Battle Volume Unit

https://thisiswreckage.bandcamp.com/

PRESS KIT:

www.reverbnation.com/rpk/thisiswreckage

LINKS:

http://www.facebook.com/THISISWRECKAGE
http://www.reverbnation.com/thisiswreckage

PRESS:

"THERAPY? band favourites 2013"
Michael Mckeegan - THERAPY?

"Loved your cd. I wasn't expecting you to be so angry! Angry in the right way of course. I could hear Albini & early Therapy? Will definately give it another listen'' - Nicky Wire / MANIC STREET PREACHERS

“THIS IS WRECKAGE were one of the real highlights of this years SWN festival. People were shouting about how good and loud they were as their ears were all knackered.”
- Adam Walton, BBC RADIO WALES (Nov 02, 2013)

“Blown away - or rather, torn apart and trampled into Clwb Ifor Bach's floor by the sonic tank that is THIS IS WRECKAGE at SWN FEST 2013. Ace!”
- I LOVES THE 'DIFF (Oct 19, 2013)

“This Is Wreckage are probably the hardest looking bunch of bastards we’ve seen all weekend. We’re considering having them escort us down the road at the end of the day but are too afraid to even say hello. This hard fast trio could be the bastard sons of Jesus Lizard, Killing Joke or Therapy? Having a pink My Little Pony sat upright at the front of the stage does not hide the fact that these boys would scare the bouncers on the door outside if things ever got nasty.””
- Keith Goldhanger, LOUDER THAN WAR (Oct 20, 2013)

“Just discovered THIS IS WRECKAGE - noisy groove-porn punk - AWESOME!”
SONIC FORGE MUSIC

“The band sounds excellent. The album sounds wicked! "2+2=bastard" is a stonker!”
Michael Mckeegan / THERAPY?

“So much enjoyment of THIS IS WRECKAGE at CLWB IFOR BACH tonight! Awesome grunge vibe with some metally riffs thrown in for good measure.”
CDF RVW

“An enjoyably ugly racket ”
THE JOY COLLECTIVE

''Valleys based band This is Wreckage are not for the faint hearted.  Their sound suits their name perfectly: fast and furious post-punk with aggressive riffs, clashing discord, and screaming vocals.  The three piece certainly pack a punch, with thunderous drumming from Pling, heavy basslines from Ruggz, and some serious guitar thrashing from Grave (yes, those are their names, that is how badass they are).  If you love noise rock bands like The Jesus Lizard and Big Black then you’ll love this.  Expect some serious wreckage, of the ear drum variety.''
SWN FESTIVAL 2013

“The album is a damn fine - and much needed - blast of fascinating noise and excellent songs. Enjoyed it immensely. ”
Adam Walton - BBC Radio Wales

“This is Wreckage is a very tough, musically en-pointe band whose sound is fresh, angry and bolshie. There is no way they can be ignored and I fully expect them to be making a big splash on the underground music scene very soon. Look out for them!”
Lisa Mary - SECRET SOUNDS


“This is Wreckage's track 'Running in Furs' is probably my favourite new thing I've played this week - It's flipping ace! ”
Adam Walton - BBC Radio Wales

“Anyone of a sensitive disposition can stop reading now – tonight’s gig was not for weak ears. This Is Wreckage sound pretty much exactly like you’d expect a band called This Is Wreckage to sound: noisy, throaty, and twisted. The guitar is loud and fuzzy and the drumming is big and brutal. The basslines, conversely, are pretty funky, in a heavily distorted sort of way. TIW boast catchy, fuzzed-up hooks and some upbeat melodies underneath the noise, and they’re a pretty endearing lot: the guitarist has a mild penchant for Joe Strummer-esque axe abuse, they give out free demo CDs wrapped in punky-looking gaffer tape, and they have a My Little Pony figurine as their mascot. What’s not to like?”
Joel Dear - THE MMP

“Rad new Cardiff band 'This Is Wreckage' serve up five tracks inspired by various canonical post-punk groups (PiL are recalled in the Lydon-ish vocal drama of Deccan Traps) and acidic noise-rock as typified by Steve Albini’s various ventures over the last 30 years. Bands like this are underrepresented round here currently, if you ask me, so hopefully TIW can grow in stature. Punchy cuts like Sovereign Teeth bang seriously hard.”
Noel Gardner - BUZZ MAGAZINE

“Good stuff.”
Steve Albini - SHELLAC/RAPEMAN/BIG BLACK

“I really like this stuff.”
Eli Janney - GIRLS AGAINST BOYS

“Fucking A. The jams sound great. Tough as hell and great recording. Sounds like they"d be a lot of fun to play.”
Matt Mcauley - A.R.E. WEAPONS

“Proper.”
David Francolini - DRAGONS/DARK STAR/LEVITATION

The Rising Sun All Stars are a Hip Hop/Soul band from Staten Island, New York.

