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AVANT!



Last Updated: 1/7/2010

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Status: Single
State: Bologna
Country: IT
Signup Date: 10/21/2007

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Saturday, October 03, 2009 
Krysmopompas is a four piece post punk band from Berlin who came to the attention of most Americans via their Heute Schlafen-Morgan Aufwachen double album on S-S last year, which compiled their two self released CD-Rs. They claimed the influences of Ionesco and Fassbinder, but what’s here is a hefty dose of 154 era Wire, and NDW bands like Die Tödliche Doris and F.S.K. if they had deadpan, spoken vocals in German (instead of hostile, shouted vocals in German). The shambling, DIY rock feel of some of the tracks on the 2xLP is absent from both sides here, leaning a bit heavier on the casio here, but they are of the same high level of quality. This is one of the best bands mining the post punk style these days, and if two albums’ worth of material seemed like too much to deal with, by all means, dig in here. Great record. Chris Strunk, Still Single

Krysmopompas already pleasantly surprised me with their 2LP on S-S Records from the USA. This German based band plays excellent Neo Deutsche Welle music. You get on this 7 inch (released on the Italian Avant! Records label) two playful tunes (called 'Gesa' and 'Volker') in the best Neue Deutsche Welle tradition. While the tracks on the 2LP were more guitar dominated these two tracks are less typical rock influenced. Still the guitar is there but it is used in a different way (less rock) and more electronic elements pop up. The sound is now quite close to that of Punk Soul Loving Bill. And while this band has ceased to exist it is nice to have Krysmopompas around to fill the gap. 500 were pressed and they come in a sleeve with a very nice cover design. Terrible-Music


I know these guys had a double LP on SS last year but I never checked it out, as a double LP of artsy post-punk is usually not how I’d want my first encounter to happen. That’s like going all the way, whereas a single is more like a kiss at the end of the first date, much more suited towards a romantic like myself. Of course, now I’m going to have to find one of those double LPs, because the tracks here are just the type of mutant synth-pop I need in my life. “Gesa” rubs warm guitar on a Casio preset while a calming German man tries to sell me chewing gum or something. Sounds great each time around. “Volker” plays with a slinky riff and the “human voice” Casio setting while that same sweet man sounds like he’s trying to wake up his younger sister on Christmas morning, only to realize all the presents are missing. Krysmopompas are incredibly peculiar but never to the point of being non-musical, which is a very sweet spot to hit. Yellow Green Red


Cool Italian dudes Avant! recently released a 7” by German Cassetten 82/Hot Wave outfit Krysmopompas. The a-side, GeSa, is a beautiful line drawing of the graceful movements traced on the dusty floor of an abandoned hall by a mechanical bride and an electrical groom as they orbit around each other in their clockwork ballet while a crooning ghost dressed in an ill-fitting tuxedo provides dada admonitions from his pulpit. It sounds grainy, derelict, metallic and forsakenly beautiful like all the best German post-punk. We totally heart it. 20jazzfunkgreats


La seconda uscita della collezione autunno-inverno targata Avant! è il primo 7” dei krukki Krysmopompas che, nonostante un nome non proprio allettante (seppur preso da un film di RW Fassbinder), si fanno apprezzare per una miscela di neue deutsche welle e post-punk attualizzata sul versante più strambo e malato della nuova onda. Come dei Cabaret Voltaire d’oltre cortina chiusi in una trabant ad ascoltare, i quattro giocano con casio giocattolo per stabilire melodie minimal-wave (Gesa) o intrufolarsi in ossessive e alienanti reiterazioni DAFiane (Volker). I suoni di questi due pezzi – nati nelle stesse sessioni in cui musicarono lo short movie I, Synesthesia – sono letteralmente ricoperti da un alone di alterità est-europea, quasi fosse caliginosa e materica polvere di stelle caduta dalle ceneri dell’impero ex-sovietico e giunta fino a noi sotto una teca di cristallo. Lunga vita ai berliner. Lost Inches


Su Avant! i berlinesi Krysmopompas rileggono la primigenia Neue Deutsche Welle in chiave weird/lo-fi, tutto un tripudio di synth, drum machines e chitarre storte che sanno di Pyrolator ridotti a raccattare avanzi tra i cassonetti (7), mentre i Feeling Of Love fanno quello che sanno fare bene: due schegge synth-punk in puro style français e un titolo come Waiting For The Cheerleaders To Get Drunk che è demenza paranoica pura. (7/8)  Dischetti del genere sono una benedizione. Valerio Mattioli, Blow Up


Bands straniere ma etichetta italianissima: la Avant! Records è di Bologna e ha dato alle stampe i singoli di due ottime formazioni emergenti. I Feeling Of Love vengono dal nord della Francia e il loro Waiting For The Cheerleaders To Get Drunk è un bell’esempio di come si possa rispettare la tradizione malmenandola un pò. Chitarra, tastiera e batteria, un trio essenziale che fa rock’n’roll ipnotico con una voce sguaiata e tanta rabbia in corpo. I tre francesi ci mettono l’anima nel maltrattare la storia. Lo fanno con passione e il loro garage-noise risveglia il ricordo dei Suicide. Bravi. Ai Suicide guardano anche i berlinesi Krysmopompas, decisamente meno roots rispetto ai cugini francesi. In Gesa suonano una wave aspra e minimale, citano Section 25, Nightingales e Wire ma arrivano 30 anni dopo e si sente. C’è anche l’ombra del lo-fi nel loro suono freddo e ruvido, un incontro tra i DAF e i Lost Sounds che non può non colpire. Privé, di Luca Frazzi, Rumore (Dic 2009)


