Aye this one's a goodun. Japanese grindcore icon Eri Fuzz-Kristiansen, aka Viviankrist, keeps the curveballs coming on Diagonal with her bloodied mastication of charred noise and rhythmic electronics, following up the label’s acclaimed recent sides by Sote and Not Waving/Jim O’Rourke. It's an intense howl of a record that comes highly recommended if yr into anything from Alberich/Prurient to Aphex Twin’s Ventolin, Pan Sonic to Kali Malone.
‘Cross-Modulation’ is a brutal testament to the acridly personalised sound that Viviankrist has explored solo since 1995 in Tokyo, when she performed vocals, sax and SP-202 sampler in her first industrial/noise unit. 23 years later her music is still sorely raw, yet riddled with a new found poignance and atmospheric unease that places her music sometimes as close to Kali Malone’s see-sawing dissonance as the power electronics of Pan Sonic or the possessed pulses of Conrad Schnitzler and Merzbow.
Since the demise of Eri’s main project Gallhammer at the start of this decade, when she moved from Tokyo to Oslo (home of her husband and bandmate in Sehnsucht, Maniac - also former vocalist for BM legends Mayhem), she returned to her early Viviankrist alias from 2017 as a place to express her primitivist-futurist urges, resulting a trio of CDs including the vicious solo strike of ‘Morgenrøde’ for Cold Spring. Now on ‘Cross-Modulation’ she intuitively tempers that album’s phosphorous burn with a deadly, incisive application of what Black Metal/Techno pioneer Black Mecha terms “mentation electronics.”
Alloying avant-metal with rhythmic noise, ambient techno and mind-bending drone to a metallurgic tang, ‘Cross-Modulation’ serves a dense flux of energies in seven parts, piercing a path thru maelstrom electronics in ‘Eleventh’ to churn up grizzled Vainio-esque rhythms in ‘Blue Iron’, while the tenderly bruised ambience of ‘Midnight Sun’ provides a bittersweet palette cleanser for the tart technoid prang of ‘Insects’, a bout of slow gripping psychedelia in ‘Out of Body’, and the rugged North European pastoralism of ‘Behind Mirror.’
The gun tune to end all gun tune, ‘The Guncontrolla’ is a righteous pacifist dub statement from the Seekersinternational posse, who go about recording classic firearms being cocked and disassembled with results that land somewhere between Lee Perry's Black Ark, Parmegiani at the GRM and Mark & Moritz at the Rhythm & Sound controls...
Armed with a battery-operated 1987 Tascam Porta Two 4-track recorder and a Shure SM57 cardioid microphone, the Seekers capture the disassembly of a Colt British Service Pistol, a Glock 34, a Kalashnikov 1967 Soviet Rifle, and a Springfield M1 Garand, eventually all colliding and grating against one another via an elemental transfiguration coaxed out of the mythical SKRS echo chamber.
Drawing on ideas of metaphysics, metallurgy, and telekinetic mysticism, the SKRS treat their subject carefully to avoid any sort of romanticisation or fetishisation of guns or violence - in a temporal warp of dreamlike dread tension, where, crucially, not a single shot is fired. Instead they carefully but ruggedly use dub’s transfigurative techniques to turn the workshop recording into an absorbingly abstract warning shot.
The results are fascinating, conjuring some imaginative intersection of a back yard GRM and the Black Ark, and characters from ‘The Harder They Come’ spliced into scenes from ‘Falling Down’, fed thru that psychodelic echo chamber of dematerialised concrète that intends to defuse and diffuse the curse of gun violence with the black magick of dub music. Or, in other words, bullet-time dynamics re-configured as protest dubs.
The Lifted ensemble return for a second, fluid jazz excursion on their new album for PAN, this time with an expanded lineup that includes Beatrice Dillon, Bass Clef, Jordan GCZ, Dawit Eklund, Will DiMaggio, Aya (OOIOO) and Martin Kasey, plus Future Times boss Max D and fellow core members Matt Papich aka Co La, Jeremy Hyman and Motion Graphics. Sublime, late night listening for smoked-out jazz heads and fans of anything from Move D's Conjoint to those excellent first couple of Flanger EP's from Burnt Friedman and Uwe Schmidt.
