, and shares kin with many of the Rocket Recordings roster artists, in sound and a determination to push boundaries. The album is, to some extent, experimental, calling on actual collaborations with Clinic, Goat and The Pop Group’s Mark Stewart, as well as drawing upon foundation sources such as world music, psychedelia and avant-garde jazz improvisation. The latter comes courtesy of some disruptive gonzo sax which interposes itself, so as to subvert the late night mood of tracks  ‘Cults and Rites from the Black Cliff’ and ‘Silver Song’ with a skittishness bordering on the neurotic. On ‘Fight Fire With Fire’. Mark Stewart's (Pop Group) narration of a futuristic world devoid of humanity is literally neurotic. Human freaks proliferate from the ashes of corporate greed, political malfeasance and biological manipulation. Like Trump's inner circle, or Italy's Lega Party. Sci-fi doesn't displace our contemporary world. It reflects on its more negative trends....

Read the full review here: Soundblab


8 Jun 2018

MIEN to play Night Owl Festival

MIEN are to follow their European tour with another Festival appearance, this time they will play the 4 day Night Owl Festival in Toronto on Sep 27 - 30th.

Tickets: Ticketfly

Follow: Facebook


Pigs Pigs Pigs Pigs Pigs Pigs Pigs summer shows poster


Lay Llamas announce album launch show + ultra ltd 7"

Lay Llamas are celebrating the launch of their new album Thuban with a special launch show. And at the show there will be a very special ltd edition one sided 7" available of 'Silver Sun (Negra Branca's Red Sun Remix)'

Lay Llamas Release Party 
@ Volume - discs and books / Santeria Paladini 8 
Saturday 16 June


From the promoters Facebook:

Lay Llamas are one of the Italian exports of which we are more proud, and for which we support unconditional: their new album Thuban comes out on June 15 and we could not do a little party to listen to it ... but then we made take your hand a little.

Together with Rocket Recordings and the band, Santeria and Volume have created a special 7 "(transparent, square, one-sided, very cool) that you will only find here and only today: it contains the remix of the song Silver Sun created by Negra Branca side-project of the GNOD The 7 "can be purchased in bundle with the new album in both CD and LP.
Meanwhile, inside Volume, we have invited Nicola Giunta, mastermind of the Lay Llamas, to choose a little music, have a chat, and help us with fresh beers.

Everything starts around 5.00 pm, you can not book the 7 "but you have to go and get it: you will agree with us that it is so beautiful.

We go on until about 8.00 pm, and once finished, they are finished.

More info here: Santeria Paladini 8


Get into this put Mamuthones and Bonnacons of Doom in their latest Album Club

They say:

Bonnacons of Doom: Bonnacons of Doom
It’s odd to finally have an album from Bonnacons of Doom. For years we have found them in the spaces where the fabric of reality is thin and warm Red Stripe is plentiful. Now we must confront them sans mirror masks and robes: in our homes and vehicles, on public transport, or even just on the street, where we must hope their ritualsitic invocations don’t cause that thin film to break and allow whatever’s behind to take us away.

The record starts with Solus, which sounds like a line of hooded figures (perhaps the Bonnacons themselves) marching towards total chaos and certain destruction, their orgiastic shrieks and calmly measured chanting belying the terrors about to confront them. When it does kick off, one guitar breaks free from the wall to twitch and dance like a snapped electricity cable, and it takes a couple of breakdowns to wrestle it to the ground.

Argenta, by contrast, is a swaying wash of clean, shimmering guitars and delayed vocals that builds and builds but favours poise and restraint at the precipice over more turmoil. Next is Industria, a droning soundscape of Eraserhead noise, punctuated by the subtle gonging of terracota pots, but it suffers from not being a prelude to full-band assault. It also illustrates that it’s the vocals that pushes this band through termination shock and into the heliosheath, setting them apart in a crowded post-rock marketplace even more so than the masks and robes.

