RETURN OF THE PIGS

JUNE REWIND: ISRAEL NASH ON STAGE. PIGSX7 RETURN.

Israel Nash plays Oxford, so do Karma to Burn (review on its way), QOTSA hit London (ditto), and we’ve two – count ’em – chunks of brutish rage to skid-mark for thine ear. They’re not exactly heatwave music, but Israel Nash is, so let’s go there first.

Israel Nash – The Bullingdon, Oxford, June 14 2018
Looking for the sound of summer? You can do a lot worse – and maybe not a lot better – than plug into Israel Nash’s Silver Season, his 2015 album. It captures the sliding, gliding country peaks and pedal steel that Neil Young/CSN scaled on select tracks, but Nash (Israel) makes a complete album’s worth of these near-cosmic shimmers.

Tonight’s show is just Nash, his acoustic and harmonica, and his new-found friends (us). He’s such a generous presence – one of the world’s people people – that you can’t help but like the guy, and his home-on-the-ranch tales of recording, touring and parenthood confirm a nature-loving music-loving spirituality. Here’s a guy who wants to create moments and make them special, which is probably why he steps off stage and into the middle of the crowd to play a couple of tracks with audience accompaniment. Tambourine Jam, he calls it, putting a call out for two percussionists to join him, though the Bullingdon is clearly short of wannabe musos tonight as it takes a bit of coaxing to get the volunteers. “Do what feels right” is the only instruction to his new two-song backing band, and they do. It works.

While Nash is a magnet for warmth and exudes mellow positivity, the music – to me – loses something when reduced to a one-man acoustic strum-only, because the very thing that makes the last two albums such a draw is the richness of a big-sounding, expansive band playing with blissed-out restraint. Still, the chance to hang out in Israel’s company is not one to pass up. There’s a lot of feelgood in here.

OK, on to a couple of new tunes with a more raucous bent – something international, something north east England.

Advent of Bedlam – A Human Farm
Swept up in Stuart Maconie’s World Cup Freakzone, which featured music from all the countries playing in the group stages, this corrosive discharge of extreme metal cuffed the ear more than many this month. Advent of Bedlam are from Costa Rica, their third album is out now, and this track is a precise, punishing fix of blackened deathly thrash. Advent of Bedlam bandcamp right here.

Pigs Pigs Pigs Pigs Pigs Pigs Pigs – Cake of Light
big big big big big big big noise from Pigs Pigs Pigs Pigs Pigs Pigs Pigs – Cake of Light, the lead single from their forthcoming new album, has been aired in a world exclusive by Mary Anne Hobbs on BBC 6Music (2 hours 49 minutes in, after the Manics), and it doesn’t break the previous Pigs’ mould, thank fuck – slamming post-Sabbath doom mono-liffic that just about stops short of collapsing into the void. A howling, raging catharsis. Splendid. They’ve just stuck it up on Bandcamp, album due out in September.

Right, that’s it for June – a short fast ugly Rewind, live reviews on the way.

’til next time!

amplifier wordsmith: the monthly rewind

amplifier wordsmith: the monthly rewind

MARK LANEGAN LIVE + 2017 MOMENTS

DECEMBER REWIND: MARK LANEGAN BAND PLAYS OXFORD, PLUS A 2017 REWIND

Gargoyle. When you see Mark Lanegan stand dead still on stage, face lived-in and unbreaking, you wonder if the name of the album is a knowing, unmoving nod to his stage self.

Then you cast the thought off. Lanegan does not come across as a guy who does send-up, not in public at least. Gargoyles survive centuries though, and Lanegan’s voice has the same survivor’s trait, but the man himself …. at times he looks like he might not get much beyond another day. He only moves from and to the mic when he has to get a drink, and does it slowly with a limp. Every time he moves, he grimaces. Definitely not the imposing moody bruiser you’ve imagined – no, he looks like a veteran fighter in semi-retirement, taking the stage with reluctance. To anyone who hasn’t seen him in person before – me – it’s a bit of a shock. Puts you at unease.

Is Lanegan’s voice diminished? No. Not a bit. It’s exactly what you know from the records – rich, lived-in, strong with weary edge, and he doesn’t falter or miss all night. Death’s Head Tattoo and Gravedigger give us an early rush before Shelley Brien takes co-vocals on Hit the City‘s highway cool. Nocturne pulls out those Euro-driven post-punk synth-pop stops, pulsing like Simple Minds’ Theme for Great Cities, and it’s these tracks, the ones that drive you through metropolitan nightscapes, that work the best. Riot in My House showcases Jeff Fielder’s liquid solos, and that guy is stellar, totally immersed in the songs – he’s into it, bodily into it, with creeper-hop moves and dapper hat that are more acid jazz moonlighter than rock supremo. Class act, as is the whole band. Methamphetamine Blues closes the set with clank ‘n’ growl, then the encore gets stripped to guitar and voice only. Brien joins for a closing Bombed.