In a further loosening of the jazz screws from their debut album, the group’s frameworks on ‘2’ feel even more open-ended and dynamic this time around. With classic finesse, their Baltimore studio is beautifully applied as an instrument, becoming a primary tool and practically a member of the band, which allows for a frictionless exchange of ideas and energies from the original ‘70s fusion groundbreakers to flow into a lush, hyper-present. In that sense Max D and the central processing unit of Papich, Hyman and Williams play a sort of Teo Macero-like role, acting as a crucial bloc of filters and editors for the players’ dextrous blind takes.
With exacting sleight-of-hand executed in both the performance and extended post-production studio techniques, they arrive at gently psychedelic conclusions in seven parts, creating an amorphous sound stage where they project images of a melting 4th world in opener ‘Now More Than Ever’, while Beatrice Dillon’s mouth-watering synth pads and Motion Graphics’ silvery piano bring that halcyon Hassellian feel teasingly close on ‘Mirror In MY Room’, before flirting with the ‘floor on the balmy swing of ‘Rose’, exquisitely lit up with Martin Kasey’s sax and Sami’s spirited flute.
Deep, highly atmospheric late night blissouts.
First reissue of David Rosenboom’s groundbreaking 1975 experiments in using brain biofeedback to control live electronics, newly expanded with an additional LP containing an unreleased 1977 live recording of Rosenboom’s “On Being Invisible”, in which the composer himself performs on an array of electronics that are fed information from his brainwaves. Another diamond from Black Truffle.
David Rosenboom was a key member of that 1970s fraternity of electronic music explorers who prized early forms of live electronic music performance, often seeing it as superior to the laborious process of electronic composition on clunky computers, and much closer to the ultimately expressive forms of classical instrumental virtuosity.
With ‘Brainwave Music’ Rosenboom pushed that idea into new dimensions, using electrodes and monitoring devices attached to players in order to receive and gather information about their brainwaves, body temperature, and galvanic skin response, which was then analysed and in turn used to modulate the parameters of his oscillators and filters. In theory, the system allowed for a greater level of connection between the player’s sub/conscious intuition and psychophysiological response, or in-the-moment action.
On the A-side’s ‘Portable Gold And Philosophers’ Stone’ this notion manifests as a warbling smudge of phasing, keening microtones as the brainwaves of Pat and Alan Strange and Marilyn and Frank McCarty feed into Rosemboom’s electronic systems in a wholly absorbing and inimitable flurry of ostinatos, eddies and whorls that make our eyes go funny. However, with the B-side’s ‘Chilean Drought’ and ‘Piano Etude I (Alpha)’ he works with Jacqueline Humbert to specifically focus on the three states of brain waves, Alpha, Beta, and Theta at once, with uncanny results that will sound different to each listener depending on their listening environment and mental state, leading their brain to subconsciously pick up on the voices speaking to their mind’s appropriate frequencies.
Recorded contemporaneously, Rosenboom’s 1977 previously unreleased live recording of ‘On Being Invisible’ is initially, aesthetically closest to the A-side of ‘Brainwave Music’, but find Rosenboom better getting to grips with his system, with immeasurably intricate, complex results that sound like a pre-echo of Florian Hecker’s acid trax one minute, and like Dolphin chatter the next, then like intercepted alien transmissions.
Suffice it to say this was the first record of it kind, and a truly historic piece of electronic composition.
Heavy swanging Euro acid dancehall and slow, slugging EBM from the ‘Dam’s Identified Patient, Job Veerman, going low key and burning for Dekmantel’s UFO Series
‘The Drip’ locks into killer mode with something like Toulouse Low Trax and Dirk Desaever on a cyber bogle; ‘Let Me Do It’ pushes a toiling EBM wind tunnel momentum; ‘Chantals Chant’ yokes back a wicked acid bounce; and ‘Lucy’s Comeback’ rounds out with a mean Goa Trance on 33-not-45rpm torque.
Murky analog interzone electronics compatible with Radiophonic works, the latinate wooze of Decha, or Tolouse Low Trax at his most knackered
“One of the many musical entities the French collective Simple Music Experience sent to earth to vociferate electronic incantations, Radiante Pourpre is the name of a duo comprised of Alex and Leopold as well as the name of their 2017 debut album on Antinote. Last year, they have released an acclaimed LP on Kneklehuis under another moniker, Violent Quand On Aime, but the place from which they keep on transmitting musical signals has not changed: a post-exotic world (NO ZONE) where the only remains of the societies we live in are barbwires, battered radio transmitters (TAKATO) and deserted oil rigs the duo uses as fictional shelters.
