Following their live collaborations at Roadburn and London's Lexington earlier in the year...Deaf Kids spent three days working with PETBRICK at Bear Bites Horse Studio last week working on some brand new music together... Deaf Kids revealed this: "FUCKING EXCITED to announce that we did some WICKED recordings with these guys in 3 intense days at Bear Bites Horse Studio @ London/UK. PETBRICK is Iggor Cavalera (Sepultura, Mixhell, Cavalera Conspiracy) and Wayne Adams (Big Lad, Death Pedals). Expect for some POWERFUL shit coming over the next months!" So watch this space!!! ---
Le Guess Who have revealed the stage times for PETBRICK and DJINN at this years festival: Both bands play on Saturday 9th November: DJINN TivoliVredenburg – Hertz stage 11:30pm - 12:20am PETBRICK TivoliVredenburg – Pandora stage 02:10 – 03:00am More info here: Le Guess Who ---
Gnoomes have done a new remix for Leg Puppy – this their 5th remix for the band is of the track Nominate 2NX Hear all five remixes on this Spotify playlist:Leg Puppy Vs Gnoomes ---
They say: London-based industrial duo Petbrick play like they hate their instruments. Iggor Cavalera beats his drums like he’s getting revenge on them for hurting someone he loves, while Wayne Adams bullies his synthesizers into an anxiety attack; a distortion pedal watches, laughing cruelly. The result is a record that is, despite having no guitars, one of the heaviest I’ve heard in a long time. There are ear-splitting trebly shrieks and drones, distorted bass, fast splatter breaks, and static bursts that could all be at home in some of the most aggressive electronic music genres. The hostility of this record makes sense given the pair’s past musical offerings. Cavalera was in metal legends Sepultura, easily one of the most creative of the long-lived thrash bands. (By the way, with Halloween coming up, do yourself a favour and check out their cover of ‘Bela Lugosi’s Dead‘.) Adams is in Big Lad, who sound something like Andrew WK-style party metal played with synths, and previously made thrashy gabber under the name Ladyscraper. On ‘I‘, their first full-length, the duo have added vocals, including several guests: Dylan Walker from Full of Hell, Dwid Hellion from Integrity, Laima Leyton from Mixhell, and Mutado Pintado from Warmduscher, each bringing a variation on brutality. Leyton’s are the most distinctive on the record, as they’re melodic, something rare on this record. Leyton’s vocals on the track ‘Coming’ alternate between the detachment of the highly professional director of a government office deciding who dies, and a kind of chorus that might be lamenting but might be celebrating that dying... Read the rest here: Birthday Cake for Breakfast ---
Legend has it in the late 90s Cliff Richard released an anonymous white label dance track just to prove how easy it is to make electronic music. The track bombed because it was shit but the premise persists that, somehow, because you don’t have to learn an instrument to make it, electronic music is a quick and easy way to make a buck. So a track like ‘Gringolicker’ here is a clear and unnecessary play on the Aphex Twin classic ‘Windowlicker’, which is a shame because I wouldn’t like to think Petbrick’s I is a joke record when the majority of the content is so overwhelmingly good.
On first listen opener ‘Horse’ trots along somewhere in between Chinese Democracy and ‘Burning Inside’-era Ministry, and on second lead track ‘Radiation Facial’ (which is basically just the same song but with differently delivered vocals) you can’t help but wonder aloud about the blinkered nature of heavy metal music, as the almost relentless blast beats and tinnitus mimicking feedback gradually tether themselves to the auditory cortex. But, they are actually pretty impressive so let’s forget the fact that Iggor Cavalera (brother of Max) and Wayne Adams have a rich speed metal and high octane techno (that other great insular profession) pedigree between them including Sepultura, Soulwax, Big Lad and Death Pedals because I is a genuine act of musical crossover, and original enough in intention that we shouldn’t let our artists’ background cloud our better judgements of them.......
......The aforementioned ‘Gringolicker’ is where the plane of influence really starts to get foggy. Paranoid and frantic as the techno influence starts to assert itself more and suddenly followed by ‘Coming’ which is sparser in comparison with its almost poppy incantations and building electronica; this is about as far removed from the duo’s parent projects that Petbrick get. Listenable, original and loud, the holy trinity of noise. Read the whole review here: God is in the TV
M-Magazine has published this great interview with PETBRICK and the feature also includes an exclusive 'live in studio' footage of the bands track 'Horse'. They say:
‘I know there’s a lot of metal guys who are gonna dig Petbrick and there’s a lot of people who aren’t gonna like it. I’m 100 percent fine with both’: says Petbrick’s Iggor Cavalera.
