Zola Christ Pose

I love being struck dumb by a beautiful woman wielding the weapon of music. It happens on a fairly regular basis for me - what can I say, Im a romanticist at heart (...ahem...) Zola Jesus is my current favourite. The pseudonym for Nika Roza Danilova, also known for her cathartic work with Former Ghosts, Zola Jesus offers moody meanderings interspersed with shimmering atmospherics, booming bass drums and her iconic voice coming out of the ether. Her Stridulum EP is a cracker, a genuine step up from her two albums The Spoils (Out on Sacred Bones) and Tsar Bomba (on Troubleman Unlimited), both out last year. Zola Jesus - the siren that will lure my ship onto the rocks...

Zola Jesus - I Can't Stand It

Make No Mistake

Errors were one of the first signing to Mogwai's impressive Rock Action Records. They are a Glaswegian 4 piece whose brand of "post-electro" has impressed many a fan since their inception in 2004. They released Come Down With Me last month, an album that not only confirms their status as one of the premier acts in their genre, but shows a level of confidence and ingenuity that not only allows for exciting times ahead, but for the future of instrumental rock. Although comparisons with the likes of Battles aren't exactly unfounded, Errors are their own wild beast, and one that are nigh on impossible to resist their charms.

Errors toured here earlier this month (sadly I missed their Scala show), but are likely to be back soon. Also check out their physical releases - Errors and Rock Action put a lot of effort into their vinyl. Anyway, here's the opening track off Come Down With Me.

Errors - Bridge or Cloud?

Back To The Future

Scotland indie music is full of fare that are varying degrees of doom and gloom - or so the critics would have you believe. And they are differing degrees of quality - for every Twilight Sad, you get a Glasvegas. So I was rather surprised when Glasgow-via-Edinburgh's We Were Promised Jetpacks' new EP The Last Place You'll Ever Look crossed my desk. The name struck fear into my heart - shit, do we have another musically talented but socially and personally vapid bunch like...I dont know, Glasvegas? All worries were promptly dispelled however - the EP is an accomplished affair, and somewhat rare - at this point in time the lads only plan to physically put it out as a tour only offer, although it will become available digitally in due course. They have now piqued my interest - the quality on show here highlights why they are supporting the likes of Frightened Rabbit - and worth your while to check em out.

We Were Promised Jetpacks - A Far Cry

Red Sparowes Provide the Fearful Answer

Having culled current and former members from the likes of Isis, Halifax Pier and Neurosis, Red Sparowes goes to great pains to distance itself from those popular merchants of doom. And for the most part, it’s right to disassociate itself from the propulsive assault—the post-rock band’s most dramatic moments arrive in undulating waves rather than crashing full bore on the listener’s head. The band takes a page from Explosions In The Sky and Godspeed You! Black Emperor's epic soundtracks and marries them to the sinister buzz of early Sonic Youth for a uniquely disquieting sound.

I came to these guys via viral association - whereby a search engine or site (think Amazon) gives you recommendations based on what you have viewed/bought (an article on this 'phenomenon' to follow soon...). This was one of the few they got right.

Red Sparowes are about to launch their 3rd LP, The Fear is Excruciating, But Therein Lies The Answer. Produced by Toshi Kasai (Tool, Melvins), who also engineered their Aphorisms EP of 2008 (released as a 12" in 2009), the album promises to be a progression on their pursuit of the perfect balance of darkness and light. Expect an album review in the upcoming weeks. While you wait (hopefully in anticipation), sample a track from it below.

Red Sparowes - In Every Mind

Setting High Standards

Standard Fare are currently assaulting South By South West in Austin, Texas, one of the many bands trying to make an impression on the pundits, critics, labels and scouts that flood the sleepy US town every March. The Sheffield three piece are well prepared, going armed with their sunny power pop that has the ability to light up the darkest dankest beer-stained tavern. They are bound to make many a new friend, what with their electric and jubilant live shows and the dropping of their debut LP, The Noyelle Beat, next week. They are also doing an extensive tour of the UK over the summer.

Standard Fare - Dancing

Mogwai live!!!