From their precarious haven, they send us field recordings of waves mixed with analog glitters (INTERLUDE). From their lost at sea run down tower, they record the cries of ominous seagulls (SMALL TALK) and a bewitching Spanish voice (MALA 800), incorporating these to primitive drum machine patterns… And then…
A miracle happens when the record is flipped: a Balearic hit for post-apocalyptic times (IEMANJA)! Begining exactly like the opening track (THE COPS, THE JAZZ, THE BIRDS), in an unexpected twist of fate, it summons the angelic voice of Galadriel Andrade for a delicate Brazilian conjuration. There might even be a sunny spell lurking in the spirited closing tune (MS BUTTERFLY): “NO BORDERS, NO COPS, NO PROBLEMS”.”
Crafty IDM/electronica by Thomas Pujols’s Nebulo on Calum Gunn’s excellent, exploratory label, Conditional
After a ruck of LPs to his name for Hymen since the mid ‘00s, Nebulo returns from hiatus since ’16 with a remarkably fresh sound that appears to jump off from Arca’s ‘&&&&&’ and into hyperpresent terrain shared by TCF and CY AN.
‘YYY’ gets off to a breezy beginning with prickly, windswept arps showing a flair for free dynamics and melody, while ’448BPM’ accelerates up-to-the-second with flashcore-esque levels of intricacy but sans fibrillating kicks, before the staggered meter and expressively bittersweet flourishes of ‘BND Rose’ and the nerve-wringing emotion of ‘ASCII Snake’ most closely reflect Arca’s genius for off-kilter, melodic arrangement.
Kevin “The Bug” Martin frames Miss Red in an OOBE-like haunted dancehall style for his Pressure label.
A dominant force on the label already, and a central muse for Martin, Miss Red returns to supply a forlorn, ghostly presence with ‘The Four Bodies’ EP. Her shatterproof tenor floats sweetly over the minor key menace and dembow bumps of ’Shut In Your Head’, before ‘Loco’ pulls her fwd, nagging on a revving, sputtering piece of heavy riddim machinery, ‘Loco’.
But from there it gets very maudlin with the dread lament of ‘Don’t Text Back’ sung in a cracked and detached patina of voices over synthetic nyabinghi, and ‘Prayers’ jettisons the riddim entirely to vapourise Red into a hall-of-mirrors, glossolalic drift, something like Burial meets Grouper.
Disciples dig into the teenaged, pre-4AD years of Detroit’s Warren Defever and come out with the first signs of gold in ‘F Choir’, a flighty synth miniature that sets the tone for a very promising retrospective revolving His Name Is Alive
As the pig flies out of London and Jai Paul’s legendary album officially drops, the pop enigma gives wings to a pair of new beauties and the world is (kinda) ok again
Arriving in the slipstream of ‘Jai Paul’ come two slices of his signature soul-pop delicacy, bedding down the juicy FM bass synth and slow sizzling drums for his heart-warming falsetto harmonies, shared with Fabiana Palladino (who appeared on a Paul Institute 7” in 2018), before ‘He’ turns up the funk with roving, holo-‘d out bass and Linn drums, saving some of the best moments in the reprise’s killer chrome-rip synths and studio gremlins.
Raw poppunknoise by an all-female trio from Montréal
“Montréal trio Lungbutter serves up an exhilarating and relentless barrage of astringent noise-punk driven by the ferociously wide-screen tri-amped guitar squall of Kaity Zozula, the brawny pummel of Joni Sadler's drums, and the wry subliminal/phenomenological sing-speak of vocalist Ky Brooks.
Brooks, Sadler and Zozula have all been mainstays of the vibrant experimental noise/rock community in the city for several years, having put in time as members of numerous bands including Femmaggots, Harsh Reality, Caymans, Nennen, Wreckage With Stick and Nag – as well as the Misery Loves Company tape label, La Plante collective, and the campus/community radio station CKUT. Lungbutter has been their main jam for a while, playing frequently in Montréal and with sporadic excursions to DIY spaces around eastern North America. Honey is their first full-length album, following the self-released Extractor cassette EP from 2014, which Big Takeover described as “thick neanderthal sludge, stream of consciousness yelps over lawnmower riffs, a dweeb-metal triumph” and Weird Canada praised as “confident, artful, intense”.
