Town Portal - 2012 Chronopoly

Band : Town Portal
Album : Chronopoly
Release Year : 2012
Genre : Progressive | Mathrock | Instrumental

Tracklist :

1. Chronoceros
2. Mad With Power
3. Samoan Maneuver
4. Entropia
5. Cool Face Doom Service
6. Infinite Improvidence
7. Uncle Genie
8. Coordinated Universal Time Stretch

Just about one year has passed since Town Portal captured and released the first fragment of their non-verbal musical universe in the shape of the EP Vacuum Horror, which was merely released digitally on a pay-what-you-want basis. In spite of humble circumstances, the record acquired a much less humble amount of attention, receiving praising reviews in leading Danish music magazines like Soundvenue (5/6), Devilution (4/5) and Geiger, who said that “Town Portal manages to utilize all the means of music and does so on an exceptionally high level. The energy of a band young at heart, and the notion of a feeling of no limits to their own prowess, shines through…”. Furthermore the Vacuum Horror EP was launched into the international blogosphere, and got the band touring around most of the European mainland.

Since then the constellation has been reduced from four men to three, forcing Town Portal to decompose and reconstruct approaches to sound and composition. These endeavors has resulted in the debut album Chronopoly (from Greek ‘chronos’ and English ‘monopoly’). Like its predecessor this record still offers instrumental rock-music with a sludgy dropped tune hook, which serves as counterweight to complex and playful compositions. With a tireless curiosity new ways are sought out, of combining tones in untraditional ways, with the traditional guitar-bass-drum constellation. On Chronopoly though, these well-known components mutate to their extremes, and form a release that is both more complex, melodic, direct, and boundary pushing than the predecessor; an exponential development in a well-governed welter of metal, shoegaze, indie, and progressive rock.

During this fall the album will be followed by a set of Danish shows, as well as Town Portal’s third international tour, that in the course of two weeks will take the band through Germany, France and Switzerland, in the company of American Feast of the Epiphany.

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Crane - 2011 Curious Robots And Nauseous Ears

Band : Crane

Album : Curious Robots And Nauseous Ears
Release Year : 2011

Genre : Mathrock | Progressive | Instrumental

Tracklist :

01 Tuck Your Calves In
02 Bottle of Olive Oil
03 Leukocyte
04 Animalarium
05 I Jump on This
06 Turret
07 Robot's Your Dad's Brother
08 Bleed Blue Blood
09 Robert's Your Dad's Brother - Mr. Seuss Remix

Take one spoonful of prog, a dash of alt and an equally monosyllabic Curt, and what have you got? A pretentious start to a biography (Crane). Rearing from South Cumbria, Crane blend genres that have been perfected by the bearded and the non-bearded for generations; a sort of King Crimson 90's dance band. Since forming in 2009, Crane have toured England in support of their widely received Turret EP and have been intravenously teasing crowds with tracks from the their forthcoming album “Curious Robots And Nauseous Ears” sincely, with sights on festival slots this year. With each member taking influence from different adolescent musical paths, the combined sound is that of a 9/4 Coolio or Biffy covering The Roots. Crane have an ever increasing popularity, primarily down to their passion to create new sounds, drawing from a vast expanse of generally unacquainted music, yet it's accessibility promises anyone with a working ear drum an audial workout...

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Pan - 2012 These are the things I love, and I want to share them with you

Band : Pan

Album : These are the things I love, and I want to share them with you

Release Year : 2012

Genre : Indie | Post-Rock | Instrumental

Tracklist :

01 Byoko
02 The Rhode Island Lucky Few
03 God
04 Joe Frazier
05 slow/steady
06 John from New York
07 The Things They Can’t Take Away
08 Mom and me versus you and Dad
09 Rudy (Wurlitzer)
10 Helen and Francis
11 Leave Your Body
12 Arkansas

PAN are an uplifting instrumental band who love to play happy and epic music. They’ve released their first e.p in March 2011 called “Post Rock is Not Dead.” They are also currently preparing to record a full length album that will be released in late February/early March titke “These are the things I love, and I want to share them with you.

