18 Feb 2019
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
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
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
PIGS PIGS PIGS PIGS PIGS PIGS PIGS DISCUSS THEIR SECOND ALBUM AND DODGY BUCKFAST AHEAD OF BRISTOL EXCHANGE SHOW
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...
15 Feb 2019
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
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