Normal service is resumed on Rhizome, a noisy death samba that sounds like Mudhoney battling with those octopus monsters out of the Matrix and finally succumbing in a splintering hail of feedback. On Plantae the vocals return to the fore, and not before time. It’s the swaggering finale to a revenge story, with our bloodied and dirty hero dropping her lighter onto the trail of petrol that leads back to her overturned car and the villian trapped inside.

If there’s one critisism, it’s that the album isn’t long enough: at only five tracks, the malevolence doesn’t fully take hold, and only one song breaks the 10 minute mark. But that doesn’t mean you’re safe. The Bonnacons of Doom are still out there, their faces reflecting ours but seeing into our souls.

Mamuthones: Fear On The Corner
Italian outfit Mamuthones love a beat. And their album, Fear On The Corner is a riot.

Taking their name from the death-masked incarnations that have walked the processions and haunted the imaginations of the Sardinian locals in the traditions of their carnivals for centuries, the band live very much up to their namesake with a tribal monstrous concoction.

Melding post-punk, Afrobeat and voodoo-swamp boogie, there’s barely a pause for breath throughout the 45 minutes of this relentless record. Squalling guitar freakouts vie for position with wah-dissonance and frenetic tablas (The Wrong Side), verbose fuzz-drenched vocals collide with percussion which sounds like it is being pushed downstairs (Cars) and LCD Soundsystem jamming with Talking Heads (Show Me) are but a few of the sonic headfucks on offer on their ferocious rhythmic rollercoaster.

The eight minute Alone is a labyrinthine attack of distorted snaking guitars, bleached percussive drones and jazz time signatures almost so overwhelming you may need a lie down after it. And that’s just half the album covered. Fear On The Corner is a brutal listen – but one which demands repeated listen.

See the full piece here: GIT


1 Jun 2018

Music OMH reviews GNOD's Chapel Perilous

It reads:

Throughout their existence, Gnod have continuously pushed at the boundaries of transcendental noise and chaos. As a live band, their relentless, brutal assault is capable of opening doors in the mind that hard drugs and meditation (combined) can only hope to emulate.

Capturing that unbridled energy on a recorded work can be something of a challenge. For example, the likes of Swans or Sunn O))) can never really capture the all encompassing oppression brought about by the sheer volume of their live shows. Gnod face similar issues, but somehow they’ve managed to distill what makes them tick in a live setting on much of their recorded work. Their previous album Just Say No To The Psycho Right-Wing Capitalist Fascist Industrial Death Machine was a crushing, exhilarating experience and, with Chapel Perilous, Gnod have managed once again to create something that is both liberating and, at times, terrifyingly oppressive...

Read the whole review here: MusicOMH


Some nice appreciation for Rocket bands in The Quietus piece on New Weird Britain at Supersonic Festival

Some love for Housewives and Gnod in this great piece:

What Is New Weird Britain? A Guide To The UK Underground In 2018 

As we get ready for this year's Supersonic Festival, Noel Gardner, John Doran and Luke Turner present their takes on what the underground we're calling New Weird Britain constitutes, from anti-corporate defiance, performance art, and a bold new exploration of landscape and place

Over the past year or so you might have noticed a new term cropping up on The Quietus: New Weird Britain. What is this, you might well ask? Here is an answer, of sorts. In truth, as John Doran says in his short essay below, the term is a slippery one. It was originally coined as the title for Noel Gardner's Noel's Foul House column back in 2017 but then, with apologies to Noel, John and I have run with the term to apply it to other aspects of what we consider to be the gloriously fertile underground scene in the UK

We don't need to tell you that in the decade since we launched The Quietus the way we discover and consume music has been changed beyond all recognition. If you look at how our editorial has changed since 2008 we've certainly headed in more esoteric directions as what was once the independent music that lurked on the edges of the mainstream became unsustainable. It was replaced by a new form of MOR characterised by the millennial whoop and soundtracking the sorrowful aftermath of chlamydia acquisition trips to Croatian beach festivals. In that dull climate an counter underground has emerged to create music against the odds and in defiance of the modern notion that art is only valid if it produces financial return, or has 'synergy' with some mundane brand. These three essays then are an attempt to capture what New Weird Britain is to Noel, John and I, focussing on artists playing this year's Supersonic Festival (they're also being published in the festival programme). Supersonic is without doubt one of the key incubators for so many of the artists of New Weird Britain, and a vital node of communication, sharing of ideas, and mutual support. The Quietus salutes the work of Lisa Meyer and her team at Capsule....

