Tag Archives: Industrial

BACKYARD RITUAL: Small World.

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Small World by Backyard Ritual was released last summer, and I’m a dummy for not writing about it sooner. Backyard Ritual is the project of Ian Campbell- the main songwriter of a band I’ve written about many times and love a hell of a lot- Pop.1280. Ian reached out to me about this record, and I genuinely never thought someone from a band I love so much would ever do that! The first person (and only besides this) I told was my uncle because he too, has an impeccable taste in music and is also a fan of Pop.1280. If anyone was going to know how big of a deal this was to me, it was him! Anyway, story out the way. Time for the music.

Small World is a tense and atmospheric record. It’ll keep you on edge but at times it will calm you down. I love how dark the record and how it feels it could easily have been used in an early John Carpenter film. There’s a lot to love and take in on this record, and I really appreciate how you can take in the minimalism approach on this record. Interboro reminds me of The Vacant Lots- there’s that New York feel to the record. I’ve said it before that some bands/artists make you really pick up on where they are from. You can really put a place to the music, and Backyard Ritual do this so well. You feel like you are scoping the alleys of New York late at night when you listen to this record, and you even get that when you listen to Pop.1280 but I’m not here to compare old bands to current.

The debut full length record is dark and eerie; the best records usually are. There are Industrial and Post-Punks influences on this record, and it doesn’t feel heavy. I know I mentioned above that you immediately feel you are in NYC when you listen to this record, but you still pick up on other feelings on this record. It’s perfect for if you are feeling lost and want to be found. There’s an urgency to it, and there are also slight laid-back moments too on this record. It’s a gorgeous Electronic record if you are in need of genres to be thrown around. But honestly? It goes beyond that. It’s a solid record. A really captivating debut record as Backyard Rituals, and there are moments on this record that are truly heavenly. For me, the gentleness in the middle of the record on Circumstance shows just how brilliant Ian is as a musician. The record does start powerful and it is then toned down here, and it then picks up. You don’t know how to feel, but you take it in any way because it’s such a big record. For me, I feel you could easily put your headphones on and soak up this record whilst wandering the street late at night or on the night bus to get you wherever you need to go. It’s a late-night record, and they are usually the best ones.

There’s something about this record that makes you feel like you’ve gone back in time but also stepped foot into the future with it. In its own effortlessly slick way- Small World is timeless. There are nods to Ian’s previous projects on this record, but there is also something brand new here. Something we’ve not heard before, and it truly comes to life on songs like Amateur Journalist and Proxy. At the moment, they are my two favourite songs but we know that the more I listen, the more likely I am to find a different song to love. In short, it’s a bloody remarkable record and one I am so glad I have been made aware of. Imagine going through life, and not knowing about this record?! How boring! How unfortunate!

If you love bands like Cold Cave, Harsh Symmetry, The Vacant Lots- then you’ll fall in love with this one. In just 9 songs, Backyard Ritual have created something really long-lasting and important. There’s urgency throughout this record and there’s so much to appreciate. I don’t think I’ve even touched the surface on describing how great it is, but hopefully if you listen to it too, you’ll hear it. You’ll pick up on how vital and slick this one is.

DEATH INDEX: Civilized By A Lie.

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I swear I thought I was dreaming when it was announced that there’d be a new record by Death Index. I thought we’d only ever have their 2016 release and that would be it. Fans yearning for more and not getting it. 7 years later- it’s here. It’s been here for a few weeks but my ability and want to write anything has kept passing me by. Zero interest, but I think I’ve got there now so I’m going to try tell you why the new record by Death Index is every level of perfect, but maybe you already know why.

Death Index are Carson Cox and Marco Rapisarda. Both have been/are in bands that are brilliant in their own way, and different to what Death Index is. Death Index is a different level to anything you’ll have heard before. Civilized By A Lie isn’t as brutal as their debut but that hardcore Punk energy is definitely there. They’ve not made a soft record- far from it. They’ve made the perfect follow up to their debut and yes, 7 years is a long time to wait but it is totally worth it.

The lyrics are Carson’s work and, in the lyrics, you can hear the frustrations of life in his part of the world in America. All kinds of discrimination have been flooding news outlets all over the world and it’s so exhausting reading about it, and when you hear it painted the way Carson does- you know you’re not alone in how frustrated you are.

