Saturday, June 13, 2009


As Zeik: fine n filthy-sounding monochrome fastdirgenoise that sits at some unwanted interstice tween Post-Punk n Almost.Metal. This sounds like a Red Factory rehearsal tape circa '82, tho obviously loads better than that. Faster, more passion, more fsssszttzsh.

Trying to make sense of the tape in the privacy of me own abattoir; hearing some raw Punk nihilistic/Bostik bounceback in places here; a faster, thinner/treblier-sounding Stoogesness - this trak's too, erm, springy for old school garage-rock - there's a leaden shrillness (not as much of an oxymoron as y'd think), an almost.intensity, a dudd!dudd!dudd!isity, an unrequited linearity that Kek digs. A single-finger guitar-solo blossoms from nowhere on the fade-out n it almost sounds baroque, unintentionally opulent. Yeah: go, buddy, go...

Loving the wanton thugboombeatery of this - its lack of angularity n guile; its uncomplicated 'artlessness' (the way it's completely circumnavigated No-Wave/ArtRock canonicity) yet for the most part it's still resolutely a B 'n' W Music - no needless colour hues here; it revels in its reduced bandwidth: this is No-Punk, Non-Post-Wave...on this tune Kek'm getting the Post-JD afterbirth dirge of Factory acts like Crispy Ambulance, but sped up and stripped of Hammett mix-details, stripped of everything except the top-end, tho someone's clearly upset the, they've upset everyone...but the details are refreshingly unclear. Your private life drama, baby, leave me out.

They come back for more: this time sounding vaguely like "Paralysed" by The Legendary Stardust Cowboy for, well, at least 8 seconds before the drum-kit implodes, metal tubing and crash-stands splinking out into a right old row. They make their point quickly and leave...then something that sounds like fastforward Factory fuguedirge grinds into a Killing Joke outake on L-Dopa. The song hesitates, auto-Metalisises itself, speeds up, turns into a howl of outrage, guitar and drums chasing themselves in a tight circle like a couple of kartoon kats chasing their own tails. G'wan - shooo, you pests!

Tapesquaawwwwk and: early Siouxsie and the Banshees speed thru the room like a high-speed train, swastika t-shirts flailing like miniature windmills. More Legendary Stardust Cowboy, followed by an early Slits demo. "Oh Fuck!" or maybe "Oh Suck," someone shouts. More hi-velocity Kenny Morris drums. Can't keep up w/ them, the fuckers.

A Fall-ish rhythm-riff; drums kick in, shrieks. Track drops out. Rockabilly howl talk-over style vocals briefly occupy reverbspace (In heavily accented semi-English: "Don't fucuuuck with me, or you will dieeee...Die! Die! Die!") then more spaz-drums and a slightly different but similar riff, faster, faster, lapping itself...then something remarkable happens: everything dissolves into a crackle of static, like something's burning - a polythene bag on fire - while a slow, vaguely percussive sound cycles somewhere in the distance. Fadeout.

Apparently, As Zeik means "peeing". I'm probably just passing on a band in-joke - that'll teach me not to speak Flemish! - but - you know what? - ha! I don't care about that. (I would like to speak Flemish, tho.)

I really hope they are called Peeing.

Bekie, Groesjka and Vrjkke: you so fucking rule.

Available from Funeral Folk.


A mix from Rustie, courtesy of BTS Radio.

AquaCrunk...ScrewFonk...CoughSyrupSwing...Philthy Glaswegian Phear-Sleep: whatever you wanna call it.

And you can find it here (Right-click to save)


Don't call it Wonky - call it Purple.

How cool would that be? - a musical genre named after a colour! Make it happen! (aving a senior moment here; a flashback to the musical heyday of Prince...)

Wotz 'e on about? Well, A Man Like Dan @danhancox in yesterday's paper on The Purple Sound of Bristol's Joker, Ginz, Gemmy, etc....

And let's not forget the excellent "Orchestral Lab"/"Way U Make Me Feel" single by Guido, that dropped a little back on the ever-excellent Punch Drunk, the label ran by Kid Shirt pal Peverelist... oh, and Gemmy's "Bass Transmitter", of course....

Some of it's creamy and hyper-caramelised, like pouring a whole bottle of Baileys straight into yr cranium; but some of it's games-console Toons ("Silken Bitch Wars") meets imaginary Futur.Tv theme-credits meets crack-addled 80s gangsta.nebishes in Some of it is Dubstep 2.1.2. Some of it sounds like The World's Famous Supreme Team meets UK-Garage filtered thru some theoretic narcotic w/ crystals the colour of potassium permanganate:

Are we seeing the re-psychedelicisation of Funk? The Clintonisation of Garage. P-Funk-Plus...? It comes from Bristol, so: B-Fonk. Purple is one of those in-between-scene words; I love it.

But what's great about Joker n Ginz's "Purple City" is that both sides clock in at around 2:30, the perfect length for a 7"...and it makes me think of one of those what-the-fuck moments you would have on a regular basis around '78, '79 - pulling a single out of a seven-inch box in a provincial small-town record-shop and hearing something by Thomas Leer, Robert Rental or The Normal, except these tracks have got Fonk or Swing or the echoes of a 2-Step Snap, a Reggae Chkkk, whatever... now we're seeing a generation of yng musicians that are inspired as much by post-8-bit games and games.soundtracks than any dancefloor Nuum, either real or imagined.

B-but the one's that sound best to these bruised old ears are the ones that sound like some retro.fictional theme-tune for something that never quite came to be. As much as Kek like dem creamy, vocoder'd, microdot-smeared Fonk splonks, he doth dig the starkly austere, stripped-back Neo-Retro Instrumental 'Realness' stuff as much as The New Eighties Baroque.

Still, it's all good; S'Purple, innit.

Etc, etc.

Anyway, always great to see Bristol getting rep'd. The Future starts Now.