19 Feb 2019

M-Magazine interviews Teeth of the Sea

They say:

We’re never gonna persevere with something if we think it’s not up to scratch. A lot of ideas just get ditched because they don’t make your pulse race,’ say’s Teeth of the Sea’s Jimmy Martin.

Most commonly pegged as a psych rock outfit since forming in 2006 Jimmy, Sam Barton, Mike Bourne have in fact traversed a multitude of genres in pursuit of raised heart rates, be it through punishing beats or lugubrious brass.

The trio are now set to release their fifth record, Wraith, and as the title suggests their psychedelic influences remain at the core of what they do, even if the collection also marks yet another evolution in the band’s sound.

Working for the first time with a producer, Teeth of the Sea return with perhaps their most coherent and refined collection yet.

Ahead of the album’s release, we sat down with Jimmy to chat about the nebulous events that surrounded the recording of their latest record, the rewards of opening up their process to collaborators, and much more…

There’s been talk of supernatural happenings around your new record, can you tell us more?

I don’t really want to demystify it too much. Obviously, we’re not really sure exactly if it had an influence and what happened, but we were recording it in a strange location. We’ve always gone there, it’s on the Thames, East India Quay, it’s almost like being out of London but in London at the same time. So, you’re slightly disconnected from your everyday life, despite the fact that you’re still ostensibly in London...

Read the rest here: M-Magazine


Listen to Sacred Dream Tapes playlist

Josefin Öhrn + The Liberation have put together a special new playlist for Spotify called 'Sacred Dream Tapes'.

The mix is a selection of music the band have been listening to on while writing and recording their new album. Nitzer Ebb meets JJ Cale, Popol Vuh meets The Shangri-las and more.

Listen to it here: Spotify


18 Feb 2019

GNOD to record and play show with João Pais Filipe from Paisiel

GNOD are heading to Porto to work on some recordings with the amazing João Pais Filipe from Paisiel and during their time there they are going to play a live show together on Saturday, March 9 at Maus Hábitos.

Info/tickets here: Lovers and Lollipops

Paisiels stunning debut album is available to preorder now on Ltd coloured vinyl from here: Bandcamp


Il Muro interviews Mamuthones

They say:

Protagonists of the Rome Psych Fest at Monk and PDsychedelia at the Circolo Nadir of Padua at the end of the year, the Mamuthones borrowed from the disturbing ritual masks of their homeland, Sardinia, and carry it around the world, demonstrating to have in all respects the charisma and the talent to impose itself on the international music scene. Their latest album, Fear on the corner, is inspired by fear.

The fear of the present, of the human and political situation, but also of the most intimate and personal fear, such as that of loneliness, of the wrong relationships, of not finding a place in the world. And there is also the fear of fear itself. The Mamuthones review all their deepest concerns with great clarity, to the point that the album sounds almost prophetic. Listening to it a year after its release, we find ourselves with the band that many of the fears that are the guiding thread of this record have become reality, as it only happens in the worst dystopic dreams. A nightmare with open eyes told with great grace by their dark, hypnotic and rhythmic sounds, because even when everything around us and inside us seems to go into pieces, the show must go on.

After reading the interview with Alessio Gastaldello , run to buy the album and listen to the Mamuthones live on Friday 29 March 2019, at 10.15 pm at Camelot 3.0, via Santo Stefano 20, Prato (free admission).

Let's start from the title of the album, Fear on the corner, this theme of fear, which seems to be the leitmotif of a dark and extremely emotional album. Would you like to tell us what you are afraid of and how your fears have influenced the creation of this work?

It has a certain effect to answer this question today. It's been about a year since the album came out ... and the fears around which it was written became reality. The fears were those caused by a society in decline, ugly, incattivita, rancorosa, itself frightened and cheated by those who fear it foment for political return. But also the most intimate fears, for my experience, for my relationships. I was hoping this album would mark a catharsis, instead ...

Read the full piece here: Il Muro


Ghost Cult reviews Teeth of the Sea's WRAITH

They say:

Wraith sees London-based post-electronic pioneers Teeth Of The Sea taking a step away from the noise inflected menace of their earlier work following the departure of Mat Colegate after 2015’s Highly Deadly Black Tarantula (both Rocket Records). Yet their latest outing feels like the answer to a challenge, of sorts. In its absence, the progressive, playfully experimental composition style (paired with an often unapologetically wry approach to theme) brings to the fore the bands inherently theatrical bent. The result is something akin to the lost soundtrack to a late 90s Indie, cyber-Punk thriller.

