9 Aug 2018
Here’s a new track by an artist who we still have no idea who it is. We do know that Goatman is the leader of enigmatic Swedish jam band GOAT, but that’s about it. He doesn’t speak often, but when he does, it’s Goatman who speaks for the rest of the band (who might not even have names themselves), and now he’s releasing music away from the group for the first time.
Identity doesn’t really matter because that’s all part of the fun with GOAT. What we do know is that this new track, ‘Jaam Ak Salam’, was recorded at GOAT’s studio in Korpilombolo at the end of last year. There’s also an album – ‘Rhythms’ – coming out on 12 October via Rocket Recordings.
This track is good because it doesn’t really sound like GOAT. Instead it’s like a Ethiopian jazz record rescued from record store obscurity that also channels the sound of James Brown in the late ’60s. It’s a groovy number.
Listen to the track here: Loud and Quiet
Pigs Pigs Pigs Pigs Pigs Pigs Pigs new track Cake of Light was put under the spotlight on Steve Lamacq's Roundtable show on BBC6 Music.
Listen to how well it went down here: BBC6 Music
And you can still preorder the bands new album King of Cowards on Ltd Green vinyl here: Bandcamp
RADIA, a project promoted by Centro d'Arte Padova and curated by our Mamuthones' guitarist, announces an open call addressed to sound artists and composers. Submission is free. A review committee will select the best submitted works to be performed for the last concert of the RADIA season, at Auditorium Pollini in Padua (Italy), next 14th December 2018.
Find out all about it here: RADIA
(english version is below the italian)
And Mamuthones killer album Fear on the Corner can be bought from all good record shops or from here: Bandcamp
8 Aug 2018
Any Goat related news is good news but if the first track from the debut solo album from Goatman is anything to go by, this could be special. You can listen to Jaam Ak Salam below.
As with all things Goat, we have no idea who Goatman is but his debut album, Rhythms, will be released October 12th via Rocket Recordings. Described as "African Rock, Jazz, Reggae, Gospel and Psych, through Goat filters" Jaam Ak Salam sounds like a 21st century Fela Kuti or something from one of those Strut Records compilations of rare 70s Nigerian Funk.
The album will be available on vinyl and download only, with vinyl coming in a number of options. The limited (to 280 copies) Pale Green / Maroon splatter edition is available to pre-order here: Rocket
See the piece here: Soundblab
BONNACONS OF DOOM @ CLUNY 2
INVENTIVE, CREATIVE NOISE FROM SOME SUPREMELY CREATIVE ARTISTS
Bonnacons of Doom are set to play Cluny 2 on Friday 10th August, with the Newcastle venue welcoming genre-defying, experimental sounds that are intriguingly transcendental.
Were one to try and pigeonhole the sound, then psych rock, repetitive drone and electronic experimentation would be words that sprang to mind, but there’s a revolutionary attitude behind the music that makes for something special. Joined by the folk-influenced, synth sounds of the super talented Nathalie Stern, as well as the fuzzy-fuelled tracks of FRET, this is how to do a Friday night.
Inventive, creative noise from some supremely creative artists, the Cluny 2 has really pulled out an exceptional bill thanks to promoters Wandering Oak.
Bonnacons Of Doom play Cluny, Newcastle on Friday 10th August.
See the piece here: NARC
There's a new solo project from one member of the mysterious masked collective, Goat, and the first cut to be made publicly available, 'Jaam Ak Salam', is streaming below.
Out via AIM award nominated indie label Rocket Records, the Fela Kuti-esque track is a joyous summer anthem that'll get any party going.
There's an exciting mass of different percussion instruments all keeping a solid beat, locking in tightly with the bass as spangled, twangy solos, Afrobeat horns, psych-tinged guitar, and a raucous lead vocal, gently distorted to give a vintage tone, sit brilliantly in there, too. The extravagant number of instruments recorded makes for one mesmerising whole.
