It is the sonic equivalent of being buried alive and needing to scratch and claw back to the air above for mere survival. And at the end, it’s just as cathartic, instinctively primal, and wholly rewarding.
For My Parents is the new album by MONO, the Japanese quartet who — over the course of half a dozen albums in twice as many years — has followed their own muse, and in the process have become “one of the most distinctive bands of the 21st century.”
GY!BE began with Efrim, Mauro and Moya in the early 90s, playing a handful of shows and recording a self-released cassette as a trio before deciding to transform the group into a large band. Recruiting numerous Montreal musicians through 1995-1996, GYBE mounted sense-rattling wall-of-sound performances, featuring as many as 14 musicians and several 16mm film projectors, before recording their debut vinyl-only Constellation album in 1997.
The pursuit of a live experience composed of visual and audio expression.Formed in 2006, with elements of jazz, funk, post‐rock and electronic music, Mouse on the Keys fits into a genre of their own.
Kontakt returns for its 8th edition on 7th Feb at Laundry Bar, The Curve.
Instrumental outfits Man Under Zero Effort, Citizens of Ice Cream and Reset To Zilch will take over the stage with their scintillating shows, whilst Silent Scenery, a quartet that best known for their mesmerizing and dreamy soundscapes, are set to end their 5 years journey on a high note. They band have announced that this will be their last show before going on hiatus.
With four songs that put the Japanese post/math pioneers even more at the helm of their genre, The Future Is Now exhibits toe at their finest, capturing all the band’s artistic energy in a mere 15 minutes of musical brilliance. It’s short, but every second brims with poignancy, toe’s characteristic layers of bright guitars and high-powered drumming sharing space with thoughtful moments of introspection.
Chicago trio Russian Circles return with not only their fourth and heaviest album to date — but also with Emprosthey’re poised to take the crown as innovators reinvigorating the staid trappings of genre.
Coming off the triumphs of “Empros”, the prog-loving post-metal outfit are heading back to the region and Soundscape Records is delighted to announce that they’ll be hitting us up again.
The songwriting is sharper, the dynamics are subtler, and the production is stunning. For the recording, the band once again enlisted The Wordless Music Orchestra for support, and the collaboration has never sounded stronger. The unique combination of soul-stirring melodies, cinematic East-meets-West arrangements, and firm command of elusive emotional intangibles is what makes MONO so…well, so MONO.
Is it reality? Imaginary? Or post-colonial anxiety? Depression? Oppression? Or simply the succession of trivialities? Rat-racing? Ship sinking? Or just another sunset rising? Is it the answers we seek or the questions we hide? What we’ve lost or what will we find? Into the Days of Bays we dive, bring a scoop, a taste, a flavor made for you to describe.
Formed in Tokyo in 2003, the band – Nobuyuki Takeda (guitar), Kozo Kusumoto (guitar), Jun Izawa (bass), Akinori Yamamoto (drums) – are cited as an influence by a new wave of young instrumental bands around the world. Extensive touring since their formation has won them fans in Europe, the US and beyond thanks to their intense, incendiary live performances and a steady stream of EPs and albums has firmly established them as one of the most exciting bands to have emerged from Japan in the last decade.
“Key” is the latest album by Swedish post-rock band pg.lost. Since their excellent debut EP, “Yes I Am”, pg.lost have been renowned for their dark, wistful atmosphere and expertly-crafted crescendos. What makes this band stand out is how incredibly well-produced their music is, and this hasn’t changed for their latest album.
Founded in 2003, Melbourne, Australia’s My Disco have spent nearly a decade defining and refining their sound in a way that defies rock music’s most enduring tropes. Each new album finds them subtracting a little more, applying minimalist instincts to relentless, stripped-bare post-punk grooves.