Robyn Writes

Juna – Heteroglossia [EP]

Over the years the town of Athens, Georgia has given the world a fair amount of college-rock and indie bands.  Alternative stalwarts R.E.M. hail from its shores (yes I’m using that expression despite the fact Athens is thoroughly landlocked) and in some ways Juna could be their natural successors.  Their new EP Heteroglossia draws on R.E.M.’s rattly, reverb tinged sound but adds to the mix a progressive element with impressive results.

The chilling first chords of album opener ‘Notes on a Penance’ course down the spine in anticipation of the heavier-handed guitar of the first verse.  This fierce fret work bookends smoother bass-and-drum interludes and the whole aura of this piece lends it an air of Floyd-esque prog rock but with a slightly unhinged element. Throughout the EP, an ominous darkness prevails, elements like the chorus of ‘Solemnly Swear’ sound almost akin to Black Sabbath.  These moments are always held down to Earth by the more laid-back air of tracks like ‘A Passage’; looser in composition but no less enthralling. The captivating nature of the songs is helped no doubt by the swapping tempos and sounds.  Early Muse-ish static noise tricks are not uncommon, alongside tones which wouldn’t sound out of place on that Josh Homme-produced Arctic Monkeys album from a few years ago.  All the while the drums give the listener a feeling of being perched quite precariously high up, on the verge of some massive drop. However, ‘A Passage’ sees the band sway into a different territory.  This is more abrupt, reflecting the subject of the song, and seems to cross guitar sounds that would be at home on a Tame Impala b-side with further elements of Humbug.

This is a promising EP from a band relatively unknown on UK shores, but by combining influences from both sides of the pond in their sound, it results in the sort of music you’d expect to hear reverberating through a disused cathedral or the vault of some long-since-emptied bank which has been moved into by a group of indie squatters.  The ‘strangled bass’ noises heard on some of the tracks are also a welcome weapon, generally underused in the indie arsenal.

4 out of 5 high fives!

Empire – Shedding Skin

I don’t usually think of North Carolina when I think of melodic hardcore bands. From my position in the verdant English countryside, my view of America and its musical hotspots is largely geared towards the coasts, and that’s usually with regards to happier, bouncier stuff. This kind of bleak, desolate hardcore is usually Canada’s domain, or crops up from Scandinavia; cold, harsh places for cold, harsh music. But then in these times of austerity, fear and uncertainty, the fire that fuels tracks like these can ignite anywhere, and Empire, hailing from Raleigh, NC, have made a record that embodies that feeling effortlessly.

‘Set In Stone’ immediately creates the right atmosphere for the rest of the EP. Minor tones and crashing rhythms invoke a bleak sonic landscape. Every phrase to pass vocalist Ben Daughtry’s lips feels pained but not fragile and his half screamed, half shouted tone provides the perfect overlay for the rest of the track. It’s a fairly slow affair though, something which ‘Moore Square Station’ and ‘Minour’ alleviate with more frantic and intense riffs. The tone in the vocals begins to shift to something far more aggressive, and in ‘Minour’ especially, the guitar lines tread the line carefully between moments of deep angst and melancholic beauty while demonstrating Preston Mitchum’s immense control. ‘…And I Am Drawing Down’ has a particularly devastating feel to it, the rhythm section in particular providing a solid and crushing backbone. Final track, ‘The Iconoclast’ sounds as if it’s directly a part of its predecessor; there’s not enough of a division, but the two tracks would probably have worked very well as one whole, considering how short each track on the EP actually is – none clock in at over three minutes. Nevertheless, Empire play with some clever effects here and the constant refrain of “saying goodbye” rearing its head throughout is completely haunting.

Shedding Skin shows a great deal of promise. Empire have created a tight, emotionally involving and impressive record that is bound to thrill fans of Defeater, Circa Survive et al, but steps away from their legacy to forge something entirely their own.

4 out of 5 high fives!

