Fast & Loud


JOHNNY MAFIA hails from Sens, Burgundy (which is known more for it’s wheat and cereal production than rock ‘n’ roll) and bring a young, snotty, explosive and ferociously fun energy that drives audiences into a near-frenzy. Inspired by classics like The Ramones, T-Rex, and The Clash, they also draw heavily on contemporary acts like
Ty Segall, Jay Reatard, and the Wavves. The band have just released the video single for BIG BRAWL

after recently finishing recording and mastering their sophomore album PRINCES DE L’AMOUR with producer JIM DIAMOND – who was the bass player of Dirtbombs and produced albums for The Sonics, Andre Williams, The John Spencer Blues Explosion, White Stripes and countless others.

Jim was forced to shut the doors at his studio Ghetto Recorders in 2015 due to what can only be described as “hipsterfication in the downtown Detroit area when his landlord doubled his rent. He set up a new base in Montpellier, and continues his prolific presence across the scene, working with bands as far and wide from Cambodia to Cleveland. In recent years, Diamond has become something of an unofficial in-house label producer/engineer at DIRTY WATER RECORDS.

The album PRINCES DE L’AMOUR will release on 9 November on DIRTY WATER RECORDS (UK).






1. Experimental, kitchen-produced hybrid of folk, musique concrète and psychedelia by ODETTA HARTMAN.

She raised by pioneering parents on the Lower East Side of Manhattan, NYC, Odetta’s milieu was a “colorful culture of artistry,” that included early exposure to community activism, renegade film screenings, poetry readings and trips to CBGB’s. Inchoate punk and hip hop were aural wallpaper, as were the 45s spinning in the household jukebox featuring her dad’s extensive collection of soul and afrobeat records, as well as her Appalachian mother’s classic country selections. A classically trained violinist with a penchant for back-porch banjo, Odetta combines these variegated sounds of her childhood with her personal passion for folk music and the musicological legacy of Alan Lomax. But she never takes herself too seriously and always tries to have fun, so she went to the kitchen.

“Many of the beats on the album were recorded in the kitchen: the snare sound is actually a running faucet, or if you hear these glockenspiel bells that’s actually a set of kitchen bowls. Other percussive elements include scissors, a pepper grinder and keys on the radiator.” Anyway she loves mistakes in songwriting or recording, because they so often lead to something greater. I do not know how many songs got its final form by mistakes on this album, just know that is weird and wonderful. Her second album OLD ROCKHOUNDS NEVER DIE is slated for release on NORTHERN SPY RECORDS and MEMPHIS INDUSTRIES on August 10, 2018.

2. THE DUE DILIGENCE is a free form band of songwriter Isaac Gillespie and his friends. The new alum LIFE IS HARD is the final piece of a trilogy. It was started with the country-soul album “I Will Wreck Your Life” in 2011. It was the encapsulation of the years Gillespie spent in the antifolk scene. The second part was the frenetic Velvet Underground-infused sarcasm of 2014’s Are You Down. It’s the wild night on the town, but it’s also the morning after. A recognition of the difficulty of life.

LIFE IS HARD is largely inspired by songwriter Gillespie’s grandmother’s passing, and her perseverance through the many challenges of being a single mother and a child of immigrants in the 1950s. LIFE IS HARD is both the death album and the pop album. It provides a trash-gospel meditation on the tug of war between the lusts that drive us and the deaths to which we’re driven. It was inspired by the psychedelic soul of Sly & the Family Stone and the “plaintive mythologizing” of Grateful Dead. It will be released in June on PAPER GARDEN RECORDS (US).


3. Atlanta’s SUBSONICS are a gutter-glam, minimal rock’n’roll trio. FLESH COLORED PAINT is their 8th album. Like all their previous works, this is a distilled hodgepodge of decades of popular culture and classic literature culminating in a collection of short and groovy shambolar: Chuck Berry, Albert Camus, AM radio rock jocks, Bo Diddley, Golden Age TV, surrealism, Mad Magazine, kung-fu flicks, Herman Melville, Little Richard, self-negating philosophy, David Johansen, The Bible, Dee Dee Ramone, Lee Van Cleef, Cornell Woolrich, advertising jingles, Dada, Carole King, Bugs Bunny, and Casablanca; the poem, not the film. The album was released by SLOVENLY RECORDS.