Mogwai are (or have? I cant find it yet!) bring out a CD+DVD of live material for the first time (discounting the brilliant BBC Sessions LP Government Commissions) called Burning, directed by Vincent Moon and Nathanael de Scouarnec. Check out the teaser trailer below - Im salivating...

Mogwai Live Film "Burning" Teaser from Nathanaël Le Scouarnec on Vimeo.

Sung Gongs

Quasi have been around for quite a while, having put out various sized and themed releases through Kill Rock Stars and and Touch and Go. They are also the "side project" of Heatmiser's Sam Coombes and Sleater-Kinney's Janet Weiss, ably supported on this album, American Gongs, by Stephen Malkmus and the Jicks' Joanna Bolme. Of course Quasi has outlasted both of those outfits (especially regrettable in Sleater-Kinney's case), but they have remained a niche oddity rather than a supergroup of sorts.

This is all about to change with this album. And they are actually touring it rather than sticking to Portland gigs, which will do much for their rotation. The album finally showcases Coombes' supreme axemanship and Weiss' authoritative drumming, and is further augmented by the fact that American Gongs is a proper album, with well constructed and cohesive songs. The Lee Ranaldo sounding "Little White Horse" and bluesy barroom glitter of "Rockabilly Party" show the band at its best sans the long workout jams (which are a treat live), whilst "The Jig Is Up" and "Everything And Nothing At All" denote their mournful, whiskey-soaked side. Quasi are a band that deserve to be noted - not just due to the superior musicianship of the parties involved, but to the fact that they are a fucking good band.

Quasi - Little White Horse
Quasi - Rockabilly Party

Album review - Dum Dum Girls' I Will Be

Its amazing to see the tidal surge of lo-fi acts getting major cred in the music industry in the past year. Industry buzz, combined with the ever expanding reach and power of the internet as a means of promoting music, has allowed many a bedroom swamp dweller to four track their way to semi-acknowledgement. A quick look at the bands swinging by Austin, Texas this month for the South By Southwest Festival is testament to the fact that scuzzy garage guitars, surf rock tendencies and 60s chamber pop sensibilities are, like, so ‘in’. And whilst I may say all of this slightly tongue in cheek, I am happy for this occurrence to be taking place, as there is a high percentage of good acts being discovered just through their mere association with the bandwagon juggernaut.

One band that seems to be riding the very crest of this tidal surge is the Dum Dum Girls. Growing from the solo thrashings of singer/guitarist/ Dee Dee, the past year has shown a meteoric rise for the now four piece group, as members from Vivian Girls and Crystal Stilts (two bands firmly entrenched in this world) have helped Dum Dum Girls crawl from the sea, develop limbs and opposable thumbs, and consequently attempt to take over the world, a lo-fi Godzilla.

At least, this is what much of the media hype surrounding them would have you believe.

In actual fact, Dum Dum Girls is still a band in its infancy, and its an enjoyable childhood to adolescence to adulthood experience to watch. Having released a series of singles and mixtapes for the likes of Captured Tracks and Zoo Music, Dee Dee has gradually expanded on her pop-punk romanticisms to include more bombast, more grrl riot, and a lot more melody.

Which brings us to I Will Be, the official debut album by the Girls out on Subpop Records. It is the first recording where Dee Dee has put music to tape with her bandmates in mind, and it shows. Aided by friends in high places (Nick Zinner of the Yeah Yeah Yeahs lends a hand on the album; Crocodiles’ Brandon Welchez turns up for a duet), a masterstroke of a producer (pensmith of My Boyfriend’s Back and purveyor of gems from Blondie, The Voivoids and The Raveonettes, Richard Gottehrer) and a strong label showing full unabashed support (Subpop being the seminal logo it is, its nigh on impossible to get better publicity), this is a diamond in the (surprisingly not so) rough.