J-Pop Sunday – GACKT

Singer, composer, writer, and actor: That’s our GACKT. When I think of GACKT one of three things typically springs to mind: First is “REDEMPTION”, the song he did for that Final Fantasy VII spin-off game – because it’s a great song. Next is his acting role as 16th century samurai lord Nobunaga Oda in the “Sengoku Basara” television drama series – because I’m a massive Sengoku Basara fan. The final item is the topless photo of him I have saved on my hard drive – because he has a nice torso.

This obviously isn’t the aforementioned photograph.

Quick Guide
Act Name: GACKT
Real Name: Gakuto Kamui( 神威 楽斗)
Years Active: 1994 – Present
Genre: Rock
Notable Tracks: “Mizerable” (1999), “Vanilla” (1999), “Wasurenai Kara (忘れないから)”(2002), “Metamorphoze” (2005), “REDEMPTION” (2006), “Returner ~Yami no Shuen~ (RETURNER～闇の終焉～)” (2007)

GACKT grew up studying classical music – mainly piano – at the request of his music teacher parents and spent much of his childhood only listening to classical music – Chopin being a particular favourite of GACKT’s – and traditional Enka ballads. As he grew older he developed an interest in rock music with Led Zeppelin’s “Stairway to Heaven” having a profound effect on him in particular. In the early 90’s he formed a short lived rock band called “Cains:Feel” then later joined another band “MALICE MIZER” who needed a new vocalist. With GACKT on board Malice Mizer’s popularity grew, but in 1999 GACKT felt a rift between him and his band mates and left to embark on a solo career. Considering that his name is still around today and he’s still releasing new material that safe is to say that this was a good move for GACKT.


GACKT’s first solo single “Mizerable”

Outside of his music duties GACKT has also been involved in acting and filmmaking. In 2003 he assisted in the writing of and starred in action horror film “Moon Child”, he also appeared in the NHK samurai period drama series “Furin Kazan” with one of his songs “Returner ~Yami no Shuen~ (RETURNER～闇の終焉～)” being used as the theme song for the series. A number of other GACKT songs have been used in soundtracks: These include 2005’s “Metamorphoze” which was featured in the sci-fi anime film “Mobile Suit Zeta Gundam: Heir to the Stars” while – as previously mentioned – 2006’s “REDEMPTION” was included in the PlayStation 2 game “Final Fantasy VII: Dirge of Cerberus”


The video for “Returner ~Yami no Shuen~” follows the samurai theme of “Furin Kazan”


“Metamorphoze” features scenes from the “Gundam” film along with GACKT in the pilot seat of a Mobile Suit.


Cornrows, GACKT? Seriously? Not cool. Other than that “REDEMPTION” is a rocking tune.

Currently GACKT is preparing for his latest nationwide tour which kicks off later this month – his first tour in four years and he’s still as popular now as he was when he made his debut.
I’ll leave you this week with this somewhat surreal video I stumbled upon while conducting this week’s research. It appears to have been taken from the extras section of one of GACKT’s live tour DVD: A short skit of GACKT in a selection of silly outfits:


I‘ve got to say; the nurse outfit totally does it for me.

Until next time!

The Darlington Sessions


(click to be taken to Cats Aye Records’ bandcamp)

The Darlington Sessions is truly a lovely little surprise. Recorded at the tail end of last year at Darlington Road Studios, it’s nine tracks of pure acoustic bliss from some of the UK’s greatest punk rock performers at the moment; Roo Pescod (Bangers), Giles Bidder (Great Cynics) and Kelly Kemp (Livers and Lungs). Each performer contributed a couple of their own tracks and the rest were worked on collaboratively; at least, that’s what it says on the tin. Everyone lends a hand and makes appearances on the tracks throughout. Although each of the ‘solo’ tracks have their own distinct style, you can definitely feel the presence of the others and the rest of the musicians who have helped them out in the studio and along the way. It’s precisely that feeling of community that makes The Darlington Sessions so wonderful. Take Bidder’s ‘My Babylonian Wheelie Board’ – an ode to the simple joys of skateboarding. Without Pescod’s gruff rasp and Kemp’s soft tones, it’d feel as empty as the landscape it describes. Instead, it takes on the warmth of a summer evening on the South Coast. Great stuff.

