Loud Cities Magazine_Issue 4_04_2021

ISSUE #4 

APR 2021 

REVIEWS - INTERVIEWS - FLASHBACK - PLAYLISTS - GUESTS & OTHER 

PROJET MARINA 

ALEX DONAT 

DILK 

photo by Bari Goddard of G O D Photgraphy 

MINUIT 

MACHINE 

SEX GANG CHILDREN 

BESTIAL 

MOUTHS 

... AND MANY MORE 

RAW - ELEGANT - ALTERNATIVE - MUSIC

Every Thursday 

Loud Cities Radio Show 

www.mercury-radio.net 

TUNE IN 22:00-00:00 GR TIME/21:00-23:00 CET/12noon PST/3pm EST

EDITORIAL 

We are doing this for the Art, for the endless Musings we love. 

We started with some 350 views on issue #1, then we went 

up to aprox 750 on issue #2, 1000 on issue #3, and it looks 

like YOU enjoy our effort here in the LCM. Our readers and 

the artists tell us we look good, and very interesting. We are 

trying to be the usual, valid music magazine that expresses 

the current alternative music scene and we are trying to 

bring you closer to the springs of musical creation. 

We are discovering gold every month and we place it here 

for you to have a nice and relaxing time. 

This is what we wanted when we decided to create LCM; 

something to be working as a blog/website but with the 

looks of a print form, to remind us all the good past days 

of creative and reputable alternative press…and we became 

Phygital! 

With most respect to all of you 

The LCM Crew 

Mike D. 

Mar Gee 

Kat Z. 

https://soundcloud.com/mike-dimitriou 

https://www.mixcloud.com/mike-dimitriou

Cont 

6 projet marina 

8 minuit machine 

11 night haze 

12 Cathal 

caughlan 

14 

sex gang 

children 

20 hoveriii 

the who - t

ents 

dilk 

23 

playlist 

24 

echoes of the city 

nick hudson 

bestial 

mouths 

The Ferocious 

Few 

26 

28 

36 

alex donat 

38 

blackjack 

illuminist records 

ommy 

42

6 

REVIEW 

Loud Cities Magazine / #4 APR 2021 

Mike D. 

PROJET MARINA’s 

Imaginary New 

“Ecce Homo” EP 

via NEW SINISTER 

On March 22, 2021, one newborn New 

Sinister label from Belfast released the 

brand new work “Ecce Homo” EP by 

the French-wave act Projet Marina 

and it was all a glorious deal, let me 

explain; New Sinister records is the 

new child of Mary McIntyre’s who is 

the owner of also Tonn Recordings 

that we appreciate so much. Apart from 

her love for synthesizers, Mary unveiled 

another shade of her restless heart for 

music, and that was the opening of the 

new label that will be swinging along 

with the waves/ post-punk/new wave/ 

no wave, etc. Those of you who know 

the releases of Tonn clearly understand 

that this is another solid leap ahead by a 

merchant with unique taste and views 

on art generally. New Sinister will be of 

the same high quality as Tonn, because 

it simply cannot be otherwise. 

We know the quality and the strangeness 

of Projet Marina from Nantes. We 

notably admired their previous records 

“Echos” (2018), and “Nuit” (2016) and 

here we are at the front of a very 

special and long-awaited release by 

this ultra extravagant act from France. 

I hope the cooperation between 

the two sides will prove fruitful and 

... impressive. The great importance 

of the “Ecce Homo” EP is that it is a 

special preview of the forthcoming 

Projet Marina album,’Loin des dons 

celestes’ which will be released on 12” 

vinyl via New Sinister later on in 2021. 

Another greatly important thing is that 

the EP is probably the most imaginative 

waves-oriented record I’ve heard for a 

long time now. 

This release includes 4 bizarre and 

lovable new songs that will satisfy the 

most demanding ears, either you disco 

or you kraut, post-punk, etc, you will 

absolutely find more than a few nice

Loud Cities Magazine / #4 APR 2021 7 

shocks in there. Also, you will find Xavier 

Thibaud of Subutex with his sax in the 

opening craze of “Ventre a Terre”, a 

song where’jamming’ goes on to some 

different paths of creation and actions 

together as the guest player will paint 

with jazzy and colorful’kandinskies’ 

over Willy Prim’s and Lilian Tynevez’ 

no-wave explorations. And you will 

listen to another brilliant, freestyle 

collaboration with Blaine Reininger 

of Tuxedomoon on violins and vocals 

in “Totems” that is an adventurously 

engaging track by all means, and you 

can get another taste of the band’s 

quality and skills in the official video of 

“Ecce Homo”. Very beautiful song with 

a very beautiful video too! 

Projet Marina plays French-wave of 

course, plays no-wave of course, plays 

post-punk music a bit twisted and nice, 

and they play it all with a great sense 

of freestyling, but what really intrigued 

me and amazed me is that their songs 

are all structured, yet arranged at will 

and I love that freedom in the music. 

No element lasts longer than it should 

and nothing is unnecessary in there, 

and even if it goes abstract, it follows 

a very specific and creative path along 

the way. “Noli me tangere” can solve 

more questions than those posed by 

Projet Marina like a missing good 

piece of their puzzle. This song is not 

in the new EP but we’ll probably see 

it in their new long play sometime in 

2021. 

The whole case with Projet Marina 

in New Sinister took my thoughts to 

the glade with this handful but worthy 

labels that publish records for a reason 

(like it or not) by bands and artists that 

are on the edge and at the front of 

modern music creation-all genres. This 

specific release has amazing artwork, 

has amazing music inside, and has all 

these things we imagine and miss in 

the current alternative music scene; 

that unique perspective with that one 

shameless gaze ahead. Until both sides 

come together again, here is this f-an-t-a-s-t-i-c 

little record!!! 

Keep up with 

Project Marina 

www.whitelight-whiteheat.com

8 Loud Cities Magazine / #4 APR 2021 

REVIEW Mike D. 

“Basic Needs” 

new EP by 

MINUIT MACHINE, 

dare it! 

On the tail of their previous thundering 

release ‘Don’t Run From The Fire’ EP, 

the Parisienne duo Minuit Machine 

cast another amazing piece of their 

work on April 23, this time via the young 

independent label WARRIORECORDS 

(Paris), and it is the ‘Basic Needs’ EP 

armed with three new shining bullets 

inside, dare it! 

All music by Hélène de Thoury 

(HANTE.) who also handled the 

mastering work of it, Amandine Stioui 

at the front with her lyrics and vocals 

(who also worked on the mix of this 

release), these ladies here made an 

amazing gift to WARRIORECORDS 

with which they obviously have (and 

will continue to have as it seems) 

strong bonds. The new EP is a blast of 

high octane pure darkwave electrooriented 

music to die for, by all means. 

The new label was founded in Paris 

in December 2020, and it’s a queer, 

transfeminist, and anti-racist record 

label rooting against supremacy and 

fighting for music, poetry, and any form 

of experimental workaround sound. 

