Ryan Jordan

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Ryan Jordan

Ryan Jordan conducts experiments in derelict electronics, possession trance, retro-death-telegraphy and hylozoistic neural computation. He builds crude instruments that replicate fundamental electronic components which are the foundation of current digital technologies. Performing these live alongside high powered stroboscopic light he attempts to induce the hallucinatory and trance like states of the (oc)cult arts.

In this presentation/performance he will demonstrate his self constructed hardware built with raw minerals and metals and then spiral sideways into theories of cybernetics, neuroscience, art, music and physiology in an attempt to piece together our fragmentary daemons and split the nine-fold reality layers of human perception; from communing with the dead to disturbing the holographic brain; from trance states to opening flicker portals in optic nerve fibres; these practitioners practice dark hypnosis in psychoactive hyperventilation clubs.

http://nnnnn.org.uk/

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Karen Gwyer

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KAREN GWYER is a US-born Londoner with a small bunch of divine releases to her name on both Opal Tapes and No Pain In Pop. Gwyer casually summons the feeling of a warmer, more futuristic Popol Vuh, other comparisons including Motion Sickness Of Time Travel, Cabaret Voltaire, Cluster or even an instrumental, more rhythmic Fever Ray.

“Rather than making straight club music, Gwyer assimilates house and techno tropes into oozy, hypnotic slow burners, as in album opener ʻSugar Totsʼ. African beats herald the action, joined by molasses-thick synths and glassy bells that chime finely somewhere in the distance. Similarly, on ʻPikki Kokkuʼ, steamy, diaphanous whispers and minimal drum patterns overlay molten synths and subtle low end. Thereʼs little resolution here; instead we have an internal lambency thatʼs warm and satisfying…. The result is an intimate and beautiful record” – Factmag

karengwyer.com

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Backwards

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Backwards. Two basses, drums, voice and electronics. The fag end of No Wave meets the ugly monotone of Hate Sludge. From Birmingham, featuring ex-members of Beestung Lips, Una Corda and Napalm Death. Disappointment Guaranteed.

Backwards soundcloud

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Youth Man

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Kaila Whyte plays guitar and sings. Adam Haitof plays bass guitar. Marcus Perks plays drums. Collectively, Youth Man storm through a venue like a bull in a china shop, levelling everything in sight. Youth Man are all about unbridled X-Ray Spex-tinged passion and the high velocity punk energy of legendary Welsh trio Mclusky mixed with an artistic edge that leans towards The Dead Kennedys’ trippier moments – throwing caution to the wind and smashing your guitar into a thousand sweat-soaked pieces.

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Rattle

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If the idea of a band consisting of just 2 drummers brings to mind a hippy bongo nightmare then you’ve obviously never heard Rattle. Comprising of 2 of Nottingham’s most unique and recognisable drummers (Theresa Wrigley of Fists and Katharine Brown of Kogmaza) and aided by Kogumaza’s Mark Spivey they create a hypnotic and danceable music form that recalls This Heat or ESG even whilst remaining completely their own.

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ANTA

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Loud, visceral, imposing, intelligent. Based in the creative hub of Bristol, UK, ANTA formed in early 2010 and quickly set to establishing a fearsome live reputation. The last eighteen months have seen the band’s sound evolve from the lurching, exploratory doomscapes that defined their debut, into something considerably more concise, focused and sonically aggressive. ‘Centurionaut’ is the culmination of a year’s worth of writing, playing, refining and honing. All of the band’s hallmarks are present: kinetic, inventive drum work, guttural, throat-rattling bass, beautifully intertwined synth and organ lines and filthy, driving guitar. This time round though, the immediacy and urgency in the songs’ execution leaves you short of breath. A heavy band for whom considered songwriting and catchy hooks are as important as bruising riffs. Expect

“Centurionaut appeals to the inner headphone space cadet and outer sweaty rock ogre equally. Through celestial drones and echolocations it explores sonic spaces, rhythmic symmetry and the spiritual singularity that can only be reached via the repeated application of an unabashedly muscular riff.” – The Quietus

Webpage: ANTA

 

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Evil Blizzard

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Four bassists, a singing drummer and a baby’s head Theremin. This in short is Evil Blizzard.

