23 Sep 2020

Backseat Mafia say some words about Shit and Shine's latest single

They say:

CRAIG CLOUSE, the artist behind the $hit & $hine name, has partnered with Teeth of the Sea’s Mike Bourne to create an enthralling, pummelling visual miasma for his latest single, “Devil’s Backbone”: you can watch it, below.

Witness the visual spectacle of a roughly hewn flood of distorted footage, all bathed in a violent and ramshackle type aesthetic à la an unknown reel of footage being unearthed, adds to the scorching haziness of the track’s electronic jam.

This precedes the October 9th release of $hit & $hine’s upcoming album, Malibu Liquor Store, which includes “Devil’s Backbone” and preceding single, “Hillbilly Moonshine”...

Read the rest here: Backseat Mafia


22 Sep 2020

Indie Rocks reviews J. Zunz album

They say:

If we were to look for the etymological definition of "hibiscus", we would find that of a small shrub -or flower-, coming from distant lands like India. Small manifestations of nature, diagrammed in the flora of an overwhelming polychrome. Ornaments from a Middle Eastern garden, inviting hummingbirds to drink their golden blood. However, the Mexican artist Lorena Quintanilla appropriates the word to give it a new meaning: exit, gloom and anxiety.

Hibiscus , the new LP of his solo project J. Zunz , collects the best (or worst) episodes of hundreds of dire nights of insomnia and relief, to translate them into a dense, dark electronic sound that, at first, causes repellency. Words are lacking, but they are not necessary. Music is the right channel through which the energy of that sadness reaches us in the same or better way than in soulless verses.

In retrospect, if his solo debut was "Silent", the new work is louder, more personal, and also, of course, even more experimental. It is the overwhelming example of what is called surrendering to creative need. In those spaces, there is no room for inhibition. Lorena does it completely naturally and with a more than acceptable quality....

Read the rest here: Indie Rocks


The Tinnitist reviews Sex Swing's Type II

They say:

You know those skinny little Scandinavian sissy-boy metal bands? The ones with the corpse paint and the studded leather outfits who try to act all scary? I suspect the British brawlers and bruisers of Sex Swing could wipe the floor with the lot of them and not break a sweat. Assuming those church-torching pussies even had the balls to take them on in the first place. Which they don’t — and surely wouldn’t once they heard the firm’s fearsome and ferocious sophomore album Type II. Between the unstoppable momentum and swaggering menace of their low-slung grooves, the imposingly noisy wall of grinding guitars and bass, the distorted, broken-megaphone sound of their vocals and their impenetrably dense no-fi production, these seven relentless displays of attitude, aggression and antagonism are the musical equivalent of being slowly stalked by a feral predator. Or at least various members of Swans, Stooges and PigsX7. But with a saxophone. Duck and cover...

Read the rest here:  The Tinnitist


21 Sep 2020

Metalstorm reviews DEAFBRICK

They say:

It was only a matter of time before Deafkids collaborated with at least one Cavalera.

It isn't Max Cavalera as much as I wish he would eventually make his way on a Deafkids record. Instead we get the second best Cavalera in form of his brother, Igor. He is mostly known for having been the drummer of Sepultura, and later of Cavalera Conspiracy, but something told me that he is a bit more versatile than just being a metal drummer when I found out that he drummed on the latest Ladytron record. Already being familiar with Deafkids and knowing that they would collaborate with a band called Petbrick, I had a similar moment finding out that Igor Cavalera was a member of that band as well. Now I am not yet afraid that he will start popping up doing drums in a bunch of projects I come across the same way Mike Portnoy does, but it was still a bit surprising. Regardless, Petbrick is a duo of him and Wayne Adams, who seems to be the one member most involved in noise rock projects, none of which I'm familiar with yet. Deafkids, you should know them by now.

Read the rest here: Metal Storm


Listen to Julie's Haircut's compiled mix for Frame

Here is a mix compiled by Nicola from Julie's Haircut for Frame


The Sleeping Shamen reviews GNOD & João Pais Filipe – Faca De Fogo

They say:

Mancunian noise psych legends Gnod first met João Pais Filipe at the Milhoes De Festa music festival in Barcelos in North Portugal, initially intrigued by a gong he’d made in the shape of a skateboard which formed part of an exhibition. The genesis of the collaboration epitomes the spirit of improvisation with three days of rehearsals forming the basic bare bones of the tracks, while an incendiary live show explored this even further. Eventually this was recorded over four days in João’s metal workshop with minimal overdubbing.