Minuit Machine’s music makes you 

wanna dance your heart out to express 

all the rage, the passion, and the angst 

you have inside; a multi-layered and 

strong relationship between the two 

sides. Of course, Minuit Machine‘s gift 

is of great value not only artistically but 

also commercially; they could easily 

release ‘Basic Needs’ EP via their own 

diamond label Synth Religion records, 

but instead, they chose to show their 

love to their friends in Paris. Tell me, 

who wouldn’t want MM on their 

roster?! 

These three brand new songs (‘Basic


photo by Cha Gonzales 

Needs’, ‘Sisters’, and ‘Vanity’) apart from 

showing Hélène de Thoury‘s impressive 

development within the genre itself 

(synthwave-electro) that she has gifted 

with major contributions as one of 

the most iconic names now, shows 

also the emerging minimalist poetry 

of Amandine Stioui. Not just lyrics, 

not just words for a song, but a quite 

most aggressive and grounded way 

of narration on all things urban deeds 

and side effects. The words are there, 

non-negotiable, with meanings you 

may like, or may shock you or annoy 

you between the lines as she pushes 

them on the microphone. ‘Basic Needs’ 

EP is as intense as life is in our ‘lovely’ 

modern world of heroes, stereotypes, 

barriers, and plots, with the record 

running wildly and shouting alone…to 

everyone. Listen to it Loud!!! 

Keep up with 

Minuit Machine 


NIGHT HAZE 

"The Light" 


Mike D. REVIEW 

“The Light” is the leading track and the 

first one to appear from the upcoming 

EP “Serial Dreamer” by Athens-based 

dark alternative duo of Night Haze. Like 

many other similar names that define 

the modern international dark scene, NH 

fearlessly combines their own affinity and 

charm with the darkwave and the rest of 

the dangers. They create and offer some 

pretty edgy and very cogent sonic proofs 

that bridge the cold wave with post-punk 

and vice versa, and it is all darkwave 

music, right? But when the result is a blend 

of separated subjects from each genre 

and not like mixing the whole oceans 

together, then the question is only how 

good and tasty is the new format. 

Dora K. at the front and main composer of 

NH, Stathis K. on the guitar and musings, 

this duo sounds as if they are coming for 

a big-time through the dark alleys behind 

them. In 2018 they released their wellaccepted 

debut album “Love Is Chaos” 

which attracted many many shaped and 

restless ears. That album was a success, 

the songs were played on the radio, and 

their name began to appear more often 

in the spoken battles at the den. 

In 2021, following February’s single “Flesh 

& Lies”, they sound totally ready for 

another round in the pitch. “The Light” is 

one hell of a leading track running on the 

cold wave with amazing guitar work all 

over as the singer dances within the 

words she is letting in the air. A very 

confident performance of a song that is 

there to seduce you either as a listener or 

an artist, and I can’t wait to get the new 

EP in my hands. The song is quality work 

on the high standards set by the band, 

with a predicted and long-awaited new 

record that has to be amazing!!! 

Keep up with 

Night Haze 



PRESS RELEASE 

Can’t Keep an Irishman Down: 

Cathal Coughlan 

returns with new LP 

Irish music legend Cathal Coughlan 

presents the ‘Song of Co-Aklan’ LP, his 

sixth to date. His first new music in ten 

years, the London-based Cork native is 

best known as co-founder and vocalist 

for seminal 80s/90s bands Microdisney 

and The Fatima Mansions, who toured 

internationally with U2. 

Coughlan has been described as 

“the most underrated lyricist in pop 

today”by The Guardian newspaper. 

DJ John Peel was also such a fan that 

he stated he could “listen to Cathal 

Coughlan sing the phone book”. 

“In the couple of years prior to making 

the record, I’d renewed contact with 

the other members of Microdisney, 

several of whom appear on this record, 

as part of the reunion shows we played 

in Ireland and the UK. As the result of 

that, and of other shows I’d played as 

a vocalist and collaborator, I found 

new musical acquaintances whose 

work suggested a wide palette. It felt 

important to make music in a more 

convivial setting than had been possible 

in a long time, which worked well until, 

midway through the recording, the 

pandemic dictated that the community 

of contributors had to become virtual”, 

says Cathal Coughlan. 

Recorded in London, this album features 

Coughlan’s long-time collaborators 

from the Grand Necropolitan Quartet 

- namely Nick Allum (The Fatima 

Mansions, The Apartments), James 

Woodrow and Audrey Riley (notable 

collaborator of Lush, The Sundays, 

The Smiths, Nick Cave, The Cure, and 

Coldplay). 

On this album, Microdisney/High 

Llamas bassist Jonathan Fell unites 

with Nick Allum and Coughlan for the 

first time since the Fatima Mansions 

‘Against Nature’ LP in 1989. Microdisney/ 

High Llamas alumnus John Bennett 

also makes an appearance. The LP also 

features Sean O’Hagan (Microdisney, 

High Llamas, Stereolab), Luke Haines 

(The Auteurs, Black Box Recorder) and


photo by Gregory Dunn 

Rhodri Marsden (Scritti Politti), as well as 

contributions by acclaimed Irish singer 

songwriter Eileen Gogan, Andrias O 

Gruama (Fatima Mansions) and Cory 

Gray (The Delines) on Wurlitzer piano. 

Emmy award-winning director George 

Seminara created videos for title track 

‘Song of Co-Aklan’ and the latest single 

‘The Knockout Artist’, and Andy Golding 

(The Wolfhounds, Dragon Welding) 

revealed a hallucinatory infomercialstyle 

video for ’Owl In The Parlour’. 

One of Ireland’s most revered singersongwriters, 

Coughlan is beloved 

by ans of caustic literate lyricism 

and erudite songcraft. Since Fatima 

Mansions’ demise in the mid-90s, 

he has released five acclaimed solo 

albums and been involved in numerous 

collaborations and guest appearances. 

He and Microdisney bandmates were 

the first recipients of Ireland’s National 

Concert Hall Trailblazer Award in 2019, 

celebrating culturally important albums 

by iconic Irish musicians, songwriters 

and composers (for 1985’s ‘The Clock 

Comes Down The Stairs’). 

As of March 26, the ‘Song of Co- 

Aklan’ album will be available across 

online platforms, such as Apple Music 

and Spotify, as well as physically. It 

can be purchased at https://ffm.to/ 

songofcoaklanalbum. 

Keep up with 

Cathal Coughlan 

www.noisejournal.com

14 


INTERVIEW Mike D. 