Specialising in self-described ‘horrible noise’ Petbrick is the formidable combined creative force of Sepultura co-founder Iggor and Big Lad’s Wayne Adams.
Fuelled the latter’s mammoth metal chops and Wayne’s punk, gabber and breakcore background, the duo has sparked an unforgiving, hugely entertaining and uniquely filthy sound.
Unsurprisingly, Iggor’s beats come hard and fast and Wayne’s synthesisers are wild and unforgiving, culminating in an earth-scorching racket of the highest order.
Their forthcoming debut record I features a host of enviable collaborators for a set of tracks that are as rare as they are compulsive.
We caught up with the duo to chat about the origins of their remarkable sound, upsetting metalheads, and what they have lined up next… -
How did the two of you come together to form Petbrick?
Wayne Adams: I play in another band called Big Lad and we were doing a show at the Underworld in Camden. Iggor was there to see one of his friend’s bands, I didn’t realise he was there, and then the next day I got an email out of the blue from Iggor saying, ‘I liked your band.’ I run a recording studio, so he came over and we drank a copious amount of coffee and made some music.
It was just one of those things, the opportunity to play music with someone like Iggor, with that history, was very exciting to me. I think we were both enthusiastic to make it happen.
Iggor Cavalera: I really enjoyed the way he was doing a lot of the synths, especially the breakcore stuff that he does. That was something I was really intrigued by. One of the guys I went to see that night, Drumcorps, Aaron Spectre is a friend of ours, a mutual friend of me and Wayne. He invited me to come see him play at the Underworld, but he said you should come see the guys that are going to play before me. The band was called Shitwife, it was before they changed the name to Big Lad. So, I went a little earlier and thought it was really cool. Petbrick became something more serious somehow. I have a lot of passion for it. It’s not just another thing that I’m doing. I put a lot of love to it....
Read the full interview & watch the exclusive live in the studio video for 'Horse': M-Magazine
Louder Than War review PETBRICK 'I' An all-out, heavy, noise powerhouse is the best way to describe debut album by Petbrick. Rhys Delany was lucky enough for an early listen.
Petbrick will be unfamiliar to most. The collaborative minds of electro-gabba enthusiast Wayne Adams and punishing metal percussionist Iggor Cavalera is an all-out, heavy, noise powerhouse. The pair came into contact after Cavalera saw Adams’ Big Lad outfit perform at Camden Underworld. The two kept in touch via email and a sacred bond over Eurorack modular synth gear. When Cavalera visited Adams’ Bearbiteshore Studio, the creation of Petbrick came to be.
The pair bring in their past experiences ranging from hardcore punk to breakcore dance music. The combination of the pairs fruitful backgrounds helped create a uniquely invigorating assault, custom fit for accelerated rage. Iggor says of the project, ‘We wanted to do something different than the other projects we were involved in. Making horrible noise was the first concept behind Petbrick’. This idea of being a genre-free onslaught has captured an intense spirit inspired by nothing but raw power.
The album is a connection of friendships. Not only is this the coming together of Adams and Cavalera, but also featuring the talents of Dylan Walker, Dwid Hellion, Laima Leyton and Mutado Pintado. Walker, of grindcore group Full of Hell, provides signature screams and growls that sound akin to the screams and growls of Wayne Adams electronic distortion, heard on the track Radiation Facial. Similarly, Dwid Hellion of Metalcore punk band Integrity provides a vocal exorcism on the track Some Semblance Of a Story. Cavalera’s wife and collaborator, Laima Leyton, brings a melodic counterpoint on the song Coming. Finally, we have Mutado Pintado, of Warmduscher and Paranoid London, delivering a stream-of-consciousness ramble whilst channelling the spirit of Donald Trump on Gringolicker.
Whilst the album is delivered at breakneck speeds, you can still find fleeting moments of an elegiac atmosphere. Songs such as Sect and Dr Blair come at a distinct change of pace when compared to the breakcore Roadkill Ruby and the disorientating Jesus Dropkick.