To our delight, there's more where this came from: the track comes ahead of a full-length studio album, set for release 12 October. The album was recorded in Goat's northern Swedish hometown Korpilombo. Anyone been there?
The six-track album is named Rhythms and each track is said to be an exploration of groove, and promises to veer into gospel, jazz and Spacemen 3-esque drones; to name a few ideas. We're expecting an incredibly diverse album.
Elsewhere, the brilliant Rocket Recordings label have announced they'll put out the Pigs Pigs Pigs Pigs Pigs Pigs Pigs album, King of Cowards, on 28 September. Listen to the track 'Cake Of Light' here. They're decent. Marc Riley's got them in session soon.
Reviewer Andy Hill praises the guitar sound, calling it "galactic in scope".
Read the rest here: Gigwise
"Goatman" is the name of the first single of the Swedish collective Goat . To be found on their very debut debut "World Music" from 2012. Goatman calls himself but also a member of the aforementioned formation, which will soon release his first solo album ("Rhythms"). As with the mother band, the appearance here remains rather mystical. Even the sound whistles from a similar direction: Psychedelic inspired world music, peppered with jazz, gospel and African sounds.
With "Jaam Ak Salam" there is already a hyperactive forerunner on the ears. As you can easily hear, the goat man is supported in this by the Senegalese singer Seydi Mandoza. And Mandoza is not the only guest on the 6-track album: in addition to the drummer Hanna Östergren (Hills / Träd, Gräs & Stenar), the brass aficionados David Byström and Johan Asplund still have the voices Amanda Werne and Amerykhan contributed to the album. It will be interesting to see what madness Rocket Recordings will release in October.
See the piece here: Neolyd
Last night Pigs Pigs Pigs Pigs Pigs Pigs Pigs played 3 tracks on Marc Riley's BBC6 Music show and you can listen in full here: Marc Riley
A fourth track was also recorded and aired on Gideon Coe's show which you can hear here: Gideon Coe
And on other Pigs Pigs Pigs Pigs Pigs Pigs Pigs news we are excited to announce the bands track Cake of Light have been added to BBC6 Music playlist!
7 Aug 2018
Track Of The Day 7/8 - Goatman
'Jaam Ak Salam'
Swedish psych collective Goat are a truly jaw-dropping live experience.
Recently playing the Clash stage at Citadel in West London, the band delivered an incredible show, pushing energy levels far up into the stratosphere.
The reclusive figure of Goatman is a key aspect of the group, helping to pursue their singular, always-inspiring creative sensibility.
New album 'Rhythms' will be released through Rocket Recordings in October, and from our initial listens it seems to be pretty damn spectacular.
Available to pre-order HERE, we're able to share lead song 'Jaam Ak Salam' and it's a masterpiece in hyper-intense tribal funk.
Essentially sitting somewhere between Fela Kuti, Sun Ra, and Syd Barrett, 'Jaam Ak Salam' is an incredible piece of kinetic funk matched against a powerhouse vocal.
A surging, inspiring piece of music that seems to rip itself out of your speakers, it recalls the greats of high life and Afrobeat while respectfully seeking out future paths.
Tune in now.
See the piece here: Clash Magazine
We are very excited to announce 'Rhythms' – the debut album by Goatman, the new solo project by one of the mysterious members from the Swedish collective GOAT. The album is released on 12 October but you can hear the first track to be revealed 'Jaam Ak Salam' above.
The album is available in four different ltd edition versions:
Pale Green/Purple splatter can be preordered now from Bandcamp via link below. Then there will be 'Pink/Black' swirl 'Yellow' and 'Black' vinyl editions that will be available in all good record shops. Each one is ltd.
Preorder Ltd splatter LP: Bandcamp
Read what Clash Magazine and Hymn say about Goatman here: Clash Magazine Hymn
The press release reads:
Rhythms is the debut album by Goatman, a new solo project by one of the mysterious members from the Swedish collective GOAT.
