MUDWEISER
Stoner Rock - Montpellier, FR
FR
En 2009 Mudweiser sort : « Holy Shit » une première démo en guise de premier album et le ton est immédiatement donné. Mudweiser y exhibe un rock « stoner » percutant aussi sale et gras que son nom le laisse supposer. Suivra en 2011 le EP « Drug Queens » avant que Said, guitariste fondateur quitte le groupe pour aller vivre son « rêve américain ». Il sera remplacé par Ole pour les deux albums suivants : le double LP « Angel Lust » en 2013 et « So Said The Snake » en 2018.
Pendant ces 10 années Mudweiser parcourt la France, l’Allemagne, la Suisse et la Belgique aux côtés de Nebula, Napalm Death, The Datsuns mais aussi avec d’autres groupes marquants de la scène stoner et heavy rock française : 7 Weeks, Hangsman’s Chair, Loading Data, Bukowski, Walnut Grove DC…
En 2019, au moment même où Ole préfère quitter le groupe pour se consacrer à son studio d’enregistrement et de nouveaux projets, Said est de retour. Huit ans après son départ, il reprend naturellement sa place, la guitare gonflée à bloc, de quoi relancer la machine vers un nouvel album.
Avec « The call », en 9 titres et 35 minutes, on entend Mudweiser renouer avec délectation à ses basiques . Dans des compos plus agressives et un son plus crasseux que jamais s’enchainent des riffs à s’en briser la nuque, enflammés par le groove massif du basse / batterie bien huilé de Jay et Xav. À la voix, tel un prédicateur perché aux dérives blues et heavy, Reuno y incarne des textes ou s’entremêlent le roman noir, les films de série B et les expériences inavouables.
L’enregistrement et le mixe de ce 5ème disque a été confié à Cyrille Gachet (Year Of No Light, Monarch, Verdun) et en digne maitre horloger, c’est Serge Morattel du Rec Studio à Genève (Lofofora, Knut, Impure Wilhelmina) qui s’est chargé du mastering.
Ne résistez pas plus longtemps à l’appel de Mudweiser, votre démon intérieur l’exige!Plongez votre tête dans leur boue rugueuse et psychédélique pour un trip sans retour au pays des losers flamboyants où débauche et décadence règnent en maitresses dominatrices.
EN
In 2009 Mudweiser released “Holy Shit”, a first demo as a first album and the tone was immediately set. Mudweiser exhibits a stoner rock as dirty and fat as its name suggests. The EP “Drug Queens” will follow in 2011 before Said, founding guitarist, leaves the band to live his “American dream”. He will be replaced by Ole for the next two albums: the double LP “Angel Lust” in 2013 and “So Said The Snake” in 2018.
During these 10 years Mudweiser travels France, Germany, Switzerland and Belgium alongside Nebula, Napalm Death, The Datsuns but also with other outstanding bands of the French stoner and heavy rock scene: 7 Weeks, Hangsman’s Chair, Loading Data, Bukowski, Walnut Grove DC…
In 2019, at the very moment when Ole prefers to leave the band to devote himself to his recording studio and new projects, Said is back. Eight years after his departure, he naturally takes his place, the guitar inflated to block, what to relaunch the machine towards a new album.
With “The call”, in 9 tracks and 35 minutes, we hear Mudweiser return with delight to its basics. In more aggressive compositions and a sound more dirty than ever, riffs follow each other to break the neck, ignited by the massive groove of the bass / drums well oiled by Jay and Xav. With his voice, like a preacher perched on the edge of blues and heavy, Reuno embodies lyrics where black novels, B movies and unmentionable experiences are intertwined.
The recording and mixing of this 5th record was entrusted to Cyrille Gachet (Year Of No Light, Monarch, Verdun) and as a worthy master watchmaker, Serge Morattel from the Rec Studio in Geneva (Lofofora, Knut, Impure Wilhelmina) took care of the mastering.
Don’t resist any longer to the call of Mudweiser, your inner demon demands it! Dive your head in their rough and psychedelic mud for a trip without return to the land of flamboyant losers where debauchery and decadence reign as dominating mistresses.
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NWAR
Instrumental Sludge / Montpellier - FR
FR
Nwar a tout absorbé. Comme la couleur noire qui capture tout le spectre de la lumière, comme un trou noir qui aspire toute la matière au tour de lui. Nwar a absorbé toutes les musiques alternatives des années 90 à nos jours, de la noise mathématique au métal hardcore moderne, du post rock au mathcore.