It’s a great gig, but an odd-funny one too (and we’re not even going near support act Joe Cardamone’s Holy War filmwank). You could say that Lanegan’s voice doesn’t fit the higher energy rock that he now does, yet it totally works. You could also say that he doesn’t fit the trad rock set-up on stage and you’d be right. And you would put cash on “Mark will be out in 15 minutes to sign any merchandise you have, he’d love to meet you” not being the last words of the set, but they are. A meet and greet with Mark Lanegan? Get the fork outta here.

But sure enough, he appears walking slowly with a cane, joined by Shelley, and they take their seats at the merch stand. They sign stuff, they shake everyone’s hands, it’s a cool thing to see. Would they sign my ticket, please? Of course they would. Happy new year, guys.

LANEGAN TICKET

MOMENTS OF THE YEAR

We’re already drowning in end-of-year lists, but I’ll add a drop’s worth anyway. What’s the criteria? Music moments 2017 – pretty much new, a little of the old, simple as that. The big 2017 reviews shame us into seeing how far off the pulse we non-music-biz mortals really are, but they give us plenty of stuff to check as well: a last grab at being remotely current.

They also make us wonder what everyone sees in LCD Soundsystem. 

Again.

NOTHING IS DEFINITIVE. Let’s go.

KXM – Scatterbrain
Rapid-fire prog-pyro technics launch the second KXM album. So, who KXM again? Dug Pinnick (King’s X) + George Lynch (Lynch Mob/Dokken) + Ray Luzier (Korn). Many of Pinnick’s projects overlap his mother band’s sound, but KXM does push a bit further out because Lynch has a tone all his own, and Ray Luzier lays down some pristine metallic double-kick action, yet the bedrock of it all are those big stop-starter funk-heavy grooves. Check Panic Attack for an epic Lynchian solo over heavy-Beatles harmony. If you’re looking to fall back in love with guitar heroes and musos who serve the song, submit to KXM’s hard-rock mastery.

King’s X live in Bristol
Might as well get straight on to the other 2017 Pinnick high: King’s X live, in the UK. After a life-time’s fandom, seeing them for the first time was odds-on to be Gig of the Year, and it was. It still is. This is what it felt like. King’s X, we salute you.

Buzz and Dale
First it was Crystal Fairy who crunched our worlds with revitalised riffage, then Melvins took us on A Walk with Love and Death double header, with Death possibly the best Melvins album since Freak Puke and one that draws on Stag‘s vintage lurch without ever doing a retread. Dale Crover put a solo record out, too – haven’t heard it, one for next year, surely.

Pigs Pigs Pigs Pigs Pigs Pigs Pigs
Chanced upon these raucous fuckbags back in January and pounced on one-track EP The Wizard and the Seven Swines. One of the best listens of the year. Debut album Feed the Rats landed in 2017, and though more hinged, it’s still a righteous slab of sludgy noisy drawn-out psyche.

Robert Plant – Carry Fire
Any Robert Plant record is a big deal, no matter how it turns out. Carry Fire isn’t the global psychedelic melt that we might expect from the Sensational Space Shifters – more wistful Welsh valley than charging Mali burn – and its restrained mood is at odds with Plant’s life-affirming interviews, so what gives? Once The May Queen has skipped past, side A keeps it slow and you’re straining for a kick, but after that – Carving Up The World Again onwards – it hits the Plant mark. Bones of Saints echoes Mighty Rearranger, Carry Fire conjures bazaars and street heat while Keep it Hid tiptoes a Space Shifter electronica shimmy. Given time, the slower tracks grow, but best of all is Heaven Sent at the record’s end – heavy, slow-droning surf, one of Plant’s darkest. Majesterial stuff as always, just a bit more hidden. Slow-releasing heat.

Dead Cross – Dead Cross
Old Kids on the Block? Yeah, but the joy of hearing Patton THIS animated and Lombardo THAT ferocious in a 28-minute ultrablast is hard to top.

Ministry – Rio Grande Blood
Jizzy Pearl played Wasted in America at the Bullingdon in 2017. Of course, it launched a Love/Hate listening phase, and that somehow led to a Ministry revival as well – you know what it’s like. Must have been a bands-of-92 thing. Anyway, Ministry. Don’t know how long you stuck with them, but I stopped buying after Houses of the Mole, not for any great reason other than the stacks of other new bands and sounds to grab hold of. Suddenly you’ve got a four-album Ministry deficit and the guitarist has died. Shit. What happens when you then get stuck in to Rio Grande Blood? It blows your head. Senor Peligro is ferocious, aggressive, surely one of the hardest tracks they’ve ever done. Cue immediate Ministry gap fill, and if you can stomach a bit of gross-out reading while you do the same, Ministry: The Lost Gospels According to Al Jourgensen is it (get it on Kindle). Frank, funny and disgusting, it’s an unbelievable tale (literally, in the Robert Plant anecdote Led Zeppelin in 1983, really???) where you can’t help but be charmed by Alien J. Lotta self deprecation, whole lotta self abuse, some horrible fucking stories. Get past the first few pages and you won’t stop.

Prince – Around the World in a Day
The Prince education continues, and this album … well, Tamborine and America. How hard is the funk on those tracks? ’nuff said. Staggering.

Chris Cornell 

We all know the story. We all know it doesn’t sit right, either. Going beyond Soundgarden, Carry On and Songbook have kept Cornell’s flame flickering this year, and the more you listen, the deeper that talent  and loss – goes.