Opening track “It Only Takes One Night” is a clear indicator of things to come. It is vintage Dum Dums, and vintage Gottehrer – gone is more of that fuzzy hazy sound that is synonymous with compatriots Vivian Girls, and in comes a sound more in line with the 60s girl rock groups and early punk rockers that the band clearly emulates. The reverb, cool but tough vocals, insistent rhythm section – it is the Raveonettes’ seminal Whip It On era noir pop, a decade on. Other songs, such as “Bhang Bhang, Im A Burnout” and “Oh Mein Me” show the sunny Shangri-Las influence in heavy repose. Dee Dee doesn’t change anything she has done in the past, with each song sticking to its purpose, eleven songs in total, only two breaking the three minute barrier. It is also great to hear a clearer version of two earlier Dum Dums tracks, “Jail La La” and the aforementioned Dee Dee/Welchez duet “Blank Girl”.

And it is this that makes the difference, and indeed makes this album more than just a sum of its parts. Gottehrer’s involvement is a masterstroke, providing the materials and know-how necessary to bring Dee Dee’s vocals to the forefront, distinguishing each instrument, and effectively bringing the Girls out of the garage and into the spotlight. I Will Be is what many others in this newly minted throwback genre have aspired to create – a true representation of ‘that 60s sound’, an honest homage, and a refreshing reinterpretation. These girls ain’t so dum(b) after all.

Action Bleet

The start of this year has been a bit hit and miss for me on the music front, don't get me wrong there's been some great albums out in the first three months of the year but when I look back at the start of 2009 I realise just how high a pedestal 2010 had to reach. One album that really set 2009 off to a blinding, crashing, hammering start was the debut 12" from Action Beat, The Noise Band From Bletchley. So good I bought it twice!

More a force of nature than a band, the ever expanding and contracting Action Beat are truly, the epitome of the word 'awesome' live. The torrent of noise crashes over you with the force of an apocalyptic hurricane, braking bones and winning hearts and thing is, you'll love it, you'll lap it up, even though it hurts. Wrapping you up in their man made maelstrom of raw energy this really is a band who want it hard, fast, epic and fun.

On record the Action Beat don't let up with the torrent, but form a tighter, more cohesive whole, binding their unstoppable force to hit home with a focused barrage of energy. If they do ever pause, its only to hit you harder.

Last year I was lucky enough to catch Action Beat twice at 113 and Baldwin's Boudoir, Dalston. It might of destroyed me but both times I would of happily gone for back more and more.

The next opportunity you'll have to chatch Action Beat live in London is at the Blues Kitchen with the ever mighty That Fucking Tank as part of the Camden Crawl, it 'll be a good way to go out!


Action Beat - Le Chap
Action Beat - Manic Face

Jerusalem and the starbaskets

Another band to open my ears recently, Jerusalem and the Starbaskets. This is heavy, psychedelic grind, like the rumble of a on-rushing train, bound maybe for Mexico from Missouri. Their 7" Room 8 - Swingin' Vine, came out earlier this month.

Jerusalem and the Starbasket - Gulf of Mexico

The Land Implodes

The fuzzy Chicago quartet Implodes have been floating around blog land recently, and thier track Meadowlands has been burying me neck deep in its dark, scary shoegaze fuzz for a while. Dark is the word here, like the rumble and hum of an oncoming swarm. Implodes push a haunted brand of the heavy shoegaze that's emerging from Chicago at the moment. I wait with bated breath for more.

Implodes - Meadowlands

Friday cover up

It's Friday, so time for a cover. I have to admit a good indie cover is a bit of a guilty pleasure of mine, so each Friday, just because, I'm going to pop a 'good' indie cover version. Now it could be debatable that the indie cover version is anything but cheesy, so I have some simple principles to what defines a 'good indie cover song'.

1. The cover must be of a recognizable song, otherwise, what's the point?
2. The covering band must add something to the track that the original never had, otherwise, again, what's the point?
3. And finally, it's got to be fun. No one likes a band taking a cover too seriously, 'cos then they're just like those shit cover bands down the local pub who think they're God's gift to music. Genius never rubs off.

So to kick us off below is a excellent example of a great indie cover, from the much missed Dustin's Bar Mitzvah (subject of future post, I promise). Thank fuck its Friday, enjoy!

Total Eclipse Of The Heart - Dustin's Bar Mitzvah

The Glove Fits #4 - Band of Horses

The fourth instalment of The Glove Fits sees a band that will be touring here next month. Seattle's Band of Horses have had a meteoric rise to the top over the past few years, producing two of the most beautiful, intricate and unique (I expect backlash there - bring it on, I have it all to back my statements up!) indie folk albums of the past decade in the process.

