Kowloon Walled City - Piecework - COMPACT DISCS [CD]
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In the world of heavy music, few bands embrace dynamics and negative space like Kowloon Walled City. Since forming fifteen years ago, the band has increasingly refined it's deconstructed approach to noise rock, math rock, and doom, landing them on stages with similar boundary-pushing bands like Neurosis, Yob, Sleep, Sumac, and Thou.Now, with Piecework, the band's fourth album and first in six years, Kowloon Walled City reaches new levels of restraint. Songs are bleak and slow, but also shorter and more concise-seven songs clock in at about thrity minutes. There are stretches of near silence. While the band has always operated under the MO that less is more, it has doubled down on that ethos hereSinger/guitarist Scott Evans and guitarist Jon Howell, the main songwriters, self-imposed restrictions to push themselves creatively-Inchrestraining ourselves into oblivion,Inch as Howell put it. Songs are written in more straightforward time signatures. Evans and Howell also changed their guitar rigs to sound more Inchclean and clanky.Inch With the gristle stripped away, bone and muscle remain drums decaying in a room, bass strings rattling, a lonely guitar chord. Sometimes, it's almost uncomfortably barren. But the negative space also amplifies the ruptures of heady aggressiveness that anchor Piecework. Angular guitar notes from Howell skew off the neck, dissolving into space. Ian Miller's bass lines churn in the muck. Drums and cymbal smashing by Dan Sneddon punctuate dead air. (Sneddon, formerly of Early Graves, makes his recording debut with the band five years after joining.).As with all previous KWC releases, Evans recorded and mixed the album (his recording credits include Yautja, Thrice, Great Falls, Ghoul, Town Portal, and many others.) And like previous albums Container Ships (2012) and Grievances (2015), the tracks were recorded live at Oakland's Sharkbite Studios,
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- GenreRockDescriptionIn the world of heavy music, few bands embrace dynamics and negative space like Kowloon Walled City. Since forming fifteen years ago, the band has increasingly refined it's deconstructed approach to noise rock, math rock, and doom, landing them on stages with similar boundary-pushing bands like Neurosis, Yob, Sleep, Sumac, and Thou.Now, with Piecework, the band's fourth album and first in six years, Kowloon Walled City reaches new levels of restraint. Songs are bleak and slow, but also shorter and more concise-seven songs clock in at about thrity minutes. There are stretches of near silence. While the band has always operated under the MO that less is more, it has doubled down on that ethos hereSinger/guitarist Scott Evans and guitarist Jon Howell, the main songwriters, self-imposed restrictions to push themselves creatively-Inchrestraining ourselves into oblivion,Inch as Howell put it. Songs are written in more straightforward time signatures. Evans and Howell also changed their guitar rigs to sound more Inchclean and clanky.Inch With the gristle stripped away, bone and muscle remain drums decaying in a room, bass strings rattling, a lonely guitar chord. Sometimes, it's almost uncomfortably barren. But the negative space also amplifies the ruptures of heady aggressiveness that anchor Piecework. Angular guitar notes from Howell skew off the neck, dissolving into space. Ian Miller's bass lines churn in the muck. Drums and cymbal smashing by Dan Sneddon punctuate dead air. (Sneddon, formerly of Early Graves, makes his recording debut with the band five years after joining.).As with all previous KWC releases, Evans recorded and mixed the album (his recording credits include Yautja, Thrice, Great Falls, Ghoul, Town Portal, and many others.) And like previous albums Container Ships (2012) and Grievances (2015), the tracks were recorded live at Oakland's Sharkbite Studios,ArtistKowloon Walled CityTitlePieceworkFormatCDLabelNeurot Recordings
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In the world of heavy music, few bands embrace dynamics and negative space like Kowloon Walled City. Since forming fifteen years ago, the band has increasingly refined it's deconstructed approach to noise rock, math rock, and doom, landing them on stages with similar boundary-pushing bands like Neurosis, Yob, Sleep, Sumac, and Thou.Now, with Piecework, the band's fourth album and first in six years, Kowloon Walled City reaches new levels of restraint. Songs are bleak and slow, but also shorter and more concise-seven songs clock in at about thrity minutes. There are stretches of near silence. While the band has always operated under the MO that less is more, it has doubled down on that ethos hereSinger/guitarist Scott Evans and guitarist Jon Howell, the main songwriters, self-imposed restrictions to push themselves creatively-Inchrestraining ourselves into oblivion,Inch as Howell put it. Songs are written in more straightforward time signatures. Evans and Howell also changed their guitar rigs to sound more Inchclean and clanky.Inch With the gristle stripped away, bone and muscle remain drums decaying in a room, bass strings rattling, a lonely guitar chord. Sometimes, it's almost uncomfortably barren. But the negative space also amplifies the ruptures of heady aggressiveness that anchor Piecework. Angular guitar notes from Howell skew off the neck, dissolving into space. Ian Miller's bass lines churn in the muck. Drums and cymbal smashing by Dan Sneddon punctuate dead air. (Sneddon, formerly of Early Graves, makes his recording debut with the band five years after joining.).As with all previous KWC releases, Evans recorded and mixed the album (his recording credits include Yautja, Thrice, Great Falls, Ghoul, Town Portal, and many others.) And like previous albums Container Ships (2012) and Grievances (2015), the tracks were recorded live at Oakland's Sharkbite Studios,
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2015 . Grievances, the third album from Kowloon Walled City, finds the San Francisco band at its artistic peak, having moved even further from its sludgy, post-hardcore origins toward a sparser, sadder yet still de-tuned heaviness. This shift began with 2012's critically successful Container Ships, which Lambgoat described as InchspaciousInch and Inchmildly hypnotic,Inch with a InchShellac-like use of dead time and instrumentation,Inch and The Obelisk called Inchcerebral in approach.Inch On Grievances, the band takes these elements to even greater extremes. Guitarist Jon Howell's unusual chord changes and discordant aesthetic channel Unwound and Slint. Bassist Ian Miller's gritty bass adds a surprising layer of depth and melody, while drummer Jeff Fagundes's drums resonate in what sounds like an impossibly large room. Vocalist and guitarist Scott Evans's shouted vocals are raw with frustration and disappointment, but without the typical veneer of macho aggression. The concept of work forms the thematic foundation of the entire record, from the cover art to the title and the lyrics. Whereas previous Kowloon Walled City releases were largely inspired by the band's hometown of San Francisco, Grievances focuses it's attention on the complex relationships with work and the power one's employment-and employers-has over us.
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Di Petrillo / Antonelli / De Calamus - De Calamus [COMPACT DISCS] date 10/28/2016
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