Category: noise rock

Video by William Ruben Helms

New Video: Divide and Dissolve Share Yearning “Indignation”

Melbourne-based duo Divide and Dissolve — Takiaya Reed (sax, guitar) and Sylvie Nehill (drums) — have long been focused on Indigenous sovereignty: Reed is Tsalagi (Cherokee) and Black, Nehill is Māori. As a duo, they released two albums 2017’s Basic and 2018’s Abomination through DERO Arcade before signing with Invada, who released their widely acclaimed third album, 2021’s Gas Lit. Gas Lit Remix EP was also released in 2021 and featured reworkings and remixes of Gas Lit material by Moor Mother, Chelsea Wolfe and Bearcat. 

Last year, the duo toured across North America and Europe, opening for Low, which included a stop at Webster Hall, as well as headline dates and festival appearances. 

The acclaimed Aussie outfit’s fourth album, the Ruban Neilson-produced Systemic is slated for a June 30, 2023 release through Invada. Thematically, the album sees the duo exploring the systems that intrinsically bind us — and calls for a system that facilitates life for everyone. It’s a message that fits firmly with the band’s core intentions: to make music that honors their ancestors and Indigenous lands, to oppose white supremacy, and to work towards a future of Black and Indigenous liberation. “This music is an acknowledgement of the dispossession that occurs due to colonial violence,”  Divide and Dissolve’s Takaiya Reed explains in press notes. “The goal of the colonial project is to separate Indigenous people from their culture, their life force, their community and their traditions. The album is in direct opposition to this.”

Recorded as a duo, the album according to Reed is a continuation of Gas Lit. “Because of what was built with Gas Lit, Systemic is able to express itself.” She adds, “The album is a prayer to our ancestors. A prayer for land to be given back to Indigenous people, and for future generations to be free from this cycle of violence.” 

Reed emphasizes that it’s crucial for their music to be instrumental. “I believe in the power of non-verbal communication,” she continues, “A huge percent of communication is non-verbal. We learn so much without using words.”  There’s one exception on the album, the spoken word track “Kingdom of Fear,” which features writer and artist Minori Sanchiz-Fung, who contributed to previous Divide and Dissolve albums. 

Last month, I wrote about “Blood Quantum,” a composition built around a dissonant and insistent thumping of crashing cymbals, thunderous snare, Melvins-like guitar sludge, wavering synths and horns paired with mournful yet gorgeously orchestrated passages meant to evoke brief moments of respite. The song is rooted in — and expresses awe-inspiring beauty and heart-wrenching anguish of human existence. “The heaviness is really important,” Reed says. “It’s congruent with the message of the music, and the heaviness feels emblematic of this world’s situation.”

“Indignation,” Systemic‘s latest single begins with a gorgeous introduction featuring looping and mournful saxophone and yearning strings that quickly morphs into the song’s second and longest section, a stormy and forceful dirge featuring power chord-driven guitar sludge, thunderous drumming and wailing strings, before ending with the mournful saxophone and yearning strings of its introduction. Divide and Dissolve’s Reed says that the song “is a prayer that land be given back to Indigenous people. A hope that future generations no longer experience the atrocities and fervent violence that colonisation continues to bring forth.”

The accompanying video continues the acclaimed Aussie outfit’s ongoing collaboration with director Sepi Mashiahof. “In reflecting on the powerful and vital messaging found in Divide and Dissolve’s music: decolonization, the destruction of white supremacy, and liberation from oppressive structures—this video is about the collective grief we experience about the lives we all could have were it not for the cruel and arbitrary systems of power that impede each and every one of our potentials,” Mashiahof explains. “The potential to truly love ourselves and each other is distorted by the agendas of vicious capitalist vultures who seek to emaciate our joys, bonds, and communities for their own gain. This video depicts an abstracted portrait of what suffering under these accelerating conditions feels like. Technology, dysphoria, dream-form sentience, transaction, and depersonalization constitute the thematic palette, laid upon the hope of shedding our current forms and transcending into boundless, beautiful ether.”

Video by William Ruben Helms

New Video: Divide and Dissolve Share Stormy “Blood Quantum”

Melbourne-based duo Divide and Dissolve — Takiaya Reed (sax, guitar) and Sylvie Nehill (drums) — have focused on Indigenous sovereignty: Reed is Tsalagi (Cherokee) and Black, Nehill is Māori. As a duo. they released two albums 2017’s Basic and 2018’s Abomination through DERO Arcade before signing with Invada, who released their widely acclaimed third album, 2021’s Gas Lit. Gas Lit Remix EP was also released in 2021 and featured reworkings and remixes of Gas Lit material by Moor Mother, Chelsea Wolfe and Bearcat.