When I first heard this track, it was early 2006 and I was trawling the internet, settling on the Subpop website for the first time in quite a while. It was a revelatory hour or so for me, as I also discovered bands like Rogue Wave, The Helio Sequence, Holopaw and Fruit Bats. But it was The Funeral that caught me, and still does to this day. Its simple melancholic guitar plaintively screams BALLAD!, and yet as soon as Ben Bridwell opens his mouth I was stricken. The production is glossy and seamless, the entire musical palette on hand permeating the speakers to overtake your senses, happily in awe at a song that indelibly is invoking the inevitablity of a funeral.

Honestly, I cant remember a song that I played over and over consecutively on first listen as I did that day. Liars' Scissor has been the pick thus far this year, and even so I only listened to it five or so times before plugging it in with the rest of my playlist, waiting eagerly for Sisterworld's imminent release.

Even so, when they toured Australia at the eve of that year, I opted not to see them, instead spending my hard earned dough on Tapes 'n' Tapes and the Mountain Goats. I am yet to see Band of Horses - and wont see them this time around either (the April 12 show at KOKO already sold out, and the June 9 show at the Roundhouse selling fast). Still, all I need is my headphones and the epic production values that make this song positively shimmer, despite its subject matter, and Im golden.

Band of Horses - The Funeral

A minimalist folk/Krautpop car crash - that's nice to watch

Hortlax Cobra. Good name. It is the side project of John Eriksson, of Peter Bjorn and John fame. Not so good name (or band). Hey they are OK - that whistling song was catchy, before driving many to suicide due to ridiculous over rotation and product placement overdrive - but I like the new sound a little more. Its got a definite Kraftwerk/Notwist sound to it - it is ultra simplistic - and its a little innocent in its lustrous wonder. Eriksson claims that Hortlax Cobra is a futuristic pop/art amalgam, and that he was inspired by paintings, collages and sketch drawings when creating these sounds. Definitely worth checking out, that's for sure.

Hortlax Cobra - This Time That's It

Some Pivot remixes for you...

Pivot are one of my favourite Australian acts out there at the moment. They are good friends with my best mate's brother (who was their photographer back in their Sydney days), and they have relocated to London (along with another amazingly unique Aussie outfit, Snowman), and they are amazingly affable chaps that are brilliant at what they do - tight, atmospheric, damn catchy indie electronica rock.

Furthermore, Pivot - Pike brothers, guitar guru Richard and drumming demon Laurence, and electronomaniac and all round nice guy Dave Millar - are currently putting the final touches on their 3rd LP, following up the out-of-nowhere explosively impressive Make Me Love You and the assured brilliance of follow-up O Soundtrack My Heart.

Laurence will also feature on a Bill Callahan live CD where he took over drumming tour duties.

They are truly special - their gig at Hoxton Bar and Grill in May last year was a ephemeral sweatbox of writhing limbs - and will be touring again soonish. They are currently doing SXSW (arent they all?) plus scoring support slots for the likes of Morning Teleportation, Nice Nice, You Say Party! We Say Die!, and the impressive Quasi. They need to be heard (and seen) to be believed.

I will do an album retrospective of them soon (I am that keen for people to start listening to them...), but for now here are two remixes the boys have laid down in the past few months. The first was done for Warp Records 20th anniversary, a reimagining of Grizzly Bear's 'Colorado' off their Yellow House record. The 2nd is an example of probably the ONLY time you will see the Temper Trap mentioned on our blog. Not that they are deplorable - not just my cup of tea. Pivot makes them palatable here though - especially around the 2 and a 1/2 minute mark - quintessential Pivot. More to come!!!!!

Grizzly Bear - Colorado (Pivot remix)

Temper Trap - Fader (Pivot remix)

Gig - WHY?/I Might Be Wrong/Popular Damage/Josiah Wolf - Heaven, 16.03.10

Two gigs in succession. Not that big a deal - Ive done 5 gigs in 7, plus Glastonbury, plus ATPs etc etc... But when you have a bad back, any length of time standing can be quite difficult, regardless of its purpose. Last night it was Mono, which was truly an aural experience that justified the pain suffered afterwards. Knowing I was backing up though, I took some anti-inflammatories and some steel will and roll along to Embankment.