Etre en duo était un choix, faire des compositions instrumentale aussi. Le Batteur de Drive Blind et de Tantrum, le guitariste de Lunatic Age et Francky IV Fingers se connaissent
depuis de nombreuses années, de cette amitié de longue date émerge un magma en fusion, sombre et collant, une matière noire : Nwar.
Le duo guitare batterie de la région de Montpellier s’est réuni en 2018 dans le grenier de Nico (batteur), son home studio. Ils composent un premier EP qui sortira pendant le confinement sur le label Head Records. En mars 2020.
A partir de là, le Grenier prend de plus en plus d’importance pour les deux musiciens. Ils ont déjà pas mal roulé leurs bosses dans les années 90 et 2000 dans différentes formations : Tantrum, Drive Blind, Lunatic Age. Laurent (guitariste) est ingénieur du son, il a gagné plusieurs prix et travaillé dans la synchro pour la télévision. Alors ils connaissent leurs classiques. Dans le grenier, confinés, ils tournent des vidéos lives, et puis les classiques ressortent, ils font des clips de reprises : Soundgarden, Blue Oyster Cult, Pink Floyed. Ils se font plaisir.
En Août 2021 ils composent un nouvel album : Beyond The Sun. Ils mettent en pratique leur goût pour le métal intelligent, les mesures asymétriques, les gros sons de guitares, la saturation, le hardcore.
Laurent joue avec un octaveur sur sa guitare pour aller chercher le son grave qui traine dans ses instrumentations. Et pour brouiller les pistes tout en travaillant leurs incontournables, ils enregistrent aussi une reprise de David Bowie, Brian Eno et Trent Treznor (Nine Inch Nails) pour l’album : Am Afraid of America.
Mais le chaos musical qu’ils enregistrent est teinté de la noirceur humaine, instrumentale leur musique a besoin de voix, de cris, de hurlement pour faire transpirer le côté sombre de l’âme humaine. Alors ils vont piocher dans les bandes son des wikiLeaks de l’armée américaine en Irak, dans des reportages sur des catastrophes industrielles (industriel, un mot qui va bien à leur musique aussi). Sur un autre morceau c’est un lanceur d’alerte qui parle des fuites d’une centrale nucléaire japonaise, sur un autre des extraits de 2001 Odyssée de l‘Espace de Kubrick.
Nico et Laurent composent, arrangent, enregistrent, mixent à deux. Seul le mastering est confié à Bruno Varéa.
EN
Nwar has absorbed everything. Like the color black that captures the entire spectrum of light, like a black hole that sucks all matter around it. Nwar has absorbed all
Alternative music from the 90s to today, from mathematical noise to modern hardcore metal, from post rock to mathcore.
Being in duo was a choice, doing instrumental compositions too. The drummer of Drive Blind and Tantrum, the guitarist of Lunatic Age and Francky IV Fingers know each other.
For many years, from this longstanding friendship has emerged a dark, sticky, molten magma, a dark matter: Nwar.
The guitar-drum duo from the Montpellier area got together in 2018 in Nico’s (drummer) attic, hishome studio. They are composing a first EP that will be released during the confinement on Head Records. March 2020.
From then on, the attic becomes more and more important for the two musicians, it becomes “LeGrenier”. They have already worked in the 90’s and 2000’s in different bands: Tantrum, Drive Blind, Lunatic Age. Laurent (guitarist) is a sound engineer, he won several awards and worked in the synchrofor television. So they know their classics. In “Le Grenier”, confined, they shoot live videos, and thenthe classics come out, they make videos of covers: Soundgarden, Blue Oyster Cult, Pink Floyed. They enjoy themselves.
In August 2021 they compose a new album : “Beyond The Sun”. They put into practice their taste forintelligent metal, asymmetric measures, big guitar sounds, saturation, hardcore.
Laurent plays with an octaveur on his guitar to go and find the low sound which is lying around in hisinstrumentations. And to confuse the issue while working on their essentials, they also recorded acover of David Bowie, Brian Eno and Trent Treznor (Nine Inch Nails) for the album: I’m Afraid of America.
But the musical chaos they record is tinged with human darkness, instrumental their music needsvoices, screams, screaming to make the dark side of the human soul transpire. So they go to the soundtracks of the WikiLeaks of the American army in Iraq, in reports on industrial disasters(industrial, a word that fits well to their music too). On another track it’s a whistleblower talking aboutleaks from a Japanese nuclear power plant, on another one excerpts from Kubrick’s 2001 Space Odyssey. Nico and Laurent compose, arrange, record and mix together. Only the mastering is entrusted to Bruno Varéa.