Lead by a twin guitar onslaught and fortified by an airtight rhythm section, the band resists the urge to fill every moment with a barrage of notes, opting instead to explore tension and release to great effect, as Pan’s songs drift from epic passages of sublime beauty to crushing assaults of melodic intensity. And they’ve got the chops to match their formidable composition skills, which are complex but never condescending. You don’t need a degree in Advanced Music Theory to enjoy Pan. Two ears in good working order will do. Oh, and a hand for throwing goat. You’re gonna need it.

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If These Trees Could Talk - 2012 Red Forest

Band : If These Trees Could Talk

Album : Red Forest

Release Year : 2012

Genre : Post-Rock | Ambient | Instrumental

Tracklist :

01. Breath of Life
02. The First Fire
03. Barren Lands of the Modern Dinosaur
04. They Speak With Knives
05. The Gift of Two Rivers
06. Red Forest
07. The Aleutian Clouds
08. Left to Rust and Rot
09. When the Big Hand Buries the Twelve

This airy and spacey post-rock feel permeates the album even when one can easily draw connections to bands such as Russian Circles and Red Sparowes and their brand of heavier post-rock. The album flows naturally and one is never left feeling disjointed and no transitions are jarring. If Trees Could Talk have crafted an album that flows seamlessly from haunting melodies to soothing sonnets. The music sometimes feels like you’re summiting a mountain peak and breathing in the cool, virgin air while other times you feel like you are tumbling head over heels downriver, caught in the current. Both are exhilarating and euphoric. This album is not one that you can merely listen to, it must be experienced. You will find time passing that you don’t remember; so entranced were you with the music. This is helped along by the wonderful pacing of the album. Never are you left wishing the music was slower or faster, it is always exactly the right speed. The guitars flow over each other to create a sonic landscape that sounds huge. These songs just feel large. This album generates a feeling of great open spaces, of the world before us. This music is the soundtrack to exploration.

If you are looking for an album that is beautiful without being overbearing, tenacious without being overzealous or just something that will make you forget your problems, this is where you should stay. If one needs even more convincing just listen to the gorgeous melodies that are contained within “The Aleutian Clouds”. How these men transfer such elegance from their minds to their music is a mystery.

As the album fades and your journey draws to a close you may realize that the last fifty minutes or so slipped away from you. This album possess the ability to truly remove you from reality, a goal that many strive to achieve but never fully grasp.

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Gills - 2011 GILLS IS DEAD

Band : Gills

Album : GILLS IS DEAD

Release Year : 2011

Genre : Noise | Mathrock | Instrumental

 

Tracklist :

1.Tom's Song   
2.Chocolate Milk Champions 20XX!!!   
3.Troglodyte Euphoria   
4.Noam Chomsky is a Pretty Cool Guy   
5.Crust/No Crust   
6.High School for the Histrionic

Gills, a noisy math rock band, consists of Bernard Casserly, Tom Maher, and Jeremy Ross Smith. They released a six-song EP, entitled Gills is Dead, on anthillconglomerate, December 5, 2011. They do not have lyrics and vocals written for these songs; they hope that by sharing their music through the creative commons licenses that you can participate in exploring the strength of instrumentality to influence lyric writing and vocal style.

"This is a band that makes what I'd call instrumental math rock or post-hardcore. It is most certainly best heard loudly, for the quality of recording doesn't do any favors for mellow listening. Can get awfully close to instrumental metal with the guitar parts, not that there's anything wrong in that. These guys know how to make exciting and intense rock, perhaps just needing definition." - spacerockmountain

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Well, here's another update from the band!! If you really like their music and want a physical copy, they have a tape for $3.00, they are available at the anthillconglomerate bigcartel (anthillconglomerate.bigcartel.com).
Also they will be releasing a split with San Jose space-rock noise makers Breathing Patterns later in the spring, and i hope the band will drop the split here too hahah :D.

