BIG NATURALS

Live ; a two piece,sometimes a three piece. We sometimes jam with the whole of The Heads, most times less, as witnessed on the 2 Rituals cds released via Rooster.Vol 1 is gone but there some Vol 2 left(sell out). We will play anywhere there is electricity. A pair of pole smokers.

E.C. DAWSON

Staggering folk blues that will not dissapoint.

Friday 12th November
Saddar Bazaar & Big Naturals
Entry: £5/4 Doors: 8 till late

The Cube in association with The Heavy Heads Disco proudly presents an evening of unadulterated psychedelic instrumental freak out, featuring a rare live performance from Saddar Bazaar. With a delta undertow and a heavy lavish layering of sitar, they make blissed out east/west psychedelic blues/rock fusion. Tripped out effervescent raga scales mix with fuzzing acid rockin’ chords.
Big Naturals are an experimental psych rock duo who follow in the footsteps of many 1970′s intense heavy rhythm sections creating dynamic pounding kraut rock soundscapes.

With psychedelic light show and The Heavy Heads DJs in the bar playing a fine selection of Heavy Blues and Psych Rock.

One of the happiest moments involving me standing like a cock in front of a stage was at ATP last year. Melt-Banana began in total darkness, each member playing with a torch strapped to their head. Crazed blasts of harsh noise and twisted pop got spat out at ridiculous speed, along with covers of ‘Surfin’ USA’ and ‘Monkey Man’. Look, I’m very hungover and all I’m trying to say is: Melt-Banana are seriously brilliant, make a joyous and very loud racket and if you miss a chance to see them you are a prize clown. Especially here, where you get two extra shots of quality rock for your quids: Cardiff’s Exit_International have honed their dual-bass attack into a nicely pummelling Girls Against Boys-type affair, while Bristol’s Big Naturals will pile up a speaker stack to heaven, and wash over you in waves of heavy sound. I need a lie down.

Thursday 14th October
Melt-Banana – m/azap
Exit International – m/exitinternationalmusic
Big Naturals - m/bignaturalsrock
Doors 7pm Curfew 10pm / £10 adv / 18+

…Melt-Banana’s music falls under what many call “noise rock” or “noisecore.” Both terms refer to music that blends rock, noise music, and other genres. Agata overlaps two different guitar riffs most of the time, and also belts out a seemingly spontaneously chosen selection of sound effects (or selected randomly by a computer program or even selecting snippets of tape from a black bag, but this is unlikely), almost all made through his guitar and large amount of effects pedals. Yasuko O. belts out high-pitched screams and raps, and her delivery has been described as a rabid poodle on speed. Rika MM’s bass lines aren’t subdued like in most bands, but are given as much overt influence as Agata’s guitar work. The sounds from the bass provide a distinct dimension to the music not found in many other bands. The drums are usually quite straightforward (however, in their recent albums, they have become more complex), especially on the faster songs, where they beat almost straight through with set cymbal crashes, providing an insane amount of energy to the songs. The band describes their recent music (especially Teeny Shiny and Cell-Scape) as pop. Essentially, it could be argued that Melt Banana’s output, (with special attention brought to their more recent songs) are more reminiscent of quirkier indie pop bands, with definite melodies hiding beneath the distortion, effects and sheer speed.

Live performances are where Melt Banana wins many of their devotees. While many critics perceive Melt Banana’s recordings to be inaccessible, their sound translates much better live. Yasuko starts every show by yelling “We are Melt Banana from Tokyo, Japan!” Her rapid-fire delivery and Agata’s frenetic guitar riffs infuse crowds with energy. Attendees often mosh or otherwise move in a frenzy during performances. Many diehard fans leave shows dripping of sweat. Yasuko O. often wears colorful and/or metallic costumes, while Rika MM’ often wears just black. Both wear very high platform boots, on which Rika MM’ often bounces, a la Krist Novoselic. Agata usually wears a surgical mask affixed to his face, sometimes with duct tape.

