------>https://horseimvirus.bandcamp.com/releases

Booking : nicomarth@hotmai.com

EN: 
---- 
The world is in a deep slumber, Switzerland pulls up its self-satisfying blanket for its daily death, people seem to be hiding, forgetting, or just ignoring something. 2 scumbags in the middle of a dead city, at a distance, they’re here, they’re standing still, screaming, beating up machines. They have a message, a response for all the stupidity, for all the deaths, the lies, the false hopes, for all the shit they had to put up with in the fall of 2017. 

If « punk is dead », then hardcore isn’t. 

Horse I’m Virus, a group of 2 raging scums brings back 80’s post-punk with the maddening intensity of 90’s electronic music. Valentin Savio (a.k.a. Sainte Harare) and Mr. Disgusting Bhavior, both of Horizon Liquide, will bring this gutter music right in your face so you can taste the angst that will free yourself from your own demons. 

FR: 
---- 
Le monde sombre dans un profond sommeil, la Suisse tire la couverture d'auto-satisfaction de sa mort quotidienne, les gens semblent se cacher, oublier, ou simplement ignorer quelque chose. 2 salauds au milieu d'une ville morte, à distance, ils sont là, immobiles, crient, battent des machines. Ils ont un message, une réponse à toute la bêtise, à toutes les morts , les mensonges, les faux espoirs, pour toute la merde qu'ils ont dû supporter à la chute de 2017. 

Si le « punk est mort », le hardcore ne l'est pas. 

Horse I'm Virus, un groupe de 2 voyous qui font rage, ramène le post-punk des années 80 couple a l'intensité exaspérante de la musique électronique des années 90. Valentin Savio (a.k.a. Sainte Harare) et M. Disgusting Bhavior, tous deux d'Horizon Liquide, apporteront cette musique d’égouts directement dans votre gueule, que vous puissiez goûter l'angoisse qui vous libérera de vos propres démons.

Bounce Back is a party where you can expect to be submerged in the purest house and underground vibes anyone could ask for. Our aim is to provide London with quality music that is easily accessible without being too commercial and maintaining a slightly underground approach, bringing a special something into the mix.

Bounce Back started in September 2011 at a favourite party spot amongst London c
lubbers preferring a more intimate space, The Horse & Groom. This was an excellent debut venue that provided us with the perfect platform to showcase the unusual nature of our parties.

We are committed to bringing you original house music and an unsurpassable vibe. There is a vast array of other promoters in the city providing house music events but only playing one particular style. We quickly realised that we have something a little different and more versatile in mind. We are satisfying a long awaited craving for the “old school” atmosphere, bringing back a mood unique to pure house. We don’t want to blend in here at Bounce Back, and we are slowly but surely gaining recognition amongst fellow music heads on the scene for being the provider of something out of the ordinary. Our family is growing bigger each month, and we have a tremendously strong, dedicated crowd of followers.

Over the past year we have had some truly talented spinners adding their touch to the party, this has included female spinner and Ushuaia resident, Sam Divine, Rob Mello, Teva and for the first birthday bash, the notorious Legend CJ Mackintosh and also the super cool Tuccillo!

Keep your eye out for regular up and coming events, in and around London.

Get ready to Bounce Back!

Gerhardts are a band with a significant history but in many ways they are just getting started. I first saw them play at a small club in Seattle called The Josephine and although their intricate sound was compressed by the limited space, I was struck by the energy and passion of their performance. When I saw them again at the much larger Columbia City Theater I felt like I was hearing them for the first time. In the expanse of the gorgeous theater I could hear the shifting tones of the three guitarists, the subtle but powerful rhythm section, and the strong, clear vocals of Joshua Hollander- all combining to create rich tapestries of melody and sound. The indie-rock grandeur of the band and Hollander’s vocal proclivities are bound to inspire comparisons to Sunny Day Real Estate who are indeed a primary influence. However, Gerhardts are no mere Sunny Day sound-alikes. Out of numerous influences they have cultivated their own unique style which resists easy genre-classification but is both challenging and deeply satisfying.

Weaving through their music you can hear the rhythmic interplay of Spoon; the stately momentum of Low; the cascading arpeggios of Radiohead and The Cocteau Twins; and even the guitar grunge of Neil Young with Crazy Horse. Along with their varied but focused sound, the band has a strong lyricist in Hollander whose cryptic verses feature evocative lines that stand out amidst the swirl of guitar and drums. “I am the hammer abandoned to rust”, he sings in “Hammer” and “all my dreams/ they just fade like steam/ they just fade/ but I can still feel this heat burning me.” On “Irish Song” the vivid imagery of the verses evoke similar feelings of panic and frustration: “Standing alone in the river bend/Surrounded by all the dead, singing / Son, go on ahead, but these legs just won't bend.”

