The Hurt Kingdom is the first EP by UK-based 3-piece To Bury A Ghost. This review has been long-time-coming and its about time those of you who aren’t familiar with TBAG to get a taste of them.

They might not appreciate this but there is a certain Muse quality about this EP. As well as being quite poppy and simplistic, the songs are lathered in beautiful string arrangements and huge distortions. Its like a more post-rocky Muse – or you might say similar to The Boxer Rebellion. In the second track “Coming up for air” the drum pattern has an enthralling sway to it, with added delay and distortion soaked guitar lines. Its unplaceably familiar.

To Bury A Ghost don’t hesitate to dabble with the orchestra, a curiosity many bands lack these days I feel. The opening track “Bithday” opens on quite an uneasy note with a discordant brass-section chord, followed up by the intervention of a stunning violin melody.  Strings are quite present throughout the EP and actually, bring to mind Radiohead. I’ll stop name dropping, but there are certainly quite a few elements here that point elsewhere. This isn’t a criticism, but an observation, it doesn’t take away from the fact that The Hurt Kingdom has a beautifully evocative cinematic quality, and a noisy rocky side. I’d certainly put these down as ones to watch!

A cherry on top of the cake? Yep. A Lee Malcolm from VESSELS remix at the end. Now thats a mighty fine cherry!



Mogwai‘s forthcoming album will be released FEBRUARY 15TH!! Pre-order it here at Subpop. Heres a taster:

Skrillex is Sonny Moore. He’s from LA and he used to be in hardcore band From First To Last. Now days he’s making electronic music. He released his first EP My Name Is Skrillex for free and since then has been tearing up dancefloors all over the US and Canada. This is his follow up EP “Scary Monsters And Nice Sprites” released through Mau5trap, and it is the best electro/dubstep release I’ve ever heard! It features Bare Noize, Foreign Beggars and Noisia among others, and combines all the abrasive pleasures of heavy dubstep with the outrageous fun of electro. His first ever UK show was Jan 28th and not only was it rammed but the air was full of excitement as the British people were ready to welcome the Californian guy who gives the English competition at their own game. I love how he seems to be bringing so many different music lovers together, like his faithful fans from the hardcore days, electro fans, house music fans and of course dubstep fans. He’s going to be massive.

Alright The Captain are an instrumental 3 piece on Field Records alongside acts such as Maybeshewill. ATC are releasing their debut full length album Snib on February 7th (next Monday).

This 10 track album shows real promise for the band, and I must say is one of the most interesting releases I’ve heard for a long time. The sheer volume, complexity and variety could only come from individuals with a taste for experimenting – without venturing into the realm of the undigestible and pretentious. A lot of it actually sounds quite tongue in cheek and ridiculous (in a good way) which makes it all the more fun.

I particularly love how each musician is discernible and adds their own dimension to the sound. On one hand you have a mathy, scrappy guitarist who tears out simple satisfyingly metal riffs, beautiful and sometimes folky melodies, then all out Fuck Buttons style noise. On another hand you have a bassist with a real sense of what a bass player should really do; IE complement the rhythm section as well as make you feel the rawness of abrasive low-frequency noises (listen to Mega Mega Drive). The way Todd on bass uses his effects reminds me of current electronic/dubstep artists who write tracks based around successions of distorted bass synths that they tear apart and put back together again, rather than actual notes. Its hard to describe because its quite a primal pleasure but if you listen to THIS 2.37s in, you’ll get what I mean.
And finally on the third hand you have Ash the drummer who holds everything together with an almost jazzy feel and who isn’t afraid to keep things simple when needed. In the track ‘Soundtrack your Death‘ for instance, the drop at 1.10s is particularly effective because everything is focused towards, well, the crushing drop (no shit).

I think its interesting how all these known ingredients put together creates a unique sound. You could call bits of this album, math-rock, post-rock, prog, metal, jazz-metal, space rock… and so many other things- and for this reason it cant be any of them but something entirely new as yet unnamed.

They’re on tour in the UK so get out and see them- you won’t disappointed. Tour Dates are HERE

Dead Red Sun are a London based instrumental 3 piece. Think post-math-rock. They’ve been busy recording and this is a teaser for whats in store! You can download the track by following the link above. Why not right, its free.

They’re playing at Vibe Bar this Thursday with none other than Talons!



Well this is quite a charming Christmas release indeed! Thank you Olympians for sending me the only Christmas single I’ve received this festive season! People don’t often think to write festive songs anymore, but good on you! I do wish you’d sent it to me before the celebration of our almighty messiah’s birthday though.

Anyway, “Foreign Language” and its B-side “Leaving you at Christmas” go down exceptionally well as pleasant pop songs for these wintery months. Of course, Olympians’ mathy indie style of rock is maintained, producing a fresh alternative to a Christmas song that doesn’t involve extensive choirs, the Sex Pistols doing “Jingle Bells” (God save us!) or Dean bloody Martin singing the same old cheerful numbers, especially when we all know that behind the scenes he was a sex pest with a coc problem. The seniors seem to be more than capable of ignoring these shady misdeeds, but after the fifteenth ballad I start to get agitated and wonder whether giving these Mafiosos so much air-time is a bit wrong, nevermind annoying.

Getting back to the single at hand, you may download, and I urge you to, Olympians‘ new single FREE from their Bandcamp page: HERE and if you like it go and see them live as I know from experience that they rock!

This is the video for the title track Foreign Language and its really brilliant too!



I would like to introduce a band with true potential; Leicester based 4-piece Silent Devices. As far as I know Two Decades is their debut EP, and you can tell by the quality of the recordings, not that its off-putting, but its not yet as good as it should be. The style of production used by Justin Lockey in The British Expeditionary Force‘s first album (Erased Tapes) would sound incredible I reckon!

What makes these guys stand out is the simplicity of it all. You can really tell that this band have grasped the absolutely essential concept that making a record is not about complexity, its about crafting a warm sound and layering each individual part meticulously, as to make every note, hi-hat, chord change and so on count and affect the listener. There is certainly something about them that brings Sigur Ros to mind, as well as This Will Destroy You, but these artists are in such high standing that a) who isn’t trying to emulate them? and b) what they convey is pure, egoless, accessible emotion and any band who gets near that is on the right track.

The opening song “Playing Fields” is my favourite. The song is nicely paced, with a beautifully simple melody on the guitar, nice use of cymbals and xylophone, and above all a very seamless progression from start to finish. The build up at the end is brilliant as well, with a most satisfying resolution on the alternation of chords I and IV. I know I don’t need to explain these technical bits, but I want to show that under the simple exterior Silent Devices understand that simple tricks like ending a song on certain chords of a scale appeals to our ears and spyche on a scientific level (hence why blues is SO important), and these tricks are as old and engrained in western culture as Bach. Most people don’t realize that making simple digestible music is actually a whole lot more difficult than making complicated music.

Anyway, enough bullshit. They will undoubtably soon be playing a Sweet Beans show in London so keep an eye out, have a listen to Two Decades on their myspace and support them by buying it if you can.

Dartford instrumental 5-piece Codes In The Clouds are to release their 2nd full-length album on Erased Tapes Records on January 31st


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