This one goes back to August last year, but I’m not apologising. I’ve done enough apologising, dammit. It’s another one of those albums with people singing on it, so as I did with Debs, I’ll attempt to dig down into the tundra and bring up some core samples of reactive emotion.
Processed chords, acoustic strumming, and resonant strings combine with the vocals on ‘The Test of Time’ to create an opener that wouldn’t be out of place on an Ian McCulloch solo project.
Kindness is a risk indeed, but the sampled voice on the short-but-sweet sketch ‘Angel Breakdown’ doesn’t decide whether to stick with it or not. The gentle atmospherics of this track convinced me to go for it, though.
Album standout ‘Stars’ has a bit of the Richard Hawleys about it. Again, simple guitar, simple rhythm, simple lyrics, and that background atmospheric stuff that just gets me right there.
I have to admit I thought there were some pitch-shifted vocals in ‘Maple Leaf ft Daisy Davies’. Then I remembered I’m a Dad now, and decided it was actually quite cute.
‘The Light’ compares a receding taillight (on a bike? motorbike?) to the inspiration that you’re seeking. Perhaps the person leaving is what you need? This song actually gets quite heavy on the strumming, with a subtly disconcerting coda.
A sampled TV or radio gives a cosy Sunday feeling to ‘And Live’, but the guitar and backing occupy a much larger space than your living room. Expand your horizons? Or at least go for a nice walk in the refreshing drizzle, made better by the thought of coming home to tea and this album again.
Strings and strums on ‘You Have To Laugh’, with a gentle piano phrase, meander through this interstitial, leading into ‘My Shadow In The Maze’, which could be talking about a pastoral leafy labyrinth, or the dark twists and turns of trying to figure out how you feel. Then straight in with the atmospherics (they know how to get me), the guitar more distant than ever, ‘Rush To Wait’ is another compelling instrumental I could leave on loop.
Rain on the roof and processed piano accompanies the guitar on the album closer ‘Fool Man Runaway’. Guest vocals from Caoilfhionn Rose answer the lead vocals, and a tender piano phrase rounds it off.
Losing your shadow, now you’re seeing stars, then I talk to my best friend, and I finally made it out. A beautiful album, and they’ve had a few releases since it came out, so go and catch up, just at your own sweet pace.
BBO has featured Kieran Mahon’s work before, the cosmos-themed ‘Space Is The Place’ EP. This newest EP is three tracks of eyes-closed-warm-bath-of-sound ambient electronic texture that envelopes, guides and inspires.
The warm tone chord that opens ‘Mirrors’ is joined by arpeggiated phrases and resonate pulses. The chords intensify, becoming more triumphant, and introduce an echoing voice sample on the edge of intelligibility. Then all fades away, except for the opening chord.
‘Measured Motion’ has the scattered drops of sound and insistent bass, mutating into scintillating shower before a repeating synth phrase loops and wouldn’t seem out of place in eine Europaische café on a long train journey. I love this one.
A slow swell of phasing chords, looping mid bass tone phrases, and a periodic deep bass tone build up the layers of ‘Everything is Forever Running and Returning’, illustrating the point. Then a resonant distance appears with a processed voice, all the time with the simple drone acting like the strata or foundation for the whole piece. Then as the parts disseminate, a simple bass beat draws the EP to a close.
Mahon is prolific and generous. All his release are available on Bandcamp, and you can name your price. Go there and name something generous in return.
As a set of pieces to listen, think, distract, occupy and sooth, this EP is pretty great. Very effective, and one to return to. As Kieran says on the site,
It is highly recommended to be listened to with headphones.
I hope you enjoy it.
I did, and I did.
Arriving on my birthday this year, on the Blackest Ever Black label, this slab of rhythmic electroacousticity brings to mind the more atmospheric side of Plastikman, and the imaginary band from the comic strip Achewood, The Tenmen, if that’s valid. And if it’s not? Come at me.
All the pieces use a Reinheitsgebot of bass, percussion, single-note guitar and atmospherics. It’s a deceptively simple formula that manages to be very evocative of what this world seems to be headed headlong toward.
