Black Moon Empire EP

Merging the combined talents of one of Germanys most influential and well respected post rock bands Collapse Under the Empire with the blissfully talented yet reclusive Russian post rock quintet Mooncake, give us the heady ingredients that are used to make Black Moon Empire, arguably one of this years most eagerly anticipated EPs.

Containing five tracks, two from either group and the titular collaborative effort, both bands admit the split can be seen as a cogent step in anticipation of their forthcoming new albums later this year. And believe me going on the evidence provided on Black Moon Empire these releases cannot come soon enough.

The EP sweeps into life with the above mentioned collaboration Black Moon Empire, a dazzling blend of the joyous, melodic indulgence of Mooncake with the raw, powerful surge that is Collapse Under the Empire, clearly stating the insane musical chemistry shared between the two groups. This raw, menacing power is continued by Collapse Under the Empire on Spark, with its dirty, brooding bassline and off kilter, distorted, unremitting guitars, it is a master class by the German outfit in effective minimalist post rock.

For me however the stand out track on the EP comes with the beautiful Turquoise by Mooncake, which sways most graciously on the wave of your soul with its sumptuous strings and heart wrenching, angelic combination of pitch and rhythm, an absolute gem. Mooncakes other offering on the EP Novorossiysk 1968, which magnificently builds and builds to its grandiose peaks, is used as a perfect means on which to bring proceedings to a close.

Black Moon Empire should not be seen as just a collection of songs, but as an inspired venture between two bands whose unique styles interweave and play impishly off one another. This is a truly remarkable example of two artists sharing one canvas and creating something rather exceptional.

Stream the EP here

Interview with The Calm Blue Sea

Following on from their highly successful return to the stage at this years SXSW festival and the re-release of their majestic debut record, The Calm Blue Sea are slowly beginning to establish themselves as a band on the move. After a self imposed hiatus of almost two years, the band wowed both fans and critics alike with their stunning performance on home turf in Austin, Texas. We recently got a chance to speak to guitarist and sometime vocalist Chris Patin about the bands interesting journey so far.

Can you tell us a little bit about how the band came together?

Chris Patin: There was a house in South Austin where several bands rehearsed a few years ago. Some of us from different bands started hanging around that house just making noise and playing loud. We decided to make a band out of it sometime in 2007. We filled out the lineup using old friends and Craigslist.

What music/bands influenced you to begin playing music?

CP: Starting out Pink Floyd, Will Johnson, and some of the instrumental rock bands were influential while we were trying to figure out who we were.

How does the writing process happen? Has this changed at all from when the band started out?

CP: Someone brings in a basic melody or chord progression then we all just play around on it and contribute thoughts and parts until we have a song. It usually takes a while for us to complete a song. The process has evolved a little over time as we've had different members in the band but in the end the most important part of that process is intact, which is all of us contributing and building songs together.

You have decided to reissue the debut album, what are the reasons behind this?

CP: The first time around we released it ourselves after only playing a handful of shows. No one had any idea who we were or what to make of it so that limited the album's reach and it always felt like we'd love to give this record a proper release at some point down the road. We came back together to be active again earlier this year, quickly developed a relationship with our new label, Modern Outsider, and it seemed like the right time to put it out again. Plus we really wanted to release it on vinyl.

Are you guys working on new material?

CP: Yes, we're writing now and we've even starting to debut some new songs live, which feels nice to play new music for the first time in ages. The process of writing is slow but the material is really exciting to all of us. The plan is to release a new record early next year.

Is it difficult to translate the album onto the live stage?

CP: No, what you hear on the recordings was tracked live. We prepare for studio time by working out the songs and our individual parts in detail while playing together in a room, then we go in and track as a band. So it's not much of a transition because they start live then get recorded, not the other way around. As full time members have changed over time we've had to adjust live arrangements slightly, that's been somewhat challenging depending on the song, but overall we've made it work.

Best and worst thing about touring?

CP: Best thing is getting the opportunity to play everyday, meeting new people, and seeing new places. Okay that's 3 things. Worst thing is having to figure out funding and finding ways to take time off without losing our day jobs.

Any plans to tour Europe?

CP: Yes. 2012 hopefully. It's something we've been working hard at for a long time.

You wrote the film score to Seigfried in 2008, how did this come about?

CP: There's an amazing group of movie theaters here in Austin called The Alamo Drafthouse. They screen new films as well as put on a whole range of special events. They approached us about writing a score to a silent film and performing it live with the film. We chose Fritz Lang's Siegfried and performed it in March of 2009 at their downtown Austin theater. We'd put so much work into the score that we decided to record it and release it as well. There's murmuring about a release of the film with the score later this year, which we've never officially put out to date.