Berliinin merkitys uuden aallon musiikille on kiistaton. Tuota ylpeää perintöä myös jalostetaan jatkuvasti ja yksi uusimmista soihdunkantaja kandidaateista on viisi vuotta sitten perustettu Krysmopompas. Orkesterin outo nimi on napattu saksalaisessa b-luokan sci-fi-filmissä esiintyvältä terroristiryhmältä, mikä antaa jo osviittaa musiikillisesta suuntautumisesta. Kuten aiemmatkin yhtyeen julkaisut, myös kaksi biisiä sisältävä seiskatuumainen Gesa-sinkku ilmestyy tietysti vain vinyylinä, painoksen ollessa naurettavan pieni. Niksahdellen ja nykien etenevä musiikki vie aatokset välittömästi Einstürzende Neubautenin suuntaan. Kaiken kukkuraksi kovasti Blixa Bargeldilta kuulostava vokalisti esittää saksankieliset lyriikat lähinnä lausuen, eli lähellä liipataan silläkin suunnalla. Autotallirock, lo-fi-elektro sekä tieteiselokuvien erikoistehosteita muistuttavat pulputukset leivotaan pullaksi, jossa jokainen rusina saa näkemään värejä. Näin poikkeuksellinen musiikki vaatii kuulijalta paljon, mutta jos berliiniläinen uusi aalto / avantgarde on mieleen, eikä Casio pelota, herättää Krysmopompas varmasti tuntoja. Noise.fi

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Wednesday, September 30, 2009 
Another two-sided killer from this flashy-trashy French outfit. “Waiting for the Cheerleaders to Get Drunk” actually steps away from the frantic blues revivalism of earlier releases and onto strummier, poppier times – from Doo Rag and the Blooz Explosion to the Feelies (or more appropriately, countrymates Bosom Divine). There’s a new focus on fidelity here too, missing from their body of work until now. “What’s Your Name” hipchecks the Zombies into the cereal aisle and lets loose the dogs of hard, gutsy rock ‘n’ roll. These guys haven’t made too many mistakes and actually seem to be growing as a band, out of genre and stepping into, well, something. Can’t wait to see where they go next. 500 copies. Doug Mosurock, Still Single/Dusted Mag


I thought I only needed one French punk band who uses a “people holding guns who shouldn’t” cover photo in my life, that is until I heard “Waiting For The Cheerleaders To Get Drunk”. I also kinda hoped The Feeling Of Love sounded like a 50/50 mix of the Feelers and Tunnel Of Love, and while it’s not completely off the mark, The Feeling Of Love are most certainly on a higher level. They seem to approach their music with the same nonchalance and grit of fellow Frenchmen The Anals (whose catalog I celebrate), but their songs carry a tunefulness that allows their casual hooks to fully ripen. “Waiting For The Cheerleaders” is clearly the hit, punk rock with a boogie and a chorus that bears repeating over and over. It helps that I can really picture these guys living out that title, just hanging out under the bleachers smoking cigarettes in stained t-shirts. The b-side has a nice riff that reminds me of Excelsior in some distant way, although they take things in a much more playful direction. Impressive all around. Yellow Green Red


Torna la Avant! con un paio di uscite piuttosto attese da chi bazzica i sottoscala più oscuri e puzzolenti del nuovo dopo-punk. Per primi i francesi The Feeling Of Love, avvezzi a ruotare a 45 giri con la meglio gioventù del globo terraqueo, inclusi i nostrani Movie Star Junkies. Ora questo 7” – il primo dopo l’esordio lungo Petite Tu Es Un Hit su Yakisakana e l’ennesimo di una sterminata produzione – oltre a stravincere il premio per miglior titolo del millennio gioca di fino su traiettorie noise-synth-punk come è di moda oltralpe: la creatura di G. e Seb Normal (per l'occasione allargata a trio) va sul paranoide/mongoloide nel lato A (quello che da il fantastico titolo al 7”) con una nenia demente che più appiccicosa non si può e prosegue più scattoso e nevrotico, ma sempre affine alla linea tracciata, sul lato B con What’s Your Name? Who’s Your Daddy? Sono in tour in Italia proprio in questi giorni. C’è da raccomandarsi di non perderseli? il piff, http://lost-inches.blogspot.com


Su Avant! i berlinesi Krysmopompas rileggono la primigenia Neue Deutsche Welle in chiave weird/lo-fi, tutto un tripudio di synth, drum machines e chitarre storte che sanno di Pyrolator ridotti a raccattare avanzi tra i cassonetti (7), mentre i Feeling Of Love fanno quello che sanno fare bene: due schegge synth-punk in puro style français e un titolo come Waiting For The Cheerleaders To Get Drunk che è demenza paranoica pura. (7/8)  Dischetti del genere sono una benedizione. Valerio Mattioli, Blow Up


Bands straniere ma etichetta italianissima: la Avant! Records è di Bologna e ha dato alle stampe i singoli di due ottime formazioni emergenti. I Feeling Of Love vengono dal nord della Francia e il loro Waiting For The Cheerleaders To Get Drunk è un bell’esempio di come si possa rispettare la tradizione malmenandola un pò. Chitarra, tastiera e batteria, un trio essenziale che fa rock’n’roll ipnotico con una voce sguaiata e tanta rabbia in corpo. I tre francesi ci mettono l’anima nel maltrattare la storia. Lo fanno con passione e il loro garage-noise risveglia il ricordo dei Suicide. Bravi. Ai Suicide guardano anche i berlinesi Krysmopompas, decisamente meno roots rispetto ai cugini francesi. In Gesa suonano una wave aspra e minimale, citano Section 25, Nightingales e Wire ma arrivano 30 anni dopo e si sente. C’è anche l’ombra del lo-fi nel loro suono freddo e ruvido, un incontro tra i DAF e i Lost Sounds che non può non colpire. Privé, di Luca Frazzi, Rumore (Dic 2009)
 