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LES LULLIES
Rock'n'Roll - Montpellier FR
FR
Formé à Montpellier par 4 potes en 2016, Les Lullies s’inscrivent dans une longue lignée de groupes et artistes, avec un credo simple : monter dans le camion, faire des bornes, faire du rock’n’roll. Le premier EP du groupe, enregistré par Marc Hacquet est sorti en février 2017 sur le label barcelonais Discos Meteoro ; le second, enregistré par Lo
Spider, est sorti en novembre 2017 chez Slovenly Recordings (USA). Le premier album, toujours enregistré et mixé par Lo Spider, et masterisé par Tim Warren (Crypt Records), sort chez Slovenly Recordings le 5 octobre 2018, accompagné d’un nouveau single.
Le 2eme album est le fruit d’un travail un peu différent, là où jusqu’à répsent tout était fait dans l’urgence, celui-ci est composé sur un temps plus long, et enregistré entre novembre 2021 et janvier 2022 à Château Vergogne par Maxime Smadja, qui apporte son savoir faire au groupe.
Les Lullies en profitent pour proposer quelque chose d’un peu différent, de plus personnel et décident de tout chanter en français cette fois ci. On y re-trouvera des touches de rock Normand (Fixed Up, Dogs, Sub Kids, etc…), du Real Kids, Phil Spector, du glam, de la power pop façon The Records, et toujours quelque part les Saints, le tout digéré et recraché façon Lullies ! Ce disque promet une sérieuse tranche de rock’n’roll, plus d’infos sur sa sortie très vite.
Mais c’est leurs concerts qui les ont fait remarquer, sauvages, excitants. Le groupe a tourné partout en France, Europe, Angleterre, Etats Unis, Canada, à l’affiche de festivals comme le Funtastic Dracula Carnival, le We’re loud Festival, le Fuzzville, le Debauch-a-Reno, le Bule Bule Toga, le This is not a Love Song Festival, le Binic Folk Blues Festival, donnant plus de 300 concerts en moins de 4 ans. Pas de repos, Les Lullies passent le plus clair de leur temps sur la route.
EN
Now you best cut the crap cause here are Les Lullies!!! The band was formed back in 2016 by four French cheese-eating attack monkeys. Montpellier’s own sweethearts are in line with a bunch of bands and artists with a simple creed: hop in the van, go everywhere and play rock’n’roll!
The band’s debut EP, recorded by Marc Hacquet, was released in February 2017 on Spanish label Discos Meteoro. The second one, recorded at Swampland by Lo Spider, has been available since November 2017 on Slovenly Recordings (USA). Their very first LP was put out in October 2018 on Slovenly Recordings as well, and was recorded and mixed yet again by Lo Spider again and mastered by Tim Warren.
The recording of the new album and single started in November 2021 at Château Vergogne, with Maxime Smadja (Rixe, BOSS, Condor…) who brought all his savoir-faire to the band’s sound. Cream of the crop stuff. The record is sure to provide a much-needed rock’n’roll slap in your face. Stay tuned cause the release date will be unveiled shortly! But it’s from constant gigging that the band really won over its audience with raw, exciting shows. The band toured all over from France, Europe, the UK and across the pond in the US and Canada… They also played numerous festivals such as We’re loud, Funtastic Dracula Carnival, Bule Bule Toga Fest, Cosmic Trip, Fuzz-ville, Binic Folk Blues Festival you name it.
This ain’t rocket science, mon frère, it is only rock’n’roll. And we wouldn’t have it any other way! Here is what Slovenly says about the band : Montpellier, France punk-beat-freaks LES LULLIES are back with The Slovenly Sound, swingin’ hard with the follow up to their impressive “Don’t Look Twice” EP, this time with their first full length LP: self-titled and hittin’ in all the right spots! Les Lullies know what they want out of rock’n’roll, and they nail it but good with ten tracks of Aussie punk styles a la FUN THINGS and the classic American riffery of REAL KIDS bowing down to make out with Little Richard’s ringed fingers, 100% geared for the dancefloor!
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GRYS-GRYS
Rock and roll - Montpellier FR
FR
En 2010, cinq gamins qui s’emmerdaient dans leur ville cévenole ont décidé de créer leur groupe et de partir sur les traces de Bo Diddley et Muddy Waters. Reprises obscures et survitaminées des Yardbirds, Master Apprentices, Q65, arrangements explosifs, énergie à revendre, en quelques années, les principaux festivals indépendants de France et d’Europe leur ont ouvert leur scène: Le Funtastic et Purple Week-End en Espagne, le Beat Bespoké à Londres, le Festival Beat en Italie, le Berlin Beat Explosion en Allemagne, la liste est longue. Invités par le festival Tiki Oasis à San Diego, une tournée américaine a suivi en 2017.
