#fuzzclub

[memoirsofadj]

A concert without cellphones , the Great magician #robbenford

[genau-ev]

[thejoyofviolentmovement]

New Video: JOVM Mainstays Elephant Stone Share Breezy and Nostalgia-Inducing "Another Year Gone"

New Video: JOVM Mainstays Elephant Stone Share Breezy and Nostalgia-Inducing "Another Year Gone" @elephantstonehq @FuzzClub @NoExitPR @girlieaction @delkin03 @littlecloudrec1 @wally_kempton

2023 has been a busy year for Montréal-based JOVM mainstays Elephant Stone: Earlier this year they released Dawn, Day, Dusk, which featured “Godstar,” and “The Imajinary, Nameless Everybody In The World.” Those two tracks saw the band continuing their narrative journey through crating material that deftly balanced human complexity with introspective themes paired with an evolving sound. They…

[musicnewsweb]

ICYMI: Beans, Boots N Cats - @beans_band @FuzzClub @themurlocs @SSanctity #beansband #fuzzclub #BootsNCats - Boots N Cats http://dlvr.it/T3lxrs

[entertainmehub]

ICYMI: Beans, Boots N Cats - @beans_band @FuzzClub @themurlocs @SSanctity #beansband #fuzzclub #BootsNCats - Boots N Cats http://dlvr.it/T3fmqr

[earprotectionrequired]

[LOOK] The Vacant Lots (@THEVACANTLOTS) “Amnesia” Video @FuzzClub

[titouanmasse]

Quelques photos du concert de @10000russos lundi soir au @supersonicclub ! Ça fait très plaisir de retrouver les concerts en club ! #10000russos #fuzzclub #livephotography #supersonic #paris #porto (à Supersonic) https://www.instagram.com/p/CU-GfSdIWRK/?utm_medium=tumblr

[aptbs]

We are so psyched to announce our @fuzzclubrecords session will be released as a vinyl EP (1000 copies)  on 2/15.  Tracks include: 1. We’ve Come So Far 2. Drill It Up 3. Never Coming Back 4. Punch Back 5. Ocean 6. Chrome Shadow.  Presale link is here:

https://tinyurl.com/y8sjgb69

You can check out the first video for Punch Back here:

https://tinyurl.com/yd4uqgbt

Full details on @selftitledmag:

http://www.self-titledmag.com/2019/01/16/a-place-to-bury-strangers-fuzz-club-session/

[lillycreightmore]

Our friend Dave, on the right, died in a Motorcycle accident on Monday This was the last photo I took of Throw Down Bones at Label Mates Festival earlier this year. Their music propelled me through a really dark time in 2015-16 Recently we had spoken often, making plans for photoshoots and talking each other through the ups and downs of life in 2019 as often lonely 30 something creatives. I’m glad for the time we had together. Thank you for the friendship and the dancing David. Love and condolences to all who were close and that love you

[indypendientes]

. 𝕿𝖍𝖊 𝖀𝖓𝖉𝖊𝖗𝖌𝖗𝖔𝖚𝖓𝖉 𝖄𝖔𝖚𝖙𝖍🎚 Dos meses de gira por toda EU para presentar su nuevo disco "Montage Images of lust & Fear | Atentos a la oferta de Entrada + Poster. Diseñado por @olyadyer 👊Las ÚLTIMAS Entradas en OFERTA 17€ + Póster . #independientes #underground #postpunk #nochesdemadrid #theundergroundyouth #theundergroundyouthband #liveontour #spain #madrid #eutour #fuzzclub #elborrachobookings #malasañamola #madridisgreat #guitars #junioenmadrid #guiadeconciertos (en Sala El Sol. C/ Jardines, 3. Madrid) https://www.instagram.com/p/Bwu9VvtAj-c/?igshid=1502m72yx2r88

[recoftheday]