Plus Special Guests

EXIT INTERNATIONAL + BIG NATURALS

Tickets £10 advance
0845 413 4444
http://www.alt-tickets.co.uk/
Bristol Ticket Shop

Spider Kitten

Is this day five or day six, then? It’s already the fourth time this month I’ve been to the Meze, and it’s getting to feel worryingly like a second home. If I start enjoying the Tetleys they’ll have to wheel me away for treatment. Until then, the small matter of five more turns, all ostensibly noise/metal but all distinctive enough to prove that even a supposedly genre-specific bill can have something awesome for everyone. Away we go…

Off to a rousing start with the combined talents of Atomçk and Cementimental. A marriage made in a serial killer’s dank basement. Cementimental stands at the bar with a wired-up ipod, er, waiting for me to get served before him. Whoops. Ricocheting around the venue, mic in hand, he creates harsh, textured electronic noise from customised electronic detritus before he’s joined by a guitarist, adding further piercing feedback, and then Atomçk’s vocalist. Thereafter it’s a straight-up grind attack, enlivened with scattershot blastbeats and noise bursts. As the vocalist wheels about, garotting himself with the mic lead, his gutteral screams mesh in with either hyperspeed noodling, slower, technical riffing or a mixture of both in one invigorating blur. In short, brutal bursts like this it’s thrilling stuff.

Every time I see Brown Wings I wonder why they don’t get more gigs. Can’t be the name, surely? They’re way more versatile than you’d first think; stoner grooves and almost bluesy riffs add variation, and mean the impact when they do cut loose with the Lightning Bolt-inspired tech attack, Gareth’s arms a dizzying blur, is all the greater. Their game would be raised if the mid-set discussions (a lack of match fitness, maybe) were cut, as they lose a little momentum. They’re getting there though.

My ex-housemate raved about Spider Kitten for ages. All I really knew of them was their use of a drum machine, so it’s a surprise to see Chris from Taint helping out on drums. You wouldn’t know it was a one-off. The guy hunched over a table full of electronic kit and pedals might not add a whole lot tonight, but there’s plenty in this besides. Nice doomy, sludged-out metal with some slyly tuneful Sabbath moments in there too, and the bassist’s unable to control his grin as they loosen their shoulders and rock the fuck out.

Speaking of which, on tonight’s form the new Death Of Her Money album should be bloody great. It’s easy to take them for granted – no theatrics, no flashiness, they don’t particularly look like a storming, intense heavy rock band.  Except they are.  Shuddering, sludgy basslines, huge washes of distorted guitar, Kaskie bent double and screaming as his pedals get an absolute hammering. They spin out slow-build, epic metal with an emotional whack without ever being overblown. Splendid.

Big Naturals

Bristol’s Big Naturals set their stall out from the start, constructing an elaborate crescent of amps on the floor; this is going to be punishingly loud, you sense.  And so it is.  It’s a bass and drum line up, but this time with a more considered heaviness that embeds titanic riffs deep in your sternum.  The fact that space dictates they’re practically on top of the crowd helps – it’s like being hermetically sealed within the Who’s PA.  The bassist’s nimble like Mike Watt, the oblivious drummer locks into his own world of rolling improvisation.   We have to leave for the train after two songs and 10 minutes, passing a worried looking Meze Fest promoter on the way.  It seems the neighbours aren’t keen on the street-shaking noise and a swift curfew is called.  It’s almost fitting it ends this way.

Big Naturals live up the name with one hell of a big bass wave. As many as four bass stacks, electricity and drums are carved into mesmorising, throbbing hooks that are enough to disturb any vital organs in the body. Influenced by bands such as Can, Minutemen, Boris, Black Flag and the Melvins.

Link: Official Site

THE DEATH OF HER MONEY

The Death of Her Money have spent the last five years finding their way to something that offer’s a unique take on heavy music, no more generic description need’s to be said other than it’s heavy, and it’s music. To explain what it sounds like is not a very easy thing.
Constructed from improv and a freeing of the mind process, TDOHM’s spacious, simplistic driving rhythms carrying blood clotted veins of sound flowing down to the dark pit via strange discordant melody, off-kilter chordal progression’s accompanied by intense screamed vocals and layers of feedback that crack through the battered beast that will go down fighting.
During the last 3 years they have released a 7” vinyl (Rat Patrol Records), an E.P. (Flood of Love e.p.) through they’re own Suntreader Recordings.
TDOHM’s current release is titled “Spirit Of The Stairwell” (Superfi Records / Rat Patrol records), they’re debut full length has had praise from the British rock press as well as rave review’s from various countries around the globe and was also voted number 44 in Rock sound magazines top 75 album’s of 2008.
Having just finished the recording of they’re 2nd album titled “You Are Loved” with plan’s to release it next year at some point, they are planning another UK tour in September and they’re first European tour in November.

