Tagarchief: English

Avery Plains – The Gloomy Ones/Lost My Sight To Spider

In the unlikely event that Dinosaur Jr. would ever join up with a reincarnation of The Screaming Trees to record some songs together, they’d probably sound like Avery Plains. They combine the dark and swampy sound of team Lanegan with sharp indie and noise rock of fighting brothers Barlow and Mascis (and silent witness, Murph). Loud and ferocious like, any band with four guitars on eleven. A racket, in the most positive sense of the word.

The Gloomy Ones, our introduction to this band from Groningen, incorperates two fiercely smashing guitars, a wild but melodic bass guitar and a third lead guitar sounding very much like Medicine and My Bloody Valentine; loud, piercing, noisy, yet extremely melodic. Amidst all this pumping and thumping noise, Jurgen Veenstra’s dark and warm voice brings a calm backdrop, like the eye of a storm. This is actually where Veenstra’s vocal delivery comes closest to Lanegan, in tone ánd in intention, emitting the same subdued rage.
On the flip side, Avery Plains shows yet another face by adding a rough country feel to their grungy sound. But Lost My Sight To Spider is menacing all the same, not the least because of its well-balanced backing vocals. Giving it an extra heavy, stalking doomsday vibe. Something’s afoot, so brace yourself…

The single will be released on the 6th of April by Dutch underground label Subroutine Records and can already be pre-order on their site.

One can already hear The Gloomy Ones on the bandcamp of Avery Plains.

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Opgeslagen onder English, Nederland, veelwoordenvooreensingle

Kleinindustrie – Hit It

It has been a few months ago since Joep van Son (who you could – or actually should – know as lead singer and guitar player of The Sugarettes, Nikoo, [V] and probably several other projects) recommended Kleinindustrie to me. They had just released a digital five song ep, their third already in 2012.

Ever since, I’ve been playing this ep occasionally. But with the recent demise of Wooden Constructions in the back of my head I thought it was the right time to pay attention to this Amsterdam post punk/noise rock trio. Taking inspiration from the (New York) no wave and noise rock scene of the mid 1980s, Kleinindustrie betray their love for Sonic Youth in the title song of this ep. This could easily be a lost track from the Bad Moon Rising, Evol or Sister recordings with its sharp, a tonal noise melodies.

It would be too easy and unfair to simply call Kleinindustrie a replica. They play with their influences and mould them into new forms. Somewhat like Serbian sibling Repetitor, this trio took from their parents what they like and made their own unique brand of broken down and chaotic noise out of it. Opener “Repetition” blend the pulsating repetitive mechanics of kraut rock with some fierce biting guitar noise. The band devises a subdued threatening atmosphere with the more brooding, energetic psych noise of S-s-sensational, slowly building up tension towards explosions that never come.

A method they perfected with Here Comes Limbo John. For most of the song’s duration, an eruption lurks around the corner, only to finally fade into Untitled. Chaos By Now has become the trio’s main point of interest. Somewhere there is a song in there, you know it, you hear it. But the three-piece broke it down at rehearsals and teared it to pieces, as if to say, “figure it out yourself”. Before falling into their obvious Sonic Joke, Hit It, applies the colour, jargon and song structure of New York’s noise rock-godfathers and reforming it as Kleinindustrie from Amsterdam, bringing New York back to its undeniable Dutch roots and origin.

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Opgeslagen onder CD recensies, English, Incubate, Le Guess Who?, Nederland

The Sweet Release Of Death – Haze

It is damned sweet when a band name, the title of a record or the name of a song covers the content of the song completely. There is no need whatsoever to describe the music, no need to write a review. Just state the title of the song, say it says it all and go about your own business. Go to the pub, have a beer or go and see a show from some other kick-ass band.