What does the future hold for The Calm Blue Sea?

CP: New album early 2012 and touring to follow. Beyond that hopefully we'll be creating music, touring, and doing interesting projects like Siegfried for a long time to come.

Thanks Chris

Stream The Calm Blue Sea here

*shels - Plains of the Purple Buffalo

Rising from the ashes of cult hardcore noiseniks Mahumodo, *shels were formed in 2003 by vocalist Mehdi Safa and drummer Tom Harriman. After a couple of early EPs, the band sent out the first real signal of their obvious talent with the release of their critical acclaimed debut, Sea of the Dying Dhow in 2007. Now four years on and after meticulous care, detail and attention *shels unleash its stunning follow up, Plains of the Purple Buffalo.

Dividing a vast amount of the last four years between developing and nurturing the label Shelsmusic, a home for like minded musicians and artists, including Ef and The Ascent of Everest, and overseeing the production of Plains of the Purple Buffalo, the final product is true testament to Safas unwavering believe in the immense vision he had for the project. Recorded at Safas home in California, the album clocks in at just under eighty minutes of flawlessly executed raw intensity, interwoven through a rich delicate tapestry of beautiful layered emotion.

From the exquisite fragility of the albums first release, Butterflies on Luci’s Way to the sonic headlock that is the Journey to the Plains and all the way through the breathtaking odyssey of Plains of the Purple Buffalo parts one and two, *shels manage to easily keep you enchanted on this mesmerizing musical experience. At times this feels more like the soundtrack to some sweeping cinematic event than it does a straight up rock genre record. For with Plains of the Purple Buffalo, *shels have succeeded in soaring above the ideals of genre by making a record that will resonate with music lovers across the board and I for one salute them for achieving such a feat.

Easily one of the picks of 2011 so far, it will come as no surprise when Plains of the Purple Buffalo features on a wide range of album of the year polls come the end of December. So if you will kindly excuse me, I am off yet again on that astonishing journey to the Plains of the Purple Buffalo.

Preview some tracks here

Damascus - Salutations, Distant Satellite!

Not to be confused with the British heavy metal band of the eighties or the Canadian death metal band who share the same name, New Jersey based Damascus recently released their debut Salutations, Distant Satellite! A raw fusion of metal and post rock, that takes its influences everywhere from Caspian and Explosions in the Sky to Rosetta and Maybeshewill.

Having spent months writing and rehearsing the relative newcomers, Brendan Bianowicz (drums and percussion), George Eppinger (guitar), Gil Morejón (guitar and piano) and Edwin Rivera (Bass), have been diligently gigging on any stage they could find to promote the debut EP which ignites vigorously into life with the blistering Equinox. Weaving simplistic melodies through brutish aggressive riffs and punishing beats, Equinox sets the bar high for the rest of Salutations, Distant Satellite!, although unfortunately it would seem a little too high.

The rest of the EP, while adapting much of the same formula as the opener, somehow fails to deliver the same impact or punch that instantly demanded the listeners’ attention on Equinox. This said however, there are still moments on here where Damascus show glimpses of real talent and while not reaching the bruising apex of what has come before, tracks like Borealis and in particular Khalida, are fine examples of solid, uncompromising and melodic post rock.

It feels that Damascus have maybe shot themselves in the foot by putting their best foot forward (please excuse the foot puns), with the decision to open the EP with what is clearly its strongest track. So while it completely takes away from the rest of Salutations, Distant Satellite! this can surely be taken on board and used as a learning curve by the young New Jerseyans. With plans to release another EP later this year it will be interesting to see how Damascus develop and ascertain from their debut outing.

Listen to Salutations, Distant Satellite! here

Sey Hollo - Growth EP

“My influences are rarely certain bands or artists. I'd rather find inspiration for music in world politics, global inequality and political philosophy, and then just filter arisen messages and ideas through my musical taste,” explains Sebastian Larsson, the man behind Sey Hollo, in regard to his latest release Growth.

The EP is the follow up to last years self titled debut and finds the Swedish one man post rock band unearth a more organic, natural sound in comparison to the debut offering. Moving away from the demented organs which slashed through his initial outing, Larsson still maintains the heavy sound and use of perfectly placed samples, in both Swedish and English, all of which is captured impeccably on Eunoia the EPs opener.