4. New Yorker PARQUET COURTS is a punk band. Hard to say anything else. OK, compared to Total Punk Records style punk bands they rather play pop music. Their influences come from Velvet Underground, Ramones and Talking Heads, but I also hear The Fall and even Country Teasers in their music. I remember their first album was a big revelation for me. There the sound was more punk than on the next ones. Fortunately unlike many others they don’t write the same record year by year. And now with the new album WIDE AWAKE we arrived to New Orelans.


5. Howe Gelb refused to cancel their first Los Angeles live gig when his band Giant Sandworms had broken up days before in Tucson, Arizona. Instead, he headed out anyway with Scott Garber, the newest member who’d only been in the band for about a year. Gelb asked fellow Tucsonan Winston Watson who lived in Los Angeles to jump in as drummer for the live date. And he did it with no rehearsal. The result was so sparked with adrenalin, that the trio set up an impromptu studio session the next day to attempt to capture the sonic thrust on tape. Later they recorded some songs to make it to a full LP with a different drummer in Tucson. The album Valley Of Rain was released in 1985 under the name of GIANT SAND.

But at the time of the recording Gelb was unacquainted with the possibilities of tube amps. So 30 some years later, now that the band had been put to sleep indefinitely, those very first songs had begun creeping into the last Giant Sand tours. It somehow seemed appropriate to give them another shot with the proper amp just to see what they could’ve been. What made the idea more approachable was the availability of both original drummers living back in Tucson. And they recorded the songs again together with the two newest member. And the sound is insane.



6. After a few months spent abroad in Spain and her infatuation with Brazilian music, Chicago based Vivian McConnell was inspired to create a dreamy new genre she calls “nap-rock” and to assume the moniker of V.V. LIGHTBODY – the name of her piano-playing grandmother. The ocean-like tunes on the album BATHING PEACH combine the vivid lyricism of Joni Mitchell with the jazz-inflected chords of Sam Prekop’s early solo records. Unanchored in a sea of glitching mermaids, V.V. LIGHTBODY is a surreal reflection of McConnell’s experiences and influences that coalesce into an intimate narrative of self-discovery.


7. After half year that her album with Kurt Vile was released Australian indie rock songstress COURTNEY BARNETT has released her new album TELL ME HOW YOU REALLY FEEL with contribution of Kim and Kelly Deal from Breeders on MILK RECORDS (AUS), MOM+POP MUSIC (US) and MARATHON ARTISTS (UK)


8. So here is PALBERTA‘s new album ROACH GOIN’ DOWN on WHARF CAT RECORDS (US) soon. The best phrase which best describes the music of these girls is: wap wap wap dabbada ding ding dack dabbada.


9. THE DREEBS have been making music in New York since 2009. Over the next couple years they would find a home in the Brooklyn noise rock community, while staying true to their specific sound palette. The best if their friend Andrew Savage (Parquet Quarts) tells you about the band and their new album FOREST OF A CREW on RAMP LOCAL RECORDS (US).

First a little catch up for the unacquainted: Every member of The Dreebs has, at some point, been a member of PC Worship (that is if the players in the notorious New York City collective could ever be called members). The Dreebs were first described to me years ago as PC Worship’s weirder side project, which immediately caught my attention because, how could a band be weirder than PC Worship. I’m not going to even attempt to quantify that because it’s utterly impossible. Though over the years, we’ve seen a sort of Dreebian declaration of independence by their increased presence in the New York City DIY and avant-garde scenes. That independence has been loudly articulated in the form of Forest Of A Crew. It’s the sum of eight songs and seven instrumentals. These pieces wash over the listener like vignettes of a fever dream, punctuated with moments of terror and beauty. It exists not in romanticized New York of old where artists could survive in squalor so long as they existed in inexpensive and undesirable locations where no squares fear to tread. Rather, the hellscape of The Dreebs is of a different variety, where even Bushwick is unaffordable and the decision to live as an artist in the city has become a perilous one.


