Archive for the ‘All Tomorrow’s Parties’ Category

Noiseweek: Dumbsaint, Caspian, Hope Drone and Marky Ramone

Friday, July 3rd, 2015

The sights, sounds and words of the week in noise.


X-Press and The Music Perth have merged. The July 1 issue from this last Wednesday was the last print edition of The Music’s Perth arm, and will now be fully digital going forward while becoming X-Press’ print portal. X-Press will continue to be published fortnightly. The Music Perth’s editor Dan Cribb penned a farewell to the publication speaking with past editors and eulogizing its nine-year run which you can read here.


Headline acts are getting old. Or at least so says the data assembled by The Economist amidst the deluge of Glastonbury talk over the last week. The average age of a festival headliner (using the age of the solo artist or the lead of a band) was just over 30 in 1996; now, it’s over 40. Glastonbury’s three headliners ran the spectrum of generations; Florence Welch is only 28, Kanye West is 38 and Roger Daltery of The Who is 71. It comes as no surprise seeing as fewer artists capture the zeitgeist in their salad days, and the demand for headliners to top the bills of the absurd number of festivals, combined with dwindling royalty figures and the lucrative allure of the touring market has brought about the reunion culture of legacy acts that dominates today.


Speaking of reunion culture, English comedian / writer Stewart Lee has been announced to curate next year’s ATP 2.0 Festival in North Wales next April. The event will follow ATP Festival’s return to the UK — and the first under this nebulous 2.0 banner — Nightmare Before Christmas, which takes place at the end of November. Though given that line-up is largely free of the usual reunion types — Courtney Barnett, Built to Spill, The Album Leaf and Lightning Bolt are all towards the top — perhaps ATP’s all about the salad days.


Where Have All the Music Message Boards Gone? | Noisey

“Mess+Noise, “A Local Music Magazine dedicated to showing Australian music in a different and evocative light,” hasn’t updated for a month, but its messageboard, nicknamed the Shame Cauldron for its boarders’ uncompromising attitudes, is still simmering. It’s the most visible example in Australia of the decline of music messageboards. Anybody could tell you why they’re dying — the people entering the music industry now came up on Tumblr and Twitter, reblogging and retweeting each other endlessly with additions to the discourse, or on Facebook with private groups sharing bangers and turning over festival lineups, or on subreddits like /r/music, listentothis, hiphopheads etc., upvoting quips about Kanye West – but why does it matter?”

I Went to Jame’s Murphy’s New Wine Bar and All I Got Was More Confused About the State of the Music Industry | Pitchfork

“Is it fair to poke fun at Murphy for cashing in on his cred? As an indie-label impresario, you never go Full Brand, right? Or do we just accept that this is the music industry and culture we live in now? “This is an industry that makes zero sense. It made zero sense ten years ago and somehow we’re [DFA Records] still chugging along, doing the weird thing that we do,” Murphy said in a 2013 interview with Billboard. “As long as we just hang out and don’t do terrible things that seem gross I’m happy.””

How Video Games Changed Popular Music | The New Yorker

“It’s hard to listen to some of these decades-old sounds and not feel a sense of giddy nostalgia. This fall, Data Discs will reissue the soundtrack for 1992’s beat-’em-up classic Streets of Rage 2 as a deluxe vinyl edition. It’s a spellbinding document of its time, full of the composer Yuzo Koshiro’s chirpy interpretations of the era’s bleeding-edge sounds: scaled-down club tracks, a nod to Public Enemy’s “Rebel Without a Pause,” an almost note-perfect interpolation of Inner City’s “Good Life.” It’s the sound of a familiar, age-old musical story: cherished genres translated into new idioms, young visionaries butting up against someone else’s constraints. It was the first time some heard techno, and it was the music they had been waiting for all along.”