Faca De Fogo is being released by Rocket Recordings, not only home to Gnod but also such luminaries as Pigs X 7, Sex Swing and Kooba Tercu, all of whom I’ve reviewed for The Shaman. The cover is suitably psych as you’d expect and features the four elements, earth, air, fire and water, all of which tie into the album’s tracklisting. Faca De Terra (earth) which opens is the longest track on the album and is something of a percussive delight. The earth element is especially appropriate as there is something earthy and organic about the music. I could envisage a hippy type commune dancing round the fire at Stonehenge or Glastonbury (before it became hyper commercial), it’s a track that connects the listener to the natural world. A lovely atmospheric opener...

Read the rest here: Sleeping Shamen


Birthday Cake for Breakfast reviews DEAFBRICK

They say:

‘DEAFBRICK’ is a collaboration between two bands who don’t fit into existing styles. There’s PETBRICK, the London-based duo Iggor Cavalera and Wayne Adams, and there’s DEAFKIDS, the Rio De Janeiro-based trio of Douglas Leal, Marcelo Dos Santos, and Mariano Sarine. PETBRICK are heavy music made with no guitar. Adams plays moody, distorted synths over Cavalera’s complex, energetic drumming. DEAFKIDS started out as a heavy hardcore band but quickly became something much more interesting and genre-defying, incorporating elements of psychedelic music, noise rock and genuine noise, and polyrhythmic percussion from Brazilian music. Both bands make music that sounds like no one else, music that is fully their own. Now they’ve joined forces.

Both these bands are very creative and resist summary, so I’m omitting a lot by boiling them down, but I think doing so helps to get at how their collaboration works: at the heart of their sound, PETBRICK are an aggressive high energy rock band that makes you want to move, while DEAFKIDS are a heavy experimental drone band that invites you to a trance state through layers of noise collage (it’s similar to what hypnotists sometimes call sensory overload induction – while they play harsh music, it can be oddly comforting, like a weighted blanket made of sound). ‘DEAFBRICK’ draws on all of these elements, but combines these musicians’ artistry into something genuinely unique to their collaboration...

Read the rest here: BCFB


Sounds From The Darkside reviews Kooba Tercu

They say:

Are you ready for the modern age in which hypersheep will be our foremost enemies? No? Well, you better read on anyway because Kooba Tercu latest is not to be missed. 

Although members of Kooba Tercu partly come from London, the band is mainly seen as a collective that hails from Greece. Kooba Tercu sprouted from the mind of the Athens-based Johnny Tercu a decade ago. In a way he created a sanctuary for musicians who are busy with other music endeavors but every now and then come together in Kooba Tercu to jam together various forms of kraut, stoner, African rhythms, noise and psych. These jams are fueled by the difficult Greek social-economic issues and thus are known for their viciousness but also hold hope for the future. On their third record, Proto Tekno, the band looks to the future by addressing the struggles between culture and nature, underdevelopment and technology, opposition and connectedness. This philosophical approach is nicely visualized on the album cover. Still for us it’s mainly the music that counts so let’s check what Proto Tekno’s 8 tracks sonically has to offer...

Read the rest here: SFTD


17 Sep 2020

Record Turnover say some words about GÅS

They say:

Gås is a new band from Sweden and have a single out soon on UK label Rocket, where they’ll be joining Swedish bands like Goat and Hills. Like Hills, they play a heavily fuzzed-out prog rock, but with a sound that smacks of 1970 and bands like Aguaturbia or Six Feet Under. There’s also a distinct British tinge to “Epitaph”, which is out next month but already sold out. Think Skin Alley or Andwella’s Dream – in fact the b-side “The North Wind Blew South” is a cover of a Philamore Lincoln track originally released on 1970. Naturally, there’s also a connection to some of the Swedish “progg” bands that usually sang in Swedish, like Charlie & Esdor.

Read the rest here: Record Turnover


16 Sep 2020

Fragmented Flaneur reviews DEAFBRICK

They say:

I mean what the fuck are you supposed to do?

I didn’t have a lot of hope coming into 2020 as we slid further into the arms of a right wing embargo cult that preferred to mire us in a pointless culture war in the name of ‘independence’ and ‘national pride’… with every slice of the corporate knife meaning more of our lives become monetised…

Then before we know it we’re confined to our homes… limited in our movement… reliant on those very people that we abhor to make decisions and provide the vital public services that all of a sudden become critical… I mean what the fuck ARE you supposed to do?

For many of us 2020 has all the appeal of a rancid boil that needs to be lanced… we need an outlet we need to see our frustrations explode… into anything really… we need to exfoliate our lives in an era where every indoor public space has become some sort of mask-wearing dystopia…

We just want to explode!

What… I hear you wondering… has this got to do with this album…

Because I write about music I very rarely get to hear an album for the first time on vinyl… I receive the promo files and get to hear those first… With Deafbrick, however, I never got to do this… so when it came I found a rare hour when I was alone in the house… turned the amp up and let it rip…

Read the rest here: Fragmented Flaneur