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Mikal Cronin releases self-titled debut on 3 Oct 2011

Conceived and recorded as a sort of therapy to help cope with adjusting to post-college life, an ensuing break-up and geographic isolation Mikal Cronin steps momentarily away from the rhythm section of Orange County surf-punk bashers, The Moonhearts with his debut solo album.

Take heart, this isn’t a ‘vanity project’ or half-baked endeavour – Mikal’s solo debut is fully realized, cohesive and beautiful. With themes that are personal as they are universal; questioning the future, accepting the past and living in the moment.

Taking influences such as the late sixties Del Shannon and The Everly Brothers and filtering them through his own mutant Californian fuzz, Mikal deftly explores his singer-songwriter side that at moments feel like a punk Harry Nilsson or Curt Boettcher – balancing sweet melodies and chords with chunky, psychedelic guitar freakouts. Don’t let the opening Beach Boys harmonies of ‘It’s Alright?’ fool you into thinking this record can be easily pinned down.

With long time friend and collaborator, Ty Segall producing, Eric Bauer (Ty Segall, Royal Baths) running the tape machine and guest like John Dwyer of Thee Oh Sees, you can be sure you’re in for something special. Once those guitars kick in, and you hit the first transcendent chorus, you’ll be hooked.

Mikal Cronin

s/t

Release Date: 3rd October 2011

Label: Trouble In Mind

Format: CD/LP/ Digital

 

Tracklisting:

Is It Alright           

Apathy           

Green and Blue           

Get Along           

Slow Down           

Gone                       

Situation           

Again and Again           

Hold On Me           

The Way Things Go

 

 

LISTEN TO ‘APATHY’ HERE

 

June 16, 2015 By : Category : News Newsplug Tags:, , ,
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Steve Ignorant announces support for final ‘Last Supper’ gig

In 1977, Steve Ignorant and Penny Rimbaud founded Crass.

In 1984 Crass disbanded.

In 2007, as a personal tribute to Crass, Steve Ignorant performed a show at Shepherds Bush Empire called ‘The Feeding Of The Five Thousand’, a celebration of the Crass album of the same name, which was performed in its entirety.  Answering the calls that have come from around the globe in response to the Shepherd’s Bush gigs Steve Ignorant has been touring ‘The Last Supper’ across the UK, Europe, US, Canada, Australia and New Zealand to rapturous audiences, celebrating the period of Crass’ work with which he feels most closely aligned – the period when he feels the band were at the strongest, most productive and most hopeful.

In November 2011 Steve Ignorant and his merry band of musicians comprising Gizz Butt (guitar), Pete Wilson (bass), Spike T Smith (drums) and Carol Hodge (vocals) will be performing the Last Supper for the last time, deliberately and significantly to be held once again at the 02 Shepherds Bush Empire.

This will doubtless be the last time any member of Crass will play these songs live again. Ever.

Steve has invited some old friends along to help make this a truly unforgettable event and I am pleased to announce the support acts for the final ever show…

The Cravats

Formed in 1978 near Birmingham, England, these dada fuelled, Jazz-Punk colossals soon became firm John Peel favourites with their unique brand of sax-riddled, bass-laced punk weirdness, doing 4 sessions for the great man and releasing numerous records on Small Wonder, Crass, Corpus Christi and most recently the double CD retrospective, ‘Land of The Giants’ on Overground Records, who, in January, are also re-releasing the band’s first 1978 LP, ‘The Cravats In Toytown’ on CD, as well as a brilliantly crafted new creation culled from the original ‘In Toytown’ master tapes by Penny Rimbaud of Crass, which one described as, “. . . Like an English Stately Home garden landscaped by Jackson Pollock.” The live band features, original founder and voice, The Shend (The Cravats, The Very Things) as well as legendary Cravats sax behemoth, Svor Naan along with Rex Speedway on fuzz club guitar, Rev. J. Noble on bass and Rampton Garstang, the tree-bending sticksman. 

Eccentrically frantic on stage, odd but on the ball and definitely not normal.