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The Pirate Ship Quintet - 2007 The Pirate Ship Quintet

Band : The Pirate Ship Quintet

Album : The Pirate Ship Quintet
Release Year : 2007

Genre : Post-Rock | Instrumental | Experimental

Tracklist :

01. Lost Science
02. I Kina Spiser Der Hund
03. Pirate Ship

"We are The Pirate Ship Quintet, based in Bristol, SouthWestEngland. We are five core members but have worked with numerous other musicians since our beginnings. Our Debut EP was released on Sound Devastation in 2007. Since then we have written and rough-recorded a large number of songs which, for various reasons, we have never released. We have made a lot of unfulfilled promises about live appearances and releasing a new record. Towards the end of 2009 we began working on new pieces with the intention of putting those things right. Tick tock…"

The Pirate Ship Quintet is a post-rock septet, originally from Bournemouth and Bristol. Their cellist is a full time member of one of Britain’s most commended symphony orchestras as well as being a stand in for the famous London Symphony Orchestra. The hugely praised debut, self-titled EP, mastered by Cult of Luna’s Magnus Lindberg, was released in April 2007.

The band is currently working on their follow up record which is likely to be a full length album. After a year of living apart in various English cities, the boys have left their previous jobs and regrouped in Bristol. The writing and rough recording is taking place in an old chapel overlooking the Severn Bridge. Rumored appearances on the record include Pete Simonelli of Enablers and Duncan Attwood of blueneck.

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Overhead, The Albatross - 2011 Mr. Dog

Band : Overhead, The Albatross

Album : Mr. Dog
Release Year : 2011

Genre : Post-Rock | Instrumental

Tracklist :

01 Pigonometry
02 Flubirds

It’s a new two-track EP from Overhead, The Albatross (the comma is important if you are searching for them on Breaking Tunes). Following on from January’s free Lads With Sticks EP, Mr Dog continues the pulsating heavy-hitting instrumental rock. ‘Pigonometry’ kicks off very much in the style of the Redneck Manifesto – but is there any Irish instrumental band who can claim not to be influenced by the Rednecks? I mean, it’s hardly a bad sound. There’s lots of exciting breaks in the song as well, leading up to a breakdown followed by an aural assault. ‘Flubirds’, meanwhile, clocks in at eight minutes and involves a thrilling change in direction that belies the band’s youth. There’s absolutely loads to wrap your ears around. Two free EPs with six stunning tracks altogether? By all accounts, a great live act too? What more do you want from Overhead, The Albatross? A single in aid of charity!?!? Well, you’re in luck because that’s coming in November.

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Brontide - 2011 'Sans Souci'

Band : Brontide

Album : Sans Souci

Release Year : 2011

Genre : Post-Rock | Instrumental | Experimental

Tracklist : 

01. Matador
02. Limehouse Ink
03. Jura
04. Arioso
05. Bob Mundon
06. Bespoke
07. Tenbytwobyfour
08. Sans Souci

While undoubtedly influenced to some extent by the mightily impressive instrumental racket made by stateside trio Russian Circles, this British three-piece of vocal-less rock sorts go beyond so many post-rock-meets-metal combos by delivering a sound that is as tight and fine-tuned as it is groove-laden and dance-friendly. It’s one thing to play around with chords and fills and call yourselves an instrumental rock band; quite another, though, to exceed on-paper expectations and nail a debut album that is every bit as nod-along appealing as the best pop to have emerged in time for the summer season.

It’s by keeping proceedings accessible that Brontide shine amongst a slew of could-be sound-alikes; where so many mix meandering guitar work with clever-clever percussion, actively encouraging the application of throttling sub-genres like math-rock, this lot are making music for the everyman in a way that sells their amazing abilities without the musicians ever coming over as indulgent. Opener Matador is the kind of track that an absolute beginner to this sort of fare might mistake as Battles from afar – repetition in the fret work, casting hypnotic patterns, while the man at the kit keeps things buoyant with a series of rim-stinging micro-beats and sharp cymbal play. But creep closer and it breaks free of any pigeonhole by bursting into dramatic life with crunching, everything-at-11 riffs and sticks that don’t just bounce off the snares but threaten to burst them apart. Still, though, there’s a hook-you-in refrain at the centre of the piece, from which the whites of your eyes don’t dare dart from.