Lungbutter’s minimal guitar-drums-voice configuration is rooted in a visceral, ascetic punk idiom, refracted variously by free-noise, sludge rock and slowcore. Zozula marshals chaotic motifs of full-spectrum distorto-guitar, occupying a huge tonal space from low-end bass to paint-peeling treble, redolent of blown-out Melvins/Flipper fuzz and equally indebted to the frenetic dissonance of Keiji Haino or Merzbow (as in the thrilling passages of warped noise on “Solar” or “Veneer”). Song structures coalesce around guitar riffs of shifting tempos and the backbone of Sadler’s muscular, deliberate drums, while Brooks’ voice – at once mantric and declarative – deconstructs one brilliant lyrical theme after another, dancing along the knife-edge of dispassionate acerbic examination and wide-eyed cathartic revelation.
On Honey, live favourite “Vile” glories in a swampy martial stomp before lifting off into its propulsive, danceable stride. The slow burn of “Intrinsic” finds a doomy three-note pattern of guitar crud and slow, caustic vocal lines to build thick tension, careening towards explosive release punctuated by Brooks’ most impassioned and full-throated shouts. “Honey” and “Veneer” are both marked by guitar intros highlighting Zozula’s marvellously biting tone and technique, with buzzsaw static and freeform noise workouts prefacing the lurch into pounding primeval beats, the likes of which also drive standout tracks “Solar”, “Flat White” and “Dépanneur Sun”.
Honey is 33 minutes of satisfyingly searing, sharp-as-tacks, scum-tainted art-rock from one of the city's finest and most uncompromising bands.”
Wickedly stripped down rhythms and sounds from Melbourne’s Jon Watts, leaving his debut mark on SUMAC with styles running in parallel to minimal techno, quasi-acid, and mutant electro rolige
“Jon Watts is Melbourne based producer, DJ and musician. Over the last decade Jon has traversed a number of styles as a live performer, including no-input mixing, free improvisation, and hardware techno experiments. As a DJ, Jon is a staple of Australia’s East coast warehouse party scene, and has forged a unique style that seamlessly combines styles from free Jazz to hi-modern composition, minimal techno, house, jungle, UKG and everything in between.
On this EP Jon presents 7 tracks of stark, minimal, well-starched, emotionally ambiguous, yet functional techno experiments. Jon is indebted to the no-input mixer experiments of Japanese artists such as Toshimaru Nakamura and Sachiko M, as much he is to techno luminaries such as Jeff Mills and Kotai. He has patiently combined the sounds of malfunctioning circuits with cold acid inflected arps, home recorded analogue drum machines, and classic rhythms. Steeped in hardware, but never beholden to its standardised logic, these tracks channel the sweaty focus of the club, into refined loop-based compositions that occupy a hazy zone between unfinished idea, DJ tool, and avant-garde reduction.”
Brooklyn’s superb Blank Form Editions follow peaches by Catherine Christer Hennix and Maryanne Amacher with a first vinyl edition of pioneering free improv jazz rippers from 1975 Japan. Hugely tipped to fans of Sonny Sharrock, Derek Bailey and Keiji Haino!
‘April is the cruellest month’ is taken from 1975 recordings destined for ESP Disk which remained unreleased due to the label’s collapse in 1976. It’s understandably hailed as a missing link between Western jazz and Japanese noise for its joyously unhinged, thrilling levels of abandoned form, and begs the question; how would an international understanding of Japanese noise be altered if it had been issued as and when intended?
Until the late ‘60s, Takayanagi, who cut his teeth under Lennie Tristano, was an accomplished player of cool jazz, but his mind was blown by Chicago Transit Authority’s ‘Free Form Guitar’ in 1969 and he turned his back on the Japanese jazz scene, infamously calling them “a bunch of losers” in the music press. Shredding solo, and with saxophonist Kaoru Abe, he would dextrously yet elegantly lay waste to convention and effectively arrive at similar, iconoclastic, and expressive conclusions to the likes of Ornette Coleman, Peter Brötzmann or Derek Bailey at the other ends of the world.
In key with the revolutionary spirit of late ‘60s Japan, and the world for that matter, Takayanagi’s shapeshift into “free” zones was cemented with ‘April is the Cruellest Month’, where they inquisitively splay the jazz atom into atonal quarks and bestial chatter in ‘We Have Existed’, and a cranky smear of brass and diffused percussion recalling aspects of Gruppo in ‘What Have We Given?’, before the B-side’s catalcylsmic 20 minute charge ‘My Friend, Blood Shaking My Heart’ truly lets rip with unearthly intensity, Takayanagi’s guitar intrepidly blazing a trail thru the gurning, ecstatic maelstrom in an every-direction-at-once aesthetic that clearly predates Masami Akita aka Merzbow, who wouldn’t debut until 1979, or the Keiji Haino’s Fushitsusha, who emerged in 1978.
