‘Cement Cathedrals’ is a limited cassette release and the first release from the Stay Strange label based in San Diego. Monochromacy are best described as minimalist drone. From the very beginning you get lost in it’s cold unique sound, which takes you away to a dark and doomy place. A slow and sinister pace which invokes a mournful feeling but still soothing to the soul. In places, there are coherent delayed bass riffs, but the rest is atonal and bleak, yet also very together. It’s mastered by James Plotkin, who is known for his work with Sunn O))), ISIS, Pelican and Earth. So certainly the ideal choice for Monochromacy. At times, a haunting wash of drone drifting in it’s own ambience, like on the track ‘Nihilo’. Then drifting back into overlapping white-noise.
The final track, ‘Life Without Air,’ is quite different to the rest. As it has a low, shadowy vocal and a ghostly air of Joy Division about it. Definitely the perfect track to finish the EP. Even if you’re not into this style of music it would be worth giving it a try. Be adventurous and listen to the meditation music for the end of times.
’84 Rollins/Kira/Ginn/Stevenson – this is the lineup of BLACK FLAG I saw the most and I never got bored of seeing them! In my book, this is the era that went on to really influence sludge, doom and even grunge. This is also the time when Henry started to come into his own as a performer. Watching them back then was almost like checking out a jazz band because they would totally go off on these tagents. In 1984, BLACK FLAG changed what a hardcore band had to sound like and were expanding minds everywhere. Now peep this intense performance of them wrecking shop in Amherst, Mass in 1984…BLACK FLAG was the shit!
Caïna is one of the most revered acts on the UKBM scene and since the first days of the project sole member Andrew Curtis-Brignell has pushed the sounds of his band further and further from the initial steps taken on 2006s demo, The King Beneath. Since that time, Caïna has evolved and taken on new identities – from “post” black metal to experimental improvisation which has seen the band constantly shift and flow with the mind of its creator.
In 2011 Curtis-Brignell announced a new record and that it would, unfortunately, be the end of Caïna. The musical journey for the band came to an end with the incredible Hands That Pluck. Yet, in the latter stages of 2012 Caïna was resurrected and a return to the live arena was established in September of this year. The live experience of Caïna was markedly different and having been away from the stage for over four years, Curtis-Brignell began to experiment with sound and on stage improvisation (live footage can be seen below).
CVLT Nation has another installment in our Sonic Cathedrals Mixtape Series for you, Vol. CXX by Pinkish Black! Both Daron and Jon made mixes for us to demonstrate how their tastes converge to create their unique and acclaimed sound. Step back a few decades and stream and download Sonic Cathedrals Vol. CXXX Pinkish Black below!
This is a collection of songs that have influenced me, musically and vocally. I wanted to give you mixes from both Jon and I so you could see how our tastes differ and how that plays into what we’re doing with our music. – DARON
This is basically just a mix I would have made for the van… – JON
Sonic Cathedrals Vol. CXXX Pinkish Black PART I – DARON
Sonic Cathedrals Vol. CXXX Pinkish Black PART II – JON
Photo via Impose Magazine
We recently reviewed Dreadlords‘ awesome demo tape, and if you haven’t checked it out yet, definitely go do so. It’s a stunning collection of apocalyptic delta blues infused with the menace and spirit of black metal, and it fucking rules. Here’s a new video of Dreadlords carrying on the age-old tradition of storytelling blues with a haunting murder ballad about slitting your parents’ throats, setting churches ablaze, desecrating graves and nailing Jesus’ ass to a tree. ‘Born Into The Arms’ was filmed at the Union Pool in Brooklyn as part of the CMJ 2013 Fest – in stark black and white, no less – and proves that when you’re this good, you can rock nothing more than a banjo, a two-piece drum and a microphone and create some truly unsettling shit.
Alright, besides the 70′s era Z-Boys, I would have to say the the Alva Posse days were pretty fun for me. I dropped out of the tenth grade and started silkscreening skate boards for Alva in 1985. All I can say is every day was an adventure and that time is a part of my life that I will never forget. A couple years later, I moved back to Venice and got real close with Jef Hartsel and John Thomas, who took me ramp skating on the daily. The Alva Posse had a major influence on skate culture in the 80′s and beyond…Check out this retrospective of the bad boys of skating!
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.