If members of a black metal band embarked on a project that sounded like a film soundtrack and then also channelled various bits of early 80s goth and Nick Cave, that would be a bit of a jumble, but a fairly cool one nonetheless. Such a rambling bag of ideas is the closest approximation of describing the sounds with which French band Krasseville fill their 2015 release ‘Nous Somme Faux’. It’s avant-garde for sure, yet at the same time, it’s also strangely listenable.
With a band name taken from the US nickname for Russian nuclear tests and an EP named after a famous bomber (as opposed to the poncy and rather smug Orchestral Manoeuvres in the Dark single from 1980), you could say that Croatian noise rock quartet Joe 4 are a rather angry lot. This, their first English language release – from 2011 – is somewhat of a hidden gem.
Rarely content to settle, the sounds on this debut EP from Tel Aviv based avant-garde collective Memory In Plant are almost as surreal as their choice of sleeve art. Their music is spasmodic, electric and occasionally just wilfully difficult. That’s not to say for those of a certain disposition it won’t have entertainment value – in between the jump cuts and experimentation, pieces of great music creep through the cracks – but ‘An Epic Triumph’ is not always the easiest listen.
In 2011, UK alternative metal band Mishkin released their debut EP ‘Row Away From The Rocks’. Featuring some hefty guitar riffs and an impassioned vocal, the EP pointed the way towards great things in the future…and then the band broke up. Mishkin’s vocalist Ben Davy subsequently joined art rock band II.II.II (aka 222), a band formed alongside his old bandmate Will MacGregor on bass. 222 pits their musical aptitude against ex-Tangaroa members Matt ‘Baldi’ Baldwinson and Si Blakelock on guitar and drums respectively. The combination of talents from the two bands makes for a very tight – if a little scary – alternative/mathcore outfit.
Supposedly, Aperiodic’s debut album resembles The Jesus Lizard twisted out of recognition. Such a premise would be an interesting one, if somewhat unsettling. Despite claims that their free-form jams aren’t completely directionless, what this band’s debut full length album actually delivers is approximately forty minutes worth of lo-fi, extreme free jazz rambling. With bass only intermittently audible and no obvious lead parts except for the drums, it seems these guys’ main agenda is to try and alienate even the most patient of listeners – even those who feel they have an openness to the more extreme forms of alternative and avant-garde music.