Archive for the ‘Space Bong’ Category

And The Rest of the Best of 2015

Thursday, December 31st, 2015

We close out our 2015 end-of-year list-a-thon with contributions from LIFE IS NOISE friends and contributors Sally Townsend, Louis Dunstan, Liam Matthews and Gram the Son of Sam.

Sally Townsend, Perth-based music photographer
I am a lover of music first of all, and firmly believe in supporting live music and local artists. I will travel for the indescribable magic that is live performance, and am trying to capture it the best I can with my camera. I’m a riff-worshipping, doom-loving, dedicated listener and participant in both the local and international heavy music scenes. There was too much good stuff released this year, so it seemed fitting to do a top 15 for 2015. In no particular order…

Bell Witch – Four Phantoms

High On Fire — Luminiferous

Windhand — Grief’s Infernal Flower

Uncle Acid — The Night Creeper

With The Dead — With The Dead

Dopethrone — Hochelaga

Monolord — Vaenir

Elder — Lore

Blackout — Blackout

Watchtower — Radiant Moon EP

Chelsea Wolfe — Abyss

Cult Of Occult — Five Degrees Of Insanity

Space Bong — Deadwood To Worms

Holy Serpent — Holy Serpent

Deafheaven — New Bermuda

Louis Dunstan (EXTORTION/Big Bread)

1. Ghost — Meliora

2. High On Fire — Luminiferous

3. Drowning Horse — Sheltering Sky

4. Tame Impala — Currents

5. Napalm Death — Apex Predator/Easy Meat

6. John Carpenter — Lost Themes

7. Jaakko Eino Kalevi — Jaakko Eino Kalevi

8. Elder — Lore

9. Ufomammut — Ecate

10. Ahab — The Boats of Glen Craig

Liam Matthews (Fourteen Nights At Sea, Old Bar/Public Bar, Melbourne)

1. Godspeed You! Black Emperor — Asunder, Sweet and Other Distress

2. Hope Drone — Cloak Of Ash

3. Self Defence Family — Heaven Is Earth

4. Deafheaven — New Bermuda

5. Nadia Reid — Listen to Formation, Look for the Signs

6. Luke Howard – Two & One

7. Mogwai — Central Belters

8. Mares — Mares

9. Closer — Heartache/Lifted

10. The Electric Guitars — The Electric Guitars

Gram the Son of Sam’s top Oz doom, occult and stoner of 2015

1. Witchskull – The Vast Electric Dark

2. Tarot – The Warrior’s Spell

3. Aver – Nadir

4. Hydromedusa – Hydromedusa

5. Space Bong – Deadwood to Worms

6. Seedy Jeezus – Seedy Jeezus

7. Watchtower – Radiant Moon

8. Roundtable – Dread Marches Under Bloodied Regalia

9. Drowning Horse – Sheltering Sky

10. Little Desert – Saeva (This could have been #1 but just not enough time to shine)

Noiseweek: Hüsker Dü, MONO, Space Bong, Gold Class, Porches

Sunday, October 18th, 2015

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


Hüsker Dü might be reuniting. Then again, Hüsker Dü might not be reuniting. The long-defunct trio have opened up an official merchandise page and hired former Meat Puppets manager Dennis Pelowski to get their affairs in order. In any case, it’s the first time anyone’s talked to each other in a long while. More at The Minneapolis Star Tribune.


John Murphy passed away last week. A percussionist who began his musical career in Melbourne in the late 70s, Murphy had tenures in a number of influential post-punk, industrial and neo-folk outfits here and abroad, including SPK, Current 93, Shriekback, Whitehouse and most recently, Death in June. Photography and collaborator Zeena Schreck has written a lovely tribute to Murphy on her website.


Mega-publisher Condé Nast has acquired Pitchfork, bringing the site’s “very passionate audience of millennial males into our roster” to an editorial stable that includes Vanity Fair, Wired and The New Yorker. On another, potentially unrelated note, Pitchfork has deleted the contributions of one of its early writers (and former Senior Editor to boot), Chris Ott, who’s since become a long-time aggravator and critic of the brand. In light of the acquisition, Ott was raising questions about Pitchfork’s ownership of old published material, which reviews of Radiohead’s Hail to the Thief and Pavement’s Slanted and Enchanted. More on this story from Jason Sargent over at Gawker’s media news outlet, TKTK.