The Last Ramone: Marky Carries the Punk Rock Banner | Observer

“All four original Ramones are dead. But the drummer for most of their records, Marky Ramone, who replaced Tommy from 1978–1983, was booted for alcohol abuse and band dysfunction for a few years and then rejoined in 1987 and remained until the end, including induction into the Rock n Roll Hall of Fame. Marc Bell was also a founding member of Dust, played with Wayne County and was an original Voidoid while Richard Hell invented the punk rock look. Born in Brooklyn, lord of the East Village, King of New York. We ate at DBGB’s.”


Caspian — Sad Heart of Mine

Caspian have always played the kind of post-rock that requires patience. Yes, there are build-ups and crescendoes and tremolo picking and pretty pianos, but where your standard fare Mogwai emulator would throw those elements around willy nilly, Caspian experts at moderation. When those tools are wielded well as on Sad Heart of Mine, the result is an exalting moment of serenity. This is the way great music is supposed to feel.

Hope Drone — The Chords That Thrum Beneath The Earth

The latest cut from Cloak of Ash certainly doesn’t feel ten minutes long, which is a credit to the maturation of Hope Drone’s songwriting between their last record and their upcoming Relapse debut. The opening three minutes of brooding guitars make for some of the most ominous music released this year, and the explosion of blackened fury that follows is so compelling and nuanced it both embody and transcend that genre’s tropes. I’ve got a feeling Cloak of Ash is going to be one of the best albums of the year.


Dumbsaint — Cold Call

DUMBSAINT — Cold Call — 2015 Short Film from Dumbsaint — Music & Film on Vimeo.

In a culture where effort is uncool, Dumbsaint’s ambition is admirable. Cold Call is the first track from from the Sydney outfit’s forthcoming long-player, Panorama, in ten pieces, and with the song’s debut comes an accompanying short film, a small portion of the 60 minute film that will accompany the full record. It’s beautifully shot, albeit a little student-feeling, and the song itself is a nervous and frenetic whirlwind of clashing guitars. Remarkably, the effort was self-funded; it’s reassuring to know that in a culture as small, insular and unprofitable as Australia, there are artists like Dumbsaint dreaming big ideas and following through. Panorama, in ten pieces. out August 7 and available for pre-order now through Bandcamp.

Noiseweek: Rollins on tape trading, TTOL crowdfunding, NYC hardcore and more

Friday, March 6th, 2015

The sights, sounds and words of the week in noise.


After the overwhelming response to the Perth Needs More Music and Arts Venues Facebook group and the subsequent meeting in light of the impending closure of The Bakery, The West Australian is reporting that Culture and Arts Minister John Day has expressed his support for a new government-backed venue. The tentative frontrunner is Rechabites Hall, a former theatre on Williams Street. People power!


LIN favourites Tangled Thoughts of Leaving are edging closer to their Pozible goal of raising $5,000 to fund the pressing of their forthcoming second album, Yield to Despair. They’re over 80% of the way there with 10 days to go, so if you’ve got a few dollars to spare and you like vinyl copies of post-psychosis-prog-jazz-beardcore, help them out. They’ve also just announced a European tour — including an appearance at the jealousy-inducing dunk! festival in Belgium — alongside Bird’s Robe labelmates Solkyri in May. They’re also touring the country with 65daysofstatic starting Saturday at Adelaide Festival.


Speaking of jealousy-inducing festival lineups, All Tomorrow’s Parties have announced the next wave of acts for their Iceland festival this July, adding Public Enemy, Swans, Lightning Bolt, Bardo Pond and more to a bill that already includes Iggy Pop, Drive Like Jehu, and Godspeed You! Black Emperor. Froth.