10. THE COMMON COLD is an English psychedelic rock band whose sound incorporates elements of Krautrock, post-punk, and northern soul. It has been formed by two friends Ajay Saggar and Mark Wareing, the duo had served time in legendary British punk band Dandelion Adventure many years before. Two years ago they took to the stage for the first time together nearly after 30 years to play a set of psych jams. Later they got three drummers, but one time just two play. They got the influence from Kaleidoscope, Neu!, Quicksilver Messenger Service, and The Fall. On their debut album SHUT UP! YO LIBERALS! on ACTION RECORDS features former drummers of Cornershop and The Fall.


11. SECOND STILL is an LA based post-punk, cold wave wave band. Best describe them the names of the labels which release their music: Manic Depression, Weyrd Son and Sentimental Records. Their new EP EQUALS was released on WEYRD SON RECORDS (Belgium). I was so lucky that i saw them in Budapest not long before. It was a frantic night.


12. APOSTILLE is the solo electronic project of Night-School Records‘ head Michael Kasparis. His second solo album CHOOSE LIFE will release on 8 June on UPSET THE RHYTHM RECORDS, and it’s the greatest new wave synth-pop music what I heard recently. Minimal and courageous. It’s not a simple thing. Through EBM and acid techno finally it reach to Prodigy.


13. It’s time for mysterious cinematic pop melancholia with Scottish musician PICTISH TRAIL. He is a svelte, intelligent, adorable balladeer, trapped inside the body of an oversized, oft-bearded folk ogre. Runs Lost Map Records, up on the isle of Eig. It’s one of the Small Isles in the Inner Hebrides with a population around 100. His extraordinary vocals reveal hidden depths and have been accompanied by everything from acoustic guitar to a full-on four piece metal band to throbbing dance beats and samples, and often during the course of the same gig. The album FUTURE ECHOES originally released in 2016 on his label, but now it will be re-released with a bunch of unreleased remixes and live materials in July on FIRE RECORDS (UK)


14. “Searching for the light in the pouring rain” is the motto of THE GOLDEN DREGS. It’s the project of Benjamin Woods with a musical approach inspired by 70’s Americana and jam bands, The Grateful Dead, Bob Dylan’s The Basement Tapes, and the documentary movie about the Mussel Shoals Studio.

The debut album LAFAYETTE is jangly summer-summoning pop for the hours when the sun is disappearing below the sea. What it plays out is a rich representation of small town living; from the churn of the rumour mill to the assortment of intriguing characters that only seem to exist far away from motorways, Itsu chains and the relative anonymity afforded by city living. It was recorded with contributions from some of the town Falmouth’s best musicians – the Cleave brothers (The Red Cords), Samuel Stacpoole (Holiday Ghosts), Jake Wilbourne (The Black Tambourines) and plenty more. And released on ART IS HARD RECORDS. And good to listen to it.


15. ONYX was the avant-garde electronic duo of American songwriter and instrumentalist Judd Stone, and British vocalist and fashion model Beveur in the early 80s. The only instruments they used are drums /percussion and synthesizers – except for a primitive drum machine track that is used on “Planet X”. All of the instruments are played, and there is no syncing or sequencers used on any of the recordings. The bass tracks are keyboard bass. And what they recorded it is still fresh.

COMPLETE WORKS 1981-83 will release in June on Osaka based Franco-Japanese label MIND RECORDS.







From Perpignan with Love


French cavemen on shroom play psychedelic but raw garage rock
under the influence of Z-movies and Syd Barrett.
Their music is similar to Destination Lonely or Cheater Slicks.
Listen to it here.

+ French hardcore punk band ZARMA FRAULEIN.
Listen to them here.



Both come from Perpignan‘s gipsy quarter.


South London Calling

Now you can listen to the split CD single of two strange South London bands. On the one hand H0NKIES play a blend of South-London scuzz incorporating elements country, electronic, post-punk and lo-fi. File next to bands such as these South London fellows: Goat Girl, Meatraffle, Warmduscher and Peeping Drexels, but also Rebel and Country Teasers of course.  And thye are really just “like a drunken boat.”