Heaven, a well-known gay club under the arches just off Embankment Tube, has opened up to live music bills of late, in an attempt to make itself a musical mecca on the London live scene. With the likes of Deerhunter, Holy Fuck, A Place To Bury Strangers, Surfer Blood, Caribou and Broken Social Scene playing there in upcoming months, it certainly is booking well. Furthermore, the venue itself lends to an amazing concert vibe - cavernous arena, high stage, light show already in place, amazing sound system... And although the drinks were steep, I am impressed with what can happen here.

I wander in, Red Stripe in hand, just in time for Josiah Wolf to sit himself down at the drum kit which is set up surreptitiously at the front of the stage. Drummer for headlining act WHY?, Wolf's stripped back folksy kitsch is quite far removed from his day job, although it holds some of that wit and charm. Its a short set, made up of only three tracks from his debut album Jet Lag and a couple of covers, but as he stated in the beginning, 'Im just gonna settle you into the evening before we take things up a little.' He served his purpose well.

Next up is Popular Damage. I knew nothing of this threesome before they came onstage, although they have done a remix of an XX track which they played halfway through the set, and have remixed Digitalism and Tegan & Sara in the past also. They definitely show a lot of promise - something akin to Chew Lips, although nowhere near as shit - but I came away thinking that it all was a bit too busy. So many sounds were being thrown into the mix that although the songs were catchy in parts, they didnt add up as a whole. Overall, space was needed, something that the listener can get a grapple of. As it was, Potential Damage put on an energetic show - vocalist/keyboardist/guitarist/effectist (see what I mean?) Nadine was having such a good time on stage that you couldnt help but get into it also - but for me, they showed a lot of potential, but didnt provide the damage their moniker suggested.

Third on the bill was Berlin's I Might Be Wrong. The five piece evoke mid 90s indie pop rock, and whilst their influences come across as rather obvious, it is not detrimental in the slightest. Singer Lisa appears demure and yet assured as the frontperson, her vocals soaring hauntingly throughout the tapestry painted by the other bandmates. The band dynamic on stage was strange - the bass and guitar being put at the back - it detracted from the set only a little, as the band went through a tight track list mostly from current LP Circle The Yes. An enjoyable gig from a band I endeavour to find out more about - maybe as soon as I get home...

It isnt long before headliners WHY? storm the stage. The band are quite large in their home country, and tonight it shows - it feels like Ive walked into an American college student union from the accents that surround me. The threesome have swelled out to five - and again the guitarist and bassist are relegated to back of the stage, this time to accomodate for keyboardist Doug, drummer Josiah and frontman (and Josiah's brother) Jonathan 'Yoni' Wolf. The man is a quivering ball of energy, prowling the stage as he breaks into first song 'The Hollow'. WHY? play tracks off a number of their albums, not relying on their more indie and laid back current LP Eskimo Snow. And it is clear from the crowd that they know what their public want. The band is a weird hybrid, with Doug's Wurlitzer and effects pedals, combining with Josiah's drumming and occasional glockenspielling, intermingling with spiky and controlled fretwork at the back, augmenting Yoni's quasi-rapping rants and quirky movements (kissing his fist; walking like a penguin; roundhouse kicks). He is an uber geeky hip-hop genius, with his storytelling evoking a weird marriage of the Hold Steady and KRS-1 (not that they sound like either...), and their sound changes from generic college indie to more elegaic folk to more frenetic compositions... Overall though it is a huge amount of fun, and is musically accomplished to boot. There is a lot of fist pumping and lyric shouting around me in the crowd tonight, and although I couldnt claim to have the back catalogue knowledge of those diehards, I was sad to see the lights come up at the end of the set - bad back or no bad back...

You can't see the daggers for the swords...