Opener ‘Coax’ kicks straight in with a throb and bark, swoon and twang. The bass manages to slide around enough to almost lessen the tension you feel is coming. Almost. ‘Dead Heat’ picks up the groove and walks down the straight road towards the horizon a little with it. Acoustic guitar tuning practice, a nice shimmy of percussion, and dog and child answering each other.
The animalistic cries return in ‘Hold Your Line’, but this time things are a little more urgent. Strings weave amongst the scuttle of drums and the beat of the bass, and the guitar line continues, in an attempt to hold the line against whatever is approaching. Will it succeed? Judging by the (only slightly) more upbeat ‘Front Running’ you might think it had. But then the strings and howls return, and the crunch of boots echo through the abandoned streets, marching back to the gunfire in the distance.
‘Dialling In, Falling Out’ brings the paranoia to the fore, as a regular expedition outside the bunker into the grey dusk turns into a stealthy cat-and-mouse game. Things seem much more calm on ‘Glassed’, and you might be forgiven for letting your guard down. The bass is at your side, and the guitar returns to an earlier refrain, along with the choir and strings.
Taps and scrapes herald a drone melody on ‘Cold Cain’, and I’m reminded of the days spent in the cellar with the Parsons under the cylinder, awaiting our fate. Then the guitar, more driven than the earlier student plucks, comes to encourage action.
Finally, ‘Stammer’ recapitulates all we’ve learned. If we remember our training, we will survive out there. The guitar is still urgent, the animals are back, the abstract drum gestures punctuate.
Apart from a few moments that could get you wiggling in a weaker moment, this album made this reviewer sit very still. It’s a fine line between an album being a “listener” and a “backgrounder”. Depending on your mood, this could function as both.
Not a party album. Grab the fancy vinyl now, or download from Bandcamp.
A confessional: I don’t really understand the differences between satsumas, tangerines and clementines. I know I like to eat them I just don’t always know which is which.
And all of this awful sub-par observational comedy brings us to Peter Baumann. Who was in Tangerine Dream in 1971 – 77. Do you see? Tangerine Dream. I do know who they are – a very influential proponent of experimental Krautrock, the likes of which goes down very well with me. 33 years after his last solo album, Baumann returns with an 8 track almost fully instrumental album of moody, sparse electronics.
A feeling of menace pervades all the tracks, opener The Blue Dream setting the tone that the rest of the album follows: droning synths, stomping kick drums and portentous rolling toms. Searching in Vain is similarly baleful, although it does have has a John Carpenter feel to it in it’s later moments, and Valley of the Gods features heavily processed vocal samples occasionally breaking through to a surface almost hidden behind industrial percussion. Towards the end a lead synth line creeps in with a middle-eastern tinged rhythm.
Echoes in the Cave is wonderfully minimalist, while Ordinary Wonder conjures up rain and neon signage, a trip around a dilapidated city of a future that never quite was, a future as portrayed in countless cyberpunk novels. It’s more upbeat than all of the other tracks presented here, the lead synth offering hope and wonder.
Crossing the Abyss returns to the downtempo feel of the rest of the album, beginning with the clattering of dark bells for the first minute before allowing a marching beat and sequenced bass to take over, complimented perfectly with some spooky lead lines and atmospherics.
Dancing in the Dark pushes forth military march drum rolls played on a rickety drum machine with a pulsing, doomy bass and swelling synths, and Dust to Dust rounds things off, the highlight of the album for me. It starts with more metallic percussion that sounds like the ticking of an ominous clock, with Gregorian chants washing over the top. It’s almost two minutes into the track before the synth pad comes in, followed soon after by an arpeggio that seems to be leading you towards whatever horror the ticking clock is counting down. The song becomes much more urgent in the second half, the lead synth line taking on a guitar like tone until you’re left alone with that creepy metallic ticking and the chants again. Play it with headphones on in the dark. I dare you.
Get the album from Bureau B or your local reputable record store.
Yes, yes, I know. This album came out at the end of 2015. I’m at least 6 months late. ‘Never knowingly on the pop pulse’ isn’t the motto of this website for no good reason. But come on, have a look at my Google Drive – see that folder there? That’s got some reviews of albums that have come out recently that I’ll be posting soon. Really.
Oi! What are you doing? Don’t look at that other folder! Stop it! Give me the mouse back! Forget you ever saw what you just saw. Please.