While Gerhardts have only existed as a band since 2009, the shared history of its members dates back to the late 90’s when they were all still in high-school, attending and playing shows together. Hollander and guitarist/keyboardist Andrew Hacket joined forces in a band called La Hoya Sunset who regularly shared bills with drummer Justin Wilmore’s band. Bassist and keyboardist Paul Herman was a fan of both bands and drummer Justin Desilet came into the picture when he and Hollander bonded over Kid A in college. In time most of the bands’ members went their separate ways, but between 2007 and 2009 Hollander and Hackett found themselves in Mexico, playing together in a band called Into the Sea which came to an end when Hollander returned to Seattle. When Hackett decided to do likewise in 2011 he was welcomed into the fold of a new band Josh had formed made up of old friends who by fate or mere circumstance, had come together under the banner of Gerhardts.

Since the time that they all met as teenagers, the boys in Gerhardts have devoted their lives to music and they’re not playing just for fun. They are bonded by friendship but are playing because they believe in the power of their music and having seen them, I, for one, believe in it too.

- Bobby Switchblade (2012)

Exclaim! : Seraphim(aka Seraph/ The Light) bring youthful exuberance to the table, as well as the willingness to sprinkle each song with something extra that gives them an edge.  Mature, satisfying, with carefully penned songs that are strong, memorable and evocative.

A389 Records: Completely epic!

Stereokiller: I could probably use a thesaurus to better describe the sound of Seraphim in full, but what fun would that be? It is impressive to me that this is only a three piece band. When these guys get heavy and loud it sounds like a ten man band. The whole record sounds full without being overstuffed. Even the lighter tracks seem to be layered expertly to get the right feel. The transitions from soft to heavy are also well done. For a band that fluctuates in sound several times in an album they do so without sounding disjointed and all over the place or sudden and forced. 

Toxicbreed: "Lets face it, to say that as the years have gone on the whole Neurosis/Isis/ETC style of "post-metal" music has been aped by hundreds of bands and to say that particular subgenre of music has become stale would be beating a dead horse at this point. It seems like no matter how many bands put out records like this, they always seem to boil down to pale imitations of the real thing. Seraphim has not only dispelled this preconception, they have raised the bar. 




BORN IN 2009 OUT OF A DESIRE TO GAIN
 FREE ACCESS TO MUSIC FESTIVALS...

MAN BITES FRIDGE stormed Shambala Festival 
in their first year
& have gone on to thrill 
the masses with a danceable, funky, 
somewhat comedic and lyrically dynamic 
new wave/dance/funk n roll 
original groove-smithery.


The band have a wide variety of tastes, 
influences and interests
(including all good music,
film, comedy, politics,
libations, psychology,
old collieries and town-planning).

We are Vox, Axe, Sax, Synth, Bass and Beat.
A 5 horse power cottage industry,
 sailing on a craftsmanship.

3-parts mental health worker to
 1-part lecturer & 1-part journalist.


 
The Fridge 
is full of 
compassion 

Low-down flavour 
& proletariat texture 
Infused with the aroma of synth 

A sexy, satisfying smorgasbord of funk

Chris began performing at bars and pubs while completing his degree in performance music at the University of Windsor. Chris started out playing open mic nights at Patrick O’Ryan’s Irish Public House and soon became a regular fixture at a dozen Windsor and Detroit bars.

After three years of playing both solo shows and as a member of the Celtic rock band The Distractions, Chris returned home to Eastern Ontario. During the last eight years, he has played solo shows and as a member of the duos Sociable and Rocking Horse and the rock band South of Heaven.

Chris has captivated crowds from university students to legionnaires, with a collection of songs that range from current top 40 rock hits, to Scottish ballads. While tending to focus on a fast-paced mix of rock and modern Celtic favourites, Chris is always up to the challenge of satisfying the requests of any crowd.

Before leaving Windsor, Chris released his first CD, Celtic Stepson, independently. The album features a collection of traditional songs arranged in a less-than-traditional manner. Chris has always felt that the beauty of traditional music lies in it’s ever changing nature and how it it can shift and change from one generation to the next. With this first album Chris was able to share his own interpretation of songs that he had heard performed hundreds of times before.

The 2011 release of the album, Better Late Than Never, marks Chris’s return to recorded music and, once more, features a variety of traditional songs and a few original compositions.

Jim Says - We're a collective of mostly non-musicians, who twiddle with knob and sliders, and try and push the right buttons and keys at the right time, whatever that is? We beginning in the chaos that we call primeval soup, chance happenings or coincidences occur, this is probably are the basis of everything and the natural order of things. - So it happens and evolves, we do what we can, but when its at its best, the universe, elemental energy or something like that brings it all together in an unexplainable and very satisfying flux, so here we are in this unlikely situation where I'm talking to you! Anything can happen, there are no rules ; )

Joe says - Recording info...
16 track recording A/D @ 48Khz/32bit float
Allen Heath GS3 mixing desk
Korg/Roland/Yamaha hardware.

Higgsy says - take a trip on an untamed powder bowl and ride the white horse's to an uncharted reef at the back of your mind, where knowledge is limited but your imagination encircles the known universe, you take care now you hear.

All songs retain copyright.
Free to download and enjoy.
Corporate interests - please contact squiffcitycentral@hotmail.co.uk

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)

Lynda Orval is following