Archive for the ‘Scalphunter’ Category

Noiseweek: Windhand, Scalphunter, Making, Ought

Friday, July 10th, 2015

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


NME is set to become a free weekly magazine. In a blog post on Monday, editor Mike Williams outlined the magazine’s plans to rebrand, expanding its focus to cover cinema, politics and technology, and increasing its circulation to 300,000. The new edition launches September 18.


The entire archive of pioneering punk zine Slash Magazine has been uploaded online at Circulation Zero. The LA-focused punk zine ran from 1977 to 1980 and birthed the punk label Slash, which put out records from Fear, L7 and X in its earlier years. We can thank Austin-based archivist Ryan Reynolds for the upload, who was also responsible for the digitisation of Star Magazine and a number of other prominent early fanzines.


The Wall of Sound | Motherboard

“It was a signal moment in the history of sound that set in motion a years-long work in progress that would culminate in what’s arguably the largest and technologically innovative public address system ever built, and it started not with a bang, but with something of a casual, stoned proposition. This singular work of engineering would come to weigh over 70 tons, comprise dozens and then hundreds of amps, speakers, subwoofers, and tweeters, stand over three-stories tall and stretch nearly 100 feet wide. Its name could only be the Wall of Sound.”

The Anxious Ease of Apple Music | The New Yorker

““These services treat you like a criminal,” Steve Jobs said of streaming-music companies, in an Apple keynote address in 2003. “And they are subscription-based, and we think subscriptions are the wrong path. One of the reasons we think this is because people bought their music for as long as we can remember.… When you own your music, it never goes away.” Jobs was introducing the iTunes Store, which updated the old model of the recorded-music library. Purchasing a digital track or album, Jobs said, was now “the hottest way to acquire music.” For some years, it was. Then streaming services began to claim an ever greater share of the market, even as they struggled to turn a profit. Last week, surrendering to the apparently inevitable, Apple introduced Apple Music, its own subscription music bundle. For $9.99 a month, you win unlimited access to a library of more than thirty million tracks, from Michel van der Aa to ZZ Top.”

Why Films About Musicians Leave So Much Music Off Screen | NPR

“Music-focused cinema could provide something radical: a close view of the processes of composing and performing that reveals the work behind what seems, to listeners, like magic. Instead, like almost any other kind of cinema, it tends to focus on human relationships: on the interpersonal, not the inner personal. This understandable tendency has resulted in many great explorations of how musicians get along with each other, cope in the world, affect social change and build legacies. Yet it means that most music films (with a few exceptions) still sidestep what’s unique about music-making: the mix of obsessive practice and spontaneous experimentation; the balance between listening and self-expression; the sensual experience of living through the ears. Making music a character allows us as viewers to relate to these narratives, but it also simplifies something worth keeping complicated.”


Windhand — Two Urns

This week’s doom fix sees Richmond, Virginia outfit Windhand merge shoegaze and hypnotizing fuzz into a rich and dreamy sonic tapestry. “Two Urns” is the first cut from Grief’s Infernal Flower, the quintet’s third record, which is out through Relapse Records on September 18. This radio edit clocks in at a drivetime-unfriendly six minutes, but wouldn’t your daily commute be so much better when with tectonic riffs like these?

Ought — Beautiful Blue Sky

Ought are nervous and Wirey on this oddly catchy preview from the forthcoming Sun Coming Down. Tim Darcy repeats the meaningless platitude of small talk over feverish guitars before uttering the song’s central line: “I’m no longer afraid to die / because that is all that I have left,” before a prolonged wind-down. It’s relieving to know amongst all the post-punk revivalists who sought to dilute the genre with forced hooks and asinine lyrics about dancing to Joy Division, there are still bands like Iceage and Ought using that aesthetic to write off-kilter, moving and vital music. Sun Coming Down is out September 18 through Constellation Records.


The View From Here: Scalphunter

Part nine in RTRFM’s 12-part video series moves out of the studio and into the courtyard of The Bird a raucous 15-minute set from Scalphunter.

Making — Come 2 Me

Maybe it’s just the cold front coming in but I got chills watching this kaleidoscopic visual headfuck. While everyone’s talking about the surrealism of Google’s Deep Dream, Making are constructing technopocalyptic visions that Google couldn’t even summon in its nightmares. It’s a long time coming for the Sydney noise rock outfit — on a Facebook status posted yesterday, the band detailed the label woes that delayed the release, the long and short of which is that the album was finished a year ago and pressed by October with a national tour lined up to support it, but radio silence from the label pushed the process back a year. Now, with the support of TRAIT Records, Making next record is going to print again.