Paranoid Visions  

Formed in Dublin in 1981, Paranoid Visions quickly allied themselves to the anarcho punk fraternity of the second wave of punk rock in the early 80’s. Heavily influenced by the Crass ethic of DIY music, the band formed their own F.O.A.D label and licensed their records to All The Madmen, home of the Mob, Thatcher on Acid, Blyth Power and the Astronauts. The band are currently completing their new album, entitled “Dichotomy: White Sands / Black Earth” for release in early 2012. the album features contributions from the Cravats’ The Shend, TV Smith, Goldblades’ John Robb and US punk band the Blame. A single (featuring TV Smith on guest vocals), “Outsider Artist” will be released to coincide with this show with Steve Ignorant, the bands largest London gig to date.

Videos: politician 2011 (cd single), reached number 6 in the IRMA irish physical sales chart 2011, strobelight and torture (7″ and cd single), reached number 4 in the independant download charts 2010 Missing in action (album track from 40 shades of gangreen, 2007) video produced by students from tisch college, NYC, as part of their work experience in Dublin courtesy of hot press.

Andy T

Andy T. began writing poetry/lyrics around the mid 1970’s encouraged by the free festival scene which had a lot of roots and branches in Rochdale. Andy became friends with Crass, attending a lot of their gigs around the country. They were expressing similar feelings that he related to. He had been sending cassette tapes of his poetry and music to friends for quite a while. Crass decided to release a bunch of tapes they had received from all over the country as Bullshit Detector. Andy had something to do with 5 tracks on the first one. Andy T’s music has been described as ‘Joy Division meets Killing Joke at a dub reggae party, with a fat, old bloke shouting over the top’. It probably sounds like nothing you’ve heard before, please feel free to decide for yourself.

Some special secret guests will also be appearing!

‘So here it is then – the final date for the final gig, it’s so weird looking at it knowing it’s going to be the last time I ever perform Crass songs live on stage. I know that was the idea behind this Last Supper tour, but to see it in black and white in front of you like this really makes it final. I know that every gig I do is special and that me and the band put 1000% into every performance, but I have to admit to you all, this one will be special. If you’re thinking of coming, bring some tissues – it’s gonna be emotional’ – Steve Ignorant

The Last Supper
O2 Shepherds Bush Academy
London
Saturday 19th November.  Doors 7pm
Special guests: The Cravats, Paranoid Visions and Andy T

Tickets £20, on sale now from Ticketweb, the Southern web shop, UK tickets.

June 5, 2015 By : Category : News Newsplug Tags:, , , , , ,
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Icarus Line return with new album, ‘Wildlife’, and UK Tour

Los Angeles rockers Icarus Line have announced the release of their first alum in four years – Wildlife will be issued on Cobraside Records on 29 August.

Speaking about the genesis of the new album, Icarus Line mainman Joe Cardamone observed, ‘It has always been a hard sell to convince record label suit types to invest in music that celebrates the kind of lifestyle that threatens their very day jobs and status of importance in this material world. Since Kurt Cobain blew his brains out high on dope years back, it sure seems that they have vowed to never make this mistake again and if you read any popular music magazine or website you’ll see that they have been widely successful. Call it how you see it, it’s a load of crap. Not only are bands that hold guitars a vintage idea but anything that doesn’t pander to iPhone sales in some way is banished to the back of the bus with the other delinquents. That is unless you were born a rich, rock star to begin with. Not the case here.

‘We have been touring/recording/hiding/again and again since 1998. We came from various middle to low income areas of Los Angeles; starting off as a high school punk group and eventually, a world wide act (despite little to no financial support from formal institutions). Even while signed to semi major, V2 we resorted to living with friends and deplorable hotels in the worst parts of Hollywood. Scumbags. It’s hard to care about making a decent living when you don’t even know where you are going to be living. For over ten years we’ve reared our heads in various forms, made critically acclaimed records, toured the world and then seemingly vanished for years on end.