Eyebrow protection required - this one’s a 100% scorcher!
Special Request exerts hardcore Yorkshire G-Force while wearing his Y-fronts for the raving joyride of ‘Vortex’ with Houndstooth
Paul Woodford’s 4th album under the Special Request guise is also his loosest and nuttiest, monkeying around all aspects of his cumulative rave knowledge to draw zigzagging lines between electro, Detroit techno, breakbeat rave, jungle-tekno, and rushing hardcore trance in his own style.
On a handful of highlights he appears to crack out the same software FX employed on his Bobby Peru classic ‘Erotic Discourse’, namely in the mazy, AFXian electro chicanery of ’Sp4nn3r3d’, the Tango-flavoured hardcore nosedrip of ‘Vortex 150’, and his ruthless fast couplet of ‘Fett’ and ‘A Gargantuan Melting Face Floating Effortlessly Through The Stratosphere’, while the best of the rest draws on a very ‘90s sort of electronic dance music soul in the likes of his Luke Slater-esque techno buzz ‘Memory Lake’, and the rude rave rolige of ‘Fahrenheit 451’.
Mick Harris kicks off his 2019 with this 5 track EP of tar-black, bass heavy sonic violence.
"This EP features 5 reworks of “Salford Priors”, one of the heaviest tracks from his return-to-form album “Over Depth”, the first by Mick Harris himself, and 4 more by his longtime collaborators in the production guises of Fausten, Stormfield, Monster X and Scald Process. The EP begins with an apocalyptic, dubbed out violent reworked by the man himself, creeping in with a cold, calm eerie drone that quickly goes from zero to 100%, blasting into a full force attack of artillery percussion and strafing, shrapnel textures atop the landmine subs and characteristic Harris snarling mono-bass. Julien Caraz has caused much distress over the years with the sheer rage and precision sonic assaults of his Monster X project.
Here he eschews his usual frenetic tempos for a solid 130BPM, a sleek techno destroyer built for giant spaces and huge soundsystems in mind. The Combat Recordings boss has worked audiovisually with Mick since the Scorn AV at Bangface Weekend in 2011, toruing with Fret AV in 2018. Here he switches back into audio mode to rework Salford Priors into a hard electro assault for the Stormfield remix. Fausten is the shadowy, twisted collaboration between Monster X and Stormfield. Having released a staggeringly twisted album on the legendary Ad Noiseam, Fausten went into hibernation as the pair pursued their own projects, with only a few sporadic tacks surfacing over the years. The pair have been putting together an album’s worth of new material for 2019, beginning with a powerful remix of Salford Priors. Taking Fret back into it’s aquatic, fathoms-deep sonic territory, this remix is a behemoth work that moves at quarter-step tempo,allowing for more physicality and dynamics, the profound pulse of each profoundly deep bassdrum like an underwater volcanic explosion, with skittering percussion the resonates in the stillness."
Titans of UK rave culture, Fabio & Grooverider look back on ’30 Years of Rage’, their seminal London club night, with the 2nd of four volumes charting the ultra-classic and hard-to-find foundations of hardcore, jungle and D&B - the UK’s greatest gift to the world of the past generation.
As the label explain, their RAGE night was arguably the ground zero for Jungle. "The party was started at London's cavernous Heaven club by Fabio & Grooverider in 1988, at the height of Acid House fever that was making it's way up and down the motorways, slip-roads, fields and warehouses of the M25 and further beyond every weekend, troubling the nation, the police, your parents and the press as it went. RAGE was a different beast, it certainly channelled some of that Acid energy but pitted it against the new and exciting sounds emanating from Belgium, Amsterdam, Detroit, Sheffield, Essex and Hackney and in turn created a new style, a new sonic attitude and energy in the process. Rumbling bass-lines, narcotic synth rushes and roughly chopped and sped-up breakbeats all merged into a style that we now know as Jungle."
