Montreal post-rock is usually explained as a sound. It is better explained as real estate: an Anglo exodus, a loft above a garage, 500 hand-glued LPs, and two venues opened by a bass player. How Mile End built the infrastructure first.
The story of the Monks is almost always told as a costume. Five American GIs stationed at Gelnhausen, two German design graduates, shaved tonsures, black habits, a manifesto. It is a great story and it is also the least interesting thing about the record they made. What produced Black Monk Time was not an art […]
The story sells itself, which is the first reason to distrust it. Five boys at St Gregory’s College in Obalende, Lagos, borrow instruments, get signed by EMI, and cut a psychedelic rock album while still in school uniform. Try and Love came out on EMI Nigeria in 1973, catalogue NEMI (LP) 0032, with a parallel […]
Sanremo Rock was born in 1987 in a separate building, with its own presenter and a satellite link back to the theatre. It took 31 years to get inside the Ariston.
Marseille has no Paris style club economy and a thriving electronic underground anyway. The reason is structural: a converted tobacco factory, a rap festival that adopted the machines, and collectives that double as political spaces.
Sahko Recordings was founded in 1993 to release one friend’s music. Six years later a trademark letter took a character out of Pan Sonic’s name, and the album that followed was named after the gap.
Hamilton's Simply Saucer cut a proto-punk classic in a basement in 1974 and on a mall roof in 1975. Nobody released it until 1989.
Most bands form to play. The Desperate Bicycles formed in March 1977 for the specific purpose of recording and releasing a single on their own label, and they were not being coy about it. They owned an amplifier and a bass guitar. The Dalston studio supplied everything else. Three hours later they had two songs, […]
For most bands, an underground reputation is a phase, a rung on the way up. For Les Rallizes Dénudés it was the entire architecture of a fifty-year career, built on refusal. No studio album. No interviews. No sanctioned records for decades. A frontman, guitarist Takashi Mizutani, who dressed in black behind dark sunglasses and receded
Most electronic acts hide behind a logo because a logo is easier to market than a face. Drexciya hid because the hiding was the work. For a decade, two men from Detroit released some of the most physical, forward leaning electro ever pressed to vinyl, and they did it while building a fictional nation so […]