Petbrick represents a boundary-free soundworld in which either member could explore whatever musical predilection or peccadillo they were possessed by and come out with something compelling. Electronic experimentation, hardcore attitude, dystopian dread and in-the-red dementia collide, to bring you Petbrick. I, is more than merely an exercise in the life-affirming flame of oppositional punk spirit scorching all or any musical boundaries in its path. It is an uncompromising soundtrack to a short-circuiting new era.
My expectation of this album by the duo called Petbrick was of something electronic and industrial. But there’s talk too of punk attitudes and experimentation, so maybe my expectation was off the mark. The duo in question are Wayne Adams of Big Lad and Iggor Cavalera of Sepultura but that’s no great help as it’s that they, and Iggor in particular, wanted to try something different to reflect in some form or another the modern world. So, I really had no idea what to expect.
Actually the above does cover it – electronic, punkish, industrial and representative of a dystopian age. The wind whistles but in a psychedelic way like Hawkwind’s “Silver Machine”. The drum hammers away and all in all, the anarchy of the obscurely titled “Horse” is intriguing. That’s normal compared to “Radiation Facial”, a piece of wild and experimental electronic chaos, not as it happens, much different from the similarly named Igorr from France, but with the harshness of Wumpscut, not to mention elements of Ephel Duath, or Rammstein. “Guacamole Handshake” is even more outlandish, experimental, industrial and harsh. Apart from the regular drum beat, the computers have taken over to mess with us. My goodness, it’s dark out there. It’s clever too, as it comes back to mash with us after giving the impression the factory shift is over. “Roadkill Ruby” is pure Wumpscut with its amped-up vocal and the frenetic, irregular industrial techno framework.
Iggor himself defines this as “horrible noise”. Indeed on go the short circuiting and sounds of “global malfunction”. “Sect” is typically disturbing and harsh, representing a dead world the electronic waves have sucked all life out of humanity. But it is powerful. “Gringolicker”, vocalised by Warmduscher’s Mutado Pinado, is apparently about Donald Trump. When I heard it, I equated it stylistically to a dark techno version of Public Image Limited. Guest vocalists feature throughout but the net result is the same – dark techno vibes and sinister sounds. “Jesus Dropkick” sounds confrontational and indeed is. The sound suggests intergalactic warfare, or a convention of daleks. Or even the factory where Daleks are welded together. The pace picks up to insane levels on the roaring “Some Semblance of a Story”, fronted by Integity’s Dwid Hellion. It has an element of Ephel Duath’s “Pain Remixes the Known”. Perhaps appropriately after all these murderous techno pieces, the album ends morbidly and menacingly, and of course in a sea of sound waves with “Dr Blair”. You have to like electro music, industrial sounds and a healthy dose of experimental noise, but this really is a interesting album and a vivid representation of a world in turmoil.
I liked “I”. It’s not a band for the optimist, nor is it one if you want straight line songs, but it is one for the modern dystopian age.
Tom Tom Rock review Julie's Haircut - In The Silence Electric
Here is a few words translated:
An Italian band rich in history: Julie's Haircut return with In the Silence Electric. In the Silence Electric is the ninth album in the almost half-century long career of Emilian Julie’s Haircut. And it is the second, after the beautiful Invocation and Ritual Dance of My Demon Twin, to go out for the English label Rocket Recording. Attentive as always to the iconography for the cover, this time they chose a work by the German avant-garde artist Annegret Soltau. An image in which the face is tightly tightened by a black thread that wraps around it, until, as the artist declared, "It was similar to the act of mummification. I took the scissors and freed myself ». Julie's Haircut - In the Silence Electric Rocket Recording - 2019 And it is this dialectic between restriction, constraint and desire for freedom and rebellion, but also between silence and electricity, as the oxymoric title says, which runs through the work of Julie's Haircut, in an alternation of traces where flashes of light open onto vast mental and psychedelic horizons to others where darkness looms slowing the pace and clouding the senses.
In conclusion… Julie's Haircut confirm with In The Silence Electric that they have reached full expressive maturity. The shoegaze, alternative, jazz, tribal and kraut influences create a fascinating and enveloping, hypnotic and spiritual psychedelia, where the irrational, dreamlike, esoteric, restless element opens up to faint rays of hope in a future that perhaps dwells only between spaces sidereal. For further reading vist: Tom Tom Rock
