LEVIATHAN, A WORK IN PROGRESS
Video documentary by Richard Moose
www.richardmosse.com
Video documentary by Richard Moose
www.richardmosse.com
Leviathan, a work in progress from Richard Mosse on Vimeo.
Recent Posts
May 11, 2010
May 7, 2010
Sweet selection .9
Floating music.
EF - Mourning Golden Morning - 2010
www.myspace.com/ef
Download
Thanx to TheSirensSound for this great one!
(password: SirensSound.blogspot.com)
Formed in Göteborg, Sweden, in 2003.
This one is their third and last release to date.
Wonderful, dreamy post rock.
Music to let yourself go and float above anything.
Strongly recommended if you liked my last posts about Explosions in the Sky, Equus, or Mono...
Absolute must-have.
Don't miss this great record.
"I reserved this particular review for the wee hours of the morning – a time when all of my family have long-past turned in for the night: the house is hushed, the pets are outside, and a peculiar chill fills the late-March morning air. Normally, I might rise from short fits of sleep to pop in Kid A or Geogaddi to suit the eerie mood, or, depending on how much I wanted and/or needed rest, The Earth Is Not A Cold Dead Place or The Blue Notebooks to woo me back to bed. But, no, I don’t think I will on this particular morning - I feel like writing, and what better time and atmosphere than to tackle a post-rock review. I rise, prepare three cups of coffee, and sit down with Ef’s latest Mourning Golden Mourning, an album that recites to me all the reasons why I love post-rock, and, in addition, all the reasons why I feel that the genre has already reached its pinnacle moment in the beginning of the last decade.
Many cite Ef’s Give Me Beauty...Or Give Me Death! as an underground post-rock highlight, as it collectively brought past influences Mogwai and Explosions In The Sky together in a way that made the well-played deviation sound striking original – though, honestly, very few were fooled, but that was to be expected: the point is that they almost were. In very much the same way, Mourning Golden Morning proposes to make new the feel of treaded and retreaded territory, bringing together builds, climaxes, soothing, albeit sparse vocal integration, and just the right amount of vindicated atmosphere to warrant its inclusion into the more successful collection of post-rock albums. It’s the kind of album that makes you proud to be a fan of this particular type of music, even though it might encourage you to forgo it for the more memorable genre staples.
But even the fact that it successfully recites to you the familiar elements of the frontier gods makes it stand out from those that have failed in the past: Mourning Golden Morning is not sloppy work. The album brings an at time subtle, at times blatant affiliation with those that came before it, yes, but it contains spots of brilliance here and there. The vocal interplay between Daniel Ohman and Tomas Torsson on first track “Son of Ghosts” is such a moment: a steady drum beat and relentless chime work simple miracles, permeating an atmosphere that thrives and solicits pondering; ‘All those fading lights’ breathes in the background and a release of distorted guitar pounding and horns ensue. The moments where this album shines are those that have you forgetting the stereotypes and genuinely "wow" you by what’s presented, though you might recall such moments later and wonder at why it surprised you in the first place. It’s just how the atmosphere swallows you, man: in the moment, in the place, and just at the right time.
I’m not one to rock and nod my head while sipping a cup of coffee, but that’s what “Living With Colors” has me doing – in effect, also getting the liquid all over me. The guitar tones that Tomas and Daniel offer are not nearly as piercing as those painted by Explosions In The Sky; but, however, they do set up the perfect instances for Ef to pull on a heavy layer of distortion for some first-rate, head-bangin’, post-rockin’ action – though, I’m not quite sure they were going for that effect. The aforementioned is riddled and concocted in such a way; but in all honesty, closer “Alps Lugens and Beyond” is where Ef truly ef it up – and I mean that in a good way. Beginning solemn and remorseful, the song then transitions to chimes, slows to subtle invitation, and then makes for the best “Moya” impression this side of Godspeed. As the song seems to float off, I realize it’s well past time for me to turn in to sleep - but no, it’s not over: Ef return for one last triumphant build and release, and, in turn, cause me to lose the rest of my coffee all over my sweat pants.
