31 Oct 2019
Rocket Probes – October 2019 playlist
PETBRICK – I
(The massive debut album by PETBRICK finally gets released)
Laura Agnusdei – Lungs Dance
(Julie's Haicut's sax wizard's new solo single)
Laura Agnusdei
Craig Leon - Standing Crosswise In The Square
(Repetitions)
Craig Leon
Julia Reidy - Crystal Bones
(Mike Bourne from Teeth of The Sea played us this great album from Australia that has a great Zimple/Ziolek vibe to it)
Julia Reidy
Kooba Tercu – Ukunta
(Krautnoise groove from Greece)
Kooba Tercu
David Terry – Always
(Bong man immersions)
David Terry
The Mothers Of Invention - Live at the BBC 1968
(We know this has been on this playlist many times, but it is still one of the best things you will ever hear/see)
The Mothers Of Invention
Pantherman – Pantherman
(Dutch glam stomp)
Pantherman
Deliluh – Oath Of Intent
(Gnoomes turns us on to this, bit of an 'Infinity Machines' thing going on)
Deliluh
Eddie Warner - Shut Up/Stop Stuttering/Organic
(Amazing library music from the 60's, 3 killer tracks from Eddie)
Eddie Warner 1
Eddie Warner 2
Eddie Warner 3
Abronia – Half Hail
(Really nice groove-out in the last half of this on new Cardinal Fuzz release)
Abronia
Rumba Tres – Nata, Limón y Fantasía
(Nice discovery of fuzzed out Spanish pop by Anthroprophhs Paul Allen)
Rumba Tres
Drumm Chimp - Acide Nouveau
(Heavy acid sounds)
Drumm Chimp
J Joxfield ProjeX DJ&M – DJ&M Baroque Or Odd
(Bizarre mix of fuzz, found sounds and other weird delights)
Joxfield ProjeX DJ&
Joy Division - She's Lost Control
(Amazing BBC version of one of Joy Division's best tracks)
Joy Division
Andrea Belfi – Strata
(Drum n' Drones)
Andrea Belfi
Celtic Frost – Jewel Throne
(As the nights draw in)
Celtic Frost
Eddie Fisher - Jeremiah Pucket
(Slow dirty funk from 71)
Eddie Fisher
Anadol – Görünmez Hava
(Synth grooves)
Anadol
Joni Mitchell - The Jungle Line
(Tribal grooves and fuzzy horns/synths)
Joni Mitchell
Acid Reich – Mistress of the perpetual harvest
(Before Magnet there was Acid Reich)
Acid Reich
Coach Moss – Thistle Do Nicely
(Punk flute...thanks Heather!)
Coach Moss
Afrika Bambaataa & The Soul Sonic Force - Planet Rock
(Been listening to some good Kraftwerk documentaries & of course that took us back to the Electro/Hip Hop music of our past, the classic Planet Rock)
Afrika Bambaataa & The Soul Sonic Force
Jon Hassell – Amsterdam Blue
(Courtesy of the mighty Cherrystones once again...unbelievably beautiful track)
Jon Hassell
Listen to our updated monthly Rocket Probes Spotify Playlist here:
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Pigs Pigs Pigs Pigs Pigs Pigs Pigs April 2020 tour tickets on sale now
Pigs Pigs Pigs Pigs Pigs Pigs Pigs are going on tour from April 16th, with support from the great Blom. Tickets on sale now from here
16 Apr / Manchester - Gorilla
17 Apr / Birmingham - The Mill
18 Apr / Bristol - Thekla
24 Apr / Leeds - Stylus
25 Apr / Glasgow - St Luke’s
29 Apr / Nottingham - Rescue Rooms
30 Apr / London - Electric Ballroom
01 May / Brighton - Concorde 2
And don't forget the band still have these shows line up for this November, starting tomorrow night:
01 Nov / Huddersfield / The Paris
02 Nov / Halifax / The Lantern
14 Nov / Reading / Sub89
15 Nov / Bath / Moles Club
30 Nov / Guernsey / St James
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30 Oct 2019
EP/64 to Support Bonnacons of Doom in Bristol
The great EP64 have been announced as support to
Bonnacons Of Doom at
The Lanes in Bristol on 8 Nov.