The Gluts • Ungrateful Heart • 2021 Fuzz Club Records • 1st press on Oxblood with Black Splatter Vinyl • Fuzz Club Membership exclusive • Limited to 500 hand-numbered copies. . . . . . #thegluts #ungratefulheart #fuzzclub #fuzzclubrecords #Vinyl #Vinylcollector #vinylcollection #Vinyladdict #vinyllovers #vinylmaniac #recordoftheday #albumoftheday #instavinyl #vinyligclub #vinyljunkie #vinyloftheday #vinylporn #vinylrecords #recordscollection #vinylcollective #vinylcollectionpost #vinylcommunity #nowspinning #vinyls #vinylgram #vinyllove #coloredvinylclub (presso Milan, Italy) https://www.instagram.com/p/CUxkOQgMcsm/?utm_medium=tumblr

[thejoyofviolentmovement]

New Video: ORB Shares Trippy Motorik Groove-Driven "You Do"

New Video: ORB Shares Trippy Motorik Groove-Driven "You Do" @FuzzClub @forcefieldpr

The members of Geelong, Australia-based outfit ORB — Zak Olsen (vocals, guitar, bass), David Gravolin (guitar, bass) and Jamie Harner (drums) — have had a lengthy career, starting in earnest with a lengthy stint in their first band as teenagers, The Frowning Clouds. Since starting ORB, the Aussie trio have released two albums, 2017’s Neutrality and 2018’s The Space Between, which they supported…

[musicnewsweb]

Beans, Boots N Cats - @beans_band @FuzzClub @themurlocs @SSanctity #beansband #fuzzclub #BootsNCats - Boots N Cats http://dlvr.it/T3bjhW

[entertainmehub]

Beans, Boots N Cats - @beans_band @FuzzClub @themurlocs @SSanctity #beansband #fuzzclub #BootsNCats - Boots N Cats http://dlvr.it/T3bjdN

[welovelofi]

Tales Of Murder And Dust: Fragile Absolutes. We Feature, We Love.

https://open.spotify.com/album/6DMVg3nHhAadARNNw1dfpl?si=iuFBfCgKQhGEiYq-M2alqw

Århus based, Tales Of Murder And Dust are freshly out with their 3rd full-length LP, Fragile Absolutes. It’s the result of a long gestation and steady evolution of both the line-up and context of the group.

“It’s been the most difficult process we’ve ever had” is bandied around like a mantra in the organization. Why though? Tomad seems to have at times in their 12-year career, everything going for them in spades, but if you pull up specific moments of dormancy – a heck of a lot of forces working against them. Like plate tectonics or glacial migration – slow building pressures ripping them apart that the human sensory array could only detect with seemingly topographic charts. 

After 2016’s “The Flow In Between” saw the band signing to English neo-psych magnate, Fuzzclub Records, they parted ways with founding member Kristoffer Vilsgaard, who shared lead vocal and songwriting duties with Christian Sinding Soendergaard. Vilsgaard left the operation amicably and still remains active in their now extensive ‘extended family’. Around the same time, TOMAD saw a drastic line-up shift in virtually every position except drums. Fellow ZRN (formerly Zeroine, a ‘side’ collab between Ess Beck and Soendergaard) and real-life partner, Ess Beck moved in on keys and auxiliary guitar, Rasmus Aaen Jensen entered on bass, and the slimmer, leaner line-up headed to USA for their very chaotic inaugural tour – plagued by missed connections, transportation break-downs and hellish drive times.

    “It was our first time in the states, and instead of being able to soak it all in, we got into a van and drove 35 hours straight to a gig” remarks Jakob Korsgaard (drums). “I kinda feel like it doesn’t even count, that tour – it was just so chaotic at times”.  

The Flow In Between sold well internationally for them, and the EU bookings were steady, yet it seemed always to this writer that it was getting increasingly difficult to see them here in Aarhus or let-alone find their records in one of the many physical shops. In fact, I ordered my copy of “Fuzz Club Sessions” from England (the 2018 Ltd edition live-in-studio EP, first to feature the re-vamped TOMAD line-up), and it took weeks to get here (You can fly direct from AAR to Stanstead though for less than the price of a beer and be wheels down in 1.5 hours). Something was rotten somewhere.