“Gloves off, this is war and 

the rebellion starts here” 

An Interview with ANDI 

from SEX GANG CHILDREN 

photo by 

Kate Schermerhorn 

Today (April 23) is the official release date of the new ‘OLIGARCH’ LP by 

living legends Sex Gang Children via Liberation London label. All that we 

could say about them may reach the limits of worship along with and 

beyond the deathrock hedonism. Active since 1982, Sex Gang Children are 

always at the core of ‘situations’ like cynic prophets or furious poets. They 

are fairly considered among the most influential deathrock acts ever and 

they are also considered among the most artistic and bizarre post-punk acts 

ever. All true, and with an endless string of records in their quiver (singles, 

EPs, LPs, solo works, side projects) these old kids now jumped over the wall 

and ran wildly against us... to save us, again. I had the honor to be with 

frontman Andi Sex Gang at a few wonderful ‘banquets’ in Athens GR and I 

assure you that he is an awesome interlocutor and a very kind punk in the 

English style. I knew that our interview would be more than interesting but 

the man here is a machine gun. We talked about many things SGC, politics, 

music, and more... ladies and gents here is the frontman of the gang.


Scary things are coming soon with 

the ‘Oligarch’ album as the first song 

to appear from the record leaves not 

much of a question about... “Death 

Mask Mussolini” is a selectively 

targeted upward strain towards the 

ruling elites. Tell us please what 

made you write this song with these 

specific lyrics in it, and give us the 

news on the upcoming album! 

This song first appeared as a Dirty 

Roseanne single and was later 

remixed by DJ Ragnar for my solo 

album ‘The Devil’s Cabaret’. There 

was no conscious or premeditated 

thought process behind the lyric. 

When I’m in the ‘zone’, I just pour 

out my inner reflection of what I 

observe in the world. The song is 

not about Mussolini the man, I just 

used him as an allegory. The idea to 

do an SGC version came to me one 

sunny afternoon in Berlin. The whole 

finished piece filled my head in an 

instant and that was it. Game on! 

The new album OLIGARCH will 

be released on April 23rd (digital 

download and CD). I really decided 

to pull no punches lyrically on this 

album. We are living in times that 

deserve no less. Gloves off, this is 

war and the rebellion starts here. 

your new creation, and why please? 

I wouldn’t describe Mussolini as 

a lunatic, I would say he was a 

symptom of the time and represented 

a desire of a large enough portion of 

the populace who supported him. 

It could have been someone else, 

say from the far left, but instead he 

manoeuvred himself in that game 

in a way that secured his success to 

become a national leader. I purely 

chose him as an historical figure 

that was well known enough and 

cartoonish enough to be used as a 

metaphor. A vivid splash of colour 

on a painting. No more, no less. 

You make music since 1982 and we 

have seen and heard your passions 

repeatedly, so the question in my 

mind (evaluating your new ‘Death 

Mask’ explosion) probably has no selfevident 

answer; what kind of music 

are you playing now in ‘Oligarch’? 

OLIGARCH is a snapshot of current 

I see in the lyrics of ‘Death Mask 

Mussolini’ a clear connection 

of the ridiculous Italian dictator 

with the present conditions in the 

world. What characteristics of this 

historical luno fascinated you the 

most to make him the ‘model’ of

16 


photo by Bari Goddard of G O D Photgraphy


times and the events and flaws of our 

species that have brought us to this 

point. The music explains itself a lot 

better than I ever could or should. I 

will just add this, it is uncompromising 

as all SGC and ASG albums have 

been. An oral explosion, a challenge 

to the mind and food for the soul. 

start?? The list is pretty long. But how 

can I refuse such an invitation, so 

let’s go down that road. SONG AND 

LEGEND, BLIND!, MEDEA, BASTARD 

ART, VIVA VIGILANTE. Why? They 

are all worth a listen purely for 

their uncompromising stance and 

refusal to limit themselves within 

the boundaries of ‘textbook songs’. If 

music doesn’t challenge the senses, 

then it ain’t worth a fuck. 

With three additional remixes to be 

included, “Oligarch” appears like fully 

armed in the first row. May I ask you to 

give us details on each one and more 

on how you chose these names? 

Kitty Lectro, Dominic Hawken, MGT? 

All three have remixed SGC/ASG 

tracks in the past and we love their 

work. They understand the music and 

where we’re coming from. Dominic 

Hawken did two remixes on the 

bonus tracks on the 1992 Cleopatra 

re-issue of BLIND! MGT remixed 

two tracks (Hollywood Slim & Pigs 

To Men) from our 2013 album VIVA 

VIGILANTE. Kitty Lectro remixed 

Syrian Plain from the 2015 ASG album 

ACHILLES IN THE EUROZONE. 

A kid asked me what do these 

guys play, so apart from the new 

record which other of yours should 

I recommend, and why please? 

Where do I start? Where should I 

I have this feeling that SGC started 

all the way back on a peak and they 

never looked back, like the band 

said “deathrock SGC born on the 

stratosphere, more vertigo soon 

near you”, and so far, we have one 

of the most explicit and intriguing 

acts ever in avant-garde music with 

a really remarkable discography. 

What motivates you to keep going 

on? And if I asked you to give us the 

story of the band what would you 

say while drinking a beer with us all? 

SGC was born as an idea more than 

a band. We were never going to be 

just another band. Rock music had 

become too stale and cliched for that. 

We wanted to tear the whole scene 

down and rebuild from the bottomup. 

The system was corrupted 

and flawed. It needed shaking up. 

It needed to be reinvented. It’s a 

battle for the hearts and minds and

18 


in that war, there is no room for 

compromise. Our very existence is 

a big ‘fuck off’ to the system. As a 

species, take a look at what we have 

become. Consumer addicts, slaves 

to corporate mediocrity. We have 

lost touch with our inner nobility. 

That is unacceptable. As a species, 

we’re better than that. The cultural 

war continues and so will we. 

Deathrock 1981 - Deathrock 2021, 

what are the things you love 

from that ‘book’, and what is it 

that annoys you along the way? 

As the tears dry up now in the 

social media, the Covid thing is the 

absolute winner around us, and you 

are the Health Minister with no limits 

on your work, what would you do 

to relieve the music scene and what 

would you demand by the societies? 

Well, that is pretty much a no-brainer. 

The government in the UK has 

offered very little support for the arts. 

I love the experimentation that 

came from a number of bands in the 

period of the early 1980’s, but then 

again, I love good experimentation 

from any period. Deathrock? Goth? 

etc. I never really subscribe to 

categories. Music that is true and 

from the heart does not need to 

be categorised. Be an individual, 

find yourself and be yourself. 

I try not to get ‘annoyed’, however, 

I don’t always succeed in that 

endeavour. If I do get annoyed I use 

that anger in a positive way; as an 

energy to fuel the fire that burns 

within me. When people use music 

or any of the arts for their own selfish 

desires, that can be annoying. When 

record labels or concert promoters rip 

you off, then that is annoying too, but 

then they might get a slap on the face. 

They have been closing down many 

music venues here for the last 15 

years or so. We must adapt in order to 

survive and thrive and that means be 

more DIY (Do It Yourself). Despite the 

global trend of destroying subculture, 

we can create our own avenues of 

communication in order to strive and 

challenge ourselves. We can demand


this or that from our governments 

to support the arts, but that tends to 

be the strategy of the champagne 

swilling armchair art rebels. 