Tickets:
Headfirst
29 Oct 2019
Iggor Cavalera's 10 dance tracks (and one album) every metalhead should know for Louder
It says:
Known metalhead Iggor Cavalera talks us through the dance tracks essential for all metal fans looking to broaden their horizons
Iggor Cavalera should be a familiar name to most metalheads, having helped change the face of heavy metal with Sepultura and continued to carry the torch with brother Max Cavalera in The Cavalera Conspiracy.
Less well known, perhaps, is his life beyond pounding drums and crushing riffs, where he’s spent time DJing, performing with wife Laima Leyton in electronic act Mixhell and, now, teaming up with Wayne Adams [Big Lad, Death Pedals] for the brilliant Petbrick.
The band’s self-titled debut for Rocket Recordings represents a batshit crazy grab-bag of sounds, drawing from the duo’s shared love of breakcore, metal, industrial and electronica to create something that’s head-poundingly abrasive and yet driving, danceable and catchy.
The panoply of influences at play is intriguing and, for those of us who’ve lived lives steeped in guitar music, perhaps a little bewildering. To help navigate these unfamiliar waters, Louder asked Iggor for a primer of sorts – some entry-level tracks he’d recommend to lifelong metalheads keen to expand their horizons..
Read the rest here: Louder
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28 Oct 2019
Mamuthones looking for Saturday night UK show
Mamuthones are heading to the UK in December for a handful of shows and they have one night to fill:
Friday December 6th - Liverpool Phase One - Liverpool
Saturday December 7th - TBC
Sunday December 8th - London The Shacklewell Arms
Get in touch if you are interested in booking them on Saturday 7 December, email:
andrea.lagoonar@gmail.com
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Pigs Pigs Pigs Pigs Pigs Pigs Pigs announce April 2020 tour
Pigs Pigs Pigs Pigs Pigs Pigs Pigs are going on tour in April 2020. A limited number of advance tickets are available now for those signed up to the bands mailing list at Pigsx7.com
Tickets go on general sale from October 31st at 10am.
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25 Oct 2019
Super ltd edition 'band copies' of Sacred Dreams LP available to buy
As you are aware Josefin Öhrn + The Liberation have had to cancel their up-and-coming tour (press statement from Josefin below) – this meant the band were sat on 100 copies of the Ltd edition Yellow/Black version of their latest album 'Sacred Dreams' which were ltd to only 350 copies (the Rocket shop sold out of it's allocated copies within a few hours) and we have managed to get these copies from the band and they have been sent to some selected record shops for you to purchase.
So, if you missed out on this sought after collectors item, then get in touch with your local record store to see if they can order a copy from our distribution company Cargo, we know the shops Resident and Normans definitely have some:
Happy hunting!
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Josefin's press statement:
"Due to a string of events and circumstances beyond our control, we have sadly been led to the decision to take a break from The Liberation and touring to set our sights on new creative experience. I will focus on songwriting and other forms of expression.
We’ve had a few amazing years full of unforgettable moments, both on tour and in the studio, I’ve had the opportunity to work with and meet so many talented and interesting people during this time.
It has not been an easy decision and this is very much not the end. Thank you.
This means that what was to be tour ultra limited yellow and black colour-in-colour vinyl will be heading to the shops so please check instore and on Rockets website."
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PETBRICK's debut album 'I' is released today
"Petbrick is the future of music." Kerrang!
"This is fun as hell." The Quietus
"A merciless gutwrencher." Stereogum
"Open up your sonic consciousness." Cvlt Nation
"A volcanic eruption leaving no survivors." Birthday Cake For Breakfast
"Listenable, original and loud, the holy trinity of noise." 8/10 God is in the TV
"Fully formed and ready to jump into the psyches of music fans." 8/10 The405
“Scorching all musical boundaries.” Louder than War
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PETBRICK - the duo comprising Wayne Adams (Big Lad/Death Pedals/Johnny Broke) and Iggor Cavalera (Sepultura/Soulwax/Mixhell), release their debut album 'I' today.
Buy/listen here: Bandcamp | Digital Services
The album features the vocal talents of Dylan Walker from Full of Hell, Laima Leighton from Mixhell, Dewid Hellion from Integrity and Mutado Pintado from Warmduscher.
'I' is available to buy on CD or LP in three ltd formats, all in a special spot varnished sleeve.
There is a ltd edition 'Black & White Swirl' vinyl can be preordered from the Bandcamp link below. And from your local record shops there are two ltd edition versions available – a 'Black & Clear, 50/50 split' version and a 'Skinned' colour version.