Au fil des années le son des Grys-Grys s’est teinté de psych-punk, pour un résultat plus personnel et actuel, qui pourrait rappeler “Help” des Oh Sees, “Nonagon Infinity” de King Gizzard & the Wizard Lizard ou encore “Fuzz” le side project de Ty Segall et Charles Moothart. Ils ont acquis l’expérience nécessaire pour enfin atteindre leur but suprême: la confection toujours difficile du premier album, qui plus est, album de compositions originales. L’enregistrement s’est réalisé dans les studios Toe Rag à Londres sous la direction du sorcier Liam Watson déjà producteur de l’immense succès “Seven Nation Army” des White Stripes. Le disque tant attendu par une cohorte de fans est fin prêt. Une tournée de 19 dates est prévue en mai, plus de 50 dates européennes déjà planifiées dans les mois à venir. L’année 2019 sera celle des Grys-Grys. Les murs de la maison rock’n’roll n’ont pas fini de trembler…
EN
Time flies… and still. Les Grys-Grys waited eight years to make their debut album. Why? Because they took the time to do it right. The record you’re about to place onto your turntable is the result of eight years of hard graft, long miles, lessons learned, lovers spurned, bridges burned, respect earned.
Les Grys-Grys formed in the southern French town of Alès in 2010. Since then they’ve honed their skills and paid their dues in innumerable clubs, bars, basements, barns, concert theatres and festivals in France, Spain, Italy, Portugal, Switzerland, Czech Republic, Germany, Belgium, Denmark, Norway, England, Scotland, and the West Coast of the United States.
You won’t find any cheap, half-baked, cartoon-show garage-rock-by-numbers here. This is the real deal. Much like a great chef who works only with the finest and most carefully selected ingredients to create an original and satisfying meal, Les Grys-Grys have learned to work only with the finest and most carefully selected musical influences to create an original and soul satisfying sound: the early Pretty Things and Kinks, Q65, the Masters Apprentices, the Easybeats, the Mascots, Thor’s Hammer, 13th Floor Elevators, and the Golden Dawn. Only after eight years of examining, absorbing, assimilating, dissembling, reassembling, and inhabiting these influences, did Les Gry-Grys feel ready to distill that accumulated inspiration into an album that is 100% pure, 100% real, and—with the exception of a couple of well-chosen cover versions—100% Grys-Grys.
It takes time and craft to create something timeless and authentic. And with this album, Les Grys-Grys have done exactly that. Listen and see.
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ADOLF HIBOU
Nihilist Noise Hardcore - Montpellier FR
FR
Antifofiaaaal, tu peeeerds ton faaaaan froooooiiiiiid.
Adolf Hibou, c’est un Boys Band inclassable, à la croisée des mondes entre les violentes circonvolutions de l’univers, toujours teinté d’une certaine force singulière, évoluant aux multiples facettes qui rougeoient et bourgeonnes face à l’obscène vacuité de l’existence, inavouable végétation du paraître qui nous berce de son infini candeur sans jamais trahir le fil frêle et fragile, mais pourtant imbrisable d’un temps révolu où rien jamais ne vibrera autant que mon cœur contre ton cœur, et cette pluie de Décembre les enivrait tous, malgré moi je restais clos et rigide, tel un coffre aux charnières rouillées, usées, comme figé dans une épaisse toile d’entropique poussière, et d’illusions perdues.
EN
Adolf Hibou, it is an unclassifiable Boys Band, at the crossroads of the worlds between the violent convolutions of the universe, always tinted of a certain singular force, evolving in the multiple facets which redden and bud in front of the obscene vacuity of the existence, unavowable vegetation of the appearance which rocks us of its infinite candour without never betraying the frail and fragile thread, but nevertheless unbreakable of a bygone time where nothing will ever vibrate as much as my heart against your heart, and this rain of December intoxicated them all, in spite of me I remained closed and rigid, like a trunk with the rusty hinges, worn, as frozen in a thick fabric of entropic dust, and lost illusions.
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CAPSULA
Garage / Rock - Spain / Argentina
FR
Le trio basco-argentin sort Phantasmaville, onze nouvelles chansons qui maintiennent et amplifient leur vocation psycho-glam-rocker, “C’est un disque rock’n’roll fait par des punks sur une machine à remonter le temps analogique”, disent-ils.
Après une longue carrière débutée à la fin des années 90, et ayant déjà sorti une dizaine d’albums, ils continuent d’avancer au gré de leur instinct, sans dévier d’un iota de leurs principes. Des mots lancés en l’air, des riffs de guitare pulsés avec ravissement, un pandémonium suprême qui nous soulève et en même temps nous maintient accrochés au sol.