‘The new record, Wildlife was written by me over a period of two years. I had moved out of slums of Hollywood back to my hometown, Highland Park in East LA. The change of scenery was prompted by a need to get away from everything that living in Hollywood brought – Desperation, drugs and record industry scum. Drummer Jeff Watson was driving a Taxi in Portland Oregon at the time so he headed back to LA to complete the group before the sessions. Alvin was around town trying to keep busy while waiting for the man and Jason was working hard supporting his new baby girl. The band got together and crashed through the 30 odd tunes that I had scribbled on bits of paper. We had about 15 days to get an album worth of material, packed into a two car garage that had been repurposed as a sound proof studio. We went at it with very little time for communication. From the day Jeff landed, until the night before the recording was to start, Wildlife was born. With a little help from Ariel Pink and Giant Drag’s Annie, about 20 songs were recorded in Room Three at Sunset Sound. Yes, the same room that Prince turned into his apartment to make Purple Rain.

‘The remainder of the tracking and mixing took place in my home studio mostly under no professional supervision. What does this knob do? Do? Do? Do! Relying on instinct and some gathered knowledge and a new-found enthusiasm for learning to use gear I barely knew how to use, I put together the album. The result is almost like a debut release, uncharted territory for the band that had always used the studio as an instrument to fully express their intent. Wildlife was learning to play piano and tuning up a car at the same time. This wasn’t out of choice completely but more of necessity. It had to be done.

‘Wildlife presents the newest chapter in a bizarre saga of sonic ambition and utterly stubborn will. A rock‘n’roll nuke followed by a couple months of radiated fallout. This record did not just make itself and get into your hands by accident today, it was written, produced and recorded under the constant threat of extinction. As we all know the bills keep coming long after the money is gone. It is another document from a distant corner of Los Angeles that believes in Rock’n’Roll music as art and religion. This collection of songs is finer than the last and those before that. We, The Icarus Line may never get to make a record again and so every record has been made as if it’s the very last one. That’s how this music is supposed to feel though isn’t it? Like a fight to survive in a musical landscape dominated by frat boys in ships clothing. If you love Iggy, If you miss Roxy Music, if you feel Funkadelic, if you need a flash of danger in your life, if you want a little lust around, if you love Rock N’ Roll music that is actually made by motivated fuck ups who had no other choice, then this is for you.’

The band have also announced their first UK dates for two years:

10 Oct             Cardiff                                    Club Ifor Bach

11 Oct             Manchester                          Ruby Lounge

12 Oct             Glasgow                                 King Tuts

13 Oct             Wakefield                              The Hop

14 Oct             London                                  Lexington

Check out ‘King Baby’ and ‘We Sick’ from Wildlife HERE

 

June 16, 2015 By : Category : News Newsplug Tags:, , , , ,
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New Simon Morgan album, ‘Domestic Abuse’ now available via iTunes

Domestic Abuse, the remarkable solo debut album from Eyeplug’s very own Simon Morgan is now available from iTunes. Morgan’s songs splice the energy and worldly cynicism of punk rock to anthemic tunes with genuinely affecting melodies. In a similar literate lyrical vein to such singer/songwriters as Elvis Costello and Billy Bragg, Morgan’s lyrics delineate a post-modern kitchen-sink landscape of sexual politics, autism, alcoholism, drug addiction, depression, death, parental loss, unrequited love, requited love, and social networking.

An important new voice from the bedsitter heartlands, the evocative nature of Morgan’s descriptions of ‘players, doggers, gold-diggers, users and their pimps’ indentifies his talent for charting the topography of the heart. Packed with small-town detail, the dozen songs on Domestic Abuse represent the culmination of over 30 years of songwriting experience and stand as a vivid testament to a creative talent that has not only lived life to its fullest extent, but is also prepared to lay his often hard won experiences bare to a wider audience. ‘Johnny Rotten told me I had no future,’ he observes. ‘He was wrong . . . this is my future.’

Live, Simon has already made an impact, a recent high profile show at the Islington Academy being the latest in a series of gigs that have seen the steadily growing buzz around him gather volume and momentum. His performances are a testament to the concept of function over form, there is no artifice as he presents compelling songs, written from the heart and performed with honesty and conviction.    

‘This is the best set of songs I’ve written,’ enthused Simon. ‘The destination of a musical journey from punk rock to folk.’

