Info/Tickets: Terrascope
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13 Feb 2018
Introducing VED with their new EP 'DDTT' on Rocket
Head over to The Quietus to listen/watch the track DDTT: the Quietus
The EP is released on the 16th March 2018 worldwide and available on LP/DL formats.
Steam / Buy Digital: Apple: http://smarturl.it/VEDDDTTApple
Spotify: http://smarturl.it/VEDDDTTSpotify
iTunes: https://itunes.apple.com/us/artist/ved/318046129
Pre-order 12" EP: Store
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VED - DDTT
VED are another amazing Swedish band you have probably never heard of. With 3 albums, 2 EPs and a compilation on labels like Höga Nord and Adrian Recordings already behind them, VED are the latest Swedish band, following on from Goat, Josefin Öhrn, Hills and Flowers Must Die to release their exploratory music on Rocket Recordings.
The Malmö 5 piece are famed for creating trance inducing, repetitive, psych. Their ever evolving sound has always taken in many global influences, from Middle Eastern to African to the repetitive explorations of composers like Steve Reich and Terry Riley.
DDTT is a two track EP that at it’s core is exploring the art of repetition, with each track surpassing the 12 minute mark.
The song DDTT itself is centered around a series of monotonous African rock sounding drum patterns, plucked guitar riffs that overlap at varying speeds, all building to an intoxicating sound that juxtaposes itself as well as locking into a tight groove. As the track builds, layer upon layer of bowed cymbals collide with tight percussion and a minimalist bass line straight out of Holger Czukay’s handbook.
Sheets of bowed drones reminiscent of Tony Conrad are at the core of second track Det långa straffet. The ritual looping of fluttering live drums, palpitating bass, trace and retrace repetitively within the carousel of grooves. Climaxing are sound rousing heavy horns, the whole piece gratifyingly serves as a brute force repetitive handprint
of human intent.
DDTT is an EP for the fans of the new Polish scene and the constantly excellent Instant Classic Records, and the minimal electronica explorations by Chicago acts like Joshua Abrams and Bitchin Bajas.
VED are joining the rest of Rocket Recording’s roster at their 20th Anniversary weekender at The Garage in London on the 10th March, a week later this monster of an EP is released.
Tickets: alttickets
Flowers Must Die Tour dates revealed
3/3 - LÒrient - Linköping (se) w. Ex Canis & Sol 3
6/3 - Loppen - Copenhagen (dk) w. Mythic Sunship Info
7/3 - Kinky Star - Ghent (be) w. Mamuthones & Skeppet Info
8/3 - Kultur-A - Liège (be) w. Julie´s Haircut & Call Me Im Dead (Skeppet Djs) Info
9/3 - ROCKET 20!!! Tickets
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12 Feb 2018
Rocket Twenty – only 35 weekend tickets left
We have just been informed that there are only 35 weekend tickets left for our Rocket Twenty event at The Garage in March. Once these are gone there will only be day tickets left and as you can imagine Saturdays day tickets are few as well with Friday and Sunday's selling fast as well.
Buy now or forever regret missing this opportunity: Alt Tickets
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See Echoes and Dust's photo's of Pigs Pigs Pigs Pigs Pigs Pigs Pigs live at the Lexington
It was only a few weeks ago since Pigs Pigs Pigs Pigs Pigs Pigs Pigs and Richard Dawson played a sold out show at the Lexington as part of The Quietus fundraising events.
The lovely people from Echoes and Dust sent a photographer along to capture the chaos and you can see the results here: E&D
Photos by Angelique Le Marchand
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Housewives play Stellar Swamp Psych Festival
Housewives join Tomaga and others at a psych fest across several venue's in Brussels / Belgium on 31 March:
Tickets: Stellar Swamp
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10/10 review of Mamuthones Fear on the Corner by Soundblab
It reads:
Mamuthones new album, Fear on the Corner is the kind of disjunctive funk and controlled improvisation that was once a hallmark of jazz experimentalists like Miles Davis and Herbie Hancock. Miles Davìs only released one studio album in the 1970s, which was On the Corner. In a snub to contemporary media, Davis turned his back on jazz traditionalism and sought disparate influences such as Karlheinz Stockhausen, Jimi Hendrix and Sly and the Family Stone for inspiration. Much of the brilliant 1970s Miles Davis stuff like Live Evil and Agharta was only available through Sony Japan on release. The Japanese loved his firebrand experimental jazz-funk. They were receptive to instrumental pandemonium. Oddly enough, Miles was trying to appeal to African-Americans but it was the Japanese that really loved that stuff. Most of Davis’s old fan base couldn’t stomach it, including people like journalist Stanley Crouch, who thought the jazz-funk excursions were beneath someone with Miles’s genius.
These days, the rock media are falling over themselves to pronounce Davis’s 70s albums as visionary classics, and the live ones, especially Agharta and Pangaea (recorded live in Japan) certainly deserve that status...
Read the rest here: Soundblab
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Bonnacons of Doom added to Raw Power Line-up
As we announced previously we are going to be releasing the debut album by Bonnacons of Doom (details to follow soon) and they have just been announced to play this years Raw Power Festival, joining Housewives and a stellar line-up of acts:
Tickets: Raw Power
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L'Ulcera del Signor Wilson reviews Mamuthones – Fear on the Corner
Roughly translated it reads:
Mamuthones – Fear on the Corner
Noise, dissonant, electronic, eclectic and atypical are just some of the adjectives that can be used to describe "Fear of the corner", the brand new album by the Paduan "Mamuthones", published by Rocket Recordings and forged in the UK.
From the first bars of "Cars", the opening track of the collection, you can hear light "Zappiani" reverberations especially in the mallet section that recall songs to the "Inca Roads", for example, but the numerous references, both wanted and not, obviously they do not stop here.
Follows "Show me", rhythmically punctuated by a cowbell referring to "Do not fear the reaper" by Blue Oyster Cult, a participant of very funky guitar chords and pads full of frequencies but well amalgamated with the rest of the instruments.
The third track - title-track of the work in question - pivots on a somewhat muffled voice and mainly projected towards the high frequencies, by way of telephone. The guitar riff and the Afro-Cuban percussion line reminds a bit of the Art Blakey style, while the text refers to a socio-ritual, almost Dadaist dimension. Wah-wah, background noises, increasing dynamics and greater battery fillings, lead the song to an almost hendrixian conclusion, which seems to yearn for the hot nights of voodoo parties in the most mysterious suburbs of a 1970s New Orleans film...
Read the rest of the review here: L'Ulcera del Signor Wilson
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