Fuzz - Fuzz

The insatiable Ty Segall is at it again, his thirst for noise seemingly unquenched. This time it's a threesome, he's behind the drumkit, but still on vocal duties.  Since this project got underway, Ty has tried to keep a low-profile, letting the Fuzz speak for itself, as it were.  Adopting Ozzy Osbourne (singing under water) style vocals, he lets the power of drums and guitar wash over the record from start to finish.  The album makes no apologies for the excessive levels of sprawling instrumentation which manifests throughout.  Fans of his solo work and collaborations will recognise this as a bit of a departure, but anyone interested in muscular guitar freak-outs and a bit of brain-numbing head banging will happily take a slice.

Top Tracks - Preacher, R A I S E and Sleigh Ride

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By Garrett Hargan

OFF to Poland

A number of years back a festival was unleashed on the summer circuit, with a view to shaking the branches of those old festival oaks.  Some of them have been spewing out the same old family friendly line-ups for decades, to keep their Radio 1-loving audiences happy for too long.  It is essential for new and exciting festivals, offering challenging alternative music to emerge from the shadows every now and again.

Primavera Sound has catered for an alternative audience for a number of years, but the festival I’m referring to is Poland’s OFF Festival.  Since 2006 it has established itself as one of the foremost representatives of true alternative music (and its fans) on the summer festival circuit. It manages to attract exciting off-kilter bands who receive little or no exposure at bigger, hype-driven mainstream festivals. 

Situated in Katowice, south Poland, it was the brainchild of Artur Rojek, who created and now heads the festival. Any festival starting out has to rely on home-grown talent and OFF was no different in this regard, with line-ups largely comprised of Polish bands at the beginning.  Nowadays there are bands from all over the world, and importantly those from Poland’s very own pool of musical talent.  There is no sense of genre discrimination with everything from r 'n' b and hippy metal to folk and noise rock/pop.  Over time it has grown in stature, attracting bands such as Iggy and the Stooges, Swans, Thurston Moore, James Chance and the Contortions, The National, Primal Scream, Gang of Four, Jon Spencer Blues Explosion, Mogwai and this year My Bloody Valentine and The Pop Group will appear alongside a list of other great bands, in another strong line-up.

Acts of this calibre help attract more attention for OFF! festival, and it is sure to expand in the coming years.  Hopefully it will stay true to its roots and continue distinguishing itself from its competitors.  And considering the standard of acts on offer, it is the best value-for-money ticket you could ever wish to buy, with 3-day tickets costing about £30. The Katowice air is sure to be thick with corruption come August 2, and I for one can’t wait to be a part of it.

For this year’s full line-up and more information about the festival, visit the festival site:

http://off-festival.pl/

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By Garrett Hargan

Queens of the Stone Age – Like Clockwork

Josh Homme said upon leaving Kyuss, he had an urge to create “sexier sounding music.”  This resulted in the birth of Queens of the Stone Age.  From that point he had a three album plan put in place;

Album 1. Create a new sound.

Album 2. Fan the music out by getting weird and sexy at the same time. 

Album 3. Refer to the first one and take it to places it’s never gone before. 

Judging by this 3-step hard rock manifesto, QOTSA’s sixth and newest album, Like Clockwork, should be taking us on a sexy time-travelling adventure, whilst still retaining their core sensibilities.

California’s very own, hip-shaking ginger Elvis (Homme) has always had an ear for a groove, creating danceable hard rock, with an eye to attracting a gender-inclusive fan base.  He grew up in the desert, in a competitive environment where bands, never dreaming they’d play to anyone outside their town, still strove to out-do each other by creating something better or different to the rest.  This attitude has stuck throughout his career; he keeps people guessing and tries to avoid repetition.  Both on Queen’s records, and the now revered desert sessions, which see Josh invite world-class musicians to the legendary Ranch de la Luna recording studio.  Once there, original songs are written on the spot, recorded in one take, never to be performed again. 

There seems to be something about the barren, sun-scorched landscape, which fuels creativity for its occupants (Arctic Monkeys being the latest group consumed by its mystique, having moved there after recording with Homme). Maybe copious amounts of tequila and the magical powers of mescal aid the process.  Either way, that magic seems to be sprinkled over this album.  Chugging bass lines, from Michael Schuman on Keeping Your Eyes Peeled, a prowling beast of a song, opens proceedings and loudly announces his first recorded contribution with the band, having joined during their last tour.