Download Domestic Abuse from iTunes

June 16, 2015 By : Category : News Newsplug Tags:, , ,
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Marmalade ‘Best Of’ 2CD set announced

Fine Cuts: The Best Of Marmalade

Released on Salvo, 5 September 2011

Scottish group Marmalade formed originally formed in 1961 and are best known for their UK number one cover of the Beatles ‘Ob-La-Di, Ob-La Da’ and the major US hit ‘Reflections Of My Life’.

These hits are featured on their new album “Fine Cuts” , which showcases a total of 45 tracks, also including ‘I See The Rain’, ‘Cousin Norman’, ‘My Little One’ and many more.

The album was remastered by Finesplice for the finest possible sound quality. A stylish double digipack with 12-page booklet, it contains rare photographs plus a comprehensive overview of Marmalades career written by band members Junior (William) Campbell and Dean Ford.

Tracklisting:

CD1 – The 60s                                                                               

1                   It’s All Leading Up To Saturday Night

2                   Wait A Minute Baby

3                   Can’t Stop Now

4                   There Ain’t No Use In Hanging On

5                   I See The Rain

6                   Laughing Man

7                   Man In A Shop

8                   Cry (The Shoob Doroorie Song)

9                   Lovin’ Things

10                 Hey Joe

11                 Wait For Me Marianne

12                 Mess Around

13                 Ob-La -Di, Ob-La-Da

14                 Chains

15                 Baby Make It Soon

16                 Time Is On My Side

17                 Butterfly

18                 (Take A Little) Piece Of My Heart

19                 Mr Lion

20                 Station On 3rd Avenue

21                 Mr Tambourine Man

22                 Summer In The City

23                 I Shall Be Released

24                 Reflections Of My Life

25                 Rollin’ My Thing

CD2 – The 70s     

1                   Rainbow

2                   The Ballad Of Cherry Flavar

3                   My Little One

4                   Is Your Life Your Own

5                   Cousin Norman

6                   Back On The Road

7                   Mama

8                   Sarah

9                   Ride Boy Ride

10                 Empty Bottles

11                 Stay With Me Baby

12                 Can You Help Me

13                 Radancer

14                 Kaleidescope

15                 Lady Of Catrine

16                 She Wrote Me A Letter

17                 Just One Woman

18                 Bad Weather

19                 Super Clean Jean

20                 I’ve Been Around Too Long

June 5, 2015 By : Category : News Newsplug Tags:, , , , ,
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Exit_International confirm debut album details and free download

Returning from 2010’s critically acclaimed ‘Sex W/Strangers’ EP, Exit_International’s Fudge Wilson (bass/vocals), Adam Thomas (drums/percussion), and Scott Lee Andrews (vocals/bass) prepare to unleash their debut full album, Black Junk, on 19 September. The band promise that their EP was, ‘Just a taste of the embryonic promise of things to come!’ 

From the 48 second blast of ‘Blindfolds’ to the brooding, creepy expanse of ‘King Of The Junkies’ Black Junk have been described as, ‘Rabid, off-kilter, filthy punk rock’  – think the Pixies combined with Motorhead, the sonics of Girls Against Boys and the nerve-splitting post-hardcore volatility of the Blood Brothers. Opener, ‘Glory Horn’ was originally released as a split-single to celebrate a UK tour with Antlered Man quickly becoming a crowd favourite, whilst ‘Bowie’s Ghost’, the band’s first video displays the trio’s uncanny knack for combining the short-sharp-shock treatment with their unmistakable visceral sound.

Recorded in a chaotic 72 hour chemical haze, Black Junk is a guitarless tour-de-force containing just over 30 minutes of urgent, blister-fuzz future rock n’ roll. With ex-60ft Dolls drummer Carl Bevan behind the decks, the band re-recorded tracks ‘Sex W/Strangers’, ‘Chainsaw Song’ and ‘Lights Out’ from their previous EP with added intensity and fervour.

The last 12 months have seen the band from obscurity to ‘ones to watch’ in the UK and the US, with resulting (PA destroying) appearances on the BBC Introducing Stage at Reading and Leeds, 2000 Trees, Guilfest, Leopallooza, Merthyr Rock festivals and sessions recorded for BBC Radio 1 Introducing – including their (now) infamous cover of Nirvana’s ‘Territorial Pissings’.

