REVIEW: Crocodiles - Endless Flowers

7 out of 10

Find it here.

I recently had the pleasure of witnessing Crocodiles live, from that my love of their music was reborn. It seems like the wait in-between new Crocodiles is never that long, so really my love never faded (or had a chance to for that matter), the miracle about it is that they (their  albums) don't lower in quality because of it (which most artists tend to do when releasing at a rapid rate). I will have to say 'Summer Of Hate' is still my favorite album of theirs, but I really do love their other releases (this one and Sleep Forever) as well. Their latest wall of sound 'Endless Flowers' has all their signature "Surf Rock tinged Jesus And Mary Chain" sounds, only this time with even tighter production (which only seems to get better with each release) and a stronger leaning towards loud Bar Rock music. Toe-tapping indeed..

If you like tremolo/reverb drenched (mostly straight-forward) Rock music with just a hint of Psychedelia and angst this should be what you're looking for (if haven't already found by now).. You've been listening to Crocodiles for years now haven't you? You know what to do, turn it up/blast it, annoy your neighbors (ignore them) have a good time..

Pretty good, I'd say.

Standout Tracks:Endless Flowers, Sunday (Psychic Conversation #9), Electric Death Song, Hung Up On A Flower (love the weird ending), Dark Alleys

EIC'S10Q'S w/ S.C.U.M.

"..it's about self indulging in your darkest moods and exploring every direction they can possibly take you.."

S.C.U.M.
Gloom Pop

S.C.U.M. Bio
S.C.U.M’s debut album, Again Into Eyes is a triumphant arrival. This is a debut which has filtering through the collective unconscious long before its completion, and it already it feels burned into the cortex. Again Into Eyes reels from carnival-esque toughness to a second side that comes close to despair before mainlined redemption in the form of ‘Whitechapel’, a utopian, future-disco monolith, washed in otherworldly Mellotron and Choirs, it’s perhaps the biggest surprise on the record.

Then again, it has been the band’s capacity for reflexive cartwheels – an instinctive disregard and perhaps a faint disgust with what’s expected of them – that has defined their strange and captivating evolution.

When Thomas Cohen (vocal) and Bradley Baker (machines) met in 2008 and called themselves the Society for Cutting Up Men, they demonstrated a deft, offhanded affinity for self-annihilation. This act of effacement found expression with the addition of Melissa Rigby (drums), Huw Webb (bass) and Samuel Kilcoyne (Moog), who whipped their undisciplined, amp-blowing sound into a bass-driven electronic No Wave, engulfed live by acid-test smoke and lights. That, however, was less an incarnation of the group than an isotope, destined to decay and reform itself.

As the front room of their Shoreditch rehearsal space (where Situationist scrawls, lyrics and song ideas were once painted white on black walls) became a gallery, the pub next door was glossed into the 21st Century and luxury destinations for the tasteless sprung-up opposite, the band moved-out to Surrey Quays. As the musical landscape around them seemed to atomize, becoming increasingly light on heroic bands and heavy on Teflon memes, the five-piece consolidated. They learned how to play their instruments, got snapped-up as the first signing of a newly re-independent Mute and set about writing their debut album. ‘If you were to listen to our releases up to this point, they form a complete document of how we’ve developed,’ Bradley Baker reflects.

He’s not wrong. Predating the release single ‘Amber Hands’, the first from Again Into Eyes, was their debut on Loog: the instantly sold-out ‘Visions Arise’, a memory of a more detuned and spectral phase produced by Tom Furse. Also in the back-catalogue: the unique Signal series. ‘The beautiful thing about how that came about was that it was completely by accident,’ says Kilcoyne (brain behind the revolutionary Underage Festival before joining the band). ‘It just happened when we were away,’ adds Webb, ‘We booked some gigs in Poland and we had a day off so we went into a studio and we made this noise. Tom played drums, everything switched round.’

Springing out of the Petri dish that was ‘Warsaw’, the band continued their journey around Europe, adding the dreamscape ‘Berlin’, the piano-led ‘Paris’, and the soon-to-come ‘Athens’ Signal. The tracks show in increments the creative engine of the band finding a maturity and confidence. Drawn out on tour by the intense affection for the band in overlooked pockets of the continent, S.C.U.M were inspired to act as conduits for their surrounds, transplanting them almost unconsciously onto MP3. It’s a path that lies well outside that taken by most groups, just as their purpose and their aesthetic are diametrically opposed to those of schoolboy schlock-rock bands with nothing to say.

