Self-styled as ‘basement rock’, The Kut present a sonic collage that evokes everything that made the 1990’s alternative rock scene such a beautifully broken beast. Tying thick slabs of fuzzy guitar, drawn from the core of grunge’s bitter heart, to ethereal passages of twinkling atmospherics that pay homage to the likes of My Vitriol and early Radiohead, the London trio - completed by bassist/vocalist Alison Wood and drummer Amanda Dal - will have you double checking your pocket for Pogs and Patchouli Oil. “We’re heavily influenced by the grunge scene,” grins Maha, “Bands like Smashing Pumpkins, Deftones, Placebo and L7 have had a huge impact on us, as well as the Riot Grrl scene.”
Despite a nigh 4 year hiatus from writing and recording new music, The Kut have made an impressive comeback in 2014 with ‘No Trace’ - the lead single of the band’s forthcoming 5 track E.P ‘Make Up’ - picking up TV and radio support straight out of the blocks, and winning the threesome the top spot in MTV UK’s Brand New Unsigned 2014 Poll
Produced by James ‘Lerock’ Loughrey (White Zombie, Bjork, My Vitriol), ‘Make Up’ sees The Kut re-energised and ready to riff: “After taking such a long time out from releases (due to some record label misunderstandings), it was a big realisation for us that we’d become stagnant on the new music front,” explains Maha; “We made mistakes, the main one being pretty much just waiting. Life has ups and downs, but you have to just get on with it…. We never went away, we have just been regrouping.”
Kicking ass and taking names on the following dates:
Fri 11th July – The Chelsea, Bristol
Sat 12th July – The Fullmoon & Attic, Bristol
Sat 19th July – Rock and Bike Festival, Derby
Sat 2nd Aug – Princess Maha (The Kut acoustic set), Richmond Live Festival, North Yorkshire
Sat 9th Aug – Princess Maha (The Kut acoustic set), Kaya Weekender, Bangor, North Wales
Sat 6th Sept – ALCON, De Montford University, Leicester
‘Make Up' will be released Digitally and Physically (CDl) via Criminal Records on 18th August 2014
TRIBUTE TO ETIENNE DAHO: CALL FOR SUBMISSION
After Synthétique & Autoreverse, BOREDOMproduct is working on a new compilation – a tribute to French pop singer Etienne Daho.
If you want to participate to the project, contact us at daho@boredomproduct.fr or through our website’s contact page and tell us which song you would like to cover (in French or in your native language). The cover must be in the BOREDOMproduct style: pop and electronic.
We trust you for the electronic bit and for the pop aspect, well Etienne Daho’s songs will provide it.
The reserved tracks list will regularly be updated in our Facebook page. The same song cannot appear twice, so songs are reserved on a first come, first served basis.
Deadline for submission: August 30. We will make the final selection shortly
After his diverse yet cohesive 2013 album The Waiting Room, Jeff McIlwain, better known as Lusine, is back with a more tightly focused EP. McIwain's discography is intimidating, and over the course of the last few decades, he's been known for exceeding in a wide array of electronic styles, a rarity among artists of his kind.
The release of Arterial, his fourth EP for Ghostly, marks another successful foray into a niche that most artists would spend their careers immersed in. A calmly effortless work, Arterial is economical in everything it does, creating its own tiny universe to house expertly crafted productions. On the title track, crackling samples simmer like heated atoms narrowly missing each other, suspending us as we wait for release. “Eyes Give In” encapsulates the EP's feel, taut, with no sound out of place, and yet over the course of its five minutes warming into something undeniably human, even comforting. “Quiet Day,” the most accessible track here, demonstrates McIlwain's gift for merging heady electronic music with the visceral appeal of pop, as his gorgeous synth melodies compliment submerged vocals.
At 20 minutes, the EP is exactly as long as it needs to be, showcasing yet again the multiplicity that exists within Lusine's work through songs that form a compact whole. As McIlwain told Giant Step in a recent interview, his goal is to find “beauty in strange places” and “warmth under the surface” through all his music, and on Arterial he fulfills this wonderfully.
The long awaited Steven Soderbergh-directed drama “The Knick" seems, according to the first trailer a must see!
Synopsis:
Clive Owen stars as Dr. John W. Thackery in the show that follows the doctors, nurses and staff of the Knickerbocker Hospital in downtown New York in 1900 as they push the boundaries of medicine. However, what was then modern medicine is a lot different than what we know today — the morality rates are higher, and there seems to be a lot more blood.
Following their performance at Field Day last weekend, MONEY have just released a short film for ‘Goodnight London’, a fictional piece of art-house cinema, directed by Jem Goulding. Inspired by the confused identity talked about in singer Jamie Lee's lyrics, the film is a metaphor on the masks we are often forced to wear, embodied in an abstract love story. Like many an art-house films it also has a French flavour, with the story's lead character played by Parisian rising star Olivier Barthelemy, who found fame starring alongside Vincent Cassel in cult films such 'Sheitan' and 'Our Day Will Come'.
The film remains true to Goulding's storytelling, finding beauty and sadness in the unchartered territories of the human heart - a subject that Goulding explores in her best known poem 'CITY' written about the brutality of New York. This was the poem that bought Lee and Goulding together, realising that 'City' and 'Goodnight London' were inspired by the same kind of isolation; whether the city be NYC or indeed, London. Over a first rendezvous Lee asked Goulding to "make some good art" for their song Goodnight London.
About the director: Artist, director and writer Jem Goulding is an unbridled romantic. Her acclaimed films, photographs and poems have been compared to Patti Smith, Nan Goldin, Bette Gordon, Barbara Rubin and Lenore Kandel. To find out more about her work visit her website.
MONEY are Jamie Lee, Charlie Cocksedge, Billy Byron and Scott Beaman. Having formed in Manchester amidst a prolific underground milieu, they soon came to embody the passion, creativity and optimism of a new generation of artists and musicians who found themselves presented with what singer/frontman Jamie describes as ‘an extraordinary, poetic city’. Their debut album album The Shadow Of Heaven consists of ten songs that range from stripped-back piano ballads such as ‘Goodnight London’ and ‘Black’ to the more epic ‘Hold Me Forever’ and ‘Bluebell Fields’. Rooted in universal themes of the spirit, love and loss, the album also addresses man’s condition in the modern world, issues ‘such as isolation and mental health as logical reactions to it', says Jamie. It’s an album full of yearning and soul-searching, a voyage of (non-) discovery that only ends up finding itself and the sheer, aching beauty of questions asked in full knowledge of their own answerlessness. It’s metaphysics for the modern age, which might not be quite as spiritually bankrupt and bereft of meaning as we once believed.