On the other part PEEPING DREXELS play sleazy melodies with sloppy beats from South London scum. It’s music for horrible people like you.

It is released on PERMANENT CREEP RECORDS. Order here.


Seine Flows Through Eastern Europe


Zagreb based trio SEINE is an ancient project of Ivan Ščapec – from melodic noise punk band Vlasta Popic – which finally turned into a band. They play strummy, acoustic, punky, noisy, alternative, psychedelic, folky, angsty and hearty music, defined by dreamy acoustic guitar textures, psychedelic bass lines and spirited drum patterns.

They are on Eastern Europen tour to promote their debut album Sno Sna. Don’t miss them: 27.5. Art Café Barakah, Kraków (PL) / 28.5. Hajovna, Žilina (SK) / 29.5. Klub Lúč, Trenčín (SK) / 31.5. Auróra, Budapest (HU) / 1.6. Grand Café, Szeged (HU) / 2.6. Slamanje, Osijek (HR)


A Tale of Barbarity, Sorrow, and Vengeance


HOTEL LUX tells a tale of barbarity, sorrow, and vengeance. It is an attempt to step into the British realist tradition of portraying the most vulgar and distorted aspects of the communities they (we) live in:

7″ single will be released on Big Score Records in June. Listen and preorder!

You can listen to more songs of them here. Anyway Hotel Lux was the abode of exiled or escaped foreigner communist cadres in Moscow between 1921-54. They lived in fear there because nobody knew who would be labeled as a terrorist, traitor, conspirator or heretic next day.

2018 máj 25. napi mottónk:

The Bad and The Ugly

A Page you like, Primitive Calculators, changed its name to Primitive Calculators, Shit music nobody likes.

“A Not Enough Violence pont most oszlott fel” – baráti beszélgetés elmúlásról és újjászületésről Barta Bencével

Ismeritek Barta Bence haveromat? Tudjátok az a nyurga, szikár, loboncoshajú képzőművész, zenész, zenekiadó, zenebuzi, művészetmanager (ezdeszarul hangzik, bocs, de hát így hívják azt, aki galériát csinál, nem?), a leköszönő 2010-es évek egyik hivatásos és tisztességes pesti partyanimálja, valamint annak a Lili Aggnak a pasija, aki egyszer egy szintén RNR666-os interjúban, valami csodálatosan elegáns geci humorral (joggal) döngölte bele a kérdezőt a földbe, amikor “Bence csajaként” lett aposztrofálva. Szóval, ez a beszélgetés már megszülethetett volna kb 8-10 éve, így amikor ténylegesen nekiláttunk, még nem tudtam, hogy lesz-e bármi aktualitása a készülő interjúnak, aztán lett: feloszlott ugyanis Bence legutóbbi bandája a Not Enough Violence. Ettől függetlenül átpofáztuk művészet, művészetelmélet, zene és bona fejetetejéreállását vele:

– Én téged RNR666 bulikból ismerlek, ott vagy velünk-köztünk az ősidőktől fogva! Melyik volt a kedvenc RNR666 bulid, kedvenc RNR666 buli színpadán látott külföldi zenekarod és ha megkérdeznénk téged, hogy kiket hívjunk meg külföldről a jövőben, akkor kit ajánlanál?

– Pont nemrég az USé kibaszott nagy volt. De egy konkrét zenekart nem tudnék kiválasztani, annyi volt. Emlékezetes buliból is volt pár, például amikor  a Summer Schatzies alkalmi csörgőseként rázogattam teljesen fogalmatlanul, még véletlen sem ritmusra, utólag is bocs srácok! Uána egyébként hatalmas volt a J.C. Satán. Ja, meg életem első RNR666 bulija, ahol a Strange Hands és a Regal játszott, és egy idő után teljes őrületbe csapott át az egész, én meg a Trafik szellőzőcsövén lógva találtam magam, amire hivatkozva a hangosítómindenes le is fújta az egészet. Akiket mindenképp ajánlanék, az a francia Animal En Acier, lány-fiú duó, dobbal, zajokkal, szintivel, torzított mikrofonnal, zörgő, csattogó, csilingelő csekmetekkel. Marseilleben láttuk őket Lilivel és teljesen letaglózott. Itt egy videó pont arról a koncertről (türelmetleneknek szólok: 6 perc körül indul az őrület). Utána dumálgattunk is velük, hogy tökjó lenne, ha egyszer hozzánk is elnéznének, de aztán a mailünkre már nem válaszoltak, nektek hátha. De az örökké kínzó kérdés az, hogy miért nem volt még Lightning Bolt Pesten??!