It’s certainly pleasing to find an album like Mourning Golden Morning that rewrites an often-used formula well enough to feel at times refreshing. And though I may never return to its attention, if only because there are better albums to lose mind and consciousness to, I can group it with the more successful and competent works in the particular category of music. It’s a revisit to the strengths of Mogwai, the tones and soundscapes of Explosions In The Sky, and the more successful vocal inclusions in the genre – a distant Sigur Ros comparison is fair, though more in line with The Album Leaf and recent Eluvium - never drawing attention to the singers individually, while making better the whole of the atmosphere of the music at hand. Ef does all of these things while negating innovation, true, but highlighting many of the strengths of the genre. They clearly know their f'ing post-rock."
www.sputnikmusic.com
EF - Mourning Golden Morning - 2010
www.myspace.com/ef
Download
Thanx to TheSirensSound for this great one!
(password: SirensSound.blogspot.com)
Formed in Göteborg, Sweden, in 2003.
This one is their third and last release to date.
Wonderful, dreamy post rock.
Music to let yourself go and float above anything.
Strongly recommended if you liked my last posts about Explosions in the Sky, Equus, or Mono...
Absolute must-have.
Don't miss this great record.
"I reserved this particular review for the wee hours of the morning – a time when all of my family have long-past turned in for the night: the house is hushed, the pets are outside, and a peculiar chill fills the late-March morning air. Normally, I might rise from short fits of sleep to pop in Kid A or Geogaddi to suit the eerie mood, or, depending on how much I wanted and/or needed rest, The Earth Is Not A Cold Dead Place or The Blue Notebooks to woo me back to bed. But, no, I don’t think I will on this particular morning - I feel like writing, and what better time and atmosphere than to tackle a post-rock review. I rise, prepare three cups of coffee, and sit down with Ef’s latest Mourning Golden Mourning, an album that recites to me all the reasons why I love post-rock, and, in addition, all the reasons why I feel that the genre has already reached its pinnacle moment in the beginning of the last decade.
Many cite Ef’s Give Me Beauty...Or Give Me Death! as an underground post-rock highlight, as it collectively brought past influences Mogwai and Explosions In The Sky together in a way that made the well-played deviation sound striking original – though, honestly, very few were fooled, but that was to be expected: the point is that they almost were. In very much the same way, Mourning Golden Morning proposes to make new the feel of treaded and retreaded territory, bringing together builds, climaxes, soothing, albeit sparse vocal integration, and just the right amount of vindicated atmosphere to warrant its inclusion into the more successful collection of post-rock albums. It’s the kind of album that makes you proud to be a fan of this particular type of music, even though it might encourage you to forgo it for the more memorable genre staples.
But even the fact that it successfully recites to you the familiar elements of the frontier gods makes it stand out from those that have failed in the past: Mourning Golden Morning is not sloppy work. The album brings an at time subtle, at times blatant affiliation with those that came before it, yes, but it contains spots of brilliance here and there. The vocal interplay between Daniel Ohman and Tomas Torsson on first track “Son of Ghosts” is such a moment: a steady drum beat and relentless chime work simple miracles, permeating an atmosphere that thrives and solicits pondering; ‘All those fading lights’ breathes in the background and a release of distorted guitar pounding and horns ensue. The moments where this album shines are those that have you forgetting the stereotypes and genuinely "wow" you by what’s presented, though you might recall such moments later and wonder at why it surprised you in the first place. It’s just how the atmosphere swallows you, man: in the moment, in the place, and just at the right time.
I’m not one to rock and nod my head while sipping a cup of coffee, but that’s what “Living With Colors” has me doing – in effect, also getting the liquid all over me. The guitar tones that Tomas and Daniel offer are not nearly as piercing as those painted by Explosions In The Sky; but, however, they do set up the perfect instances for Ef to pull on a heavy layer of distortion for some first-rate, head-bangin’, post-rockin’ action – though, I’m not quite sure they were going for that effect. The aforementioned is riddled and concocted in such a way; but in all honesty, closer “Alps Lugens and Beyond” is where Ef truly ef it up – and I mean that in a good way. Beginning solemn and remorseful, the song then transitions to chimes, slows to subtle invitation, and then makes for the best “Moya” impression this side of Godspeed. As the song seems to float off, I realize it’s well past time for me to turn in to sleep - but no, it’s not over: Ef return for one last triumphant build and release, and, in turn, cause me to lose the rest of my coffee all over my sweat pants.
