Raven Sings The Blues reviews Paisiel's new album Unconscious Death Wishes

They say:

Ramping up their focus from three massive tracks to one double-sided statement, Portuguese-German duo Paisiel rake the listener over an emotionally fraught trek on Unconscious Death Wishes. The title gives off a sinister air and the band doesn’t shy away from the angst inherent in that notion. The composition moves from stark, nervous synth rising in the darkness to the skittering rhythm that marked their last album. The drums don’t give much relief from the tension though, as they ring out like barking threats from just past a circle of light and security; the listener crouched in the wilderness that the pair have presented. Paisiel know there’s danger looming and with that title in mind, maybe they’re inching closer towards it out of irrepressible curiosity or maybe out of an unconscious need to let chaos do its work.

João Pais Filipe’s rhythms play coy until around the 12-13 minute mark when they become all encompassing, fighting Julius Gabriel’s sax heat for attention in the speakers. The pair become locked in a dizzying tempest of swirling, slashing phrases and knotted beats. Gabriel’s sax lines begin to unravel, howling and pawing at the air. The atmosphere grows thick with danger, dread, and pheromones that say fight or perish...

Read the rest here: Raven Sings The Blues

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Listen to Kooba Tercu's CAMP Radio mix

Listen to Kooba Tercu's CAMP Radio mix above

Their latest album Proto Tekno is available from here: Bandcamp

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Birthday Cake for Breakfast reviews Autotelia

They say:

Autotelia’s debut record ‘I‘, out now on Rocket Recordings, is richly textured instrumental ambient music. Birthday Cake For Breakfast debuted a video from ‘I’ over the summer, with lovely abstract colours and shapes in the video to match the lovely abstraction of the music. You might put it on right now to listen to while you read this review.

The instrumental duo’s music is warm and lush, made with a mix of bass and guitar, effects pedals, synths, drum machines and so on. Much of ‘I’ consists of very simple beats combined with slow, shimmering drones which are very pretty, with other elements moving in and out around them. Often new sounds are very subtle – a ringing that sounds like feedback, say, or a bit that sounds like quiet static – and are introduced by building up slowly so that you (or at least I) notice them then realise I’d been hearing them for some time without noticing them. Some elements drop out similarly slowly so that I realise they’re gone and wonder when that happened. The effect for me is one basking in the music then suddenly catching up, then returning to basking...

Read the rest here: Birthday Cake for Breakfast

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Dreams of Consciousness interviews Deafkids about the mighty Deafbrick album

They say:

I first made contact with São Paulo's Deafkids when their third album Metaprogramação was released through Neurot records. Recently, the experimental post-punk trio released Deafbrick, a collaboration with Petbrick (an experimental/electronic duo with none other than Iggor Cavalera in its line-up).  Deafkids guitarist Douglas Leal and drummer Mariano de Melo were kind enough to take turns in answering my questions about how the collaboration came to pass, and what to expect from their upcoming tour with Oranssi Pazuzu.

Dreams of Consciousness: Hey guys, it's been over a year since our last interview. What have you been up to since then?

Mariano: Oh god, so much stuff! After that interview we released Metaprogramação, our third full-length, toured Europe with Rakta in support of both our collab 7'' and Metaprogramação. Afterwards, Jaz Coleman from Killing Joke came to Brazil to produce a still unreleased record for us. Right after, we went for our first U.S. tour in support of Neurosis with Bell Witch and a tour sharing stages with Big | Brave. After all that, we went to Europe again by the end of the year, where we played for the first time in places like Greece and Ireland, as well as having a quick stop in England to play some concerts, where we also recorded the Deafbrick album. 

This year we were supposed to go to the U.S. to tour in support of Old Man Gloom and go back to Europe as well, but as we all know, things went sour very fast, and as such we're trying to adapt and understand. I'm in the countryside of São Paulo at my mom's house (I came to visit her before the tour, and in two weeks all plans were already cancelled, so I ended up staying), the guys are in the capital. I released my first solo album (as Sarine), Douglas is about to release a new collab album from his solo act Yantra together with Acavernus (Paula from Rakta) on LP... we're all trying to keep ourselves active in this meantime, as to keep from freaking out from isolation and the fucked up political and social situation of our country.

DoC: You have a new album out with the London-based duo Petbrick. How did it come about? What was the collaboration like - were the two bands ever in the studio together, or did you trade files back and forth from your respective locations?

Read the rest here: Dreams of Consciousness

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Louder interviews J. Zunz

They say:

Rebellion is well-known to us': inside Mexico's vital underground music scene

Mexican musician Lorena Quintanilla – who has just released Hibiscus, the second album from her solo project J. Zunz – talks us through life inside México's vibrant underground scene

I’ll start off by saying that my point of view when it comes to México's underground is probably biased, and I’m sure there is much more going on than what I see. It’s impossible to reach every corner of such a large and vast country like México. But I can talk about my 15-year experience of being an active musician in the underground scene.

México's underground music scene is a very specific niche where garage, psych, noise and electronic music – among many others genres – interact. It's inspiring that, no matter all the obstacles that we go through every day, this scene keeps moving on; reinventing itself and thriving. Of course, this comes as no surprise, because the underground is so often spurred on by acts of resistance – and what better place to live the act of resistance than in a country asphyxiated by the non-inclusive white superstructure? Rebellion is a well-known form to us, it’s a necessity we nurture every day...