Wraith’s introduction – the obliquely titled ‘I’d Rather, Jack’ – is a blunt, unwavering electronic beat, heralding a bold melodic overture (a movement that is later mirrored at the album’s conclusion by its gritty counterpart ‘Gladiators Ready’). This is followed by the subdued tension of ‘Hiraeth’, a darkly intoned piece that sees the ever prominent brass elements vying with Helios Creed’s guitars in an unmistakable tribute to Ennio Morricone. But it’s the third movement, the ponderous, eerie ‘Burn Of The Sheiling’, and the subsequent lapse into the dreamlike madrigal of ‘Fortean Steed’, that seems to mark the true extent of this recent shift of tone...

Read the full review here: Ghost Cult


The Know interviews Pigs Pigs Pigs Pigs Pigs Pigs Pigs

They say:


It’s definitely the year of the pig. Rocket Recording’s Pigs Pigs Pigs Pigs Pigs Pigs Pigs have had many triumphant Bristol shows since their second album ‘King Of Cowards’ dropped last year. This March, the Newcastle psych rockers are back in town so we decided it was high time for a chat.

The response to ‘King Of Cowards’ has been huge, how did it come together? 

It was pretty different to the first one, with ‘Feed The Rats’ we took our time to say the least. We had the songs kicking around for over two years and then we finally got around to putting down the record. With the next one we didn’t want to take too long. We had quite a lot of ideas so we wanted to flesh them out. We were on a European tour and some dates fell through. We weren’t sure what to do so we had a look on AirBnB and found an amazing remote barn in the Italian hills which is usually used for wedding parties. We got in touch and asked if we could set up and make some noise and the owners were fine with it because it was so remote. We booked that up and got the bulk of the album done in four days. 

It sounds just as colossal as your live show in many ways…

We did strive to capture that yes. That’s all down to our guitarist Sam. He owns Blank Studios in Newcastle and produces all of our stuff. He’d just finished building a new studio and had spent the last eighteen months building it. We were the first project in there so we used that as an experiment in the space. It definitely helps having Sam engineer everything because he’s there every second and has a real grasp of our live sound...

Read the full piece here: The Know


Listen to Lay Llamas Podcast for Les Giants

Nicola from Lay Llamas has picked out some records from his collections for an exclusive podcast for Les Giants.

Listen here:  Les Giants


15 Feb 2019

CMU give the new Josefin Öhrn And The Liberation their approval

They say:

Approved: Josefin Öhrn And The Liberation

Bass-heavy psychedelic duo Josefin Öhrn And The Liberation are set to return this April with their third album, ‘Sacred Dreams’.

Their first LP since 2016’s ‘Mirage’, ‘Sacred Dreams’ comes after Öhrn and her songwriting partner Fredrik Joelson relocated from Stockholm to London. There they brought in a new line-up of supporting musicians, including The Go! Team’s multi-instrumentalist Angela Won-Yin Mak, Eskimo Chain frontman Patrick Smith and bassist Ben Ellis, who has worked with Iggy Pop and Swervedriver.

The record was produced by Andy Ramsay of Stereolab at his Press Play studios, where he drew out an even more dense, room-filling sound than on the duo’s previous records...

Read the full piece here: CMU


14 Feb 2019

Read great interview with Gum Takes Tooth by The Quietus

They say:

After five tumultuous years, Gum Takes Tooth have delivered one of 2019’s early standouts in the form of new album ‘Arrow’. Patrick Clarke meets the band to talk the realities of musicianship in London, automatic writing and the story behind their stunning third record. All pictures by Eric Oliveira.

Jussi Brightmore, Tom Fug and I were meant to take a walk around North London’s Walthamstow Marshes to discuss the pair’s latest record as Gum Takes Tooth. The marshes are next to the studio where that phenomenal album Arrow was recorded, but also represent a uniquely neutral space that mirrors its themes. It is an album informed by the endlessly mounting pressure of trying to both exist and create art in the capital, by the urge for space amidst the relentless drive of redevelopment, and the uncertain, nomadic lifestyle these issues breed. It’s an album that is breathlessly intense, at times dark and oppressive but at others euphoric despite itself. It is already one of 2019’s very best.

As cold February rain lashes down and spoils our plans, however, we must instead take shelter in The Victoria, a strange but lovely haunt that’s equal parts gay bar and old man pub, with pride flags hanging above the dartboard and pool table. Fug and I arrive first as a barmaid sways merrily around the room collecting glasses, singing along to ‘Can’t Take My Eyes Off You’ which plays on the jukebox. Brightmore arrives a few minutes later; his two-year-old daughter took a little longer than usual to get to sleep. The act of trying to raise a young family amidst all this chaos is yet another pressure that makes itself known on Arrow.