The difference between The Flow In Between and Fragile Absolutes is significant in almost every way. All plusses though if you’ve gotten this far. WHEN one was able to catch TOMAD in this constellation between records, I always had the feeling there was something über-special about their sound. It was like something was gestating, brewing…fermenting even. ZRN seemingly would cycle through a period as well, ESS and Christian seemed to dichotomize the sound picture. TOMAD at times would be more punky or gothic, while ZRN would move into territory that was more ambient, improvisatory and even post-modernist ‘classical’. It seemed like the two groups had a significant impact on each other – which makes sense with the personnel being partly the same, but yet able to morph under a different moniker and (for lack of a better term) ‘power dynamic shift’. At any rate – TOMAD was evolving and peeling away from the “Psych” or ��Shoegaze” pigeonholes that seemed to be applied by the lesser astute of my colleagues over the decade.  

With the departure Of Vilsgaard as co-lead, That left Soendergaard in full creative control of the group. This is one of the important dynamic shifts that lead to the content and feel of “Fragile Absolutes”. Far from being a 3-legged cat however – Soendergaards growth as an atmospheric composer and arranger in a more widescreen cinematic format was amplified. With the departure of Vilsgaard, also left the final leanings of TOMAD being justifiably a “Psych” outfit. The darker hues of something weightier and more substantial began covering the band like strangler vines around the once verdant trees of the woods.

“Fragile Absolutes” was recorded in several different locations – initial basic tracking began a few years ago in Aarhus’s Tapetown studios. Tapetown’s penchant for recording “Alternative” and “Indie” genres served as a template for a slightly more bombastic base coat to several of the numbers. For whatever reason, TOMAD decided to complete the recording in various settings where they could hack away at it. A cabin on the west coast of Jutland is mentioned (the closest thing Denmark has to an artic desert), and various bits and pieces here and there. I’m sure all of this adds to the mystery surrounding the record, but the end result and finished ‘product’ is a record that is produced by the band with an air of achieving perfection in whatever it is they first set out to do.

Knowing the genesis and long gestation of the record – I see this as a re-birth for the band. They might not notice it. A heap of things in the band’s own personal life have also necessitated the change. Some members became parents themselves, geographical and logistical strife caused periods of inactivity and even as I write, a global pandemic has altered the way the band has to plan live bookings. I hate to say something as pedestrian as: “you gotta roll with the punches”, but this record existing at all, let alone being the masterpiece that I truly deem it to be, is no small feat. 

The Review

In my 2016 review of “The Flow In Between” I ended up calling it “Probably the greatest record to come out of Jutland”. Before we get going on the breakdown – I’ll have to amend that bold statement from 4 years ago and relegate “TFIB” to “Probably the best record to come out of Jutland as of 2015”. Fragile Absolutes has frogged its way into #1 for me. Shucks – I’m even going to have to one-up myself here. It’s my favorite Danish album, ever. There’s a LOT of great albums out of my adopted home country too. Laban 4 comes to mind….

“Fragile Absolutes” kicks off with the wallop of the monastic meets Viking cinema “Distances”. It’s evident that they are picking up in context where some of “The Flow In Between” leaves off (see: “Sisters”). There’s a heavier texture of orchestration underneath which basically weaves it way through the record. There are shimmering jangly bits layered with piano, synths and whatever the hell else they used bathed in subtle sustained feedback. This continues into the slightly dirgy title track “Fragile Absolutes”. The monotonic guitar lines giving way to almost plainsong layered choirs underpinned by some subtle tinkling on the ivories and a chugging and building rhythm section that leads into orchestral stabs at a climax and finally a resolution.

