Archive for the ‘Sannhet’ Category

Noiseweek: Chelsea Wolfe, Sannhet, Scott Kay and French Rockets

Sunday, June 28th, 2015

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


The 40 best post-metal records ever made | FACT

“Around the time grime was evolving from garage – in the simplest terms – so too was post-metal emerging from noisecore. Noisecore was the culmination of the fast-and-complex style of thrash and metallic hardcore. Between 1997 and 2000, bands like Botch, Kiss It Goodbye, Dillinger Escape Plan and Coalesce were twisting hardcore and metal into increasingly technical shapes, blurring the brutality with jazz, pop and, well, Gregorian chants. Eventually, the time passed for noisecore, and those young intellectuals decided to slow it down, growing oddly tender at times.”

Insomnia, anxiety, break-ups… musicians on the dark side of touring | The Guardian

“For many, the contrast between the highs of a successful show and the anti-climactic low that often follows can be hard to adjust to, a phenomenon that has been termed “post-performance depression’, or PPD. Mental health professional John C Buckner writes: “When the body experiences major shifts in mood, it is flooded with several different neurotransmitters, resulting in a biochemical release that leads to a feeling of ecstasy. After these moments the nervous system needs time to recalibrate itself to prepare for another release. After an exciting performance the body starts to balance out the level of neurotransmitters, and therefore it is not releasing the same level that caused the exciting feelings, resulting in the lingering sadness. In normal day-to-day life, biochemicals are released and rest/recovery follow, causing the typical ups and downs of life. In the case of PPD, the process is more extreme with higher highs and lower lows.””

Does the Struggle of Making Art in America Make for Better Art? | Pitchfork

Only now as I’ve made my permanent home in the U.S. have I begun to understand what kind of determination and resources it takes to have a successful band, career, and meaningful artistic life. This land of opportunities with no public funding and a queue of talented young musicians lining up for the big time is very, very brutal, albeit exciting and nowhere near perfect. My first year in Los Angeles I damaged my thumb in a wood cutting machine. The medical bills totaled $6,000. The real dark side of being in America, the aloneness of it, how one error or unlucky turn could set you back was terrifying. I remember being in an apartment in West Hollywood lying in the dark in the middle of summer, forcing myself to try to sleep so I could avoid the fact that I had no prospects. Everyone networks very blatantly here. Handing out business cards, and striking up immediate friendships (very un-Danish). Everyone hustling, promising, hyperbolizing everything. My gut-terror and this bazaar-like atmosphere also gave me an energy. There is something about trying to fight through the masses of people and reach the sprawling musical tapestry, sometimes failing intensely and sometimes not.”


French Rockets — Pulling Metal

“What repeats makes me stronger.” Such has been the ethos of Perth synaesthetiacs French Rockets, and it continues to serve them well on “Pulling Metal”, the second single from new ablum Arc. Rather than build layer upon layer for the Great Wall of Sound that’s been the group’s calling card for the last several years, this song is about subtraction; the bass drops out to give way to wiry electronic philandering emerges, returning to fill the rhythm once the guitars drop out. And while repetition serves them well, French Rockets have perfected another part of their artillery here: how to write a catchy-as-fuck hook. Arc is out on June 29.

Scott Kay — Stargazer

Your weekend meditation comes courtesy of Scott Kay, better known as the guitarist of metal outfits Voyager and Statues. There are no axes here on Stargazer, though; just seven minutes of exultant celestial atmosphere built around a simple but striking piano motif. The track is available for $1 and all proceeds go towards Women’s Community Shelters which helps women in crisis find safe spaces, so if you enjoy it throw a buck towards a good cause.


Sannhet — Atrium

The latest clip from Sannhet’s under-appreciated Revisionist makes for uncomfortable viewing but a welcome reminder to delve deeper into the Brooklyn trio’s brutal and beautiful sophomore record.

Chelsea Wolfe — Carrion Flowers

Keeping with the trend of disturbing black and white montages is the first video from Abyss, Chelsea Wolfe’s forthcoming new record. Shot on what looks to be several different cameras, the clip is an assemblage of growth and decay, industry and nature, punctuated by striking imagery — honestly, how amazing is this shot? Wolfe’s material has been getting darker with every record, and the drum-and-guitar combination on this track — which is emphasized here with some clever editing — is utterly haunting. If it’s any indication of how the rest of the album will sound, Abyss is shaping up to be one of the most bleak collections of music in a long time.

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.