Read the full interview here: The Quietus


The Quietus gives Teeth of the Sea's WRAITH their Lead Review

They say:

The fifth album from genre-undermining outfit Teeth of the Sea is the latest in a progression, from the multi-layered kosmic grooves and flourishes of their 2009 debut Orphaned By The Ocean to the techno-influenced Master and the crisp, filmic beats of Highly Deadly Black Tarantula. Wraith takes their soundtrack tendencies to a new place where the synths are even more sonorous, the brass extra melancholy, the beats exceptionally crunchy and the scale epic and wild. Since their last album, the band has slimmed to a trio - Sam Barton, Mike Bourne and Jimmy Martin - but the sound is, if anything, more surprising and more accomplished.

Wraith seems to reflect on cultural turbulence and change, with music that mixes elegy with elements of disaster movie and failed futures. Yet as well as chaos there is reflection, stillness and redemption. Teeth of the Sea are now almost veterans of a UK alternative music scene that, over the last couple of years, has delivered some exceptional responses to increasingly disturbed and disturbing times. Albums such as Gazelle Twin’s Pastoral and Gnod’s Just Say No to the Right Wing Capitalist Fascist Industrial Death Machine have set the standards for engaged music. Teeth of the Sea are far from an overtly political band, but how do you retain a sense of purpose without relating your music to your times...

Read the rest of the review here: The Quietus


13 Feb 2019

XSilence reviews Gum Takes Tooth's 'Arrow'

They say:

When you have before you all the prog of a festival, with these unknown names, these untouchable, these Cornelian choices, you can either listen to everything, make a precise program by anticipating, naive as you are, that you will stick to it. . Once the festoche past, you come across a record, without necessarily making the link right away, to finally realize that you missed a great thing. 

This is typically the kind of thing that could happen with Gum Takes Tooth. And yet, listening to new album, we can think that live it must be really something. These two Englishmen create a marasmus sound, in which are telescoping hallucinated drums, synthetic pulsations of another world, sounds from no one knows where but we can cleverly placed here and there for one purpose, to raise the tension, even the adrenaline as Bashung said..

Read the full review here: XSilence


12 Feb 2019

Terrascope reviews Teeth of the Sea's WRAITH

They say:

It’s hard to believe that Teeth Of The Sea have been going since 2006 and are therefore no longer quite the Young Turks championed by Terrascope pretty much from the offset, thanks to McMullen’s uncanny knack of spotting a good ‘un before it even turns up on NASA’s radar. Along the way they’ve grown up and we’ve grown old in tandem, our paths occasionally crossing, such as when, fully three years ago, they graced one of our events at The Lexington together with White Hills (yes, THAT poster) while guitarist Jimmy Martin did us the honour of DJ-ing Terrascope’s Flowers Must Die gig a couple of years back.

There again it’s not without mild trepidation that a new release from an old favourite finds its way into the reviews pile. When all’s said and done this is TOTS’ first release since 2015’s crushingly good Highly Deadly Black Tarantula, since when they’ve misplaced a band member (they are now a three-piece of Sam Barton, Mike Bourne and the aforementioned Martin).As hiatus’ go, that’s a pretty lengthy one, besides which, following up…Tarantula was always going to be a tall order. What if, after all the anticipation, this turns out to be a stinker?

‘I’d Rather Jack’, mercifully, is not a re-tread of the Reynolds Girls’ 80s manufactured rage against the pop machine but a high octane electro-metallic big dipper that owes as much to its production values as musicianship...

Read the full review here: Terrascope


Gnoomes and Hey Colossus to play Triptych Festival

Gnoomes and Hey Colossus join a stunning bill of bands for Triptych Festival which takes place on 8 June at The Exchange, Stag & Hounds and Elmer Road in Bristol.

Info/tickets here: Triptych


Flowers Must Die release '1st Demo' on Ltd CDR

They say:

Our first recorded material, I think some of the tracks is from one of our first ever rehearsal under the name Flowers Must Die. This would be in the Summer and Autumn of 2006. Lo-fi Basement Blues with Noiserock weirdness, not essential FMD material to be honest, but I know some people want everything with an artist, and it is interesting to hear a band 
Two bonustracks, the first 'Battle' is from a session before being named and with other members. 'Finest' could actually be the live recording from our very first live show as FMD. At a pop-up gallery called Jr´s Finest in Linköping. Curated by Rickard Daun and Lars Hoffsten from FMD who also exhibited some art. 

Sleeve is from a 70´s fabric and all CDR is different. 