My Dying Bride is such a band. No need to explain anything, anyone with a brain understands that you’ll be in for a heavy dark ride when you dive the needle in to their records. Or Space Siren, with a band name like that it is obvious that there will be a female voice singing over some psychedelic guitar tracks. Personally I have never met any sirens, but trusting the myths I have come to the conclusion that none of them are male.

Haze, from the Rotterdam trio The Sweet Release Of Death, has everything in the name to make a description or review unnecessary. It is a heavy, dark and hazy shoegaze track. Two and a half minutes of melodic guitar noise with playful bass lines and a warm tenor male voice, backed up by an even warmer female voice. The song bears the stamp of Corno Zwetsloot producing methods, with characteristic clear noisy guitar lines and pushing drums in the heart of the mix. Zwetsloot, known for his work as producer at Next To Jaap Studio, as guitarist of Space Siren and is most likely the man that every – beginning – Dutch indie band dreams of working with, completes the picture that puts the first recording of The Sweet Release Of Death on a spot somewhere between a noisier Superchunk and a speedier Seam. Fitting both song title and band name alike, Haze is a promising song for whatever will follow from this dark and threatening shoegaze trio. Apparently something worth looking out for is a brewing in Rotterdam.

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Opgeslagen onder English, Nederland, veelwoordenvooreensingle


With song titles like these, there is absolutely no need to write a review. Cheap Beer, No Waves, Max Can’t Surf, Pay Check or Cocaine all betray this must be one hell of a reckless surf punk ride. But, understandably, if you don’t want to trust on just song titles, trust on me. Four young lads that ramble like it is Friday night every night and roll like the best storm waves that only Heroes dare to ride. So raise’m high, your fists and budget beers, and cheer along, loud, without shame…


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Opgeslagen onder CD recensies, English, Foto

Vox Von Braun – Rich And On Wheels

When listening to the second record of Vox Von Braun the first time, the first refrain of The Joker, by this other Dutch band Woody And Paul, springs to mind. A very earthly explanation why their success is what it is(n’t).

I wasn’t born in the USA

And everything went wrong

I never made it to the walk of fame

But still I’m going strong

Four lines that might as well be applied to Vox Von Braun. Any band coming from either United States or Great-Britain would have been hailed as the new saviours of indie rock music, the next big thing or the new Beatles, Rolling Stones or what ever sticks best on the cover of the NME. But the adventurous mix of shoegaze, garage-rock and great hooks has its roots in the higher parts of The Netherlands, Groningen.

Only half a week – during Eurosonic/Noorderslag – the town is the pounding heart of rock ‘n’ roll and pop-culture, but outside of this four days long “New Year’s meeting” of the music press, bookers and other important figures in The Business it is mostly a student city with an outstanding taste in music, a legendary concert hall and (in the same street) very sympathetic and specialised record-store. This all might be a perfect soil for an adventurous indie-rock band, but not the best fertiliser for eternal success and grand exposure.

Talking of exposure, that will be even less if you release your album just days before Christmas, again in Groningen. A big fat middle finger to the music industry or low self-esteem of a band that only believes to have created a record for friends and family. Whatever the case, good music has its manner of finding its way to the wanting and willing listener.

Attention that Rich And On Wheels certainly deserves. Not really sticking to one style, Vox Von Braun one moment sounds like The Butthole Surfers playing sixties bubblegum and the other switches to a mix of Pavement with Jesus And The Mary Chain trying to record a dirty as hell garage hard rock song. There is constant tongue-in-cheek feel to all the songs. Take the title song, a sixties sunshine beat pop tune with cynical lyrics on a gold-digger that sticks with her man because of his wallet

In Pitch Black one can almost see a bikers-pack driving of into the setting sun, supported by a heavy pounding stoner riff that burns tracks of rubber in your speakers. This while in a song like Jezebel Vox Von Braun just took a mix of drugs that sent Syd Barrett and Peter Green in to their mental crises. Audacious songs, but some how on the verge of sanity; Vox Von Braun at first seems to be a rather easy listen, but has a long line of sonic and productional surprises if one takes a more careful listen. Catchy with a hint of ludicrousness, Rich And On Wheels is an album that can appeal to a more mainstream audience as well as those looking for the dare-devils in pop music.

