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Mamuthones

Fear On The Corner

    Mamuthones may have originally taken their name from the death-masks used in rituals in their native Sardinia, and initially emerged from the Italian occult psychedelic movement alongside the likes of Father Murphy, Mai Mai Mai and their labelmates Lay Llamas. Yet now, in the wake of their Rocket Recordings debut album ‘Fear On The Corner’, the band find themselves undergoing a metamorphosis from mystical and ceremonial realms into a direct connection with the everyday, the personal and the political.

    This vibrant reinvention also sees Mamuthones transcending their roots in Italian prog and soundtrack work and shifting their modus operandi firmly in the direction of a distinctly New York-based headspace - a realm of mirrorballs and black-clad basements both As the band’s Alessio Gastaldello tells it, this is a groove-based. eclectic style that finds its metier in the realm of two albums which are paid direct homage in the record’s very title - the bleak and kinetic ‘Fear Of Music’ by Talking Heads and the iconoclastic, heat-haze repetition of Miles Davis’ ‘On The Corner’. “The songs deal with fear.” he clarifies. “Fear of the present, of human situations, fear of the new political situation, but also fear of relationship breakdown, fear of not finding “a place in the world”, fear of fear itself”

    Yet this is principally an aural landscape whereby the eclectic mischief of ZE Records, the sonic brinksmanship of ‘Tago Mago’ era Can and the post-punk songwriting flair of LCD Soundystem can happily form communion in a post-2AM reverie. “it is a big dance party for very sad events” clarifies Alessio, on the disparity between the serious nature of this record’s subject matter and its distinctly hedonistic atmosphere. “We are a kind of Titanic orchestra playing and dancing while the ship goes down. The party must go on

    STAFF COMMENTS

    Barry says: Sitting comfortably between the art-rock angularity of Devo and the spoken word aesthetic and visceral drive of Sleaford Mods (as well as the already mentioned Talking Heads and Miles Davis influences). Mamuthones manage to take us through a tour of a wide variety of impeccably absorbed influences without sounding like any of them. Fascinating and ultimately brilliant weirdo rock.

    Julie's Haircut

    Invocation And Ritual Dance Of My Demon Twin

    Julie's Haircut – Italy's premiere psychedelic explorers have created a deep-end approach to sonic innovation that is audible on 'Invocation And Ritual Dance Of My Demon Twin' – their debut release for the great UK label Rocket Recordings. Seven albums into a mission initially inspired by the likes of Sonic Youth, My Bloody Valentine and Spacemen 3, the band now find themselves at a new plateau of small-hours elucidation and revelation that may summon the spectres of the wayward squall of early Mercury Rev, the shamanic allure of Dead Skeletons, the freedom of Miles Davis, the repetition of Can or the wild soundscapes of Amon Duul II to some, yet essentially sounds like no-one but themselves.

    The result is a record built on trance-like repetition that grows to mantric intensity to summon atmospheric plateaus redolent of the psychic and surreal transgressions of its title - a double-helix tribute to both Frank Zappa and Kenneth Anger. Coruscating guitar overload and jazz-tinged blowout collide amidst hypnotic soundscapes like the shamanically inclined ‘The Fire Sermon’ and the eleven-minute motorik magnificence of the curtain-raiser ‘Zukunft’. Yet atmospheric restraint, glacial texture and immersive groove play as large a part in this blinding and beatific soundworld as droning darkness or overheated amp tubes. 

    STAFF COMMENTS

    Barry says: Grooving stoned psychedelia, full of fuzzy wah-wah drones, soaring trumpetry and churning backline. Reverbed vocals enter into the mix as if speaking from on-high, pushing these weighty drones and psychedelic musings into full-force brain-melting territory. Take a trip, you won't regret it.

    Kuro take their name from the Japanese word for ‘black’, and their debut release for Rocket Recordings marks an experimental union between two diversely storied yet inherently like-minded musicians. Agathe Max, who hails originally from Lyon, is a classically-trained violinist with a varied back catalogue of studio and live work - running the gamut from spectral ambience to stately soundscapes and adept at summoning dreamstates and drama alike, her emotive and engaging work has found admirers at a number of UK festivals such as Supersonic and Raw Power.

    The Bristol-based Gareth Turner, meanwhile, maintains a busy schedule performing and recording with Rocket Recordings trio Anthroprophh (alongside The Heads guitarist Paul Allen) bass/drums duo Big Naturals, and his solo double-bass project Salope, as well as working as a touring tech for Melvins on their trips to Europe. Yet despite both of these artists’ multi-faceted artistic lives, their partnership was both a natural progression and reflective of an intuitive chemistry. The result of their initial spark is perhaps both artists’ most coherent and captivating work to date. “At times her work approaches the supersonic escape velocity of Tony Conrad; elsewhere, she introduces delicate repeating threads, then slowly weaves them into a fabric of vast, billowing sound more reminiscent of Steve Reich” Boomkat 


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