Myrkur – Mareridt
Already referenced here as a winter soundtrack, Mareridt covers many more bases than Myrkur’s debut album M. It is less metal – much less – but more diverse, more coherent and more euphoric in an icy, nightmare folk kinda way. Ghosts of black metal. #2 in Metal Hammer’s 2017 review.

Wire live in Oxford
Chairs missing. Doors opening. (non) review right here.

Paradise Lost – Medusa
20 years after last picking up a Paradise Lost album (One Second), Medusa became an impulse buy. Don’t know why. Must have been the subliminal dark arts of the reviews and interviews, and it’s still too new to know well, but it’s got a mature, heavy crunch. Slow-moving and resolute, Medusa is grounded – exactly what we need in fast, unstable times. Just goth enough, feels like a stayer. Let’s see.

Kamasi Washington – Harmony of Difference
Mary Anne Hobbs and Stuart Maconie are all over Kamasi Washington on 6 Music, as are many others, but if you’re open to The Jazz yet rarely snagged, Washington’s triple disc debut The Epic would be way too much. Maybe he knows this. Maybe this is why he put out Harmony of Difference, a 32-minute 6-tracker (at EP price, bargainheads) that uses counterpoint theory – not something I know about, but Harmony is a rich, fullsome listen that might even beat a path to The Epic… one day.

What else for 2017?

Drore

Mastodon!!! But Emperor of Sand tops the Metal Hammer poll, so go read a proper write up over there instead.

Other 2017 stuff not yet managed: king crimson live in chicago QOTSA – big|brave  motorpsycho hannah peel godflesh  mogwai nine inch nails gy!be – the bug vs earth and so on anon anon anon…

HAPPY NEW YEAR, see you in 2018!

PIGS, OHHMS, FAIRIES AND BEER

JANUARY REWIND: NEW HEAVIES FOR 2017

Been a busy month for new discoveries so excuse the gush of these short sharp first impressions but they’ve given January a bit of a jump start, y’ know? A frisson for the short freeze.

PIGS PIGS PIGS PIGS PIGS PIGS PIGSthe-wizard-and-the-seven-swines

Pigs. One pigs is not enough (grammar violation overruled) for some people, which is how you end up with Pigs Pigs Pigs Pigs Pigs Pigs Pigs as a band handle. Doesn’t look quite so bad when written down here, but when you’re scanning the DAB text scroll to catch the name of the band whose rough-arsed rollock has fully pricked your ears, it’s an infinite porker drag. What the fissing puck is all this pigs shit???

Worth the wait though, so it’s a big snouty thanks to Gideon Coe for playing whatever the track was in the first place, because without that introductory exposure to pigsx7, I’d have been forever deprived of The Wizard and the Seven Swines, their 22-minute one-tracker from 2013. Does Fugazi ire, Sleep heft and Thee Oh Sees scorch tease thy aggro-prog garage psyche cravings? Then check the Pigs, meet The Wizard and keep all ears peeled for new album  Feed the Rats.

HEAVY RESISTANCE: OHHMS

You know how some stuff, when you first hear it, is so massive and all-enveloping that it begs, nay commands, you to drop down for heavy duty worship to the Rok Godz?

OHHMS is that stuff. Long swollen subterranean Yob-bery that peddles a mainline in transcendent rifferolla, the Bloom/Cold EPs add up to a massive 60+ minutes for four just tracks – go for the total immersion entry point of The Anchor and see if you ain’t sold on Cold. New album on the way, and Jeezus HC only knows how The Cellar is gonna contain their oversized moltenalia when they hit Oxford on February 13th. CANNOT WAIT. Support comes from Mammoth Weed Wizard Bastard, by the way.

TWO MELS, A GENDER BENDER AND A MAN FROM MARS

Melvins have been obscenely collaborative in recent years, and now they’ve got another ID on the go though it’s not under the Melvins banner. Nope, the Buzz n Dale show have hooked it up with Mars Volta’s Omar Rodriguez Lopez and Teri Gender Bender to form Crystal Fairy, and if the album is anything like the tracks played by Henry Rollins on his Iggy Pop 6 Music sit-in then it’s gonna be tight like (a) Senile Animal. Album due out v soon on Ipecac.

ALCO POP: BEER-FUELLED DRUDENESS

The return! Of the former Lord Yatesbury! Yep, Julian Cope is BACK with a new album: Drunken Songs, a record celebrating Cope’s official embarkation on a Beer Trip that was launched in Armenia a few years back. W-anchored at the back by an oversized Road to Tralee and inspired in part by the funeral song that Cope wrote for himself – As the Beer Flows Over Me, first appearing on Psychedelic Revolution but rerecorded here – Drunken Songs finds the Drude in light mood musically, all mellotron-ic melody and Black Sheep-ish acoustica. He’s on tour as well so don’t miss this highly focused rambling, man – see you in Cardiff for that one.

ADAMS UN-AMPED

Finally, Do you still love me? by Ryan Adams – ace acoustic-only tuneage, nailing that gentle downer vibe.

’til next time!