Remember, the great subcultural 

movements of the recent past never 

had support from the establishment, 

but nevertheless broke through 

the barriers and exploded onto the 

world. We need to take a leaf from 

Boys. Various Jim Foetus albums 

from the collection he gave me way 

back in the 80’s. They still sound 

inspired and timeless. Sandinista 

by the Clash (again after so many 

years it stills sounds so fresh). Metal 

Box by PiL (always on my turntable 

every now and again). Best Of 

Roxy Music (as always). And here’s 

the killer surprise...David Essex.. 

absolutely brilliant and ‘out there’. 

A message to the fans and our 

readers? 

The journey is the life. 

Thank you so much for your time, 

last words on you! 

Be a warrior not a slave. 

Keep up with 

Sex Gang Children 

that book. Lock, load and shoot. 

I guess we’re gonna be surprised 

now, but can you give us your current 

top-5 musings at home or in the car? 

I don’t drive. I don’t have a car. But at 

home I have recently been listening 

to (again) Pet Sounds by the Beach 


20 


REVIEW Mike D. 

HOOVERIII - 

Water For The Frogs LP, 

Supercharged Psychedelic Rock 

On April 9, the psychedelic rock gang 

Hoveriii (L.A.) published one hell of 

a great album ‘Water For The Frogs’ 

via The Reverberation Appreciation 

Society. It is a marvelous release 

with seven fanciful and visionary 

psychedelic rock anthems to die for 

happily with joy. Having originally been 

born as a solo drum machine project 

by Bert Hoover, Hooveriii (pronounced 

“Hoover Three”) has now evolved into 

its true final form - a six member band 

adept at creating their own brand of 

psychedelic space rock matter. 

‘Water For The Frogs’ is an ongoing 

adventure with almost no limits, or 

better I think, with boundaries set in 

each track separately, and it is a very 

ambitious release too. 7 songs with 3 

official videos which probably couldn’t 

be done otherwise since a single 

sample couldn’t be enough, and after 

the band and the label heard the final 

masters, they’d logically felt the value 

of the album and yes, they support it 

with “goodies” and they do it well. 

Super groovy and cool music 

everywhere in this album, the sonic 

spectrum of Hooveriii reveals its magic 

step by step, track by track, with the 

array of their kaleidoscope being totally 

fascinating all the way to completion. 

I felt like I was in the Wonderland of 

psyche music where the main road is 

the garage rock avenue with a lot of 

amazing surprises. The fruit of krautrock 

was there; the essence of space rock 

was there too, and some suggested 

shoegaze elements there, but discreet 

and not in the mood to compete with 

the rest “phantasmagoria”.


It is such an attractive drive similar to 

these old school monumental records, 

full of talent, with boundless grooves 

and shakes all over, and without the 

mood to do things progressive and 

all. They could easily try to pass that 

gate, they are obviously skilled players, 

and what they do is what they are; 

pure Californian psych rock without 

questions or any other “ornaments” to 

show off. They don’t need that. Their 

music is already large and you will 

clearly hear all their hard work (in deed) 

in the studio. 

In 2019, Hooveriii took their live show 

to Europe for the first time. Bert Hoover 

shares, “seeing all the old cities and 

beautiful landscapes while becoming 

closer as a band had a huge impact 

on this album. A lot of our favorite 

music came from the Krautrock scene 

in Germany from the late 60’s -70’s, 

and when we had a day off in Furth, 

Germany, we spent most of it writing the 

record,” he continues, “we were able to 

rehearse in an old German bunker that 

has been converted to rehearsal space. 

It definitely had a strange energy that 

helped give this album light.” 

Keep up with 

HoverIII 

Loud Cities Magazine


Mike D. REVIEW 

DILK “Bad Habits” 

and on! 

In this new ‘chapter’ for the growing 

Spanish post-punk scene, we find the brand 

new shining bullet ‘Bad Habits’ by Madridbased 

act DILK. The single was released on 

March 26 via Cold Transmission Music, the 

band comprises Jaime P. Damborenea 

(composition, keys and synths), Esperanza 

Ruiz (bass, lyrics, and chorus), and Carlos P. 

Esteban (guitar and vocals), while the new 

single is one hell of amazing evidence that 

big leaps are taken on to this music in Spain. 

DILK plays tight post-punk in the modern 

way as we loved it in the last decade, and 

they are here to stay. This new single came 

like a storm following last year’s striking 

debut album “Hardship”. 

“The idea comes from the fact that one 

cannot shed their own bad habits. Habits 

that destroy us inwardly and that take away 

our hope of living. We refer to the habits 

induced by society and its bad morals, 

which deprive us of being ourselves and 

make us ashamed of human existence. In 

the end, we have no choice but to accept 

ourselves for who we are or what society 

has made of us, because it is too late to 

start over.” 

Formed in 2018, DILK is the perfect blend 

with darkwave sounds, and the post-punk 

orientation with electronic, vintage beats, 

atmospheric melodies, and blue lyrics. 

They’ve already built up a reputation in 

Madrid’s post-punk scene, as they shared 

the stage with The Chameleons Vox last 

spring. And maybe that ‘chronicle’ was 

what they needed as a band that seeks for 

the limelight to absorb, the nectar that will 

shape them forever. Now all things DILK 

look and sound like a clearly serious act, the 

band apart from its talent in creating some 

very modern sonic darkness, also sound 

totally ready to release a great new album 

that will be discussed a lot. Until then, listen 

loud to their debut “Hardship” LP, you will 

find inside some pretty nice hooks and 

storms all over it!!! 

Keep up with 

DILK 


24 


ECHOES OF THE CITY PLAYLIST by Mar Gee 

Motion Blur 

Citrus Clouds 

1 

Black Midi 

T.L.B.M. & 

The Joy Toys 

John L 2 3 

HVMVN 

A/lpaca 

Cult of 

Dom Keller 

There's Not An 

App To Save 

Your Life 

4 

Inept 

5 

Lyssa 

6 

CVCC 

OK Satan 

Blindrunner 

No, Nothing, Now7 

People Are People 8 

Fire Master 19 

9 

Tabula Razzia 

Rektest 

Moleskine- 

Shoegaze 

10 Oh Know Beak 

11 

18 Million Years 

12 

THE DRIN 

CDG 

Set-TopBox 

Guillotine Blade13 

14 

Maxx Headroom15


PLOP 

Public Eye 

Lesser Angels 

Speak Up 

16 

Redacted 

Memories 17 

Cloth & Ashes 

18 

Negative Nancies 

PREDATOR 

Sorry, Heels 

What Would 

John Say 

19 

Ripped Jeans 

20 

She Burns 

21 

HEALTH PLAN 

Atomic Eater 

Sex Tide 

Post Traumatic 

Growth 

22 

Hope U 

Die Too 

23 

Scorpion 

24 

Nuha Ruby Ra 

Only Violets 

Dave Bart 

Run Run 

25 

Comedy 

26 

Ending Moon 

27 

DETECTS 

Alan Vega 

Dexy Oscillator 

It's Gone 

Too Far 

28 

Muscles 

29 

Who 

30 

Keep up with 

Echoes of the City


PRESS RELEASE 

Soul-Searching with 

Nick Hudson 

(The Academy of Sun) on 

‘Font of Human Fracture’ LP 

It’s been a while since we’ve featured 

music from Brighton-based artist Nick 

Hudson here in The Noise Journal. As 

founder of brilliant art-rock post-punk 

collective The Academy of Sun, we 

shared their latest album ‘The Quiet 

Earth’ just last year, but now the time 

has come for the ever prolific frontman 

to release his new solo work. ‘Font of 

Human Fractures’, is his first solo album 

in five years. This collection represents 

a kaleidoscopic and emotionally 

transparent document of the search 

for self-worth – and ultimately love – 

in a thorny, unevenly-stacked world. 