While tours with Monster Magnet,  Blitz Kids, Ginger Wildheart, Pulled Apart By Horses, Gay For Johnny Depp, Future Of The Left, The Bronx, and others spread the carnage of Exit_ International’s live performance, Black Junk  is set to take that carnage into your very own bedroom with its limitless duel-bass fronted noise-rock.

Check out the fuss by downloading EI’s ‘Voices’ HERE

 Black Junk tracklist:

 01. Glory Horn                 

02. Sex W/ Strangers                 

03. Voices                 

04. Shake Your Bad Ass                 

05. Bowie’s Ghost                 

06. Body Joyrider                 

07. Sherman Fang                 

08. Chainsaw Song                 

09. My Mouth Is Your Mouth                 

10. Lights Out                 

11. King Of The Junkies                 

12. Blindfolds                 

13. Hey Disciple

Exit_International on MySpace

June 5, 2015 By : Category : News Newsplug Tags:, , ,
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Edie Sedgwick releases album, 11-song MP3 download coupon

Through 12 years, three record labels, over a dozen band members, one epilepsy diagnosis, and one filthy dress. E.D. Sedgwick has seen it all. It wasn’t pretty. ‘Love Gets Lovelier Every Day is the Smile of Washington, DC drag-punk rock,’ says Sedgwick, a.k.a. Justin Moyer, the El Guapo/Supersystem bassist who started performing under his nom de plume in 1999. ‘Everything conspired against this record. A collapsing record industry. Bandmates moving out of town. A couple of grand-mal seizures. Getting evicted from my studio, which was torn down by the city to build – wait for it – another studio. My decision to stop performing in a dress. The discovery of a 13th astrological sign, which means I’m no longer a Pisces, but an Aries (a fucking Aries!)’

‘The only thing Love Gets Lovelier Every Day has going for it is really good songs, and a really good band to play them.’

Recorded in 2009 but caught up in record label, personnel, and personal drama until now, LGLED is a poignant memoir of a bad season – and, with a long slate of featured performers, a departure for an reformed electroclash artist who used to make records alone in his bedroom. Dancey ragers like ‘Everybody Wants Some’ (featuring Chad Molter and Mark Cisneros of Medications on, respectively, bass and sax) appear alongside ‘He Composed Lines That Frighten Stanzas’, a Pixies-ish rocker co-written by ex-Supersystem guitarist Rafael Cohen. And there is the titular, 12-plus minute pseudo-psychedelic medley equally inspired by John Coltrane’s A Love Supreme and the B-side of the Beatles’ Abbey Road. But nowhere is Sedgwick’s unlikely evolution more on display than in ‘Silver Bullets’, the record’s first single.

‘‘Silver Bullets’ is about survival,’ Sedgwick says of the raucous, four-on-the-floor banger that name-checks Henry Rollins and Chris Cornell. ‘In the dark days of October 2009, I was moping in my soon-to-be-torn down studio when I started playing this reggaeton- ish two-note bassline. Then, I started writing lyrics from the perspective of a lead-singer Superman archetype. Like: “I’m not a werewolf – silver bullets can’t kill me.” Like: “I’m better than Bono. Bono can’t kill me.” When the song was finished, I felt better. I was like, “I’m gonna get through this.”’

Love Gets Lovelier Every Day will be released by Dischord in September 2011. The album will be available as a download or included with the purchase of this limited edition three-song 7”. Sedgwick’s new band will play select East Coast dates before heading to Europe in October.

Love Gets Lovelier Every Day tracklist (tracks 1, 2, 9 appear on the single):

1  Silver Bullets

2  See Saw

3  Natural Born Killers

4  Trip Inside My Mind

5  Everybody Wants Some (Van Halen Mix)

6  Shine a Light

7  Who’s That Knocking on My Door? (Post-Czech Mix)

8  He Composed Lines that Frighten Stanzas

9  Av a Dev i ne

10 (We’re Livin’ in the) 21st Century

11 Love Gets Lovelier Every Day Medley

 

June 16, 2015 By : Category : News Newsplug Tags:, , ,
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Odonis Odonis – New split 12”, video

Originally a solo project for prolific songwriter/ bandleader Dean Tzenos, Odonis Odonis has only recently become a live band project, playing their first live shows in May and picking up heat as one of the buzz bands of Toronto’s NXNE festival.