Encore une sortie pour les stakhanovistes de Feeling Of Love qui livrent deux nouveaux excellents titres sur ce 45t sorti chez Avant Records. Au dehors, côté face, un artwork plus subversif qu’un pentacle ensanglanté, représentant un bambin rigolard posant avec son papy, accroupi, fusil en main. La photo de famille est digne de celle de l’album d’AH Kraken et c’est pas anormal puisque les deux groupes ont au moins un membre en commun. Toujours au dehors mais côté pile, les infos élémentaires : enregistrement par Phil Scrotum en août 2008, formation en triplette et pour les initiés, le logo de la Triple Alliance de l’Est ( la famille, toujours la famille..), sorte de croix de Lorraine mal barrée. Et au-dedans ? Du pur Feeling Of Love c'est-à-dire du bon vieux blues décati par un son lo-fi, dégénéré par une énergie résolument punk et perverti par les frimas de l’est, un peu comme si Jon Spencer avait quitté NY pour migrer chez les ploucs. C’est artisanal, chaotique, inspiré et au moins aussi vicieux que le papy armé de la pochette, avec en prime, quelques sonorités qui ne sont pas sans rappeler le Velvet Underground, notamment sur l’excellentissime Waiting For The Cheerleaders To Get Drunk. En bref, du très beau boulot, comme d’habitude. (10/10) Olivier, nextclues.com


Ranskalainen The Feeling of Love osuu tuoreen seiskatuumaisensa nimibiisillä keskelle häränsilmää. Näin iloisesti groovaavaa taide punk rockia on aina ilo kuulla, ja kun kaikki palat loksahtavat kohdilleen on käsissä pienehkö klassikko. Vinolla poljennolla kulkeva kappale kiihtyy hitaasti loppua kohden, sanoituksen mustan huumorin sekä in-your-face –asenteen purressa syvälle persauksiin. B-puolen What..s Your Name? Who..s Your Daddy? jää väistämättä lapsipuolen asemaan, sillä samoista aineksista ei saada aikaiseksi enää toista energiapommia. Sanottakoon kuitenkin vielä, että ranskalaisten b-puoli kelpaisi taatusti monelle artpunk-orkesterille, sen verran tasokkaasta kitararallista on kyse. Ranskalaiset tulevat marraskuussa Tukholmaan saakka, voisivat tulla puolestani lähemmäskin. Noise.fi
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Sunday, September 13, 2009 
A split single in which the MSJ side is typical garage tedium and one of the dumbest band names in a genre marred by dumb band names … these were the only reference points going in. Once again, the power of pleasant surprise is a good feeling. It helped with forgetting how obnoxious it is when a band this old releases a rarities & rejects comp of material that’s not even five years old. Thank god this one pulls a Singles Going Steady, winning the blindfolded taste test (against nothing in particular) as a proper and consistent body of song. Not really garage punk per se, but garage post-punk with sax, which is nothing new, duh, but the heaviness is nice and the energy is there … most of the time. They’re from Italy (I think), so the thematic offenses and arrogant statement of format can be partially overlooked as long as the record is playing. If the Intelligence traded The Fall/Urinals fixation for the Gun Club or Birthday Party (huge presence here) and more contemporarily, Cheater Slicks and Oblivians, then this is absolutely not what would happen, because Intelligence would have to live in Italy and make all kinds of cute presentation mistakes, but the point has been made (yet again). Andrew Earles, Still Single/Dusted Mag

Checking my pre-review notes, I have to refer to a few things. I've enjoyed their singles/EPs very much. The "Melville" LP notsomuchso. A little too dense perhaps, but a remarkable concept to undertake regardless. I don't think they get all the attention they deserve because of two strikes against them: a misleading band name coupled with the fact they are Italian. Movie Star Junkies (from Italy) conjures images of shit-rawk and flaming dice or at least bad punk. But MSJ couldn't be further from that. Operating within the dingy and murky corners of the garage rock spectrum, from Cramps rock oddity to Scientists/Birthday Party slush to Chrome Cranks/Honeymoon Killers NYC scum to modern practicioners like the Blowtops and Demon's Claws. They swing from that family tree, substituting the Aussie swamp or NYC back-alley for Italian farm, which is where the weird shit goes down over there I guess. That these tracks are sort of a trash pile of leftovers/rarities is pretty remarkable, as they make a strong LP. Dark and elemental music, successfully built on a powerful rhythm section and an appropriately forceful lead vocal presence that doesn't careen into cartoonland (or have too bad of an accent). Guitars are wielded with skill, no one-trick sound for every tune, subtle pluck when needed, blown-out when occassions arise. Great sax bleating on most of this and welcome keys here and there. And it's not really just your typical blues-garage, they take some familiar themes and add something special...maybe it's the wine, the farm...they're doing something weird and right. Seven lengthy cuts and six of them are keepers. Don't be shy, take a peek. RK, Terminal Boredom