Scored almost entirely for piano and two 

violins, the new album is a ruminative 

melting pot from the point of view of 

a queer man in his late thirties. It sees 

him converse with younger versions 

of himself, negotiating himself free of 

toxic programming and banishing the 

inhibitions that can blight, dull and 

impotize the best of us. A neo-classical 

record with electronic undertones, 

the centrepiece is a seven-minute 

long requiem for the legendary Italian 

homosexual Marxist filmmaker, poet 

and essayist Pier Paolo Pasolini – written 

from the perspective of the Alfa Romeo 

implicated in the artist’s controversial 

murder - about whose circumstances 

there remain a lot unanswered. First 

single, Surkov’s Dream, features a MIDI 

instrument constructed from samples 

made by Nick and engineer Paul 

Pascoe of the bass pedals of the vast 

church organ of St Mary’s in Brighton 

as it narrates an oneiric monologue 

from the imagined subconscious of 

Putin’s Grey Cardinal. 

Other highlights include Tokyo Nights – 

a song originally written and performed 

by Nick’s aunt in the eighties, with 

her Banshees-esque post-punk group 

Room 101 (much beloved of John Peel).


The album closes (prior to a literal End 

Credits) with a transcendent setting 

of the purging and hymnal Dambala, 

originally by Exuma, and made famous 

by Nina Simone. Also featured is a short 

instrumental salvaged from a cassette 

of fantasy music recorded when Nick 

was sixteen – a literal dialogue with 

Nick’s teenage self. On the track Come 

Back When There;s Nothing Left, Nick 

invites Toby Driver of legendary NYC 

avant-garde group Kayo Dot to take 

the lead vocal in a haunting meditation 

on taking responsibility for one’s one 

spiritual housekeeping – whilst also 

celebrating the work of queer horror 

maestro Clive Barker. 

toured 3 continents, highlights include 

appearances with Mogwai, Toby Driver 

and Keith Abrams of Kayo Dot, and 

Timba Harris (Mr Bungle, Amanda 

Palmer). 

As of April 30, the ‘Font of Human 

Fractures’ album will be available on 

vinyl and digitally via Spotify and Apple 

Music. Both are also available directly 

from the artist via Bandcamp. 

Nick Hudson is a prolific figure on the 

UK underground music scene and is 

perhaps best known as frontman of 

art-rock band The Academy Of Sun, 

who released their dystopian epic ‘The 

Quiet Earth’ last year to critical acclaim. 

Apart from music, Nick’s vast output 

also encompasses painting, film, and 

he has just completed his first novel. 

Hudson has also collaborated with 

Wayne Hussey (The Mission) and 

Matthew Seligman (Bowie, Tori Amos, 

Morrissey), as well as members of 

NYC’s Kayo Dot, David Tibet (Current 

93), Asvaand Canadian queercore 

icon GB Jones. As The Academy Of 

Sun, he has also collaborated with 

Massive Attack’s Shara Nelson. Having 

Keep up with 

Nick Hudson 

www.noisejournal.com

28 


FLASHBACK Mike D. 

From their inception in 2009, the core root of Bestial Mouths has 

combined Cerezo’s voice with myriad genre influences across the 

spectrum of goth, industrial, post-punk, New Wave, noise, metal, and 

other underground sounds using live acoustic and electronic drums 

and analog synthesizers. With a history in fashion design and gender 

activism, Cerezo’s visual and social aesthetics are interwoven deeply 

into Bestial Mouth’s presentation, building outward into captivating 

theatrical live performances. On May 5, 2021, Bestial Mouths will release 

‘THOUSANDNEEDLES’ LP with a string of a dozen, amazing remixes by 

names like Ash Code, NNHMN, Statiqbloom, Void Vision, Grendel, and 

more. For this occasion I recall a celebrated interview I did with Lynette 

Cerezo back in 2018 on all things Bestial Mouths, her magic is endless!!!


Bestial Mouths outfit needs no 

particular introduction I think. Frontwoman 

and the core of the formation, 

Lynette Cerezo, envisioned an artistic 

act to offer some absolutely striking 

darkwave electronic music and dress it 

all with monumental videos, and as for 

her voice... She is a leading character 

alone, skilled and passionate. Nor why 

at all why BM’s releases have received 

glorious reviews in all dedicated media, 

from “Stable Vices” album (2009) 

up to the latest cover on Cabartet 

Voltaire’s classic “Sensoria” (October 

19, 2018 via Metropolis Records), BM 

are among the most edgy and avantgarde 

names in the scene. I reached 

Lynette Cerezo for an interview 

and to chat on all things Bestial 

Mouths, and she kindly offered me 

an immensely rich and armed to the 

teeth conversation that I present you 

here in Torched Magazine. Lynette 

Cerezo converses like a torrent! 

Hello Lynette, let’s go straight to 

your latest news: On October 19, 

Metropolis Records published a brand 

new compilation LP dedicated to the 

monumental act Cabaret Voltaire, 

where we saw Bestial Mouths covering 

“Sensoria”. Tell us about it, how were 

Bestial Mouths involved in that record, 

why did you choose that specific song, 

and what really Cabaret Voltaire mean 

to you? 

We were approached by Chris Halstead, 

who had a previous tribute album to 

Fad Gadget on Cleopatra Records, and 

now was wanting to make a tribute 

album to CV. Honored for him to think 

of Bestial and forever a CV fan I jumped 

at the opportunity. I chose Sensoria 

because I felt it lended well to my 

voice. Listening and thinking how we 

could make our spin on it, reviewing 

the lyrics closely, all I could envision 

was more a sad undertone of past life 

stories, it is just what I heard. So it was 

born into a very slowed down version 

almost as if a person was telling a 

tale of their life. As is bestial tradition 

and spirit I wanted to make it reborn 

into something new and creative, try 

something new with my voice. This 

song is also very special because it 

marks the first composed song with 

Balazs Kepli who is now working in 

Bestial on the new album. 