On the whole this album shares DNA strands more in common with songs like Auto Pilot and In the Fade from Rated R or Make It Wit Chu from last album, Era Vulgaris, than it does with their heavier artillery.  And for the first time, rather than dipping their toes, the band immerses itself in gentler songs.  For instance, Homme’s falsetto is put to good use on mid-tempo, I Sat by the Ocean (I sat by the ocean & drank a potion to erase you/Face down in the Boulevard, yet I couldn't face you.”) Followed by, If I Had a Tail, where Josh remains at his smoothest vocally.  And the sentimental piano-based track, Fairweather Friends, on which Elton John (yes, the same Elton John) guests, unveils Josh at his most vulnerable.

That’s not to say there aren't plenty of crashing cymbals and soaring guitars on show, which add depth to the already sinister vibes underpinning the album.  My God is the Sun is the hardest-hitting song on the album, unsurprisingly with Dave Grohl astride the drum-stool, doing his damnedest to bust through the skins.  Kalopsia utilises keyboards, in a song that has a fantastical quality, with Josh making full use of his vocal range.  There is the gentle side followed by the hard edge, and the music changes in time to suit each.  He sings in someone’s defence, lashing out against their detractors; “Oh why the long face?/You've got it all wrong/Forget the rat in the race/We'll choke chain them all.”

Smooth Sailing catches Josh and Co at their bravado fueled  balls out best with some funk added to the mix, as he sings about blowing his load “over the status quo”, and doing the damage “that needs gettin’ done”, showing he’s still wielding a sharp-edged blade.  It is all rounded off with album title-track, a tender song, and fitting way to end a their most emotionally-charged album to date.

QOTSA take a militant stance against blandness and repetition, continually pushing musical boundaries, whilst always delivering the grooves, because above all else, Homme and his mob of fun-time misfits want their audience to dance and have a good time.  Whereas past albums seemed to reluctantly include lighter moments, for the first time slower, melodic songs have taken centre stage, opening the door to endless possibilities for future albums.  And as we've come to expect from their nuanced sound, sparks and explosions are never far from earshot, this album being no exception, with some finely crafted desert rock shrapnel lodging itself in your ear drums throughout.

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By Garrett Hargan

Festival Fever Rising

 

 

Primavera Sound, possibly the best European festival of the summer is on the horizon.  Ireland's premier music festival and one that brings the season to a close, Electric picnic, is just 100 days away.  This means it is time to pull the wellies and whatever remains of last years tent out of the attic.  It signals the arrival of festival fever, a time of year music lovers crave.  Living outdoors, going to see your     favourite bands playing in the same field and drinking day and night with friends, experiences that live long in the memory.

 

I have compiled a list of what I deem to be 5 must-see European festivals for alternative music fans in 2013.

Primavera Sound

 

Barcelona, Spain (May 22-26)

I will start off with this weekends festival (and the one I would cut off my pinkies to go to).  It caters for alternative music purists, always providing a stellar line-up of international artists.  It normally has the best in underground music and exciting movements from the US such as the garage rock contingent the past few years. 

WHO - Deerhunter, Fuck Buttons, Goat, My Bloody Valentine, Shellac, Savages, Swans, The Breeders, The Jesus and Mary Chain, Thee Oh Sees, White Fence.

Price - Full festival tickets started at 145 Euro, are still on sale at La Botiga del Primavera Sound on C/ del Ases, 1(Barcelona) at the price of 250€.

 

 

All Tomorrow's Parties

Keflavík, Iceland (June 28-29)

Named after the Velvet Underground song, just like the band itself ATP - run events often reach a standard unmatched by other rock 'n' roll proprietors.  Their aim when starting out was to offer a more intimate alternative to larger festivals.  The organisation aided in the selection of bands for Primavera in recent years.  Respected musicians are asked to curate events, they delve into their record collections and invite musicians, consistently creating special line-ups that would otherwise never come together.

Who - Nick Cave And The Bad Seeds, the Fall, Deerhoof, Thee Oh Sees, Dead Skeletons 

Price - Weekend non-camping 16,900 ISK (£95)

 

 

 Glastonbury

 

Worthy Farm, Pilton, England (June 26 - 30)

 





The ultimate festival in many people's eyes, it has earned its place in festival folklore.  It has been influenced by hippie ethics from the beginning and this movement is still celebrated there today.  The weather has played a role over the years and when many of us think of Glastonbury we think of the images of people covered in mud, as their tents float past them.  But more than anything it is remembered and respected for impressive performances by the biggest acts in the world, among them The Kinks, David Bowie, The Who, Pixies, Bob Dylan, Lou Reed, Johnny Cash, The Smiths, The Cure, Oasis and in more recent times The White Stripes and Arctic Monkeys.  In essence it has showcased rock icons for the past 40 years.