Once back in the UK, the band hit pre-production boot camp with legendary drummer and producer Jim Sclavunos (Nick Cave & The Bad Seeds, Teenage Jesus, Sonic Youth, Grinderman). Kilcoyne is readily appreciative of how formative the experience was: ‘We learned both from listening to other records and from being in a studio. Working with Jim, he really went “There’s no need for you to have that extra bar” and “Maybe if you just shut up for that bit and then came in here…” That blew our fucking minds, like ‘Oh, that’s how music works!’

Then followed the writing and recording of the debut album. In ‘the middle of nowhere’, as they put it, they paired-up with producers Ken and Jolyon Thomas (whose credits individually and together include Sigur Ros, M83, David Bowie, Psychic TV). The five’s listening habits in psychedelia, space-rock, avant-garde and ambient soundtracks collide to form a pop trip that neatly balances the innovative with what is rapturously danceable.

With the record set for release in September 2011, the band have been busy honing their skills live, asked on European and UK tours by The Kills and cutting a precocious figure on bills alongside top-draw label mates like Liars, Erasure and The Residents. On stage, the band have never stopped short of devastating audiences. Relying less than before on overwhelming visuals and more upon the weight of their sound, wrapped around frontman Thomas Cohen. With a style suggestive of a Nietzchian Madonna, Cohen is a tall, sardonic-faced art-house shaman contorting himself, finger-fucking the space around him or – at their church shows – blessing crowds with Holy Water.

While his lyrics trade in stacked abstracts and deal with transcendence, escapism and a submission to forces beyond his control, Cohen remains decidedly tied to reality in person, even in the midst of a grueling tour schedule: ‘Touring with The Kills has been really amazing and also takes away from the mysticism of being a band and playing venues like the Roundhouse. There’s so many stories about that place and so many gigs that we’ve seen there, since it’s been reopened, that have been seminal, but then you get there and you get as much space as you would in a pub. I think it’s definitely good at normalizing that experience. However, naivety is what’s created the songs and I think that’s what makes them good. It’s probably quite obvious that I didn’t have a concept of any sort of melody, I saw myself as having a part to play but I didn’t see that in any musical sense at all.’

However modern their sound might be, they are in this manner a very traditional band. Each member makes their own contribution; their trajectory shaped democratically by the different skills of each individual. Rigby in particular, dragged from the clutches of drum school, has helped reign in the chaos generated by Baker and Kilcoyne’s sound-beds and synth lines. The urge for experimentation though is still very much alive – the band count contemporary artists Matthew Stone, Tim Noble and Sue Webster as frequent collaborators – only this time they want it understood properly. With a record that feels like a ten track modern classic, they are set to expand massively upon their base of cult fans this year.

Hello, how are you?
Hello, really well thank you! We are just enjoying a few days off after playing a couple of shows in Portugal. We are also getting ready for two shows in Russia in a fortnights time.

What are you currently listening to?
I’m currently having a slight break from extensive listening. We are going to demo new ideas in the near future and I always like to go into these situations with a clarity to develop my own and my bands ideas.

What, if anything, is S.C.U.M an acronym for?
S.C.U.M is an acronym for the Society for Cutting Up Men. We never really spent too much time looking into names, and it was something that I just thought of early in the project, and then delved into it at a later date. The history is pretty interesting and I thoroughly advise looking into it.

When did you guys begin writing for this project? Did you know what kind of sound you were going for?
In terms of 'Again Into Eyes', we went into the studio with around 60% of the record written in one way or another. All of these ideas were then developed further and updated in terms of sound and structure. The remaining tracks were more spontaneous and came to surface through experimental sessions from the band, using a range of techniques. The sounds created in this process were then implemented into the other tracks to create a lush landscape around the structure of the songs.

Is there a theme on your debut full length?
The theme behind the record was to create a vast landscape of sound. The idea of this was to conjure a visual representation of the music and personal imagery of the listener. I think this was captured well through the experimental soundscapes and sometimes vague lyrical content.

Do you have a favorite track on said album and why?
Track 7 is my personal favorite. The song came from my initial riff, which Huw then put in key, and then we developed the idea on piano until we had a simple structure with which we could further with different instruments. After the double bass and drums were recorded, we set about manipulating sounds to fit around the song. This was a personal highlight of mine during the time spent in the studio.