Recorded in GOAT’s northern Swedish home town of Korpilombolo in late 2017 - the 6 tracks on Rhythms reveal a true collision of African Rock, Jazz, Reggae, Gospel and Psych, but all put through the famous GOAT filters.
Rhythms is a very apt title for the album as each track is an exploration of the ‘groove’. From the Fela Kuti‘esqe drums and horns jam of Jaam Ak Salam, to the frantic gospel-jazz of Carry the Load. From the fuzzed Can via the ‘Bristol sound’ track of Hum Bebass Nahin, to the cinematic, Spacemen 3‘esqe drones of the album closer Baaneexu. The end result is quite an astonishing and very unique album, like what you would expect from an album made by a member of GOAT – an album that is hard to put your finger on, but one that you will keep revisiting, the more it’s sounds reveals itself.
Goatman plays all the instruments on the album bar some additional drums by Hanna Östergren from fellow Swedish bands Hills and Träd, Gräs & Stenar, and an added horn section courtesy of Johan Asplund, David Byström.
One of the standout highlights of the album though is the collection of great guest vocalists Goatman has enlisted. Tracks Jaam Ak Salam and Aduna feature the very special voice of Senegalese singer Seydi Mandoza. You will also hear the vocals of Swedish based singers Amanda Werne on Carry the Load and Amerykhan on Hum Bebass Nahin.
Goatman’s passion for traditional and contemporary music from around the world can be clearly heard when listening to Rhythms. The level of authenticity and willingness for exploration that Goatman has captured truly shows a fanatical respect for the music he is greatly influenced by.
But at the end of the day, Rhythms is an album that has a sole purpose, and that is for to you to enjoy, dance and have fun too!
We’ve been big fans of Julie’s Haircut for a few years now and it seems they just keep getting better and better. They are following up the release of their debut album for Rocket Recordings last year by self-releasing a new 12” record on their own label Superlove featuring two songs.
“Karlsruhe” sees the band involved in a slow and bluesy jam drenched in their usual ethereal sound and “Fountain”, a fans’ favourite at live shows, is presented here in its original acoustic environment. Less muscular than the live version, perhaps, but decidedly haunting in its ectoplasmic feel.
Up until now, these two songs were only available as part of the (digital download) deluxe edition of their 2014 album Ashram Equinox. Both these songs have in time become bedrocks of Julie’s Haircut’s live shows, so it seems fitting that the band has decided to give them a proper physical release. We have the video for ‘Fountain’ for you today. Feast your eyes and ears...
Read the rest and watch the video here: E&D
6 Aug 2018
Listen to an alternative mix by Paul of the killer track Omegaville/Hunting of the Human Beast from the killer Anthroprophh album OMEGAVILLE.
It features a longer ending and louder drums...enjoy!
Thuban is a star that indicates the North Pole. He played a very important role among those who, some centuries ago, took the sea route: so much so that it was enough to identify it so as not to get lost and sail in complete tranquility. A security, one of the few granted among the many dangers offered by the threatening water. Four years ago, Lay Llamas , a project whose ownership is attributable to Nicola Giunta, became known with "Østro", nothing more than the name of a wind, well known from the southern Mediterranean. It is clear that the tribal elements continue to prove essential for Lay Llamas, for his writing, for his way of interpreting psychedelia. Which is not a monolith to be defended or contemplated at a distance. And not even a dogma to be respected absolutely. Psychedelic is creativity and freedom of access between the chakras of the soul. A lesson that the Sicilian musician has absorbed in times not suspicious.
"Thuban" is the evolution of "Østro", is his older brother, the more mature, the one that convinces you to leave aside the instinct and to reflect. The same Junta, in the interview he gave us a few weeks ago , speaks of a "wild, instinctive and naive" debut . Four years later, the sound is more reasoned, if we want, softer. But without coming to store those cosmic elements and, we repeat, tribals who designed the coordinates of the first work. "We come from lands with no time" Holy brew, sonic dawn, and the drink of the kykeon once again " : the attack of the text of" Chronicles from the fourth planet "gives a good idea of the air that is breathed inside the album...