 

 

Who - The Rolling Stones, Portishead, Arctic Monkeys, Nick Cave and the Bad Seeds, Public Image Limited, Fuck Buttons, Django Django,

 

Price - Standard Ticket: £205

 

 

Festival Beauregard  

Normandy, France - (July 5th - 7th)

 

I have decided to include this festival for the combination of an idyllic setting along with a respectable line-up.  Any line-up including Nick Cave and the Bad Seeds and The Jon Spencer Blues Explosion is worth the fee alone, especially when taking the reasonable ticket price into consideration.

 

 

 

Who - The Jon Spencer Blues Explosion, Nick Cave and the Bad Seeds, The Smashing Pumpkins, The Hives.

 

Price - 95 Euros for 3 days,

115 Euros for 3 days +camping

 

 

 

 

 

 

Electric Picnic

Stradbally, Ireland - (August 30 - September 1)

 

It has become known as Ireland's version of Glastonbury.  Always has an eclectic line-up of rock, folk and arts and is based in the Irish countryside.  Every aspect of the festival experience is given attention.  The whole site is turned into an art project for the weekend with different themes taking shape as you travel through your surroundings.  The Salty Dog Stage (a boat made into a stage) is always worth catching at the end of the night for some after-hours entertainment.

And as opposed to the normal greasy fast food festival fare you'd expect at most festivals, EP provides a high standard of food to keep it's punters nourished and energised throughout the weekend. From experience it tends to have a good, family-friendly atmosphere with a good mix of ages in attendance.

Who -  My Bloody Valentine, Arctic Monkeys, Bjork, David Byrne & St Vincent, Black Rebel Motorcycle Club, Johnny Marr, The Strypes, Savages,

Price - Weekend camping from €189.50 (£162)

 

 

 

 

 LET'S HOPE WE AVOID THIS TYPE OF SCENARIO, BUT WHATEVER THE WEATHER TRY TO MAKE THE MOST OF IT. 

 

 

 

AND FOR GOODNESS SAKE, DON'T LET IT GET IN THE WAY OF FESTIVAL FASHION WHATEVER YE DO!

 

.

The Fall – Re-Mit

The Fall, are a band that don’t just divide opinion they thrive on it.  When many people think of The Fall, they think Mark E. Smith.  His unerring belief and devotion to a project that started out 36 years ago, and has seen countless line-up changes, seems to have given him ownership.  He began carving his own path, following his rules, and if anything he has made the band more impenetrable for outsiders with the passing of time.  An increasingly incomprehensible, and distinctly E.Smithsian lyric and vocal style has developed over time, which usually takes some deciphering.  For newcomers this may be off-putting, for the devout they are quirks and traits that further distinguish the band from the rest of the pack.

Musicianship has always been at the forefront of albums by The Fall, and on the last four with the current line-up there has been a real push towards a heavier-sound, with dynamic hard-hitting drums and punchy bass-lines at the forefront.  The drumming remains hard, but gymnastic guitar work from Pete Greenway predominates.  Smith has always been a tough taskmaster and doesn’t seem to have mellowed with time, the uncompromising idiosyncrasies on Re-mit signal his intent once again.  He may be getting on in years but youthful vigour and vision remains intact.  

A characteristic that sets Smith apart from other post-punk musicians or even contemporary bands with abstract lyrics and arty sentiments is that he has always been in touch with popular culture, and isn’t afraid to dabble in derision of musicians or television personalities.  Snow Patrol and Lauren Lavern deemed legitimate targets in recent years; Gossip Girl was even referenced on Nate will Not Return.  And upon seeing the band at Electric Picnic he started off by proclaiming: “I am Ryan, from The OC-UH!” (which I enjoyed anyway).  Those who brand him a miserable old git, fail to recognise his acerbic wit.  James Murphy gets a mention this time round on Irish, I’m unsure if it’s complimentary or not; “James Murphy is their chief, they show their bollocks when they eat.”

There is a short energetic intro at the start of Re-Mit before Record Store Day release William Wray kicks off proceedings properly.  Musically the song has real purpose and sees Smith rambling about William Wray, seemingly attempting to pronounce the name in as many different ways before the song ends, good start.  Kinder of Spine, adopts a simple garage rhythm, it has the off-kilter feel of 1960’s garage rockers The Monks (a band The Fall have covered in the past), only Smith’s demented patter replaces that of Gary Burger, and organ absconds in favour of keyboard.  MES inhabits a distressed damsel, as he shouts “oh captain, oh captain, help me-uh!” and growls incoherently about “spiders!” 