Sette brani pescati da “rarities e farm recordings” del periodo 2005-2007 che testimoniano della statura del gruppo torinese: già l’iniziale Black Caraibi, che fa pensare a una Ghost Rider come la suonerebbe una versione scarnificata dei Chrome Cranks, dice di un suono nero, paranoide, persino cupo, tradotto in un garage-punk-blues scostante e tutto scatti, più nervoso che muscolare anche quando i pezzi puntano diritti al basso ventre. I maestri “di genere” anni ’90 sono dietro l’angolo, ma è soprattutto lo spettro Birthday Party a incombere, e allucinazioni come Subliminal Man dicono anche di più. Spettacolo. (7/8) Valerio Mattioli, Blow Up (Lug/Ago 2009)

I Movie Star Junkies sono una delle più importanti realtà emerse dal sottobosco garage italiano di fine decennio, lo testimonia il fatto che, nonostante siano passati solo pochi anni dagli esordi, qualcuno abbia deciso di pubblicare certe loro registrazioni inedite risalenti a quella fase. Parlo della Avant! Records e di un bel vinile dalla copertina scura e criptica come la musica della band torinese. I sette brani presenti in questo Junkyears rivelano le potenzialità di una formazione figlia di quella scena a cavallo tra il garage, il blues, il soul e il rock’n’roll di base che a metà decennio raccoglieva l’eredità del lo-fi americano anni novanta. Con riferimenti illustri (Chrome Cranks, Cows) e una vena black alla Dirtbombs che rende il loro suono qualcosa di febbrile e minaccioso. Brani come Montgomery Clift e Whistling ci dicono che i Movie Star Junkies erano partiti col piede giusto e quello che sono oggi ne è la conferma. Voto: 7
Luca Frazzi, Rumore (Dic 2009)

A distanza di poco tempo dall’ottimo Melville tornano i Birthday Party italiani. E sia chiaro, l’accostamento col feroce gruppo australiano non è un’esagerazione bensì un doveroso omaggio alla carica sovversiva e insieme crudamente teatrale del quintetto torinese. Questo 12” vinilico recupera – come da sottotitolo – pezzi sparsi un po’ ovunque (su cassette e 7”) oltre che inedite registrazioni home-made, anche se, a voler esser precisi sarebbe meglio dire farm-made, dato che sono state realizzate nella fattoria/studio di uno di loro. Junkyears rinnova i fasti di un suono iconoclasta, lurido e nervoso che ha fatto la fortuna di molti prima dei MSJ; di loro però i torinesi ci mettono una foga senza pari – vederne dal vivo l’impressionante forza d’urto aiuta in questo caso – oltre che un certo gusto nell’arrangiare e stravolgere pezzi sommariamente punk-blues (giusto per capirsi) con elementi fuori contesto come organo e sax.
In quest’album troverete insomma Oblivians, Birthday Party, Gun Club ma anche Devo, Brainiac, rock’n’roll dei primordi, scazzo, ironia, blues, violenza e soprattutto, sempre Movie Star Junkies. (6.8/10) Stefano Pifferi, SentireAscoltare (Sett 2009)
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Sunday, February 15, 2009 
Dopo alcuni anni di semi oscurantismo il post punk è tornato a far battere anche il cuoricino dei giovani alternativi italiani. Ne sa qualcosa un ragazzo di Como che nella sua stanza di studente fuorisede bolognese ha messo su la Avant! Records (myspace.com/avantrecords) armato soltanto di una linea adsl, del santino di Simon Reynolds nel portafoglio e dell’intera discografia dei Fall. Un pizzico della genialità di Mark E. Smith si può infatti rintracciare nei suoi HIS ELECTRO BLUE VOICE che inaugurano il catalogo dell’etichetta in uno split con i francesi NUIT NOIRE. Avessimo ascoltato Call sul finire degli ’80 ci saremmo ritrovati gli HEBV sulla copertina di Rockerilla e li avremmo osannati come dei Telescopes de noantri. Davvero bravi. D’altronde l’esordio sulla S-S Records non è stata una casualità, così come il nuovo 7” sulla già cult label newyorkese Sacred Bones con Duuug e Fury Eyes (entrambe sotto i 3 minuti) che issano lo sdrucito vessillo della wave dark, trasfigurando in chiave moderna e no-fi il respiro affannoso di Joy Division e Chrome. Tornando allo split, i transalpini Nuit Noire tengono fede al nome assalendoci con la lugubre tarantella strumentale Opening The Portal. Va meglio con il numero post dark Faerie Punk, ma la registrazione “why-fi” è un po’ troppo anche per chi è abituato a farsi il bidet nella pozzanghera della bassa fedeltà.
A tirarci su dal principio d’abbiocco ci pensano i BLACK BUG, indemoniato duo svedese con riottosa voce femminile che in I Don’t Like You fa vedere i sorci verdi al 90% delle punk band odierne devote al verbo Killed by Death. E lo fa utilizzando in modo a dir poco criminale un sintetizzatore, strumento raramente così caldo, sporco, vivo. Gran bella botta, seppur di tutt’altra portata, You A Grave che ha tutte le carte in regola per far sfracelli nei dancefloor tossici dove non è raro incontrare qualcuno con la t-shirt dei Suicide.
Tocca a quattro improbabili messicani chiudere il primo trittico di uscite marchiate Avant!. A vederli in foto nessuno gli darebbe un centesimo perché sembrano proprio degli immigrati clandestini chicani usciti dal film Fast Food Nation. Invece i LOS LLAMARADA spaccano un bel numero di culi con la loro straniante mistura di psichedelia, avant garage e kraut rock in salsa post punk che esplode in Again The Day. In più la tastierina fuori fase di The Last Time disegna trame blues solo in apparenza banali. Stesso identico discorso per il singhiozzo soffocato e noise di The Blanket Escape. Da tenere d’occhio.

