Author Archive
By staff
Wednesday April 26, 2017
Jay Gambit is the driving force behind L.A.-based experimental noise/metal/everything project Crowhurst, and feverishly produces noise music as a solo artist. He has dozens of albums to his name, and has collaborated with the likes of Today is the Day, Tanner Garza, The Body, Oxbow, Black Leather Jesus, and countless others. Last year, I reviewed II, an album featuring members of Ævangelist and Caïna. The third album in that instalment features “guest appearances by King Dude, Tony Wakeford (Death In June, Sol Invictus), Tara Vanflower (Lycia), Justin Pearson (The Locust/Head Wound City) and Ethan Lee McCarthy (Primitive Man),” and is slated for next year.
I felt compelled to reach out to Jay for a few words, so I did, and here’s the result. We discussed a bit of the noise scene, his influences, mental health, and what we can expect from Crowhurst in the future, or in the past when combing through his discography.
Chicago, 2016
Tristan: Artists you’ve collaborated/played with include Tanner Garza, The Body, Water Torture, Steve Austin, and plenty more. Any stories come to mind that you’d like to share? Humorous anecdotes? Heart-to-hearts?
Jay: I think everyone you’ve mentioned have all been super nice. Steve is a great dude and I think Tanner doesn’t get nearly as much credit as he deserves. He’s one of the better underground ambient artists of the past decade.
Tanner Garza’s “Give Up the Ghost” with Vomir got a bit of a burst in popularity on…
By staff
Friday March 31, 2017
Greetings!
With all of our March Madness brackets sufficiently busted (and my Red Wings slowly morphing back to the Dead Wings as their 25-year playoff streak’s been snapped and they pivot to the Little Caesars Pizza Pizzarena next season), we look forward to one of the best days of the year:
Rather than building a diamond in corn fields, though, we’ve constructed our first quarterly mixtape of the year. At 28 songs deep this time out, it’s also the first opportunity for some of the new staffers (and long-lost friends) from our crew to flex their blurb-writing muscles on the blog this year.
In cases where a track isn’t on Spotify, we’ve included either an embedded YouTube clip or a link to the artist’s Bandcamp and/or Soundcloud.
We hope you enjoy. Next edition will be in Q2. See you then and enjoy April-June!
Carly Rae Jepsen & Lil Yachty – “It Takes Two” (prod. Mike-WiLL Made-It)
Single
Listen if you like: pop music, artistic seven-car pileups (in a good way), capitalism, anti-capitalism (?)
“It Takes Two” is effectively the musical equivalent to an unfortunately-patterned sweater: gaudy, incomprehensible, sold for $29.99 at your local Target (there’s the Target reference quotient for this blurb filled!), and only worn well by people whose aesthetic sensibilities fall so firmly outside traditional fashion standards that it turns out to look pretty fuckin’ great on them. Nothing about this song should work, until you recognize that the one common thread binding…
By staff
Saturday March 11, 2017
I was going to say that I’m not even sure why I’m writing this, but I’d being lying. After all, if you’re a metal fan with an internet connection, you’d need to have been sleeping under a rock not to have heard of Wintersun’s crowdfunding project, as well as all the reasons why you should hang onto your cash. The truth is that I just love playing Devil’s Advocate; also, I really want to hear Time II.
So, if Jari and co. are to be believed, the proceeds are going towards building a sauna private studio – dubbed the “Wintersun Headquarters” – which will in turn benefit their fans, giving them with new material graced with ideal production values, released with regularity. Now, if that’s all you’ve been told, it doesn’t sound like too bad an idea, unless you’re categorically opposed to crowdfunding, in which case I’m sure I’m going to infuriate you. Of course, the objections aren’t without merit; Jari hasn’t exactly been considerate towards his rather dedicated fans. Even I noted after the release of Time I that his behaviour “practically reduced his fans to mules eyeing a dangling carrot” – that was five years ago. Time II was due at some point in 2014, and now we’re approaching the twilight of the decade without any concrete word on when we can actually expect it, if at all. If you’re a Wintersun fan, casual or devout, it’s hard to interpret…
By staff
Thursday August 25, 2016
For those unfamiliar, Piero Scaruffi is a well-known (and, to some extent, notorious) figure in online music journalism. He runs an eponymous website/database, scaruffi.com, and his opinions regularly stir up controversy among musicians, music labels, and fans. His infamous Beatles article is still routinely copypasta’d (read: here) and gained him a spike in popularity amidst the music community for being a well-argued (albeit often argued against) analysis of their career, and a contrarian stance to the music community in general.
