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Aspects of gallic folk cocktail doom

Posted: April 16th, 2007, by Chris S

Deep space gloomp and wind-tortured drone-silence. A total purging of the nervous system in four iron-clad movements populated by machine gun phase, rib-throbbing microphone feedback, whole orchestras of alarm codes and the kind of sensory blitzkreig that brings to mind Lester Bangs on LSD and Metal Machine Music dominated by ludicrously monolithic psychedelic guitar gravities and blow after blow of tone-fractured bass groan reigning down through a maze of fuzz and contemporary noise muscle that comes in splattered sprayed case with insert artwork by French… totally sick. Hand numbered edition of 35 induces foul heart exploding spasms dominated by ludicrously monolithic psychedelic guitar gravities.
First side is a wheezing grunt through spliced and glued shards of rock noise, B-side is a beautiful dart shot straight through the heart of Aerosmith. They fucking deserve searchlights probing deep beneath walls of flesh while expressway trains hum and sing in your veins and huge steel jaws draw protesting blood straight from the air threaten to dissolve into luminous feathers of breath and flatten themselves against the sky. Very beautiful. On shrimp coloured vinyl.
Oppressive levels of amplifier torture given the shape of massive raptor blades via the psychedelic application of ribbons of reverb and fuzz “recorded through a refrigerator and toaster oven”. Combines monstrously degraded post-NWW chance electronics with an extreme Godz/Hijokaidan approach to free clatter and an almost autistic relationship to smeared noise detail.
Honey comb like fly visions slow motion ascent flying into a candle moving into thin beams of flickering steel-filed brain-drilling that matches tiny ECG eruptions with the chatter of instant mechanical sculptures with individual pockets of time that are so mutually incompatible that you feel your mind peeling apart in an octopus of directions.
Growing out of the motorik clank of knuckles rapping on a giant disintegrating metal structure, contact mics are thrust head first into the gut of a gurgling furnace, reporting back whole macro-systems of unknown tonal potential. Waves of amplified insect tongue swarm around bass frequencies bloodier than an exhibition of glistening abattoir victims, while disembodied palms hover over hot-wired theremins like phantom faith healers. The side unravels into a slow motion wheeze of bronchial electronics offset against lightening flashes of degraded walkman rewind that sounds like ticker-tape electronic SOS voices broadcasting from fleets of submarines lost somewhere beneath the ice and elbows of pure aural threat. This is ambitious, florid psych that should please anyone who digs the more dramatic UK sugarcube moments as much as the more enjoyably complex Euro prog shit. And if that ain’t you, who the fuck is it? All sounds generated using an epilator designed for removing leg hair, albeit with the source sonics manipulated to new depths of infernal dreamtone. Sounds great.
High-energy acrobatics with guttural, devolved beast talk that has as much to do with Link Wray, Hasil Adkins and The Legendary Stardust Cowboy as it does Marion Brown, Han Bennink and Alan Silva. Features “The Physical Brain As The Tomb Of The Ancient Clairvoyance” and peaks at a whole new level of barbarous sludge with what sounds like a fleet of electric razors burying steel raptors in six feet of concrete while the Angus MacLise Orkestra play pre-Lapsarian Morse codes on a handbuilt steel drum containers and whole choirs of ghosts sing madrigals somewhere just over the horizon where hypnotic vapour trails of solo synth dissolve like tiny coronas of smoke in a way that feels as ancient and otherwordly as the earliest of scientific Americans, with a sci-fi dance-of-the-Pleiades feel and the kind of soft, mushroomy, organic logic that makes you wanna wrap it around your ears and sink straight to the bottom. Highest recommendation: strap this fucker on and get gone.
Huge lungs of void cut up with diamonds of percussion and lone metal tone in classic globe-gobbling style weed-damaged monolithic free rock blare, post-Blue Humans strings/drum-think in studded leather mittens and stained Bob Marley shirts. Who the fuck would’ve believed it? Another killing side from this devastating free rock monster. Very limited.
Head harvesting.
Unrelentingly heavy on the high end; electrified dog whistle shocks are intersected by explosions of enraptured primal balling and drum machines collapsing due to their own sheer animal urgency. Locomotive bolts of damaged FX discharge from makeshift mixing desks birth slow drugged processionals that sound like huge butterfly wraiths coiling slowly around your spine, phased drone-spikes that mirror the sun coming up on a field-full of stop-motion poppies and some beautifully wasted testimony-to-oblivion arcs of rotor drone, shadowy bursts of non-specific machine friction and what sounds like a fleet of iron lungs sailing lonesome through an infinity of NWW-styled cold dark space: the first in a projected series and features a side of distressed solo vocal murk that crosses distraught wordless codes with loops of desiccated tongue and a side of solo guitar that sounds like a sky-full of cathedral organs.
Limbs forced deep into the kinda bastions of freedom associated with a buncha exclusive outside music streams like psych rock, hardcore grunt, primitive field blather and – of course – fire music and beyond looped metal teeth tearing tiny holes in saturated analogue tape to the sound of raw circuitry invaded by light and flesh.
Packaged in a hand-sewn and hand-stamped onionskin sack with insert.

Chris S

Chris lives for the rock and can often be seen stumbling drunkenly on (and off) stages far and wide. Other hobbies include wearing jumpers, arsing about with Photoshop and trying to beat the world record for the number of offensive comments made in any 24 hour period. He has been married twice but his heart really belongs to his guitars. All 436 of them.


3 Responses to Aspects of gallic folk cocktail doom

  1. simonminter

    thanks for that then chris.

  2. JGRAM

    I used to get random spam emails like that all the time, does anyone still get them or did my spam filter win?

  3. Matt

    new on low point?