Les roadies des années 70 en tournée avaient un dicton : le rock and roll est un camion, chargé de l’équipement du groupe, se dirigeant à toute vitesse sur l’autoroute vers un pont trop bas pour que le camion passe dessous.
Capsula comprend parfaitement cette définition. Tant qu’ils continueront à combiner concepts et mots avec des guitares folles et des rythmes implacables, imprimant leur empreinte personnelle, l’amour inconditionnel pour un son qui est déjà leur maison, il y aura du rock and roll. Une dimension qui est ce que vous voulez qu’elle soit, qui vous rattrape mais aussi vous libère.
Ou, comme le dit le groupe : « Boum ! piff! Ka-Pow! ».
Certaines personnes croiraient en n’importe quoi, on le voit tous les jours. Capsula croit juste au rock and roll. Et à travers eux, on retrouve la foi battue ou perdue. Bienvenue dans leur Phantasmaville.
Le disque sort d’abord à 200 exemplaires pour une tournée en Espagne. Puis est réédité en France à 500 exemplaires en octobre 2022.
EN
The Basque-Argentinian trio releases Phantasmaville, eleven new songs that maintain and amplify their psycho-glam-rocker vocation, “It’s a rock’n’roll record made by punks on an analog time machine”, they say. After a long career that started at the end of the 90’s, and having already released a dozen albums, they continue to move forward according to their instinct, without deviating one iota from their principles. Words thrown in the air, guitar riffs pulsating with rapture, a supreme pandemonium that lifts us up and at the same time keeps us hooked to the ground. Roadies on tour in the 70’s had a saying: rock and roll is a truck, loaded with the band’s gear, speeding down the highway to a bridge too low for the truck to pass under. Capsula understands this definition perfectly. As long as they continue to combine concepts and words with crazy guitars and relentless rhythms, imprinting their personal stamp, the unconditional love for a sound that is already their home, there will be rock and roll. A dimension that is what you want it to be, that catches you but also frees you. Or, as the band says, “Boom! piff! Ka-Pow!”. Some people will believe in anything, we see it every day. Capsula just believes in rock and roll. And through them, we find faith beaten or lost. Welcome to their Phantasmaville. The record was first released in 200 copies for a tour in Spain. Then it is reissued in France at 500 copies in October 2022.
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MERZBOW
Noise, Experimental - Japan
Vegan Straight Edge Noise Project by Masami Akita. Participated in the noise industrial scene in the early 80's and started releasing mainly on overseas labels. In the 90's, he released an album on the death metal label Relapse under the influence of Grindcore. In the 2000s, he resonated with mego's "punk computer music" and adopted a live method using a laptop. Since around 2003, he has been practicing vegan (vegetarianism) from the perspective of "animal rights" (animal rights). He creates works with themes such as "against whaling," "against dolphin fishing," and "against fur."In recent years, he has been making sounds mainly using analog equipment.
DISCOGRAPHY
MUSIC
SHORA
Hardcore / Noise - Swiss
Biography 1998-2002
It was in 1998 in Geneva that Tony Casimo (bass), Rodrigo Cortesao (vocals), Alessandro Curvaia (drums), and Nicola Todeschini (guitar), then aged 16 to 20, united their wills to form what would become Shora, a hardcore band often described as chaotic.
Having started under the name of Engine, the band spends a few months rehearsing in a tight space before recording their first demo, whose three tracks reveal a musical identity yet to be further defined, oscillating between different registers, with multiple influences from metal and hardcore bands. In spite of salient traits of immaturity, the compositions exhibit compelling passages and show a certain potential.
The first shows follow one another. In the fall of 1998, the group seeks to be more original and succeeds by composing two new pieces which clearly stand out from the others in terms of originality and quality, both served by a structure moving away from the standard verse-chorus-verse structure, and which manage to dilute their previously obvious influences.
A turning point will come when they present these new pieces at a concert in early 1999,for which they receive very positive feedback. In the audience stands Roderic Mounir, Knut’s drummer, who contacts them three days later to invite them to open for his band at an upcoming show. After that concert, the members of Engine then gradually integrate into the midst of the Genevan scene; through their new encounters, they discover the underground side of the hardcore sphere, and thereby an infinite number of records they did not know.
Realizing the lack of originality of their name, the group decides to change it to something more unique. They invent “Shora”.