David Bowie is never touring again. That’s not exactly news — Bowie hasn’t been on the road since the Reality Tour in 2014, which was cut short when he underwent heart surgery in Germany in June of that year. Now, former booking agent John Giddings has confirmed that Bowie’s road days are behind him, though he’s still keeping plenty busy, writing new material for the Off Broadway musical Lazarus and penning the theme for forthcoming British crime drama The Last Panthers.


Noiseweek: John Peel, Space Bong, Erasers, KEN mode, Deerhoof

Sunday, September 27th, 2015

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


How John Peel created our musical world | The Guardian

“Eleven years after his death, Peel still hovers above our record collections, silently guiding the opinions and judgments of the generations who grew up listening to him. When Brian Eno gives the BBC Music John Peel lecture at the British Library on 27 September, he’ll doubtless begin by citing the importance of Peel in his own life. It would be good to hear him talk about The Perfumed Garden, Peel’s psychedelic fantasia on the late-night airwaves of the pirate station Radio London, where teenagers in 1967 were introduced to the avant-garde sounds of the Velvet Underground and the Mothers of Invention. Eno will surely mention Roxy Music’s session for the strangely named Friday Night Is Boogie Night in January 1972 – it was their radio debut – which Peel offered them before they had a manager, a record deal or more than a handful of fans. And if Eno’s speech flags a little and he needs a laugh from the audience, all he has to do is recall the night in December 1973 when Peel played a reel-to-reel tape of the new Fripp & Eno album (No Pussyfooting), backwards without noticing. All 39 minutes of it.”

Ed Rodriguez (Deerhoof) Talks the Whole Illegal Downloading Thing | The Talkhouse

“If you’re like me, you feel powerless sometimes. The world seems out of control. But we have more control than we know. A sad truth is that you wield a lot of power with your bank account, no matter how modest it is. Spending money on what actually means something to you not only helps those who are making it, it lets the whole system know your vote. There have been times when, for brief moments, record companies stopped trying to tell people what they should like and instead began scrambling to give the public what it actually wanted. For instance, no one thought the world would freak out and embrace Nirvana like we did, so for a time, record executives were unsure of what was happening, and they were signing everyone who was “alternative,” hoping to find the next big thing.”


Space Bong — Slow Spring

Adelaide’s drabbest take things very, very slow on the first cut from the forthcoming Deadwood To Worms. And why wouldn’t they — Space Bong are the kind of band whose music unfurls itself like a snake shedding its skin — by the end, a fresh beast has emerged. That reptilian theme carries through to this song’s frankly evil vocal deliveries, which, for those heavily reverbed segments, sound as if they’re being screamed from an isolation cell. Yes, this is doom at its most dark and dreadful, just the way we like it. Deadwood To Worms is out October 13 through Art As Catharsis.

Erasers — Stem Together

There’s a ritualistic quality to Erasers’ new record, the way each element of percussion and melody emerges, surges and returns. It sounds almost generative, this strange mix of the synthetic and the organic, and it’s lifted up by Rebecca Orchard’s ghostly, heavily-reverbed incantations which seem to exist simultaneously apart from and woven into the fabric of songs like“Leaves” and “By Your Side”. Stem Together is available now through Pouring Dream.


KEN mode — These Tight Jeans

Jesse Matthewson steps into the ring for the first video from KEN mode’s killer Success. These Tight Jeans is probably the most unusual cut from the trio’s noise rock reinvention. Matthewson’s done some legitimate MMA sparring, and this clip cuts between throwing fists and shouting the song’s rally cries with the song’s guest vocalist Jill Clapham. It’s a welcome way of injecting one of the year’s best sleeper records back into the limelight. If METZ can be a huge deal, there’s no reason these Canadian neighbours can’t achieve the same dizzying heights.

Brian Eno explores John Peel’s record collection

That previous John Peel article was published in the leadup to the BBC Music John Peel lecture, to be delivered by Brian Eno at the British Library later today. Below is another short piece from the BBC, where Eno explores Peel’s record collection, reflecting on how revolutionary Peel’s championing of The Velvet Underground was, as well as the time Peel played Eno & Fripp’s record No Pussyfooting, backwards, without noticing.

Noiseweek: Pajo on recovery, John Doran’s new book, Space Bong, Inventions and more

Friday, March 20th, 2015

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


John Doran — the veteran UK music journalist who currently steers the ship at The Quietus — is set to publish his first book, Jolly Lad, a memoir that delves into his alcoholism, music writing, mental illness and breakdown. From the description: “Jolly Lad is about gentrification; being diagnosed bipolar; attending Alcoholics Anonymous; living in a block of flats on a housing estate in London; the psychological damage done by psychedelic drugs; depression; DJing; factory work; friendship; growing old; hallucinations; street violence and obsessive behaviour – especially regarding music and art.” Pre-orders are available now from Strange Attractor.


