Brooklyn’s Darkwing make a huge sound. It isn’t one that’s easily pigeonholed: some of the vocals draw influence from 80s goth bands like Bauhaus with their echoing presence, but they aren’t a goth band. The drums rattle at speed like they’re driving a solid piece of garage rock, but if you’re looking for something along the lines of The Hives or a DIY band signed to Brooklyn’s own King Pizza Records…just forget it.
Tag Archives: noise
EDxKEMPER – Cut Her Head And Love Her
Back in 1986 when the seeds of grindcore were sown, it seemed to take extreme music to a whole new level. Often with a raw sound and fairly low budget, the fusion of extreme thrash metal and blistering punk sounds in the hands of bands like Napalm Death and Extreme Noise Terror created something almost beyond music – a form of short and sharp brutality that was utterly visceral. For something that seemed so niche, grindcore flourished with scenes popping up all over the globe. With bands like NAILS keeping it alive in the twenty first century, almost thirty years on from Napalm Death’s genre-defining ‘Scum’, it couldn’t just be written off as a novelty.
Greek grinders EDxKEMPER are absolutely devastating on their 2016 release ‘Cut Her Head and Love Her’, as they mix the brief bursts of noise from those genre pioneers with more of a crust punk aspect and some extreme metal heaviness for good measure. What’s perhaps most impressive here – without anything resembling actual songs – are the production values. Whereas you might expect something of this nature to hang on to some fairly primitive origins – much in the way an early Crass record could be seen as a snapshot of an afternoon – the production/mix on this disc is stunning.
Post War Glamour Girls: new single and tour news
Leeds noisemakers and Real Gone favourites Post War Glamour Girls have a new single out on 15th April.
The two track release is the first for the I Like (ILR) record label and features ‘Jazz Funerals’ (a PWGG original) with the band’s twisted take on Robert Palmer’s ‘Johnny & Mary’ on the b-side. According to the band’s press, the Palmer cover “reimagines the memorable synth line as a broken and gnarled guitar riff”.
Copies of the 7″ are limited to 451 copies and can be purchased from the ILR shop.