Got any side projects/collabs coming up?
Not personally but my bandmates enjoy collaborating with other musical artists. As a band we have been spending time remixing bands other tracks such as Spector, Cloud Control, and Big Pink

You can only keep/listen to one album for the rest of your life ..Which album would it be?
'Another Green World'. I always divide this track into two sides in terms of pop and ambient. One thing that interests me about Brian Eno is his interpretation of pop music. I really like his vocals on these tracks, I find the way he uses his voice fascinating. His Ambient music is one of my favorite forms of music. I adore the timelessness of them and the way they can remove you from your surroundings, physically and mentally.

Are you living your dream?
My dreams have been a bit weird recently, so I hope not.

Thanx Chris & Bradley!

S.C.U.M. just released the latest single off of their stunning debut 'Again Into Eyes' called 'Faith Unfolds', go get that and every other single/album they've put out because this band deserves your full attention NOW..

REVIEW: S.C.U.M. - Again Into Eyes

8 out 0f 10

Find it here.

The debut album by S.C.U.M. is exactly everything you (should be) looking for when it comes to Dark/Moapy (semi-electronic) "Rock sounds". "Rock" may not be the best terminology to use when it comes to describing S.C.U.M.'s sound, so how's about this; (and I'm sure they've heard these comparisons somewhere before--sorry) mix Interpol with The Horrors, there you have it:) I know, I know, I'm really behind on reviewing this one, it's been out for a while. In-fact, it already made it's way onto my year-end list, but I couldn't sleep right knowing I hadn't said just a little bit more about it..

'Again Into Eyes' starts off with a distant "chimey/Xmas like" bell/synth slowly fading into Thomas Cohen's "signature vocals (super reminiscent to previous mentioned bands/maybe a modern day Ian Curtis?--I like his vocals A LOT actually) followed shortly by some "psychedelic-esque" bass lines, humming synthesizers/piano chords, and reverby/washed out guitar riffs. Before you know an entire "epic stadium-sized" Rock Anthem has evolved before your ears. Don't start throwing your fist in the air quite yet, the band is just getting started, "Cast Into Seasons" is a modern day Gothic masterpiece, the mood is grim the tone is bleak. What's this? S.C.U.M. like to experiment with their sound a little bit? It's not just about looking good on stage and being monotonous? S.C.U.M. are/seem to be about self indulging in your darkest moods and exploring every direction they can possibly take you.. Or maybe, it's whatever it makes you feel.. 'Again Into Eyes' has it's fair share of both the light and dark, all very easy to follow/swallow assuming you're in a "Rockier" mood. Me, being the person I am, I tend to grasp onto the darker parts of this release. Either way though, give 'em a go (especially if you like "Gloom Pop")..

I absolutely adore this project. This is everything I wanted Interpol to be but weren't "dark or experimental" enough to pull off. HIGHLY RECOMMENDED (#53/100 2011)

Standout Tracks: Cast Into Seasons, Sentinal Bloom (such a great build up), Paris (perfectionner)

REVIEW: Android Lust - The Human Animal

7.75 out of 10

Find it here.

During my middle school/high school years (when dinosaurs roamed) things weren't quite as easy as "a click away"... When it came to discovering new underground bands about the only things you could rely on were word of mouth or a few independent zines here and there. One of the best/my favorite sources for finding some amazing Industrial/Goth/Electronic artists was a catalogue based out of Philadelphia called Digital Underground, which was also (presumably) an amazing retail store that also-also eventually turned into a little known record label known as Metropolis. One day while flipping through said catalogue I stumbled across a review for an "up and coming/new artist" called Android Lust. The review said something like "..the female equivalent of Trent Reznor". If you know me, especially back then, you know the whomever this artist is is now an official "must own" item (NIN is gawd). Once the album finally arrived (not finished downloading, actually shipped), "Resolution", it blew me away. To this day it's still one of the best Industrial albums I own. No one out there sounded quite like Android Lust at the time. Android Lust took the best parts of Dark Wave/Goth and intertwined them with Electronic/Industrial tones. Seriously, if you're at all a fan of the genre consider it a must own, in-fact, it was just re-released as a new/super cool limited edition version:) ..Anyways, here we are, over a decade later and Shikhee (Android Lust) is back offering up (yet again) another amazing album.

