Archive for the ‘Black Wing’ Category

Noiseweek: My Disco, Ought, Heat Dust, Black Wing

Saturday, September 19th, 2015

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


Hit Charade: Meet the bald Norwegians and other unknowns who actually create the songs that top the charts | The Atlantic

“Millions of Swifties and KatyCats—as well as Beliebers, Barbz, and Selenators, and the Rihanna Navy—would be stunned by the revelation that a handful of people, a crazily high percentage of them middle-aged Scandinavian men, write most of America’s pop hits. It is an open yet closely guarded secret, protected jealously by the labels and the performers themselves, whose identities are as carefully constructed as their songs and dances. The illusion of creative control is maintained by the fig leaf of a songwriting credit. The performer’s name will often appear in the list of songwriters, even if his or her contribution is negligible. (There’s a saying for this in the music industry: “Change a word, get a third.”) But almost no pop celebrities write their own hits. Too much is on the line for that, and being a global celebrity is a full-time job. It would be like Will Smith writing the next Independence Day.”

The slow death of music venues in cities | The Guardian

““It often starts from a relatively benign decision. The Troubadour in London is up for sale because they had a noise complaint related to their use of the garden. Kensington and Chelsea borough said they couldn’t use it after 9pm, their drink turnover went down substantially, and now there’s no guarantee it’ll be a venue in future. Someone wants to build next to the Fleece in Bristol,” he continues. “Bristol city council have fought hard for them, but they don’t have any support in law and flats are going to be built 20 metres from the main stage. In the next couple of years there will be noise complaints that will cost the Fleece £12,000 to £15,000 to handle, and it’s not making that in profit. The Point in Cardiff: they installed £68,000 worth of acoustic baffling to stop the complaints from a new development, and servicing the loan put them out of business. These little things just build up.””


My Disco — 1991

The second single from My Disco’s fourth album is the opposite of what a single is supposed to sound like. 1991 sees the trio exploring the same sparse sonic territory hinted at on Severe’s first single, King Sound, but here, that aesthetic is taken to its extreme. While Little Joy was all sunny, mid-ranged guitars, 1991 suggests Severe is ritual music — ominous, reflective and reverent, made not just to be heard but felt in the flesh. I can’t wait to see this new material live. Severe is out through Temporary Residence on October 30.

Heat Dust — I Warm My Hands

I’m putting it out there: The Flenser is the best record label in the world right now. No one else is putting out such a diverse swathe of exciting music, from extreme black metal to conceptual doomgaze to genre-bending electronica. Take a look at that stellar roster: King Woman, Black Wing, Planning for Burial, Sannhet, Kayo Dot and Wreck and Reference. Heat Dust are one of the more conventional additions to the venerable collective, but by the sounds of the brooding, cerebral post-punk on I Warm My Hands, they’re an ideal fit for such quality company. Heat Dust is out


Black Wing — Luther

This one’s all kinds of fucked up. Agent Cooper and Laura Palmer become pawns for a Windows Media Player visualisation filtered through a conspiracy theorist’s fever dream in the clip for the opening track of Black Wing Is Doomed. There’s nothing more to say about this one.

Ought — Sun Coming Down

The title track from Ought’s second full-length album is all jarring rhythms and discordant guitars, so it’s fitting the video match that mood with narrative dissonance and uncomfortable lightning cuts. Three girls ride bikes on suburban streets, shooting heavy looks over icecream and milkshake breaks. Shattered plates and glass flash in time with the beat. It’s uncomfortable and unknowable yet somehow welcoming, much like everything we’ve heard from Ought so far. Sun Coming Down is out now through Constellation Records.

Noiseweek: Dave Hill on High on Fire, Dumbsaint, Mess + Noise, Battles and more

Friday, August 7th, 2015

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


Steel for Brains is closing at the end of the year.
In a Facebook post earlier this week, music critic Jonathan K. Dick revealed that he’ll be shuttung down the amazing metal publication he started three years ago. Dick — whose writing credits include NPR, Pitchfork and SPIN — suffered a setback with his work earlier this year following the health problems of a family member, slowing down Steel for Brains’ production schedule in the process. There’s also a Steel for Brains book in the work, combining interviews from the website as well as unpublished material. In the meantime, if you’re looking for some heavy weekend reading, head on over.


Dave Hill Talks High on Fire and Keeping It Goddamn Heavy | The Talkhouse

“For the uninitiated/fucking stupid, High on Fire has been a 100% reliable resource for Viking-worthy heavy metal Armageddon played by goddamn men since 1998, when main High on Fire dude Matt Pike rose up from the ashes of his other awesome band Sleep like some sort of shirt-hating phoenix to form yet another one of the greatest bands of all time. Ever since then, I and a lot of other people have turned to them for our recommended daily allowance of face-melting heavy music that makes you want get on the back of a horse with a torch in one hand and the reins in the other and give everyone in the nearest Burger King parking lot a fucking night that will haunt them for weeks. In short, they are the best.”

