Grieg Retaliates Ferociously

Grieg are a newish band in Brisbane with some serious pedigree. John plays in Dick Nasty and Undead Apes; Alex plays in No Anchor and is involved in brilliant project A Savage God; and Tamara is from gargantuan party-starters/killers HITS. Their debut LP Retaliate First combines all the brutal elements from these backgrounds, presenting a triple-pronged assault on the senses. There is the acidic humour and hubris in the lyrics; the black riffs of 80s metal at its highest ebb; and thundering, deliberate drumming that controls as it pummels. The jacket once again emblazoned with Gillies' brilliant artwork, this is a record that is nests in your brain, with more to unlock with each listen, a hook to savour, a line to chuckle or cheer for, a break that halts the breath. Bring on the noise.

Double White Walls In Limbo

This year's Sonic Masala Fest was incredible, a real coup and a life achievement for me. So many things worked out right - the weather, the venue, the crowd, the bands. Although David Lynch's Q+A and the Oblivians shows took a few punters away, it was above all a killer day.

One of the best parts was hanging out with the three dudes from White Walls for the weekend. Their set was decidedly loud - as is their MO - yet I had forgotten just how smooth it all is, how easily it is to be cocooned within the intricacies inherent within the noise. Their self titled album has been a favourite of mine for some time now, and finally their follow up Afterthoughts In Limbo (which is mammoth as a double LP and is out on the band's brand spankin' new Pet Moth Records label) is just around the corner. Below are three tracks off it ('Crossing Roads' having been pushed into the ether last week as a biding time gesture while the vinyl orders take their time getting shipped), and their eloquent and devastating take on shoe gaze rock is as jaw dropping as ever. If you haven't put your order in to get a piece of Afterthoughts In Limbo, go here right now. And if you are in Melbourne May 30 and haven't got anything going - get to The Corner where White Walls and Hotel Wrecking City Traders support the gargantuan Japanese giants Boris.

Pining For The Harshest Of Blackouts

Remember No Anchor? The brutalist Brisbane trio who reckon they aren't together much anymore? Donnie Miller records music and is in Sonic Masala-affiliated shoegaze band Roku Music; Alex Gillies cuts wood and is in metal throwbacks Greig; and Ian Rogers elocutes about music and plays in Shaking Hell. But Ian isn't done with flaying his vocal chords or our eardrums, as new side project Black Pines (joined by Rational Academy alum and the Pale Earth duke himself, Ben Thompson) attests. In the most obvious move yet from excellent outre outsider label Wood & Wire will take any risk, they have put out Harsh Out, six tracks of psych - but not as you know it. The duo want to scrape the underbelly of the 60s psychedelic dream with rusty knives, before diving straight in and letting the intestinal truth shower down. With comparisons of Bardo Pond, Boris, Swans and Unsane (circa 89-92) bandied about, you know that this is atonal obliteration of the most delicious kind. The red-eyed tint of a man driven insane by demons both without and within; swastikas etched through the skin, through sinew, through bone; nightmares real in Giallo Technicolour, an ecstatic mess, before spiralling into a pastiche of Korine-helmed dirt and Noe-driven madness. All done without preamble, without compromise, without apology. If you thought The Golden Bridge saw an upswing in Ian's temperament, with tongue embedded in cheek, then Black Pines is here to irradiate those memories beyond reproach.

As always, Wood & Wire are offering Harsh Out as a free download here. Let's hope there is some sort of physical release of this soon, yeah?

Beijing's White (K)Nights

Tenzenmen have some more quality releases from China out, with White Night being one of the best. The four-piece from Beijing noise travellers Chui Wan (named after Daoist philosopher Zhuangzi’s “Qi Wu Lun”, a mystical work on the relationship between nature and human life - the spirit of Zhuangzi’s thought is reflected in the modern Chinese idiom “When the wind blows, every sound may be heard therein”), their debut LP is filled with that mantra - quite often a song's hook or melody becomes buried in ephemeral sound, exotic sonics, and abrasive noise. It's not hodgepodge instrumentation either; instead careful composition that provides this layering, and creates a voice that seems to echo out of the ether, a spirit with mischievous, irascible intent. 'Swimming' could be a languid pop song but for the tinnitus-level whine and woozy delay; 'Berber' resides in My Disco terrain, but with bubblings and sonic touchstones that psych frontiersmen like Hear Hums incorporate colouring in the gaps; 'Another Kind Of Love' has all the markings of Deerhunter; and eleven-minute closer 'Tomorrow Never Knows' feels like a cross-section of Boris, Clinic, The Black Angels and the theme tune to The Burbs. Suffice to say, I fucking love this record.