Compiled from a wealth of material written and home-recorded between January 2009 and September 2010, Dean recorded virtually all of forthcoming debut album Hollandaze – a grimy, gum-splattered ménage of surf-gaze, punk and lo-fi – alone in a tiny home studio, writing two or three songs a day.

Tzenos’ passion to produce was born of juxtaposition, binding the orderly with the anarchic, the sacred with the destructive, the playful with the terrifying.  Wrapping every song with deep sea reverb and cold fingertips, Odonis Odonis distills the vitals of pop and experimentation.

Molded at a young age by the sounds of indie, new wave and industrial mix-tapes passed on by Dean’s elder sisters, Odonis Odonis harkens to The Jesus & Mary Chain, Pixies, Big Black and The Cure.  Like a good post-modernist, however, these influences merely colour, but do not define Odonis Odonis.

Signing to FatCat Records last month, Odonis Odonis’ first release came in May with an ultra-limited edition 7″ single – ‘Busted Lip’ on Canadian label We Are Busy Bodies, followed swiftly in July by four tracks on a split 12″ (shared with Deerhunter side project, Lotus Plaza) on FatCat’s new sister label, Palmist.

Order the Odonis Odonis/Lotus Plaza split 12” HERE

June 5, 2015 By : Category : News Newsplug Tags:, , ,
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Steve Conte – Paris Fashion Show footage

On 7 July, erstwhile New York Dolls guitarist Steve Conte played a fashion show in Paris for designer Fabien Rozan. He was hired to play an improvised solo electric guitar piece that worked with the style, clothes and setting – which the Crazy Truth mainman describes as ‘a challenge.’

I caught up with Steve and asked him how the gig came about, ‘I met designer Fabien Rozan in Paris back in 2003 when I was touring with Willy DeVille. Since then we’ve stayed in touch – every time I played Paris with New York Dolls he came to the shows and brought his kids. He’s a talented designer and a great guy!

‘As of the morning of the show I had a whole different thing planned – A medley of the designer’s favourite songs by the Stones, Dolls, Chuck Berry, Bo Diddley, etc. But backstage the producer said to me, “That doesn’t work – try something else” All I could think of was how ‘Staying Alive’ and most disco songs were at a walking tempo (about 110 beats per minute) so I figured I’d start there so the girls could walk comfortably. Then it had to be hypnotic and similar throughout the whole nine minutes without getting boring – a challenge for any guitar player, not to mention one playing alone.  I knew an analogue delay pedal set to that tempo would keep it sounding full. 

‘Once I got the initial chord progression in my head I just played variations on a theme. There are some moments where it stumbled, but hey – that’s live improvisating!’ 

Steve Conte and the Crazy Truth website

Steve on Facebook

June 5, 2015 By : Category : Fashion News Newsplug Tags:, , , , , ,
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Disco Inferno – ‘The 5 EPs’ released 12/09/11 on One Little Indian

We’re hated … and the reason we’re hated is that we’re ‘pretentious’ enough to try for something.
Ian Crause, quoted in Melody Maker, March 5, 1994

The whole is much greater than the sum of its parts … one of the most creative uses of sampling I’ve ever heard. It sounds like the future. I’m still figuring out just how cool they are.
Ben Goldwasser, MGMT quoted in Q Magazine, January 2011

Almost entirely out on their own, out of step with the times, Disco Inferno were widely ignored and underappreciated during their (pre-internet) existence. Remaining largely unknown beyond a small but slowly expanding cult of devotees, they were probably the most ambitious and isolated band of the ’90s. Over the three-year span (1992-95) that this compilation covers, they were also quite simply, jaw-droppingly great – a virtually peerless group mining a steady stream of uncompromising, pioneering recordings. One of the first wave of ‘post-rock’ acts (and perhaps it’s ultimate example), they combined avant-garde aesthetics with a basis in solid pop hooks, credibly depicting suburban alienation and national decay through embittered, intelligent lyrics.

