Cold Spring Presents
A Night of Power Electronics / Techno-Noise / Psych-Noise / Cold Electronics
C O N S U M E R E L E C T R O N I C S
Seedy Power Electronics / Techno-Noise from Philip Best (ex-WHITEHOUSE), Sarah Froelich, Russell Haswell. A furious tide of words spat out over a chaotic spew of mangled beats, bracing synths and state-of-the-art noise generation.
‘What Dollhouse Songs provides is more than just solid work from an established name; if anything, this release is rooted in its time, with an eye turned acutely to the post-modern crisis of humanity in the 21st century.
Best has crafted some of his sharpest lyrics yet, and what this album lacks in optimism is replaced by a desire to fix something, anything, everything.
The final cut of the album, “Colour Climax,” shows that in the midst of all that is wrong in the world, a person is intrinsically free’_Excerpt from Thomas Boettner’s review of Dollhouse Songs
S K U L L F L O W E R
One of the most influential British noise bands. Matthew Bower (Pure, Total, Sunroof!, Hototogisu), with Samantha Davies.
‘Skullflower has tapped into that very real need that many of us have for distortion. In a way, static, feedback and distortion are emblematic of postmodernism itself and there is no real counterpart to it in older, more conventional musical forms.
It is the fuzz between the notes that are played, the reverberations after the voice and the electronic imperfection of amplification.
John Cage tortured his piano pursuing this idea. However, the truest vehicle for this approach is the electric guitar, an instrument which emphasizes the disconnect between the manual dexterity of the musician and the sound which is produced. With an overdriven amp, the most delicate and precise fretwork ultimately comes out as a wash of noise and chaos.‘ _Excerpt from a review of Draconis
I R O N F I S T O F T H E S U N
The sonic project of extreme noise protagonist Lee Howard. Power electronics and experimental sonic terrorism. Bitter and cold. Nihilistic and scornful. Elitist and Pure.
‘In getting up to speed on almost ten years of Lee Howard’s career, I’ve discovered that, he has a surprising range. I say ‘surprising’, because this is a musical genre where people can slot themselves into a niche early on and maintain a fan base doing much the same thing for many years. (And where venturing too far outside the expected can alienate long time listeners.)
Based on his popularity, I had actually expected Iron Fist to fit more neatly into expected moulds, but he’s shifted things around often enough that part of his appeal is that one never knows the angle he is going to take for his next release.’_Excerpt from Kate MacDonald’s review of We Can Yield Our Footsteps
Thursday 27th September
28-34 High Street