It is, then, the week of another bloody election this week here in the UK, and there has been distinct signs of just how fucked off everyone seems to be with it across the coverage of it (not helped by the uptick in terrorist attacks in the country in recent weeks). Fuck knows what is going to happen on Thursday, mind, with opinion polls showing all kinds of outcomes. Read more “Tuesday Ten: 296: Tracks of the Month (May 2017)”
These are turbulent times in the UK at least at the moment – with the prospect of choppy waters elsewhere too in 2016 – and it has rather been sapping my will to write, among other things.
Read more “Tuesday Ten: 264: Tracks of the Month (June 2016)”
Part five of my monthly rundown, across this year, of tracks from 1996 that broadly, I still love now.
Read more “Tuesday Ten: 263: Tracks of the Month (June 1996)”
During 2014, KMFDM turned thirty years old. One of the great survivors of industrial music, their often guitar-heavy take on industrial certainly gained them a wider audience than perhaps they would have otherwise have reached, but frankly their ear for a tune and monstrous choruses probably helped too. Saying that, though, they have their fair share of detractors, too, particularly over their habit of rarely straying too far from their formula. But then, if it ain’t broke… Read more “Tuesday Ten: 222: KMFDM – Thirty Years of The Ultra-Heavy Beat”
A bit later than usual – Whitby and general life issues rather got in the way – and this of course will be the last new tracks roundup of 2014, as I’ll be doing the best of 2014 lists from early December as usual. And this is the first of two posts this morning. Read more “Tuesday Ten: 215: Tracks of the Month (October 2014)”
After a mainly awful day at work today, it has been a useful reminder of why, really, I work: money. Read more “Tuesday Ten: 208: Money Money Money”
Regular readers will be well used to this by now – at the end of each year, I round up my year in music over the course of successive weeks. This year there will be five posts, the dates of which are shown below. I’ve not had the time to write as many reviews as I’d like to have done this year (the second half of the year in particular has been horrendously busy and stressful), which means that perhaps I’ve not been able to do justice to what has been released or played this year. In addition, this is the tenth year of my end of year lists, so at some point I’ll be having a quick look back at what has topped the lists over the years. Read more “2013 in Review: Disappointments”
The last month has been a really busy one, and despite attending a number of gigs in that period, I’ve not had the chance to get my thoughts on online for most of them so far. So – as I’m never going to be able to catch up if I don’t do this – here, for the first time, is a set of short-form reviews of a few gigs I attended during April and early-May that I’ve not otherwise covered.
Recent KMFDM albums have followed something of a pattern, and not just in their release dates – i.e. in the Spring, every other year, for ten years now. All these years of "conceptual continuity" have resulted somewhat in a band resting on their laurels a bit, and most criminally re-using the same old ideas time after time. And yes, this album is pretty much doing that again, but it isn't without it's joys along the way – we could call it, er, "conceptual continuity", yes?
This is the eighth year that I’ve done a rundown of the music released in the past year – and every year I seem to end up with more material to cover. Read more “Countdown: 2011: Tracks”
A bit of a late start for me on this one – my third gig attended in a week – and as a result I missed the first two support bands, and indeed only just got into the venue in time to see most of the Global Citizen set. I’ve heard a few positive things about this band in the past, so I was quite keen to see what the fuss was about. Read more “Into the Pit: 113: KMFDM – Live at Islington – 19-November 2011”
After celebrating 25 years of “conceptual continuity” in 2009-2010, with the associated tour and best-of album, as we headed into 2011 the first signs of the next stage of KMFDM were revealed, in the guise of a couple of singles, and now a new album under the moniker of WTF?! – continuing with the age-old pattern of five-character album titles.
And going on those early singles – the non-album, three minutes of fury that is Day of Light, followed by the rampaging, sloganeering industrial metal of KRANK – there was high hopes for this album, these songs providing notice perhaps that KMFDM were continuing their rejuvenation and were going to provide a storming new album.
Where on earth is time going? Time once again for my usual monthly roundup of great new songs. Read more “Tuesday Ten: 127: Tracks of the Month (March 2011)”
Time for the first roundup of new music to recommend for 2011 – it’s my Tracks of the month January 2011. Read more “Tuesday Ten: 121: Tracks of the Month (January 2011)”
A day earlier than usual, here’s my usual roundup of tracks new and old that I really like right now: Read more “Tuesday Ten: 114: Tracks of the Month (September 2010)”
Ok, so time for my roundup of the best albums of the year. Read more “Countdown: 2009: Albums”
So, before I rush headlong into my top ten tracks of 2009 (albums next week, gigs the week after), a quick mention of a few acts that have wowed me, bored me, surprised me or otherwise this year. Some of these may be in the other lists, others won’t be. Read more “Countdown: 2009: Tracks”
Last but one – those just outside the top twenty. Read more “Countdown: 1990s: Tracks: 40-21”
The fourth instalment of this lengthy rundown. Read more “Countdown: 1990s: Tracks: 140-121”
The early start – doors at 1800 – meant that Leech Woman played to a half-empty room, which was a damned shame seeing as this was billed as their last gig in the UK for some time – main man Alex is moving abroad. There was no room for sentiment, though, as LW roared through half-an-hour or so of their industrial-noise-metal fury as if they were attempting to destroy the very foundations of the building they were playing in. A good thing I had my earplugs with me, I can tell you – but despite the extreme volume the sound was surprisingly clear. Their cover of Big Black‘s Kerosene made all the more sense, too, when I thought about it – Leech Woman remain one of the few bands to have followed a similarly uncompromising line to Steve Albini’s noise-rock legends, making no attempt to conform with any passing trends, and indeed that is perhaps why they were somewhat unfairly at the bottom of the bill here.