Buy.Listen from here: Flowers Must Die


Bido Lito reviews Pigs Pigs Pigs Pigs Pigs Pigs Pigs + Mésange live in Liverpool

They say:

Pigs Pigs Pigs Pigs Pigs Pigs Pigs
Shipping Forecast

A sold-out gig for a doom-psych metal band seems unheard of, right? But Newcastle’s PIGS PIGS PIGS PIGS PIGS PIGS PIGS are truly the best at what they do, and tonight’s gig is resounding evidence of that. For support, we have MÉSANGE, a duo comprised of violinist Agathe Max from the band Kuro, and guitarist Luke Mawdsley from the band Cavalier Song. Their individual talents mould together and they feed off each other’s energy on stage. The classical melodies from the violin mix with the synthesised sound of the fuzz pedals and the end product is a beautiful, sombre and powerful folk noisescape. More artistry than just any other guitar band.

Shortly after Pigs Pigs Pigs Pigs Pigs Pigs Pigs take the stage. They’re here for the tour of their incredible new album King Of Cowards. I make my way back inside after taking a break from the hot venue, only to hear “this one’s about baking cakes!” in a broad Geordie accent. I have to laugh – it’s not every day you hear a band from the doom genre, one of the most serious, talk about baking. Of course, he is referring to the song Cake Of Light and not about Bake Off, sorry everyone. The sense of humour, the snarling energy and voice that mirrors a rally call is lead singer Matt Baty...

Read the rest of the review here: Bido Lito


Get in her Ears say some words about Josefin Öhrn + The Liberation track 'Desire'

They say:

London-based psychedelic outfit Josefin Öhrn + the Liberation have shared their latest single ‘Desire’ and it’s a dark, frantic, immersive gem. The track is taken from their third Sacred Dreams, which will be released in April via Rocket Recordings.

Since 2014, Josefin Öhrn + the Liberation have been acquiring acclaim at a steady pace. Their debut album Horse Dance, and sophomore record Mirage were well received in both their homeland of Sweden – culminating in a ‘best newcomer’ nomination at Sweden’s Grammys – and here in the UK, receiving praise from BBC6 Music and a live session with Lauren Laverne. Now, the band are set to release a refreshing set of new tracks inspired by the universal themes of heartbreak and love.

Speaking about new single ‘Desire’ and the upcoming record, Josefin explains: “This album comes out of a period of heartbreak, loss and dissolution, but also of deep love, warmth and beauty unveiled in the middle of it. A sacred dream, the way we see it, is not necessarily a golden fluffy cloud river, but instead also contains all the shadows that need to be seen and felt in order to drop what has to go in order to truly live. And the dissonance of such a dream may not be immediately apparent, let alone the meaning of it. In a way all of these tracks seem to emanate from that place where we have almost reached a new shore, or maybe we missed it and are headed somewhere else entirely, but there’s no way of telling until afterwards.”

See the full piece here: Get in her Ears


Free Julie's Haircut remix

Download an exclusive remix for free of the Julie's Haircut track 'Salting Traces' that came from their 2017 Rocket album Invocation And Ritual Dance Of My Demon Twin

Download here: Julie's Haircut


Kallistik say some words about WRAITH by Teeth of the Sea

They say:

On February 22, Wraith releases the fifth album of the Welsh group Teeth of the Sea . The musical direction of the nine tracks LP is not easy to describe. Electronic elements, trumpets and samples create a haunting atmosphere , as in the two previously released tracks Hiraeth and I'd Rather, Jack , which would easily find their place in a new Blade Runner . These more ambient-looking passages are rounded off by solid beats and heavy kicks. The interplay of these different components results in a progressive, original sound that is not often heard.

See the review here: Kallistik


11 Feb 2019

KURO added to Astral Festival line-up

KURO are joining fellow Rocketeers GNOD and Bonnacons of Doom at this years Astral Festival on 6 July in Bristol.

Info/Tickets here: Astral


7 Feb 2019

Listen to Paisiel track Satellite

We are thrilled to announce a ltd vinyl release by the enigmatic duo Paisiel. The band features the exceptional talents of Portuguese drummer/percussionist and sonic sculptor João Pais Filipe and the German saxophonist Julius Gabriel. 

The album is released on 22 March but you can preorder the LP on Ltd 'Transparent Deep Blue' vinyl: Bandcamp

“ A quasi-tribal trance through the language of jazz.” Arte-Factos

“ A rhythmic plane between Africa, techno, krautrock, and minimalism.” Jazz.PT

“ A driving force that unites past, present and future.” Rimas E Batidas

The band are playing a Porto album launch on 22nd of March at CCOP, with support from OTRTORTO. More shows to be revealed shortly


The Prog Mind gives Teeth of the Sea's WRAITH a 9/10 review

They say:

I find myself falling more and more in love with the whole progressive electronic genre.  There’s just something about how the musical themes morph and evolve while layer after layer of sound is added and developed.  Some of these albums are stark brilliance.  Teeth of the Sea is one of those bands, and they too keep evolving and impressing me further.  Their new album “Wraith” releases on the 22nd of February, and it is a treasure.