Bestial Mouths have proved a very 

open-minded approach on their own 

songs too, STILL HEARTLESS LP was 

a release which included a handful 

of artists who remixed 10 of your 

songs, and it was not the first, or the 

last time I think, that you let other 

musicians tease your musings. Tell us 

a few things on that record please, are 

there any specific standards you put 

on musicians who want to touch your 

songs? 

Nothing is more touching and amazing 

when other talents I admire want to be 

involved and transform our music and 

voice. Of course everyone involved is 

selected for their skills and style so I would 

never dream of putting restrictions. I 

allow them to chose a song that inspires 

and touches them and do their thing. 

STILL HEARTLESS also included 2 new 

tracks where I brought my vocals and 

range more to the forefront as well. 

Things I was feeling at the time.

30 


I see, and who wouldn’t like to see i.e. 

Die Krupps or Zanias remixing their 

songs?! 

The Zanias remix was quite a special 

one as she also sang on it (and one 

of my personal favorite Bestial songs). 

This actually put the seed in our brains 

on how our voices meld perfectly and 

lead to me doing guest vocals on her 

new album for a song (we also filmed 

a video together for it). I’ve been 

performing backing and guest vocals 

live with her a lot lately. Nothing more 

incredible then being on the stage 

with a female of this power. 

Jurgen Engler of Die Krupps actually 

produced Bestial HEARTLESS album 

and mastered STILL HEARTLESS. Best 

was I finally got to see Die Krupps live 

recently in Berlin, and it was quite an 

inspiration. 

Lynette, you also appear as a guest like 

you lately did in Stockhaussen’s “Face 

of God”, and Textbeak’s “Bloodstorm” 

which was produced by John Fryer, 

tell us about these two collaborations, 

please. 

For both of these collaborations I 

was approached by Angel Kauff of 

Stockhaussen and Mike Textbeak. 

Having met Angel in person when 

we played Mexico City, and being a 

fan of all his projects Frio y Vacio & 

ISOTROPÃ A, I was intrigued. He sent 

me 2 songs he had written with my 

voice in mind. When I heard FACE OF 

GOD I knew that was the one. I was on 

a trip to LA when my life experiences


gave me the lyrics for it. I decided to 

write the lyrics I believe more direct 

and obvious then a lot of Bestial prose. 

I had a very personal message and 

struggle to tell. 

As for Textbook our friend & music 

ship has a longer history. So when he 

told me of the new album and sent the 

song I could not wait to write lyrics 

and have a go with it. I believe he had 

the name already BLOODSTORM and 

I knew it should be about sky burials. 

Both were so visual in my brain and 

swimming around driving me mad 

I knew they needed videos. For 

BLOODSTORM I got to work with 

Johnny Welch, and as I told him of 

the song and my visions he put his 

spin and put it into a video. Face 

of God was my vision and shot by 

Andras G. Varga who has shot a lot 

of my recent photos (including the 

bestial new album cover revealed 

later) and then edited by Angel. 

You have moved from the USA to 

Berlin and we recently saw your name 

with Zanias’ in Rotterdam. What was 

that? Are we expecting more live 

appearances, are we expecting Bestial 

Mouths live in Europe soon? 

I am American, actually Puerto Rican. 

I pretty much grew up all over the US 

east coast and west coast. Los Angeles 

was the place I inhabited longest in

32 


my adult life but it was time so off to 

Berlin I went for more adventures and 

experiences and growth. It’s a vibrant 

city right now that supports the arts, 

and with so much talent in one area 

you are constantly meeting people 

with a huge range of depth and skill. 

Yes, recently I performed with Zanias 

in Rotterdam for Wave Fest. Finishing 

out this year I will be performing 

with her live doing guest and backing 

vocals for a few more shows, Nov 23th 

at Klub Golem in Odense, Dec 1st at 

Katzen Club in Munich and Dec 6th at 

Hex in Barcelona. 

Currently, while writing the new 

BESTIAL album, we do not plan to be 

playing live with Bestial Mouths. Once 

the album is released I will for sure 

be touring Europe and the US. I love 

to perform and play shows, to reach 

others. 

For now though people can catch me 

on the stage live with Zanias, see the 

videos I am in (having collaborated 

with a fashion designer Atelier 

Kesa), and also listen for my other 

collaborations I am working on. I 

recently went to Utrecht to record 

and film for one of these. I also am in 

the works of launching a solo project 

based upon vocal experimentation ~ 

hope is to bring it to a performance 

with a dancer and visual artist for the 

first release. 

Tell me please, related to the previous 

one, what are the future plans of Bestial 

Mouths? Are you working on new 

material that we’ll see in 2019 maybe? 

The new BESTIAL album is in the 

works as we speak! I will be working 

with members Brant Showers of SÃ¸lve 

and âˆ†AIMON, and BalÃ¡zs KÃ©pli 

of nullius in verba (whom I just gave 

vocals for a song of his for a special 

compilation tape for the Easterndaze 

2018 festival in Berlin - which comes 

out Nov 30th). 

Along with another special guest 

composer & producer exposed at a 

later date! 

Bestial Mouths moniker is neither any 

typical darkwave act nor any ordinary 

industrial band. I see that you obviously 

and restlessly blend your music with 

many elements which feels like you 

lead on to pretty much avant-garde 

plains. I want to ask, artistically where 

are you coming from and where are 

you heading with the Bestial Mouths 

formation? 

With art and music I have never 

purposely sought out to recreate 

or copy any certain thing. I just 

become a filter or funnel of all that I 

have experienced - it gets processed 

through our brains emotions skills etc. 

and comes out. 

With Bestial we wanted to create what 

we liked, what we felt, which included 

I guess many musical genres. From 

goth, post-punk, deathrock, minimal 

synth, shoegaze, industrial, noise, 

experimental, electronic music etc. 

Not fitting a certain genre has not 

always been easy as it does have 

downfalls with not being easily

Loud Cities Magazine / #4 APR 2021 33

34 


palpable with audiences and even 

promoters not knowing where to book 

you and how. Also, lots of criticism 

that people think you are just doing it 

wrong - “why do you sing like that... 

not like a pretty girl” blah blah blah. 

But we went with our guts and our 

ears - and Bestial will always hold to 

that. Also the essence of the whole 

live experience. I want the audience 

to feel and take something away from 

the live show. I tend to construct in a 

way that I would like to hear or see a 

show. 

Another important chapter is the 

Bestial Mouths videos. You were 

involved in fashion and political 

activism for gender equality, two 

facts that are seemingly perceived in 

the band’s videos and I’d like you to 

tell us a few things on that subject. I 

realize that when you are the director, 

like in “Worn Skin” or “Face Of God”, 

the film is a manifest and unlike the 

usual band-plays-on-camera style. 

Also, tell us about your connection 

and the interaction with the rest of the 

directors who film your songs. 

Living in LA came with a much 

advantage as there is no shortage of 

talented directors there who want to 

create art. So we were very lucky with 

that and that we caught their eyes. 