A strident statement of intent, White Night leaves nothing in the back pocket, and is all the better for it. You can get White Night here - it really is great.

Chui Wan - Another Kind Of Love 
Chui Wan - Tomorrow Never Knows

Rational Hauntings Make For Brutal Brilliance

 

Ben Thompson has been a veritable mainstay on the Brisbane music scene for over a decade now. Seriously? Dude, that sounds insane, but it’s true. And whilst his Pale Earth electronica guise is starting to get a workout, and it all kicked off from Toowoomba band The Autumn Giants, the vast majority of that decade has been spent on the ever-evolving musical quest that is The Rational Academy. Three albums and a multitude of recorded material under their belt; a carousel of partners-in-crime; successful tours of Japan; some illustrious support slots (Deerhoof, Grails, Grouper). There was a stage in the mid 2000s where I'm pretty sure I saw them four times in a month – and that is probably an understatement. Saturation, clandestine, flirting with the breakthrough, shirking the mainstream – they have done it all. But for the true advocates of the band, it has been intriguing watching The Rational Academy grow in its amorphous way, the emotions riding on each track, release, performance open for all to see like a flayed cadaver. Choose to view this journey with the impassioned glaze of a disillusioned coroner, or the fascinated gaze of the biology enthusiast – either way, Thompson has never kept things close to his chest, for better or worse.

Which is why seeing Winter Haunts as a minor masterpiece isn’t a flippant remark. The gradual move from elegiac indie rock that revelled in its wispy delicacies as much as poignant pauses or therapeutic tremors, to a denser, more brutal sense of catharsis, is the result of a man who is throwing everything at the wall – not to see what sticks, but because he’s sick of second-guessing. Thompson’s vocals remain as hushed and reverent as ever, yet rather than the music crowding around it and buoying it up, it crashes over the top like a tidal wave of static destruction, an aural razing of the landscape. This louder approach doesn’t drown out the nuances of the songwriting though – rather it helps to embody the desperation that these songs hold at its core, and The Rational Academy have never felt more relevant, more alive – more there – in any of their other incarnations.

The musicians – Luke Zahnleiter (Guitar), Tom Roche (Drums) and Matthew Cooke (Bass) – hold a lot of responsibility for this, their performance preferring that denser soundscape that colours the songs in thick, abrasive swathes of darkness and light. ‘Vast Uncertain’ holds down the brutal drone of early Boris, no easy feat indeed. And although ‘End Of The Year’ may feel like a heavier squalling interpretation of Swans-era RA, when you hear ‘Yellow Pony’, if you didn’t get it before, the penny will drop here – their best all-round effort ever, it’s the entire history in a three-and-a-half minute soundbyte. Thompson hasn’t been stronger, and his presence is the calm before – nay, within – the storm. It shows the band breaking free of the carapace of the past and becoming something altogether different – harsher, yes, but therein lies the beauty.

If you finish with the acoustic wistfulness of ‘I Catch The Warmth’, you will feel yourself torn asunder by the wall of feedback that completes this epic sojourn, walking into the blinding light to disappear. Will this be a defining moment in their career? Is it a resurrection? A martyrdom? An ascension? No one knows, least of all Thompson himself. But something tells me that this won’t be the last we hear from him in this guise – and I wait with bated breath for his next reincarnation.

 

You MUST buy Winter Haunts(through Lofly Records) – the fullness of this sound is never more noticeable than on the purple vinyl – get it here! There won’t be many shows (if any) in this lineup for the foreseeable future, and when you put this record on, you will realise what a shame that is – but, as I said, the next manifestation will bring us something new. I can’t wait.

The Rational Academy – Yellow Pony
The Rational Academy - End Of The Year

Vale Hydra Head

Sometimes it's incredibly hard to wake up in the morning. At others you wish you hadn't. Today is the latter, because although I have so much work on, plus covering Big Sound Live tonight (more on that later), I felt pretty good about getting up early to have a long shower - until I cranked on the computer and found the following message from Aaron Turner, founder of Hydra Head Records.