I first heard Teeth of the Sea through their 2013 album “Master”, which remains a favorite.  The band currently includes Sam Barton, Mike Bourne, and Jimmy Martin.  This album also includes the talents of Erol Alkan, Valentina Magalett, Chlöe Herington, and Katharine Gifford.

Teeth of the Sea plays music that is difficult to describe.  Yes, I consider it progressive electronic for their usage of loops, ambient atmospheres, synthetic sounds, etc.  However, you could just as easily tag them as psychedelic or space rock, and maybe even noise, a bit of drone, a bit of trip hop, and other genres like industrial.  In fact, one of those other genres would be jazz/blues, as they offer heavy use of horns in a way that almost feels urban or like the music is being played in a small club in the 20s.  Add on top of that the fact that the band is obviously influenced by horror, and you have a band that mashes a widely diverse range of ideas into one smooth and frankly awesome sound...

Read the full review here: Prog mind


Midlands Metalheads reviews Teeth of the Sea's WRAITH

They say:

Teeth Of The Sea are not a new name to me, having seen the band live a few times and possessing a partial discography. What I have always found appealing about the band is their willingness to clash electronica with traditional and not so traditional instrumentation. ‘Wraith’ is the band’s fifth album and continues their ethos of bending and melding genres and sounds. It sees a release later this month through Rocket Recordings.

I have enjoyed every release I have heard by TOTS, particularly the predecessor to this album ‘Highly Deadly Black Tarantula’ with its fat analogue sounding synths, hefty bass and generally dark miasma. ‘Wraith’ sounds different, not a departure as such, but the way they have presented themselves here has its own distinct feel, less hefty perhaps, but also more cinematic and vast in scope. Reading a little about the making of the album, the band allude to ‘disturbances’ and presences making themselves known during the recording process, hence the title ‘Wraith’, and at times the album does have a spectral and perhaps unearthly feel to it...

Read the rest here: Midlands Metalheads


6 Feb 2019

Rocket gives Paisiel's amazing debut album a special ltd vinyl release

We are thrilled to announce a ltd vinyl release by the enigmatic duo Paisiel. The band features the exceptional talents of Portuguese drummer/percussionist and sonic sculptor João Pais Filipe and the German saxophonist Julius Gabriel.

Listen to an excerpt of the 17minute track Satellite now exclusively via The Quietus


“ A quasi-tribal trance through the language of jazz.” Arte-Factos

“ A rhythmic plane between Africa, techno, krautrock, and minimalism.” Jazz.PT

“ A driving force that unites past, present and future.” Rimas E Batidas

Based on an individual exploration of the sound and on the expressive possibilities of their instruments, the duo’s music seeks to join and systematize their influences, albeit without any obvious correspondences or affinities – resulting in textures and abstract melodies propelled by a mechanical and existential percussion that morphs into a kinetic trance. 

Heterodox and digressive musicians, they move freely between the repetition of krautrock and techno, jazz, experimental music and other new musical categories, João Pais Filipe and Julius Gabriel create radio-graphic sounds that inhabits somewhere between the reception and the emission of a signal, like a cosmic telephone exchange.

This three track album was originally released in 2018 as a ltd edition cassette on the great Portuguese label Lovers & Lollypops. And now Rocket Recordings are extremely proud to be releasing this unique recording on a ltd edition colour vinyl and across all digital channels.

In 2018 João Pais Filipe has also found the time to release a stunning and highly acclaimed solo album and a very exciting collaboration with fellow drummer/percussionist, and also very talented Valentina Magaletti (Tomaga/Vanishing Twin/UUUU) called CZN.

Paisiel have already wowed audiences across stages in Europe including a jaw dropping set at the eclectic and well respected Milhões de Festa. Now the duo have plans to head to the UK to play a series of shows in support of this release.

Prior to that the band are playing a Porto album launch on 22nd of March at CCOP, with support from OTRTORTO.

Preorder the LP on Ltd 'Transparent Deep Blue' vinyl: Bandcamp


5 Feb 2019

Oddly Reviewed reviews Pigs Pigs Pigs Pigs Pigs Pigs Pigs – King of Cowards

They say:

The Italian countryside, a pig barn, wild bogar, Geore Orwell. One of these things doesn't have anything to do with the album, can you guess which one? Wrong! Trick question, they all have to do with it.