Buy Our Album! http://therisingsunallstars.bandcamp.com/

Bristol based Dystopian Synth Punk
https://linktr.ee/vlovescats666

The Yoleus was formed in October of 2005 by Jack(the Deaf) and Jeremy(v9r9d, Party of One).A short time later they were joined by Dave(ex-Sicbay).Two finished albums exist so far.
Currently residing in Minneapolis/St. Paul, MN.

The White Meadows are couple Maria Thompson & Peter Taylor (see Mortuus Auris & the Black Hand). Thompson plays Heather harp and various other instruments while Taylor uses homemade instruments, tapes, vinyl and vocals. Based in South London, this duo aim to fuse their love of music and film through The White Meadows project. Photography: Maria Thompson / Design: Peter Taylor

Discography:

The White Meadows - 'A Time For Drunken Horse' CD. Reverb Worship 2012

The White Meadows - 'URA' / Elizabeth Veldon - 'Glitch Edit 7' Split DVD on Black Circle Films

http://thewhitemeadows.bandcamp.com/

http://www.youtube.com/user/TheWhiteMeadows?feature=watch

http://www.discogs.com/artist/White+Meadows%2C+The

https://www.facebook.com/pages/Black-circle-records/241570712567238

Review from a closer listen
A Time for Drunken Horses is curious, clever and creative, a sample-happy mash-up that is consistently alluring and distinctly British.  While the album is billed as “experimental folk-drone”, it also includes touches of many other genres.  Listen to the first track alone and one might expel breath, muttering, “Bother, another Euphoria compilation”.  There’s that world music sample over flowing keys, ripe for exploitation.  But by the end of the final track, the listener has traveled the globe and landed in a psychedelic traffic jam.  This album never goes where one expects it to go, but its path is laid out so well that all the transitions seem smooth.  So how does one get from “Alma” (the Euphoria-esque track) to “Cloud” (the looped, crunchy, distorted closer) without losing anyone?

Start with pure charm.  The Indian vibe of “Birds” is matched by an equally alluring voiceover:  ”A near relative of the sage warbler is the reed warbler.  Although more locally distributed, it usually frequents a certain type of habitat.”  ”Birds” flutters like a snatch of a Solid Steel show curated by Coldcut and Cleese.  Later in the album, “Frogs” generates the same effect.  London’s Peter Taylor and Maria Thompson (The White Meadows) seem to be having us on a bit, but it’s all in good fun.

The mood remains mysterious throughout, like that of a curio shoppe.  The ethnic samples and rusty choral tapes recall Paavoharju, while the willingness to mix dialogue and field recordings into the cast iron pot recalls Second Language’s Tyneham House.  Yet while cousins can be found, A Time for Drunken Horses is its own concoction.  By layering its samples across a wide swath of territory, the duo creates an expansive feel; at no time does the mix feel cluttered.  The empty spaces are filled by violin, harp and percussion, which lend the project a modern dynamism.  Tracks such as “Chess” include clear shifts from the sampled to the live, although it’s never quite clear if the former is ever fully discarded.  This seamless integration is one of the album’s strengths; few ethnomusicologists would be able to recreate its recipe.

The album’s greatest strength, however, is its sample selection.  Crate-digging is easy, but original decisions are not.  Taylor and Thompson not only choose the sounds few have heard; they choose the sounds that go well together.  While this may seem incredibly simple, it’s not.  In the manner of DJ mixes, success requires the matching of tempos, keys, and in this case, regions.  Adding British nature recordings was a touch of genius.  By “Cloud”, the clash of cultures has become fusion.  The repeated phrases, “covered by seamless sound,” “everything’s working out” and “I am well in spirit” sink into a bath of synthesized organs, drawing the disc to a satisfying close.  In terms of pure entertainment value, A Time for Drunken Horses is worth every pound.  (Richard Allen)

"The Most Amazing Century of Science" (The MacOS for short) is a chamber ensemble located in Nashville, TN, USA.

Nick Sakes is following