– A n o a h s t a s és a Not Enough Violence mellett még a Szentcsalád egyik régi, nagyzenekarrá alakult formájában is basszusoztal egy félórát, de érdekelne, hogy ezeken kívül milyen formációkban, milyen posztokon fordultál meg az évek alatt?

– Hát ezeken kívül nem nagyon volt semmi, vagyis volt többféle zajpunk kezdemény, de nem nagyon sikerült másokkal zöldágra vergődni. Részben ezért is csináltam meg a  n o a h s t a s -t egyedül. Még raktam is bele hangmintát korábbi próbákból, bár azért az elég messze került a zajpunktól. Inkább csak zaj. A Not Enough Violence már duó, de az meg pont most oszlott fel. Ja, meg az egyszeri és megismételhetetlen, tökéletes nevű Haynau SS.

– Ez a két általam az imént idézett cucc az ugye erősen elektronikus alapu, de nekem te mindig is “gitárfej” voltál, szóval, akkor a benyomásaim rosszak, vagy egyszerűen ezisazis? Esetleg, ilyen az egész  bartabenceség nagy egybefüggő flowja?

– Mindig érdekelt az elektronikus zene is, már gimisként is próbáltam számítógéppel zenéket eszkábálni, azt hagyjuk, hogy milyen eredménnyel… Recsegő gitár, kalapáló dob, húsbavágóan pulzáló szinti és idegtépően zúgó elromlott hűtő is képes megfogni, erős hatásokat kiváltani. Ezek valójában csak eszközök, sokkal jobban érdekel, hogy egy zene (vagy igazából bármi) mit fejez ki, minthogy pontosan mivel készül. Azt hiszem, hogy azokat a zenéket amikért rajongani tudok, sokkal erősebben kötik egymáshoz az attitűdbeli hasonlóságok, mint a közös hangszer és stíluselem használat. Én is bármit felhasználok, ami a kezembe kerül. A  n o a h s t a s  anyagokon elég sok basszusgitár is van, csak alaposan széttorzítva, modulálva.

– Hozzáértőktől tudom, hogy a Not Enough Violence zenéje és a képzőművészeted is a dekonstrukció csodás gesztusára tekint, mint teremtő elvre. A nem hozzáértő persze erre mondhatja, hogy hogyan alkotható bármi rombolásból, az pedig, aki csak egy kicsit ért hozzá, azt mondhatja, hogy minden leképezés, ha úgy tetszik, minden szintézis, a valóság egyfajta tudatos és irányitott megvaltoztatasa, ha úgy tetszik (le)rombolása. Hol az igazság?

– Az, hogy rombolásból ne lehetne alkotni baromság. A fuzzpedál (de bármilyen más torzító  is) konkrétan roncsolja a tiszta hangot, de egy szobrász is pusztítja a kő vagy fa tömböt, amiből végül kifaragja a kifaragandót. A szubjektív felfogásomban egymásra rakódó rétegekből áll a valóság, és a dekonstrukcióval, egyes rétegek eltávolításával lehet kiemelni vagy legalábbis sejtetni a mélyebben húzódó, kevésbé egyértelmű, de zsigeri elemeket. Ebben a felfogásban az elvétel is hozzáadás, például egy sima felületű festett falemez roncsolásával valójában érdes, szabdalt felületeket adok hozzá, további kifejező eszközökkel gazdagítom a műalkotást, ha úgy tetszik. A dekonstrukciót pedig mindig rekonstrukció követi, a lehántott, kiemelt, roncsolt elemek új szervezőelvek mentén történő összeállítása.

