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Silo

Silo_WorkSilo
Work
Novennial Paralysis

Silo are a three piece band from Denmark, and together they concoct the most captivatingly obscure music you’ll hear this side of the solar system.

If you haven’t seen nor heard of Silo until now, be aware that this is by no means the first time they’ve made some noise. The last time Silo were an active band was some 13 years ago with barely a handful of releases on WIRE frontman Colin Newman’s label, Swim Records, before the band sadly faded out of music and into the perils of ‘real life’.

Thankfully, Silo have ended this vow of silence, and reconvene to bring us a brand new album, Work. This is a particularly obscure body of music and often intensely monotonous, applying the pressure straight form the off. Glancing at the artwork, it’s plain to see where the inspiration for this one has come from.

Fading into brooding instrumental opener ‘Filaments’, you can sense it’s going to be an eventful journey. The first three tracks on Work are as warped and twisted as they come, each built on a sturdy industrial rhythm and a cacophony of clashing guitar frequency. These tracks swing into each other like a relentless pendulum of noise until the bottomless bass hook of ‘Stationary’ gives way, cascading into an interlude of synthesised sensations.

After coming up for air, Silo pick up where they left off with hiphop infested curveball, ‘Cabinn Fever’. The heavy grooves and broken beats of which feature album guests High Priest and M Sayyid, coating this track with their rap verse spat all over it.

Offering itself up as a musical sedative to the chaos that came before, ‘O’ is one of the more mellow tracks on Work, but undoubtedly one of the finest. The droning bass line, shattered rhythms and synth inflections all melt into something deeply twisted and far beyond the norm.

As this journey comes to a close, you’re left with what’s probably the bleakest song title ever. ‘The Inexorable Sadness of Pencils’ chimes on infinitely, shedding a new light on the meaning of monotony.

If you like it loud and left field, Work is an album to get fully immersed in. Silo harness the endless capabilities of effects and computers and run wild with them. Digitally reshaping their guitar hooks and broken beats to make disturbingly futuristic sounds. It’s uncommon to hear music bearing these unexplainable, ultramodern qualities coming from anywhere other than the Turquoise Hexagon Sun studios, until now.

Work is available from April 14th via Novennial Paralysis.

Dave Palmer

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Thee Oh Sees

Thee Oh Sees
‘Penetrating Eye’
(Castle Face)

Thee-Oh-Sees-penetratingeye8John O’Dwyer threatened a hiatus for Thee Oh Sees after last year’s ‘Floating Coffin’ but despite flirting with electronica with his Damaged Bug project he wasn’t ready to hammer the nail in that wooden box yet. He did move to LA from San Fran, but other than that it’s business as usual.

The new album is called ‘Drop’ and it’s about to ahem drop on Record Store Day. It was recorded in a banana ripening warehouse and the banana skinny on this record is that the quality has not slipped. ‘Penetrating Eye’ is the wince inducing intro track, part Ty Segall part Led Zep, as shredding an opening as you could hope to witness, it scared me shitless.

Nick Hutchings

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OFF! Wasted Years

OFF!
‘Wasted Years’
Vice Music

OFF_Wasted_Years_ART_album_pettibon, sleeveOn track 8, Exorcised, the singer proclaims this to be “as good a day as any”. I concur, the arrival of a new full-length platter from OFF! indeed makes for a notable date in the calendar.

The singer is of course Mr. Keith Morris, formerly of Black Flag, The Circle Jerks, and latterly reunited with former Hermosa Beach alumni to tour the songs of said Black Flag. They call themselves FLAG, but this is OFF! where Keith gets to blast out original material with a bunch of real stand up musical guys.

Wasted Years” is their second album proper, 16 tracks, recorded and written live in a furious studio session. Sparks would have been flying. The OFF! formula is strictly compact and economic, verging on the claustrophobic, but they inject valuable twists and variation to the song construction. Slabs of block-heavy riffage ensure damage levels are ably inflicted, whilst Keith’s barked vocals are as penetrating as ever, dripping in vitriol and venom… a weathered old-timer still raging against the bullshit and lies. Good on him. I am, as with their previous records, very much digging what these guys do.

Great record. Gimme some more…

Pete Craven

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Pusrad

Pusrad
‘Thirty-One Premature Ejaculations’
pusrad.bandcamp.com

Back in the dark and distant eighties there was a band from Sweden called Raped Teenagers. Despite the admittedly horrible name, they were actually completely brilliant; a highly invented, super-fast-jazzy-spazzy hardcore punk band who pretty much took the genre as far as it could possibly go without it cracking around the edges. Or so we thought.