"Hydra Head Records has never been a smooth-running operation. We've spent the majority of our existence excitedly scrambling from one thing to the next, taking on more than we could ever possibly hope to achieve, and never quite finding solid footing in the midst of our self-induced whirlwind of chaos. Though not every second of doing this label has been enjoyable, it has been a very rewarding and meaningful project for me, and I hope for many of the other lives to which it has been directly connected. The fact that it has lasted close to two decades at this point is astonishing, and much has changed during that time - the lives of those directly involved with running the label, the bands and artists we've worked with, and the nature of the music industry itself. Though many of these changes have been positive, or at least illuminating, the impact of our history and current industry circumstances are culminating into a slow and somewhat painful death for the label. It certainly isn't an entirely unforeseen event, but we didn't think it would come quite so abruptly, or (perhaps naively) ever.

The decision to pull the plug has not been an easy one, and in some ways is a not a choice at all. The simple fact of the matter is we've been running on empty for a while now and cannot afford to keep our doors open for much longer. Years of imbalance between creative ideals and financial realities, personal problems amongst the label operators, an unwillingness to compromise our aesthetic standards, a tendency towards releasing challenging (i.e. unmarketable) artists, and the steady decline of the music industry in general, are amongst the chief reasons for our inability to continue. It is a harsh but undeniable reality, and one which we are attempting to confront with as much integrity and grace as is afforded by the circumstances.

For the short term we will continue to operate as we have been, effecting our first step into shutdown this December, at which point we are cutting off new releases from the label. Thereafter, we will be remain operational only in the interest of maintaining our back catalog, with the ultimate aim of repaying our rather sizable debts. Grim though this prospect is, in the midst of it all I still feel an extreme gratitude for everything that has happened and for all the wonderful people with which we've been involved over the years. We've been lucky enough to work with some of the most unique and provocative artists of the last two decades, many of which have made indelible impressions in the underground, and by extension the larger world of music in general. We've also been fortunate to have had the support of a small but loyal following, who've constituted the very essence of our life force. We would like to take this opportunity to express our gratitude and love to each and every person who contributed to making this label what it is - all the artists who entrusted us as the custodians of their work, all the people that bought or listened to our releases, and all the people who performed the various label duties at various offices (and houses) across the continent.

...and this brings us to the present moment, where in all honesty we are in need of financial assistance from anyone and everyone who's willing to throw us a rope. Though it is highly unlikely we'll be able to resuscitate the label, we do wish to follow through on the final round of releases to which we're committed and pay off our debts to our artists and manufacturers. In order to do this we are initiating a massive sell-off of everything we can dig up and produce for the next 6-12 months. This will include discounted bundles of CDs/LPs/posters/etc, represses of certain titles for which we still have parts, test pressings, and whatever worthwhile items we can pull together. For anyone that is able and willing to fund our funereal arrangements please visit our direct mailorder or webstore and pick up whatever you can. Any and all support is greatly appreciated by our remaining team, and will be put to the best use possible.

There is no way to sum up nearly 20 years of incredibly important music, experiences, and evolution other than to say a big heart felt "thank you", and that we hope this closing will provide an opening into other even more positive and rewarding experiences for all of us and all of you who have been a part of our shared experience. For now we bid you all a very fond farewell...."

The LA-based Hydra Head label have been a brilliant and influential label for many noise and metal acts, finding and/or housing and/or supporting the likes of Jesu, Boris, Melvins, Big Business, Harvey Milk, Envy, Isis, Pelican, Oxbow, Torche, Prurient, The Austerity Program, Helms Alee and Old Man Gloom, just to name a few. This is mighty sad news indeed. Over the next 6 to 12 months, as stated above, they will be selling off all their wares, so make sure you get in there, buy some of the best shit out there and support Aaron and co. They will be sorely missed.

