Archive for the ‘FORN’ Category

Noiseweek: We Lost the Sea, Sunn O)), High on Fire and more

Friday, June 12th, 2015

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


Sunn O)) have launched a new Bandcamp page to document their live recordings. The collection spans from 2002 up to their most recent UK run last month, with each show going for $5 a pop.


Buzz Osborne tore into the latest contribution to the Kurt Cobain mythos at The Talkhouse last week, calling Montage of Heck “90%” bullshit. Now Osborne has elaborated on his critique in an interview with Riff You, questioning why people would ever believe Courtney Love and claiming people’s incredulity towards his position stems from his lack of wealth: “One of the biggest problems I’ve had with this scenario is that I am not really rich. If I was really rich, the respect with that would come…people would believe me more. Because I’m not, they don’t believe me. So be it. That’s 100% the truth. If people think I am gaining something from this, they’re out of their minds.”


High on Fire Talk Aliens, Acid and Why New Album ‘Doesn’t Suck’ | Rolling Stone

“I read a David Icke book, and it kind of woke me up a little bit. It doesn’t mean that I believe everything David Icke has to say, but I definitely don’t disagree with the guy when it comes to certain esoteric aspects of how I perceive the world. There’s too many credible people who have been abducted by aliens. There’s too many things that have been written in ancient scrolls and ancient tablets, things that Zecharia Sitchin brought to light. I’ve been to Peru, I’ve been to Egypt… a civilization builds ziggurats and pyramids that we couldn’t build today, and you’re going to tell me that they used stone-age building materials? It doesn’t make any sense. There’s a lost history of mankind; I find it fascinating, and I tend to sing about it.”

Mark Kozelek and Feminist Guilt: Why I Won’t Boycott Sun Kil Moon | SPIN

“So, what do I do now that Kozelek has directed his infamous ire at a peer? Am I supposed to be surprised? I’m not. I didn’t need a chauvinistic email to reveal it. But are the events of the last week — year, even — supposed to make me cut ties with Red House Painters and Sun Kil Moon indefinitely? Is it my duty to embargo his music as a woman?”

Music Festivals in Your Thirties | The New Yorker

“St. Vincent opens her show with an announcement read by a Siri-like computer voice stating, “Please refrain from capturing your digital experience.”
Twenty-year-old me thinks, “Boo! How am I supposed to enjoy this show if I can’t hold up my phone to record it, thereby blocking everyone’s view, and then never watch it again?!”
Thirty-year-old me thinks, “Sensible and pragmatic. I approve.””


We Lost the Sea — A Gallant Gentleman

The first track from We Lost the Sea’s third album opens like the beginning of a eulogy — somber, reflective and reverent, with gentle guitars that ripple like breaks in still water. But what emerges as the track unfurls is triumphant, as choral harmonies breathe vitality into the song’s earnest tones, and before long this is not a eulogy but a celebration of life and triumph and, quite simply, one of the most moving pieces of post-rock I’ve ever heard. A naive reading would suggest this is a tribute to the band’s late frontman, Chris Torpy — in any case, it’s a remarkable deployment of post-rock’s sensibilities and an exciting preview of what’s to come. Departure Songs is out July 23 through Art as Catharsis.

Goatsound Studios cover Black Flag’s Damaged

Last month, Jason PC Fuller of Melbourne’s Goatsound Studios / The Ruiner gathered together 15 artists to reinterpret Black Flag’s Damaged to benefit Sea Shepherd. That collection is now available on Bandcamp under pay-what-you-want pricing, though aficionados are encouraged to donate as all proceeds go to Sea Shepherd. The collection includes a rare vocal performance from Hotel Wrecking City Traders on “Thirsty and Miserable,” a plodding sludge cover of “Police Story” from The Ruiner, a ball-busting rendition of “Gimmie Gimme Gimmie” thanks to Acid Vain and contributions from The Kill, The Sure Fire Midnights, Watchtower and more.


Jerusalem In My Heart — If He Dies, If If If If If If

The next release from Constellation Records is the second record from Jerusalem In My Heart, a transcontinental, multi-lingual collaboration between Radwan Ghazi Moumneh and Charles-André Coderre. Much of the Constellation Records catalogue remains mysterious to me, owing to the diversity and multi-disciplinarian tendencies of its various artists, but there’s a beauty in that mystery in this age of knowledge. The above teaser is unsettling but fascinating and ties into Coddere’s visual art practise, which involves re-photographing images and chemically treating them. If He Dies… is out through Constellation on September 4.

FÓRN — Suffering in the Eternal Void

In an act of ultimate doom, funeral sludge outfit FÓRN played a show in a cave, and yesterday, they released their entombed performance as the official video for Suffering in the Eternal Void. Unsurprisingly, the acoustics in a cave are awful, but the visual document is compelling — how many people can say they’ve played in a fucking cave?