And for USA and Canadian fans, the PETBRICK album is being released via the great Closed Casket Activities label.
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PETBRICK are taking their noise on the road next week:
28 Oct / UK / Huddersfield / The Parish
29 Oct / UK / Sheffield / Record Junkee
30 Oct / UK / Manchester / Soup Kitchen
31 Oct / UK / Bristol / Exchange
01 Nov / UK / Cardiff / Clwb Ifor Bach
02 Nov / UK / London / Shacklewell Arms
06 Nov / CZ / Prague / Underdogs
08 Nov / BE / Antwerp / Het Bos
09 Nov / NL / Utrecht / Le Guess Who? Festival
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24 Oct 2019
The405 reviews PETBRICK's 'I'
They say:
PETBRICK are Wayne Adams and Iggor Cavallero; the former has produced challenging genre-spanning work under the monikers Big Lad, Death Pedals and Johnny Broke, while the latter is Iggor Cavallero. Yep, the fella from Sepultura. Their work has always existed on the periphery of sense and sanity as their output over many projects has explored sonic terrains and revelled in aural discord for the dystopian times we find ourselves becoming ever deeper entrenched within. There is a feral heart at the centre of I, but one that also offers a sense of optimism, of a life-affirming approach that comes from spitting venom in the face of the powerful.
‘Horse’ kicks things off in a propulsive manner. Cavallero’s pulverising drumming technique rushes through the track while Adams conjures up the spirit of the kosmiche Musik bands of the 70s with whirling keys and reverbed vocals. ‘Horse’ exists between the cracks of genres and immediately pushes PETBRICK into areas new to Adams and Cavallero, sounding like The Cosmic Dead jamming with Nine Inch Nails. It’s a breathless way to open proceedings, although they kindly offer a moment of respite in the track as the drums come to a halt for the briefest of times...
Read the rest here: The405
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Echoes and Dust reviews PETBRICK's 'I'
They say:
PETBRICK are the latest noise-mongers to release an album through Rocket Recordings, I is their debut long player and the band come with quite a pedigree, being Iggor Cavalera of Sepultura and Wayne Adams of Big Lad, two men with a significant background in aural terrorism.
They are not alone in this new campaign however, as the album features a cast of collaborators – friends, colleagues and family members who lend their voices to many of the songs. The multiple vocalists, added to the numerous styles displayed does mean that I does have more of a feeling of a compilation rather than a single organic whole.
What the album does have is a solid grounding in industrial rock music, there’s little of the roaring and riffage of Sepultura or the krautrock/psych leanings of Big Lad. When I ponder on industrial rock music my thoughts are never too far from the work of Al Jourgensen and it’s fair to say PETBRICK have absorbed some of uncle Al’s deviant spirit. Two of the more enjoyable moments here recall Ministry at their brilliant, low-brow, riot-starting best – the drum and bass assault and battery of ‘Roadkill Ruby’ and the Trump-baiting ‘Gringolicker’ (see what they did there?)
Read the rest here: E&D
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23 Oct 2019
Indie Zone reviews Julie's Haircut's In the Silence Electric
They say:
Active, passionate, free and, let's face it, often guiltily underestimate. Emilian Julie's Haircut is a river full of ideas and impulses, of desire to dig and experiment, and a few months after coming out with the soundtrack of the movie "Music From The Last Command", here they are with this new work in the long distance, "In the Silence Electric". A title that already evokes the leitmotif of the journey to which we will have to go.
Metaphysical, nocturnal, alienating and evocative atmospheres, walled with electric but pervaded by a fluid gait, at times spatial, at times muffled, open the way with Anticipation of The Night , before with Emerald Kiss guitars and synthesizers draw parabolic drawings at a steady pace but restless and scratchy, only in the end blunted by a jazzy breath.
Step that becomes more enterprising with Until The Lights Go Out , which is channeled into a dark whirlwind, kraut, up to explode into more exquisitely shoegazing guitar walls, to find a rhythmic pace with Lord Help Me Find a Way , minimal but equally dark and with rough and claustrophobic walls. Sorcerer reactivates nerves and lungs with urgent beats and laser-bordered , in a hypnotic and magnetic atmosphere, before Darlings of The Sun returns to crowd out with its intertwining of synthetic and tribal, with which we can only sketch a landscape between the dreamlike and visionary...