Dressed In Wild Colonial Gold & Red

Brisbane's Nikko have been busy with supports for ...And You Will Know Us By The Trail of Dead and Boris, plus having made a brief sojourn to Melbourne. And although one member still lies ensconced in that chilly city, and other projects have occupied some (Ryan Potter's The Scrapes and The Maryettas getting shows around Brisbane), they are about to drag you further down into their darkly eloquent Gothic Outback Western apocrypha as they prepare to drop new LP Gold & Red through the stellar tenzenmen Records (alongside Music Fix).

Opening with the brooding, ominous 'The Child', Nikko envelop you with their atmospheric wall of sound, here perfectly captured by Cam Smith (of Tiny Spiders/Ghost Notes/St Augustus fame, and whose recording efforts include Velociraptor and the mighty No Anchor) in the cavernous orchestral hall of Brisbane's historic Old Museum. In fact, such an environment is perfectly suited to the band's melodic post-rock steeped aesthetic, with that lost country twang in the saddle also (the drawl of 'About The Spirit' perfectly exemplifies this). Aaron Cupples (The Drones, Snowman) and Nao Anzai (Laura, Because of Ghosts) mixed and mastered respectively, and their presence is immediate. Anzai in particular is well versed in these instrumental-based multi-layered sounds. Ryan Potter's voice is beautifully captured here, which isn't an easy task (his deep baritone can lose its rich timbre if not mixed properly). In fact Gold & Red is epic in every sense, the noisy moments are incredibly emotive, the quiet moments offered enough space to dance to its own tune without feeling perfunctory. 'Never Danced' is one of the most beautiful songs they have ever created, whilst the chugging rush of 'Dark Eyes' is a locomotive of smouldering tension. The title track is the most likely to evoke Western epics like Deadwood or The Proposition in its plaintive plinks, the itch before the storm, and it is the perfect example of how clever and evocative these guys' compositions are.


Nikko continue to carve a unique path across the Australian musical landscape, and Gold & Red is further proof that such rustic post-rock mysticism is warranted - nay, vital - to our Australian musical landscape.

The album is out on CD soon, and later on gold & red vinyl - I'm gettin' me some o that! They are also launching the album at The Waiting Room on Saturday June 23, as well as having an in store at Tyms in July before embarking on a national tour.

Video Vacuum - BRISBANE EXPLODES!!! (plus the best video ever in Spiritualized...)

Whilst it is with dismay that I am yet to take part in either Meredith or Golden Plains festivals, I still benefit when that crew get a line-up going. Every December and March respectively, the bands that wing their way to Australia for the festivals and slot in Brisbane sideshows to boot (except Roky Erickson...sight...). The upside is that you don't miss out, AND you get more intimate concert gigs. The downsize is that you have to pay through the teeth to see them all, which isn't possible anyway because bands invariably clash (hello Ariel Pink and Endless Boogie (although that was an easy choice to make, Endless Boogie being one of the raddest bands on the planet and all).

Tonight sees some craziness involved, yet only one international band is taking the spotlight. The fact that it is the brilliant Japanese genre-defying trio Boris, supported by the excellent Laura and "local" legends Nikko, breaks my heart. So if you are getting along, it should be fucking amazeballs (I saw them at the Islington Garage in London back in 2010 - they killed...) If they play this (which I certainly hope they do), I will shit myself from pleasure. And I won't even be there. I just know this song from osmosis. If you can smell me, it can only be a good thing...



One of the most underrated Melbourne bands doing the do at the moment is Dead Farmers. They just released a killer 7", and are making a rare appearance in the Sunshine State supported by Per Purpose and Sewers (thanks Bedroom Suck!). I'm very bummed to be missing this show too - plus it'll be one of the last gigs to play the sadly closing Woodland venue (goodbye $5 Tooheys schooners!). So here is the video for their latest single, you lucky devils!



Now whilst they are further down the bill at the Alhambra Lounge tonight (supporting the effervescent Velociraptor, with the irascible Tiny Migrants also in support), I haven't played this ace vid of Tape/Off's 'Hell Comes To Frogtown.' Great name, great song, tripped out visuals. I'm there (in spirit...and in boozy reverence later!)