Last year, the duo toured across North America and Europe, opening for Low, which included a stop at Webster Hall, as well as headline dates and festival appearances.

The acclaimed Aussie duo’s fourth album, the Ruban Neilson-produced Systemic is slated for a June 30, 2023 release through Invada. Thematically, the album sees the duo exploring the systems that intrinsically bind us — and calls fora system that facilitates life for everyone. It’s a message that fits firmly with the band’s core intentions: to make music that honors their ancestors and Indigenous lands, to oppose white supremacy, and to work towards a future of Black and Indigenous liberation. “This music is an acknowledgement of the dispossession that occurs due to colonial violence,”  Divide and Dissolve’s Takaiya Reed explains in press notes. “The goal of the colonial project is to separate Indigenous people from their culture, their life force, their community and their traditions. The album is in direct opposition to this.”

Recored as a duo, the album according to Reed is a continuation of Gas Lit. “Because of what was built with Gas Lit, Systemic is able to express itself.” She adds, “The album is a prayer to our ancestors. A prayer for land to be given back to Indigenous people, and for future generations to be free from this cycle of violence.” 

Reed emphasizes that it’s crucial for their music to be instrumental. “I believe in the power of non-verbal communication,” she continues, “A huge percent of communication is non-verbal. We learn so much without using words.”  There’s one exception on the album, the spoken word track “Kingdom of Fear,” which features writer and artist Minori Sanchiz-Fung, who contributed to previous Divide and Dissolve albums.

Systemic‘s latest single “Blood Quantum” further cements the Aussie outfit’s reputation for crafting dense, overwhelmingly heavy material. With “Blood Quantum” you hear a dissonant and insistent thumping of crashing cymbals, thunderous snare, Melvins-like guitar sludge, wavering synths and horns paired with mournful yet beautiful orchestrated passsges meant to evoke brief moments of respite. The song is rooted in — and expresses awe-inspiring beauty and heart-wrenching anguish of human existence. “The heaviness is really important,” Reed says. “It’s congruent with the message of the music, and the heaviness feels emblematic of this world’s situation.”

Fittingly, the Sepi Mashiahof, Chi Chi Castillo, and Dolor co-directed video for “Blood Quantum” is a fever dream that’s at turns hauntingly gorgeous, unsettlingly brutal and downright surreal. The video calls into question the violent process of verification of identity.

The acclaimed Aussie outfit have live shows and festival appearances planned in support of the new album,. But at this time, Nehill will be stepping back from her duties performing live with the band, due to personal reasons.

Video by William Ruben Helms

New Video: Paris’ FTR Shares a Mosh Pit Friendly Ripper

Paris-based outfit FTR (formerly known as Future) is a noise trio — Yann C. (bass, vocals), Pauline CP (keyboards and programming) and Brice D (guitar) — have managed to continually evolve through their first three releases, 2013’s fuzzy and atmospheric Abyss EP, 2015’s cold and brooding Horizons, and 2019’s darker, straightforward and forceful Manners.

The Parisian trio’s forthcoming album third album Vicky Vivid Experience reportedly sees the band further experimenting with their sound and approach — and revealing a whole new side. The album’s first single “White Light” is a noisy, ripper featuring distortion and fuzz fueled power chords, relentlessly driving four-on-the-floor, rumbling bass paired with mosh pit friendly choruses. Sonically, “White Light” brings — to my ears, at least — Exploding Head-era A Place to Bury Strangers to mind.

The accompanying video features old stock footage of film reel start timed to the music.

Video by William Ruben Helms

New Video: Dion Lunadon Shares Raw and Anthemic “It’s The Truth”

Dion Lunadon is a New Zealand-born, Brooklyn-based singer/songwriter and bassist, who has had a rather lengthy career: He started his career as a member of several Kiwi-based acts including The D4 and for a lengthy stint as a member of noise rock titans and JOVM mainstays A Place to Bury Strangers.

During a short break in APTBS’ touring schedule in 2017, Lunadon had a sudden rush of inspiration that resulted in what he described as a neurotic impulse to write and record a bunch of songs right here and then, which resulted in his solo debut EP Com/Broke, a batch of material inspired by the bands he loved as a youngster — including Toy Love, The Gun Club, Gestalt and Supercar.

A few months later, Lunadon  released his self-titled full-length debut, which featured the feral album singles “Fire,” and “Howl.”