RTRFM have finalised their line-up for this year’s edition of In The Pines. Felicity Groom, Thee Glold Blooms, Grim Fandango, SpaceManAntics, Eduardo Cossio Quartet and a reunited Rosemary Beads joining a lineup that already includes Husband, Lanark, Rachel Dease, Methyl Ethyl and a slew of other amazing Perth acts. It all takes place at the Somerville Auditorium at UWA on Sunday, April 19. More details over at


The Road to Recovery with Slint’s David Pajo | The Thin Air

“I mentioned that it’s important to beware the ‘dangerous and completely untrue thoughts’ above. But there are quite a few things you can do. Don’t internalize your darkness: pull them out of your head and dump them on every person you can trust with your feelings! Yes, just drop it on them. When you’re bummed, you don’t want to burden anyone with your darkness so you keep it all inside. Fuck that. If they love you, it’s not a burden. Dump it out, lay your cards on the table with people who will react with compassion and not hold it against you. Do this all the time. If it’s in your head, let it out. It’s like releasing a valve, all that pressure starts releasing. Every little bit helps. Don’t hold back.”

Cvlt Nation interviews Emma Ruth Rundle | Cvlt Nation

“I love heavy music. The ways bands and scenes connect is something someone could write a paper about, or draw up a big family tree to illustrate the intricacies of connectivity between musicians. I can see how the association works in this case. I have NEVER once felt sexism present in the scene. The world of “heavy music” is one of the friendliest and most loyal I have experienced. The musicians and the listeners are (in my experience) the best people… and I often have the best times when we get paired up with a “heavy” band – Russian Circles for example. The only sexism I tend to experience in my musical life comes unexpectedly, and almost never from a fan or fellow musician. I once feared the “for a girl” mentality I know exists, but I never think of it anymore. I never feel it. There are many incredible women in and out of the heavy music world who can play technical and creative circles around some dudes – not to swoon too much (and I don’t want to play into any sex-based bullshit), but Helms Alee are one of the heaviest and most unique bands I’ve ever heard, two thirds of which are women. Good music is good. Who is playing it doesn’t seem to matter to me or to anyone else watching or listening.”

Meaningless Pain: An Interview With Full of Hell | The Quietus

“I just wanted things to be as extreme as possible, I didn’t want any middle ground at all, so bands like Discordance Axis and artists like Merzbow were just the greatest things I’d ever heard in my life because there was just no compromise at all, it was just seriously, seriously over the top. And it still felt like there was some kind of artistic expression involved, and that’s always been really important to me. And y’know, just in general I always felt that Hydra Head as a whole was offering real top quality; I knew I could trust anything they’d release even if I didn’t really know the band or artist. And it was totally my dream, ever since I had my first band, to someday put out a record on Hydra Head — unfortunately that will never happen though. Although, I kind of feel that Profound Lore — they label we’re with now — have sort of taken up the Hydra Head mantle. Which is great, they’ve put out some amazing records.”


Relapse Sampler

Relapse Records turns 25 this year, and they’ve been celebrating for the past month with a series of retrospectives features and releases, the pinnacle of which is this free, ridiculously extensive 184-track sampler. Highlights include cuts from Nothing, Neurosis, True Widow, Harvey Milk, Minsk… fuck, the whole thing’s full of highlights.

Space Bong — Deadwood to Worms

Speaking of heavy, Adelaide doom sextet Space Bong just released “Deadwood to Worms”, the first single on their new full-length due in September this year. At 14-and-a-half minutes, it’s a rollicking chunk of ugly, bottom-feeding doom with the perfect amount of riff idolatry.

Inventions — Maze of Woods

The always excellent Temporary Residence Ltd. label — whose catalog includes releases from Young Widows, Mono, My Disco and Watter — have just put out the latest effort from Inventions, the collaboration between Eluvium’s Matthew Cooper and Explosions in the Sky’s Mark T. Smith. Only half of the record is available for free streaming on Bandcamp, but the album’s first three tracks boast a wondrous array of sounds as Smith and Cooper play with trip-hop beats, ghostly textures and otherworldly ambience. Highly recommended.