So where will I be tonight? At the 5th Sonic Masala showcase, of corks! Where you all should be too. We have Fred Savage Beasts (a side project for the aforementioned Tape/Off's frontman), Motherfucking Morgan Freeman and Crass Creatures ready to tear your ears off and feed them to you through sweaty desperation (true story - I've had them locked up in cages with nothing but a bowl of stagnant water and their instruments as sustenance). Franco Cozzo heads that bill, and the Melbourne duo (SM's first interstate guests) are intent to bludgeon your torso with brutal notes until you dance like a loon and holler like a banshee. Have listen of a track they played at the Workers' Club last year for verifiable proof that tonight will bring about world peace.



I should end here. But then I NEEEEEEEEEEEEEEEEED y'all to watch and listen to Spiritualized's new song/video, 'Hey Jane'. i think it is possibly the best video EVER. For real. Comments welcome. In fact, this video may feature in another post next week, because outside the wedding I'm going to and the writing I'm required to pump out so that I can get the bread in order to live, that is all I'll be taking notice of. It's fucking incredible. My gift to you (only if you give up a tenner and come to my show).

Spiritualized 'Hey Jane' from Somesuch & Co. on Vimeo.

NOW GET BACK TO WORK !!

Politely Give Your Attention To Boris

I came to Boris through my sister's iPod - another one of the bands that Im inexorably grateful to her douche ex-boyfriend for... Anyway, the album was Pink, and it killed. Still does. Since then Ive been able to appreciated the pendulum-like swings of each of their releases. The Japanese avant-noise trio are the epitome of eschewing expectations, for over the twenty or so albums the band has released since the turning of the new millennium (and if you don't believe me, check it out here), they have mined so many genres, albeit with a heady sense of intensity, that classification is a futile cause. They mix up dirge, drone, punk, no wave and pop with wanton abandon. You never know which Boris is going to come rushing out of the speakers at you, only that it will invade the senses. Most of the time this is a good thing - in the case of this year's Heavy Rocks (the same name of an earlier release of theirs - I dont understand that either...)

Attention Please, one of two Boris albums released simultaneously (the other being Heavy Rocks), is another bold directional tack, zagging where a zig would suffice. Wailing guitarist Wata, usually at the fringes of the back in a singing capacity, is the sole vocalist here, the first time she has taken the vocal reins for the entirety of a recording – and it’s amazing this hasn’t happened before. Her alluring voice soars, creeps, arouses and distances in equal measure. The breathy delivery of 'You', the punky sing-song of 'Les Paul Custom ’86', and the sultry swoon of standout tracks 'Tokyo Wonder Land' and 'Spoon', adds a new dimension to an already multi-faceted group. It is the minimalist slant that is most surprising - and most effective. By dialling down the noise to just the most opportune of moments, its impact is stronger in its suddenness, and equally as effective when it leaves hushed tones in its wake.

Attention Please is an incredibly effective album, one where the three musicians known for losing their shit are more about control here, therein offering a depth of focus that’s astonishing.
Attention Please is out now through Sargent House and Other Tongues.
Boris -Hope

The Men Leave Home

I know I go on ad nauseum about Sacred Bones and the great releases they put out - and how sleek is their cover art! - but I cannot help it, they really are in their own realm, and I love it.

But The Men's Leave Home album is one that I knew a bit about before it was announced that SB were going to drop it. Mainly through my friend Si, who gave me Immaculada and Dead Air Sessions to chew on as a goodbye gift when I left London at the beginning of the year. To say I was impressed is an understatement. Now that this is their first "major" release, a lot more eyes will be turned on to the Brooklyn freak droners, which will then melt Raiders Of The Lost Ark style. For listening to The Men for the first time is like discovering the Ark of the Covenant - pure euphoria and ecstasy, before the power within rips your face off.

'If You Leave' adds to the deception, the opener seemingly a dreamy chillwave number before it dissolves into a psych ramble. Then 'Lotus' hits, and oh my God, strap in, because as Boris as this sounds, there is something slightly rusty and warped around the edges that releases endorphins and bleeding noses simultaneously. Its pretty ruthless from here on out - 'Think' is scary, offensive, and riotously awesome; 'L.A.D.O.C.H.' a cruel drone track that takes you by the neck, thrusts you into the dark and leaves you there to rot; 'Bataille' even more Boris-like in its texture... But this isn't generic, or redundant, in any sense of the words.

Leave Home kills, putrefies the remains, and leaves without so much as an acknowledgement to the atrocities that have just taken place, other than a promise to do it better next time. Jesus.

