Most Girls are Potato
The Good Wife
The Good Wife - Most Girls Are Potato
Easily one of the best UK noise-rock acts in of recent times, South UK misfits, The Good Wife recently uploaded an album entitled ‘Love Songs’ their swan song of sorts comprised of a collection of tracks originally recorded back in 2010 and 2011.
Taking their cues from the likes of the Jesus Lizard, Racebannon, Cows and various luminaries from Amreps illustrious back catalog, The Good Wife play a particularly raw, dissonant and deranged brand of noise rock.
As the album unravels it also becomes clear that there’s also a eccentric, off kilter sense of humor at work not just in the song titles but also in the occasionally tongue in cheek lyrics.
Like Falling Leaves
Woods Of Desolation
Woods Of Desolation - As The Stars
Swathed in enigma, Woods of Desolation originally started life as the solo project of an Australian musician known only as ‘D.’. For the bands first recordings he was joined by UK vocalist and occasional bassist ‘P.knight’.
The latest Woods album ‘As The Stars’ features entirely new line-up including members of Drohtnung, Nazxul, Drudkh and Prestilential Shadows and continues to refine the atmospheric black-metal sound initially explored on the captivating debut album ‘Toward The Depths’. The effects of this are quickly apparent as sonically ‘As The Stars’ is a significant step away from the fairly abrasive, lo-fi production of their early recordings, as instead opts for an overall more majestic and grandiose sound.
More Is Less
Silent Front - More Is Less
Released earlier this month ‘Trust’ the latest album by the London trio Silent Front is both an excellent introduction to the groups fiery brand of hardcore-punk/minimal noise rock and an excellent addition to their already distinguished discography.
With their familiar jagged guitar lines, strident bass and rugged percussion firmly intact the group tear through the 8 songs comprising ‘Trust’ with a shrewdness that sees them breaking up their brooding post-hardcore tension with blasts of noisy punk-rock.
Actress - Rap
Billed as his last record to be released under the Actress moniker, Darren J. Cunningham’s latest album ‘Ghettoville’ is a excellent swan song and a fitting conclusion.
Constructed from a assortment of distorted R&B influenced rhythms, jagged noise, woozy basslines and warped vocals, ‘Ghettoville’ is at first an initially disconcerting listen. However as the album progresses patterns gradually begin to emerge from the murk, as Cunningham offers up glimpses of wounded beauty and subtle melodies.
Daggers - Woolgatherer
Whilst their latest album might be called “It’s Not Jazz, It’s Blues’ In reality the music of the Belgian quartet Daggers, has little to do with either genre and instead takes it’s cues from metallic hardcore, punk-rock and gloomy noise-rock.
Continuing on from their nine track 2011 LP “Euphoria”, left off. “It’s Not Jazz..” is a excellent reintroduction to the bands dark, twisted and perfectly executed take on modern hardcore. Whilst the LP is not due to be shipped until early March, a digital version of the album is available from the groups bandcamp.
Nightfell - Empty Prayers
Portland Metallers’ Nightfell, recently offered their latest album for download via bandcamp ahead of it’s forthcoming release on Parasitic Records.
With both members of the band serving time in a variety acts over the years including the likes of Alderbaran, The Howling Wind, Tragedy, Warcry and Weregoat, Nightfell’s sound bears hallmarks of being the product of experience and a tangible desire to break new boundaries embracing genres across the spectrum of heavy music incuding classic doom, black metal and thrash.
Large Electric Ensemble Part 1
Ex-Easter Island Head
Ex Easter Island Head - Large Electric Ensemble Part 1
Liverpudlian minimal experimentalists, Ex-Easter Island head have begun 2014 in style with the release of ‘Large Electric Ensemble’.
Utilizing a similar compositional style to the the likes of Steve Reich, Glenn Branca and Rhys Chatham, Ex-Easter Island Head blend propulsive, densely layered guitar drones and driving drum rhythms to create four mesmerizing pieces.
Fuck Off Get Free (For The Island Of Montreal)
Thee Silver Mt. Zion
Thee Silver Mt. Zion - Fuck Off Get Free (For The Island Of Montreal)
This year, Silver Mount Zion who are perhaps one of the most well known acts on the Montreal based label Constellations Records, released their first their record since 2010’s ‘Kollaps Tradixionales’, the charmingly titled ‘F**k Off Get Free We Pour Light On Everything’.
Originally starting out as a three piece, the last few albums have see the group expand their line-up, as they included strings, brass and contrabass amongst their touring line-up, however for their latest record the group slimmed down to a five piece, which includes the original trio of Menuck, Trudeau and Amar, alongside multi-instrumentalist David Payant and violinist Jessica Moss.
The sound has also changed and has a much more focused, immediate and forthright feel. Whilst their are still moments of fragile, introspective beauty, they’re contrasted by energetic rock-outs and defiant multi-part vocal arrangements.
Planets & Suns Consumed
Major Doom - Planets and Suns Consumed
Three years after the release of their last album, ‘Doom For The Black Sun’ Polish riff merchants, Major King released their latest album, ‘Doom Machine’.
Once again placing their focus firmly on triumphant, monolithic walls of sludgy guitar, scorched psychedelia and a satisfying weighty low end. The group charge through the five tracks that comprise ‘Doom Machine’ with resolute, distortion drenched dedication.
Have A Nice Life
Have A Nice Life - Defenestration Song
Originally founded back in the year 2000, Dan Barren’s Connecticut experimentalists, Have A Nice Life have become increasingly well known for creating a particularly idiosyncratic brand of shoegaze which combines the genres hazy beauty with brooding post-punk, waves crushing industrial noise and soaring post rock crescendos.
Their latest album, ‘The Unnatural World’ released on the San Francisco label Flenser,could, potentially be their strongest album yet as they delve further into the dark, absorbing sound originally heard on their debut album ‘Deathconciousness’, juxtaposing inharmonious dissonance with bleak melodies and morose drones.