Estonia cult indie label releases posthumous third album from flagship shoegaze/dream pop band Bizarre

UPDATE – After a brief sneak previews, their Bandcamp site restored it to their original release date of June 4th

Bizarre was amongst the first music acts in the newly created Estonian shoegaze and dreampop scene (which included Pia Fraus, She Bit Her Lip and Picnic) born out of the transition from Soviet occupation to independence. Consisting of Inga Jagomäe (vocals), Mart Eller (vocals), Anti Aaver (guitar), Tristan Priimägi (guitar) and Lauri Liivak (electronica), the band was originated in 1992 out of Tartu.

 

 

With clear inspiration from bands such as Slowdive and post MBV dream pop, Bizarre released their debut album ‘Beautica’ in 1994.  Their first full release brought them significant attention in the shoegaze scene. Never wanting to be labeled, much less be exclusively known as a shoegaze or dream pop band, they developed a fondness for electronics and various writing structures.  The result was their followup, Café de Flor (1996), which retained much of it’s shoegaze roots, while adding in more 60s influenced poppy sounds and sample based rhythms.  This was also released not long after Brian Eno produced and remixed some of Slowvide’s “Souvlaki” recordings and arguably created a split in the genre – invoked by the subtleties of ambient electronics.  All in all, it was a nice foundation going forward.

A year or two later would’ve been appropriate for the third Bizarre release. And yet recorded in 1997 and 1998, what is now named “Necro” became a collection of ten songs –  some appeared on compilations, while others have remained unreleased until now – courtesy of the Estonian cult indie label Seksound.  Influenced from their gigs with British electronic band Spring Heel Jack in 1997, it seemed to mark both a natural evolution in their sound, and a new avenue of music to be explored by a band that refuses to conform to a genre.  At its very core, it continues the path of soft atmospheric spacey lullabies, with found sounds sampled and re-processed before arpeggiated towards the air castles, with trip hop and drum n bass like influences hushed under its own whim and dissonant songscapes conveying a peaceful vibe. Listening to “Waters” is like a vignette of an illuminated pool surrounded by hazy night. You find yourself swimming in its fantasy, oblivious to reality or any darkness that may come.  The male/female chorus duet is every bit like unity highlighted by “Any Day” a song that could easily be mistaken for the Beloved if they decided to venture more into “Sweet Harmony”. Sure at times tracks like “Never Ever” would return to its ‘Beautica’ debut roots, “Summer Rain” would flash a little glam, while “International Love Affair” experimented with an infusion of funk never thought of for a Bizarre release, but hence the name Bizarre right?  The next step of an otherworldly inspired yet versatile group awaits.  Unfortunately, Bizarre broke up soon afterwards.  Regardless the collection of songs that makes Necro is a fascinating retrospective into a transition that never came to be.

Like their previous albums Beautica (1994) and Café de Flor (1996), the third album Necro was scheduled for release on June 4th from Seksound in Europe and Darla for the US and the rest of the world…but is now available as of May 28th.  For Spotify subscribers, the first two Bizarre releases are available on US versions.

Here’s a link of their first album uploaded on youtube.

 

 

Advertisements

Orbital’s new single ‘Tiny Foldable Cities’ just released; paves way for first full album in five years

 

Expect ‘MONSTERS EXIST’ to be released 09/14/2018

May 11, 2018(press release): When monsters are loose in a darkening world, we need monsters of our own to fight back. After a barnstorming live reunion which saw them play to ecstatic audiences across Europe throughout 2017 Britain’s giants of electronic music Orbital announce they’re back for good – with new music and an upgrade of the legendary live show that transformed festivals across the world.

Reunited brothers Paul and Phil Hartnoll release their new single, ‘Tiny Foldable Cities’ on May 11. An intricate piece of electro-hypnotica in the lineage of ‘The Box’ or ‘Style’, it restates why Orbital were always a cut above the bargain basement boom-and-bosh crew, and takes their signature sound forward into a new and fascinating phase.

Their first new album in five years – the one even fans wondered if they’d ever hear -called ‘Monsters Exist’ is out September 14. (see track-listing below).

‘Monsters Exist’ is a more classically structured Orbital album than their previous release ‘Wonky’, drawing inspiration from the international political landscape all the way back from Paul and Phil’s pre-rave squat-punk roots right up to the volatile tensions and erratic rhetoric of today.

unnamed (4)

“When you haven’t made an album in five years it just comes tumbling out,” says Paul. “Because of the global situation I was torn between writing a really aggressive Crass-type album that says ‘Fuck The Man!’ or going back to rave sensibilities. You know, let’s really rebel by stepping away and actually living that alternative lifestyle.” But the idea of ‘Monsters Exist’ tied it all together.

“You don’t need to spell out who the monsters are,” he says. “We’re not pointing our fingers at Donald Trump or Kim Jong-un. It’s clear who the monsters are. I’ve never liked preaching to people. It’s much better to provoke a bit of thought.”

Phil puts it more succinctly. “It’s a reflection on modern day monsters,” he says. “That can mean anything from bankers and The Man or your own demons and fears. The monsters inside you,” he says, evilly.

Among the tracks in progress is a cosmic piece featuring an address for the possible end of the world by Prof. Brian Cox (“It’s Brian being emo,” says Paul. “Brian Emo”). There’s also an epic state-of-the-planet title track featuring “anguish, dread and News at Ten-style drama.”