Shortly after, they receive a proposal from the Genevan label Snuff Records to release a 7-inch. Following a suggestion from their friend Vincent de Roguin, the band decides to split both sides of the vinyl with Born Under Saturn, a hardcore band from the US whose demo they had heard. The object, recorded by Thierry Van Osselt, former bass player of Knut, and pressed in 500 copies, is released in the summer of 1999. The disc then begins to circulate in neighboring countries and the feedback is enthusiastic. A local media speaks of “a new sensation of the Genevan hardcore scene”, and in Germany, the disc falls into the hands of Patrik Steinhauser, head of Grave Romance, who offers them to release their next record.
Shora performs in August their first concerts abroad, with a repertoire still lacking stylistic unity. During the creation phase that follows, the group resolves to abandon conventional song structures in favor of compositions made up of single parts, rapidly flowing one after another. As a result, the pieces become more radical and unpredictable.
The new compositions once completed, the group chooses to have them recorded in March 2000 at Rec Studio by Serge Morattel whose work they had heard on a relatively confidential EP by Knut. The result will be a seven-track EP dubbed Shaping The Random – five compositions and two electronic pieces – for a total duration of only 16 minutes. The tracks are short, explosive, intense, and establish the identity of the band that has found its way.
Shaping The Random is released in June 2000 in 1000 copies, to critical acclaim. Often positively compared to the biggest names of the genre, flattering qualifiers rain down: “incredible”, “impressive”, “essential”, “surprisingly mature”, or even “pushing the boundaries of the genre”. Doors open and the prospect of a bright future is felt.
The band then embarks on their first European tour with Ananda, a French group they had known during their first concerts abroad, as well as with the Germans of Inane. This step turns out to be formative: a deep immersion into the DIY hardcore network and its functioning.
The most unexpected is yet to come and it comes quickly; the group is offered another tour, this time with two of the biggest names of the genre, US bands The Dillinger Escape Plan and Botch, for a 30-date tour across Europe in professional conditions they had never known before. The group accepts the offer but cannot handle the entire tour, which they will eventually split up with Ananda. The tour takes place in November and it is the opportunity for Shora to perform in front of a much larger audience, and incidentally the opportunity to further disseminate their records.
After an eventful year, the band takes a break from playing live in order to focus on producing new material. Loïc Lepillet, who just started Bisect Bleep Industries, a new label affiliated to Overcome Records, contacts them during this period to offer them to share a record with another artist, and not the least: Masami Akita, veteran of the Japanese noise scene, better known under the moniker of Merzbow. The idea is stimulating, given the strong affinities Shora has with noise, already present on the interludes of Shaping The Random.
The group records four songs in the summer of 2001, still with Serge Morattel. While the first three tracks remain broadly in line with the previous record, the last track expresses new ambitions: much longer, more experimental, and above all more repetitive, “To Further Confines” clearly stands out from the first three tracks and augurs well for new possibilities.
The seven-track CD called Switching Rhetorics, with a circulation of 2000 copies, including a limited version in a handmade metal packaging produced to 100 copies, is released the following fall, to an ever-enthusiastic critical reception. No tour this time, the group gives a few concerts but prefers to concentrate on new compositions, although this phase is not very productive. Shora is in a transition phase, its members are afraid of repeating themselves. Two new tracks emerge from this phase, in which noise-rock influences and a much more melodic bent can be heard, yet still far from what was going to be the album Malval.
In August 2002, the band is offered to join US band Converge on the French and Spanish part of their European tour. Unfortunately, most of the band’s gigs end up being unsatisfactory, due to technical issues or because of the band not being at the top of its game.
A proposal for two shows with Merzbow follows shortly after, for two dates in France, in Poitiers and in Rennes. The idea of the event is for each artist to perform separately, and then continue with a semi-improvised collaboration. The group composes for the occasion a long monolithic piece of about twenty minutes on which Masami Akita would add a layer of his art
for a most memorable sound experience.
Vincent de Roguin, who had collaborated on the latest shows, joins the group on bass, while Tony Casimo becomes second guitarist. Rodrigo Cortesao decides after a while to leave the band, unhappy with the new songs and finding no place in them. He leaves behind a set of meaningful records in the history of hardcore, and a band ready to move on and reach new heights, which they would do two years later with the album Malval.
