Inside the past twenty four hours the US electronics-angst project She Killed In Ecstasy revealed a new song.
She Killed In Ecstasy
Raw is, as it formulates on the tin, a disembowelling fulmination of a world which derides suffering and applauds the suicide jumper falling from a roof top whilst frantically pressing the ‘livestream button’ in a vainglorious attempt to seek approval for being so ‘cool and callous’, in an acid derision of all that is wrong with a populace who takes enjoyment, as The Romans did, with their Gladiator fights in amphitheaters – as the allegory of Nero fiddling fingers whilst Rome burnt which currently evokes the mindset of far too many, until such time as the crashing realisation that egotistical vanity is mere self-imploding egregiousness.
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The English alt-rock band The Poulsons appeared with the LP Rompa Stompa earlier in the month.
The Poulsons – Rompa Stompa – artwork
The Poulsons is band who over the just over three years since first featuring are consistently inconsistent with new material yet are always immediately recognisable by their soundtrack resonating of their surroundings with a furious temper searing across the room reflective of the realities of day to day life, always bruised sound levels giving the music a forestalled shadow that befalls the ears and their signature ending to each and every track which abruptly and seemingly randomly cuts midway through a bar.
From the nine track album – my selection is Flow.
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The US garage-gaze band Lovely Bad Things live launched the EP Homebodied on the 18th at The Observatory in Santa Ana in the USA.
Lovely Bad Things
Hiding To Nothing is the first track, for those of us further afield, to hear as other than in live performance Homebodied won’t be around until the 31st.
An introspective piece which reflects on the tumultuous journey that has dogged them these past few years. Rather than being a track of negative connotation it is a piece of positivism that with perseverance and persistence, even when seemingly flogging a dead horse, there is a possibility that the barriers will finally come crashing down.
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The English alt-rock quartet Beach Royals featured in the New Year Ninety.
Earlier in the month they released the EP Trap Door Music, which is available on bandcamp. Although two of the four songs have already featured; in the other two they are also able to add more colours to the palette as they have used this release opportunity to offer a range of their musical ideas.
In the second track on the EP, Fairweather, Beach Royals allow each element of the band to partake to fullest extend and thereby delivering a song which has a unity and cohesion that was missing in earlier takes and raises them to an outfit to whom instead of looking forward to hearing with a sense of intrigue to an outfit I look forward to with a keen sense of anticipation.
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Seaker is a haunting folk creator from England.
Less than twelve hours ago the latest track – The Waters – bubbled to the surface. An approaching four and a third minutes song that builds intensity and volume through its duration, prior to curling in to silence.
The listener is minded of Macbeth, Act IV, Scene I. by William Shakespeare and the older source Scottish mythology of the Wayward Sisters as the stewing brew of The Waters hoves through the speakers in a cauldron of intoxicating thread of transfixing vocal, thrubbing bass, cloaked percussion and bleeding bows in which the listener becomes bewitched, to a state of enlightened topographagnosia.
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