Granted, the formula doesn’t truly advance from this point – but when a band has clearly worked long and hard at perfecting an approach, there’s little need to exhibit any kind of jack-of-all-trades angle. Jura is a lighter, almost Tim Kinsella-recalling affair than the preceding Limehouse Ink, which goes for the throat with all the intensity of a hardcore-punk band (that a vocalist isn’t missed is just another example of how expertly realised this controlled assault is); Tenbytwobyfour, meanwhile, crams what seems to be three or four tracks into one, its shifts from tack to tack marvellously managed, the seams conspicuous by their absence. The drumming throughout is exemplary – anyone familiar with the work of William Bowerman (Google away, why don’t you) should expect this – but never wholly dominant: this is a three-piece where each member’s contributions are as lively in the mix as anyone else’s.

The title of this record translates from French as "without worries", and its makers have managed to convey that sense perfectly: this is music made without agendas, without an eye on meeting sales targets or appealing to particular demographics. As a result its potential is massive, the skill of its makers transcending any trending blog scenes or hot-right-now niches. -BBC

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Overhead, The Albatross - 2011 Lads with Sticks

Band : Overhead, The Albatross

Album : Lads with Sticks
Release Year : 2011

Genre : Post-Rock | Instrumental

Tracklist :

01. Jonah
02. Forgive Me Not
03. Liam Neeson
04. Footprints In The Blood Soaked Snow

More instrumental rock from Ireland’s shores here. The band is Overhead, The Albatross and surprisingly, The Richter Collective is nowhere in sight. The debut EP was released on Bandcamp. Entitled Lads With Sticks, the four tracks sound like Sigur Ros with added vigour. Indeed, for a good portion of opening track ‘Jonah’, the Dublin four-piece do a very good impression of the the Scandinavians. Then at the three minute mark they up the ante. Things don’t get quite as heavy as And So I Watch You From Afar’s heaviest moments such as ‘Clench Fists…‘ but think of ‘Start A Band‘ and ‘The Voiceless‘ and you get a bit closer to where Overhead, The Albatross are coming from. -thepointofeverything 

 

 

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Chinese Cookie Poets - 2011 Dragonfly Catchers and Yellow Dog

Band : Chinese Cookie Poets

Album : Dragonfly Catchers and Yellow Dog

Release Year : 2011

Genre : Instrumental | Progressive | Noise | Freestyle | Jazz

Tracklist :

01 Sunaru Daramu
02 Bone Catcher
03 Perro Amarillo
04 Vuelta Abajo (Tony Williams)

Yeah, they're back!! After the self-title EP now they're back with another EP entitled Dragonfly Catchers and Yellow Dog. More noise, more progressive, and more experimental of course, with ambient atmosphere sometimes. They use a chinese trumpet, by the way, what is the name of chinese trumpet?? hahahah... I don't know this is their studio album or they recorded it live, cause there a claping in the end of each songs. Well, you should get it cause this is awesone!! Enjoy!!

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We Followed Tigers - 2005 So Much For Summer

Band : We Followed Tigers

Album : and then we were killed

Release Year : 2005

Genre : Post-Rock | Mathrock | Instrumental | Experimental

Tracklist :

1 I Died in an Eighties Car Crash
2 The Ghost of Allen Copeland
3 Jinks

In the early summer of 2004, WFT got back together and created “So Much For Summer”. The first two tracks are by far the most energetic songs the band has ever composed, with the third and final song on the EP a slower, melodic tribute to Durkan’s father who had died that year. After the release, Lippi went back to school, and We Followed Tigers was again separated.

Both Valentino and Durkan say the band “wouldn’t be the same” without Lippi, and will therefor not continue as “We Followed Tigers”. However, Lippi has never stated he would not continue the project, and it remains to be seen if they will pick up where they left off once he returns from school.