Spritely guitars greet No Respects Rev, making it similar to a song like Pacifying joint from 2005’s Fall Heads Roll.  Victrola Time, makes use of overlapping vocals, a heavily-used feature of this album, and also used to good effect on Jetplane with keyboardist and wife Eleni Poulou interjecting, sounding like tape-recorded interpreter.  As the title suggests Jam Song, is a builder, starting out with 1980’s keyboard sounds and MES trying his best to sing before guitars and drums join the party, drowning them out. Album closer, Loadstones, all twisting guitars and snarling vocal is a single in the waiting and wouldn’t have been out of place on Your Future, Our Clutter, their impressive 2010 album.

The Fall are at times unfairly criticised, due to the fact they are a band steeped in great and good albums, and why this may not be the best Fall album ever made, it certainly passes the acid test.  It's dishevelled nature is appealing.  When MES says defiantly on Hitite Man that, “Death does not exist,” it makes you question whether it does for him, he ploughs on and continues to churn out albums and tour with the resilience of a man granted eternal life.  Admittedly, there are tenuous signs of aging...but his rampant musical output and unflinching self-belief continue to breathe life into his music, and that is why after 30 albums his visionary attitude endures, whilst so many of his contemporaries pale in comparison.

DISCLAIMER:  If you’re a Mumford and Sons fan you will not enjoy this album.

 

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By Garrett Hargan

 

 

Dark and Dirty Sounds

“I like music that's more offensive. I like it to sound like nails on a blackboard, get me wild.” 

― Iggy Pop


This blog is an attempt to represent the gritty side of rock, musicians who weren't/aren't afraid to shake things up or freak people out. For those of us grateful that rock 'n' roll has a rich history steeped in the blood and sweat of greats like The Velvet Underground, The Birthday Party, The Pogues, Iggy Pop, Suicide, The Fall...It will recognise past musical greats, have it's feet firmly planted in the present and wild eyes fixed on the future.



My sole aim is to discuss music I am passionate about (those records that only ever seem to receive airplay after dark) and hope
that there are other like-minded souls who may come along for the ride, share their opinions or discover something new along the way.

"And some people say it's just rock 'n' roll, aw but it gets ya right down to your soul." - Nick Cave

Savages – Silence Yourself

All female rock bands with the attitude and poise of Savages are a rare commodity.  Their intensity both on and off stage, (judging by interviews) sets them apart.  A reputation for powerful live performances has already been established; they do not ask for attention, they demand it from their audience.  There is no pretence, they do things on their terms and are unapologetic about it.  For instance, the album title Silence Yourself is a message in itself, urging us to forget modern frivolities, by taking stock of our lives in an act of self-discovery.  In terms of fortitude, they have thrown the gauntlet down to their male counterparts

Joy Division is an over-used comparison when it comes to any band extracting post-punk sensibilities, but any obvious parallels tend to be refined to a live setting when it comes to Savages. Onstage, you can detect Ian Curtis mannerisms, an unrestrained intensity as Jehnny Beth feeds off the sound waves around her, before expelling them through sporadic movement and brooding lyricism.  

But songs like City’s Full, with Gemma Thompsons thunderous guitar and Ayse Hassan’s ballsy bass lines accompanied by Beth’s vocal ferocity, are more aligned to noise rock.  In an interview they remarked, instead of playing conventional chords and guitar lines, they preferred to experiment with sound, distorting notes to create an unsettling atmosphere, similar to a band like Swans.  Waiting for a Sign has these piercing waves of guitar and the repeated snap of a snare drum, whilst Dead Nature has unsettling prods of bass and what sounds like distant church bells, all eerie touchstones of Swans albums over the years. 

They confront issues of sexuality head-on in She Will; “She will forget her pain/She will come back again/Get hooked on loving hard/Forcing the slut out.”  The sharp punchy feel of Hit Me has a no-wave feel to it, calling to mind Lydia Lunch’s (Teenage Jesus and the Jerks), aggressive vocal style. She Will, sees pulsating drums crash along with ecstatic screams as the song climaxes, recalling the rawness of Fever to Tell era Yeah Yeah Yeahs.  Closer, Marshal Dear could be PJ Harvey at her emotive best, it displays a gentler touch, with piano and spurts of saxophone adding further texture to their sound.  But with lines like, “There are suicides in every dream, Marshal Dear,” dark imagery which haunts the album doesn’t remain dormant for long.

As a band in its infancy, the level of self-assurance on Silence Yourself is refreshing, it displays the kind of confidence which many truly memorable musicians encapsulate.   They take elements of gothic post-punk and transplant them into a heady world of feverish feedback.  You get the sense they are a band that immerse themselves in their music, they have a message and the conviction to deliver it.

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By Garrett Hargan