Manuel Graziani (Rumore, Febbraio 2009)




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Thursday, December 11, 2008 
New editionof 500 three track EP from this excellent Mexican avant garage combo, sounding more destroyed than anything I've heard from'em before, with a murky Siltbreeze/Dead C/V-3 basement punk sound that would combine the prole threat of The Fall with Cleveland style rock snot and classic monochrome psych moves. Volcanic Tongue

All good psychedelic music converges into a blurry event horizon of truths, myths and preternatural images floating around you like burning ideograms in the interstitial space between heaven, hell and the there and now of some Japanese video game concocted by an illuminated wannabe God designer off his face on some really fucked up acid, hence the normality of my listening to Los Llamarada in their latest 7', out in Italian label AVANT!, and thinking, sweet baby Jesus everything makes sense, if Can had been a psyche garage outfit with a penchant for recording dissonant stomping epics from the vantage point of a vulture gliding in the incandescent winds of the Mexican desert, good Samaritan anointing the sick and dying of the world with a hungry kiss which is an end and a beginning, then 'Oh yeah' would have sounded like this. Fucking uncanny kids, fucking uncanny. 20JazzFunkGreats

Los Llamarada roughly translates to 'Sudden flare up'...but I swear I saw this word printed on a deliawning the other day riding around and thought, 'Hey maybe that band is some product inside?', but no...now I'm more confused than ever. TheA side 'Against the day', starts rock/post punk enough but then aharmonica is piercing through the ultra low fidelity of the entiretrack, that's a new one. Mexico's own Times New Viking? (are they the new standard to be judged against for this shitgaze sound?) WhereasTNV are almost upbeat matt & kim, this is dark, lots of yelling.and now I think the harmonica sound turned into a synth onthe B-Side? 'The Last time'(B-1) is a slower number with what has to be a melodica warbling overdistorted vocals and slow beat. I honestly am not sure at times if thisis entirely in English or it's just in universally no-fi, I don't even care you can appreciate the raw primitive rock. I just love the sound quality of this it's a recording that you're just glad they made at all no gimmicks. TheB side is a little softer, but it's pure loudness that digital can't capture that's funny that the cheapest cassette can have a wider overmodulated range than any digital recording it just complately clips it off. This could be an example of the globalization or lets say global music movement with this kind of sound. Stripped down, recorded practically on the most inexpensive rig, the drums have that flat shallow sound with no room size captured at all.Could there be a future with enough cast off instruments and amps thatbands could spring up all over the globe and just press record? I could be listening to Tyvek or NoDozzz, any number of bands from allover the US right now, but instead this band from Mexico come to me via an Italian label. There's thousands of miles in these grooves the masters crossed oceans to get here. Columbus (The explorer or OH? whoa) of shit gaze. 7inches.blogspot

Il bello della globalizzazione e del 2.0, in definitiva, è che il mondo musicale non conosce più confini. Ecco così che ci si ritrova tra le mani un gruppetto messicano che si rifà ai suoni americani più europeie d esce per una piccola etichetta italiana. E che a dirla tutta è pure un bel sentire.
Quintetto garage in partenza, questi Los Llamarada da Monterrey sono influenzati nello stesso tempo dallo Jodorowsky di El Topo e dai Fall, dai Bauhaus e dal make-up della spagnola Alaska. I tre pezzi del 7' uscito per AVANT! smembrano le coordinate garage-punk di base virandole verso lidi lo-fi (la registrazione live su tape volutamente in cessofonia), escrescenze noise (il catalogo Siltbreeze è più di un referente nella de-strutturazione dei pezzi), rigurgiti psych e attitudine a metà tra il ludico e l'iconoclasta. Non hanno forma compiuta né sembrano esservi interessati; mischiano tutte le disparate influenze in uno shaker e le vomitano su chi ascolta incuranti di scene ed etichette, oltre che delle buone maniere musicali.
L'ennesima dimostrazione di quanto sia importante la cosiddetta periferia nello sviluppo di certi suoni, ehm, di confine. Lost-inches.blogspot.

Mexico's Los Llamarada continue to deconstruct grotty noise-based rock from the inside out, finding itself back in song-based territory through the process. 'Against the Day' certainly sounds like their most strident, speedy step forward yet, and though the track's recording alone subdues it somewhat, there are many layers of interesting interplay happening underneath. The B-sides sound a little tossed off, like dance night at the vacant lot right before the cops show up. 500 copies. Dusted Magazine

There is such an authentic feeling to music like this. There is such an authentic feeling to music like this. There is such a crude aspect of reality that is bluntly displayed through the ultra lo fi sounds of Monterrey's Los Llamarada that I can only wonder what they were on to conceive something as gritty, bleak and beautiful as this.  As the first (title) track of this two song seven inch gets started it is obvious that this Mexican quartet is going for the hiss and the dirt; this is the type of recording that sounds like the tenth generation tape copy of a vinyl rip. That alone gives the music of Los Llamarada a bittersweet spirit, because these two songs do have in them a melancholical sound. Be it that guitar (is it a guitar?) psychedelically ringing during 'Against the Day' or the saddened melodies or the rolling mountain of noise that later takes over the song, it's pretty clear, as much as these muchachos are punk, they are psyche, they are indie and they are garage. They remind me of bands like The Gories, but also of more obvious ones, like those cited in their MySpace page like Wire and even Sonic Youth before they made money.
Side B includes two songs; 'The Last Time' which has a more The Fall feeling. In parts the vocalist sounds like he is impersonating Mark E Smith's rumble-like delivery. The music is skeletical, vacant drums, strings in the back, and what sounds like…harmonicas…is that it? To tell you the truth I don't know. The third and last song is 'The Blanket Escape', a sweet and short piece based on a steady beat and a shitload of noise. There isn't much more in the shape of coherence, just garage rock played at its loosest and wildest, like the careless and spirited version of somebody's first garage band rehearsal, Los Llamarada capture just the right moment. Deaf Sparrow