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We Followed Tigers - 2004 and then we were killed

Band : We Followed Tigers

Album : and then we were killed

Release Year : 2004

Genre : Post-Rock | Mathrock | Instrumental | Experimental

Tracklist :

1 I Love the Smell of an Autumn Forest Fire
2 Ronnie Beck, Former Child Star
3 The Coxen Switcheroo
4 Forest Skyline/Lost in It
5 The People From the Sky Said They’d Return.

We Followed Tigers is an instrumental post-rock/post-hardcore trio from Novato, California. The members are Shaun Durkan (guitar), Joe Lippi (bass), and Taylor Valentino (drummer). To date, they have released two independent EP’s, “And Then We Were Killed (2003)” and “So Much For Summer (2004)”.

Durkan and Valentino began playing music together when they performed for their school talent show in fourth grade. Over the next 10 years they developed an intense appreciation for music, and continued to progress their talents.

Lippi joined with the other two in 2003 when Valentino and Durkan spread the word that they were looking for a bassist. Together, they began jamming and experimenting, and soon after they had their first release, “And Then We Were Killed”.

After playing locally for friends and family to enjoy, We Followed Tigers was forced to split. Lippi left for College on the East Coast, and Valentino and Durkan were in Southern California attending school.

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Heirs - 2009 Alchera

Band : Heirs

Album : Alchera
Release Year : 2009
Genre : Shoegaze | Post-Rock | Instrumental | Experimental

Tracklist : 

1. Plague Asphyx
2. Mockery
3. Cabal
4. Mandril
5. The White Swell
6. Russia

Rock in its whole, has become diluted with redundant jargon, repetitive structure, and lackluster rhetoric. You take the heart of the rebellious genre of punk, throw in the inspiration of post-rock, add a little grunge and metal and you have Heirs. This is music. This  is rock.

The opening track "Plague Asphyx" opens with an actual introduction, which turns out to be both surprising and stimulating. From the start, the mastery of the album has found a balance that actually allows all the instruments to be heard in just the right way. Allowing the guitars to become prominent at buildups, die back down, allow the drums to start its own part of the story, and so on. "Mockery" illustrates this perfectly, and it has also become apparent that the similarities to Pelican are very hard to ignore.

Darker moods are usually implied with music related to post-rock. "Cabal" seems to take the mood even further, the contrast between the major keys and moving them into the minors make it that much more gloomy and enthralling. The mood almost seems to take on an aura of Josh Graham and his work, knowing how to bend the music around an idea and keep the balance of the sound at the same time. The buildup as heard in "Mandril" is immense, each second moving heavier and more resilient layers on top of the already existing melodies.

"The White Swell" being an aptly named track, presents with beautifully layered harmonies. The tracks moves off on and on into a more ambient category, which brings in a unique element. Adding in ambiance and making it still gravitate your attention is a hard skill to accomplish. "Russia" the finale track begins with an audial explosion and dies right back down into the somber ambiance. As the track builds itself back up, it does a superb job of reintroducing the introduction, building through the heart of the album, and clearing its way for the end. As it finally dies down, it leaves a sort of remiss craving for more.

In the end, any sort of summarization could not do this band's debut justice. Very well crafted and excellent balance; again, this is music. This is rock.

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Yndi Halda - 2006 Enjoy Eternal Bliss

Band : Yndi Halda

Album : Enjoy Eternal Bliss

Release Year : 2006

Genre : Post-Rock | Instrumental | Ambient | Experimental

Tracklist :

1. Dash And Blast
2. We Flood Empty Lakes
3. A Song For Starlit Beaches
4. Illuminate My Heart, My Darling!

The usual follows as every other post-rock band begins an album…humming, sounds of silence and isolation; as it slowly rises up, you realize the grand intro is coming, yet you still don’t fully comprehend it. This is what ‘Enjoy Eternal Bliss’ feels like. The front runners of any genre always set a mark, later to be heralded as “one of the best of all-time or groundbreaking”. Still, Godspeed You! Black Emperor, Mogwai, Sigur Ros, etc. - anything that you can say is amazing or has reached pure bliss in post-rock - doesn’t prepare you for the sprawling violin intro that drives through like a train with low percussion dancing away. Then, at the exact moment when you want it to break through, it explodes and the listener feels enthralled in the music. It’s special, really.