Lunadon’s sophomore album Beyond Everything is slated for a June 10, 2022 release through In The Red Records. The album marks two significant milestones in Lunadon’s career: His first album released through In The Red, which he believes is an ideal match for him and his music. And the first album since leaving A Place to Bury Strangers.

Written, performed and recorded by Lunadon, the album’s material reportedly taps into a raw, palpable energy that blurs the lines between the music and its creator. The album features drums from Bambara‘s Blaze Bateh and The Black Hollies‘ Nick Ferrante.

“The record was written and recorded sporadically between 2017 and 2019,” Lunadon says in press notes. “I probably wrote about 100 songs during this period. The first album was pretty relentless which I liked, but I wanted to make something more dynamic for the 2nd record. Something that could be more conducive to repeated listens. I’d get in my studio, come up with a song title, and start working on any ideas that I had. For example, with Elastic Diagnostic, the idea was to create a hum that evokes the sound of life coursing through your body. Everything else kind of formed around that idea.”

Beyond Everything‘s second and latest single “It’s The Truth” is a gritty and raw glam-like anthem centered around chugging power chords, Lunadon’s howled and desperate delivery, forceful and propulsive drumming paired with a explosive feedback-driven coda. “It’s The Truth” further cements the Kiwi-born, Brooklyn-based artist’s reputation for crafting anthems meant to be played as loud as humanly possible. “This is one of my favorite songs on the record,” Lunadon says. “It started with the opening drum beat and the rest came together quickly. It’s about me writing songs in my little hovel of a studio and looking forward to my wife’s return home from work. A ‘distance makes the heart grow fonder’ kind of thing.” 

Directed by Alexander Barton, the accompanying for “It’s The Truth” was shot on old black and white film, and features Lunadon brandishing a chain — and playing his bass with the chain wrapped around him. It’s dangerous and downright erotic. “In Dion’s live performance he has a wall of sound and noise, it’s very textural and real. About 3/4 of the way through his set, he drags a chain out of a bag like a snake wrangler presenting a cobra to the audience,” Alexander Barton explains. “It’s an exciting moment of the set where he breaks the routine of the rock formula and shares his experimental interests and the audience really laps it up. The cameras pop out and feed his exhibitionism. I make films that feel and use not only the beauty of film, but welcome the noise and error that come with the raw and naive nature of my tools. The chain as an object and material is a fully loaded symbol and historical icon which is a powerful character itself. I wanted to honor the chain for all its brilliance, referencing metal, design, rock n’ roll, violence, sculpture, industrialism, eroticism, and Jacob Marley. ‘It’s The Truth’ is about material and the spectacle.” 

Video by William Ruben Helms

Live Footage: Neckbolt Performs “The Lighted Chamber” at The Museum of Human Achievement

Austin-based noise rock outfit Neckbolt was founded last year by multi-instrumentalist Benjamin Krause and vocalist James Roi after Krause relocated to Austin. The band’s name may evoke images of the bolts that held Frankenstein’s monster’s appendages together — or a bolt that connects the guitar neck to its body. For the band, both images are fitting ways to describe their sound and approach: a freakish hodgepodge of musical body parts and ideas rendered in a nightmarish form while still hewing to the rock ‘n’ roll canon.

The Austin-based noise rock outfit’s full-length debut was written and recorded between 2020 and 2021 with Krause playing all of the album’s instrumentation while Roo provided vocals, lyrics and artwork. Slated for a November 5, 2021 release through Bandcamp and Digital Hotdogs, Midwestern Drawl reportedly requires close listening to parse out the informed musicianship that binds the skewed, screeching and skronking elements together.

After they completed the album’s 11 songs, the duo opted to expand the band’s lineup in order to play the material live. Krause and Roo recruited Exhalants‘ Bill Indelicato and Power Pyramid‘s Kilyn Massey and Brent Hodge to complete the band’s lineup.

With their current lineup of Krause, Roo, Indelicato, Massey and Hodge, the band then shot Neckbolt Live! at the Museum of Human Achievement, the forthcoming live performance companion video, which will be released on VHS and online the same day as the album’s release. The members of the band tracked, edited, filmed and mixed the VHS release in six hours in a room without air conditioning on a sweltering Texan summer day.

Despite clocking in at a little under three minutes, Midwestern Drawl‘s latest single “The Lighted Chamber” is centered around an expansive arrangement featuring howled vocals buried in a muscular and forceful mix of buzzing power chords, screeching feedback, angular skronk and propulsive rhythm. Sonically, “The Lighted Chamber” finds the act balancing wild and noisy abandon with tight musicianship.

The live footage features the members of the band in Tyvek jumpsuits in front of psychedelic projections.