"The Human Animal" is Android Lust's fourth proper release, and by all means one of her most polished accomplishments to date. Although a little more "Rocky" than previous efforts, "The Human Animal" has many of the same attributes that made ALL of her other albums so great. Actually, the reason this album may sound a little more heavier/raw than previous efforts is because Shikhee wanted to give the effect of a full band. She wanted to introduce her live sound with her studio sound. Overall an excellent idea, trust me when I say this lady knows how to rock as well as shock you with sounds that sound somewhat "unearthly". Most of the tracks on "The Human Animal" have a strong focus on lingering/low end bass sounds, strung out guitar riffs, and blaring drum beats (some electronic sounding/some (mostly) live sounding). The secondary sounds are what truly standout to me though, if you read up on the album a little bit you might know that some of the sounds within are "found sounds", a lot of which were daily occurrences in Shikhee's life. Those sounds plus the always amazing keyboard work and of course Shikhee's ravishing vocals chalk this one up as another win for Android Lust.

If/when Android Lust gets the right publicity she deserves expect Android Lust to (finally) become a house hold name (hopefully). A must own for Industrial Rock fans. Also recommended for fans of Darker/Edgier music with an experimental electronic "twist" behind the sound. Recommended for sure.

Standout Tracks: Intimate Stranger, God In The Hole, The Return (this song is "instantly" astonishing), One World, Flow (Of Impermanence), God In The Hole (a remix, dare i say it.. "better".. than the original--LOVE this song)

Free Ceremony (ex Skywave/A Place To Bury Strangers) track..

Ceremony - Someday

I love these guys, they sound a lot like APTBS, a little more electronic/poppier

New/Free Serena-Maneesh track released..!

Serena-Maneesh - Ayisha Abyss

This one's a little different and experimental than the usual SM which makes me even more excited to hear the new album!

Free A Place To Bury Strangers remix..

A Place To Bury Strangers - Keep Slipping Away (South Central Remix)

Off of A Place to Bury Strangers second single from Exploding Head, "Keep Slipping Away"..

The Big Pink tour with APTBS!!!

The Big Pink w/A Place To Bury Stangers '10

3/10 San Francisco, CA - Great American Music Hall
3/12 Seattle, WA - Neumos
3/13 Vancouver, BC - Venue
3/14 Portland, OR - Doug Fir Lounge
3/18 Minneapolis, MN - First Avenue & 7th Street Entry
3/19 Milwaukee, WI - Turner Hall Ballroom
3/20 Chicago, IL - Metro
3/22 Newport, KY - Southgate House
3/23 Cleveland, OH - Grop Shop
3/24 Toronto, ON - The Mod Club
3/26 Montreal, QC - Cabaret Du Musee
3/27 Boston, MA - Paradise Rock Club
3/28 Hoboken, NJ - Maxwell's
3/30 New York, NY - Webster Hall
3/31 Philadelphia, PA - Theatre of the Living Arts
4/1 Baltimore, MD - Ram's Head Live!
4/2 Carrboro, NC - Cat's Cradle
4/3 Atlanta, GA - The Masquerade
4/5 Tallahassee, FL - Club Downunder
4/7 Houston, TX - Warehouse Live
4/8 Austin, TX - The Parish
4/9 Dallas, TX - Granada Theater
4/10 Lawrence, KS - The Bottleneck
4/11 Denver, CO - Bluebird Theater
4/12 Salt Lake City, UT - Urban Lounge
4/14 Phoenix, AZ - Rhythm Room
4/15 San Diego, CA - The Casbah

WOW. Could be tour of the year?

Check into Nightmare Air..

"18 Days"...wow. This sh!% is gooood..

M83 Extends US Tour For 2009

All shows in Support (yeah, I know) of The Killers:

January 2009

17 Denver, CO Magness Arena - Ritchie Center

18 Omaha, NE The Slowdown (without Killers) <--#4 for me!

19 Minneapolis, MN Northrop Auditorium

20 Chicago, IL UIC Pavilion

22 Detroit, MI EMU Convocation Center

23 Toronto, ONT Air Canada Centre

25 New York, NY Madison Square Garden

26 Boston, MA Agganis Arena

28 Washington, DC George Mason University Patriot Center

29 Myrtle Beach, SC House of Blues

30 Atlanta, GA Atlanta Civic Center

31 Nashville, TN Grand Ole Opry House

February 2009

2 Houston, TX Verizon Wireless Theater

3 Austin, TX Frank Erwin Center

4 Dallas, TX Nokia Theatre