Read the full piece here: Rock.IT
2 Aug 2018
After hearing "Just Say No To The Psycho Right-Wing Capitalist Fascist Industrial Death Machine," not only the best title of 2017 (perhaps the decade), but also one of the great albums of the year ( see list here ), I realized that I had lost a lot of time not knowing Gnod before. If you do not know the disc, I recommend reading this graceful article, which presented me such a band and work .
Because of grace there is nothing in Gnod. Not even in "Chapel Perilous," which is his fifteenth album, depending on the account, since there is a lot of discs shared and released on their own.
The "Dangerous Chapel" was described by Timothy Leary's companion, Robert Anton Wilson, in the first book in the 1977 series "The Cosmic Trigger": "laugh moderately, as fool always does just before the doors of the Dangerous Chapel close behind" . But before him, the term had been used by other authors since 1470.
In a shallow explanation, it reflects a psychological state where the individual can not be sure whether he is paranoid or simply stops believing in anything, religious or scientific, when he becomes a victim of fears and fearsome projections...
Read the rest here: FLOG
The Bonnacons of Doom produce what is best described as what happens when acid house takes a turn to the dark, mysterious and atmospheric. As such, the environment has shifted from joyful warehouse parties to congregations in dimly-lit halls and dark, enshrouding forests. Their vibrations puncture through and are made manifest.
As the band mentioned in Quietus: “Acid house is where we’ve come from as people, a kind of collective memory in the band. It’s a sensibility. The abandonment to the moment, the f***** up out of control perfection of giving yourself over to the absolute now – and that’s what we’re always chasing when we’re playing.”
The result of this collectively put together is sounds that contain the wild abandon of ecstatic jazz and the revolutionary spirit of acid house, producing an almighty charge.
The Bonnacons of Doom plays The Cluny in Newcastle on Friday 10th August. Tickets, priced at £8.00, are available at seetickets.com. Doors open at 19:30.
See the piece here: NE Volume
1 Aug 2018
That is right, BBC6 Music's DJ Marc Riley has confirmed that Pigs Pigs Pigs Pigs Pigs Pigs Pigs will be guests on his show on Tuesday 7 August where the band will treat listeners to tracks from their forthcoming 'King of Cowards' album.
Tune in here from 7pm: BBC 6 Music
And more info will be displayed here over the next few days: Marc Riley
You can preorder 'King of Cowards' on ltd edition green vinyl and CD here: Bandcamp
Bonnacons of Doom are putting on their masks and robes and heading out to play two special shows next week:
09 Aug / The Moon Club / Cardiff Tickets
10 Aug / Cluny2 / Newcastle Tickets
You can buy Bonnacons of Doom's S/T debut album in ltd 'diecut mirrorboard sleeve' here: Bandcamp
31 Jul 2018
Pigs Pigs Pigs Pigs Pigs Pigs Pigs – Cake of Light
(First track to be revealed off Pigs Pigs Pigs Pigs Pigs Pigs Pigs forthcoming killer album King of Cowards)
Julie's Haircut – Karlsruhe / Fountain
(New self released 12" by the Italian collective)
Kilchhofer – The Book Room
(Really great organic, tribal-techno grooves n' drones
Ultramagnetics MCs - A Chorus Line
Deaf Kids – Espiral da Loucura
(New digital single by our fave Brazilian bad...great psyched tribal-noise)
Cave – San Yago
(First new music from the mighty Cave in a few years...nice repetitive krautfunk grooves)
Elektro Hafiz - Elektro Hafiz Dub
(Psyched out dub from Istanbul)
Loop – Array
(This Loop EP that came out in 2015 sort of passed us by at the time, but it is well worth a listen!)