Pusrad feature two members of Raped Teenagers. I don’t know which two because I can’t find any information about the actual members.The full extent of their ‘biog’ on their website reads “two guys from an old shitty hardcore band. We like short songs.” Whilst the first statement is wrong and self-deprecating, the second part certainly can’t be denied. Pusrad only deal in short songs. So far they have recorded 31 songs, released on a tape (entitled ‘Thirty-One Premature Ejaculations’) and across various comps, singles and EPs.

The entire 31 songs whizz by in less than eleven minutes. The longest song ‘Errare Humanium Est’ clocks in at a whopping thirty-seven seconds. Don’t, however, presume that they deal in nothing but monotone short blasts of Anal Cunt inspired grindcore noise, there’s so much going on in Pusrad’s music listening to them makes your head spin.

They have more happening in their twenty-second songs than most bands do in their traditional four minute structures, Pusrad just do it at hyper-speed. Weird, contorted, bewilderingly fast, this is the most mental music you’ll hear in 2014 and it’s as punk as absolute fuck.

James Sherry

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Chuck Ragan

Chuck Ragan
‘Till Midnight’
Side One Dummy Records

chuck-ragan-till-midnight_albumYears spent on the road, clocking up mileage and playing shows in every small town that will have you is a process which naturally produces storytellers. You can’t spend that much time traveling and meet that many people without picking up some tales along with the vocabulary to tell them, which is perhaps why so many punk rock front-men become solo artists with a penchant for the folk troubadour end of the musical spectrum.

This was a particularly obvious step for Chuck Ragan of Hot Water Music, whose gravel-throated post-hardcore always flirted with a more traditional Americana type song writing style.

Never having checked out his output beyond Hot Water Music before, I came to what is his fourth studio album unaware of what to expect about two days ago and it has been on steady rotation ever since then. Playing here with a full band, the record opens at full steam with the song which is currently taking the title of album favourite for me; ‘Something May Catch Fire’ is a swaggering piece of country blues with a chorus that can’t fail to have you shouting along and a piercing fiddle which lets you know exactly what you are in for. The lap steel of ‘Vagabond’ matches the song’s lyrics perfectly, leaving a perfectly burnt image in your mind of the unfolding highways which the song evokes.

I imagine the man is getting fairly sick of Springsteen comparisons but there is definitely an element here also visible in Bruce’s recent work, from the roughly impassioned vocals to the melding of folk, country and rock elements to create gloriously anthemic and uplifting songs. And there is definitely a feeling of hope which permeates this record, with almost every track feeling like the perfect soundtrack to a roadside sunrise. ‘Revved’ is another personal favourite so far, an urgently driven song with a slide guitar that really brings home how much Ragan’s voice is made for this kind of music.

‘Bedroll Lullaby’ perfectly brings together a boot-stomping rhythm with a beautifully elegant piece of fiddle playing and I defy anyone not to listen to it without wanting to immediately hit the road. ‘Wake with You’ shows that the band breaking out of ‘barroom hype’ mode to create a fragile love song made all the more real by Ragan’s lived in voice, with lyrics which will have you crying into yer whiskey. ‘You and I Alone’ ups the tempo again and I’m once again struck by how carefully chosen the band must have been, every note and instrument perfectly accompanies Ragan’s vocal changes.

The opening guitar/vocal moments of ‘Whistleblowers Song’ sends shivers down my spine before building into a powerful chorus which again will have crowds shouting every word in a live setting. But where others would close off a record with a song of this magnitude, Ragan goes down the lesser trodden path and has one more song to sing in the form of ‘For All We Care’, an atmospheric, acoustic-driven ballad which adds a finishing touch that you didn’t even know you wanted.

Some records work perfectly as background music, some slot nicely in with certain day to day activities, but this is one of those records which demand undivided attention. If you are already familiar with his work I’m sure you’ll know already and be waiting for this eagerly, but if you have any interest in alt-country music this will be well worth your time.

Jono Coote

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Brian Jonestown Massacre

brianjonestownmassacre_whatyouisntBrian Jonestown Massacre
‘What You Isn’t’
a recordings

The return of Brian Jonestown Massacre is amongst us and their first offering in ages is an incredible laid-back jam that gives and gives.

Frontman Anton Newcombe is a wonderful genius and once turned up into London for a press day and threatened to hang a journalist out of the hotel window if my memory serves me correctly. There are a million other stories on this band (man) but although he has been, and may still be, a liability to any human life around him, there’s no denying his incredible talent which streams like sunbeams through the curtains after a long night in this new track ‘What You Isn’t’.

