They say:
Kooba Tercu delivers an exploration of sounds that seek to capture his concern for modern life and a dystopian future not too distant as a result of the rapid urbanization of his native country, hence the cover art where a well-built structure remains abandoned to the degree to unite with nature that perhaps in its time was destroyed for its construction.
This album was recorded at the same time as its previous album and like that it was composed based on improvisations which explains the way in which each song flows because even those with a conventional structure feel like passages that are unfolding little by little. Little, being a wild force in the distorted sound that characterizes the entire album and it is impressive how consistent it is for the different ways they present it, for example, "Kamehameha" is a song that seems to have Sludge Metal influence with some vocals that remind me of The Resindents, "Boiler" can be more closely associated with Ambient and IDM, "Qasan" sounds like a Krautrock ritual with Noise and yet they keep these genres never far enough apart for the album to lose its pace and come to a satisfactory conclusion...
Read the rest here: RTMB Music
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They say:
Arriving via a triangulation of Athens, Crete and London, yet existing at a psychic intersection between the ruins of crumbling infrastructure and an intimidating future dystopia Kooba Tercu have seen fit to take arms as only they see fit. This week they unleash their latest offering Proto Tekno on the world, via Rocket Recordings.
Led by Johnny Tercu, and sharing common members with bands like hypno-rock force Casual Nun and electronic experimental outpost Echo Canyon, this collective joined forces over a ten-day studio session in which a furious bout of creativity and chemistry led to not only their second album ‘Kharrub’ (which emerged as a release split between the London-based Hominid Sounds and the Greek labels Mafia and Body Blows) but this – their third voyage into the unknown via coruscating noise and infectious rhythmic drive, and their most powerful and captivating to date. The band themselves clarify their standpoint as “creating a vision of short-term future and trying to find humanity’s place in that world. Coming from Greece, all the futuristic elements take another turn as developments in technology and commerce take time to filter through in peripheral countries and are often skewed.”...
Read the rest here: Backseat Mafia
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Iggor Cavalera from Petbrick has presented his second NTS show standing in for Anthony Chalmers (Baba Yaga's Hut) – and on it Iggor gave first plays to GNOD & João Pais Filipe and Autotelia tracks – both from their forthcoming albums.
Listen here: NTS
And preorder the albums here: Bandcamp
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They say:
Pigs Pigs Pigs Pigs Pigs Pigs Pigs are a heavy band from Newcastle upon Tyne, in the northeast of England. Since 2013, their explosive mutant take on 70s heavy metal has taken them from the Toon to mainland Europe (via Guernsey), to festivals like Arctangent, the Great Escape and Desert Fest.
Their rowdy third album Viscerals came out on April 3rd, 2020 and although it shows progression from previous Pigs records, it still throbs with their unique noise rock/stoner/psych hybrid sound. They’ve got the groove of Black Sabbath, the noise of Unsane and some 80s post-punk thrown in there for good measure.
Their frontman, Matt Baty (who fans will know as the frenzied master of ceremonies, bellowing half-naked onstage, like Jaz Coleman from Killing Joke) also runs Box Records, an underground label home to Luminous Bodies, Blóm and Casual Nun. To top it all off, I know three of them from my childhood in rural North Yorkshire. I had a few beers with them over Zoom and talked about the band, Greggs the bakers and letting our emotions guide us...
Read the full interview here: Vice
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They say:
Kooba Tercu make noise. Nice noise. Ugly noise. And the Greek-English band prefers to mix their noise with danceable grooves and rhythms. How does that sound? Well, like "Proto Tekno". Since not much happens in terms of content due to the stepmotherly handling of text on the album, "Proto Tekno" can best be described in a scenic way: Imagine Kurt Cobain how he penetrates a flute with a fuzz pedal and at the same time rages as if he were rehearsing for one Continuation of "MTV Live and Loud". Two or three bars later, the synths set in, the rhythm changed, and the performance developed into a wave excursion on MDMA.
Despite the dangerous sound experiments, Kooba Tercu wants to give us a clear insight with "Proto Tekno": "There is a certain interplay between old and new, city and country, human civilization and nature, poorly preserved, underdeveloped or disruptive technology and surveillance , Dominance and symbiosis. We explored the space between such dipoles and tried to create a sense of optimism and militancy to face this brave new world. ”
Above all tracks like "Cemento Mori" and "Fair Game" help to convey the contrasts, but also the harmonies of this attempt. The eight songs - some instrumental, some vocal-based - should not only push headbangers, but also dance bears to their receptive limits. "Proto Tekno" flickers like a dark wisp in the fun society.
Read the piece here: NEOLYD
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They say:
The coumarins of the Athens underground scene are here again with fresh compositions and absurd melodies, reminding all of us that it is the band that the domestic scene needs. The weapon of their charm lies in their ability to extract extreme experimental manifestations from rock and with the help of screams and inimitable compulsive rhythms to make you see the future of rock music with more optimistic eyes.
"Proto Tekno" is therefore Kooba Tercu's new musical step and is the evolution of the improvisational and ecstatic psychedelia that springs from the instinct of these six musicians. Their previous album was weird, strange with sweeping melodies like the ones in the song "Boto", while in "Proto Tekno" you will find tracks that are friendly to a wider range of music ears. You will realize this from the start of the ecstatic "Benzoberry", which contains a punk dirt that offers a few minutes of dance noise to the listener. Tensions during the hearing fluctuate as the drunken jam of "Cemento Mori" follows the fuzzy noise rock character of "Qasan". which was also the harbinger of the band's new album. In particular, "Qasan" means terrified in Somali and may reflect the band's view of the near future in which humanity is trying to find its place, while there is an interaction between the old and the new, the city and the countryside, the human culture and nature, sub-development and technology, domination and coexistence...