Link: Official Website

Record Label: Rat Patrol / Super Fi / Sundtreader

SPIDER KITTEN

Formed in 2001 whilst founder members Chi (vocals, guitar) and Ptew (drums, synth) were at University the band, at that time, was an exercise in distorted noise and performance art, mostly playing around Campus and occasionally the odd club. From 2003 to 2004 Spider Kitten was predominantly performing eerie drone to confused emo kids in tight tight t shirts. But they did manage to turn some heads. As a two piece Spider Kitten enraged audiences and broke PAs with such bands as Taint, Suns Of Thunder and Necrocest. The band acquired a cult following from their live shows which utilised visual projections and on stage mixing to great, and sometimes nauseating, effect.

Then in 2005, as an experiment, the band wrote some songs. With words and solos and everything. These songs became “Things I Can’t Kill”, an EP that was given away and enjoyed only partially for it’s price. In order to play the more structured material they brought in two local noise merchants who, for the sake of decency we’ll call Nid (bass) and Twan (guitar). With more arms it was possible to have at least another two guitars playing at the same time. Big valve amps sure sound swell on those American records we all know and love so Kitten acquired a quantity and soon after they finished recording their first “real” album, “Ineffable”, which was released in December 2007 through their own Rugland Records.

Since then Spider Kitten have gigged in both England and Wales (including shows with Firebird and Gentlemen’s Pistols), sold all but a few copies of their debut CD and put out a free download only concept album via their website called “Future Echos”. Twan left the band in pursuit of rave drugs in the summer of 2008. In 2009 Spider Kitten will release a new EP entitled “Rats From A Sinking Ship” and have been working on an accompanying music video.

Do Spider Kitten have a message? Sure they do…I mean they’re bound to aren’t they?

Link: Official Website

BROWN WINGS

Brown Wings are a band made up of a guitarist and a drummer. They play music influenced by labels like Load Records and Skin Graft and like to play loud music with stupid titles. They have played with bands including Racebannon, The Death Of Her Money, Kling Klang and Action Beat.

Link: Official Website

ATOMCK/CEMENTIMENTAL

Atomck. Influenced by…Agoraphobic Nosebleed, Lightning Bolt, Pig Destroyer, Mastodon, Sunn0))), Gigantic Brain, Sparklehorse, King Crimson, Merzbow, Fantomas, Anal Cunt, Nile. 

“Atomck consequently reduced their performance to a stop start managerie of insanely deft and brutal guitar out-takes from a recently axed commercial for BBC Masterchef. No actually I don’t know what I’m saying anymore. Atomck essentially were the best heavy duty spaz grindcore to be seen, well…anywhere” – Hulk Dash

“A pair of fellows kicking out really quite badass future grind jams” - Noel Gardner

“Newport’s heaviest band! Fact. Super digital grindcore played by nerds.” - Mikeee

Link: Official Website

Listen/download all their releases to date (for free) : Bandcamp

Cementimental based in London, is the name under which I currently make all my experimental noises, using ‘circuit bent’ electronic sound-toys and basically whatever and whoever I can get my hands on. The project is becoming more of a ‘band’, as I team up with various other noisy types to produce and perform deranged music and noise of many genres. Cementimental is also part of/indistinguishable from other projects including Gymnastic Decomposition and Hypno-Bacon. For this Meze Festival show, I shall be playing alongside Atomck.

Link: Official Website

Co-promoted by Lesson#1 and Sharp Noodle. DJs from Lesson#1 and Torn.

for full into regarding the month festival in association with The Joy Collective, see http://www.mezefestival.co.uk