Besides a brand new long player on SS Records called Take the Sky, Los Llamarada from Monterey, Mexico also have seven inch out on the Italian label Avant! Records. Murky sounding and rather creepy punk rock with a psychedelic vibe from beyond, if there ever was. The song on the A-side is called Against the Day. A simple drum beat, a crude guitar riff and vamping toy keyboard in Minor with someone part narrating, part singing over. Like Damo Suzuki conducting Los Locos Del Ritmo doing a cover of The World Ain't Round, It's Square. The falling apart-touch is part of the eerie charm. Elements of No Wave and Noise and other deconstructive musical notions appear just below the surface, but not in a forced or 'look at me – I'm so f%&in' No Wave' type approach, more like oops, shit happens-garnish. It sounds improvised, but there's a song-vibe woven into the chaos, so it's pretty catchy at the same time.  The two songs on the B-side are called The Last Time and The Blanket Escape. Both songs seem even further removed from the song concept. But there's a beginning and an end, as well as something in between, and the band doesn't seem to care too much about what you call it. Maybe The Last Time is actually a Country song…The Blanket Escape sounds like a Surf song being dragged through an organ grinder. If it was a Gospel song, it would most likely summon HIM, and not the other one. Is this music erotic? Definitely. It is pretty intense, too. Once you start feeling it, you most likely don't want it to end, at all. Low - Cut


L'Italia si sta facendo un certo nome nei circuiti weird punk & simili di cui parlammo su queste pagine giusto un paio di mesi fa; la bolognese Avant! Records ha già pubblicato tre 7', l'ultimo dei quali a firma Los Llamarada, formazione messicana con un album all'attivo su S-S, e capofila di un'interessante scena locale in quel di Monterrey: per loro un trio di brani di barcollante garage-rock in ultra lo-fi, dai drogatissimi umori blues e dagli esiti dichiaratamente out, specie quando a prendere il sopravvento sono code cacofoniche e schiamazzi non si sa quanto volontari. Seguiteli perché è già culto, e non da ieri. [7] Valerio Mattioli - Blow Up


Los Llamarada also has two other items to spread out on the virtual merch table, the first is an EP on a Euro label with 3 tracks that to be honest I can't imagine tracking onto Take the Sky anywhere; it is it's own little beast. The title track stands out, coming off like a slice off some long-forgotten early 70s Italian student art film soundtrack, whilst the two b-side tracks seem a bit muffled (mastering? crap source tape?), robbing them of some of their power. No, stick to the A-side with it's hypnotic vocal from band member Sagan, a song as individually moving as anything on the LP. Z-Gun


Dopo l’esplosione dei social network musicali, sempre più band della galassia semi-sommersa del post-punk riescono a emergere e a creare attorno a sé una cerchia di fedeli appassionati. Poche però riescono a imporsi sul serio proponendo qualcosa di valido - questo è proprio il caso dei Los Llamarada, direttamente dal Messico.
Questi ragazzi di Monterrey nel giro di poco tempo hanno calamitato nel proprio scantinato, riadattato a sala prove, gli occhi, anzi le orecchie, di molti appassionati, oltre che le attenzioni della SS Records e della nostrana Avant! Records. Difficile riuscire a etichettarli, l’unica cosa che pare certa è che i microfoni professionali e i mixer non siano proprio graditi, preferendo l’ultra lo-fi, anche se tale sigla da accostare loro pare ben poca cosa rispetto a tutto ciò che sono riusciti a catturare con un semplice registratore a cassette. Sono stati in grado di assimilare varie influenze punk e noise-rock con impliciti richiami ai The Fall.
Ma veniamo al disco in questione: “Against the day” è un vinile 7” (45 rpm) pubblicato nella seconda metà del 2008 dalla già citata Avant! Records, piccola label tutta italiana che con le sue poche produzioni è riuscita a ritagliarsi un posto di riguardo nella cerchia di chi ama e apprezza sonorità di nicchia. Carino l’artwork, un patchwork di immagini varie in tonalità di viola con disegni e scarabocchi a comporre le scritte, da elogiare la cura con cui sono state editate le label del vinile (di solito vengono sempre trascurate in queste piccole produzioni) ma sicuramente è un peccato che non sia presente anche solo un foglietto striminzito con scritto i testi.
Nel primo lato è presente la sola title track “Against the Day”, tre minuti e venti secondi che riescono a far capire molto bene già da soli tutto ciò che i Los Llamarada possono offrirci. Chitarra stridente che amalgama melodia e fischi, voce che a tratti scompare, a tratti ricompare rauca e sporca, la batteria gracchiante che si ostina a tenere un tempo, un ritmo che sembra più che altro soggiogato ai suoni striduli che non si capisce bene da dove provengano. 
Tutto questo è il primo lato, ma girando il vinile i Los Llamarada ci stupiscono offrendoci nuove visioni del loro stile. Si certo, si è scritto che con la prima canzone la band riesca a mostrarci tutto l’arsenale in proprio possesso ma col side B riesce ad esplorare e mettere maggiormente in luce tutte le sonorità più disturbanti presentateci nella prima canzone.
Su questo lato sono presenti due canzoni, la prima delle quali è “The last time”: dopo pochissimi secondi, già dopo le prime note (leggi rumori) si capisce che qualcosa è cambiato. L’immediatezza della title track è completamente scomparsa, il ritmo viene scandito a mo’ di marcia, lento e ripetitivo, ossessivo, inesorabile… la voce e la linea melodica sembrano funzionali alla creazione di una sensazione di straniamento, come se si stesse ascoltando una cantilena in lontananza, in modo soffuso, quasi soffocato.
Ma è la terza traccia di questo EP, “ The blanket escape”, quella che più di ogni altra ci colpisce e ci infastidisce riuscendo anche nella giusta misura ad attrarci. L’intensità di questa canzone forse risiede nella sua durata, i nostri riescono infatti a racchiudere in una manciata di secondi ciò che molte altre band avrebbero partorito su più dischi. Il picco massimo di rumore, confusione e suoni stridenti è proprio qui, dove la batteria riesce ad emergere solo a tratti dal mare di suoni indistinti che l’avvolgono, ma quando ci riesce la fa da padrone e tenta per quanto possibile di domare tutto il resto, compresa la voce che sembra farsi trascinare dal fiume in piena senza opporre resistenza alcuna, risultando quindi in secondo piano rispetto al resto. 
In attesa dei nuovi lavori, si può già notare un’evoluzione nel loro suono e nell’approccio alle canzoni, molto più veloci rispetto ai precedenti dischi e con una precisa volontà esplorativa di fondo, come se fossero alla ricerca di nuovi rumori da elevare a loro riconoscibile e unico stile. Aspettando novità dai Los Llamarada, concludiamo questa recensione consigliando questo piccolo, caotico disco a tutti coloro che, stanchi delle solite litanie e melodie tanto alternative quanto modaiole, vogliano cimentarsi con sonorità grezze ma non per questo rozze e con band che sappiano per davvero cos’è un suono sporco.
Lasciateli perdere se vi danno fastidio i fruscii e i crepitii tipici del vinile, loro hanno fatto dischi interi basati solo sull’imperfezione. Voto: 72 / 100. Simone Grillo - Rockline