When they’re in balance these leading figures of British dance music constitute their own self-regulating yin and yang. Analytical, detail-oriented Paul listens to everything from new electronica by Nathan Fake and Jon Hopkins to Beck and Belle & Sebastian.” Born-again German techno fan Phil is hammering Bicep and the resurgent minimal sound of Berlin (he went to Berlin for the first time ever in 2017 “and I was like fucking hell, why haven’t I been here before?”). If time is a loop then Orbital have completed their own revolution to a new equilibrium.

“The master plan for this one,” says Paul, “is to make a bloody good album. And then see what happens.” ”

Orbital bring their groundbreaking live show to BBC Music’s Biggest Weekend in Belfast on May 25. Throughout 2018 they’ll play a string of high-profile festival dates and headline shows across Europe featuring new material alongside classics like ‘Chime’, ‘Belfast’ and ‘Impact’. (see full live dates below)

“We had an absolutely fantastic year with the live shows in 2017,” says Phil Hartnoll. “For instance we played the Blue Dot Festival at Jodrell Bank which was incredible, and for our London Christmas shows we really wanted to upgrade our whole production, which seemed to pay off judging by the amazing crowd reaction.  It all reminded us, yes, this is why we love doing this.”

Reconnecting with Orbital’s past, acclaimed avant-garde artist John Greenwood, who painted the famous bulbous and organic artwork for 1994’s ‘Snivilisation’ and 1996’s ‘In Sides’, will return to create the cover of ‘Monsters Exist’. Some 20 years after he first collaborated with Orbital, Greenwood’s shifting shapes and comical hybrid organisms – the Chapman Brothers meets Monsanto, or maybe Hieronymus Bosh-bosh-bosh – feel even more in sync with an era obsessed with its own genetic monsters. “We’ve always loved John’s work,” says Phil, “and it feels especially right for this record.”

This surge of creativity shows how the Hartnolls have rebuilt one of electronic music’s best-loved partnerships after Orbital’s surprisingly bitter break-up in 2012. Driven apart by music’s strange and infamous brother-vs-brother dynamic, Paul and Phil didn’t speak for five years after the ‘Wonky’ tour ended.

“When we fell out, I just couldn’t enjoy any of the amazing things we’d done over 25 years with Orbital,” says Phil. They’d been onstage with Stephen Hawking at the Paralympics, in front of the whole world. They’d remixed Madonna. They’d played Glastonbury many times and travelled the world. “And this silly row sort of poisoned it. How daft is that?”

Now the brothers have a pact. Whatever happens, Orbital does not stop. “We’ve learned to talk to each other rather than let things stew, and it’s much better,” says Phil. “We used to waste a lot of energy wondering what the other one was thinking and getting on each other’s nerves. But now we actually talk! And it’s brilliant.”

“It was silly really,” adds Paul. “We’re brothers and business partners and creative partners, so we were three times as likely to fall out. But in the end we had to remind ourselves that Orbital is something we’re really proud of and that we love doing it.”

It’s healthy, he thinks, to be reminded of how lucky you’ve been, of how you need each other, of how you’ve got to let each other play to their strengths. “If we were both the same,” says Paul, “then it wouldn’t be Orbital.”

“Battle ye not with monsters, said Friedrich Nietzche, “lest ye become a monster.” But there is more than one kind of monster and more than one kind of battle. There’s monsters of fear and tyranny, monsters of greed, and yes, the destructive monsters of sibling rivalry.

And in the other corner, fighting the good fight, are the monsters of the imagination… the monsters of rock… and the monsters of rave.

‘Monsters Exist’ is out September 14 via ACP Recordings on CD, 2CD, 2LP, 4LP Box Set & digital.

 

Track listing:

Standard CD / Deluxe Edition Disc 1
1. Monsters Exist
2. Hoo Hoo Ha Ha
3. The Raid
4. P.H.U.K.
5. Tiny Foldable Cities
6. Buried Deep Within
7. Vision OnE
8. The End Is Nigh
9. There Will Come A Time (Featuring Prof. Brian Cox)
Deluxe Edition Disc 2
1. Kaiju
2. A Long Way From Home
3. Analogue Test Oct 16
4. Fun With The System
5. Dressing Up In Other People’s Clothes
6. To Dream Again
7. There Will Come A Time – Instrumental
8. Tiny Foldable Cities – Kareful Remix

Continue reading “Orbital’s new single ‘Tiny Foldable Cities’ just released; paves way for first full album in five years”

Lovesliescrushing first album released on this date 24 years ago

17629807_1482906578451323_8811424583059039549_n
24 years ago on this date (July 7, 1993) Bloweyelashwish from Arizona based Lovesliescrushing was released on Projekt Records. As the first wave of Shoegaze was sunsetting in the UK replaced by New Wave of New Wave first and then the revival of Brit Pop, there was still hope for the subgenre in the US albeit a small but loyal following. Following the crossover of the Cocteau Twins and a lesser extent Lush in America, artists with similar influences sprouted up from the east coast from labels like Bedazzled Records to the west coast and Projekt Records. Projekt would soon set up shop in Chicago later on. Other bands would experiment with shoegaze until moving on to another sound. Still the hallmark of shoegaze was My Bloody Valentine’s 1991 release Loveless, pushing the already fringe sounds of rock n roll to a space experimented by groups like Hawkwind but unlike them rendering the concept of the aggressive guitar into a world of infinite wildflowers and melancholy visions. Bloweyelashwash takes those even further, suggesting they’ve left the roots of rock n roll behind riding off into the sunset. They’re second album was more ambient inspired. – Raymond Stanley