Coming from the Greek word for beautiful thinking, Eunoia with its looped pianos and rusty guitars certainly highlights Larsson penchant for the beguiling riff and deftly precise timing. Things lead down a more sombre path with World Trade Centre, inspired by the events of 2001 the songs dark overtones are vastly emphasized by the employment of the haunting Swedish narration. The elaborate, rumbling title track and the buoyant Vita Si Chakula wrap up the EPs four songs and while it may be short Growth succeeds in leaving a lasting impression if not only for the fact that the riff from Eunoia is likely to be stuck in your head hours after the EP is finished.

So to end as we began, in the words of Sey Hollos Sebastian Larsson “my song writing always starts with a message or an idea that I want to share. The music then builds itself up around this theme. Therefore, the music is just a tool, a small part of a greater process. This tool should be shared. That is why my music is (and always will be) free for all to download”.

Listen To Growth here

The Mountaineering Club Orchestra - A Start On Such A Night Is Full Of Promise

Concept albums nearly as a rule can either go breathtakingly right, Pink Floyds Dark Side of the Moon and Nine Inch Nails The Downward Spiral for example, or can go hideously wrong, think Pete Townshends Psychoderelict and Styx Kilroy Was Here. So, A Start On Such A Night Is Full Of Promise the debut album by The Mountaineering Club Orchestra takes a brave leap into this arena with its icy tale of 17^th century Norwegian explorers.

The solo project of Tom Adams, multi instrumentalist with avant garde rockers The Mountaineering Club, A Start On Such A Night Is Full Of Promise is a collection of pieces inspired by the first crossing of Greenland in 1888. Using an ensemble of twelve musicians the album tracks the journey of Fridtjof Nansen and his crew from their start in Norway to their heroes return in 1889.

Admittedly hesitant before listening, I was instantly drawn into Nansens epic quest by the albums graceful opener The Voyage. A sumptuous, intoxicating mélange of piano and string, The Voyage perfectly sets the stage for the sweeping expedition that has to come. By the albums mid point The Interior with its beautiful icy violins and fragile almost distant pianos you can almost feel the Arctic winds that envelop our brave explorers as they trudge what seems endlessly toward their goal. This goal is then gloriously met by the records end also The Voyage, a joyous uplifting chorus of electric guitars, heavenly horns and drums, taking Nansen and his crew on that hero’s triumphant journey toward home.

If any fault can be found with A Start On Such A Night Is Full Of Promise it may be with the overuse of narrated passages from ‘The First Crossing of Greenland’ the book which inspired Adams. While only a minor detail, I found it more distracting than good at certain times on the album and alas took slightly away from the full enjoyment of the epic quest.

This aside, The Mountaineering Club Orchestra deserve a massive standing ovation for this unique, remarkable and brave record. And while unfair to compare it to any of the aforementioned concept albums it is an exceedingly pleasant way to spend thirty five minutes or so crossing Greenland.

Listen to the album here

Broken Cities - Flux

Some critics have argued that post rock/instrumental, or whatever moniker you put on it, has become stale, stagnant and repetitive. And yes, maybe while you do have to wade through the copious amount of Mogwai/ Sigur Ros clones, it is nevertheless possible to find fresh, exciting music still eluding from the void. One such example of this is Flux by Oakland duo Broken Cities.

Formed two years ago by Nick Zomkowski and his friend simply known as Scruffy, the band came to be as if by chance. With both admitting to having no previous band history and little to no musical training, the self taught duo just started playing music together and as the music started to sound good they made more. This straight forward ethos has stayed with Broken Cities ever since and is evident in the fact that Flux is released on a ‘pay what you want’ basis.

The very graceful and poignant Ravi sets off proceedings in a flurry of crashing cymbals, delicate pianos and falsetto vocals before building to its lofty peak and falling away into sublime nothingness. Things take a darker twist with the following track Asty, a brooding mass of melancholic guitar licks all the while accompanied by an undertow of something quite sinister and bleak but at the same time totally endearing. The tone is lifted again with Decade; the closest Broken Cities come to paying any kind of homage to the bands that have influenced their sound and while it is the shortest track on Flux it is definitely one of the most memorable.

Bad points, of which there are few, come with the slight lull in the middle of the album, most notably on the track The Godfather which seems to meander and lose its way without offering the consistency felt with the rest of Flux. Of course this can be forgiven, when the band offer up The Book of the Living the albums penultimate track and easily the records stand out.

The immense soundscapes created by the duo are mesmerising and there is a feel on the record of years of worldly experience and depth, when in fact the band are performing together just over two years. Broken Cities have released Flux under a Creative Common License meaning you have no excuse not to go out and experience this brilliant debut for yourself.

Listen to Flux here