Read the rest here: Indie Zone
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21 Oct 2019
PETBRICK and Deaf Kids collaboration
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!!!
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PETBRICK and DJINN stage times at Le Guess Who revealed
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
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New Gnoomes remix for Leg Puppy
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
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Birthday Cake for Breakfast reviews PETBRICK's 'I'
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
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18 Oct 2019
God Is In The TV review PETBRICK 'I'
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
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M-Magazine exclusive PETBRICK live in studio footage & Interview
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…
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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
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17 Oct 2019
Julie's Haircut Guest Mix for 'I Heart Noise'
listen here: I Heart Noise
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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.
Read the full review: Louder Than War
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Ave Noctum reviews PETBRICK 'I'
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.
Full review here: Ave Noctum
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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
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16 Oct 2019
Astral Noize Interviews PETBRICK
“I’ll only do two-pieces now, I can’t be arsed with any more members,” laughs Wayne Adams – esteemed producer, member of projects like Big Lad, Death Pedals and Johnny Broke and now, apparently, a staunch duo-only musician. The reason? He and Iggor Cavalera, best known as the original drummer of Brazilian thrash legends Sepultura, have formed Petbrick, a psych-punk onslaught of industrialised noise. Meeting at Adams’ London studio, Bear Bites Horse, Astral Noize arrives in time to see the band taking some professional promo shots, and is soon asked to help out. What we didn’t yet know whilst we stood there holding a strange lighting device is that this kind of impromptu circumstance is exemplitive of the band’s journey thus far – their laid-back nature, offhand songwriting and genial origins are a key factor in their success. Indeed, it’s easy to see why Adams prefers the simpler setup of two-pieces.
When the duo first got together, they didn’t even plan on writing music. Iggor, now a London resident, was impressed enough by a Big Lad gig in Camden to email Wayne, after which the two stayed in touch. They bonded over modular synth gear, and eventually met up in the studio, where initial jamming sessions fueled by coffee unexpectedly morphed into a musical project in the making.
“We’ve tried to keep that process going,” Adams tells us. “Where there’s no preconception or anything. It’s very much like we get in the space and we just start. It might be a drum beat, it might be a synth-line, it might be a noise, whatever.”
“All those things, once we get together, they start taking shape and then at one point they become a song,” says Iggor.
This, it seems, is Petbrick’s process. As a studio-based project, the band don’t rehearse tracks, rather they write as they go, reacting to life and the world around them. And the lack of conflict, not to mention the fun the band have along the way, is integral to their creative process.
“You come to a certain age in your life when you don’t want to make music with people that you don’t really enjoy being with,” says Iggor, reflecting on roughly 35 years as a musician. “I used to do that when I was fifteen and all I wanted to do was play music. Now, I want to eliminate all the drama from music. I want to have people around me that I want to hang out with.”
His bandmate agrees: “Yes. It’s like, do I like this dude? Yes. Can this guy play drums like a motherfucker? Yes. Sweet, I’m in.”.........
Read the whole interview: Astral Noize
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Rockol review Julie's Haircut 'In Silence Electric'
They say (translated):
"In The Silence Electric", the long night of Julie's Haircut
Few dreams and many nightmares in the new album of the Emilian band, suspended between the shadows that regulate science and magic.
Silence, illusory, transformed into a long journey, electric and nocturnal. An expanded cosmos of fogs and reverberations that Julie's Haircut transfer to the metaphysical anxieties of "In The Silence Electric", the second album that the Sassuolo original band publishes for the English label Rocket Recordings, adding another couple of pieces to its mosaic composite of structures and alchemies.
A hypnotic progression that allows the ghosts that crowd the album to come out into the open in the esoteric fumes of "Emerald kiss" and then, still in the obstinate and nervous race of "Until the lights go out", between flashes of new wave, ambient and oscillations narcotics that come straight from the frantic avant-garde of Pink Floyd's "A Saucerful Of Secrets" as well as the obsessions of David Lynch and the soundtracks of John Carpenter and the Goblin. "Lord help me find the way", almost a heartfelt prayer to a luminous entity that can indicate a safe road, marks a saving moment of relaxation before turning once again into a black abyss in which nightmares and dreams take shape from the same material .
