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Reverb lp burials afi
Reverb lp burials afi










reverb lp burials afi

Here, material initially developed on acoustic was allowed to balloon throughout the band’s vigorous tour schedule. What this record proved, if nothing else, is that there are no peaks for Swans. It was aggressive and comprised multiple peaks in Gira’s songwriting career. It endeavoured to explore not just how far Michael Gira could push playing the hostile ringleader of the group but also the notion of dramatic dynamics. That record was a collected thrashing of sound and theatre. Two years have passed since Swans released The Seer a towering dystopia of vehemence.

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With Bestial Burden we were thrown into the depths of a very real psychosis a gut-trusting, visceral diary entry for an artist obsessed with the unfathomable nature of existence.

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She eschewed atypical time signatures in favour of distorted homemade snares and crashes that rested comfortably in 4/4 whilst her scenery bulged, imploded. The record's musical weight lay in Chardiet’s considered approach to rhythm and structure – that's what made this record, above all, relatable. A contorting, gasping record of torturous, scraping climaxes and undulating, timely lulls, Bestial Burden was unsurprisingly born from trauma, a reaction to invasive surgery which left Margaret hyper-aware of the human body's fragility. Margaret Chardiet’s second album under the Pharmakon moniker was a grizzly, introspective noise record that plumbed untold depths in its study of body horror and grim humanity. Sometimes a year will throw you a curveball, and Bestial Burden was about as curved as they get. It was swathed in sunshine too and, let's face it, we could all use some of that right now. With the help of Brooklyn's slick Mixpak label and a hit list of uber-hype producers including Dubbel Dutch, Dre Skull and Anju Blaxx, it was a true crossover album, fusing the singer's 'poppy grooves' with cutting-edge electronic beats, a bass-heavy, hard edged bounce and sharp, addictive synth stabs. The culmination of his efforts came this year in the form of Where We Come From. Popcaan's break came with Clarks but he's since been sampled by Yeezus, name-checked by Drizzy and seen himself elevated to a level of mainstream acclaim that his former mentor Vybz Kartel couldn’t have dreamed of. Not since the likes of Kevin Lyttle, Sean Paul and Wayne Wonder graced the charts has the genre seen such a surge in interest.

reverb lp burials afi

Popcaan's rise from Jamaican underdog to international superstar and the loveable face of the dancehall revival has been nothing short of astonishing. I'm still wide eyed, might as well be on Jupiter. "I don't remember it being so … vivid before." A 1964 Chevrolet convertible. "That the same car we came in?" I ask him. Putrified everything, even the ice was rotten. But I’m damned if I was gonna lose me the best bass player I've ever met over a handgun. Almost got me thinking I should have ditched him back in Palmdale. That look that potheads and beach rats get a lot. He had this look in his eyes, something uneasy about him. "Harv man, I thought we'd lost you there!" he yelped. 44 magnum pointed right at my face and all I could say was “Damn, friend, would you put that thing away?" He slung it back. When I came to the man in the blue suit had his. Somewhere in between this life and the next. “Harvey, look at me man, god damn it!" But I was miles away.












Reverb lp burials afi