19 Apr 2018
The debut album from MIEN, pronounced “Mean” and featuring members of The Horrors, The Black Angels & more has shared it’s new single ‘(I’m tired of) Western Shouting.
“It was very random and unpredictable,” says John Mark Lapham, of MIEN’s beginnings. “Rishi had contributed sitar to the Earlies’ second album, and I was living in Rochester, New York in 2012 when I saw that he was playing with the Black Angels in Buffalo, which is down the road. I went to go see them, and the whole idea of us working together with Alex started floating around. The Black Angels had crossed paths with the Horrors, so Tom was the last piece of the puzzle. It was initially just a case of exchanging ideas. We loved the music, but we never wanted to form a supergroup. We just wanted a fun experience. We didn’t even know we were a band until we got the record deal with Rocket.”
What, then, is MIEN? Unsurprisingly those involved find it hard to describe. MIEN sounds like it has emerged from the primordial swamp. Psychedelic music typically has associations with the late 60s and early 70s. An industrial slant gives modernist heaviness, but the sitars and sweet melodies bring an ancient quality. This is searching music, made by people who aren’t quite sure what they are looking for but will keep on searching until they have found it.
This is very much a side project in it’s truest form, as it has very little in common with the members other bands. There are some recognisable moments in the vocals delivery and occasional melody choice, but other than that it is very much out on it’s own. It actually has more in common with UNKLE to the ear and has a lot of potential if they keep in this direction.
See the pice here: Backseat Mafia
18 Apr 2018
‘Let It Burn’ was commissioned as part of a short film by The Guardian
Enigmatic Swedish psych outfit Goat have returned with a new track and accompanying video, Let It Burn.
The track was commissioned by The Guardian as part of a documentary film released last December entitled Killing Gävle, directed by Joe Fletcher. That film follows the story of the ‘Gävle Goat’ in Sweden, a giant straw animal constructed in the Swedish town of the same name. Almost every year, the goat is burnt to the ground by local pagans, despite the best efforts of other townsfolk to protect it.
The track was used in part for that film, but now thanks to Rocket Recordings we can hear the composition in full. A sprawling, fuzzed-out track, it sees the band return to the darker, driving aesthetics of their earliest work.
It sees a physical release on Rocket on 25 August, with ‘lucky dip’ 7” vinyl in either red, orange or yellow each limited to 400 copies, to be made available in record shops worldwide.
It comes backed with a four minute excerpt from a huge, cosmic-jazz studio jam, entitled Friday Pt. 1. The tracks are the band’s studio material since 2016’s well-received album Requiem, which saw the band venture into jazzier and folkier musical climes.
See the piece here: Gig Wise
Bonnacons of Doom released their first psych/doom track ‘Solus’. Their music has a trancelike vibe to it. so we are very happy to hear the new track ‘Argenta’ wich has the same quality to it. their debut will be released on Rocket Recordings (wich we have been sharing music from a lot). Listen loud and let your mind drift away...
See the piece here: Fuzzy Sun
A step forward. MIEN and his magical debut.
One of the most complicated points of forming a "super group" is the sound exhibition to present. But the coalition led by the veteran Texan Alex Maas , develops with a certain naturalness, excelling in a genre that continues to be explored assiduously and with dedication. It highlights the status of great musicians who have earned for years on the platforms, and if that was not enough, the study work raises that condition a little more if it were possible.
Without much preamble, the experimentation will be the standard of the debut, the magical first disc that begins a race that will present all the creativity and dedication of a band. In the depths of its dark space, MIEN begins its bet with "Earth Moon" and the sitar sounds on top, while the voices that emanate Maas spread through the spectrum from the center of the calm to the ghostly echoes in the external reaches, we enter the blessed psychedelia.
Read the full piece here: Indie Rocks
The Heads have delved into their back catalogue again to self reissue more gems.
This time they are collecting the Sessions records we released into a 3xLP set called RKT.
So the release includes the Heads track from Sessions 01 and Sessions 02, and some of these jams are being presented for the first time in their original 'unedited' longer versions.
More info here: The Heads
17 Apr 2018
WHITE HILLS/GNOD - AQUARIAN DOWNER
Rocket Recordings’ Record Store Day offering is a re-release of the 2008 tour CDr collaboration between GNOD and White Hills. It is out on Deep Space Blue Swirl vinyl.
I have no idea who’s doing what here so let’s just get down to it. Belonging fades in on a nasty, crashing drone, damages your hearing for three minutes and then fades out. It’s rather like something Faust might have found at the end of a tape in the 70s. Hard Butter Reality is equally Faust-like as Free Jazz bells and rattles compete with reverbed piano. Quiet explosions of noise break through every now and then creating the sense of two great beasts circling each other waiting to see who will attack first. But instead a kind of rhythm is found and with it, some kind of focus. Bongos appear and the feeling is still very stoned and ‘1970s in a forest in Germany’. After eleven minutes it all finishes with a short effects pedal drone...
Read the rest here: Soundblab
GOAT - DOUBLE DATE
Released on limited edition 10” 'Pool of Blood' red vinyl for Record Store Day, Goat's soundtrack to Benjamin Barfoot's horror spoof, Double Date is not what fans would expect. Whilst in the tradition of Carpenter's Halloween and Goblin's Suspiria, Goat have found distinctive voice by blending just enough of their own rhythmic mischief into the mix.
Goat actually appear in Double Date in a nightclub scene, and this is where the genesis of the project can really be found. The soundtrack itself just augments mood, as soundtracks are supposed to do i.e manipulate the audience into feeling, experiencing or anticipating. Hence 'Man Eater' probably plays when the central female characters true sociopathic natures are revealed. Muffled screams and spine chilling sound affects brought to a close by intensifying percussion. Or the horrible foretelling (I'd imagine) of the track 'The Three of Us Together Again' a slowed down rendition of the central piano theme with twittering birds and a false serenity.
Read the rest here: Soundblab