Much like in their main projects, each one of these little gems has a story to tell. Most tracks are short – all less than three minutes – but that’s ample time for a brief snapshot into a troubled relationship, a confession of hometown blues or a rousing affirmation of punk rock camaraderie. There’s plenty of lyrics that resonate deep within your core and put a smile on your face at the same time, like Kemp’s charming line about becoming a scratchcard millionaire in ‘Homes and Castles’, and Pescod’s fantasies of smashing up H&M in ‘Hammerwhammer’. There’s a certain honesty to the whole affair; not one that’s missing in their full-time bands, but one that’s amplified through the really beautiful simplicity of the tracks at hand. There’s a distinctly British voice throughout too, one that’s often lacking but sorely needed in our alternative music scene today, but it wouldn’t be alienating to an international audience at all – these are songs about the kinds of things we all go through at some point.

Although each track is as well constructed as you’d expect, there’s a huge sense of play that runs abound throughout the sessions. Tracks like ‘Under The Table’ utilise dark and discordant rhythms and violins and pianos add extra, understated layers to really bring out the potential in songs such as ‘Bedtimes’ and ‘Earth Abides’. The Darlington Sessions are fun, born out of good times and good hangs, and it just so happens that good musicianship comes into to mix as well. If that’s not worth four of your English pounds, then I don’t know what is.

4.5 out of 5 high fives!

Big Dick – s/t

The funny thing is, seeing a band with a name like Big Dick instantly conjured pre-conceived sounds and notions in my head – that they were raw, hard-drinking and hard-partying; eschewing a sleazy amped-up sexuality and that for whatever reason they were most probably Australian. Okay, I was wrong about them being Australian; in fact Big Dick operate out of Ontario, Canada, but the rest of my pre-conceptions fit rather well with the dancey, sweat-drenched noise rock that this bass and drums duo specialize in. Obviously, any bass and drums duo will have to try very hard in order to distance themselves from the dirty, funked-up sex-punk of the emphatically brilliant Death From Above 1979, a hard feat to achieve when the only tools at your disposal are the same four-strings and drum kit. But Big Dick remain heavily indebted to them, hanging around amidst the no mans land between pastiche and homage with many tracks such as ‘Witchcraft’ containing hugely funky bass riffs that could easily have been pinched from a Death From Above B-side or any cut from You’re A Woman, I’m A Machine for that matter. But Big Dick are not simply second-rate copyists, although at times they certainly lean heavily in that direction. Running parallel to their furious funk is a strain of scuzzy and uncompromising noise, taking cues from 90’s underground acts who focused on creating the ugliest and most deprived music their instruments could handle. The lo-fi production leaves the whole record engulfed in an inviting layer of warm fuzz that is omnipresent on the record’s sonic peripherals. Tracks such as ‘Colours’, where the sludge is laid on thick, the riffs resolutely Neanderthal and the vocals shriek in such disregard for the throat that vocal chords are left in tatters, remain the standout excursions of the album. Other tracks such as ‘Mayday’ are driven by a relentless punk urgency, with the duo emanating all the hyperactive ferocity of ravenous coke-fiends, intent on hammering through the song as quick as their limbs can carry them so they can gain their next well deserved fix. The album is also far from a one-dimensional shriekathon or straight-up freak-out of relentless bass bashing and drum destroying. Whereas the band flirts tentatively with melody on some tracks, they drop their aggression totally on ‘Anti-social’ and allow a softer touch over every part of their sound. But they veer from the warpath only briefly, and the return to aurally destructive territory is swift and doesn’t let up again until the album is over.

Despite penning some genuinely thrilling, visceral and groove-laden songs, the similarity to Death From Above may be too overwhelming for many. On the other hand, the sonic territory that Death From Above exploded into has left a void and an underground clamouring for sweaty, exhilarating and dirty punk suitable for house parties and for providing the soundtrack to alcohol-induced vomiting. They may be brash and derivative of a number of easily pinpointed influences, but Big Dick are the perfect band to have playing in your front room as bodies fly and the police are knocking on the front door and shouting threats of arrest through the letterbox.

3.5 out of 5 high fives!