But, beyond that, his database is expansive, covering 7000+ artists, as well as commentary on politics, science, travel, cinema, technology, and multiple lengthy essays pertaining to the histories of music genres.
Scaruffi is a significant figure for me because, back in, about, 2006, I was just getting interested in music journalism, and stumbled upon him via discussions on listology.com, where he is/was regarded pretty highly by users, many of whom would make “favourite album lists” that more or less copied his choices. Of any singular person, his opinions did more to influence my developing interest in music, and, in some indirect way, probably inspired me to start reviewing. I recently contacted him and he agreed to answer a handful of questions.
Tristan: To what extent is musical history important in analyzing music? Can a reviewer cover a genre alien to him/her and deliver a worthwhile think piece? This is a relatively general question, but feel free to go on whatever tangent you’d like.
Piero: If you are “analyzing” music, then…
By staff
Tuesday August 23, 2016
Greetings fellow users! As some of you are aware, I’ve started a little user review competition in which the winner receives an automatic feature, as well as a “user spotlight” session. It basically consists of an informal chat in which I ask some personal questions as well as some silly ones.
This week, Mort. won with his review for Crystal Castles’ newest, Amnesty (I) (read: here)
Excerpt: “Overall though “Amnesty (I)” is mostly devoid of warmth. It’s also weirdly industrial in its execution at points, the drums packing more weight and the synth more intense, yet at the same time lacking the robotic feel a lot of industrial has. It might be cold and harsh but it still feels very human. It’s a good example of how Crystal Castles can nail down the darkly serious style they were so obviously attempting on “(III)” without sacrificing momentum and the ecstatic energy they’re known for. It may not be a total curveball in the band’s discography, but it is the most cohesive and focused Crystal Castles have ever sounded which is saying something for such a scatterbrained band.”
I had the… dubious honour of sitting down with Dean (aka Mort.) and asking the tough questions.
Tristan: I sent you some pics earlier. What’d you think? Yay / nay?
Mort.: what pics man??
Next question. This is totally off the record btw: thoughts on SowingSeason? I think he’s doing a pretty bang-up job eh.
He is although I’m pretty confused as…
By staff
Saturday August 20, 2016
Greetings fellow users! As some of you are aware, I’ve started a little user review competition in which the winner receives an automatic feature, as well as a “user spotlight” session. It basically consists of an informal chat in which I ask some personal questions as well as some silly ones.
This week, the winner of this titanic battle was none other than Archelirion aka. AaronIsCrunchy aka. Aaron Chidwick. He was chosen for his neat little review of Gatecreeper’s new album, Sonoran Deprivation – do check it out, if it’s not too much trouble.
Arch’s file photo – might be outdated.
Jac: Alright, I’m terrible at breaking the ice so I’m just gonna jump straight into it. You’re the first non-Aussie to win this review competition in about 5 weeks. How does it feel to have finally dethroned us
Arch: Didn’t realise there were so many Australians on Sput to be honest, let alone writers! Feels good though, gotta return some kinda title to Britain.
Anyways, tell us about the man behind the Archelirion moniker (also, is it pronounced “Arch” or “Arc”?); who is Aaron Chidwick and what makes him tick?
It’s kinda ‘Arc’ as the ‘ch’ is similar to that in ‘loch’. I could tell you the IPA for it, but that’d be pretty fucking lame. But anyway, I’m a 21 year old history student currently living in Portsmouth, UK. I have an unhealthy interest in language, enjoy shit telly and love…
By staff
Friday August 12, 2016
Greetings fellow users! As some of you are aware, I’ve started a little user review competition in which the winner receives an automatic feature, as well as a “user spotlight” session. It basically consists of an informal chat in which I ask some personal questions as well as some silly ones.
This week, Sputnik mainstay Michael Snoxall won a hard-fought user review challenge with his coverage of Eternal Champion’s The Armor of Ire (here).