Whilst it’s now almost second nature for a band to incorporate digital technology into their armoury, you’d struggle to find anyone who went anything like as far as DI. In 1992, they took the quantum leap from their modest beginnings to totally rewire themselves and become the most radical, forward-thinking guitar band on the planet, with a revolutionary sample-based approach that was simply years ahead of the curve. Whilst numerous acts were making use of the sampler and MIDI technology, no other band integrated it so thoroughly into the process. DI didn’t simply tack on a dance beat or spice things up with the addition of a few novel sonics or quirky quotations. The technology was hard-wired into the very heart of their music. Veering between the deeply challenging and the downright catchy, they continually attempted to push themselves forwards, resulting in two unrivalled albums and a dazzling collection of EPs that consistently redefined the boundaries.

Track-listed chronologically, this compilation gathers together for the first time all five long-out-of-print EPs which were originally released between 1992–95*, a period bookended by their radical rebooted re-emergence in Autumn 1992 and their depressingly premature demise in Spring 1995. Whilst these tracks were never originally conceived to fit together as a coherent whole, the compilation nevertheless functions perfectly as a sequential overview of the band’s development and the sheer breadth of ideas they explored. Even when comprising just two tracks, these releases were clearly construed as EPs, rather than singles in the established, album-marketing sense. Only one of them (‘It’s A Kid’s World’) was actually taken from an album. Regularly clocking in at between six and eight minutes long, each track received equal billing. There were no below-par b-sides, no dead weight. The release of each EP (on both CD and 12″ vinyl) set down a fresh marker, became the latest in a series of stepping stones leading further out in creative investigation of a set of different angles / approaches. As though functioning as the experimental R&D for the two albums, they didn’t just raise the bar for themselves, but consistently rewrote the ground-rules. They never dwelt on a formula, but continuously strove to push forwards exploring new possibilities.

Regardless of the injustices of history, DI were without doubt a trailblazing, unique, utterly important band. With huge ambition and integrity, they rejected the easy routes and rewards. Setting themselves directly against the stylistic regression and rabble-rousing bluster dominating Britpop and grunge, against the bland facelessness of so much of the dance / electronic scene, DI ought to have been widely championed as an antidote, a vital blast of nonconformist bravery and brilliance. In reality they received very little coverage. Buried away for way too long, their recorded legacy continues to offer revelations to the open-eared and actively inquisitive. Whilst it may have been their curse to have been overlooked throughout and long past their short existence, the chances of some overdue recognition rescuing them from the limbo of obscurity have nonetheless recently risen. In 2004, One Little Indian reissued both Rough Trade albums, targeting in particular the US market, where ‘Technicolour’ had never previously been released (‘Go Pop’ had been licensed to US indie Bar-None back in 1994, but inevitably achieved minimal sales), and where the band had never toured. The notoriously low-marking Pitchfork site’s 9.3/10 review of the ‘Go Pop’ reissue resulted in a swell of activity across internet message boards, and appears to have left a continued wake of interest. Certainly more popular now than they were during their creative peak, you might detect either direct influence or certain similarities in the likes of The Third Eye Foundation, Hood, Epic45, Piano Magic, Deerhunter (particularly offshoot projects, Lotus Plaza and Atlas Sound), Matmos, Animal Collective, Black Dice, The Avalanches, The Books, Battles, and No Age. But no-one has really come close to replicating their awesome output and utterly singular aesthetic. Whilst digital music technology has evolved dramatically, becoming smaller, faster, cheaper, and consequently far more widespread, Disco Inferno’s inspired approach and consequent sound seems unlikely to ever be reproduced without seriously compromising its futurist spirit. Littered as pop history is with unsung heroes and buried brilliance, few bands are so deserving of such recovery as Disco Inferno.

*The original EPs were: Summer’s Last Sound (Cheree, 1992)/ A Rock To Cling To (Rough Trade, 1993)/ The Last Dance (Rough Trade, 1993)/ Second Language (Rough Trade, 1994)/ It’s a Kid’s World (Rough Trade, 1994)

June 5, 2015 By : Category : News Newsplug Tags:, , , , , , ,
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