DREDG: catch without arms
(Produced by Terry Date)
God. Promo photos just ruin everything. Band as Actor. Band as James Dean retread. Band as Avatars of Cool. Hateful. But we’re learning. We got past with Interpol and we’ll get through it with the horribly named Dredg, who have the aforementioned Mr. Date do them up right for this, their second release. Now we don’t know about all of those big words that are thrown around in connection with them — art rock, experimental, Fugazi, Radiohead: label legitimizing lard designed to make it all go down smooth. But we DO know that Terry Date has made a record that doesn’t stumble over itself, doesn’t sound all compressed straight to hell, and doesn’t sound like their main aspiration in today’s life is to appear on TRL. With Paris Hilton.
KINSKI: Alpine Static
(Recorded by Randall Dunn, Produced by Kinski)
Kinski — two guitars, one bass, one drum kit, no talking — is hailed for deftly balancing quiet tension and sonic explosiveness within single compositions. Though Alpine Static does get around to quiet moments, and slightly more intent listens reveal subtle but complex changes just barely hidden in the mix, the majority of this release is marked by heavy, driving riffage, compressed enough to unify the tone without flattening or attacking the music to death. Result: big rock with smarts.
(Produced by Justin Broadrick)
Oh man. Man, oh, man, oh man. So mighty. Justin Broadrick’s name keeps appearing in the unlikeliest of places. If you knew him from Head of David or Godflesh, you’d have been surprised to find him later in Techno Animal, or in studio with Swiss studio great Alex Buess. And here he is again. Like Waldo. This record is what every heavy, heavy, heavy record SHOULD sound like. In fact if you thought you were producing heavy music, this primer on heaviosity should be on the top of your pops. Seriously. We can barely lift the CD. That’s how heavy.