For certain directors like Niko 

Sonnberger (of White Eyes, Earth & 

Heartless) they were mostly her vision 

of what she saw when she heard the 

song (though Heartless was more a 

collaboration with her and I - getting 

to work with a dance choreographer 

& dancers was my highlight as I was 

a ballerina/dancer in my early years). 

I also love how people see and feel 

and intercept our music. One of the 

reason the lyrics sometimes seem 

more obscure or abstract. Art is what 

you take from it. So letting directors 

run with ideas can be truly incredible 

(such as with GULLS and also Ceased 

by Katie Lucas). 

Yes, our videos are not traditional “music 

videos” but they are expressions of art 

and my thought is you can feel and 

see us play in the flesh so let’s create 

another visible form for the audience. 

Why did you choose that name for the 

band? What are these bestial mouths 

when they observe on humanity or 

are these bestial mouths humanity 

itself? 

The name Bestial Mouths comes from 

a song lyric from one of my previous 

band, African Greys. It was my first 

band in Atlanta Georgia. Later we 

formed a band in LA called SWFT 

WNGS which was from a previous 

lyric as well Swift Wings. I have always 

loved carrying on a continuation and 

letting it spill over onto each other. 

After all everything I have done and 

my past is who I am today. 

The line was “bestial mouths singing 

to drag in the winter” from a song


called ‘Poorpoorpoor’ I believe. 

The Bestial Mouths became what I 

am - an outlet to express humanity 

(both good and evil or just the truth of 

reality - which can frighten most). 

Lynette, will you give us the top-5 

records you are currently stuck with? 

Wow, picking 5 is a huge challenge. 

Also challenging is me recalling details 

of some loves of mine, but off the top 

of my brain at this exact moment: 

Thank you very much for your time, 

feel free to add anything you want! 

“Forever cursed in blood” - it’s a new lyric 

that is stuck in my head at the moment 

as I write this and of course thank you 

so much for asking/wanting to know 

more & to the others for reading xxL 

And here is the brand new 

THOUSANDNEEDLES LP 

ZANIAS - To The Core 

Zola Jesus - Okovi 

SOLVE - The Negative 

Statiqbloom - Mask Visions Poison 

Tearful Moon - Evocation 

Group A - Initiation 

(oops thats 6 but I listened to them all 

today so...) 

Keep up with 

BESTIAL MOUTHS 

www.torchedmagazine.com


PRESS RELEASE 

The delicious, naive, surreal 

new video by 

The Ferocious Few 

Breezy, summery, infectious, 

passionate, “My Love” sounds like a 

classic banger from r’n’r golden-era, 

set for these new modern times. The 

man behind it is American legend 

Francisco Fernandez, best known as 

The Ferocious Few. 

Relocated to Luxembourg right at the 

unpredictable eve of the pandemic 

spread, Francisco choose this song, 

dear to him, to be his passport for the 

European audiences. 

“My Love” is a song that’s been 

performed live as a favourite over many 

years, evolving from an angry song to a 

song about positive desires. The lyrics, 

about the longing to be with friends 

and family again, make even more 

sense now, in an age in which many of 

us have experienced forced separation 

from mates, relatives, lovers. 

This is the case for Francisco who’s 

been in Europe the whole time of the 

pandemic, watching his home country 

in turmoil. The track was recorded with 

producer Tom Gatti in Luxembourg. 

As Fernandez says: “We made this song 

in hopes to give people something to 

look forward to” 

Keep up with 

The Ferocious Few 

Loud Cities Magazine


Pierrot tocant la guitarra 

by Salvador Dalí 

1925, marked the beginning of what Rafael Santos Torroella has called the período 

lorquiano (Lorca period), because of the huge influence that Federico García Lorca 

was having over Salvador Dalí. The exchange of ideas between the two resulted 

in a number of works, including Pierrot tocant la guitarra (Pintura cubista) (Pierrot 

Playing the Guitar [Cubist Painting]), from 1925. The painting draws together at 

least four elements from different sources: the structure in planes taken from 

Cubism, the volumes taken from Metaphysical painting, the love of the line, typical 

of Federico’s pictorial works and a fourth factor that Dalí was to fully develop in 

major paintings that same year.. In Pierrot tocant la guitarra (Pintura cubista), this 

last element is particularly noticeable in motifs like the open window onto the sea 

Source: Museo Nacional Centro de Arte Reina Sofía

38 

Loud Cities Magazine / #4 #3 APR MAR 2021 

GUESTS Alex Donat (Blackjack Illuminist Records) 

Alexander L. Donat: 

Blackjack Illuminist 

Records 

Every month LCM leaves room to its guests to say things the way 

they want. A relationship of mutual respect has been established 

for a few years now with Alexander Leonard Donat and as nice 

as an interview with him would be, how nice it is also for the man 

to talk about his own, without me in the middle. He is the founder 

of Blackjack Illuminist records, a label with intense character in 

music and with some awesome releases so far. Alex, is also an artist 

himself, he makes music with and for Vlimmer, Fir Cone Children, 

WHOLE, and Feverdreamt. All these are quite different from each 

other, all these names are very adventurous projects, and that’s all 

from me now, LCM welcomes Alex on board. At the end of the 

article you will see and listen to 10 of his favourite albums with a 

reason from his music library.


Originally founded in Greifswald, Mecklenburg-Western Pomerania in 2007 to serve 

as a home for both my first band and first solo project, it long remained a pretty 

much under the radar affair. The only purpose of Blackjack Illuminist Records was 

to create the illusion of being on a record label. I was a student back then, and due 

to a lack of money I decided to handcraft the sleeves, have stamps made, burn CDrs 

and hope that any Myspace listeners might order a copy. That rarely happened. 

Okay, I sold a decent amount of CDs after live shows, but when I stopped playing 

gigs in 2014 the label seemed a little stuck. There never was an intention to quit 

everything, but when I had my ideas buried of earning a living with my music it felt 

depressing. I had lost my motivation to create something I would play for a crowd, 

and abandoned the idea of pleasing others while still trying to do my own thing. 

It was back to square one for me, and I learned to make music for my own in the 

first place. 

In 2014/15, with Feverdreamt, Fir Cone Children and Vlimmer I created three 

projects almost at the same time, and I suddenly recognized that there was a whole 

world of its own in Facebook groups that had open ears for new and individual 

music. I learned how to build a network with the help of social media, connected 

with people, listeners, blogs and magazines, and suddenly I was in the middle of 

running a label on Bandcamp that had listeners all over the world. Feverdreamt’s 

“Terban Te Ban” was the beginning, and Vlimmer’s double EP, “I/II” was the definitive 

breakthrough. From that moment on, releasing something meant I had to paint a 

lot of boxes, glue a lot of photos on sleeves, burn numerous CDrs and dub a few 

tapes. Releasing vinyl still is a huge money burner, but it’s all about having fun, so I 

do that from time to time, too. 