Ahem…anyway we’re here to talk about French band Steeple Remove’s first album for 6 years, Position Normal, and not what’s lying about in my cloud storage. I don’t know much about the city of Rouen, other than it featured in the game Call of Duty 3. Thankfully Steeple Remove don’t seem to take their influence from that, so there’s no songs about annoying teenagers continually headshotting you and then pretending to teabag your prone body.
Or are there…?
No. There are not. (I don’t think so anyway).
What is does have are songs which successfully meld synth-led motorik and post-punk influences. Other blogs may have honed in on Bauhaus or a trippier Echo and the Bunnymen sounds coming through, but – in a move which is sure to see me fired from the Both Bars On team – I think Position Normal has more than a little something of Simple Mind’s classic 1980 album Empires & Dance about it.
Opener Mirrors is all sharp edged guitar, atmospheric synths and haunting vocal, plus what sounds like a screaming ghost around the halfway mark. (Wooooooh! That’s the sound of a ghost. In French). It gets both effects and more musically heavy for the last couple of minutes before segueing very nicely into the urgent synth and bass repetitiveness of Silver Banana. Plus it has lyrics we can all relate to: “A silver banana in my hand / It’s good enough for you it’s good enough for me”.
We’ve all had that kind of weekend.
My favourite songs are always ones that feature a prominent, driving bass line and Steeple Remove do not disappoint in that regard – see Imaginary Girl, Sunshine, Calling Up and album highlight Activation, which ushers you in with an arpeggiated 8-bit pulse and gives you a one word sing-along chorus to boot.
Throw in a great Psychic TV cover (Unclean) and the eerie Western (as in Cowboy film) sounding Invisible Lights and you’ve got a cracking album that may not be the most original thing you’ve heard, but is certainly an enjoyable and rewarding long player.
Home Run finishes things off in a rousing manner; an optimistic sounding instrumental motorik and synth journey for the most part until it’s allowed to gently dissolve about four minutes through before reprising the main theme in bare-bones fashion.
Get it now from Bandcamp or your local reputable purveyor of recorded sound.
Swedish metal is not something we cover here at BBO terraces. However, when one of said fraternity – in this case David Johansson, front-man of KONGH – delivers a beautifully menacing six tracks of synthscapes, you take note.
The wonder of this album, as with most horror-synth workouts, lies in its affective simplicity: many tracks are constructed through uncomplicated leads dancing with grace across foreboding swirls of sound. The stunning ‘Pioneers’ illustrates this perfectly with eddying and airy melodies giving way to eldritchian peril with real bravura. Three note leads evolve with ominous resonance, as siren-call chords warn of some hideous transformation of matter on ‘Mutation’. And the delightful choral eeriness and zombie pacings of ‘Terminal’ and ‘Cataclysm’ can only spell creeping fear.
Four years on from the also brilliant first album Eclipse, Oscillotron’s return seems to be immensely well-timed: John Carpenter playing ATP in Iceland in July and touring later in the year; Goblin performing their soundtracks live; and the likes of Ubre Blanca, Umberto and Zombi in our midst – this is a very good time to be a fan of the horror-synth nexus.
Buy Cataclysm here (from May 27th or pre-order now). Do it now before some killer virus lays us all to waste.
You’ve been warned.
Happy May Day, readers!
From Darren Hayman’s excellent album of last year, based on William Morris’s Chants for Socialists…
So you go to a pub in another city and drink. Complete strangers (a couple) join you at the table. You somehow get chatting (band T-shirts = the ultimate ice-breaker). The conversation turns (inevitably in my world) to music. “What sort of stuff you into?” the gentleman asks. “Oh, sort of electronic, noisy, rocky stuff”, I respond. “Such as?” [Thinks of best way in]. ”Umm, Teeth of the Sea?” “Oh, I’ve supported them.” “GNOD?” “Yep. Supported them as well.”
Enter Colossloth. A bloke I met in the pub in Birmingham. Who gave me a CD of his latest offerings. Was this chance meeting meant to be? Such musings are beyond our remit.
Outstretch Your Hand for the Impress of Truth has blown me away.
