Haunted Horses are a trio from Seattle, Washington who play impossibly eerie, dark post-punk. Watcher is abrasive, dissonant and unsettling; full of rumbling tribal drumming underneath ominous synth drones and piercing, trebly guitar picking. Where many death rock and post-punk bands adhere to what are essentially pop song structures and tropes – albeit dark versions of such – Haunted Horses definitely draw their influence from the opposite end of the spectrum.
These tracks are free-form and impressionistic, steering well clear of anything even closely resembling new wave in favour of hypnotic marches and schizophrenic song structures that veer wildly from robotic repetition to explosions of volume and dissonance and back again just as suddenly. Eschewing the bass-heavy melodicism of other post-punk acts, these tracks have a nerve-shredding obsession with higher frequencies and atonality played off against drums that can come off as both tribal and organic and robotic and completely off-kilter. The vocals, too, veer wildly, from a flat apathetic drawl to harsh hollers, but they always sound distant and mostly are all but consumed in the cacophony of the instruments, like a ghostly afterglow adding yet more menace to the proceedings.
GILA MONSTER JAMBOREE: This gig, January 5, 1985, 100 miles out into the Mojave Desert, was our first “L.A.” gig, first time we’d played on the west coast, part of an airplane tour from Seattle on south. That picture of us “in the back of a Chevy” on the Death Valley ’69 12-inch is also from this trip. The gig was organized by one Stuart Sweezy, now of Amok Press (check it out!), who had this penchant for strange locations — Minutemen and Meat Puppets on a barge on the S.F. Harbor, another desert gig with Einsterzende Neubauten… your ticket entitled you to a map to the gig site which was not handed out until the morning of the show (to prevent scans). Else you could buy a place on one of the buses hired to transport those transported souls with better things to do than cope with the road. The gig started early in the day with Psi-Com, which featured a barefoot Perry Farrell skanking in the sand and waxing poetic. Redd Kross followed, and by the time we went on it was about twilight. These songs were mostly brand new at the time, from the as-yet unreleased Bad Moon Rising LP. We’d waited a long time to make it west, and this was a pretty perfect introduction. Bob Bert was on the drums with us at the time. The cover photo, by someone named Alan Peak, all trails and blurr, sums up the occasion quite well. Band portrait by Naomi Petersen. This video was shot by the folks at Flipside Magazine. After us came the Meat Puppets, who played on into the night as the desert cold set in, under a big ring around the moon.
Check out the new video from CORRECTIONS HOUSE called “Bullets And Graves” from their album Last City Zero, out now on Neurot Recordings. In a time when music is coming out at a rapid rate and lacking depth, this band has flipped the script. I really hope people stop and listen to CORRECTIONS HOUSE, because they are making sonic art that will stand the test of time!
Splits are a funny old thing. One side might be terrible, one side might be great, the other side completely overshadows the other, both sides might be awful, neither side makes any sense when put with the other or, in the case of this Botanist and Palace of Worms split, both sides might be complete polar opposites and yet somehow perfectly in sync at the same time. It’s some kind of magic.
The two artists behind this release have been in talks to do something together for a while (see our below interview with Otrebor of Botanist) and as such the themes and currents running through their tracks align and give us a deeper insight into the Bay Area’s black metal scene. While Botanist treads the unconventional path, Palace of Worms sidles along a more orthodox route but the two projects throw curiosities into their music – Botanist via those incredible dulcimer parts and Palace of Worms through gorgeous synths and uneasy clean vocals – and both move forward from their previous releases into new territories and sounds.
Heavy as FUCK! Gloomy as FUCK! Demented as FUCK! Just some of the thoughts that come to my mind as I watch the visual for the new sonic collaboration between Gnaw Their Tongues & Alkerdeel entitled “Dyodyo Asema”. This video is a perfect interpretation of what you are about to hear and see! CVLT Nation is honored to be premiering this Gnaw Their Tongues & Alkerdeel piece of visual torment. This project was put together to help celebrate the fifth anniversary of Consouling Sounds…CVLT Nation salutes the bands and the label for a job well done!…Pre-Order HERE January 13th is the release date!
Do you remember the final scene in Cronenberg’s masterpiece The Fly? The part where Dr. Brundle, now almost completely transformed into a giant humanoid fly (aka “The Brundlefly”), attempts to teleport together himself and a pregnant Veronica Quaife, to fuse each other into the ”ultimate family”? As you know The Brundlefly’s plan goes totally wrong, and instead of fusing himself with Quaife and their unborn child he ends up instead getting fused with the teleport pod itself, resulting in the creation of a monstrous and agonizing deformity made of human, insect and mechanical parts, that then begs Quaife to end its suffering with a twelve gauge pump action shotgun blast right in the middle of its bug eyes. Well, that’s exactly what Gnaw‘s music sounds like: like the moment in which you see the final version of the now partially mechanical and agonizing Brundlefly emerge from the teleport pod and you just wanna puke all over yourself. In fact, Gnaw’s music just sounds like a fucking hideous and monstrous deformity made of mechanical chaos, decaying flesh, madness, and uncontrolled fucking horror.
This is just so cool – the new video entitled Two Moons from LOCRIAN is PERFECT! Everything about this visual makes you realize that this band has created a classic album in “Return To Annihilation” and it shows that sound can transform your inner thought! Excuse me as I kiss the sun…or better yet check out the new visual from Hollow Sunshine for their tune “Here for Now.” They have a new album out now called Held Above on Robotic Empire…Stay tuned for a full review of Hollow Sunshine, their music will put a smile on your face!
Label: Crucial Blast
Theologian’s sound is a black tangle of threads; a mass of warring impulses that pin the listener down at the intersection of noise, ambience, melody, and industrial sturm und drang unconstrained by conventional forces. Retaining the dark muscularity of previous outings “Finding Comfort In Overwhelming Negativity” and “The Chasms Of My Heart”, “Some Things Have To Be Endured” is a distillation that finds Leech nudging the sound towards a more structured and dynamic edge.
From the opening moments of “Black Cavern Myopia” through to the last pulsating seconds of “Welcome To The Golden Age Of Beggars”, Theologian evokes a stunning level of emotion by mixing pulsing, metallic rhythms with tempered synth swells and slabs of noise that curl around humming melodies. Where previous outings may have stumbled slightly in pacing, “Some Things Have To Be Endured” is a smooth machine. On most of the tracks, Leech has collaborated with female vocalists from the industrial/noise/dark ambient realm (and, in the case of Melissa Kelly, stage and opera). The pairing of mellifluous harmonies, harsh shrieks, and layered spoken elements adds a level of dynamics to Theologian’s already pungent sound that is both unexpected and affecting.
Jozef Van Wissem and Jim Jarmusch teamed up on the soundtrack to Jarmusch’s last vampire film, Only Lovers Left Alive, and also for a mesmerizing LP, The Mystery of Heaven, out now via Sacred Bones Records. They combine Van Wissem’s hypnotic lute with Jarmusch’s drone guitar to make sounds that entice contemplation of both the dark and light in this universe. Now Jacqueline Castel aka Future Primitive Films, who has also done work for Zola Jesus, has composed beautiful imagery to accompany one of the tracks off this album, Etimasia. Her dark landscapes pair beautifully with the solitary and harmonious notes of the music. She sets their music against a backdrop of a darkened altar, and draws us into the music even further. This video premiered last Friday on Rolling Stone, and we are honored that Castel asked us to put it up as well! Take a few minutes to watch this stunning visual below…