It’s certainly pleasing to find an album like Mourning Golden Morning that rewrites an often-used formula well enough to feel at times refreshing. And though I may never return to its attention, if only because there are better albums to lose mind and consciousness to, I can group it with the more successful and competent works in the particular category of music. It’s a revisit to the strengths of Mogwai, the tones and soundscapes of Explosions In The Sky, and the more successful vocal inclusions in the genre – a distant Sigur Ros comparison is fair, though more in line with The Album Leaf and recent Eluvium - never drawing attention to the singers individually, while making better the whole of the atmosphere of the music at hand. Ef does all of these things while negating innovation, true, but highlighting many of the strengths of the genre. They clearly know their f'ing post-rock."
www.sputnikmusic.com
May 5, 2010
Video selection .22
DAN LE SAC vs. SCROOBIOUS PIP - Sick Tonight
Video-clip by David Fishel
www.myspace.com/lesacvspip + http://guerillagorilla.com
Video-clip by David Fishel
www.myspace.com/lesacvspip + http://guerillagorilla.com
"Sick Tonight" Final ALBUM Version from Pheasant Plucker on Vimeo.
What the fuck ?
dan le sac,
david fishel,
hip-hop,
scroobious pip,
video selection,
video-clip
·
0
Comments
May 4, 2010
Grind selection .1
Swedish grind.
AFGRUND - Vid Helvetets Grindar - 2009
www.myspace.com/avgrund
Download
Formed in 2006 in Stockholm.
This one is their second full-lenght.
Swedish-made grindcore.
With that inimitable guitar sound...
Fuck it.
Highly damn recommended!
"I spent much of 2008 semi-coherently raving about how Afgrund may be the new Nasum, but the band’s sophomore slab and Willowtip debut, Vid Helvetets Grindar, tells me I was catastrophically wrong.
Afgrund may very well be Sweden’s answer to Kill the fucking Client. The Nasum influence still looms (particularly in the Miezko/Anders-style vocal tradeoffs), but Afgrund escalate the hostility with a more Americanized tinge of aggression and more prominent sludge passages. From the scorched earth artwork through the pyrotechnic assault of songs like A Future Europe in Flames and A Burning Cross on Your Perfect Lawn, everything on Vid Helvetets Grindar unites to create a holocaust that further refines Svarta Dagar. From needle drop to screeching halt, Afgrund maul their way through 30 minutes of elite Scandi-grind with a Texas-sized bite and one massive chip on their shoulder.
Afgrund nimbly dodge the sophomore slump by reaching deep into their arsenal to highlight new attacks, whether it’s the grind n’ roll of Loneslavar Sla Tillbaka or the sinuous, serpentine leads of “The Great Cover Up Apocalypse.
My only nitpick is that Panu Posti (who once again produced) annihilates the guitars in the mix with his turbine drumming (incidently, Svarta Dagar had the exact opposite problem). But the prominence only klieg lights the intricate fills and stutters of the raging Inevitable Environmental Collapse and Borja Fran Noll. Quibbles aside, Vid Helvetets Grindar is an absolutely incendiary album that proves my faith was not misplaced. Look for Afgrund to move up a few more notches on 2009's year end count down."
http://grindandpunishment.blogspot.com
+++++++++++++++++++++++++++
SAYYADINA - Mourning the Unknown - 2007
www.myspace.com/sayyadinagrindcore
Download
"Sayyadina was formed in the grindcore bombshelter in Hawktown, the rainy summer of 2000. Bored youth as we were, spending our days harrasing the homeless people in our area we decided to grow up and start a band. Since all of us like Brutal Truth, Overdeth and Terrorizer we thought it'd be a great idea to start a fast band, not necessarily a grindcore band... But, as some of you already know Ove has got these really long, slender and fit arms, built for speed so to speak, and we figured the best way to put 'em to use was to make em blast all day long. He liked it and so did we, and the rest is hstory..."