– Számtalanszor pakoltunk együtt zenét, különböző táncmulatságokon és amikor a te szetted jött én mindig tudtam, hogy telebaszott, vastag nagy fuzzokkal körített punk ordítások fognak következni, a gépemen maradt mappáidat amúgy mai napig hallgatom esős napokon. Na de érdekelne, hogy szerinted fut még ez a fuzz-szekér, vagy ma már csak romantikus retrózás ez az egész fuzz-dili? Zeneértő és ismerő arc vagy, ezért meg merem kérdezni tőled: ki lesz a 20-as évek elején az, aki a 10-es évek elején volt Ty Segall, vagy épp Jay Reatard?

– Kezdjük ott, hogy Reatardhoz képest Ty Segall egy unalmas nyugger, de amúgy fogalmam sincs, hogy lesz-e mégegyszer ennyire hiperaktív és tehetséges ember ebben a műfajban. Bízzunk benne. Amúgy van továbbra is sok fasza zenekar, akik nem szégyellik össze-vissza torzítani a gitárjaikat, lesznek is mindig, csak legyen, aki feltúrja őket, dehát ezt pont nektek nem kell mondani. De az a nosztalgiavonat, amit ma a legtöbben fuzz alatt értenek egyre inkább hidegen hagy.

– Van még olyan, hogy CYST Records? Készültök kijönni valamivel, vagy az EXILES felfalta a fiatal kisérletielektronika szcénáját? 🙂

– Év elején jött ki a Not Enough Violence kazi, úgyhogy van. De nem pörgetjük túl az biztos. A CYST elég önző indokok miatt jött létre, a  n o a h s t a s  -nak akartam saját fizikai kiadványokat. Közben próbáltuk egy pillanatra kicsit komolyabban venni, de elég egyértelművé vált, hogy ahhoz, hogy igazi kiadó lehessen sokkal több időt, energiát, pénzt kellene beletennünk Lilivel, amit viszont inkább a MŰTŐre fordítunk, nem véletlenül hasonló a két logó.

A CYSTet nem kizárólag kisérletielektronikának szántuk, azért a Tumot is mi adtuk ki CD-n. Az EXILES pedig iszonyú lelkes és ambíciózus, sokkal jobban jár mindenki velük! 😀 Ettől függetlenül biztos lesznek még kiadványok,  de egyelőre nincs semmi konkrétum, megmarad alkalmi hobbinak.

– Jön a nyár, amikor mi általában leállunk a programok erőltetésével, de hátha te tudsz nekünk ajánlani egy olyan programcsokrot, ahol veled, veletek és a hozzátok kapcsolódó programokkal találkozhatunk majd, mondjuk az elkövetkezendő 6 hónapban, legyen az koncert, kiállitás, vagy akár csak egy fasza házibuli?

– Hat hónapra nem látok előre a jövőbe, de 20-án pünkösd vasárnap kapásból lesz az Aurórában  egy teljesen észrepesztő buli Zefyr jóvoltából, a műsor részletezését kihagyom, mert félek, hogy valami baromságot mondok, de n o a h s t a s  itt lesz először félév után. Rá pár napra 23-án pedig a Küss Mich vendéglátását lehet élvezni ugyanott. A kaliforniai poszt-punk Second Still jön, rajtuk kívül a magyar ooo & MA’AM fele a MA’AM, és itt lesz az utolsó lehetőség, hogy megnézzétek az élőhalott Not Enough Violence-t. Kiállítások folyamatosan vannak a MŰTŐben, most is tart egy, és lesz még kettő, aztán nyár közepére mi is elvonulunk kicsit, de a szeptember elég erős lesz. Valószínűleg akkor mutatjuk be a már Stockholmot megjárt csoportos kiállításunkat is, illetve hallottam pletykákat egy imént említett dj-szervező duó plakátkiállításáról is.


On The Spot with Xeno

at the darkest hole of Budapest


– Hi! Are you Xeno or Oaklander?

– I’m Xeno.

– What are your favourite Hungarian music?

– Korda.

