Paris-based project, NOIR de MAARS plays long clubbing formats. moving away from his cold-wave inspirations. A solitary reverie, built of binary attacks, thick strings and deranged samples… Back in Urban-Spree after his very first show two years ago…
We found – 62 articles for Milk Me
Distorted Pony (USA)
Legendary noise rock band heading from Los Angeles, they splitted up after 2 awesome LPs produced by Steve Albini himself.
After reforming, they are now touring Europe for the first time ever and you should not miss them!
As K-Fuel wrote:
“Melodies reminding of Joy division, a rhythm section close to Big Black/Shellac and metallic percussions in the vein of Neubauten: a rare moment not to be missed!!!”
Cani Sciorri (IT)
“What do you get when you mix the Cherubs with equal parts Unsane and Led Zeppelin? Italy’s Cani Sciorri of course! They are here to rock your socks off and steal all of your beer. “
(Forbidden Place Records / band camp)
Crack Cloud is a multimedia collective, comprising members from different cities, ethnicities and origins, who contribute to the sound, visual aesthetic and beyond – but their latest release, Anchoring Point, is helmed by seven key members. Taking its sonic influence from the likes of Gang Of Four, Fela Kuti and Talking Heads, its visuals from hip hop and the found footage aesthetic of the ‘90s, and its political ethos from thinkers like Malcolm X and Lydia Lunch, Anchoring Point is a barbed, lurching thing, a cacophony of punchy fragments, funk-laced bass riffs and experimental soundscapes. “We wanted to be expressive in a way that could be erratic but cohesive at the same time,” explains Choy. “Emotionally, it zig-zags. We wanted it to take a life of its own; a life in flux.”
There’s a political undertone to much of Anchoring Point – its lyrics, its sound, even the EP’s artwork, which declares itself to be “how they refer to the latest vendible thing from Crack Cloud. For fun and profit!” But if there’s an agenda to their music, says Choy, “the agenda is humanity and compassion. We invite people to meditate openly about their privilege. Their vice. Their pride and their vulnerability.” Both he and partner Mohammad Ali Sharar are immigrants who struggled with addiction – Choy’s triggered by the death of his father, Mohammad Ali from the cultural turbulence that came from the racism he experienced from outside his community, and the rejection from within it when he started to question Islam. They’ve redefined themselves in sobriety and work together in the mental health industry, facilitating safe spaces based on the harm reduction model for vulnerable and marginalized people in Downtown Vancouver. Crack Cloud is informed by these experiences, past and present.
These experiences inform the work in ways Choy and the collective don’t always attempt to tame or control. ‘Empty Cell’, for example, is a “stream-of-consciousness piece,” made up of different voices from different angles. It follows EP opener ‘Graph Of Desire’, a punky duet of sorts, with shades of early Bowie, that comes in at just a minute and a half long, and precedes ‘Image Craft’, which has a melody like a ticking clock and a video that evokes Lynch’s Eraserhead. “Each song on Anchoring Point,” says Choy, “is one piece of the pie.”
And what does the pie as a whole look like? Choy’s not sure exactly. “It creates a messy picture. We hope people can resonate with its messiness. Thoughts and feelings are ephemeral and there is always a new insight to have and a new connection to be sought after, and it’s a celebration of that. Old and new. And the Anchoring Point in-between.”
Vordemfall delivers a moody and tribal blend including elements of noise rock, experimental, prog and psych. Her thick and frontal bass lines debate with his hyperractive drumming, the tongue is split and it’s all emotionally pretty unstable. Both play a dry/wet game that is damn visceral but perfect for the mating seasons.
DJ Eva Revox
GARDEN DJ Prince Off
Grafting the relentless repetitions of modern minimalism onto the propulsive engine of rock and roll,Horse Lords create an ecstatic forward thrust driven by dueling polyrhythms that curve endlessly past one another. The Baltimore quartet, consisting of saxophonist/percussionist Andrew Bernstein, bassist/synthesist Max Eilbacher, guitarist Owen Gardner, and drummer Sam Haberman, employs arcane tuning systems to achieve their otherworldly harmonies, made possible by guitars refretted by Gardner. The resulting sound is at once stark and lush, tightly interwoven and threatening to fly apart, making their live performances spellbinding and utterly thrilling affairs.
Their 2016 full length Interventions on Northern Spy Records showcases this visceral approach to live performance, as well their interest in crafting studio compositions that pull apart and reassemble the constituent parts of their music into more abstract forms. Interventions was featured on several 2016 year end “best-of” lists, including Red Bull Music Academy and The Wire magazine.
“…hypnotic, fluid and vocal-free: rhythms and tones achieving trancelike effect through repetition and discipline.” Noel Gardner in The Quietus
“On “Interventions,” fast, repeated riffs become collaborative acts, over drones and strong skeletal grooves that stress the upbeat, and the whole thing is held together by concentration, timing and willpower.” Ben Ratliff in the New York Times
“This is a band that believes that experimental music has the potential to be more than merely aesthetic, and every one of their choices—like taking apart their instruments and rebuilding them according to an alternate musical logic—speaks to a desire to upend the status quo.” – Phillip Sherbourne in Pitchfork
French pioneer experimental rock band formed in the early 90’s by Lionel Fernandez, Erik Minkkinen and Nicolas Mazet, SISTER IODINE is a rare band who with “Blame” is releasing only now their 5th studio album. Originally born on the ashes of no wave, their music searches through some sort of terminal confusion between rock and chaos; colliding to original raw and atonal no wave, their primitive love of noise music, eruptions and assaults coming from free music; tapes collage, a bitter moisture humected in industrial music, and maybe even poisonous climaxes taken from black metal influences…