Yndi Halda hold their own and reach the pinnacle of perfection. ‘Enjoy Eternal Bliss’ is like the album of anyone’s life – your hopes, your fears, your accomplishments, your regrets, it is what life becomes. Once the sprawling violins enter your ears for mere minutes the drumming starts to pick up to carry it through even further. “Dash and Blast” really feels as if you are running through, with every step you take you gain momentum and velocity until you’re out of it, you can’t go any further. Almost at the halfway mark of the intro song this is what it feels like is ensuing. Your low, the end, after your glorious brush of speed and distance you begin to rebuild, seclude yourself to re-organize. You start to feel the lifting of your mind, body, and the awareness of the things around you as you head toward that goal you had in mind, the very thing you’ve been dreaming about for ages. The 2nd half of “Dash and Blast” leads me toward that sensation. And as you realize your dream you truly are in your glory, choirs of people sing and celebrate with you as you burst with joy – they laugh, cry, sing, enjoy the your success of what is to be your dreams.

The aftermath, what can I do…what should I do? I’ve reached my pinnacle I can’t seem to find my place, can I top what I’ve accomplished or is it as good as it gets? “We Flood Empty Lakes” has a sorrowful feel that the violins invoke in the listener. As if you are stranded, as the percussion picks up and the violins keep with the pace you fall deeper in your solitude and misery. You can’t just lie down and die can you? As you pick yourself up and battle through those doubts and fears, push through those uncertainties that are nagging at you the beats gradually picks up. Then nothingness is heard and as the percussion keys in at the 8 minute mark, the xylophone brings you closer to your dreams. You can taste it, it’s not bitter, but sweet and once you’ve reached it you understand how beautiful it is, that it is a truly wonderful feeling. This is what the ending of “We Flood Empty Lakes” feels like, truly epic, truly one of the greatest stop-go moments in any track of post-rock.

You can finally relax and see it through. There aren’t any worries of any kind in your head. “A Song For Starlit Beaches” is what purity feels like. As you go through the motions that you call your life, you can’t help but feel the things you have done and dwell on the past. The things you always wanted to do sting sorrowfully in your body, but your accomplishments bring joy. “A Song For Starlit Beaches” does have a grand rising like previous songs, but it feels truer, more wholesome, and not spontaneous – not to say that the other crescendos were meaningless, but in this song it just feels appropriate. The closer "Illuminate My Heart, My Darling!" is the culmination of your journey. Yndi Halda’s ‘Enjoy Eternal Bliss’ can be likened to many things - relationships, life, war, a journey - and it’s as beautiful anything you’ll ever hear and more meaningful than most.

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This Will Destroy You - 2011 Tunnel Blanket

Band : This Will Destroy You

Album : Tunnel Blanket

Release Year : 2011

Genre : Post-Rock | Ambient | Instrumental | Experimental

Tracklist :

1. Little Smoke
2. Glass Realms
3. Communal Blood
4. Reprise
5. Killed the Lord, Left for the New World
6. Osario
7. Black Dunes
8. Powdered Hand

This Will Destroy You was formed by guitarists Chris King and Jeremy Galindo, bassist Raymond Brown and drummer Andrew Miller in San Marcos, Texas, in 2005. They had met through mutual friends, and played together in various different bands throughout high school, before the line-up was finalised by around 2002. Early iterations of the band experimented with vocals, sung by Galindo, but after recording some tracks they decided the results were “awful” and didn’t fit in with the rest of their music. The band then tried writing different tracks, one of which was instrumental.

Tunnel Blanket delivers the epic-in-scope soundscapes that followers of its makers’ previous recordings are accustomed to, but presents them in new lights – where once the sun shone down bright upon immediate tropes and traits, now their work is better suited to distant starlight, casting changeable shadows across vistas of inspired, ambitious amplification. This is not an album to pick through in search of bold hooks and instant melodies. It is an ever-shifting, always moving work, which seems to evolve before the listener – spidery guitar lines feeling their way forth like vines scrambling up trunks in time-lapse photography.