This one is their second album. Crusty, Grind/punk.
Just try this great release.
If you are into fast and hardcore music.
"Mourning the Unknown is tight, blasting but controlled chaos somehow captured on vinyl to give grindheads orgasms. These guys might be just a tad more on the hardcore side of the metal/ hardcore mix which makes up grindcore, but most of the best grind bands are. Yeah I know, Repulsion and early Carcass are great bands but both are a little on the metal side of the mix. Then again, they're really the exceptions to the rule, unless you like the ridiculous level that goregrind and pornogrind have reached.
The key to amazing grind bands like Sayyadina and Yacopsae (besides the incredibly tight musicianship) is to include just enough originality for it to stay interesting, but not enough for it to not be considered grindcore anymore I guess since all kinds of crap is considered grindcore these days that really isn't, that might now be a moot point. Anyway, Sayyadina (whose name is taken from Frank Herbert's Dune book series) was, like Yacopsae, not mentioned in either Decibel or Terrorizer magazines' grindcore issues. Shame on them."
http://no-funeral-zine.blogspot.com
AFGRUND - Vid Helvetets Grindar - 2009
www.myspace.com/avgrund
Download
Formed in 2006 in Stockholm.
This one is their second full-lenght.
Swedish-made grindcore.
With that inimitable guitar sound...
Fuck it.
Highly damn recommended!
"I spent much of 2008 semi-coherently raving about how Afgrund may be the new Nasum, but the band’s sophomore slab and Willowtip debut, Vid Helvetets Grindar, tells me I was catastrophically wrong.
Afgrund may very well be Sweden’s answer to Kill the fucking Client. The Nasum influence still looms (particularly in the Miezko/Anders-style vocal tradeoffs), but Afgrund escalate the hostility with a more Americanized tinge of aggression and more prominent sludge passages. From the scorched earth artwork through the pyrotechnic assault of songs like A Future Europe in Flames and A Burning Cross on Your Perfect Lawn, everything on Vid Helvetets Grindar unites to create a holocaust that further refines Svarta Dagar. From needle drop to screeching halt, Afgrund maul their way through 30 minutes of elite Scandi-grind with a Texas-sized bite and one massive chip on their shoulder.
Afgrund nimbly dodge the sophomore slump by reaching deep into their arsenal to highlight new attacks, whether it’s the grind n’ roll of Loneslavar Sla Tillbaka or the sinuous, serpentine leads of “The Great Cover Up Apocalypse.
My only nitpick is that Panu Posti (who once again produced) annihilates the guitars in the mix with his turbine drumming (incidently, Svarta Dagar had the exact opposite problem). But the prominence only klieg lights the intricate fills and stutters of the raging Inevitable Environmental Collapse and Borja Fran Noll. Quibbles aside, Vid Helvetets Grindar is an absolutely incendiary album that proves my faith was not misplaced. Look for Afgrund to move up a few more notches on 2009's year end count down."
http://grindandpunishment.blogspot.com
+++++++++++++++++++++++++++
SAYYADINA - Mourning the Unknown - 2007
www.myspace.com/sayyadinagrindcore
Download
"Sayyadina was formed in the grindcore bombshelter in Hawktown, the rainy summer of 2000. Bored youth as we were, spending our days harrasing the homeless people in our area we decided to grow up and start a band. Since all of us like Brutal Truth, Overdeth and Terrorizer we thought it'd be a great idea to start a fast band, not necessarily a grindcore band... But, as some of you already know Ove has got these really long, slender and fit arms, built for speed so to speak, and we figured the best way to put 'em to use was to make em blast all day long. He liked it and so did we, and the rest is hstory..."
This one is their second album. Crusty, Grind/punk.
Just try this great release.
If you are into fast and hardcore music.
"Mourning the Unknown is tight, blasting but controlled chaos somehow captured on vinyl to give grindheads orgasms. These guys might be just a tad more on the hardcore side of the metal/ hardcore mix which makes up grindcore, but most of the best grind bands are. Yeah I know, Repulsion and early Carcass are great bands but both are a little on the metal side of the mix. Then again, they're really the exceptions to the rule, unless you like the ridiculous level that goregrind and pornogrind have reached.