See BJM on tour in July and look out for a new album that will be coming out on Anton’s new label.

1st July – Roundhouse – London
2nd July – Waterfront – Norwich
3rd July – Anson Rooms – Bristol
4th July – Rescue Rooms – Nottingham
5th July – ABC – Glasgow
6th July – Riverside – Newcastle
7th July – Academy 2 -Birmingham
9th July – Academy 2 -Dublin, Ireland
10th July – Ritz – Manchester
11th July – Cockpit -Leeds
12th July – East Village Arts Club – Liverpool

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BL’AST!

BL’AST!
‘The Expression Of Power’
Southern Lord

BLAST_freedomofexpressionFollowing up last year’s well-received “Blood!” album, Southern Lord has now unleashed “The Expression of Power”, which couples debut album “The Power of Expression”, with an alternate session of its songs.

The original platter from these Santa Cruz hotheads surfaced in ’86 (on Greenworld/ Wishingwell) and is now cemented in Hardcore folklore as a solid gold Classic. So the key question is, do you really need this?

Well, for seasoned listeners “The Expression…” is not gonna alter your reverence of BL’AST! but will act as a double-barreled pummeling reminder of the high octane devastation these guys delivered in spades (like you’d actually forgotten!) And yeah, we all know they were in awe of BLACK FLAG, but there was so much more to BL’AST! Lest we forget they doggedly carried on playing off the wall Hardcore during the Eighties at a time most of their peers had broken up or moved on musically.

The demo cuts are raw and grainy, giving a rough edged slant to the songs, and captures the anger and explosive energy these dudes specialized in. Sounds mighty fine to these ragged ears! The pained and pulverising “Scream For Tomorrow” is the only unreleased song I noted, otherwise its just alternate takes on the songs that made the album.

Incidentally, I’m reviewing the tracks that appear on the CD version, but get this – the vinyl release is spread across three records, and includes another unreleased session. Even the most hardened fans will surely be Bl’asted out of their minds after sitting thru all six sides!

I know time waits (for no-one) but with BL’AST! back playing, and still totally nailing it by all accounts, it’s surely high time they hit these shores to destroy us… here’s hoping!

Pete Craven

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Wu Tang Clan

keep_watch_wu_tang_clan

A laid back new Wu Tang Clan tune dropped overnight with production coming from DJ Mathematics and an R&B vocal from Nathaniel. ‘Keep Watch’ is the first jam to be taken from their 20th anniversary album ‘A Better Tomorrow’ that is being prepped right now. Get on this.

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Fucked Up

fucked_up_logoFucked Up
“Paper The House”
Matador Records

The news that these Canadian punks are back with a new album is very well received in these parts. The fact that this new track is a beautiful transition from last album ‘David Comes to Life’ is the cherry on the cake.

“The way I make a living is driving me insane!” screams Damien. Do you reckon that since having a kid in 2009, ‘Paper The House’ is a screaming anthem about growing up? Whatever it’s about, it’s one of their most melodic tracks to date and a perfect intro ahead of their new album Glass Boys that is cheduled for release on June 2nd via Matador Records. Pre-order it here.

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Rasputin’s Secret Police

Rasputin's_Secret_Police‘Freaks’
Rasputin’s Secret Police
Fleeting Youth Records

Rasputin’s Secret Police are a two piece band from Philadelphia. Even though you may not have heard their two-man-made musings until now, they are in fact seasoned professionals in the art of noise making.

Having been in the business of crafting filthy grunge music together for over 13 years -almost exclusively for those in the know in Drexel Hill, Philadelphia- Brandon Ayres (guitar & vocals) and Josh Phillips (Drums) are now stepping out to a wider audience with their upcoming Fleeting Youth Records cassette release Comfortable.

The filthy grunge this band churn out comes in the most raw and primitive form. Let ‘Freaks’ be the perfect example. This track oozes a gloomy and twisted discordance, a verse of huge, wall of sound sustain and traipsing drums support a vocal that juxtaposes the honeyed tones of Billy Corgan with the wailing’s of Ozzy Osbourne. All this meanders into a chorus of what’s probably the loosest and lo-fi drum fills you’ll ever hear.

This eruptive stoner rock duo can jump from total sedation to the most electrifying noise in an instant, if you dig early Smashing Pumpkins and Dinosaur Jr then their upcoming album Comfortable is just the ear-bashing you need. If you’re savvy, waste no time in heading to their bandcamp for hours of lo-fi grunge listening.

(Or Head to this months Buzzbombs feature to hear another mean track from RSP!)

Comfortable is available from March 25th via Fleeting Youth Records.

Dave Palmer