No Cure For Madness echoes how messed up everything is and that maybe it won’t get better- just yet. Maybe it will. I don’t know. None of us do. Then it slips into Spirit. A song that sounds like a machine gun going off with words ringing out the awfulness of the world. Of course, there is good in the world, but we can’t create an illusion that everything is great can we. Music is an escape but it’s also home. This is the kind of record that you know needs to be witnessed live. To hear the loudness, to feel the chaos and to soak up every word on this record in a live setting would just be out of this world. The talent Carson and Marco have separately and together means that Death Index is always going to be a work of genius, regardless.

Another Hero initially feels like a motorbike picking up speed heading deep into the unknown. Into a world that may be better than what we currently have. It goes full throttle this song, and it touches on the despair of killing and the ending of a life. You can hear the despair in Carson’s voice, and the whole record just evokes so much in you when you listen to it. At times you feel you are listening to a band that have taken notes from Depeche Mode, Nine Inch Nails and New Order but then it shifts to a real hardcore political sound which is unique to them. Some may dance to these songs all carefree but some may just be in awe of the content and find something to really connect with. Or both. There’s no right or wrong.

It’s a heavy record, and some may feel uncomfortable listening to it but every ounce of this record is honest and open. For some, that’s uncomfortable but Marco and Carson have created a thing of beauty here, and it’s the kind of record you stick on when all feels a bit too much and you need something to sit down with and reassure you. It’s in songs like Shadows At Dawn (personal favourite) and it’s in songs like Ego-Dance.

11 songs in half an hour. 11 songs to fill a void. 11 songs to feel a connection with. 11 songs that fully justify why Death Index are brilliant. If we have to wait another 7 years for a record that is at this level again, then so be it. Worth the wait.

Play it loud. Play it alone. Play it through headphones. Play it whilst you take a walk. Play it to anyone who will listen. Play it loud.

POP.1280: Museum On The Horizon

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Pop.1280 will release their new record Museum On The Horizon next month, and I am so excited for this. With one listen down so far, I can promise you that it is one of the most brutal and passionate records of the year. For me, they are a band that bring everything there is to love about music together so effortlessly, but they can probably also scare you shitless. That fear they bring in their sound is so hypnotizing; and if you’ve ever been to a Pop.1280 show before, then you’ll know just how they bring that feeling in a live setting also.

There is something really dark and beautifully sinister about their sound, and that’s what has always drawn me in. They are one of the most powerful bands I’ve ever heard, and they just capture everything so well in their music. I can’t help but be in awe of every single record of theirs. They are just remarkable.

Museum On The Horizon is a combination of pure Industrial noise, Punk and something that is yet to be discovered/named. This is the case with all their records, but there is something about this new record that sounds like it has a stronger purpose. It was made to move the listener, made to scare them a little and also expose you to a different world. One better than the one we’re stuck in right now. There’s this beautiful like 80s Synth tone on Not Too Deep but the vocals add this roughness to it that just get you hooked. If you’ve never listened to Pop.1280 before then you’ve been missing out but this new record is a great place to start. For me, it’s just like listening to them for the first time. I think I first heard them in 2010/2011, and what I heard just blew my mind. Some bands come into your life at the right time, and Pop.1280 are one of those bands for me.

The new record reminds me of Suicide mixed with Nine Inch Nails; that heaviness is just divine and you feel like you’ve stepped into a world that is so sacred and so unheard of. I adore how menacing the record sounds, and one song in particular that gives that feeling off a lot is Two-Body Problem. It’s like chainsaws hacking at your brain but getting nowhere near the skin. It’s fucking frightening and done so effortlessly. I’ve never taken drugs before, but I’d imagine it would hit like a Pop.1280 record. I love how there is this sound on this record that you know will go over some peoples’ heads when they first hear it (think The Birthday Party) but in a few months or maybe years’ time, people will listen to this record and just be stunned by what they are hearing. It’s such a joy to listen to, and as heavy as these songs are- they are perfect to listen to when everything feels off.

The intro to Brennschluss sounds like it could be in some dark Thriller film that was shot in Berlin in the late 80s, with nothing but grey skies and rain for comfort. It’s such a slick song, and one you can’t help but gravitate towards even after playing the record over and over. At the moment, I’m calling it as my favourite on the record but I will have changed my mind by the time I’ve played the record again. That’s how you know when you’ve found a solid record. You can’t pick one favourite song but every song can fit your mood or be a comfort to how you are feeling.