4:20 PM 
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Monday, April 07, 2008 



Parts of me really like how fucked this Black Bug stuff sounds- it has your classic synth-on-destruction settings, with some serious distorted female vocalist losing her shit. Other parts of me are kind of turned off by the atonal-ness of this, which sometimes is a plus for me, and sometimes isn't. Who is to say. It is hard to pinpoint where that line is, and to their credit Black Bug walk the atonality like a tightrope. I find myself being drawn in after spending time on their Myspace page with all of their songs - and I think this band has some serious potential, having many songs up right now that I like more than what is on this single (listen to 'Life is a Whore' or 'Billy Montana' for a good example).Limited to 250 copies on clear vinyl - which is a pretty short run, and I think the potential for this band in the future makes this a 'must.' The Black Bug aren't going to go down easy - this is as challenging as punk gets.
http://sevententwelve.wordpress.com/

Many welcomes from Sweden where some of us love the writings or musings for Roland Woodbe. Not so much to read about on us from Siltblog, we can hope that new 7'' by Black Bug will make this okay. If you do not know, Black Bug is dangerous & dark 2 piece of Lily & Ruslav playing very LOUD guitarr, drums & synthesizers. Also singing, who can forget! Lily is most intense vocalist but is also with dark humors I think. 'I Don't Like You' is fantastic loud punker but 'You A Grave' is death dancefloor hit of 2008. For me, is darkest, funniest song from Sweden since Leather Nun's 'Slow Death'. I am not for saying anything negative about Brainbombs who are of course legends, but is hard to know now how important the 'No Rules' ep was when it was unleashed so long ago. Black Bug have same blood pouring through veins & for only 2 people, you can be amazed how menacing sound can be. Funny, is available from Italian label who only to make 250 copies. I think is criminal, so hurry to get one. Keep up best works.
http://www.siltblog.blogspot.com/

Weird punk goes worldwide! This reminds me most of all of the Factums' 7' that Polly Magoo put out. So here's what I'll say: we Americans have got Blank Dogs and the Factums. It's only fair that Europeans get at least the Black Bug. I highly, highly recommend this split release between Avant! and Disordered Records.
http://www.rocketreducer.com/

Most female fronted, angry rock bands probably get tired of getting tagged Riot Grrl, especially since for all intents and purposes, Riot Grrl ceased to be relevant years ago, maybe even ceased to exist entirely. BUT, if anyone was hoping to spawn a revival, Black Bug would be the band to make it happen. The A side of this 7', 'I Don't Like You' is a mother fucking ANTHEM. The main riff totally distorted and so in-the-red it threatens to just fall to pieces, but then the chorus kicks in, and another guitar, EVEN MORE distorted and heavy and high in the mix, lurches into action, and lays waste to EVERYTHING. The drums are a mere pitter pat when faced with such blown out riffage, but it doesn't even matter. The vocals, though, seal the deal, distorted, wrapped in effects, howled with haughty pissed intensity, as loud and corrosive as the guitars it snarls around. And the hook, shit, if you gussied it up and got rid of some of the guitars and re-recorded it in a real studio we're talking something like the Breeders' 'Cannonball', but instead, as is, it's a fierce fucked up, filthy fucking ANTHEM!
Like the Raveonettes if they were 13 years old, obsessed with Turbonegro, and SO pissed at their shit for brains boyfriend. Or maybe Daisy Chainsaw, but with a singer who is less waifish and sexy, and more bad ass and scary as shit. Reminds us a bit of Monarch punk rock alter ego Rainbow Of Death.
The flipside is not quite the ANTHEM as the A side, but it still slays, processed synthy buzz, tons of effects, this one more groovy and almost dance-y, in a sort of robotic way, more sassy pissed girl vocals. It's not hard to imagine Black Bug waiting outside some dance club and then kicking the living shit out of Uffie. Hellz Yeah!!
Cool thick black and blue sleeve, pressed on coke bottle clear vinyl.
http://www.aquariusrecords.org/