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Opgeslagen onder CD recensies, English, Nederland

Bailterspace – Strobosphere

Records that deserve recognition, there are many amongst those records that I have forgotten or shoved aside for a later moment. A later that of course never came. But, as with most people in December, I have been looking back on the past year. Which for me came with playing a broad selection of records I have received or bought over 2012. First only the sixty something Dutch release on shuffle, but the last week I just started 2012 at the A of A.C. Newman and proceeded from` there. Which after some hours brought me to Bailterspace and the ninth release of this New Zealand band, Strobosphere. Their first release since self-titled compilation in 2004 containing the first newly recorded material since 1999.

Eleven new songs that brings together the best of The Pixies, Seam and Dinosaur Jr. in one New Zealand trio. Indie-rock as played in the early nineties and the late eighties by the for mentioned bands, but also bands such as Hüsker Dü and others that are now considered highly influential and where mostly ignored or only known to a small group of music fanatics ‘back in the days’. Bailterspace being one of those bands, as they started playing in 1987 and actually were signed to two of the hot labels of the era, Matador and the small but influential New Zealand label Flying Nun. And even now, 25 years later, the band manages to make it sound vivid, wild and fresh.

Not a tone on Strobosphere sounds outdated or out of place in 2012, or for that matter 2013. Probably also because we are in the middle of a (nineties) noisepop, shoegaze and indierock revival, with band such as Cloud Nothings combining riffs and sounds of The Wipers, Superchunk and Seam into new songs and being hailed for that as the saviours of punk, indie and whatsoever. Or the Belgian band Believo! that revives the noiserock of Hüsker Dü and Sugar with an extra spark of noise and anger, still leaving the sunlight in. And also METZ that makes you believe it is 1991 all over again. Anyway, Bailterspace perfectly fits in, and should be hailed for that as well, if only because Strobosphere beats many of these revival bands in a unique and different sound. And therefor is but one of those records that should not have been missed out on in 2012.

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Opgeslagen onder CD recensies, English, Konkurrent

The Fire Harvest – The Fire Harvest

There is this moment in the self-titled album of The Fire Harvest when you most likely will be cursing the quartet. Cursing them wholeheartedly from the depths of your soul. During the fifty-sixth second of the fourth minute in the fourth song on their debut you’ll feel betrayed. Betrayed for there is no fifty-sixth second in that fourth minute. Even though Secret Holy Place (that specific fourth song of three minutes and fifty-five seconds) has one of the best slow-core grooves of this year going on. The Fire Harvest lets the song die, starve slowly in a fade out. A fade out that comes ten minutes (too) early, because even on repeat that song is cut too short and you as a listener are left wanting. Wanting and waiting for more. Frustrated, as a junky who has set the needle but never got to the rush, the high or the damage. A trip cut short, the meditation broken.

In the line of artists like Low, Mount Eerie, Codeine, early Songs: Ohia and Karate, The Fire Harvest likes to take it slow (real slow). Two distorted guitars shriek and pound long stretched chords, whilst a drummer refrains from drumming most of the time and the vocalist proclaims his lyrics more than he sings them. Songs that have the same intensity as, and somehow remind me of, Dutch slow-core kings Solbakken (The Sounds In Our House and Laywer_Killer) pass by and just tear me apart. As with Solbakken, The Fire Harvest are mostly unknown in the Netherlands, but create a sound and – more importantly – an atmosphere that is comparable with the international sadcore/slow-core/whatever you want to name these bands that keep speed low and repetition high in their songs. Unknown (in which format does play a role, The Fire Harvest came on a limited Walkman with cassette), but nonetheless a gem to cherish.

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Opgeslagen onder CD recensies, English, Le Guess Who?, Nederland