Tomorrow The Rain Will Fall Upwards
Wreck His Days
'Wreck His Days' is the debut album by Blackest Ever Black’s most shadowy avatar, eventually revealed to be the work of JD Twitch, featuring Jonnine and Conrad Standish on guest duties.
Framed by a political spirit, 'Wreck His Days' unfurls their sound along myriad vectors, encompassing references to the Spanish civil war and the UK miner’s strike with contributions from Jonnine and Conrad Standish, among others, while retaining a beautifully mysterious appeal.
As with their debut 10”, the pieces ribbon and weave through a fog of smoke bombs and peace pipes; stretching out from a flux of vocals, buried dembow patterns and a lurking, distant sense of chaos in Wreck His Days to an industrial dubbing of Kent miner Alan Sutcliffe, diffused in solidarity with nods to communist pioneer Alexandra Kollontai against a warped backdrop of left-wing anthem, The Internationale.
Between those points they traverse a headful of ideas with a fleeting flux of light and dark tones that suggests mainland UK’s own changeable weather/light qualities and mood patterns, from the NWW-esque jazz creep of Ghost from the Coast thru what sounds like darkcore jungle ecstasy at quasi speed in Reverberasia, and a spine-freezing synth vignette called I Beat As I Sleep As I Dream, whilst the Spanish republican standard Ay Carmela is deftly bolstered with bass for a new generation, or perhaps reinforcing it for older ones.
It’s all symptomatic of not-so-Great Britain’s current political malaise on one level, and indicative of a wider international unease on another; crucially conducted with a measured, mature approach that avoids violence in favour of furrowed, contemplative moods and a timelessness which reminds us that despite our perceptions of time moving faster than ever, all this shit really operates on a glacial level. Or as BEB eloquently sum it up; “Wreck His Days warns that the struggle for a world which embraces difference and upholds equality has not been won – and is far from over. Its prescience hardly needs emphasising.”
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'Wreck His Days' is the debut album by Blackest Ever Black’s most shadowy avatar, eventually revealed to be the work of JD Twitch, featuring Jonnine and Conrad Standish on guest duties.
Framed by a political spirit, 'Wreck His Days' unfurls their sound along myriad vectors, encompassing references to the Spanish civil war and the UK miner’s strike with contributions from Jonnine and Conrad Standish, among others, while retaining a beautifully mysterious appeal.
As with their debut 10”, the pieces ribbon and weave through a fog of smoke bombs and peace pipes; stretching out from a flux of vocals, buried dembow patterns and a lurking, distant sense of chaos in Wreck His Days to an industrial dubbing of Kent miner Alan Sutcliffe, diffused in solidarity with nods to communist pioneer Alexandra Kollontai against a warped backdrop of left-wing anthem, The Internationale.
Between those points they traverse a headful of ideas with a fleeting flux of light and dark tones that suggests mainland UK’s own changeable weather/light qualities and mood patterns, from the NWW-esque jazz creep of Ghost from the Coast thru what sounds like darkcore jungle ecstasy at quasi speed in Reverberasia, and a spine-freezing synth vignette called I Beat As I Sleep As I Dream, whilst the Spanish republican standard Ay Carmela is deftly bolstered with bass for a new generation, or perhaps reinforcing it for older ones.
It’s all symptomatic of not-so-Great Britain’s current political malaise on one level, and indicative of a wider international unease on another; crucially conducted with a measured, mature approach that avoids violence in favour of furrowed, contemplative moods and a timelessness which reminds us that despite our perceptions of time moving faster than ever, all this shit really operates on a glacial level. Or as BEB eloquently sum it up; “Wreck His Days warns that the struggle for a world which embraces difference and upholds equality has not been won – and is far from over. Its prescience hardly needs emphasising.”