I basically came out of the womb listening to music. I was lucky enough to be one of those children that grew up being exposed to a multifaceted plethora of music genres. Today, when I started listening to the new album by Pinkish Black, Concept Unification (Relapse Records), I was caught up in a wave a delightful nostalgia. The music flooding my ear holes, created by the Fort Worth Texas duo of Jon Teaque and Daron Beck eerily reminded me of the solo work of one of my favorite bassist of all time, John Entwisle. Entwisle did an album in 1972, titled Whistle Rymes (MCA Records), that I feel the new Pinkish Black album echo’s. What am I trying to say here? I am saying that Concept Unification is fervently grandiose. Continue reading
There are very few bands that seem to fly under the radar but yet are insanely popular. Combichrist is one such band. Mention the band name Combichrist to a self-proclaimed music buff, and you may or may not get acknowledgment that the person has heard of the band. Now, play a song by Combichrist to the same person, and that person will respond favorably, most likely saying something like “I fucking love this band!” Honestly, how can you not love a band that is absolutely fearless when it comes to penning lyrics. Frankly, Andy LaPlegua, the band’s founder and songwriting mastermind, is my spirit animal. Throughout his career, LaPlegua has always expressed exactly what he is thinking using his full throttle in your face style of Industrial Metal. Their new album, One Fire, (Out Of Line Music) continues the no holds barred, face melting journey fans have come to expect from this band. Continue reading
The Sisters of Mercy have booked headline gigs at The Roundhouse London on Friday 20 and Saturday 21 September 2019. They did a brief tour last summer, and have already been booked to headline a stage at this summer’s Hellfest. The band has been especially active lately on social media and their last full-length original album, 1990’s Vision Thing (East West/Elektra) was just released on streaming platforms for the first time last week. Tickets for the London shows go on sale this Friday 18th January 10 am local time at the link below.
Tayne is a London based Experimental, Noise, Pop outfit by Matthew Sutton. Tayne’s music is an aural assault that weld moody, atmospheric vocals, punishing guitars and overwhelming electronics, to pulsating rhythms that create an intense listening. Debut album Breathe (Strange Brew) is out now. Continue reading
It’s long past the time of day when Thomas Giles (aka Tommy Rogers of Between The Buried And Me) began being able to do whatever the hell he wanted. To be fair, to say his day job band has moments of eclecticism is like saying that Brexit negotiations have been a little bit difficult. And that diversity of spirit, of zig-zag, is absolutely at the core of fourth solo offering Don’t Touch The Outside (Sumerian Records), a record that is everything and nothing, and that is laissez-faire in respect of genre while being incredibly focused in trying to keep the listener moving. Continue reading
When a band that formed in 2006 have already recorded ten full-length albums and so many EPs and splits that I can’t be bothered counting them, it’s fair to assume that they’ve (I know, it’s only one person, but you use a band-name you get called by a plural – science) nailed their sound down by now. With Metal/Noise pioneers Gnaw Their Tongues, however, it’s a bit more complicated than that – they’ve somehow managed to develop a style that is instantly recognisable but changes subtly across each album, to the extent that you’re never sure exactly what you’re going to get when a new one is announced, and how heavily it will lean towards their disparate sides. Continue reading
A five-year gap between records and a litany of line-up changes would slow down the momentum of any band, but Michael Keene has always been driven to make The Faceless work, even if it means taking on the majority of musical roles on himself. However, with a new set of musicians backing him up, Keene hopes to push The Faceless back to the forefront of people’s minds with In Becoming A Ghost (Sumerian) and prove that, despite the trials and tribulations of the band’s history, his ambition for creating the most extravagant music possible can still lead to great things. Continue reading