And after a short discussion with Oaklander she said:

Új Látásmód Fúzió, Alpár, Koyanisquatzi, Hungarian Dracula*, but last year we made a live radio show with our favorite Hungarian music for the London based radio station NTS. It contains Katalin Karády, Új Látásmód Fúzió, Csermanek Lakótelep, Alpár, Trabant and Pal I, Prince Esterhazy of Galántha, Palatine of the Kingdom of Hungary, who also was a composer and wrote numerous cantatas:

*Very strange. I did not hear the name of Koyanisquatzi in the past 15 years. It was a great ritual rock band in Szeged in the late 80s and early 90s. And for the first time I got news about the darkwave band Hungarian Dracula from same place and same period like Koyanisquatzi.

Anyway, XENO & OAKLANDER are a cold minimal synth pop duo from Brooklyn. They are on European tour now.


Khruangbin – In an Aeroplane Over the World

Air Khruang is the sonic flight booking company of the Texas based psychedelic funk trio called Khruangbin. Behind such a pseudo company there has to be a music savvy band and their sound totally reinforces these expectations. The name Khruangbin simply means aeroplane in Thai by the way. Bassist Laura Lee and guitarist Mark Speer both wear weird wigs to disguise themselves (mainly in order to distance themselves from their other musical projects).

Guess what! They are music freaks specializing in worldwide funk and psychedelic relics especially from 70’s Asia (which was on the other hand heavily inspired by the contemporary US funk explosion). This way Khruangbin does not only ‘take back’ psychedelic funk music to the US but the result is a rich and smooth sonic adventure suitable either for solitary retreats or sensual evenings to be buried in soothing sounds.

For Khruangbin there aren’t really live or studio versions of their songs. They started out playing in a barn in the middle of nowhere in Texas enabling them to jam to an audience of cows. Ever since then, their albums are entirely live recorded, particularly in locations with a natural sound environment. Oddly enough they usually learn the spontaneously recorded jams to be able to perform them later at shows the same way, so the recordings are almost identical to their live shows (or vice versa, to be precise… ).

Their latest album Con Todo El Mundo has been released this January and vinyls are still available for sale.

So if you fell for the recent hype around Khun Narin from Thailand, give Khruangbin a listen at their Bandcamp or at Spotify.

New Shades in the Black

I think Black Metal got to dead end. The bands want to be more and more radical but just become more and more ridiculous. But there is a fistful of bands like the Swiss Bölzer, the American Liturgy (which is denied by the black metal community) or the Norwegian URARV who are able to bring new shades in the black.

For example the music of URARV is scattered with psychedelic moments and folk tunes. Often it reminds me of the Japanese noise rock band Zeni Geva. The band is headed by Björn Aldrahn Dencker (Dødheimsgard, The Deathtrip, Thorns). He said: The ideas and visions for Urarv started actually back in 2003 during a stay that I had at the local mental institution where I live. (…) We want to tap into uncharted territories to see what lies hidden under the rocks and dead horses and beneath the cold vastness of uncertainty (…) We’re travelling to remote regions of metal music and mental space with this music. Although our message is one of emotional putrefaction, we want to help listeners find a way through the black hole.

And this is the Sannhet i.e. the Truth:

from the new mini album ARGENTUM. It was recorded same time when the debut LP AURUM last year.


Super Sexy and Really Dark

Unfortunately it is very rare that bands from my fav Canadian label Telephone Explosion Records play in BUDAPEST. So rare that this is the first case. But maybe the most bizarre among the label’s bands the NEW FRIES are going to play at AURORA on 19 May.

No Wave made the biggest influence on them but I think the best if I use their own words about their music:

  • – We don’t have etiquette or technique or anything. I’ve tried my best to destroy technique in this band. We’re very deconstructed, very incomplete.
  • – It’s a bag of garbage. Fun garbage. Tumultuous, terrible garbage.
  • – Yeah, there are more than enough people doing this shit well!
  • – It’s a non-stop shot in the dark. Like, for sure we want a heavy rhythm section. We want really sexy drums and sexy bass and a chaos for sure, but we definitely want people to dance.

You can do it in BUDAPEST at AURORA on 19 MAY

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