Read the full article here: The Quietus


Housewives announce new Festival appearance in The Netherlands

Housewives have been announced to play Valkhoffest in Nijmegen 14th July

Get more info here: alkhoffest 


Watch GNOD live in Lille from recent tour


31 May 2018

Rocket Probes – May playlist

Lay Llamas – Altair
(Third single from the forthcoming album 'Thuban' features GOATshee on vocals)

Bong – Thought and Existence
(All hail Bong...we love this band!)

Zohastre – Pan And The Master Pipers
(New album by 2/3 of H.U.M)

Exorsist Gbg - Pusher
(Cosmic disco from Gothenburg on Höga Nord)
Exorsist Gbg

Battiato – Sulle Corde Di Aries
(How did we not know this album!! Thanks to Flowers Must Die's Rickard for putting that right)

Pharaoh Overlord - Zero
(Extremely good and fun new album...includes a great cover of Spacemen 3's Revolution)
Pharaoh Overlord

Embryo – Africa
(Afro kraut jazz from '85 that Lay Llamas brought to our attention)

Warren Schoenbright – Subtropical
(Real nice repetitive sludge on Hominid Sounds)
Warren Schoenbright

Iku Sakan – Prism In Us All
(More great minimalist repetition)
Iku Sakan

Pentagram – Relentless
(Killer riff)

Francis The Great - Look Up In The Sky
(Great Afro-funk groove)
Francis The Great

Die Wilde Jagd – Stangentanz
(Sounds like a Goat remix)
Die Wilde Jagd 

Henrik Rylander – 2-7-4-8-8-2
(Fuzzy grooved weirdness on Höga Nord)
Henrik Rylander

Shimshon Miel - Amsterdam Experience
(Nice reissue of avant repetitious groove)
Shimshon Miel

Kraftwerk – HR1 Frankfurt Radio Concert 25 January 1974
(Thanks to Dave C for turning us onto this)
Download from here: Kraftwerk 

Listen to our 'updated-monthly' Rocket Probes Spotify playlist:


Gum Takes Tooth to play Supersonic

If you didn't already know, Gum Takes tooth are joining Housewives and GNOD and many other killer bands at this years Supersonic Festival.

They say:
Endlessly innovative yet fundamentally primal mesmerism springing from an unclassifiable maze-source where barely identifiable fragments of accelerated temporality event-horizon sound system culture and tearing psych-rock riffology tumble totally free from their identifying signifiers, only discernible through the solar flares of raw energy by their powerful physical kinesis and consciousness folding volatility. Gum Takes Tooth define their own paradigm of a maverick man-machine union in their consistently incendiary live shows.

Tickets and info can be found here: Supersonic


Teeth of the Sea play Contrapop Festival

Teeth of the Sea have been confirmed to play Contrapop Festival in Ramsgate on 4/5 August. 

Joining them are Coldnose, Adrien Sherwood, Laraaji, Flower Corsano Duo and many others.

And it is on the beach and it is FREE!!

Info here: Extra Normal


See Richard Ellis's photos from Rocket Twenty

It was only a few months ago we kicked off our years worth of 20th Anniversary celebrations with our weekender at The Garage.

You would of see IMPATV's amazing footage and Al Overdrive's killer photos. Well another talented image capturer Richard Ellis was there and he captured lots of amazing images of the bands performing that weeked 

See all the images here: Richard Ellis


30 May 2018

Mamuthones support The Pop Group this Friday

Mamuthones are to support The Pop Group as part of Summer Student Festival (Je t'aime) on 1st June

All info here: Je t'aime


Illustrated Amateur reviews Hey Colossus's The Guillotine

It reads:

Hey Colossus had been chugging along for a decade before I heard of them. The Guillotine was my first encounter—and it's a stunner. It's something like their twelfth record (depending on how you add it up) so I had some catching up to do. 