Foreword by Tristan Jones:
When I was in Boy Scouts as a young buck, I remember an explanation of the Scouts’ custom of shaking with the left hand, as opposed to the right. It was meant to be a sign of trust, lowering your shield in order to greet your fellow warrior. That’s a pretty good analogy of Sputnik ex-staff Eli K. (Xenophanes) and user Michael Snoxall (OvDeath) dropping their guards, allowing an exchange of deep-rooted personal musings as brethren. Honoured, I acted as the mediator, and the instigation between myself and Eli went something along these lines:
(Dramatization)
Tristan: Hey Eli would u like to do an interview for this week’s review challenge? it’ll be a real wing dinger
Eli: tbh you couldn’t pay me enough. which, incidentally, would be zero anyway.
Tristan: *at this point I typed something about likening Eli to Leonidas from the film “300” due to his rather striking beard but then I caught onto Eli’s aloof demeanour and decided against that, so I hit the DELETE button…
By staff
Saturday August 6, 2016
Greetings fellow users! As some of you are aware, I’ve started a little user review competition in which the winner receives an automatic feature, as well as a “user spotlight” session. It basically consists of an informal chat in which I ask some personal questions as well as some silly ones.
From the review: “Unlike any typical concept album, How To Be Human Being doesn’t stick to a single story or theme. In fact, it does the exact opposite. A song about a mother lamenting her son’s young death and all the memories he could’ve made later in life is followed by a track dedicated to lazy stoners. But this lack of solidarity answers a question very similar to the album’s title: what’s it like to be a human being? It’s funny, sad, sexy, and gleeful. It’s filled with mental illness, social awkwardness, standing in lines, and cookie coasters. It’s all of these things at the same time. This is why How To Be A Human Being might understand life more than most albums in 2016. Life isn’t all pain and suffering, nor is it always a blessing. It’s a mixed bag, and you’re going to have to deal with the good and the bad.”
…
By staff
Monday May 2, 2016
Last Saturday, on the 23rd of April, I got to sit down with Robert (drums) and Adrian (guitar) from the Polish sludge/stoner metal band Sunnata, ahead of their gig at Tallinn’s rockclub Rockstar’s, which in a way was ironic, because rockstars are exactly the kind of people who the guys in Sunnata don’t relate to. Being the down to earth dudes who don’t feel like they’re above anyone, even on stage, they happily answered any and all questions that I had, even if they reiterated that they were way too sober for some of the more philosophical things I threw at them. Tallinn was one of the stops on Sunnata’s road while promoting their brand new album Zorya, which came out on April 11th – a record that the band calls 100% Sunnata. What does that exactly mean? Well, that you must hear for yourself, but Robert and Adrian did give a comprehensive look into the workings of the band, while letting me peel behind their personalities as well. At the end of the interview, you’ll notice Adrian kind of disappearing from the conversation. It’s okay, nothing happened to him, and he didn’t quit on me either, he just had to go and dispense the typical problem that comes along when you enjoy a few bottles of beer. Mind over body is something that we all should strive for, but when your body reminds you that you need to take a massive leak, you just have to…
By staff
Wednesday April 13, 2016
Talking with Mechina’s Joe Tiberi is always entertaining, because not only are interviews with him basically late night brodowns, but there are no time constraints, no PR people or next interviewers interfering. Time is never of utmost importance with Joe, which is suitable for a guy whose band is still woving together a colossal space epic that is nowhere near completion, and also ironic because the guys in Mechina seem to run into time-related freakouts year after year due to Tiberi’s self-set, merciless schedule, where he will release an album on the first of January, with a lengthy single bridging the wait in summertime. When we had talked for about three hours with Joe, and I had just declared that I had asked all the questions I had written down for the interview (and more), he said that hey, he’s got another 15 minutes before he has to go anywhere, so naturally we talked on for about another 45 about both important stuff (for how long could Mechina really go on for, or how, being a sound engineer, Joe has worked with hip-hop artists, about which not many people knew of) and thoroughly unimportant stuff (my aspiring lyric-writing, for example, or how robots could be a viable alternative to pets). So how did 2015 turn out for the Chicago-based space lore weavers? Where did Mechina go to and where do they plan to go to? Read on to find out.