Forest Swords is a one man band - an enigmatic producer and musician who hunkers down out Wirral/Liverpool way. His musical leanings are indicative of his geography - the dark stringwork and guitar at times akin to F@A! era Godspeed! You Black Emperor, reverb soaked vocals, dub-step sampling, tribal drums, all providing a cold, enveloping presence. Its actually quite brilliant. He has just released his first LP, Dagger Paths, which includes this amazing cut, 'If Your Girl', which according to the Fader is an Aaliyah cover. Interesting. He also put out a mixtape, which had remixes of Burial+Four Tet and Wild Beasts, which is well worth a listen. I really really like this album - source it out. Its haunting and quite dark, yet utterly addictive. Also below is one of a 'triptych' of Forest Swords' videos, all available on Vimeo.

Forest Swords - If Your Girl

Forest Swords - Glory Gongs from OESB // FUTURE SOUND on Vimeo.

Gig - Mono, Scala 15.03.10

Last year was Japanese post rock instrumental gods Mono's 10th year anniversary. To mark such a momentous occasion (and to take a break from their famed incessant touring) the brooding four piece took time out to pen Hymn To The Immortal Wind, an album that truly epitomised the evolution of the band, then toured the world with an orchestra to bring it, and their past masterpieces, to life in a very different fashion. They played at Koko in saide guise, and it was truly phenomenal...so Im told. The gig sold out months in advance, and no means of cajoling or under the counter bartering could help me snavvle one of those hot tickets. Luckily the band have also put out a THREE LP+DVD release of their show in New York called Holy Ground, so that you can pretend you were there...

So we come to January 2010, when it is announced that Mono would be playing the Scala in March. I scrambled for my tickets, thinking that they would sell like hotcakes. Which surprised me so much when, last night, there were many a punter lining up to buy tickets at the door. My exasperation needed to be quickly doused by a feverish scull of an alcoholic beverage. But no biggie - I would finally be seeing them tonight, and they wil be great...they will be great...

And how. Their set being cut down to their more intimate, straightforward style - Takaakira and Yoda (guitar) bookending Tamaki (bass) out front, with the drum kit and imperial gong that is the domain of Yasunori holding proceedings at the back. Fully clad in black ( as always - I have not seen a picture of them since their genesis in any other colour), they ambled onstage to much acclaim, giving small bows before starting into one of the most sonically immersive performance you could ever hope to participate in. It is almost impossible to describe a Mono gig (or indeed any of their ilk - Explosions in the Sky or Mogwai comes to mind) in normal musical terms, as their 'set' is not easy to define. Although it is clear that they play seven songs all up, made most clear by the short breaks in between (funnily enough), the songs are placed in order to evoke an emotion - to cast a spell. Indeed, the crowd were in total thrall, allowing each song to build up in increments, the guitarists either seated on chairs or hunched over their effects pedals, Tamaki swaying softly as her bass drove these musical behemoths forwards, Yasunori dutifully tying everything together at the back. And when each song exploded - as Mono songs are wont to do - its not so much a release, as a realisation; an epiphany. This is heavy music, but not as you know it. It is beautiful - it is cathartic - it is dark, and yet golden. When Takaakira and Yoda meet together with their squalling distorted guitars, its like two massive acts of Mother Nature coming together as one, leaving everyone dumbstruck. The fact that any song could not stand out as a highlight is a testament, not to the mediocrity, but to the attitude of the songs - that they all informed each other, so that it was an experience rather than a series of songs like your average set list. Meticulously and emotionally performed, all without a single word spoken - a truly amazing gig.

Now with the gig over, Im not sure what to do with myself. I still rue the lost opportunity of missing Mono on their 'birthday', but am filed with awe at the display that I have just been privy to. They move on to storm the world once more, touring relentlessly. And it wont be that long before they are back, Im sure - that is, if you can wait that long. Im not sure that I - or anyone who witnessed them tonight - can.

Stop with the wolf monikers! Oh, its your actual last name? My bad...