This first volume is a tour de force of early rave pressure, charting a course from Leftfield’s deep 1990 bass massage ‘Not Forgotten’ thru Lennie De Ice’s all-time jungle cornerstone ‘We Are IE’, the London mash-up styles of ‘Dubplate’ by Wots My Code, Foul Play’s artful jungle masterpiece ‘Being With You’, and the bawl fwd hardcore of ‘The Future’ by Noise Factory, saving Fallout’s lip-smacking classic ‘The Morning After (Sunrise Mix)’ for dessert.
On volume 2 of 4, ravers are spoilt for choice with a selection running from Derrick May’s metallic Detroit funk in ‘Emanon’ to Q Project’s jungle foundation ‘Champion Sound’, taking in Richie Hawtin’s hoover techno classique ‘Technarchy’ as Cybersonik, Ecstasy Club’s acid house anphem ‘Jesus Loves The Acid’, Nightmares On Wax’s Yorkshire bleep ’n bass staple in ‘Aftermath’, and the deadly feminine pressure of ‘Just 4 U London (Kuff Mix)’ by Bodysnatch.
Essentials, the lot of ‘em.
Lena Willikens highlights original material from three female Japanese artists, Kopy, Tentenko, and Miki Yui, in a diversely groove-driven plate including her own ‘Megamix’
The ‘Paredo’ EP is a result of Lena’s 2017 trip to Japan at the behest of the Goethe Institut, where she and her artist partner Sarah Szcesny developed their Phantom Kino Ballet at a residency in Kyoto. While there, they also caught live performances by Kopy and Tentenko which lead to their appearance here.
Kopy supplies the punchy kicks and dry but gunky electronics of ‘2NP’, and Tentenko swaggers on some bolshy triplets, while Düsseldorf-based Japanese artists Miki Yui follows her Realistic Monk collab with Carl Stone and last year’s LP for Salford’s Cusp Editions with the weightless trickle of ‘Tromb’. Combined by Lena’s mitts, the ‘Megamix’ consolidates all three pieces in deftly swingeing form, cannily dancing in between their patterns to come up with something like a rogue Batu number.
Russell Haswell serves vacuum-tight production for Sarah Froelich and Philip Best’s alternately piercing/soberly observant vocals in their 3rd album together as Consumer Electronics, and their first since relocating from London to San Francisco…
In ’Airless Space’ the grizzly trio recalibrate their shrewd gaze from the pre-Brexitlands of 2014’s ‘Estuary English’ to the thick of an unprecedented time in USA, which is currently in the process of fulfilling the dystopian, apocalyptic America of 2020 prophesised in countless films, books and artworks.
Trust CE to grasp the zeitgeist with bare hands in their particular style, with Best and Froelich trading the mic to mete out nearly 60 minutes of wryly sardonic side-eyes at the state of it all, while Haswell variously punctuates the negative space with a palette of bolshy bass drums and noise, or turns the vocals into gargling gurns of bestial wretchedness.
If we’re playing favourites, the increasingly throttled 13 minutes of vitriol and pranging n0!ze jabs in ‘Muder of JJ’ is substantial, while Best is at his most unsettling with the unflinching cool delivery of ‘Carnage Mechanics’, and they come together most fiercely when the vocalists trade the mic over pelting rhythm and bone-twanging twitches in ‘Play Therapy’, with Best uttering the truest lines: “Stay indoors all day, that’s what i do these days / Never leave the house if I can help it/ why would i fucking want to?”
Skinny, impassioned indie/post-punk jangles and reverbstorms from Flying Nun act This Kind of Punishment, reissued for first time on San Francisco’s Superior Viaduct
“With This Kind of Punishment , Graeme Jefferies and Peter Jefferies produced some of most adept DIY sounds to emerge from New Zealand's 1980s post-punk scene. After their phenomenal self-titled debut and classic A Beard of Bees, the brothers would make one last album together, In The Same Room.
Originally released in 1987 on Flying Nun, In The Same Room is perhaps the straightest rock offering in TKP’s esteemed catalogue. Opening track "Immigration Song" expertly pairs jagged guitars with wrathful vocals – resulting in one of the most celebrated moments in their recording career – while "Don't Go" puts the full breadth of the Jefferies brothers' method on display: spiraling riffs, somber baritone and chamber-like calm give way to frenzied rhythms and antagonistic lyrics.
From deeply insular songwriting to hands-on production, This Kind of Punishment draw the listener in close – nearly within the same room as the players – and remain rooted in a distinct approach to presentation that is inseparable from their music.”