“Crippled Figurines” treads on more familiar territory in a sense. The Percussion is sidelined, instead being inferred by a gently strummed acoustic guitar set in counterpoint by the ever- present drone and simple right-handed synth melody, comfortingly recalling something that wouldn’t be out of place on a late 80s Depeche Mode album. All this mood is closer in reality to say, an early Fever Ray track rather than a gothic synth-pop piece and retaining the best integral bits of each.

With “Flawed Beliefs” we’re back to the structure of the opening gambit of the record – the ever-present drone met by delicate flights of neatly layered butterfly kisses from unidentified hands. “Flawed Beliefs” builds again upon a simple but effective passage, subtly and organically changing shape to a cacophony of doom until disappearing.

“Wear Your Skin” again pairs the dulcet tones of fluttering sprinkles of what sounds like hammer dulcimer with a tightly layered cauldron of foreboding flares in the lower register. You wouldn’t be wrong for hearing traces of Cocteau Twins or even “Pornography”-era Cure, hence why some folks can’t resist attaching a “Goth” accreditation to TOMAD on this album cycle. I’m not sure Goth is such a dirty word anymore – I’ve dabbled myself and in these Isolation times – I don’t think anyone should blame me. “Deconstructed and Dissolved” follows this mood perfectly, plunging the listener further down the k-hole of the world in flames while simultaneously being frozen in the wasteland that our collective esoterism has created.

“Entropy” and “Consoling Words” again bring us back to the now familiar overall vibe of the record. Infinite layers of aurally pleasing yet disturbing symphonic drones paired with a slowly plodding and ever-present funeral march of backbone.

You’d be forgiven for being lulled into a sense of not knowing where the album begins or ends at this point in the record – but the whole affair is masterfully shuttered with the somewhat surprisingly delicate and bare “Remnants” – where for the first time, a simple piano and vocal are to the fore of the mix. There is something heartbreakingly haunting about Soendergaard’s vocals on the closing number – finally pushed into the theoretical spotlight, yet still fragile and nearly incomprehensible. It’s a perfect ending to the constant wash of dark matter and symphonic pummeling of the previous 8 tracks.

“Fragile Absolutes” as a whole, is damaging in its epic-ness. I know “epic” is thrown around a lot in somewhat ironic terms by suited frat boys on TV, but I honestly can’t think of another term for what this LP puts you through. From the invocational wallop of the opening numbers and the adagios and lulls of the moodier tracks, it’s quite an emotional roller coaster. Everyone I know who has heard any of these tracks all drop references to “Soundtrack”, “Nordic” and “Dark”. I’m happy to agree, even if I can’t offer up a pigeonhole of a mini-sub sub- genre to attach to it. The remnants of Shoegaze and Neo-Psych are still evident, these are the kind of bands that TOMAD will always be billed with – but “Fragile Absolutes” is their most powerful and complete work to date. While the bulk of the writing may be Christian Soendergaard’s singular vision now, What the rest of the band add to the mix is staggeringly appropriate and serve the material with a reverence and aplomb that is rarely found in a band that have been through this massive of a personnel shift since their last record. My only wish on several of the songs is that there were more dynamic builds and decrescendos – adding to the romantic and cinematic appeal of some of the “louder” cuts on the LP. This only means that it can evolve and grow live in my book – and for my dollar, I can’t wait to see what TOMAD can do in full flight with this material and line-up at a proper concert whenever that is possible. That will have to occur in 2021 though. Thanks Corona virus.  

Words - Bobby McBride

Order Vinyl/CD direct from band: https://talesofmurderanddust.bandcamp.com/

Follow FB: https://www.facebook.com/talesonline/

Follow Insta: @talesofmurderanddust

[titouanmasse]

Quel plaisir d’avoir retrouvé les italiens @thegluts hier à Paris pour leur passage au @supersonicclub avec l’ami @llllando leur nouvel album vient de sortir et c’est une petite bombe pleine de fougue !⚡️🖤 #live #thegluts #italia #fuzzclub #livephotography #supersonic #portrait #paris #blackandwhite (à Supersonic) https://www.instagram.com/p/CU7O-01gSMW/?utm_medium=tumblr