Read the rest here: Louder

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Metal Injection say some words about Pharaoh Overlord

They say:

This always-unpredictable offshoot of the otherwise unpredictable Finnish band Circle seems to have consolidated Ektro labelhead Jussi Lehtisahlo's recent fixation with peppy, business-core sales-meetings-of-the-80s' synth evocations (perhaps this is the most evil music of all? The soundtrack of capitalism blanketed in fuzzy 80's synth nostalgia?). Regardless, the busy Krautrock and Italo-soundtrack influences that have dripped in here get a severe jolt when Aaron Turner (Old Man Gloom, SUMAC, etc) drops his deathly vocal charge into the mix. A pretty amazing mix of disparate elements and perfect for your next business Zoom meeting background.

See the piece here: Metal Injection

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Paisiel LP and GÅS 7" delayed

Today should of seen the release of the Paisiel album, and next Friday should be the release of the GÅS 7". But like the last weeks release of the Anthroprophh 7" repress these other two releases have been delayed also. This is down to serious congestion at the pressing plant due to the results of covid.

Paisiel album is now being released on 20 November, while we hope the GÅS 7" will be ready to be shipped early November. Anthroprophh 7" copies have been shipped and should be available in record shops early next week.

And if you weren't aware, due to the same reason's the Pharaoh Overlord album release date has also moved by a couple of weeks to 27 November.

Thanks for your patience...we can guarantee that all these releases are well worth the wait!

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Steve and Kavus announce book

Steve and Kavus from The Utopia Strong have announced they have written a book called Medical Grade Music which is being released by publisher White Rabbit on 1 April 2021 – more info can be found here via The Social:

The Social

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Bonnacons of Doom tease new music with special 'Carnival Brewing' beer collaboration

Liverpool troupe Bonnacons of Doom have teamed up with fellow Liverpudlian craft beer experts 'Carnival Brewing Company' to create a very special, one-off beer that is inevitably loud; deliciously punchy, indelible and truly awesome...and the resulting beer is the delicious 4.6% lime gose, called 'Pracatan'.

Artwork for 'Pracatan' and the immersive launch video above was created by the ever uber talented Sam Wiehl. And not only that, the launch video features a little taster of a brand new Bonnacons of Doom track called ’Dulse’ the band’s first new music this year, written in the darkest days of lockdown.

'Pracatan'is available to buy online now www.carnivalbrewing.me/shop and in select independent beer shops. 

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Dom from Carnival Brewing and the Bonnacons spent one long night riffing on their favourite beer styles. Would it be a strong complex heavy or a dark and bold imperial stout? But as is the way with the Bonnacons, there was a twist up their sleeves.

It was Kate’s idea to create something akin to her favourite cocktail, the Margarita. Fresh and zingy, she wanted something with notes that cut through the mix, mirroring the uplifting and euphoric elements of the band’s sound.

Dom hotfooted it back to Ade’s garage to formulate and master the next Carnival beer. Dom and Ade planned the beer and the recipe gestated; ingredients were ordered and while the fledgling Liverpool brewery was being fitted and installed the recipe finally came together. 

All it needed now was to be christened. Raise a can and shout it loud “PRACATAN”.

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Beer Geek time from Carnival Brewing…
We made a light sour beer and added dulse, originally the Irish seaweed which was sourced by Ade’s Mum from his home city of Belfast. We added loads of rock salt, lime zest and lime puree to create a delicious, straw-coloured beer that spins the taste buds into a maelstrom of zingy freshness. 

Once the small-batch beer was trialed on customers at Carnival Brewing’s tasting room bar in Liverpool City Centre, the brewers upscaled the recipe ready for canning.  

The resulting beer is a 4.6% lime gose, perfect for enjoying with your dinner, maybe as an aperitif or while listening to a Bonnacons album.  

Dom from Carnival commented: “We love the Bonnacons, their sonic overload, stage presence and love for performance. We loved the idea of creating something new and unique for the band and its fans, so Pracatan became a thing. Our ethos for collaboration, creative partnerships and joining different creative outlets inspired our journey to form the brewery, which opened in Liverpool city centre in December 2019.”

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Grizzly Butts say some words about Deafbrick

They say:

After writing an abstract review for quite an abstract album by Deafkids circa 2019, I’d had a fellow write into the site complaining of the complexity of my statements… and I’m still not sure what any fan of such a free-spirited and wildly deconstructive artist would expect otherwise. This has been a common result and very mild long-term struggle with writing about abstract music, and the main reason why I’ve eased up on it this last year, as it seems that many readers who explore the fringes of music want it presented to them plainly and in compartmentalized forms. “Give me a hundred buzz-labels to sieve through ultra-niche electro underground’s cutting edge stuff but please, don’t wax poetic about it.” and it doesn’t take much of this attitude to leave me bristling in response. So, what’d discourage me from racing towards this collaboration of Petbrick and Deafkids?

I’m not sure there is a conversation to have about it where I can illuminate. Maybe you’re a Sepultura fan who has been eager enough to see what Iggor Cavalera has done outside of the metal spectrum, and in that case Petbrick is quite accessible, and well-paired with the industrial crust punk rebellion of Deafkids. Perhaps the conversation is the side-note that Wayne Adams of the infamous Bear Bites Horse studios is always a bit of quiet second mention in reference to Petbrick or, maybe that the live collaboration with Rakta & Deafkids is probably way more exciting and all-too nearby. Alright well, no, none of that is going to suffice or hold up. In terms of ‘Deafbrick‘ the album, its collaboration is entirely inspired and perhaps in ways that ‘Metaprogramação’ (2019) was lacking, bringing some of that late 80’s Ministry and Fudge Tunnel force to their blurry elektro-punk attack. The result could easily have edged towards something like Atari Teenage Riot sans gabber-blasted beats but they’ve kept it all quite buttoned up for this collaboration, as evidenced by the nigh thoughtless cover of Discharge‘s “Free Speech For the Dumb”. If that sounds a bit like a hug with a gentle stab at the end, kinda...

Read the rest here: Grizzly Butts

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