Henry Rollins: Confessions of a Tape Trader | LA Weekly

“Almost as soon as I began gathering paper evidence of this emerging scene, I became aware of cassette recordings that bands and fans were making. The mere existence of these tapes — music you could play over and over again, which could not be found in a record store — was in itself a small miracle. That someone had the wherewithal to wrench these moments from the ether was like beating the odds and defying the bastards who would have been happy for us to go the way of the proverbial tree that falls in the forest, unheard and unwitnessed.“

Kid Millions Talks The Importance of Mentors | The Talkhouse

“A mentor is your trusted guide and companion. Some mentors have no idea they are providing this kind of service. Maybe they show you how not to represent yourself. Maybe they show up to a gig completely drunk and cancel the gig. Perhaps they are assholes to everyone they deem unworthy of their attention. But in the best scenario the mentor sees your truth before you can grasp it yourself. She holds up a mirror that reveals your pure, undistorted truth.“

United Blood: How Hardcore Conquered New York | The New Yorker

“The New York scene was never monolithic. Shows drew skinheads, punks, and plenty of average-looking young people in T-shirts; many of the fans who followed Agnostic Front also turned out for False Prophets, a sarcastic and theatrical punk-inspired band. Even so, many scene participants nursed an inferiority complex. The Manhattanites disdained the guys from Queens; the Long Islanders hated being thought of as “interlopers”; virtually everyone resented the scenes in other cities, where the band members seemed to have enough spare time and cash to tour and promote themselves. “The kids from New York, we were like these crazy fucking street rats,” Todd Youth, who played guitar for a band called Murphy’s Law, says. “The kids from Boston and D.C. were really well off.” While most other early-eighties scenes gave rise to influential independent record labels, New York’s generated war stories. “You were getting chased down the street by gangs of Puerto Ricans that wanted to fucking kill you,” Youth remembers; Avenue A was contested turf. Alex Kinon, who played with Agnostic Front, says that he was once shot at in Tompkins Square Park, and that Vinnie Stigma responded by rushing toward the gunfire, armed with only an improvised shield in the form of a garbage-can lid.“


Sannhet — The Revisionist

Boutique San Fran label The Frenser are off to an excellent start to 2015, first with the earthshaking King Woman EP and now The Revisionist, the pummeling sophomore album from the similarly quake-inducing trio Sannhet. Better watch that faultline.

And So I Watch You From Afar — Wasps

Is there a modern heavy label as forward-thinking as Sargent House? From post-rock to doom to shoegaze to noise, the LA-based management outfit covers every base of exciting guitar music. Belfast quartet ASIWYFA settle into a groove on this preview of their fourth LP Heirs, balancing the frenetic guitar work with some rare vocal harmonization before the absurd double bass drumming kicks in. And for once they finish a song under the five-minute mark. Set guitars to kill.

Elder — Lore

Not to be mistaken with Jimmy McGill’s latest attempt at legal specialisation, Lore is a ball-tearingly heavy offering from a Rhode Island power trio with just the right amount of moxie mixed with the obligatory Kyuss/Sabbath worship to satisfy all your stoner/desert/metal/psych cravings. Is it insecurity that drives all these power trios to write songs that sound fucking gargantuan? Whatever it is, don’t stop.

Flowers & Fire — Demo

Raw riffage energetic melancholy abound in this first offering from a Vancouver post-punk outfit with virtually zero web presence. There’s a distinct Siouxsie/Banshee vibe throughout but the notes ring with a panic immediacy. Uneasy listening, but it’s not supposed to be easy.

The Austin 100 — NPR

The nice folks at National Public Radio have gone to the trouble of rounding up 100 tracks from 100 artists appearing at this month’s SXSW so you can better navigate the veritable shit-show that is trying to decipher if a band name is real or made-up for a hipster-baiting Jimmy Kimmel bit. There are a few familiar names, though — including Slanted & Enchanted guests METZ and Melbourne weirdos Twerps.


THAW — Last Day

The Black Captain has written extensively about THAW, the Instant Classic label and the doom/black developments in Poland, but it’s a scene so far away, us Southern hemisphere residents are unlikely to ever witness it in the flesh lest you make the costly journey to the old world yourself. In lieu of such a pilgramage, here’s some HD footage of the sonic tyranny in action.

The Last Song Before The War

Tinariwen’s origin story might be the most rock ‘n’ roll in music history, but its members are merely one part of the Tuareg music tradition of Mali. In this hour-long documentary, director Kiley Kraskouskas documents the 2011 iteration of the three-day Festival in the Desert amongst political turmoil and sectarian conflict.