Shora Concerts 1999-2002
07.08.1999 Baden (A) @ Katarina’s basement w/ Ananda, Deamon’s Jaded Passion, Programm C
08.08.1999 Munich (D) @ Kafe Kult w/ Ananda, JR Ewing
09.08.1999 Geneva (CH) @ Arquebuse w/ Ananda, JR Ewing, Knut
21.08.1999 Monthey (CH) @ Veaudoux w/ Rude, B.O.D., Psychout, D. by 8, Fulltop
15.10.1999 Homburg-Saar (D) @ JUZ w/ Knut, My Hero Died Today, Sabeth, Hybris
04.11.1999 Geneva (CH) @ L’Usine w/ Deformity
24.11.1999 Yverdon-les-Bains (CH) @ Amalgame w/ Knut, Like Peter At Home
04.12.1999 Reims (F) @ Turenne w/ Brazen, Invain
13.12.1999 Geneva (CH) @ L’Usine w/ Botch
11.06.2000 Mannheim (D) @ Mannheim Fest w/ Ananda, Knut, Creation Is Crucifixion, …
15.07.2000 Reims (F) @ Turenne w/ Ananda, Inane, Lack, Complete, Ink.e.pit
16.07.2000 Amiens (F) @ Babylone Café w/ Ananda, Inane
17.07.2000 Nancy (F) @ Rehearsal space w/ Inane
18.07.2000 Anvers (B) @ Scheldapen squat w/ Inane, Vuur
21.07.2000 Amsterdam (NL) @ Entrepotdok w/ Ananda, Inane, 8 Days of Nothing, Trapdoor Fucking Exit
22.07.2000 Essen (D) @ Falkenheim w/ Ananda, Inane
23.07.2000 Eisenberg (D) @ Squat w/ Ananda, Inane
24.07.2000 Zittau (D) w/ Ananda, Inane
26.07.2000 St. Polten (A) @ Steppenwolf JUZ w/ Ananda, Inane, Mar
27.07.2000 Klagenfurt (A) @ Marhof w/ Ananda, Inane, Ani(e)mo(a)tion, Endearment
28.07.2000 Offenburg (A) @ Kessel w/ Ananda, Inane, JR Ewing, Fear Is The Path, Fear My Thoughts
29.07.2000 Geneva (CH) @ Goulet 13 w/ Ananda, Inane, JR Ewing, Knut, One Fine Day, Brazen
27.09.2000 Yverdon-les-Bains (CH) @ Amalgame w/ Brazen, Impure Wilhelmina, Ordeal
15.11.2000 Vienna (A) @ Shelter w/ The Dillinger Escape Plan, Botch
16.11.2000 Geneva (CH) @ L’Usine w/ The Dillinger Escape Plan, Botch, Nostromo
17.11.2000 Padova (I) @ Plan 9 w/ The Dillinger Escape Plan, Botch
18.11.2000 Wil (CH) @ Remise w/ The Dillinger Escape Plan, Botch
19.11.2000 Darmstadt (D) @ Oettinger Villa w/ The Dillinger Escape Plan, Botch
20.11.2000 Hannover (D) @ Bei Chez Heinz w/ The Dillinger Escape Plan, Botch
21.11.2000 Monheim (D) @ Sojus 7 w/ The Dillinger Escape Plan, Botch
22.11.2000 Hamburg (D) @ Hafenklang w/ The Dillinger Escape Plan, Botch
23.11.2000 Copenhagen (DK) @ Loppen w/ The Dillinger Escape Plan, Botch
24.11.2000 Oskarshamn (S) @ Vinter Rocken Festival w/ The Dillinger Escape Plan, Botch
26.11.2000 Bielefeld (D) @ Falkendom w/ The Dillinger Escape Plan, Botch
27.11.2000 Berlin (D) @ Knaac w/ The Dillinger Escape Plan, Botch
28.11.2000 Munich (D) @ Kafe Kult w/ The Dillinger Escape Plan, Botch
29.11.2000 Bischofswerda (D) @ East Club w/ The Dillinger Escape Plan, Botch
30.11.2000 Aachen (D) @ Musik Bunker w/ The Dillinger Escape Plan, Botch
01.12.2000 Kontich (B) @ Lintfabriek w/ The Dillinger Escape Plan, Botch
--.04.2001 Monthey (CH) @ Veaudoux w/ Cataract, B.O.D.