Byron Westbrook – What We Mean When We Say Body Language
(Another track that we keep coming back to...on the ever great Hands in the Dark)
Blurt – The Ruminant Plinth
(Blurt in Can mode)
Spectrum - Geração Bendita
(Weird and at times great Brazilian psych from 1971)
Zohastre - Pan And The Master Pipers
(2/3 of H.U.M have created another fine album of avant repetition)
Massive Attack – Mezzanine
(Still a killer track from possibly their best album)
Mkwaju Ensemble - Ki-Motion
(Addictive repetitions from Japan '81)
Colin Stetson - Hereditary OST
(Amazing and immersive soundtrack that is the true star of the film)
Fancy Rosey – Punk Police
(Love this...GNOD gone glam from '77?)
Sun Ra & His Arkestra - Where Pathways Meet
(Grooved Jazz from the mighty Ra!)
Sun Ra & His Arkestra
Beak> – Brean Down
(Kraut-pop new single)
Giant Swan – High Waisted
Theo Verney – Heavy Sun
(What happens when you mix Sabbath with The Kinks...this guy has loadsa amazing unreleased tracks from this era that needs to be heard!)
N.O.I.A. - Stranger In A Strange Land (Club Mix)
Varelser - Return To The Beginning
(Huge track of drones and repetitions from this Japanese band)
Hand & Leg – Tie
Hand & Leg
Jonathan Wilson - Trafalgar Square
(Very 70s sounding fuzzy, glam/prog rock)
Life Education – Beyond the Red Waste
Cannibal Ox – Battle for Asgard
Sunwatchers – II
(Fuzzed jazz grooves)
Kikagaku Moyo – Gatherings
(Great new track)
Anthroprophh – Omagavillle
(An album that does not leave our record deck!)
Listen to our updated monthly 'Rocket Probes' Spotify playlist here:
Julie’s Haircut - Karlsruhe
Last year Italian psych outfit Julie’s Haircut released the nigh on flawless ‘Invocation and Ritual Dance Of My Demon Twin’. Expectations for its follow up are high. Unfortunately, that might take a while, but in the meantime they’ve delivered us ‘Karlsruhe’. At just under seven minutes ‘Karlsruhe’ is an ethereal bluesy jam that slowly winds and waves its way along. It never really breaks a sweat as the layers of hypnotic psych build and build until we under its trance.
See the full piece here: Gigwise
Listen and order from here: Bandcamp
27 Jul 2018
The great Golden Cabinet celebrate their 5th birthday this year and hey have invited GNOD to curate a very special event...
Golden Cabinet say:
Our 5th Birthday bash will be on October 6th at our beloved home Kirkgate Centre and will be curated by the mighty GNOD.
The full line-up will be announced soon...
100 tickets available at £14 + £1 booking fee
Tickets: Golden Cabinet
Lay Llamas is the equivalent of Nicola Giunta. His project, his fatherhood of "Østro" as "Thuban" , the most recent record of the Sicilian musician (published last June 15), which took the coordinates of the predecessor and then overcome them, expand them, offer them new goals. An undeniable evolutionary line, crossed under the aegis of Rocket Recordings, which Nicola Giunta proudly underlines in this interview.
What changes did you have to face after the departure of Gioele Valenti?
Lay Llamas is a project founded and managed only by me since its beginning, spring 2012. At the same time, however, I have always used external collaborators - both live and in the studio - who have participated in various capacities. Gioele Valenti has collaborated with me for only one year, from 2013 to 2014, contributing to the writing of "Østro" . So, to answer your question: no particular change, only the choice of new collaborators.
What criteria did you choose the musicians who played on "Thuban"?