Read the rest here: Rocking.gr
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They say:
Turning on a beacon to create a (un) safe path for those who want to navigate this tsunami, the Kooba Tercu owe as much to the Pretty Hate Machine by the Nine Inch Nails and Cop Shoot Cop as to the work of the Can, the filthness and the fury of the post- harcore of the 90s from Unwound and Girls Against Boys as well as the bizarre confluence of chains that were and are the Melvins. And they owe as much to the guitars as they owe to the dance music, but here everything is organic and the electricity really comes from the veins and not from the electronic circuits of the machinery.
If you think that in rock there is nowhere to go and all paths have already been discovered and mapped this is not for you. Kooba - band from Athens branched to Crete and London - may not even be innovating anything, but they behave very badly in keeping with a straight line of rock and weight, that is guaranteed. (And even the question of not innovating is highly debatable). Above all, the idea here is to make as much noise as possible (mission accomplished) and, at the same time, create an avant-garde ambience of underground techno partyin a hyperbaric chamber full of chainsaws, mantras and ambivalence qb (mission more than accomplished) to uncontroll any certainty that one is facing an experimental rock band… or a dancefloor tribaltechno… or noise… or ritual… or industrial… or psychedelic… all here it is highly abnormal. A wet dream of freakness, anger and rebellion by rules and conventions. One of the most exciting discoveries of the year.
Read the piece here: Tracker Magazine
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They say:
Those lovely people at Rocket Recordings have an amazing knack of unearthing talent from across the world. Gnoomes from Russia, Och (and others) from Sweden, Lay Llamas from Italy and so on. Their latest offering is Kooba Tercu of Greece and their new album ‘Proto Tekno’ which might just be one of the albums of the year.
Proto Tekno manages to bring together krautrock, psych, industrial, electronica and more in a soundtrack to an imagined dystopia, which they describe as ‘a potent and pulverising collection of incendiary jams fuelled by the modern age yet transcending it with vicious style’.
The album starts with the thrashy ‘Benzoberry’, a powerful mix of early Dinosaur Jr, Killing Joke and Nirvana submerged in feedback, with the Killing Joke influence continuing in ‘Cemento Mori’ like a present-day ‘War Dance’ having a ruck with the Chemical Brothers.
Filter Feeder provides a change in direction, away from post punk and rock to industrial percussive beats and grinding bass, as a momentary release from the deep immersion, which the powerful dirge Qasan draws you straight back in with its hypnotic tribal drumming and chanting...
Read the rest here: New Music Social
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They say:
If you’re gonna call your band Pigs Pigs Pigs Pigs Pigs Pigs Pigs (henceforth Pigs x7) as opposed to Pigs Pigs Pigs, or even Pigs Pigs Pigs Pigs Pigs, you’re gonna gain a reputation for excess right out of the gate. To a degree, the British quintet earns it with third LP Viscerals, by virtue of song titles (“Blood and Butter,” “Hell’s Teeth,” “Crazy in Blood”) and the gruesomely weird cover that embodies the album title. The music, however, displays a bit more control. With one hoof in the heavier end of the stoner rock pool a la Electric Wizard, and the other in the realm of postpunk headbangers like Killing Joke, the Newcastle upon Tyne outfit channels aggression into a tight-fisted series of disciplined explosions that are more punch than splatter. “New Body” rumbles like a dinosaur awoken early from hibernation, point man Matt Baly ranting and raving with the clarity of a recently released mental patient. “Reducer” slices off chunks of emotional flesh with devilish precision and an apocalyptic flair, while “Crazy in Blood” twists its anthemic melody into a wild-eyed grind. The record culminates in the nine-minute, 18-wheeler heavy “Halloween Bolson,” which alternates between dissonant tension, pounding release and some snarling boogie. Pigs x7 may truck in excess, but the band focuses it into a disciplined force that’s all the more effective for its steely control.
Read the rest here: Big Takeover
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They say:
Psychedelic noise band Kooba Tercu, based in Athens and partly in London, have shared their album Proto Tekno on Rocket Recordings.
This is quite an impressive album, I believe Kooba Tercy is peaking with their new output. This album is really versatile and full of fun listens. The opener ‘Benzoberry’ is straight in your face noiserock and pumps you up for the rest of the album. ‘Cemento Mori’ switches to eerie experimental fuzz and noise, ‘Filter Feeder’ is something between tribal beats, experimental electronics and fuzz. ‘Qasan’ was the extremely hypnotic track that was shared before the release. Now we are halfway and the goodies keep on coming, this is sounding experimental but with so much variation it is really fun. It is only getting more experimental on ‘Kamehameha’, oriental psych vibes on ‘Fair Game’, Industrial vibes on ‘Boiler’ and the album ends with ‘Puppy Pile’ wich is again something completely different. Psych, noise, industrial and tribal rhythms, Kooba Tercu throws it all together and makes something gorgeous out of it. You need this in your life.
Read the rest here: Fuzzy Sun
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