The key to amazing grind bands like Sayyadina and Yacopsae (besides the incredibly tight musicianship) is to include just enough originality for it to stay interesting, but not enough for it to not be considered grindcore anymore I guess since all kinds of crap is considered grindcore these days that really isn't, that might now be a moot point. Anyway, Sayyadina (whose name is taken from Frank Herbert's Dune book series) was, like Yacopsae, not mentioned in either Decibel or Terrorizer magazines' grindcore issues. Shame on them."
http://no-funeral-zine.blogspot.com
May 3, 2010
Prog selection .7
Classic.
AT THE DRIVE-IN - Relationship of Command - 2000
www.myspace.com/atdi
Download
Formed in El Paso, Texas, USA in 1993.
Split-up in 2001 after releasing this legendary album.
Their very last.
After their split some of them formed Sparta and Mars Volta.
If you need a larger introduction, just check that link :
http://en.wikipedia.org/wiki/At_the_Drive-In
This is a fucking classic.
Enjoy.
"There seems to be a certain formula to make a band truly influential. A few unwritten laws that bands live by, not on purpose, just because that's the way their music takes them. First, you've got to work hard at it, no matter how thankless and unnoticed you are at the time, just keep working. Some of the most influential bands of our time have all been known for playing gigs that don't even sell out a 300 capacity gig in their early days. Second, you've got to have a strong passion for music, and whatever else gives you your drive. A lot of the time it's politics, sometimes about straightedge, sometimes both. Whatever it is, just write about what makes you passionate. Third, write a record that changes everything. Bring all your musical influences, destroy them and rebuild to make something truly, fresh, innovative and exciting. For At the Drive-in, this was that record.
Released in 2000, this album made At the Drive-in officially, the most exciting band of the 21st century, and so far, they have not been knocked off that spot, despite being defunct. This, their major label debut, was something of a mix of everything that got them there in the first place, after two, virtually untouched upon hardcore records, and then an EP of their Hispanic roots, they, with producing prince of metal, Ross Robinson, wrote something, that would blow all else apart.
Now comes the personal touch. If I'm honest, back in 2000 when I first heard their, 'hit-single" 'One Armed Scissor', it made me shut up and listen. But, I didn't like it. Cedric Bixler's vocals annoyed me, and really at the time, for such an explosion of intriguing music, one couldn't really comprehend. So, now, after a couple of years, hearing more people loving them, and then hearing them again myself, it became apparent that ATD-I had followed rule number 4 of the truly influential bands - the band will always be ten times more appreciated after they have split up.
And the fact that ATD-I, or possibly just the record label, I'm not sure what the story is, has re-released their entirely back catalogue just before Christmas 2004, it's apparent that they know that themselves. And too right, because this is an amazing album, from the simply mind-blowing aggressive punk of 'One Armed Scissor' alone has enough energy to power a council-estate in Romford for a week, to the desperately heart breaking 'Invalid Litter Dept.' featuring the harrowing real-life story of the women of Juarez, Mexico, who are being raped and killed in an organised ring owning a series of factories the women work in called 'Maquildoras". What is possibly most heart-felt about this is that Cedric and Paul both grew up in El-Paso, Mexico, a town that neighbours Juarez.
But, all good-things have to come to an end, the band finally got to the top of that mountain, but they couldn't co-exist together anymore. Conforming to rule number 5, split up at the peak of your fame and talent. Now, not all influential bands have done this, in fact some didn't have a choice (suicide/murder) but it would be a fair comment that the majority of these great bands never ***ed up by going too far with it. They knew when to end it. But, as rule 4 suggests, who cares if they are split up? If they had kept going there's a major possibility they could of gone stale in comparison. What we have got is a record, storming with loud and proud songs, with song structures, timings and general style of playing seen in a way no-one has done before, and we have our memories of their absolutely stunning live shows (rule 6). From the tribal beats of 'Arcarsenal" to the emotional 'Non-Zero Possibility" this is a band who defined a genre they weren't even strictly apart of: emo, and influenced many bands who took elements of their sound and turned it into something new, like ATD-I would have done when they first started, including Funeral For A Friend, Million Dead, Biffy Clyro, yourcodenameis:milo and others. This is At the Drive-in; I hope you enjoy the show. - Adam Turner-Heffer"
www.sputnikmusic.com
AT THE DRIVE-IN - Relationship of Command - 2000
www.myspace.com/atdi
Download
Formed in El Paso, Texas, USA in 1993.