What Went Wrong at Mess + Noise? | The Daily Review

“Mess + Noise covered all the music that the rest wouldn’t touch. Along the way, it provided an important early platform for some of Australia’s best music writers — including Kate Hennessy of Fairfax and The Guardian Australia, and former M+N editor Doug Wallen, who has more bylines than you can poke a stick at. Anwen Crawford, pop music columnist at The New Yorker and The Monthly, once wrote for Mess + Noise under the pseudonym “Emmy Hennings”.
Moreover, the magazine (Mess + Noise began life in 2005 as a bimonthly print publication) nurtured a vibrant grassroots community — one that most Australians are probably unaware of, but which is celebrated the world over.
That’s probably the most staggering thing about the website’s sudden halt: Australian music has never been so healthy, nor so popular — from the DIY and punk scene in the nation’s capital to Sydney garage, Perth psych pop and the extraordinary energy coming out of Brisbane and Melbourne. Our underground artists feature on some of the most forward-thinking music websites across the net. Perhaps a savvy, homegrown, youth-focused publisher could find a way to exploit that kind of cultural capital …”

It’s Time to Put our Cameras Away | Pitchfork

“Sadly, memory-making as visual bootlegging is now wholly a part of the live music experience and it has been since the advent of smartphones. Watching people not watch, or watch through their screens, or simply hit record and clumsily loft the phone above them—what’s the purpose? To remember for all time? To share the experience? What friend is going to be impressed or even have the patience to watch a barely focused video shot from hundreds of feet away, the audio blown out, the shouted-along chorus of the superfan in seat 78JJ muting the band itself?
It’s time we stopped being so tolerant of these serial snappists.”


Black Wing — Death Sentences

Black Wing is all bombast and cascading synths on the second cut from …Is Doomed. Dan Barrett opts to let his voice sit low in the mix largely untouched by effects in the track’s earlier moments as he deadpans about heartbreak and words unsaid, before reverb consumes everything as the song climaxes. Black Wing Is Doomed is out through The Flenser on September 25.

Dumbsaint — Panorama, in ten pieces.

The new Dumbsaint is out today and is now streaming in full on Bandcamp. As with their past releases, the album features an accompanying full-length film component, a portion of which is also viewable on their Bandcamp page. Dumbsaint sound more confident on Panorama, embracing the anthemic and imbuing their sound with more cathartic, explosive post-metal tendencies than their past releases. It’s a kinetic and frenetic record that progresses from movement to movement without warning, and sure to be a hell of a trip live.


Fridey at the Hydey

The 2013 documentary on the grimy North Perth haunt the Hyde Park Hotel is now available online. Now a swanky restaurant-and-bar, the Hydey was a rock ‘n’ roll institution for grimy punk and rock ‘n’ roll up until it closed for renovations and a rebranding in early 2010. Fridey at the Hydey interviews the people behind the venue and the scenes in a eulogy to one of Perth’s most beloved live music spaces.

Battles — The Yabba (live)

Battles continue their hype for record #3 La Di Da Di with a live performance of The Yabba, a nervous and jaunty cut from the new record. This panoramic video is excerpted from a larger performance the trio recorded and broadcast on YouTube for 24 hours earlier this week. La Di Da Di is out September 18 through Warp.

Noiseweek: The Decline of Western Civilization, Black Wing, Protomartyr, REW

Sunday, July 19th, 2015

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


The Punk Director: Penelope Spheeris Revisits Her Decline of Western Civilization Trilogy | Pitchfork

“I like to think about society as being a flock of birds: There seems to be a common consciousness in different time periods, and the new common consciousness reacts to the old standards. Punk rock was tearing down traditional rock’n’roll and totally pissing on disco, then heavy metal came in and squashed the punk rock, and then grunge came in and squashed the heavy metal. It’s an organic way of making our musical society evolve.”

How Live Aid Ruined My Life, by John Doran | The Quietus

“The screen I’m watching is only four inches across and part of an upright turntable and cassette recorder hi-fi combo. The technology that is allowing today to occur is blowing my fucking mind. Stu’s Mum comes into his room carrying a tray of roast chicken legs. Adam Ant walks on stage. “Yes!” says Stu. “Yes!” I say. He isn’t dressed as a pirate or a highwayman wearing makeup but as some kind of rockabilly duffer but it doesn’t matter because nothing can ruin this moment of righteousness and vindication. What is he going to play? ‘Kings Of The Wild Frontier’? ‘Prince Charming’? ‘Mohok’? Two billion people are waiting. They play ‘Vive Le Rock’. “What?” I say but by the time he does a scissor kick I know the 80s and my childhood are over.”


Black Wing — If I Let Him In

Black Wing is a sonic typhoon, and on this preview from …Is Doomed, Dan Barrett is at once gentle, devastating and heart-breaking. Barrett is the man behind Connecticut post-punk outfit Have A Nice Life, as well as Giles Corey and a slew of other acts. Black Wing is his digital-only moniker

If I Let Him In is awash in a digital haze as a cacophony of metallic synths envelope Barrett’s disembodied intonations and a simplistic beat. This is one of the most moving pieces of music you’ll hear all year. …Is Doomed is out September 25 through The Flenser.

Protomartyr — Why Does It Shake?

Joe Casey oozes sarcasm in the newest slow-burner from Detroit’s Protomartyr taken from the quartet’s upcoming third album, The Agent Intellect. Why Does It Shake? is post-punk at its most essential: low-key and brimming with nuance, frustrated yet reserved, intellectual and visceral all at once. The Agent Intellect is out October 9 through Hardly Art.


REW — Swan’s Melody

There’s nothing kinetic about the low-key piano refrain of Swan’s Melody, yet it’s a beautiful accompaniment for the mirrored footage of the New York Trapeze School, which sees its acrobats disembodied and reformed in a monochrome kaleidoscope. Swan’s Melody is taken from Olive Skinned, Silver Tongued Siren Sings Swan Songs, available now on Bandcamp.