Opener ‘The Flavour of the Weak’ has it all: menaced drones, shards of sharpened static, treated guitar, face-disfiguring crunching oscillators. ‘Your Flag Stands for Nothing’ is a sonic pummelling that sees a jack hammer bass obliterating idiotic nationalism, both overt and banal, whilst knives sharpen and cut away at apparent ‘stirring’ patriotic orchestrals.
What engorges the soul here is the plethora of questions that arise as you experience the assembled noises: where did that sound came from? What was its original form? What variety of torture has been performed upon it? What Hammond Organ was cruelly, yet brilliantly, maimed to make the inserts on the album’s title track? Is this the recollection of a significantly bad day in Blackpool?
The disturbing undertow to ‘The World Keeps Turning (On Me)’ could well be a voice detuned and stretched to intimidating proportions. The riff on ‘Of Talons and Teeth’ is incredible in its visceral abrasions. The circular feedback on ‘Paint Her Face to Simulate the Bloom’ is pure pleasure and the most sublime pain. ‘The Nameless Saint’ stands out with its devastatingly heart-wrenched piano and high frequency whines. It’s the closest thing to soundtracking death’s inevitability that I have heard for a long while. Both terror and redemption are here.
This is superb uneasy listening in the vein of Haxan Cloak, a more considered Merzbow perhaps, with echoes of Fennesz.
It’s essential. PURCHASE
…the world, the tide, the seasons, the wheel, the dial…
Change is a constant. Here we are with a selection of constantly changing releases to change your mind and your habits.
Fatima Al Qadiri is a NYC-based Kuwaiti visual artist and musician. ‘Brute‘ is an album that combines Mark Stewart-like police state recordings with trippy dubstep bits and ethnic flutes. A bit of politics, but cool nonetheless.
BBO’s review of Warning Light’s album XXXI described it as, variously, “just simply beautiful”, “airy propulsion”, “electro-motorisation”, and “sublime awe and cosmic wonder”. D Haddon’s latest EP, ‘Life/Death Suite EP‘ is made up of bits left over from his latest CD, which BBO will get to in due course.
The EP’s two tracks deal with such trivial issues as life and death. ‘Often Chance’ matches swirling strings with a deep pulse, then brings in stuttering back-and-forth percussion which sounds to me like the emerging Martians in Pal’s 1953 War of the Worlds. As the track expands, more elements combine until it turns into a literally entrancing wave. 10 minutes passed while I hardly noticed. ‘Dream Lovers Never Dream Alone‘ is a slower but nonetheless powerful piece, bringing to mind a triumphant funeral march through a village, to a meadow where the ceremony ends. Grab it.
I’ve always loved acid house, but I’ve never seen it as party music. I would listen to my TDK D90 cassettes marked “Dance I”, “Dance II” etc in my bedroom and on my bike, but I was never in a position to go out and shake it as was so often suggested by the music. A combination of age, personality, who knows what. Still, the squelch of a resonant 303 always gets me tingling.
To me, Posthuman embody that ‘headphone house’ aesthetic. Their forthcoming compilation ‘Back To Acid‘ is pretty straightforward. A silver box with knobs, a black box with orange buttons, and a white box with grey buttons – what else do you need? (rhetorical question, I know what you need. Indulge me). 12 tracks of caustic pleasure, from the robotic march of ‘Six Hundred’ to the delicious twang of ‘Beat Down’, via my favourite, the atmospheric throbber ‘Mezzotint’. I will be buying.
Baron Mordant is a name well known to those who dabble in the darker reaches of techno/electronics. Here as Phlekz, he’s released an EP of wondrously deep, dark and dubbed machine music. Shards of glitch and chiptune filtered through a hazy recollection. Rattling bass rhythms meld with rave whistles often mangled beyond bare recognition. Throughout, though, there’s a lightness of touch to the melancholic melodies that find their home in the background – glimpses of light on a dark but rewarding canvass.
Is hauntological Rave a nascent genre where half-remembered events that may not have happened are charted through drone and distanced rhythms? Dunno. But if it is then Body Boys, on the ever-reliable Opal Tapes, are ahead of the game. Over six carefully constructed pieces, Body Boys evoke the sound of a full-on club submerged in a heavy fog of recollection and half-formed memories of loved-up abandon. Spectres reach out of these memories to offer water and sweaty embraces, and ghostly DJs push at the levels but are barely heard through the veil of time. Marvellous stuff. Get it here.