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Shit Happiness - 2011 Chords EP

Band : Shit Happiness

Album : Chords EP

Release Year : 2010

Genre : Sludge / Instrumental / Experimental

Tracklist :

 1.A
2.B (talks edit)
3.C

SHIT HAPPINESS - a trio from the Volga city of Samara. Ghosh (drums), Dos (guitar), and Ghastly (bass) play together since August 2008. About me humbly say: "We - the young trio ... we love the American underground scene 90" (on myspace-page list of influences including Helmet, Unsane, Nirvana and Sonic Youth).
I must say that by today's two years in the same line-up, in the Russian underground, but still far from the capital's hangouts - is itself an achievement. And when you consider that during this time recorded two EP, and that, despite attempts by combine their music with vocals, the group continues to adhere to the chosen aesthetic concept - it's almost a phenomenon.
Their aesthetic concept - is an instrumental heavy, with vein riffazhom groovy and excellent dynamics. In terms of stylistic identification - a hybrid of doom metal and Math rock with elements of noise experimentalism. Guys know how to play and clearly understand what they do. Music is not only highly mobile but also wonderfully flexible.

Listening to their second EP "Chords", I catch myself thinking that the trio is very difficult even when the need to reformat the quartet. If the fourth member is the vocalist, the numbers SHIT HAPPINESS easily become a "manna from heaven" for "sladzherov" or "stounarey" (depending on the vocal mannerisms), and if the trio will join, for example, a saxophonist - we get an interesting jazz-core, strengthen experimental texture moment - and will be noise-core, etc. But even in its original form, all three numbers on MCD - very good. Unlike many other demo I saw in this record a great potential and prospect for development.
"Chords" Free on-line since 24 January 2011. Recommended to fans of doom, sludge, Stoner, Math-rock, post-hardcore and other heavy-extremality. 

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The Redneck Manifesto - 2010 Friendship

Band : Friendship

Album : The Redneck Manifesto

Release Year : 2010

Genre : Mathrock / Post-Rock / Instrumental

Tracklist :

01. Black Apple
02. Smile More
03. Drum Drum
04. Little Nose
05. Tomb of the Dudes
06. Hex
07. Rubber Up
08. Weird Waters
09. Click
10. Cloud Beard

The Redneck Manifesto formed in August 1998 as a four piece comprising of members of several prominent Dublin bands - Niall Byrne came from Jackbeast, Richie Egan from Black Belt Jones and Matthew Bolger from The Waltons. Mervyn Craig came from the Dundalk band Hylton Weir. Neil O'Connor would join the band in 2003 coming from the Connect 4 Orchestra. The band first started playing gigs across Dublin and soon released a number of 7" singles on their own Greyslate label; as well as a split 7" released on Road Relish.

Friendship is the fourth album by Dublin-based instrumental rock band The Redneck Manifesto. Released on 26 March 2010, it was the band's first full-length in six years, and their first record since signing to Richter Collective. To promote Friendship, tracks "Black Apple" and "Smile More" were available to download on Nialler9 and Thumped respectively. Well, enjoy the full here, and don't forget to support the band!

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Chinese Cookie Poets - 2010 Chinese Cookie Poets (EP)

Band : Chinese Cookie Poets

Album : Chinese Cookie Poets (EP)

Release Year : 2010

Genre : Instrumental / Progressive / Noise / Freestyle / Jazz

Tracklist :

1.Bone Catcher   
2.How to Clean Storage Pain
3.Dissident Lounge   
4.Flat Tire Bikes
5.Arnold´s Typewriter   
6.Live at Audio Rebel 27-07-10

Chinese Poets Cookie is an instrumental trio formed in mid 2010 by Marcos Campello - guitar and violin / Philip Zenicola - electric bass and acoustic / Renato Godoy - Drums.
Presented in two formats: acoustic and electric - that despite having radically different aesthetic, somehow keep the sound CCP. In their concerts, sometimes improvised, sometimes running arrangements hermetically sealed from one another in unexpected ways.
For those hungry for comparisons, CCP crosses many styles compounds and hyped acts as Noise-Rock, Nu-Funk, Prov-Free, No-Wave, Out-Cry, Free-Jazz, Latin, Punk, Proto-Samba ...
Some claim that the trio's sound is extremely intense and visceral, sometimes elegant, while others classify it as nonsense-free, aggressive almost commonplace, a few can still find grace.
They play their own material, or Tony Williams, Tom Waits, Eric Dolphy, Marc Ribot, John Zorn…
In November 2010 they released their first EP under the label Multifoco.