First of all, I…
By staff
Wednesday March 30, 2016
Wednesday, March 30th, 2016
Considering whatever thought processes might go into choosing a single, “End” is an interesting pick for Philly post-punk act Psychic Teens. The closer appropriately feels conclusive and reflective, as though we’re given the epilogue in advance. Sonically, Psychic Teens blend both jagged and anthemic riffs under a blanket of shoegaze, with vocalist Larry Ragone delivering relatable-yet-kinda-vague lyrics, acting as support for the instrumentation. The band’s MO has always been pretty modest, opting for energy and functionality in their atmosphere rather than elaborate, insistent story-telling; fortunately, if “End” is any indication, their upcoming LP will evoke a rewarding story arch, raw fun, and any combination thereof.
Nerve is available for pre-order from SRA Records, and releases on May 13.
By staff
Tuesday March 29, 2016
Tuesday, March 29th, 2016
Ohioan drone metal band Drose create helpless, introspective music that balances muggy atmospheres with strategic pauses in energy. Vocalist Dustin Rose delivers and unconventional double presence, being almost effeminately serene one moment, and resembling a tortured Patrick-Kindlon-meets-Abe-Simpson demigod the next. “The Man” insists “I’m here! To destroy you!” in a way similar to most beaten, defensive wretches: initially a bit laughable, but with a disturbing level of going-off-the-handle persistence. The industrial sampling complements the music, stressing the divide between humane and apathetic – a tipping point into sociopathy.
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By staff
Thursday March 24, 2016
Wednesday, March 23, 2016
Artist: Zealotry
Track: “Yliaster“
For three long years, Zealotry has teased us. It was said the arrival of a frostbitten behemoth was imminent and that The Charnel Expanse was merely a portal for something far more malevolent, but somewhere along the way, a shadow of doubt was cast. Like unfulfilled prophesies, deadlines began to pass with barely a word to sate our hesitations. But we were wrong to doubt, so very wrong. The Last Witness has finally beckoned, set to leave nothing in its wake undefiled. If “Yliaster” is to be seen as a statement, it means we’re to be treated to a beast that, while cut from the same cloth as its ancestor, operates on a different wavelength. The Charnel Expanse was like a realm-traversing phantom that revelled in bending reality for its own amusement, but The Last Witness appears be less impish and more deliberate in going about its callous deeds. “Yliaster” is very serpentine in terms of composition, slithering between dimensional walls as guttural murmurings effervesce and guitar licks writhe and twist like tentacles. It’s a concoction that is slightly more contemplative than what we’ve come to expect, but make no mistake, it’s just as evil.
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By staff
Monday March 21, 2016
Monday, March 21, 2016
I’m a little late on the draw with Fracture’s excellent Hype Tracks EP (out in February on Exit Records), but I’ve been absolutely obsessed with Charlie Fieber’s brand of hip-hop-inflected jungle since I discovered it a few years back. Hype Tracks continues down that road – some straight drum & bass (“Black Pearl”), some footwork (“Acid Claps”) – but by far the best tune on the four-tracker is the opener, “Makin’ Hype Tracks.” It’s a glorious bit of dubby jungle, organ and spectral horns adding pounds of swagger to a stomping half-time intro before an infusion of chunky bass and raw breaks take center stage. The song teeters between a swung hip-hop feel and a more staid jungle backbone, organ and vocal snippets colliding with half-time snares and cleanly on-beat cymbal splashes, and the effect is not unlike the adjective in the song’s title. One of the most genuinely fun tunes released this year on Exit (though their other release this year, a Zed Bias EP, is also phenomenal), “Makin’ Hype Tracks” is exactly why Fracture’s become one of the most popular names in drum & bass over the past few years, and it’s great to see his decade-plus of hard work become recognized.
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By staff
Tuesday March 15, 2016
Tuesday, March 15th, 2016
Fennec’s newest EP, This Place Was Once a Palace, connotes either a deeply personal loss, or a perception of the current state of house music (or, it could be both). The multifaceted house producer bridges the sounds of old-school Chicago with relatable, yet minimalistic, venting. “Consumes You” is an allusion to frenetic dance music coupled with a sense of being pulled elsewhere, out of body. The tone of the bass lines is gorgeous, and the unfocused compositional approach complements the dizzied headspace. –Tristan Jones
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