Leave Home can be bought here.

The Men - Lotus
The Men - Bataille

The Virtues Of Being Adrift In Gatton?

Ive waxed lyrical about Brisbane trio No Anchor and their new release, the double LP Real Pain Supernova, in the past (here to be exact) - Ive even interviewed them for other media - but did I tell you just how ace this album is? Probably not, but you should be able to guess. Its very, very fucking good.

Real Pain Supernova opens with restraint, the ambient sounds of ironically monikered 'The End' before the obligatory crunch of dirge-like bass guitars takes the breath away, as do the Ian Mackaye-like avuncular vocals that precede the abrasive screams. It’s this sense of controlled aggression and muscular musical promiscuity that really makes an impression here – 'Wolves Bite And Disappear' holds down a nitrous-injected blues beat across the breadth of its short running time, the breakneck ebb and flow (and anguishing howls) of 'Dead Pony', the Shellac-esque chug of the bass that underpins 'Come Again', also sporting the beautifully juxtaposing vocals of Joanna Nilson from Butcher Birds. Never do you get a sense that these guys are doing anything redundant, the music speaking for itself much louder than just sheer volume or the “novelty” of being a two bass/no guitar band could achieve.

Real Pain Supernova is a milestone of an album for No Anchor, who have never sounded more vital. This is perfectly highlighted by pivotal (and fittingly epic) epic track 'Gatton Bohemia' – a song in movements that has the trio showcasing their influences such as Boris, Sunn O))) and Om (the album was mastered by Mell Dettmer), then systematically pinning them down and beating them to death with their own instruments. It’s beautiful, harnessing the dark powers of feedback, dirge, sludge and post rock into what is, hands down, the best song about Gatton ever written.


You can buy the album here. For the love of whatever exists in your life as a semblance of a God, buy this. Then get down to Tym's Guitars this Sunday at 2pm for a free in-store performance!

No Anchor - Gatton Bohemia
No Anchor - Wolves Bite And Disappear

Friday Cover Up - Boris Unanchored

Another week down. Whether its been a good week or good riddance, we can all use a cover song to get us through to the weekend.

This week's cover comes from a covers compilation called Soundcrane, which was made by Brisbane artists to raise funds for the earthquake and tsunami victims in Japan. The concept is simple - to choose a song written by a Japanese artist and cover it. This is one eclectic record - there are traditional songs, a reworking of the Emperor's speech, and a few anime soundtrack tweakings - there's even a version of the score from Final Fantasy VII! But I have handed the gong to noise rock behemoths No Anchor, who tackle another noise rock titan and obvious musical touchstone, Boris. If you like this, head over to the Soundcrane Bandcamp and pick up this worthwhile and very original compilation.

Expect Real Pain Supernova With No Anchor

Last year Flingco Sound System put out a sampler of bands on their roster, one of which was no Anchor. Their song 'Wolves Bite And Disappear' killed, and Ive been hankering for some of their joint ever since.

now, not only do they hail from my hometown of Brisbane, Australia, but on the 9th of May 2011, No Anchor hope to release their new album Real Pain Supernova. They would LOVE to guarantee that this album will be released but there are no guarantees in this world. None. The band could all die mysteriously between now and the 9th of May. They could all take up dice living and just decide not to do the band ever again. Things happen. The apocalypse might happen, you never know. They could all be dead by the time you read this.

But if not, enjoy this raw, apocalyptic album - hey maybe this will be the harbinger of things to come? It was mastered for vinyl by Mell Dettmer [Boris, Earth and Sunn O)))] and will be available in s 2 x LP format from the band's website www.noanchorband.com (and their bandcamp). When was the last time an Aussie band fucked with double vinyl? Almost all of the album packaging is hand made by the abrasive trio and their screenprinting buddy Matt Deasy. There are only 150 copies of these all up, 25 of whcih will include deluxe versions (AKA extra shit like shirts and woodcuts). THERE WILL BE NO CDs - they are as dead as Diana! However, a free/donation digital version of the album will be available online on the 9th of May 2011 here, which you can stream now below! Unless, that is, something bad happens. And it might.