I just love this record, and I really thought I couldn’t love anything as much as I loved Imps Of Perversion (best record of 2013 and one of the best records to have ever been released on Sacred Bones no question!) These songs are made to be heard live, and to be played as loud as you can stand. Imagine hearing Mission Creep live and just losing your mind to it. There is something so freeing about Pop.1280’s sound, and I think that’s a big part of why I love this band. There are many reasons, and with every record they put out- I find a new one.

Pop.1280 have never sounded like a band that are now. They’ve always sounded like something from the distant future- something we just aren’t ready for yet, but my god we need them. The songs on Museum On The Horizon are so beautifully crafted, and manic and just a joy to listen to. Human Factor, Right Hand Man and Noncompliant are just masterpieces. The whole record is a work of art, and insanely brilliant. Again, it’s one of those records that when you hear, it just makes you wish you could make something like that. The production on this record is perfect. Is it their best produced record so far? There’s no doubt about that. Everything on this record is just so enthralling. You notice so much from the way the songs flow into each other, to the rage in the vocals. Everything on this record sounds exactly how you’d want your favourite record to sound. It’s one of those records that should be studied- it is such an intense record, and all you can do is just keep on playing it and let the band take you on this euphoric ride away from your own daily dullness.

Something to really notice on this record is how all 3 of them have pushed each other to experiment more on this record. Pop.1280 have always gone beyond, but there is something about this record that just really leans into the band pushing themselves. It is a real joy to listen to, and there’s no way on earth you could ever get tired of this record let alone the band!

Nothing has been held back on this record, and that boldness is what keeps you constantly hooked. I never score records, but if I did this would be a solid 10/10 and even then, that wouldn’t be enough.

Museum On The Horizon is out on 24th September 2021 via Profound Lore Records.

GLACIAL PACE.

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Glacial Pace is a project by Bristol based genius, Chris Nicholls. This is something different to what they have done before, and if I can sum it all up quickly for you, then I think Nine Inch Nails gone rogue and darker would be pretty accurate. What they have done on their most recent release, Look Away is unleashing hell. Listen up.

Chris is in a number of bands, and in some respect Glacial Pace is everything that doesn’t really fit with the other bands that they are in. Glacial Pace is a brutal noise fest, and to compare what Chris does with this compared to Oh,The Guilt would be unfair. Polar opposite but both are beautiful. Glacial Pace is raw and unfiltered; it feels like an offload of rage, torment, frustration, love, despair and self-acceptance. Look Away was created out of anger towards transphobia, and as it feels like the world is taking steps back rather than moving on from archaic and vile views, we really do need this kind of music right now. Chris has that captivating anger and passion that could easily comfort anyone who has experienced transphobia. How someone can hate another person and be cruel to someone because they are being the person they are supposed to be is beyond me. I don’t understand it, but then again if I did understand, then I’d be a transphobe/small-minded twat!

Glacial Pace is a really heavy project, and you don’t play their music gently in the background. You play this when you need to get something out of you, and as we cannot go to gigs to unleash this- then doing it at home is all we have right now. As you go back and listen to the art that Chris has created for Glacial Pace, you cannot help but think the songs would be perfect for a really, really creepy and intense Thriller. There is so much tension in the music, and it’s that tension that keeps you on edge and leaves you feeling uncomfortable. You might not be able to sleep after listening to Glacial Pace, or you might just have insane dreams. The Process release feels like this dark, ambient soundtrack to a film that was made to mess with your head. It’s such a beautifully crafted piece of art. You really cannot help but be in awe of Chris’ talent.

This heavy Industrial feel is what has you hooked, and you find yourself not really mad about the lack of vocals because what Chris does with just sheer sound is take you far away into this spooky world that you never want to escape from. The songs will thump in your head, remain etched in your brain and you won’t be able to think about anything else. That’s what makes Glacial Pace such a thrilling listen. You have no idea what the next song will sound like, and by that keeping you on edge just adds that excitement that keeps you hooked,

Loose Ground is just under 5 minutes of being on this intense journey; as the ending draws in, the switch up in sounds makes you feel like you’re listening to two different songs but the magic is that, you feel like Chris is telling a story. The first part of the song is quite calm but then it builds up and up. Then this chaos ensues and it is so powerful, and so enthralling. It is easily one of my favourite things that Chris has done. You can really pick up a wealth of emotions on this song. The last few seconds of the song sound like a heartbeat or a train chugging towards a tunnel. It’s so beautiful.

