Pigs Pigs Pigs Pigs Pigs Pigs Pigs may be the best band on the planet right now.” Echoes and Dust
“ Arresting stuff...” The Skinny
“ Relentless energy from a band who will always deliver.” Sleeping Shamen
“ Ridiculously exciting...” Soundblab
“ They deliver a very satisfyingly heavy racket.” Sludgelord
Playing their first gig supporting Goat at what was only the latter’s second ever show, the band have gigged relentlessly with kindred spirits including The Cosmic Dead and Luminous Bodies, not to mention gracing festivals like Supernormal and Portugal’s Reverence with their feral attack. Yet the time has come for this band to transcend the realm of word-of-mouth phenomenon and be judged on their feverish and demented collision of psych-drone dementia and riff-driven salvation alone.
The inarguable proof is Feed The Rats, the overwhelming first album the band have created for - equal parts righteous repetition, bludgeoning brute force and Sabbathian squalor, its alchemical charge has the power to transform bleary-eyed abandon into small-hours revelation.
This three-track, forty-minute monument of chaotic catharsis captures the everything on eleven spirit of the band’s live manifestation whilst adding a level of finesse and texture often less easily accessible in a dangerous haze of flying hair, discarded clothes and spilt premium lager.
Channeling the grimy trip hazards of Monster Magnet’s ‘Spine Of God’ through a prism of kraut-derived repetition and Part Chimp style bloodymindedness, the resulting hallucinatory vortex appears constantly on the realm of breaking point. Yet for Baty, the porcine realm is less about a nihilistic quest for fiery oblivion than one might imagine. “You know, I think we’ve experienced it, many times. It’s those gigs where we can almost sense that everyone in the room is engaged.
The energy created is so thick you can almost bite down on it and it feels like there’s no longer any barrier between band and audience. Those are the special shows, where there’s a solidarity and a very visceral bond. That, and being able to smell our amps melting”.
Amps and brains alike, as these psychic omnivores bring seven times the joy, seven times the pain, seven times the dementia and deliverance.
"The second album from UK hardcore engine The Lowest Form, Personal Space sees the band cutting through a comedown fug of feedback, sharp butterflyknife guitars flashing deadly over a wasteground rubble of noise.
Songs drawn up from discord, songs of marshalled cacophony, coils of scritching guitars break apart and reform, coalescing around insistent basslines and heavy drumbeats, before splintering again. It's hardcore constructed from textured noise as much as from breakdowns and riffs, rumbling infectious chants emerging from the wavering clamor, the vile keening of consciousness's half-known edges, noise in the grain of it all, noise as bedrock, an abrasive acid bath of fuzz, susurration and machinewhirr.
"SMASH MY FUCKIN' HEAD AGAINST THE WALL" is the line that opens it up, rising out of Interplanetary Bad Boy's hissing swell. Driven through the album are anguished explorations of interior/exterior limits, whirling around viciously in the grubby borders of your skull, spinning hopelessly in the cosmic of the aether, untethered, higher than the sky but way down in the muck.
From Gak Attack's claustrophobic pogo or Last Smash's drawling thump to Star Slammers manic tumble and Dread Future's rolling barrage, The Lowest Form have brought together another LP of murdered-out panicattack punk, lithe and unleashed, born of bad vibes and background radiation, an album at once uncomfortably close and fully heavy." -Joe Briggs
Tracklisting: Side A: 1. IBB Dub 2. IBB 3. Gak Attack 4. Last Smash 5. Star Slammers
Side B: 1. Dread Future 2. Evol 3. No More Hiroshimas 4. Untitled 5. Helter Skelter
Comes in printed discosleeves. At first listen you might feel that the songs on “Loving Hell” might not suit your needs in such a cold, harsh existence. But that’s where you’re wrong.
Vox low’s sound might first appear frightening and cold to you but the tracks on this EP most of all carries with them depth, energy and persistence: the perfect soundtrack to reboot your system to and to get you going straight forward without looking back.
This is music for the aftermath of a cathartic experience, music that generates a propulsion that makes you wanna walk on that road forever, music to help you rediscover what punk, rock and electronica really should be about – gut feeling.Style: minimal, synthwave, Psychedelic Rock.
Tracklisting: Side A: 1. I’ll Save You Anyway (Evelyn)
Side B: 1. I’m Coming To Your House 2. Loving Hell
Harvey Mandel is among the most innovative guitarists to emerge from the Chicago blues scene of the late 1960s.
His career began at Twist City and other local hotspots, sharing stages with Muddy Waters, Howlin' Wolf and Buddy Guy. He came up in that scene alongside Charlie Musselwhite, Mike Bloomfield, Barry Goldberg and Steve Miller, leading to an invitation from Bill Graham to open for Cream at San Francisco's Fillmore Auditorium in August 1967.
Mandel was a member of Canned Heat, appearing with them at Woodstock. He played on numerous John Mayall albums, and on the Rolling Stones' 1975 LP Black and Blue ("Hot Stuff", "Memory Motel"), having auditioned for Mick Taylor's job, which ultimately went to Ron Wood.
Known for his "tapping" technique and sinewy, sustain-driven phrasing (thus his nickname, "The Snake"), Mandel's solo albums such as Cristo Redentor, Baby Batter and Righteous have been sampled and drooled over by guitar geeks, DJ's, and fans of funky, soulful, otherworldly composition.
Harvey's fifteenth studio LP and his first widely distributed album in 20 years, Snake Pit was recorded in two days at Fantasy Studios in Berkeley, CA. Harvey teamed with fellow Chicago-based musicians Ben Boye (keys), Ryan Jewell (drums), Brian Sulpizio (guitar), and Anton Hatwich (bass), who have all played with singer/songwriter Ryley Walker.
Harvey and the band had not met previously, nor had they rehearsed. He played snippets of song ideas for the band on his iPhone, and then they would lay down a track in one or two takes. Hard to believe when you hear the album, but that's exactly how it went down.
Minimal overdubs with strings and percussion were added, but mostly what you hear is what happened spontaneously in the studio. The album contains six new original compositions by Mandel and two revisited songs : "Baby Batter" from his 1971 Janus LP of the same name, and "Before Six" by Larry Frazier, which appears on his first album,Cristo Redentor.
Snake Pit marks a spirited return in a career that now spans six decades -- all the more intense and poignant given Harvey's recent battle with cancer. Read more about Harvey Mandel via Aquarium Drunkard.