Meet My Stalker
Blurt’s Ted Milton and Graham Lewis ov Wire/Dome assume their grouchiest post-punk lounge lizard slouch as Elegiac with a 2nd EP primed to grab fans of owt from James Chance to NWW, Suicide, Gen P-O or Burroughs
‘Meet My Stalker’ is the duo’s follow-up to a 2021 self-titled debut that outlined their Dadaist dad craic as proper no wave punk funk delivered with a snarl. The four new cuts make no concession to that sound, rubbing out coarse dubbed, fossil-fuelled grooves and off-the-dome vocals with a psycho-funk and jazz swagger that belies their veteran ages and makes many younger acts seem tame by comparison. They bring a wealth of experience to the table and send half of it scattering to the floor as they go heads down and outright rude with the revving basslines and possessed avant rock behaviour.
Enabled by co-producer Sam Britton, Milton & Lewis maintain a mean energy from the off, wielding sozzled sax lines over snake-hipped rock ’n roll bass and hypnotic industrial dubbing on ‘He Folds’, with Burton reeling off non sequituurs into the ether, before really laying it down with the crunching groove pugilism and scorn of ‘Boat’. It cools down on the B-side to let the lyrical refrain “It’s a wind-up” ring true over more tempered no wave thrust, and unleash an extended version of album highlight ‘Vancouver Slim’ that lets the prowling bass and sax skronk breath better, dubbier.
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Blurt’s Ted Milton and Graham Lewis ov Wire/Dome assume their grouchiest post-punk lounge lizard slouch as Elegiac with a 2nd EP primed to grab fans of owt from James Chance to NWW, Suicide, Gen P-O or Burroughs
‘Meet My Stalker’ is the duo’s follow-up to a 2021 self-titled debut that outlined their Dadaist dad craic as proper no wave punk funk delivered with a snarl. The four new cuts make no concession to that sound, rubbing out coarse dubbed, fossil-fuelled grooves and off-the-dome vocals with a psycho-funk and jazz swagger that belies their veteran ages and makes many younger acts seem tame by comparison. They bring a wealth of experience to the table and send half of it scattering to the floor as they go heads down and outright rude with the revving basslines and possessed avant rock behaviour.
Enabled by co-producer Sam Britton, Milton & Lewis maintain a mean energy from the off, wielding sozzled sax lines over snake-hipped rock ’n roll bass and hypnotic industrial dubbing on ‘He Folds’, with Burton reeling off non sequituurs into the ether, before really laying it down with the crunching groove pugilism and scorn of ‘Boat’. It cools down on the B-side to let the lyrical refrain “It’s a wind-up” ring true over more tempered no wave thrust, and unleash an extended version of album highlight ‘Vancouver Slim’ that lets the prowling bass and sax skronk breath better, dubbier.
Blurt’s Ted Milton and Graham Lewis ov Wire/Dome assume their grouchiest post-punk lounge lizard slouch as Elegiac with a 2nd EP primed to grab fans of owt from James Chance to NWW, Suicide, Gen P-O or Burroughs
‘Meet My Stalker’ is the duo’s follow-up to a 2021 self-titled debut that outlined their Dadaist dad craic as proper no wave punk funk delivered with a snarl. The four new cuts make no concession to that sound, rubbing out coarse dubbed, fossil-fuelled grooves and off-the-dome vocals with a psycho-funk and jazz swagger that belies their veteran ages and makes many younger acts seem tame by comparison. They bring a wealth of experience to the table and send half of it scattering to the floor as they go heads down and outright rude with the revving basslines and possessed avant rock behaviour.
Enabled by co-producer Sam Britton, Milton & Lewis maintain a mean energy from the off, wielding sozzled sax lines over snake-hipped rock ’n roll bass and hypnotic industrial dubbing on ‘He Folds’, with Burton reeling off non sequituurs into the ether, before really laying it down with the crunching groove pugilism and scorn of ‘Boat’. It cools down on the B-side to let the lyrical refrain “It’s a wind-up” ring true over more tempered no wave thrust, and unleash an extended version of album highlight ‘Vancouver Slim’ that lets the prowling bass and sax skronk breath better, dubbier.
Blurt’s Ted Milton and Graham Lewis ov Wire/Dome assume their grouchiest post-punk lounge lizard slouch as Elegiac with a 2nd EP primed to grab fans of owt from James Chance to NWW, Suicide, Gen P-O or Burroughs
‘Meet My Stalker’ is the duo’s follow-up to a 2021 self-titled debut that outlined their Dadaist dad craic as proper no wave punk funk delivered with a snarl. The four new cuts make no concession to that sound, rubbing out coarse dubbed, fossil-fuelled grooves and off-the-dome vocals with a psycho-funk and jazz swagger that belies their veteran ages and makes many younger acts seem tame by comparison. They bring a wealth of experience to the table and send half of it scattering to the floor as they go heads down and outright rude with the revving basslines and possessed avant rock behaviour.
Enabled by co-producer Sam Britton, Milton & Lewis maintain a mean energy from the off, wielding sozzled sax lines over snake-hipped rock ’n roll bass and hypnotic industrial dubbing on ‘He Folds’, with Burton reeling off non sequituurs into the ether, before really laying it down with the crunching groove pugilism and scorn of ‘Boat’. It cools down on the B-side to let the lyrical refrain “It’s a wind-up” ring true over more tempered no wave thrust, and unleash an extended version of album highlight ‘Vancouver Slim’ that lets the prowling bass and sax skronk breath better, dubbier.
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Blurt’s Ted Milton and Graham Lewis ov Wire/Dome assume their grouchiest post-punk lounge lizard slouch as Elegiac with a 2nd EP primed to grab fans of owt from James Chance to NWW, Suicide, Gen P-O or Burroughs
‘Meet My Stalker’ is the duo’s follow-up to a 2021 self-titled debut that outlined their Dadaist dad craic as proper no wave punk funk delivered with a snarl. The four new cuts make no concession to that sound, rubbing out coarse dubbed, fossil-fuelled grooves and off-the-dome vocals with a psycho-funk and jazz swagger that belies their veteran ages and makes many younger acts seem tame by comparison. They bring a wealth of experience to the table and send half of it scattering to the floor as they go heads down and outright rude with the revving basslines and possessed avant rock behaviour.
Enabled by co-producer Sam Britton, Milton & Lewis maintain a mean energy from the off, wielding sozzled sax lines over snake-hipped rock ’n roll bass and hypnotic industrial dubbing on ‘He Folds’, with Burton reeling off non sequituurs into the ether, before really laying it down with the crunching groove pugilism and scorn of ‘Boat’. It cools down on the B-side to let the lyrical refrain “It’s a wind-up” ring true over more tempered no wave thrust, and unleash an extended version of album highlight ‘Vancouver Slim’ that lets the prowling bass and sax skronk breath better, dubbier.