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Pneu - 2008 Pince Monseigneur

Band : Pneu

Album : Pince Monseigneur
Release Year : 2008
Genre : Mathrock / Noise / Instrumental

Tracklist : 

1 Plongée en a
2 Matophore
3 A coup de couteau denté
4 Avant gauche
5 Tu t'blesses
6 Deux brouettes
7 Tailleur
8 Entremet
9 Neige
10 Neuf

Pneu are a two piece math come post hardcore rock from France. with the basis of energetic drums and looping guitar solos. instrumental is their key genre with the odd chant here and there. 

It is easy to bring other training tire guitar drums but tire goes much further and demonstrated a remarkable maturity for a young group while also providing energy for an amazing duo.

The band plays often in the middle of the room without being wired for sound, one side Lightening Bolt is undoubtedly one of their influences.

The album cover is hand made in the printing workshop of the guitarist, the Workshop of Time dryer. A limited edition with a second cloth pouch sewn by hand will be available at the concerts.

Jerome, the guitarist also plays in Apollo Kreed and JB, the drummer, plays in Whale, Lady Bird, Magic and barebecue Akousmik.

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Loose Lips Sink Ships - 2009 Loose Lips Sink Ships 7"

Band : Loose Lips Sink Ships

Album : Loose Lips Sink Ships 7"

Release Year : 2009

Genre : Mathrock / Instrumental / Experimental

Tracklist :

01. Coach Kukoc's Croatian Couscous
02. Pentwater
03. Duck Funk

Loose Lips Sink Ships is a band from DeKalb, Illinois that formed in early 2007. Loose Lip’s music is often labeled as “math rock” and listening to them has been described as “trying to cram a bunch of acorns into a sock filled with Jello”.

Matthew Frank, Conor Mackey and Steve Marek began demoing material in the spring of 2007 and recorded a demo that was self-released and limited to 350 hand-numbered copies. Three drummers later, Jacob Boulay was introduced into the fold. Loose Lips spent the beginning of 2008 writing material for their first album “Puptent”, released in May 2008 (4 handmade pressings, limited to a total of 300 copies). Two months later Loose Lips went into the studio again to record “The Contemporary Issues of Celibacy”, a split with “El Pin Meldou”, released in September 2008 (3 handmade pressings, limited to a total of 350 copies). Within this time, shows opening for “By The End of Tonight”, “Maps and Atlases”, “Native”, “Arms and Sleepers”, “High On Fire”, “Don Caballero”, “The Appleseed Cast”, “The Fall of Troy”, “Dianogah” and “Unwed Sailor” had furthered their exposure throughout the midwest.

In December 2008, Loose Lips embarked on their first tour in support of the aforementioned split. On this tour, talks of releasing some material on Fredonia, New York’s “Whaleplane Records” began. They again toured the east coast in the Spring of 2009 to play out some new material. These new songs were recorded in April 2009 and were pressed for Loose Lips self-titled 7”, released July 2009 (300 hand-numbered copies in green, pink and grey/confetti). For the release of this record, a show was held and as the co-headlining act, marked the first show for Victor Villarreal in just under a decade. This was the first of several musical collaborations with Victor. For two weeks Loose Lips toured down the east coast and played with a number of likeminded bands in their respective DIY circuits “Caddywhompus”, “Shapes Like Dinosaurs”, “Red Sea”, “The Bronzed Chorus”, “Buff Clout”, “The Climates” and “Pisces At The Animal Fair”.

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