There’s about 18 releases on their Bandcamp page, and I’d urge you to take some time to listen to them all. Either in one sitting late at night, or just take it easy with how you listen. You don’t need to do it in any particular order, but just make sure you do it.

You can listen to Glacial Pace right here and get your fix: https://glacialpacemusic.bandcamp.com

BIRTHMARKS: …And Then The Rain Stopped.

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I always thought I’d find it difficult to write about friends I have in bands, but it turns out it’s pretty easy- especially when you love and believe in what they do. Little Death Machine were a band that I absolutely adored and couldn’t get enough of. That band ended, and from it Daniel formed Birthmarks with his pals- Jason and Jonno. As I listen to their debut full length record, I can hear parts of LDM but also a sound of bands/singers I love. It’s a brilliant record, and the fact that Kerrang Magazine have written about them is also a huge deal. Again, another thing to be proud of.

…And Then The Rain Stopped is out next Friday, and with all this painful doom and gloom surrounding us right now, for me, I’m finding comfort in music more than ever. The record starts with How Do You Rule Me which gives me feelings of Bjork (Army Of Me flows right through this) early Placebo and hints of Nine Inch Nails. Basically, this song and the whole damn record sounds like heaven. Daniel’s voice has never sounded so good and so powerful, and when you marry this up with Jason’s drumming and Jonno’s bass playing; you just get something that feeds your soul and beautifully consumes every part of you.

The lyrics will get you right in the gut, and if the song Breathe doesn’t move you then I really don’t know what will. The record is full of songs that will break your heart, but you won’t mind because it will also give you comfort. That’s all you can ask for. If something breaks you, chances are it can comfort you also. The vocals are as raw and as exposed as the lyrics, and because you can truly hear the honesty and feel every single emotion on the songs- you cannot help but connect with them. There’s something so haunting about the whole record, and the darkness on this record really does get you right in the gut. For some it may be uncomfortable but for others, it’s a lifeline. The record is a work of art. I knew it was going to be something truly remarkable, but it goes above and beyond what I or anyone else could ever write about this record.

 

 

The songs touch on everything from love to loss, and all that goes with it.  Daniel’s mentioned that this record took 5 years to make, and you can absolutely hear the hardwork and dedication from them all on this record. I’m obsessed with the drums on this record, and how they heighten the emotions on this record. You have songs like Wax which is such a stripped back and vulnerable song, and it is one of the more tender moments on the record. Again, you can hear the raw emotion in the vocals on this but then it goes right into You Are One which could very well be the anthem for the band. You can imagine the crowd going nuts to this at their shows, it’s got such a grand feel to it and you cannot help but get immersed in it. The way the synths and guitar go together on this is just fantastic, and the way the guitar and drums get heavy at the same time just blows your mind. This one really homes in on the feeling of loss and a sense of betrayal, and it’s a brutal listen but it’s just another reason as to why you cannot help but love this band, and this record.

As far as debut records go, it’s fair to say that this is nothing short of incredible. The production is flawless, and the way the songs sound is just remarkable. It’s hard to believe that this is their debut full length record, and like I mentioned, you can really hear the hardwork in this record. Charcoal is a fierce song, it sounds like it should be in some disturbing thriller, and to be honest I really do see Birthmarks creating the soundtracks for films. This whole record sounds like it was made for a film; it’s a very theatrical record, and the atmosphere on the record will just send shivers right through you. It’s a very dark record, and I love how brutal some of the lyrics are and how fucking honest they are. Charcoal is like a cut to the soul, but you keep digging at it. The record is like an open wound that you cannot help but mess with. It’ll disturb you, you’ll wince, and it will be the best thing you’ve ever heard. I adore this record, and I just respect anyone who is this honest with their art.