Talking to Rocco from Disordered, this was originally going to be released there but has ended up on AVANT! records, and thank god because this is the kind of seven inch that I love to find out about lately. That gets me excited about music again, Black Bug is pushing the limits of technology and sound, using it in new ways that makes it so new again and then transferring to such an obsolete delivery device? Exactly what they're all about. It makes the transition into a sound artifact perfectly. It's more than just sounding analoge, it's bringing the DIY, hands on punk element into a genre that's gone overboard lately with processing and perfection.That's where this shines, the humans are back running the machine. Lily's delivery is dark and distorted, kind of yelling through the great, truly messed up electronics and original sounds. This is the translation of punk in the digital age, it's better than you thought it could be. Excellent release to be tracked down immediately. Uncategorizable, genius.
http://7inches.blogspot.com/





12:35 AM 
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Monday, January 21, 2008 

So the HEBV side is good. Like, really good. It reminds me of Plastic Crimewave Sound but a little more, I don't know...Allen Ginsburg? I kinda love it.
Then you flip it over, and you've got (with Nuit Noire) some heavy delay pedal-ed home recording that isn't all that tight and probably should have been recorded in a studio. At least the vocals. Everything else sounds okay, but there's some really gross peaking going on with the vocals. Second listen reveals: really good songs; probably could use a drummer who lays of the kick a little bit; vocals aren't that intrusive because they're not THERE all that much.
Overall an excellent, excellent first release for Avant! Records. Keep your eye out for this label! They're moving things 'Avant!' (i couldn't resist lol)
Rocket Reducer Records

The return of our favorite masters of faerical blasting punk! Who else could it be but Nuit Noire? We just raved about their most recent disc, the brilliantly titled Fantomatic Plentitude, and were already hankering for more when what should show up, but MORE!
This split 7' matches up Nuit Noire with Italian noisy new wavers His Electro Blue Voice, who end up being a perfect match for the Nuit Noire.
What can we say about Nuit Noire that we haven't said before. A blackened buzz wrapped around spiky crusty new wave-d punk rock. A blackened Rudimentary Peni. The guitars kinetic and buzzy, the drums rapid fire and frenetic, the vocals a wild caterwaul. These two new tracks are awesome. Crusty and catchy, lo-fi and super rocking. The opener is mostly instrumental, an epic extended intro, leading up to what could very well be the NN theme song: 'Faerie Punk', ultra catchy and with some of the best lyrics EVER:
Stardust all around the drums
Stardust all around the guitar
Stardust blown away from the high speakers
Stardust everywhere on stage
Faerie punk in the moonlight
Faerie punk in the starlight
Faerie punk far in the night
Faerie punk on stage tonight
Hell yeah! The lyrics just reaffirm what the music is already saying. Wild forest faerie freaked out black new wave crusty punk pop madness.
So who could possible share a split with these guys? His Electro Blue Voice are up to the challenge, and are a pretty good match, their moody bass heavy new wave post punk, perfectly balancing NN's high end howl. Their sound is very 45 Grave, like some band you might have seen play the Scream in LA in 1985. Murky Joy Division riffing, wrapped around lugubrious Cure rhythms, the vocals a throaty gothy croon, the first track playing out lie a more metal Smiths, the second, some sort of dark doleful surf rock, with a Dick Dale riff stretched across and expanse of moody melancholia.
aQuarius Records

NUIT NOIRE completes re-recording of tracks from the unreleased 'album' 'Inner Light' (previous instalments were splits with Call me Loretta and Circle of Ouroborus).
Opening the Portal and Faerie Punk (originally Faerie Metal) are the first and last tracks from Inner Light.
Both tracks were recorded Feb-July 2007 during the 'fantomatic plenitude' sessions.
HEBV are a gloomy, noisy group inspired by early eighties gothic/post-punk. Their only other release so far has been a 7'ep Fog b/w Das.
'Call' is their darkest song. A sombre fusion of late 70s post-punk with horror-rock style organ & effects!
This EP is a co-operative release pressed in Italy by HEBV. Black vinyl, labels, glossy sleeve and xerox insert.
Todestrieb Records

S-S alums HEBV return with another long cool one. They are one of thefew bands who can tap into the dark Euro post punk past with success and here they do it again. Fans of their debut will enjoy this one. Nuit Noire sound like they've been lurking in HEBV's crawlspace….and recording there! Demento gothic DIY.
S-S Records

So this is what all the hipsters are into this season: French black metal meets primitive psych rock. The Nuit Noire side of this split 7' is one of the more bizarre things I've heard lately, with the big, atmospheric black metal guitars mixed with some old garage r'n'r. Love it. The flip by Italian HEBV is slightly more conventional, adding a Fuzztones-vibe, but no less menacing. In 10 years, this little 7' is gonna be worth a fortune on eBay, so you should get yours now. 
Low Cut

Nuit Noire plays kind of haphazard shoegaze black metal, a genre for which I have no patience. No, we're here for His Electro Blue Voice, a satisfying and heavy goth punk band from Italy. 'Call' gets a little dirtier than their other single on S-S, laying in some Cramps-ish rumble in the second half of an already sinister sounding track. Edition of 300.
Dusted Magazine



9:08 AM 
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