Some of these - Andrea Davì (drums, percussion), Nicola Sanguin (vocals, guitar), Mirko Brigo (guitar) - were part of the second live formation of Lay Llamas, active between 2015 and 2016, and now dissolved. With everyone else - from Luca of Julie's Haircut to Guido Broglio, Goatshee from GOAT to Clinic etc. etc. - instead there is a relationship of mutual respect and collaboration that has lasted for years. No specific criteria, therefore.
Can "Thuban" be considered an evolution of "Østro"?
I would say yes, at least to a certain extent. I consider "Thuban" an evolution that goes to refine certain ingenuity of writing and arrangement that were present in "Østro". For this reason I like to consider "Thuban" a point of arrival from which to change direction and to evolve further...
Read the full interview here: Rock.IT
Goat, too, have little need to prove themselves as a live force, but back in the Clash / Last FM tent they do so anyway. The quasi-mystical air that surrounded their early shows and first inspired the word-of-mouth cult fervour that made their early days so exciting has now faded with familiarity, but there’s still something so irresistible about their relentless, globetrotting psychedelic chug. Their twin masked priestesses, leaping, shrieking and dancing sometimes in sync, sometimes in a duel, wield a dark intensity that soon overcomes their audience, while the band behind them are on ferocious form.
Read the whole review here: The Quietus
"Thuban" is the second album by the Italian duo Lay Llamas. Launched on June 15, 2018, via Rocket Recordings, it arrives four years after the debut with "Østro", from 2014 ( listen here ).
The eight songs further enhance that offered on the initial disc. They are space music with good doses of afrobeat permeating the " kraut root", as the most attentive listener can graciously point out.
And calling these songs "space" is not a common place glued to the musical style. "Thuban" is a star in the constellation Draco, seen in the northern hemisphere and long served as the north polar star, an orientation on Earth. It has the shape of a serpent, or "dragon's tail," and carries some symbolisms with it. Lay Llamas tries to translate into his music this esoteric logic that is associated with certain laziness to themes of this mountain. But perhaps it is the only mistake of the pair.
Gioele Valenti and Nicola Giunta, based in Rome, come from Sicily, the main island of the Mediterranean, to the south of Italy, and with important navigation history. The orientation of the first explorers by the stars refers directly to a safe point, something that Lay Llamas music does not seek...
Read the rest here: FLOG
...unfortunately mean we miss the first half of Housewives set. They are dressed in white t-shirts; at a glance they hold the form of a rock band but they are not rock. They’re playing something slippery and improvised. A shirtless sax yogi wails on the far side of the stage. It’s percussive, abstract and rhythmically compelling. And then they’re done. It’s all too brief but it’s a fine start.
GUM TAKES TOOTHH
...By comparison Gum Takes Tooth is like watching the world cup of Battleships. They’re joined by Wayne Adams (Big Lad, Death Pedals etc) another of the Moog residency artists, forming a trio of men in caps bent over a table of switches and wires. One day they might ride a bathtub down a hillside. What they lack in performative spectacle they more than make up for in their music – a soaring, rough-and-ready jumble of techno and krautrock. It gets so wild, a man throws his crocs on stage comically highlighting the gap between the rushing abandon of the music and the gentle afternoon swaying of the assembled. In the oppressive heat of the Warehouse, an unlikely looking congregation are about to take this issue on.
GNOD are riding a wave at the moment. Long-serving, shape-shifting, sonic explorers they may have assumed their ultimate form. There’s been no shortage of noise over the weekend, but when they open with ‘Donovan’s Daughters’ it’s clear the dial’s been turned right up to 11. The volume hits you and pushes your internal organs about; when they reach the drop into the last section they properly shake the walls, raining dust and flaking paint down on us like Swans a few years back. It’s a wall of crushing sound but they work depth and breadth and texture into it; it’s not just sludge. As you start to wonder if they should ease off the accelerator or press down further, they drag out the central section of ‘Bodies For Money’ into something open and exploratory without dropping the intensity. It spirals out and washes back and forth creating space and expectation for that massive riff to come crashing back in. When it does, it’s just ridiculous; an intense and joyous storm of noise. They’re magnificent, and before they can spoil it they’re gone.