The record touches so beautifully on human nature and how we fuck up, how others fuck us up and how it can be a vicious cycle at times. I love how experimental the record is, and how it doesn’t fall into any genre or any sub-genre. It feels like a film, a work of art. If this is what we get from a debut record, then there’s no telling what else they can do. It’s obvious it’s going to be mind-blowing, but I’m just massively in awe of this record and how they’ve all played their part in creating this gorgeous record. Pale and Midnight Blue are prime examples of how talented the band are, and I love that every song on this record gives them all their own moments to shine.

 

 

…And Then The Rain Stopped is mixture of every human emotion possible, it is the beauty of carrying feelings and it is the burden of being a human in one. It is a complex listen, and I can only advise that you listen to this record the first time round on your own, and in order. Just soak up the record. Once you’ve done this, listen however you want. We’re all looking for comfort and the like in isolation, and this record is everything we could possibly need and more. Birthmarks have made the record that makes me want to write about it constantly. Bands like this are why I write about music, and why I refuse to ever do this for money. It has to be for the love of it, and I will only ever write about what I love. Birthmarks have truly made something special here, and I sincerely hope that anyone who listens to this record feels the same because it NEEDS to be heard.

Allow yourself to feel vulnerable, and just open your mind up to this record. It’ll be alright.

Pre-order the record here and you’ll also find their cover of one of the most beautiful songs ever written, True Love Will Find You In The End by Daniel Johnston.

NITE FIELDS: A Voyeur Makes No Mark.

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NF

 

Where do I even start with writing about the new Nite Fields record? It’s spooky one, and one that I’m honoured to listen to let alone write about. A little different to what I normally write about, but there’s no better way of celebrating 12 years of this site than by writing about an incredible record.

 That’s right, 12 years ago I set this site up whilst in my second year of university. I didn’t think I would carry on with it, let alone let it go on for over a decade! So, with that in mind I’m going to tell you all about the exceptional new record by Nite Fields. If you’re obsessed with the likes of Cold Cave (Wes Eisold is a God/Genius) or Psychic TV or Autumns (Derry’s finest) or even Drab Majesty- chances are you will fall in love with A Voyeur Makes No Mark by Nite Fields. It is this glorious Industrial sounding record that has mind-blowing sounds flowing all the way through. It is made up of 8 tracks that will leave you in awe. When I listen to it, I am reminded of The Vacant Lots- my love for TVL is pretty obvious, and songs like Not Your Time remind me of some of TVL’s songs. I bloody love it, and it is such an exciting record to listen to. I adore the distorted and eerie vocals. Sure, I’m a massive Punk fan, but whatever you want to call this- this is what really gets me in the gut too.

 The new record is a 10/10 for production. Yeah, I never ever mark records because I am not that kind of person, but I really want to point out just how fascinating every element of this record is, and the production is really something else. The new record is essentially a solo project now, and Danny did the record in Moscow. You can hear the coldness in this record, and it is such a great listen.  Invitation and Voyeur are such powerful songs, and they have a grander feel to them than what we have previously heard by Danny/Nite Fields. You can truly hear the devotion and connect with the creative process on this record, and in a world where everyone wants everything immediately and has to annoyingly share it online immediately; I love how Danny has made something truly worthwhile and deserving of treasuring. Honestly, the production on this record is flawless.

 

 

 

A Voyeur Makes No Mark is a really stunning record, and I love how Danny takes you on this highly intense, and euphoric journey. It’s like you’ve stepped into this decadent underworld that not many are aware of, and the possibly shy away from. It’s full of songs that will make you move in ways no other could. It is full of songs to really lose yourself in. It is just a phenomenal record, and I’m pretty sure that amongst fans, this will become an instant classic. It’s a record ahead of its time, and I sure hope it causes enough demand for a UK tour. Depersonalisation came out 5 years ago, and the leap in the sound, arrangement and production is so great. It’s such a joy to listen to and although it is only 8 songs long, it is enough to make you realise that Danny is truly making something special here. I mean it was obvious 5 years ago, but there’s something about this record that is really beyond anyone’s expectations of what was going to come next from Nite Fields.

 The record ends with the mind-fuckery that is Do It In Reverse. Everything about this song feels like it was made to mess with the listener’s head, and I love that. I love music that takes a listener out of their comfort zone and makes them feel a bit on edge. Danny does this all through the record, but the final song really, really does this in a different way. I can’t really explain but what I can tell you is that every ounce of his talent truly comes through on this song (obviously on the whole record too, but you know what I mean!)