Tonight over at Heaven Californian hard-to-categorise-ers WHY? are playing their - well, hardto categorise - brand of indie folk hip hop ness, and will be a gig that I for one am very lucky to attend. I have no real idea what to expect. However Im equally looking forward to the supporting cast. WHY?'s frontmanYoni Wolf is 'letting' WHY? drummer and his older brother Josiah let loose with cuts off his own album, Jet Lag. Josiah's brand of understated quirky folk pop is endearing and a perfect precurssor of what is likely to be an eclectic gig tonight. The album itself is nice and soft, not taking too many risks, evoking simplistic notions of Mercury Rev or Sufjan Stevens lite grooves and amusements. Check out the tracks below - The Trailer and the Truck being the best cut off the album, The Apart Meant more indicative of the album's tone - and buy a ticket for the gig tonight!

Josiah Wolf - The Trailer and the Truck
Josiah Wolf - The Apart Meant

Album review - Thee Silver Mt Zion Memorial Orchestra's Kollaps Tradixionales

Thee Silver Mt Zion Memorial Orchestra, in all its guises (A Silver Mt. Zion/The Silver Mt. Zion Memorial Orchestra & Tra-La-La Band/Thee Silver Mt. Zion Memorial Orchestra and Tra-La-La Band with Choir/Thee Silver Mountain Reveries), have struggled to get the acclaim that they most rightly deserve. The sole reason why is due to Silver Mt Zion (as they'll be referred to for the rest of this review) being formed by Efrim Menuck. Who? Just one of the core members of the seminal underground instrumental rock giants Godspeed! You Black Emperor. Mt Silver Zion was initially formed in 1999 so that Menuck could learn how to score music and do his own thing. Now, five albums in, has he and his collective managed to sneak out of his former band's all-encompassing shadow?

Whilst initially the band followed Godspeed's process of using samples instead of proper vocals to drive their compositions, Menuck has grown into a very comfortable leading man, his vocals (and indeed his music) moving forth at a great, and somewhat frenetic, rate. So much has been made of the evolution of this band , and indeed Menuck's vocals/lyrics, due to their genesis that it is often difficult to distinguish between the disappointed and the petty, the believers and the haters. And whilst the most notable difference in the two bands' sound are the vocals, and they have never been more prevalent than on new LP Kollaps Tradixionales, this is just one of many differences to Mt Silver Zion and their new album that not only makes them unique, but makes them an exciting and relevant band on their own merits.

'There Is A Light' is the most epic track on the album, and also serves as its opener, showing the ambition and grandiosity that have been mainstays of the band since their inception. What we also get is what I (and I imagine many Silver Mt Zion fans) have wanted in a while - an amalgam of the graceful soaring compositions of their earlier releases combining with their more angular and angry rock jams of latter years. So in the opening track we see the music rise and fall, an ebb and flow that reaches higher highs and lower lows with each try, yet never losing sight of its message of hope and self-worth. It is a truly beautiful piece of work, and as the strings, brass and percussion intermingle even four minutes into the 15 minute showcase the listener is in awe, showing that Menuck certainly has grown as a composer over the past decade.

It must be said though that this band is still very much the Rock Band that Menuck has been pushing it towards, as is evidenced by the new addition of tight drummer David Payant, and he is put to work on the next 'piece', the one two punch of 'I Built Myself A Metal Bird' and 'I Fed My Metal Bird The Wings Of Metal Birds', a dystopic maelstrom of grinding exultation, Menuck's creaky wail a constant throughout, ranting at us:

Did you see that star go out

I seen it burn
That little star went out,
Your little eyes went out...

before telling us to dance, motherfuckers. The nihilistic, politically charged soundscapes are further augemented by dark lyrics about burning flags and mud and charred earth, before coming to an audacious and yet world weary close on the other large track, 'Piphany Rambler', which strays from the book somewhat by never exploding like its predecessors on the album, providing no tension or catharsis, but preferring to trudge over the horizon, a truly dour and yet fitting close to this experential album.

In my opinion, the amalgam of various Silver Mt Zion musical tropes from over the decades and Menuck's vocals soaring over the top truly comes together on Kollaps Tradixionales. It is another of those true albums - one for the headphones. And yet it still has some outstanding stand alone tracks. This is just begging to be played live...

Luckily for you, you can see it in all its glory at Camden's Electric Ballroom next week, Tuesday 23rd March. Tickets are selling fast. It truly will be a sight to behold, so have a taste below.

Thee Silver Mt Zion Memorial Orchestra - There Is A Light