Split-up in 2001 after releasing this legendary album.
Their very last.
After their split some of them formed Sparta and Mars Volta.
If you need a larger introduction, just check that link :
http://en.wikipedia.org/wiki/At_the_Drive-In
This is a fucking classic.
Enjoy.
"There seems to be a certain formula to make a band truly influential. A few unwritten laws that bands live by, not on purpose, just because that's the way their music takes them. First, you've got to work hard at it, no matter how thankless and unnoticed you are at the time, just keep working. Some of the most influential bands of our time have all been known for playing gigs that don't even sell out a 300 capacity gig in their early days. Second, you've got to have a strong passion for music, and whatever else gives you your drive. A lot of the time it's politics, sometimes about straightedge, sometimes both. Whatever it is, just write about what makes you passionate. Third, write a record that changes everything. Bring all your musical influences, destroy them and rebuild to make something truly, fresh, innovative and exciting. For At the Drive-in, this was that record.
Released in 2000, this album made At the Drive-in officially, the most exciting band of the 21st century, and so far, they have not been knocked off that spot, despite being defunct. This, their major label debut, was something of a mix of everything that got them there in the first place, after two, virtually untouched upon hardcore records, and then an EP of their Hispanic roots, they, with producing prince of metal, Ross Robinson, wrote something, that would blow all else apart.
Now comes the personal touch. If I'm honest, back in 2000 when I first heard their, 'hit-single" 'One Armed Scissor', it made me shut up and listen. But, I didn't like it. Cedric Bixler's vocals annoyed me, and really at the time, for such an explosion of intriguing music, one couldn't really comprehend. So, now, after a couple of years, hearing more people loving them, and then hearing them again myself, it became apparent that ATD-I had followed rule number 4 of the truly influential bands - the band will always be ten times more appreciated after they have split up.
And the fact that ATD-I, or possibly just the record label, I'm not sure what the story is, has re-released their entirely back catalogue just before Christmas 2004, it's apparent that they know that themselves. And too right, because this is an amazing album, from the simply mind-blowing aggressive punk of 'One Armed Scissor' alone has enough energy to power a council-estate in Romford for a week, to the desperately heart breaking 'Invalid Litter Dept.' featuring the harrowing real-life story of the women of Juarez, Mexico, who are being raped and killed in an organised ring owning a series of factories the women work in called 'Maquildoras". What is possibly most heart-felt about this is that Cedric and Paul both grew up in El-Paso, Mexico, a town that neighbours Juarez.
But, all good-things have to come to an end, the band finally got to the top of that mountain, but they couldn't co-exist together anymore. Conforming to rule number 5, split up at the peak of your fame and talent. Now, not all influential bands have done this, in fact some didn't have a choice (suicide/murder) but it would be a fair comment that the majority of these great bands never ***ed up by going too far with it. They knew when to end it. But, as rule 4 suggests, who cares if they are split up? If they had kept going there's a major possibility they could of gone stale in comparison. What we have got is a record, storming with loud and proud songs, with song structures, timings and general style of playing seen in a way no-one has done before, and we have our memories of their absolutely stunning live shows (rule 6). From the tribal beats of 'Arcarsenal" to the emotional 'Non-Zero Possibility" this is a band who defined a genre they weren't even strictly apart of: emo, and influenced many bands who took elements of their sound and turned it into something new, like ATD-I would have done when they first started, including Funeral For A Friend, Million Dead, Biffy Clyro, yourcodenameis:milo and others. This is At the Drive-in; I hope you enjoy the show. - Adam Turner-Heffer"
www.sputnikmusic.com