I only write about what I love and will always do so. I’ll never ever find fault, and I will always do my best to get across just how great a record is. I really hope I have done this with the new Nite Fields record because it is such a great listen, and the whole experience of listening to it is just perfect. Bands/artists like Autumns, The Vacant Lots, Drab Majesty- they are really making a difference with their sound and take listeners to some place sacred with their art. Danny/Nite Fields does exactly that too.

 The record is out in April and will be released via Lost Race (if you want the vinyl version) and Perfect Aesthetics (if you want it on tape.)

VHS DEATH.

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VHSDEATH

 

I’ve said it many times before, there is something really special about Bristol. I don’t need to give you names of the bands I love from there- you already know. There is something about the music scene there that is so diverse, so special and just a joy to listen to. It’s just a haven of exceptional talent, which leads me onto VHS Death.

 VHS Death is the solo project of Natalie Wardle (previously of Returning Videotapes) who is based in Bristol. VHS Death is this beautifully haunting project that is full of these dark and eerie Industrial sounds. Natalie’s debut release as VHS Death consists of seven songs that will hit you in the soul and will be swarming round your head for days. Hawkmoth (Death Head) is just shy of seven minutes long, and it is such an incredibly open song. The lyrics are so brutally honest, and the way Natalie speaks and sings them over this heavy Industrial sound will just blow your mind.

 

 

Although the record came out in November, we can say that this song is one of the heaviest and most honest songs we will get this year. It is heavy in many ways, and I know some of us don’t want deep and meaningful- we want music to be an escape, but with this-it brings you into the reality. It’s nothing short of perfect.

 These seven songs on Llorona are brilliant insight into Natalie’s mind, and these songs are just a masterpiece. They are this captivating journey into the world of VHS Death. I love sounds like this. Sure, at heart, I’m a Punk but I love this sound. Bands like Psychic TV, Cold Cave, Drab Majesty- I bloody love them. VHS Death is up there for bands that will move you, for me. Easily. This is all Natalie’s work, and you can truly hear the passion and devotion to this project in the songs.  I adored Returning Videotapes, but VHS Death is a different direction- and that’s what we need. There are bits of the song DMT that remind me a little bit of A Forest by The Cure. It’s the atmospheric background sound that feels like a grey mist clouding your surroundings. It is wonderful, and just a real joy to listen to.

 Each song is so easy to become obsessed with, and I think when you first listen to this record you see it as this eerie and slightly dangerous body of work. But the more you listen and let yourself mentally dissect the songs- you see it as something completely different. There is so much going on but that doesn’t mean it is a difficult listen at all, far from it. You can truly imagine these songs in a live setting and songs like Prey and Nothing are probably the ones that’ll blow us all away when we see a VHS Death show.

 Something that is just beyond incredible is that Natalie will be taking this project to LA in October as part of the Deathwave Records Festival. If I had a hell of a lot of money, I’d fly Business Class and go out there for it. I say Business Class because I want to be able to sleep in a bed and forget the fact I am up in the sky and cannot roam round freely or get off at the next stop. Maybe one day.

 

 

Broken Glass is a heavenly seven minute euphoric delight, and after it we a treated to the gentle and ethereal Elara. These two songs together are something to really treasure. The way they flow into each other really shows how exceptional Natalie is, and how with just one record as VHS Death has made something you want more and more of. I really cannot wait to see what happens next with this project.

 You can stay up to date with all the VHS Death information you need here: https://www.facebook.com/pg/VHSxDEATH

GROSS NET: Gross Net Means Gross Net.

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GN

 

I’ve said countless times that music is a form of escapism for so many, but sometimes you need something to keep you right where you are- even if it is daunting, or terrible. I’ve always admired Gross Net (or Philip if you want to be proper) and how his mind works. He is one of the most expressive souls out there, and he takes you on this futuristic journey every single time. His newest record, Gross Net Means Gross Net is one of the most experimental records I’ve heard in a long time. It’s got this Scandinavian Noir feel to it; it could easily be played in some Thriller TV series as something truly gruesome and barbaric is about to happen. It is a creepy record, and it is nothing short of exceptional. I’m going to do my best to explain why this is one of the most out there records of the year.