Don't bother trying to understand the lyrics, even though they do carry the weight of gluttony, lust, pride and the rest of the deadly sins with them, the highlight of this album is how Pigs Pigs Pigs Pigs Pigs Pigs Pigs, or as I like to call them Pigs⁷, have not only managed to keep their sound after their debut album Feed The Rats but they've also managed to focus it into something leaner.

Making their songs shorter, they've managed to envelop the listener in this doomsday sounding, primordial ooze filled pool that is this album. I'm pretty sure if you were to fall into into the pool you'd end up devolving into two very different but feral creatures.

Most of the Pigs⁷ songs feel like a gut punch and a fuck you to anything that stands against you, embracing the inner beast and taking a bite out of the world. Songs like 'A66' and 'Thumbsucker' feel like you're running up an endless hill but you never get tired, you're so determined to finish this endless race up the hill that you just sprint up that 45 degree incline and just power through everything, rocks? dry bushes? heat? wind? nothing's stopping you. Even though the seven deadly sins do pop up from time to time, the main thematic behind this album isn't as satanic as one would think, so if you "Love your mummy" and "like it when they rub your tummy" this absurdly strange, swineherd of an album is just the thing you've been looking for, give it a listen here and thanks for reading.

Read the full piece here: Oddly Reviewed


4 Feb 2019

Watch footage of GOAT hitting the FUZZ live in 2014


Get into This say some words on Teeth of the Sea's WRAITH

They say:

It always hurts more when those you love let you down. Speaking as a Prince fan this writer had to get used to that during the latter years of his relentless conveyor belt like musical production line.

While, not quite on that level of stratospheric musical adoration, during the last decade Londoners Teeth of the Sea have been right up there in the ‘favourite band‘ stakes. The love affair began in 2010 with their second album Your Mercury and reached peak infatuation during a colossal live display at MelloMello in 2012

They tick all our boxes: lashings of grooves, malevolent riffs, unexpected time signatures and a penchant to stray into cinematic progressive ridiculousness. Not in a turgid Muse kind of way – rather that of similar mavericks Oceansize, Mars Volta, Porcupine Tree or even Radiohead.

Yet their last album, 2015’s Highly Deadly Black Tarantula marked a sea change in the band’s consistently magnificent output – not only did it sound like several bands experimenting with several ideas it was also a bit of a let down. No matter how much we revisited it just didn’t quite click. Sure it was dark as hell and at times those aforementioned riffs threatened to kick in but for the most part its industrial serrated edges and bleak dissonance was hard to love.

Thank heavens then for Wraith. Their fifth studio album on Rocket Recordings finds the band sadly down a member in Mat Colegate yet returning to what they’re best at spine-chilling widescreen atmospherics married to blockbuster slabs of noise – and the odd bit of lunacy.

From the off, their characteristic use of squalling trumpet oozes into opener I’d Rather, Jack which trades phased guitars with molten Mezzanine–era beats providing the ideal scene setter for a record which is a black magik box of tricks crammed with a plentiful supply of dark arts...

See the full piece here: GIT


Soundblab reviews Gum Takes Tooth's Arrow

They say:

Gum Takes Tooth have two previous albums, the uncompromising Silent Cenotaph, and the kinder, modulated and buffeted violence of Mirrors Fold. Arrow continues the path towards a sound where velocity and energy are paramount. The industrial schism of circular drumming, pummeling bass and bothersome, even unpleasant frequencies is not easy to assimilate at first. Frankly, I couldn’t even listen through it the first two times. Like all dense musical pieces of any worth, however, aspects of the music which first evade you reveal themselves when you open your mind to the different possibilities.

Let me explain. Arrow is not really an album to listen to in the car. It commands a physical reaction. The last time I was in the gym, I selected the programme that had me running around San Francisco Bay, which is kind of stupid I know. What really annoyed me though was not the fact that I was indoors imagining I was outdoors, but the asymmetry between the pace I adopted and the one the machine adopted. There was little in the way of convergence.

Arrow made more sense to me one late evening when I was feeling unburdened by other thoughts and was more active. The UK duo, Jussi Brightmore and Thomas Fuglesang, do a lot of work in clubs where the ebb and flow of free energy during a live set suits the apparent spontaneity of their unfolding noisescape. In the studio, it is said that they are more prone to interpose quiet passages. On Arrow, tracks such as ‘Slowly Falling’ aren’t chartered relief in the context of difficult themes...

Read the rest here: Soundblab


Bloop Mag reviews Gum Takes Tooth Live in Leicester

They say:

Headline duo Gum Takes Tooth are a strange proposition – an electronic group that essentially make rock music, at moments psychedelic and others with the pure power of the best post-hardcore.