16.06.2001 Delémont (CH) @ SAS w/ Brazen, Iscariote, Fear My Thoughts
22.06.2001 Geneva (CH) @ Fête de la musique w/ Nostromo, Clone
03.08.2001 Brest (F) @ Astropolis Fest w/ Suicide, Carl Cox, Nostromo, …
06.10.2001 Lebach (D) @ JUZ w/ Llynch, Chandler
31.10.2001 Zurich (CH) @ Rote Fabrik w/ Melt Banana
24.11.2001 Blois (F) @ Château d’O w/ Impure Wilhelmina
25.11.2001 La Ferrière (F) @ Mil’s w/ Impure Wilhelmina, Work, Dioz
07.12.2001 Berne (CH) @ Reithalle w/ Knut, Sleeppers
15.03.2002 Clermont-Ferrand (F) @ Pocoloco w/ Inside Conflict, Discard, Betray
16.03.2002 Messancy (B) @ Skate park – Liberation Day w/ Yage, Newborn, …
28.06.2002 Bordeaux (F) @ Théâtre Barbey w/ Nostromo, Burn Hollywood Burn, Like Peter At Home
22.09.2002 Paris (F) @ Club Dunois w/ Converge, Nostromo, Paint The Town Red
23.09.2002 Bordeaux (F) @ Zoobizarre w/ Converge, Oxbow
24.09.2002 Madrid (E) @ Sala Ritmo Y Compas w/ Converge, Like Peter At Home
25.09.2002 Malaga (E) @ Sala Spectra Rock w/ Converge
26.09.2002 Sant Feliu (E) @ Atzavara Club w/ Converge
27.09.2002 Clermont-Ferrand (F) @ Pocoloco w/ Converge, Burn Hollywood Burn, 8nop8
14.11.2002 Poitiers (F) @ Confort moderne w/ Merzbow, Blake & Derog
15.11.2002 Rennes (F) @ Ubu w/ Merzbow, Blake & Derog, Nostromo, Slaam
31.11.2002 Schwytz (CH) @ Himmel w/ Brazen
DISCOGRAPHY
MUSIC
KNUT
Rock / Hardcore / Noise - Genève
FR - Bastardiser est le second album de Knut, c'est également l'album clef de la carrière du groupe. Initialement sorti en 1998 sur Snuff Records le label des genevois, puis en vinyle sur le label Allemand Chrome Saint Magnus et ensuite réédité en 2000 par Hydrahead dans une version CD. Cet album qui a marqué le post métal européen fête en 2018 ses 20 ans. C’est donc avec presque une année de retard que Head Records réédite cet album au format vinyle 180 gramme avec une pochette retravaillée reprenant l’artwork de la version CD initiale, et un remastering au petit oignon par Lad, guitariste du groupe Nostromo. Plus gras et plus précis ce travail sur l’enregistrement initial replace l’album dans un contexte actuel démontrant que deux décennies plus tard ce 9 titre n’a rien perdu de son mordant et de son efficacité. Bastardiser serait-il intemporel ?
ENG - Bastardiser is Knut's second album, it is also the key album of the band's career. Initially released in 1998 on Snuff Records the Geneva label, then on vinyl on the German label Chrome Saint Magnus and then re-released in 2000 by Hydrahead in a CD version. This album, which has left its mark on the European post-metal scene, celebrates its 20th anniversary in 2018. It is therefore almost a year late that Head Records reissues this album in vinyl format 180 gram with a reworked cover featuring the artwork of the original CD version, and a remastering by Lad, guitarist of the band Nostromo. More bold and precise this work on the initial recording puts the album in a current context demonstrating that two decades later this tracks has lost none of its bite and effectiveness. Would Bastardiser timeless?
DISCOGRAPHY
MUSIC
NEKROPTIKON
Black Hardcore - Montpellier FR
FR - Un projet hybride à la croisée d’un hardcore moderne digitalisé et d’un black metal hurlé et rampant.
Imaginé par Yog, homme orchestre épileptique, secondé au chant par l’écorché Perraver Invocator. Produit par Bruno Varea, ingénieur du son passé maître dans la compression de ce magma purulent. Ce cinq titres uniquement disponible en K7 et en digital, nous conduit droit vers les profondeurs les plus viles d’une humanité en train de mourir d’elle-même. Ecce ad Exitium Humani Generis est le second e ort du groupe, un mini Ep ayant déjà vu le jour en 2017 sur le label Polonais Via Nocturna.
ENG - Yog makes telluric noise for Nekroptikon. Observing the world inspires him to draw the gall that produced his very specific sound. From the subterranean depths, he rises to help Yog, Perraver Invocator releives his hate through bilious vocals. From Nekroptikon appear two concepts. First one, a sound only made and sculpted from ultra cheap hardware. Second one, a real stage performance made of visual effects entirely directed on the characters, dark and disguised figures…
The production of this purulent draft is the work of a certain Bruno Varea, real cantor of darkest sounds. Ecce ad exitium humani generis digs further into rhythms without concessions. A new Ep which creates it's own atmosphere with epic saturated songs refering to Dante's hell.
DISCOGRAPHY
MUSIC
VIDEO
[youtube=https://youtu.be/LzDH-d0fLQs&w=520]