There’s been a few years in between this record, and Philip’s last Gross Net record. This is a totally different sound, and as someone who is influenced by what they see- Philip has truly taken the state of the world (mainly the UK) and given us this tense breakdown of the shitshows that are occurring daily. Think a really political version of Einstürzende Neubauten with hints of Psychic TV. Basically, two of the greatest bands ever rolled in one. But, as we know, Philip is his own creation and a bloody genius. What this record gives you is something so eerie and captivating.

 

 

The best time to listen to this record is when it starts to get dark. This is not a daytime listen- this is dead of the night listen. I mean, it’s only 18:47 but it’s pretty dark out now so, and it works. You cannot help but be absolutely consumed by these songs and how remarkable the production is. It is, for me, the best produced record of the year. Shedding Skin is probably one of the most gloriously composed songs of the year. These aren’t just sounds, these are synth-based symphonies that will take over your soul in the most beautiful way. I love everything about Shedding Skin. It’s just over 6 minutes, and the lyrics are sure to hit you in the gut- they are explicit to the core (I mean in an exposing of the soul kind of way) and it isn’t hard to truly connect with this one. You can just imagine it being performed live in a basement bar, almost pitch black with a smoke machine creating this eerie mood, and a tense atmosphere crashing over.

Every song on this record serves the sole purpose to ignite the listener, and to get them to a place where no other piece of music could. The music alone on this record is so spooky and is comforting at the same time. Although there’s a song on the record named after a terrible person (Theresa May) it is actually one of the most gorgeous pieces of music you’ll hear. There is no need for words on this one, you can create your own story to this beautiful instrumental. In a way on this one, you get a glimpse into how Philip’s mind works- you can hear the care and feel the thought in this piece so much. Then it slides into Gentrification which almost feels like it could be played at a rave at 4am somewhere. He can make you flitter between several emotions on this record, and that just makes me admire him even more. He’s easily one of my favourite musicians around (and I think he knows this!)

 I love how the songs can touch on subjects you don’t really hear in modern music (how we’re all prone to consuming too much and not being aware of the consequence, thus turning a blind eye to our future) which can really be felt on Of Late Capitalism. Gentrification leads into Of Late Capitalism in such a succinct way, again it is another moment on the record where you can really pick up on the thought and care that has gone into this perfect record. Philip has massively pushed himself on this record, when you listen to his previous records you can hear something on this record that you haven’t quite heard him do before. It’s a cross between very early Scott Walker meets Suicide (the best duo ever), with hints of the future. It’s such a stunning record to lose yourself in. Dust To Dust is heart-breaking but my god it is the most beautiful song that Philip has ever done. To date, this song is the best thing he has done. Obviously, that’s just my personal view, and maybe I’ll change my mind but lyrically and the composure of this song is nothing short of mind-blowing. It just shows us how much of a genius he is, and how unafraid he is in his approach to creating such powerful music.

 

 

Gross Net Is Gross Net is one of the most thought-provoking records of the year. Sure, Philip will take you to a different world with the sounds, but the lyrics will bring you right back to Earth. This record is made up of 10 songs to truly hit you in the soul. One person, just one person has made this absolutely vital record. It doesn’t tell a story; it tells the truth. It is a truth to really, really listen to.

URF.

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Supporting Crocodiles a few weeks ago were local band, URF. Manchester is known for having brilliant music scene. It’s something to be massively proud of, and another reason as to why I love this city.

URF capture the doom and gloom of daily life, but don’t let that put you off. They do it in a way that is so intricate and articulate; it’s sheer poetry. They have this effortlessly cool Shoegaze sound that will just blow you away. On record they’ve got something that reels you in, but when you see them live something switches. Their live shows are something else. There’s something really mysterious and industrial-like in their sound. They have a song called Night Driving which is one of their greatest, if not best song to date. That’s just my opinion, mind. I love how intense it is, and also has quite delicate moments within it. They take you for a ride on all their songs, but this one in particular takes you further.

 

 

For me, they are the kind of band that after hearing once- you’re hooked. I love bands like that, and I love this really intense atmosphere they have. Each of them create this mood, and it’s just a pleasure to listen to. For The Ride shows us just how powerful Abbi’s voice is, and I can honestly say that her vocals live are even stronger than on record. For The Ride has this euphoric build-up, and the instrumental part of this song will leave you covered in goosebumps. It’s the kind of song that leaves you in awe, and completely taken aback that something can be this great. It’s a beautiful song, and that instrumental part is just perfect.

