I mentioned in the first Part of today’s column that I overcame the usual brain-freeze brought about by the overwhelming volume of interesting new music by separating the attractions into advance tracks and complete new releases. Today’s earlier post was devoted to advance tracks, and I mentioned that I had an idea for how to handle the new complete releases.
In the early days of NCS I began a recurring series called MISCELLANY, which got up to 78 installments before it died away from neglect. The self-imposed rule for that series was that I would pick bands I’d never heard before and listen to one (or maybe two) songs from something new they’d released, record my immediate impressions, and then leave it to readers to decide whether to explore further. That strategy allowed me to sample from albums and EPs that I didn’t have time to review in full, without knowing in advance how the music would strike me (or you).
And that’s almost the same strategy I’ve used in this post — almost, because some of what you’ll find below came to me via recommendations from people I trust. So it’s not quite the shot-in-the-dark of the old MISCELLANY series.
To begin I picked “Pavlína Kováříkov“, the lead-off track from this Hungarian band’s just-released third album, Urbain Noir — and man, I love it. The guitar leads have a kind of yowling but spooky and sorcerous sound, and the way in which In Vacuo introduce and then twist the central melody is ingenious. The song as a whole proves to be a twisting (and twisted) experience – heavy and battering, deep and drilling, moody and murmuring, jolting and groaning, thrilling in its maniacally glittering tremolo’d vibrations and blood-curdling in the hostility of its varying vocals. Continue reading »