Read the full write-up here: E&D
20 Jul 2018
Just to let you all know that we are going to be shutting-up shop for a week as we take a well earned break...so please be wary of this regarding any shop orders.
We will be back on the 30 July and we have some very exciting new releases to share with you in August!
True psychedelic disciples, Sweden’s Goat exemplify the shamanic trance power of the repetitive groove. They’re also a masterclass in the psychedelic power of myth and image-making. Led by the enigmatic, yarn-spinning Goatman, they claim that the band is thousands of years old, has 2,500 members and hails from remote Korpilombolo in the north of Sweden, a town they claim to be steeped in the practice of voodoo.
One thing that definitely isn’t apocryphal, though, is the power of the masked Swedes’ live shows, where their combination of psych, psych-funk, drone and wild heavy rock comes alive in a communal, cathartic ritual experience worth sacrificing a lot to experience.
Read the full article here: BBC6 Music
Also nice to see GOAT's Let it Burn feature on a Tom Robinson 'Psychedelic Playlist' for BBC 6 Music. Listen here: Tom Robinson
19 Jul 2018
18 Jul 2018
48. Anthroprophh - Omegaville
We enter the world of Omegaville at breakneck speed. This massive, conceptual double album does not begin with any grand overture or introduction – Anthroprophh require no scene setting. There is no pause, no time to gather your senses, just layer after layer of pummelling and freewheeling guitars – hectic squalls caterwauling over churning riffs, the momentum constantly searing upwards.
11. GNOD - Chapel Perilous
As you would imagine, this level of almost berserk creative restlessness is matched by a constant adjustment in sound and process. Which might leads you to ask the very sensible question: do I need to wear a crash helmet when listening to Chapel Perilous? Where is God's great golden shovel? Being swung with great force straight at my noggin or hanging neatly from its peg back in the Arcadian potting shed? The answer is: both.
See the full rundown here: The Quietus
17 Jul 2018
Then I moved to Stage 1 as Housewives were preparing to take the stage. The experimental post-punk/noise rock entity came to the stage amidst brilliant purple lights that created a very hazy ambiance. The setup on stage was also unusual, with the band utilizing less space and playing tightly close together. The two guitarists were opposite each other, while the drummer was placed just behind them. Their unique blend of Swans-ian no-wave with their use of unconventional instruments (saxophone being one of them) produced a brilliant result. The performance was transcendental, and the focal point soon became the rhythm and its various manipulations. Through their experimental post-punk scope, they created these impressive build ups and then completely break them down with erratic renditions. To enrich the towering rhythm section, the band explores sonic textures through the heavily processed instruments and vocals. With a great grasp on dynamics, it felt like the music came alive through their performance.
After Group A's performance Gum Takes Tooth began exploring the boundaries of what is sonically possible in Stage 3. At that point, I was moving between Stage 1, where Modern Ritual was taking place, and Stage 3 so I did not get the full extent of Gum Takes Tooth performance. For the part that I saw it was an exercise in extreme electronica, taking on techno structures and reconfiguring to a dramatic extent. Filled with energy, the band moved confidently through this maniacal set and set the bar fairly high.
After a break for the Dennis McNett procession, the stage was set for Gnod. The Manchester band is renowned for some of their early performances, which have included a dizzying 15 band members on stage to perform their hypnotic drone music. Today, however, they have cut down on this expanding outlook and instead provide a more condensed and direct assault. Gnod's sound was heavy as shit, with the amps kneeling under the heavy riffs. The sound comprises many diverse colors, from the grey sludge weight of the guitars, the bright lights of the psychedelic rock scene and the ultraviolet essence of Krautrock. Tribalistic pacing and a grunge influence complete the band's sound and the first part of their performance was truly astonishing.
Read the rest here: Pop Matters