Their earlier earlier releases belie why they're lumped in with sludge metal, and (later) noise rock, but Hey Colossus have outgrown such distinctions. There's an hermetic feel to their work—not so much self-referential as ascending out of their past. Their tunes are tightly coiled, and, when they want to be, brutal. The ragged, live edge of the guitar work is miles away from the Helmet model of compressed, percussive blocks of distortion—which is still the template for so much heavy rock today. Instead, Hey Colossus court a sonic murk, always threatens to become too muddy but lending the songs a fathomless depth. They retain just enough clarity to let melodies rise to the surface, when needed.

It all sounds amazing on vinyl, but I fear the rawness of Hey Colossus is the sort that gets diminished by mp3 compression and streaming.

See the review here: Illustrated Amateur


GNOD's Chapel Perilous in The Quietus monthly Psych column

It says:

There has been a debate waging in the field of popular philosophy over whether things are, in very general terms, getting better for humanity. Members of the glass-half-full brigade include Steven Pinker and Peter Singer. Look at the medical advances we've made, they say. Violence is less common than in previous ages. Cruelty towards women, children and animals appears to be on the decline. We're generally more altruistic than we used to be. The new Arctic Monkeys album has got some quite interesting bits in it if you turn your head to one side, squint a little, and inhale paint fumes. Challenging all this is the cynicism of John Gray. Borrowing heavily from Jean-Jacques Rousseau's counterattack on the Enlightenment, Gray believes that the progress of civilisation is a dumb fallacy. If fear of nuclear weapons use has helped prevent mass armed conflict, great powers have fought one another in numerous proxy wars and the deaths of non-combatants has steadily risen. The bulk of major technological advances have been a double-edged sword. Rationalism is a utopian delusion. Alex Turner's talent as a lyric writer has become steadily worse and it's now apparent that a tranquilised otter could do a better job.

Judging by the trajectory of their output, it'd be fair to assume that Gnod sit in the latter camp, albeit coming from a more anti-capitalist stance than Gray's cheekily provocative liberal-baiting one. Last year's album was called JUST SAY NO TO THE PSYCHO RIGHT​-​WING CAPITALIST FASCIST INDUSTRIAL DEATH MACHINE (in full caps on a blood-red background, no less). In contrast to the swirly-whirly playfulness of some of Gnod's early psychedelic handiwork, it was a bleak, angry and nihilistically Swans-like affair. Fifteen minutes long, Chapel Perilous' opening number starts off like the first note of 'Purple Haze' being struck over and over again, steadfastly refusing to break into Hendrix's euphorically funky full riff, then builds and builds into a metallic symphony of cranking harshness. "There's no space for meeeeeeeeeeee," bawl the vocals as if John Lydon and Jaz Coleman had birthed a lovechild and then left it in dustbin with nothing for company but a second-hand copy of Thomas Hardy's bleakest tome. At the tail-end of the album sits the equally fierce if punkier 'Uncle Frank Says Turn It Down', the main riff for which is kinda nu-metal if you think about it, albeit used for far more noble purposes than Coal Chamber ever mustered. In between sit more abstract numbers loaded with droney throbs, foreboding chimes, trip-metal crackles and clattering Einstürzende Neubauten percussion. It's hard to think of a better accompanying soundtrack if the world really is becoming steadily more fubarred.

See the full piece here: The Quietus


Hirvikolari to support Heldon

Hirvikolari the bands featuring Sam and Mike from Teeth of the Sea have been revealed as the support for the first ever London show for the great Heldon at Cafe Oto!

