Author: UberAdmin

Cleaning Women – ‘Intersubjectivity’ (Svart)

When was the last time you heard of a band using a drum kit made up of miscellaneous remnants of three separate washing machines? Unless you’re privy to a secretly unreleased Lou Reed project, we would hazard a guess of never. Enter Cleaning Women. When not scoring silent movies or documentary projects, this Finnish trio spends their time raiding their local scrap yard for instrumental inspiration. As was the case with their previous album, 2009’s ‘U’, every piece of equipment implemented on follow-up ‘Intersubjectivity’ is its own DIY revelation. Thus, along with the laundry paraphernalia we have a bass comprised of three-string clothes hangers, inverted coffee making utensils as well as a plethora of other Frankensteinian creations featured.

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Lovebites – ‘Clockwork Immortality’ (JPU)

They say that imitation is the sincerest form of flattery. Well, if that is indeed the case then the western metal scene should be extremely flattered by that in Japan, where bands have been imitating, even ripping off, their European and American counterparts for several decades now. Of all the metal bands to have emerged from the land of the rising sun, only really Loudness have been able to stand on their own two feet and lay down an identifiable marker for the Asian scene to be taken seriously in its own right.

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FESTIVAL NEWS: Slam Dunk announces hard-hitters for Impericon Stage

Whilst heavier bands certainly haven’t been ignored in past years (the likes of Skindred, Heck, Architects and While She Sleeps – amongst many others – all popping up), the 2019 iteration of Slam Dunk seems to be going harder than ever with the announcement of it’s full Impercion Stage. Headed by post-hardcore luminaries Glassjaw, the stage features the likes of Angel Du$t, Turnstile, Cancer Bats, Knocked Loose and The Bronx, as well as the return of British hardcore heroes Gallows.

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Blood Red Shoes – ‘Get Tragic’ (Jazz Life)

DJ Monk first came across Brighton’s Blood Red Shoes at the turn of the decade, when he stumbled across their excellent ‘Fire Like This’. Not his normal cup of mead, there was just something about Laura-Mary Carter’s vocals in particular that drew him into their darkly neurotic otherworldliness which, to Monk anyway, lay somewhere betwixt the morbidity of The Cocteau Twins and the gothic blues of The White Stripes. Shortly afterwards, he picked up the wonderful ‘In Time To Voices’, an intensely appealing album which still gets the occasional play (especially when herself is out of the house), most recently when he received the press release proclaiming that the duo had once again emerged from the studio with new material for our aural delectation.

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