The new work takes up the tradition, by now consolidated, of the Emilian sextet of a free creative approach, but departs from it for a sequence of pieces with a more defined form, in their own way sought in a completely fluid manner. accompanies the different phases of the sleep of a night full of tension, the traces of the disk evoke a mysterious elsewhere of dark flashes, populating the darkness of all kinds of ultramundane forces, bearers of a darkness so enveloping as it is capable of sudden accelerations in which to dive almost unconsciously, before waking up again safely, Julie's Haircut beat the times of an aesthetic, cerebral environment , yet concrete. An interweaving of shadows, recalled right from the start with the sweetish dirge of "Anticipation of the night", which, in fact, offers the prelude to the dark that is about to arrive ready to swallow everything. A viscous flow able to manifest itself in the unresolved contrast between the whispered melody, the cascade of notes on the piano and the long dissonant drone of the electric guitar, the first glimpse of what the group itself defines “an incredible and versatile soundscape built through layers on instrumentation layers and a slow-burning voice. "
A hypnotic progression that allows the ghosts that crowd the album to come out into the open in the esoteric fumes of "Emerald kiss" and then, still in the obstinate and nervous race of "Until the lights go out", between flashes of new wave, ambient and oscillations narcotics that come straight from the frantic avant-garde of Pink Floyd's "A Saucerful Of Secrets" as well as the obsessions of David Lynch and the soundtracks of John Carpenter and the Goblin. "Lord help me find the way", almost a heartfelt prayer to a luminous entity that can indicate a safe road, marks a saving moment of relaxation before turning once again into a black abyss in which nightmares and dreams take shape from the same material.
Visions and contaminations of different genres, from post-rock to free jazz, that the Julies treat without interruption, making "In The Silence Electric" a disc with an arcane charm, pulsating with frantic - and threatening - drum patterns, guitars, keyboards, bass and sax, as well as hidden voices, often filtered, that seem to come from a far space, from the urgent cosmic flights of "Sorcerer" to the ghostly hermitage of "The return". The group, escaping from the classifications, returns in the dense atmospheres of the album that sense of exasperated impotence represented on the cover by the constrictive laces that gag the face of the German artist Annegret Soltau. Tones distant from the pop art of the poster "Libertad para Angela Davis" which twenty years ago showed itself triumphant in the graphic of the official debut "Fever In The Funk House". Today, that exuberant sound with the image of the curly African-American activist mythologized by the Cuban graphic designer Félix Beltrán seems to belong to a distant past, given the thousand trajectories that Julie's Haircut have crossed in their personal search without boundaries of sounds and suggestions, making themselves one of the more dynamic - and together long-lived - export band of our independent panorama.
Crossing the mirror of the dreamlike labyrinth, "In The Silence Electric", with its immersion in an unknown and dangerous world, seems to preserve a narrative articulated in a composite game of references with the fear, less immediate but concrete, of a reality now fatally exhausted. The primitive march of "Pharaoh's dream" and the final, bewitching, elegy of "For the seven lakes" thus follow a faint sigh, more and more distant until suddenly the silence returns, poised, once again, between the day and night. Between science and magic.
Read the original here: Rockol
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Metal Injection say a few words on PETBRICK
PETBRICK, the new band featuring Igor Cavalera (Cavalera Conspiracy, ex-Sepultura) and Wayne Adams (Big Lad, Death Pedals), will release their debut album I on October 25. Needless to say, I'm loving everything they've released so far!
Sonically entrancing and captivatingly different, Petbrick is doing a hell of a job at tearing down musical boundaries and flexing their multi-creative styles as a single unit. So I couldn't be more stoked to premiere the release of a brand new track from the outlandish duo, in the form of an epic music video titled "Coming" directed by Dante Vescio, featuring Laima Leyton.
Read the rest of the article here: Metal Injection
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Trebuchet Magazine comments on PETBRICK 'Coming' Video
Trebuchet Magazine comments PETBRICK 'Coming' Video:They say:
INTENSE AND ELECTRONIC IS THIS THE NEW WAVE OF BRUTAL SYNTH METAL?
Dark industrial with roots in Sepultura.
Washes of electronica and pounding tribal beats in another stellar release from Rocket Recordings. This is a perfect track for the car or punishing cycles through the country AND one imagines they’d be absolutely mind-melting live. Along with Zonal and Author and Punisher, could this be the new wave of brutal synth metal? Enjoy this loud and without reserve....
