Tomorrow The Rain Will Fall Upwards
Wreck His Days
Tomorrow The Rain Will Fall Upwards
Wreck His Days
Boomkat Product Review:
One of Black Ever Black’s finest moments - later outed as the work of one shine-eyed Keith McIvor aka JD Twitch, plus chops from Jonnine & Conrad Standish - is newly re-floated on a fresh Optimo Music edition nearly a decade later.
‘Wreck His Days’ is the album partner to a preceding 10” of 2016 that, likewise, arrived with little background info and would pique interests from all corners to its heady melange of inspirations from kosmische drone to art-school rock and astral-planing ambient. Almost 10 years later it has lost a little of its enigma, after JD Twitch claimed its provenance, but still burns bright with a shimmering, psychedelic lustre that largely retains its appeal.
As with their debut 10”, the pieces ribbon and weave through a fog of smoke bombs, 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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Boomkat Product Review:
One of Black Ever Black’s finest moments - later outed as the work of one shine-eyed Keith McIvor aka JD Twitch, plus chops from Jonnine & Conrad Standish - is newly re-floated on a fresh Optimo Music edition nearly a decade later.
‘Wreck His Days’ is the album partner to a preceding 10” of 2016 that, likewise, arrived with little background info and would pique interests from all corners to its heady melange of inspirations from kosmische drone to art-school rock and astral-planing ambient. Almost 10 years later it has lost a little of its enigma, after JD Twitch claimed its provenance, but still burns bright with a shimmering, psychedelic lustre that largely retains its appeal.
As with their debut 10”, the pieces ribbon and weave through a fog of smoke bombs, 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.”
Boomkat Product Review:
One of Black Ever Black’s finest moments - later outed as the work of one shine-eyed Keith McIvor aka JD Twitch, plus chops from Jonnine & Conrad Standish - is newly re-floated on a fresh Optimo Music edition nearly a decade later.
‘Wreck His Days’ is the album partner to a preceding 10” of 2016 that, likewise, arrived with little background info and would pique interests from all corners to its heady melange of inspirations from kosmische drone to art-school rock and astral-planing ambient. Almost 10 years later it has lost a little of its enigma, after JD Twitch claimed its provenance, but still burns bright with a shimmering, psychedelic lustre that largely retains its appeal.
As with their debut 10”, the pieces ribbon and weave through a fog of smoke bombs, 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.”
Boomkat Product Review:
One of Black Ever Black’s finest moments - later outed as the work of one shine-eyed Keith McIvor aka JD Twitch, plus chops from Jonnine & Conrad Standish - is newly re-floated on a fresh Optimo Music edition nearly a decade later.
‘Wreck His Days’ is the album partner to a preceding 10” of 2016 that, likewise, arrived with little background info and would pique interests from all corners to its heady melange of inspirations from kosmische drone to art-school rock and astral-planing ambient. Almost 10 years later it has lost a little of its enigma, after JD Twitch claimed its provenance, but still burns bright with a shimmering, psychedelic lustre that largely retains its appeal.
As with their debut 10”, the pieces ribbon and weave through a fog of smoke bombs, 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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Boomkat Product Review:
One of Black Ever Black’s finest moments - later outed as the work of one shine-eyed Keith McIvor aka JD Twitch, plus chops from Jonnine & Conrad Standish - is newly re-floated on a fresh Optimo Music edition nearly a decade later.
‘Wreck His Days’ is the album partner to a preceding 10” of 2016 that, likewise, arrived with little background info and would pique interests from all corners to its heady melange of inspirations from kosmische drone to art-school rock and astral-planing ambient. Almost 10 years later it has lost a little of its enigma, after JD Twitch claimed its provenance, but still burns bright with a shimmering, psychedelic lustre that largely retains its appeal.
As with their debut 10”, the pieces ribbon and weave through a fog of smoke bombs, 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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