Baba Yaga's Hut Presents:
Heldon + Hirvikolari
July 14th - Café Oto
Tickets £15

Info/Tickets: Baba Yaga's Hut


29 May 2018

GNOD's Chapel Perilous in The Quietus Albums of the Month

They say:

This album is sequenced like a pulverising futuristic space-rock version of Reign In Blood: bookended by overbearing monolithic structures that initially cast shadows over the relatively hard-to-penetrate middle section. It’s great to finally hear ‘Donovan’s Daughters’ in a home setting. While it still slaps hard - and oh, sweet lord Jesus and all of your apostles, that drop - Raikes Parade’s masterful dub creates abyss-deep currents of echo and sky-scraping vapour trails of reverb. It is no longer merely a blunt instrument of godlike destruction; it is a blunt instrument of godlike destruction that seethes with detail. And as a bonus, this song contains one of rock music’s hardest won and most justly deserved key changes since Hawkwind’s ‘Space Is Deep’. John Doran 

See the full list here: The Quietus


Raven Sings The Blues say some words on GOAT's 'Let it Burn'

They say:

Music from Goat, recorded and intended for use in a film about burning a giant straw goat? Seems like a perfect excuse to feature the Swedish psych collective to me. “Let It Burn” was recorded for use in the film Killing Gävle, a documentary about the custodians of a straw goat placed in the town square of the titular town of Gävle at Christmastime. The goat is in constant peril of being burned by mischievous pagans which, sure, makes perfect sense. Don’t erect a giant symbol of the old world gods without expecting true believers to get all effigy on it. The track in question is pure Goat, roiling on polyrhythmic drums flanked by flutes and doused in both fuzz and folk guitars. Essentially, if you’ve found joy in Goat’s catalog up to this point then a somewhat meta song about pagans going full Burning Man on a giant wicker likeness of the band’s namesake seems right in order.

The b-side here is a mellow comedown, buzzing with drones and buttered with sax, it’s a different side of the psych warriors that shows them reveling in cosmic jazz without the hectic sweat of their usual rhythmic pummel. The song is a portion of a freeform studio jam, so it almost seems given there’s bound to be a “Friday Pt. 2” at some point down the pike. Unfortunately, the physicals were scant on this one, so either battle the Discogs goblins for a copy or be happy with the digital drop on this. Either way, it’s a prime slice of one of Sweden’s most excellent exports.

Read the full piece here: RSTB


Dayz of Purple and Orange reviews Lay Llamas album ‘Thuban’

It says:

This is one album that I have been eagerly awaiting since it was first mooted ages ago. As regular readers will know, my love of the Italian 'scene' is deep and of the many bands that are currently wowing people, Lay Llamas are one that can lay claim to being a band that has pushed this scene to the front of peoples' minds. Their debut on Backwards Records back in 2012 was a masterful mix of tribal psychedelia, krautrock and mutated afrobeat...a masterpiece in anyone's book. They followed this with 'Østrø' on Rocket Recordings which exposed them to a bigger audience...throw into the mix a truly wonderful split tape with Tetuan on Artetetra and you have a band with an extremely strong back catalogue. This time around, however, it is a paired down band with Gioele Valenti leaving to follow his own destiny with the (equally) fantastic JuJu and so leaving Nicola Giunta to take the helm singlehandedly...and what a spectacularly fine job he has done! 'Thuban' ("named after the Arabic for ‘snake’ also known as Alpha Draconis, and sometimes as the ‘dragon’s tail’... was the star closest to the North pole from the fourth to the second millennium BC") sees Giunta team up with some musical heavyweights along the way - Clinic, Goat and Mark Stewart all appear and all make telling contributions to what is undoubtedly one of the albums of the year…

Read the rest here: DoPaO


25 May 2018

Line of the Best Fit interviews Kate from Bonnacons of Doom about Sacred Music

It reads:

Bonnacons of Doom’s Kate Smith on sacred music
Kate Smith of Liverpool-based collective Bonnacons of Doom explains to Best Fit how she uses the influence of sacred music in her band's output.

Even as a child I was quite cynical about religion, but sacred music is something that’s always connected with me. Although none of the band are religious in any way, devotional music has always been a key reference point in how we understand our music and our own creative process.

I always sang. I used to make up songs when I was really little, but it was being a choir girl that was a formative experience. It was a sharing of the inner pleasure of singing with other people. I was enticed to join the church choir because I loved the tiny brown envelopes that you got your 50 pence fee in. I just thought they were so cute. I found I loved singing hymns collectively and I guess, in retrospect, being part of a communal experience...

See the full piece here: LOTBF