Mysterious, masked merchants Evil Blizzard have achieved a lot in a relatively short period after being ‘discovered’ by Manchester music legend Mark E Smith at an early gig. He immediately signed them up to tour with his band The Fall stating that Evil Blizzard “…give me hope that music is alive and kicking”. Playing a kind of grimy doom rock, the mournful vocals and psychedelic electronics veer at times towards a trippy Black Sabbath. But by and large Evil Blizzard are just the perfect storm of …oddness. Live the band employ tried-and-tested confrontation tactics such as onstage fights and pig masks. Every generation needs its own shock-rock panto, but all too often this is at the music’s expense. Not the case here. The bass riffs are both impending and hypnotic, beckoning the audience in to their own weird and dangerous world. Evil Blizzard need to be experienced, words alone just don’t do them justice.

Evil Blizzard bandcamp

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Chris Brokaw

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Chris Brokaw is a singer/songwriter, film composer, accompanist, and rock band member living in Seattle, Washington. He has been making records and touring internationally for 20+ years, beginning with his bands Codeine and Come, who made landmark records for Sub Pop and Matador in the 1990’s. Since 2002 he has made dozens of recordings: solo albums of instrumental and vocal music, and with his bands The New Year, Dirtmusic, The Lemonheads, The Martha’s Vineyard Ferries and Wreikmester Harmonies.

He has recorded and performed live as an accompanist to Thurston Moore, Rhys Chatham, Evan Dando, Christina Rosenvinge, Jennifer O’ Connor, Steve Wynn, GG Allin and Johnny Depp.  He has composed for the Dagdha Dance Company (Frankfurt/Limerick) and Kino Dance (Boston); and scored five films, 2 of which (“Now, Forager” and “Taken By Storm”) screened in 2013 to packed houses at MOMA in New York City. His score for “ROAD” won the award for Best Original Score at the Brooklyn International Film Festival in 2005. He played as one of 77 drummers in the Boredoms’ “77 Boadrum” in Brooklyn; as one of 200 guitarists in Rhys Chatham’s “A Crimson Wave” at Lincoln Center, NYC; and The Festival in The Desert in Essakane, Mali in 2008 with his band DIRTMUSIC. He has duos with Geoff Farina (ex-Karate) playing pre WWII country blues, and with Stephen O’Malley (Sunn o)))), playing improvised abstract music.

chrisbrokaw.com

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Opium Lord

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Opium Lord

Opium Lord had a busy 2013, releasing a now sold out debut EP, playing numerous UK appearances and headlining a tour of mainland Europe. It’s safe to say they made some pretty bold statements in what was only their formation year. The band make desolate doom-sludge with a coal black heart. Filthy grooves meet abrasive noise to convey a menacing atmosphere akin to the dodgiest drinking establishments that only a band from Birmingham could make. Made up from the ashes of History of the Hawk and Stinky Wizzleteat, Opium Lord are certainly on a different level from previous ventures. Blending genres into a sonic chokehold, they will make you re-evaluate what doom can be.

Opium Lord Facebook

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Khünnt

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Khünnt features Richard Dawson, as well as members of pigs pigs pigs pigs pigs pigs pigs and Blown Out.

Formed in 2006, Khünnt have fervently explored the boundaries of esoteric music, from minimalist noise, cack-rock and ESP screams to live improvisation, fog-beat and psychedelic city mantra. The latest incarnation of the band sees them spiralling down a long hole howling a gale of blighted sustain, aggravated nowhere-isms and chunks of sheer bedlam, finally splashing heavily around the bottom of the mirrored well.

Khünnt worship as one at the toes of a tortured and hopeless entity, utilising no-tune guitars, primal riffs, freeform noise, savage vocals and unrelenting repetition to manifest their perpetual entrapment in the illusion of modern life

Khünnt bandcamp

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