Spring will spring, the grass will riz.
matthewpetty and angrybonbon
I don’t know if it’s age, new fatherhood, some deep psychic need for contemplation and peace, or a combination of them all, but I’ve been drawn to much more quiet and gentle music recently. Now that is not to say boring. You can be raucous, frenetic, and boring, and you can be gentle and quiet, and still capture and hold my attention.
That’s where Debs McCoy comes in. A musician and artist based in the UK NE covering many disciplines, her music is a mix of folk guitar, layered piano, trance-like rhythms, and her own voice, which weaves among the other elements in a quite haunting way.
Her album ‘Silent The Corner’ was released in 2013, but it’s taken me this long to get to write about it. The conditions had to be right (see above). It was released as a collection in two halves: one half acoustic folk with textural elements, one half more cinematic instrumental pieces.
I’m not a big vocals fan, as you may know. I tend to treat the voice in music I listen to as just another sound – I don’t tend to catch lyrics (again, this may be due to age). In addition, I have to admit I don’t have the vocabulary (musical or emotional) to describe this music. I will probably embarrass myself by referencing styles and techniques at odds with what Debs is doing, or revealing I could go my usual route of writing down what the instruments were and how they interlace. But that would not do this music justice (and I’m sure you’re sick of it anyway). So please bear with me as I wade into unfamiliar waters, trying to describe how the songs make me feel.
A spoken phrase, a strummed guitar, a cello, even the “tape” noise adds to the atmosphere of opener ‘Propagate’. The song mentions sunshine, wind, leaves, and brings to mind walking in the stark low winter sun.The strummed guitar is joined by a tambourine in ‘Wendy’ giving a little Western tinge to the song.
‘Beauty, Majesty & Drama’ is something different, and one of my favourite tracks on the album. The instrumentation is the same, but the vocals are more dramatic as the name suggests. The lyrics deal with the artistic process, as a face is drawn and changed. The artist’s relationship with the subject is touched upon. The song is reworked with piano and cello later on the album, to great effect. It transforms into a more melancholic version of itself. Perhaps from the POV of the artist’s subject?
The title track blends close lyrics, simple synth textures and cello into an intimate lullaby, while single piano notes over guitar give ‘Ruben’ a Mountain Goats feel. The subject is lying about their identity, but the singer knows better.
Train rides always provide good backdrops for gentle thoughtful songs. ‘Recoil’ is no exception. This journey is one to a gathering of people, but the narrator still feels alone, trapped outside. This is a very personal song, clearly, and the simplicity of the voice and guitar bring us into her confidence. The voice is closer and gentler than ever, with an almost childlike feel to it, on ‘Sound Carrying Flowers’. The piano beneath sounds like it is taking the singer’s hand and gently guiding and encouraging them as they explore the music room.
The first of the second set of pieces, and definitely a soundtrack , ‘Insufferable’ would work over the final “climactic” scene to a grainy black and white film. Perhaps in the days after a heavy bereavement, as the character emerges back into life, bruised and sore, but somehow renewed, as the credits roll. The processed strings and piano are joined by a momentary harmonica – perhaps memories of the lost one.
Cello, electric piano, xylophone drops like rain in a simple cycling phrase, ‘Spring’ is perfect for sitting at a window with a steaming cup, waiting for the sun to break through a little. Cabin fever is at an end. ‘The Lake’ sounds like a deep family secret being revealed. Tentative piano, rumbling strings, cello, and a sense of realisation. The secret could be good or bad, or both. The excuses anchor the piece, while the repercussions ripple out, affecting many lives, in various ways. In the end, the teller is left alone on the shore.
The beautiful ‘For The Birds’ occupies the same English landscape as some tunes by BBO regulars The Advisory Circle. Trilling flutes, tinkling piano, slow pulsing bass. And finally, album closer ‘Begotten’ opens with a rotating piano line overlaid with xylophone, while the strings below provide an insistent tone. This ending sounds more like an urging or continuation, even as it closes.
Even if my feelings have not been clearly expressed here, it has had an impact on me. ‘Silent The Corner’ is a beautiful album. Buy it here. Buy Debs more recent improvised works here, especially The Therapy Sessions. Buy her box set as well.