Electronics conductor and “vocalist” Jussi Brightmore and drummer Tom Fug throughout play at odds with each other yet, somehow, create an engulfing, mesmerising wall of sound in which each part is intricately slotted in with the next.

An effortlessly brilliant drummer Fug’s beats touch in rock, funk and jazz as his playing underpins and deconstructs the electronica controlled by Brightmore which touches on techno, industrial and even shoegaze as it unfolds.

The repetition in the tunes builds and continues to the point of mesmerism and out the other end into a warm place of aural contentment. Gum Takes Tooth makes shamanic music for the collapsing modern world. It’s rave music for the end of the party...

See the whole review here: Bloop Mag


Circuit Sweet say some words about Josefin Öhrn + The Liberation's new single 'Desire'

They say:

London-based psychedelic stalwarts Josefin Öhrn + the Liberation will release their third album in April via premiere label Rocket Recordings. Continuing to dive into the deeper waters of experimentation, ‘Sacred Dreams’ is both a musically hefty amalgamation of reverb drenched space-rock and retro centric electronics, as well as an emotionally cathartic release for the band, marking a new direction and fresh approach. 

See the full piece here: Circuit Sweet


Bonnacons of Doom announce Todmorden show

Bonnacons of Doom have announced a show at The Golden Lion in Todmorden on 7 March.

Info/Tickets here: Golden Lion


Fighting Boredom reviews Gum Takes Tooth's Arrow

They say:

Fighting Boredom watched Gum Takes Tooth perform at last years Supersonic Festival, they were great. The London based duo describe themselves as ‘a unique unclassifiable fury that flirts with both speaker-ripping psych-rock pyrotechnics and synapse-shredding acid house’. Read what we thought about their new album below.

The air’s vibrating, it’s the volume you need to have to experience this album to it’s full potential. The glass in the windows is shaking and there is dust floating down from the lampshades. It’s giving me a feeling of dislocation and tripping out. The record does not fit into any categories, it’s apart, out on the edge and making you try and catch your breath. It’s not fast, not overpowering, it just takes over and makes your brain concentrate on the music and sound coming from the speakers.

There are electronics. trippy and weird vocals, oddly synced moments and spiraling psychedelia. There is a feeling of being lost in a huge dense wood. Lost alone and unable to concentrate on what you should. There’s moments when you feel like you’re falling from above the clouds and then massive electronic wasps buzzing in your brain. It’s a mad dash across the edges of noise and will totally absorb you while you are inside.

So lie back, switch it on and tune in to Gum Takes Tooth, Fighting Boredom will see you on the other side.

See the full review here: Fighting Boredom


Aural Aggravation reviews Teeth of the Sea's WRAITH

They say:

Evolution – that’s perhaps the only word when considering Teeth Of The Sea. Their career is defined by it.

Their BandCamp biography gives some sense of context: ‘Since their formation in 2006, London-based Teeth Of The Sea have metamorphosized into the most adventurous psychedelic rock outfit in the UK. Taking on board influences like Morricone, Eno, Delia Derbyshire, Goblin, and the Butthole Surfers, they’ve arrived at an incendiary sound that marries the aural enlightenment of an avant-garde sensibility with the reckless abandon of trashy rock & roll.’

It was with Your Mercury that I joined the trip, sold instantly by ‘The Ambassador’ with its overloading noise intro, spiralling into a slow-paced desert rock weird out.

Each release has been different again, and so there’s nothing of that ilk to be found on Wraith, an album that’s slanted more toward the electronic end of the spectrum, although the guitars, while far from prominent, are very much integral to the texture and depth. But this being Teeth of the Sea, it’s a bit of everything all at once, and this is apparent from the very first track: ‘I’d Rather, Jack’ brings a sonorous bass and droning synth together over a thumping industrial disco beat with crashing snare that stutters and glitches all over, before jazz trumpet and a space-rock guitar fire off on different trajectories. It’s rare for such a maelstrom of ideas and forms to whip together into anything other than a horrible mess, but Teeth of the Sea manage to blend the ingredients into something far greater than the sum of the parts, the atmosphere shifting from oppressive to uplifting...

Read the rest here: Aural Aggravation


GNOD announce Brighton Show

GNOD are playing Brighton on 25 May at Patterns (10 Marine Parade, BN2 1TL).