Now we’re going to get into their new song, Solitude.

Solitude is a heavy word. It’s something most would shy away from. There’s nothing wrong with being alone, and experiencing it is probably good for the soul because if you can’t tolerate your own company- who will? There’s nothing more peaceful and powerful than listening to music on your own. Just taking everything in, and grasping everything a song or record gives you. Solitude isn’t a dirty word. URF have created something really amazing with their new single, and it captures being alone perfectly.

There are dark moments in the song, sure. But it is beautifully done, and it leaves you wanting more and more. The instrumental will have the same effect on you also, and maybe that’ll take you to a different zone. Music that can elevate you or just take you out of where you are mentally is so powerful, and I adore that URF have done this again. They are so hypnotic and bold; it’s a sound that I cannot and will not ever get tired of.

Solitude is the kind of song you’d hear on a Scandinavian detective drama (either whilst a detective loses his mind or something brutal happens) but don’t let that put you off. I’m basically getting at, URF have made something here which shits you up but is also ethereal. Seventeen Seconds by The Cure- that’s the same level that this song is on. Of course all their songs are, but Solitude in particular is on that level.

https://soundcloud.com/weareurf/solitude

 

URF are nothing short of incredible. They’ve supported the likes of The Brian Jonestown Massacre, Crocodiles and Estrons. They will also be playing the Manchester Psych Fest this year. They are also playing their own show at YES on 15th June!

Buy their music, go to their shows and wear your URF shirt with pride, like me.

I can’t praise them enough. They’re just such an exciting band, and are making something that really hasn’t been done before. You can throw in all the comparisons all you want, but it won’t stick because URF have something. It’s something that goes beyond words, but will evoke all kinds of feelings. Get lost in the music, it’s all you can do.

COEVAL.

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You know that feeling you get when you hear a band for the very first time, and you just know that you’re going to be a fan for as long as they make music and not even them splitting up could taint your love for them? That’s EXACTLY how COEVAL have me feeling.

They’re pretty much a brand new band, and the three of them are just exceptional and make bloody amazing music. The songs are dark. Really dark, and really heavy. They aren’t for those who like pointless mushy love songs. They are for those who want something hard-hitting, poetic and haunting.

This dark and eerie sound is something I can’t get enough of- the songs are euphoric and feel like you’ve stepped into a twisted film where you don’t know who to trust, or if you won’t see tomorrow or not. The sinister feel comes through wonderfully on Bene’s vocals. He has such a distinctive voice, and honestly- you cannot compare COEVAL to anything or anyone else. His vocals on Ex-Future will fry your brain and most certainly have you hooked for life.

For a band that are so new, this EP is so perfect and so beautifully put together. They sound like a band who have been doing this for decades. It definitely goes beyond what is expected from a band when they first put their music out into the world. The guitars sound like chain saws on New Light, and pretty much all the songs. They sound like weapons being aimed to take your soul and take over every single part of you. The drums will throb beautifully in your ears, and all you can do is turn the songs louder to reach this state of nirvana that COEVAL bring out. The songs may be dark and whatnot, but my god they are excellent.

I love the unconventional romanticism in the songs. Pure, just like a Nick Cave love song. I love the real rowdiness in the songs and how none of the band members dominate the other with just how talented they are. I am so in awe of this band. They are definitely up there with being one of the most exciting bands I’ve heard this year. They don’t sound like a band from London. They sound like a band who have roamed the Parisian streets at 3am looking for the meaning of life. They have this gorgeous sound that I reckon most will just lump as ‘Goth’ and be unaware of everything that is going on. They aren’t a band that caters to music genres. They are a band that will beautifully rip you apart with their poetic and captivating sound.

The EP has been released on the ever influential and always brilliant, Le Turc Mécanique who are constantly putting out exceptional Punk records, and beyond. It is definitely worth delving into their releases, and if you do- you’ll see exactly why COEVAL made them their home for this record.

Within 15 minutes, COEVAL have established themselves as being one of the best new bands around. If they can leave their mark like this with just four songs, imagine what they can do with more and more records. I’m super excited to see what they give us next and I hope they find their way up here in Manchester soon. Us Northerners would be honoured to have them.

Let the songs ricochet right through you, and fully embrace every feeling that COEVAL give you. Play loud, as always.