If you havent picked up on this already, Real Pain Supernova is out May 9 (and look at the artwork! Stellar...) No Anchor will launch the sucker on May 13 alongside Undead Apes and Dreamtime at Brisbane's Woodland venue.

No Anchor - Wolves Bite And Disappear

Cave Dwelling Witchery

Seattle’s The Cave Singers are preparing to release No Witch, their 3rd full-length album and first with the ace Jagjaguwar label (home of Black Mountain and Women amongst others). What seems like a strange jumping of ship – their first two albums on Matador did well, and sound great – comes more into focus when the producer duties were filled by dark maestro Randall Dunn (the aforementioned Black Mountain, Sunn O))), Boris). The result is a lushness and depth that was missing from these blues folk fringe dwellers, as well as coaxing out the psychedelic roar that has shadowed their live performances.

It all opens innocuously enough – “Gifts And The Raft” and the great “Swim Club” evoke the vulnerability that alt-folk Americana inherently holds dear. The gear shift though comes in the form of “Black Leaf”, with its fevered guitar, tambourine, and singer Pete Quirk’s rambling rasp becoming a manic growl. It has a devilish swagger that has only ever been hinted at, and it clearly revitalises the band.

With the precedent set, No Witch runs into the hinterland in impressive fashion – the Eastern-tinged psych of “Outer Realms”, the whisky-fuelled CCR inflections on “Haystacks” and the amazing woozy space-out of “Faze Wave”. Closer “No Prosecution If We Bail” ties this menagerie up nicely with a short down-home visceral blues blast. Even when the three-piece return to their bread and butter, such as in the languid “All Land Crabs And Divinity Ghosts”, there is a renewed vigour present that electrifies.

Dunn’s fingerprints are all over this, no question – but you cant help that by releasing the beast, The Cave Singers have released there is another musical plane to be reached, and No Witch is a clear indicator that they are well on their way.

No Witch is out February 18.

The Cave Singers - Black Leaf
The Cave Singers - Faze Wave

Getting The Night Terrors

I only came across Seattle's Helms Alee a fortnight ago, which is a god damned shame. The best band on Hydra Head Records (sorry Torche, you're just pipped here), they released an album back in 2008 called Night Terror. Its brilliant. Brilliant! I thought it was new - I wanted to put it on my top ten of the year - I now want to step back in time and hear it in its infancy, then spend 2 years listening to it... Its heavy, melodic, raw, yet well defined - its marriage of post-metal and shoegaze indie is engrossing, and astounding in how well its been executed here. The three piece (Ben Verellen, Dana James and Hozoji Margullis) trade melodic density, tremolo-stained guitar, churning bass and akimbo drumming with unauthorised efficiency, and the amazing guy/girl vocal interplay with their deft understanding of quiet and tense layered build ups adds further dimensions to each track. I love this album!!!!!!!!!!

Since then Helms Alee havent released much, although Verellen has introduced his own amplifiers that are amazingly crafted and used by the likes of Sleep, Young Widows and Against Me. However they have just completed a massive tour with the likes of the aforementioned Young Widows, along with Red Sparowes and Boris, and are finally reentering the studio with Night Terror producer Matt Bayles for an album ready for early 2011. In the downtime between then and now, get Night Terror. Its amazing.

Helms Alee - New Roll

Helms Alee - A Weirding Away

Mirror Mirror On The Wall, Who's The Tinniest Of Them All?

Mirror are a Japanese four piece who formed in 2006, released one album, and disappeared again - or so it seemed... They have a new EP out, Recollection (on Catune Records, also home of the ever brilliant Boris). To be honest, when I started listening, I wasn't sold - this kind of math rock instrumental noodling is getting done a lot these days, and more oft than not it comes across as too many ideas thrown into an industrial sized fan and then the splattered remains are recorded. Sure, ou can play the guitar with gay abandon (and amazingly intertwined), you arent flubbing chords like most garage bands are these days! But how about a little originality, a bit of creativity - a bit of SOUL?

Well, just when I though Recollection might be too clever for its own good, we come to 'Tin Toy'. The math pithiness is toned down for a more spatial development that evokes Tortoise, and with more effects and ambience we have a real track on our hands! Enough to allow me to monitor their progress. If they can expand their musical breadth along these lines, we might have a band ready to climb the ladder into recognition.

Mirror - Tin Toy