Visit Trebuchet for more
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System Failure review for Julie's Haircut 'In The Silence Electric'
System Failure (translated):A hypnotic album that stands out for the balance between extrasensory intensity, ecstasy and anger. A record that has been made, through a singular osmosis process, by a band that is sure of itself so as to let the subconscious and metaphysical elements guide it in the right direction. A collection of evocative and coherent pieces, which see the mantric intensity we had known with the debut of the Italian band on Rocket Recordings (Uk), "Invocation And Ritual Dance Of My Demon Twin" (2017), expanding towards an incandescent splendor. Whether it is the profound ecstasy of 'Lord Help Me Find The Way' (as if the Spiritualized were catapulted into the Berlin of the '70s), of the threatening dream of' In Return ', or of the psychic aggression to the Suicide present in' Sorcerer ', everything is characterized by a singular boldness in the management of a colorful storm of electronics, tint of jazz, atonality and memorable vocal hooks. And yet, for all this - and paradoxically - 'In the Silence Electric' is the most adventurous and direct record of this mysterious and rebellious band.
Read the full review here: System Failure
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Rumore Interview Julie's Haircut Luca Giovanardi
In the electric silence of the Julie's Haircut is enclosed a world made of a thousand suggestions. Musical, visual, artistic suggestions at 360 degrees, curiosity, spirituality, travel, physics and metaphysics. In The Silence Electric is the title of the band's new album, the eighth, the ninth if we consider (and we must consider it) the Music From The Last Command soundtrack, a double that actually makes this their second album of the year. A record that comes from a process of "osmosis" with music: "We welcomed the unexpected, leaving the songs to guide us to their final form, rather than trying to force them towards a precise direction", explains Luca Giovanardi, from which we did tell about what this process consists of: and from the answers, in the same way that a disc by Julie's Haircut comes out, a free conversation was born, one could say jazz, that goes from studio improvisations to Jungian psychology and psychomagia by Alan Moore, from pragmatic observations on how difficult it is to make a certain type of music in Italy to speculation about the time of St. Augustine. Take the time to read it all. And to listen to the album.
Read the full interview here: Rumore
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Members of The Utopia Strong Interview Magma
Speaking In Tongues: Magma Interviewed By Musicians (The Quietus)
Ahead of their appearance at Tusk Festival we canvassed members of Voivod, Hawkwind, Gong, The Utopia Strong, SunnO))), 808 State and more to see what they would ask Magma if they had the chance... And here are the results. (Magma appreciation by John Doran)
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Here is the excerpt with The Utopia Strong:
I’ve heard that Christian doesn’t listen to much music other than John Coltrane? Is this actually true? If it is not then what other music does he currently listen to? If it is true then what if there is someone who makes music that is “better” or equal to Coltrane? Does he not concern himself with the idea that he might be missing something?
(Steve Davis, Utopia Strong)
SV: This isn’t totally true. He likes old Motown and Stax productions and listens to classical music and the recordings of some French poets. He will listen to other jazz artists, especially new jazz artists when people make recommendations but (up until now at least) he hasn’t found anyone who fulfill his expectations the way John Coltrane does.
What is the story behind the H R Giger cover art for Attahk? Was Giger given a specific brief to follow, or was he allowed free rein? Also was the collaboration influenced by the fact that both artists were approached to work on Jodorowsky’s aborted Dune movie?
(Michael York, The Utopia Strong, Teleplasmiste)
CSV: The Jodorowsky project was one of the reasons we ended up with HR Giger art on that album. But mainly it was because Magma’s manager at that time, Giorgio Gomelsky, initiated the collaboration for this album cover. With a specific brief from us of course.
Can you shed any light on the connections between Magma and the 1984 movie Ghostbusters? The film features a possession by a demonic spirit named Zuul and the final scene atop the apartment roof with its obelisk like architecture and pair of demonic hellhounds bears more than a passing resemblance to the cover art for Üdü Ẁüdü.
(Michael York)
CSV: Ha ha ha ha! There is no connection at all (Or maybe the film director was a Magma fan?)
When I read about Magma, I often see a lot of focus on the use of invented language Kobaïan. I feel that using an unrecognisable language allows all the humanity, emotion and expression of the singing voice to emerge without being tied down to a specific interpretation, and shows that the music of Magma has such inherent transcendental significance and meaning that it is beyond anything conventional language is able to convey. Would you agree?
(Kavus Torabi, The Utopia Strong, Gong)
CSV: Dear Kavus, this is totally right! You’ve said it all!
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Read the full interviews here: The Quietus
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