The bands up-and-coming shows, now read:

14 Feb / Phipps Hall / Huddersfield  Info
16 Feb / Unclouded Festival, EKKO / Utrecht  Info

21 Feb / The Peer Hat / Manchester
22 Feb / Trades Club / Hebden Bridge
24–26 May / Raw Power Festival / London
25 May / Patterns / Brighton
06 July / Astral Festival / Bristol


Info/tickets here: Dictionary Pudding


Anthroprophh's OMEGAVILLE in Downtuned's Albums of 2018

Anthroprophh's amazing OMEGAVILLE is Number 3 in Downtuned's Albums of 2018

See the full list here: Downtuned


The Tinnitist reviews Gum Takes Tooth's Arrow

They say:

We are as close to cataclysm as we’ve ever been. Figuratively speaking, at least. Thanks to a myriad of reasons that you already know about — or at least should — the so-called Doomsday Clock was recently moved ahead to 11:58 p.m. for the first time in decades. That’s right, we’re at two minutes to midnight. Congratulations, Iron Maiden fans. You’ve got the theme song to the Apocalypse yet again. But for my money, Gum Takes Tooth’s third album Arrow makes a much better soundtrack to a depressing dystopian world. Armed with just a set of drums, a slew of electronic triggers and effects, the occasional vocal line and the best band name of the past decade, this London duo construct unnerving, claustrophobic soundscapes that channel all the paranoia and anxiety of 21st-century urban living. Grim throbbing washes of sound swoosh and swoop overhead like black helicopters on patrol; sirens howl plaintively on the periphery; voices clamour indecipherably in the distance; nothing ever settles into a stable pattern long enough to be even vaguely predictable or comfortable. The overall effect is not unlike walking down a pitch-black, deserted street late at night. You’re hyper-aware of your surroundings, unable to relax, constantly on alert for potential assaults from all sides. And you can only hope you make it to safety before the clock strikes midnight.

See the full review here: Tinnitest


1 Feb 2019

Gum Takes Tooth 'Arrow' in The Quietus 'Album of the Month'

We also totally jubilant to have Gum Takes Tooth's new album Arrow' featured on The Quietus January roundup, this time for their 'Album of the Month' list:

'If we inhabited the best of all worlds, Arrow would be a stone-cold game changer for Gum Takes Tooth, such is its sheer muscular, psychedelic jouissance. It is a towering obelisk of impervious magnificence and timeless surety rising high above a roiling, acid sea of anxiety whipped up by the cultural collapse caused by western decline, eschatological panic and general 2019 quotidian fuckery. It is an album whose mere existence will make the seasoned listener stop in their tracks, look skyward and nod thankfully at a salmon pink and rosebud red sunset of fractal shapes. So many studio-focused groups have tried to do the drums and synths go psychedelic kraut metal disco thing in the past but damn near all of them have got lost, at one stage or other, down relatively sterile production and authenticity rabbit holes instead of just opening the fuck up on all channels and heading off into the unknown.'

Read the full full list here: The Quietus

The band will also be hitting the road in the coming months and take it from us after their amazing psychedelic album launch, the band has never sounded so good.

24 / Soundhouse / Leicester / UK
25 / The Electrowerks / London / UK (Album Launch Party)

01 / Ramsgate Music Hall / Ramsgate / UK
02 / Hatch / Sheffield / UK
14 / Drop Dead Twice / Dublin / IR
15 / The Roundy / Cork / IR
16 / Star & Garter / Manchester / UK

06 / L’Aeronef / Lille / FR
07 / Badaboum / Paris / FR
08 / Le Temps Machine / Tours / FR
09 / Transfer Festival @ Transbordeur / Lyon / FR

Arrow is out now on Double LP/CD/DL: Bandcamp / Stream


Teeth of the Sea 'I'd Rather, Jack' in The Quietus 'Single of the Month'

We are thrilled to have Teeth of the Sea new single 'I'd Rather, Jack' featured in The Quietus January 'Single of the Month' list:

'An impertinent zesty banger'

Read the full full list here: The Quietus

The track appears in full on the bands new album 'WRAITH' available on LP/CD/DL from the 22nd of February.

Pre-order/Listen: Bandcamp / Stream

The Band will be out on tour from the following dates so catch them near you:

23 / FRA / Rouen / Le 3 Pièces
24 / BEL / Liege / Le Garage
25 / FRA / Paris / Supersonic
26 / FRA / Nantes / La Schene Michelet
27 / FRA / Lille / La Malterie
28 / BEL / Gent / Charlatan

01 / UK / Leicester / The SoundHouse
02 / UK / London / Moth Club

12 / UK / Todmorden / Golden Lion
13 / UK / Manchester / Soup Kitchen
26 / UK / Ramsgate / Ramsgate Music Hall
27 / UK / Bristol / RoughTrade

26 / UK / Cardiff / Cardiff Psych & Noise Fest