In 2016 I began to release other bands’ and artists’ albums and EPs and have 

continued to do so until today: Sana Obruent (USA), Oceaneer (JAP), Car Crash 

Sisters (MEX), Phantoms vs Fire (BRA), Thanatoloop (CHI), XTR HUMAN (GER), Feu 

Follet (FRA), Seatemples (CHI) and new own projects and bands like Leonard Donat 

and WHOLE. I’m a passionate teacher at an elementary school in Berlin Neukölln, 

but I’m a musician and label owner at heart. 

Keep up with 

Alex Donat

40 


Radiohead - Ok 

Computer (1997) 

While my favourite 

albums have been 

changing constantly, 

this one has always 

stayed near or at the 

top of the list. In fact, 

it’s been my favourite 

British Sea Power 

- The Decline Of 


(2003) 

I have two favourite 

bands, indie rockers 


are one of them. 

The Hirsch Effekt - 

Eskapist (2017) 

Germany’s best band 

is a three-piece that 

sounds like a sixpiece 

with ideas 

for eight bands, at 

least. They call it art- 

Touché Amoré - 

Parting The Sea 

Between Brightness 

And Me (2011) 

My favourite posthardcore 

band. 

There is no better 

No Age – Snares 

Like A Haircut 

(2018) 

This duo is my other 

favourite band, and 

really, nobody stands 

more for what I 

like about music: 

album for the past 

three or so years. For 

a long time I preferred 

Kid A, and while it 

is the more forward 

thinking record, OK 

Computer’s songs 

break my heart every 

time, the lyrics are 

phenomenal, so 

refreshing because 

they’re not full of the 

usual clichés of sad 

music. Timeless. 

They sound like the 

yearning for the sea. 

Not the lazy I-wantto-bathe-in-the-sunon-the-beach 

type 

but the adventurous, 

salty ocean trip into 

another century with 

a slightly flipped-out 

sailing crew that’s 

occasionally doing 

psychedelic drugs 

discovering bears 

and deer in the 

clouds. 

core, and what can 

I say, it’s everything 

between (post-) 

metal and indie 

rock and includes 

elements of ambient, 

classical music, 

grindcore, thrash 

metal, post-rock and 

black metal. Their 

lyrics are intelligent 

and deal with current 

struggles of society. 

I’m super proud that 

one of my earlier 

bands got the chance 

to be their opener. 

album out there that 

manages to hit me as 

hard with barely twominute 

long songs. 

Man, I still scream 

along in my car 

listening to this. As 

intense as a dive into 

deep snow – naked. 

it’s rough, fast but 

dreamy, lo-fi, on 

point, noisy and 

charming, punk and 

ambient. I released 

a live album of theirs 

on my label, and it’s 

one of the best things 

that have happened 

in my life.


Converge - 

Jane Doe (2001) 

There aren’t many 

specific moments I 

connect with certain 

albums, it’s more like 

albums reminding 

me of phases. Yet, I 

remember listening 

to the closer of 

this album in my 

Deftones - White 

Pony (2000) 

Probably the 

foundation of my 

music taste. At a 

time when I fell for 

atmospheric music 

I learned that bands 

don’t necessarily 

have to be considered 

post-rock to create 

And You Will Know 

Us By The Trail Of 

Dead - Source Tags 

And Codes (2002) 

I don’t know if I 

prefer this album 

or the predecessor, 

“Madonna”, both are 

incredibly intense 

and wild, orchestral, 

Mogwai - 

Rock Action (2001) 

“Take Me Somewhere 

Nice” is my personal 

funeral song, and I’ve 

been saying this for 

20 years. The guitars 

are softly dripping, 

the drums exhausted, 

the violins extremely 

sad, the lyrics super 

vague, the vocals 

suffocating, and the 

My Bloody 

Valentine - 

Loveless (1991) 

When I heard “When 

You Sleep” for the 

first time, it was 

like witnessing an 

alien transmission. 

Played through the 

speakers of Berlin’s 

Kulturbrauerei right 

before Trail of Dead 

bedroom at night, and 

I was baffled at what 

stormed through 

my headphones, I 

couldn’t lie anymore 

and had to sit up, 

quietly whispering, 

“Dude…what?!”: The 

12-minute title track 

sucks you into a black 

hole like no other. 

One of the darkest, 

bleakest, noisiest and 

wildest maelstroms 

ever recorded. A 

punishing album. 

Hardcore’s best for 

sure. 

a wall of sound. 

The way Deftones 

weave guitars and 

electronics to create 

something hard 

and melancholic 

at the same time is 

unparalleled. Chino’s 

voice is unique, 

fragile, yet able 

to scream like an 

alien. Even twenty 

years later they still 

deliver fantastic 

albums. Sometimes 

I think they’re more 

shoegaze than 

alternative rock. 

destructive, without 

a moment of rest, it’s 

almost as if they want 

their listeners to gasp 

for air and collapse. 

One moment it 

feels like you’re in 

a gigantic battle for 

freedom, the next 

you find yourself 

on the bottom of 

the sea, defeated, 

lonely. The overall 

use of toms and 

crashes gives you a 

constant feeling of 

chaos within these 

beautiful melodies. 

chord progression 

gives me the creeps. 

It’s an album that 

makes me feel lonely 

in the best possible 

way. It makes me 

cry, it’s so beautiful. 

Here Glasgow’s postrock 

heroes sound 

like they’ve never 

sounded again (and 

didn’t before), well, 

with the exception 

of “Happy Songs 

For Happy People” 

which comes close. 

On “Rock Action” 

Mogwai create actual 

songs and feelings 

instead of “just” a wall 

of sound. 

hit the stage, this song 

will always remain 

the most impressive 

first contact I had 

with any band. 

My then-girlfriend 

luckily could tell me 

the band’s name, 

and so I discovered 

shoegaze in 2002. 

For at least a decade 

it would remain my 

number one genre, 

and when I hit the 

stage of that very 

venue two years ago 

for the first time with 

my band WHOLE, I 

had to think back of 

this, smiling.

42 


MOVIES & BANDS


MOVIES & BANDS 

by kat z 

Tommy by 

The Who 

The Who are an English rock band formed 

in London in 1964. Their classic lineup 

consisted of lead singer Roger Daltrey, 

guitarist and singer Pete Townshend, 

bass guitarist and singer John Entwistle, 

and drummer Keith Moon. They are 

considered one of the most influential 

rock bands of the 20th century and have 

sold over 100 million records worldwide. 

Tommy is a 1975 British satirical operetta 

fantasy drama film written and directed 

by Ken Russell and based upon The Who’s 

1969 rock opera album Tommy about a 

“psychosomatically deaf, mute, and blind” 

boy who becomes a pinball champion 

and religious leader. The film featured a 

star-studded ensemble cast, including the 

band members themselves (most notably, 

lead singer Roger Daltrey, who plays the 

title role), Ann-Margret, Oliver Reed, Eric 

Clapton, Tina Turner, Elton John, and Jack 

Nicholson. 

Movie of the Year in the First Annual Rock 

Music Awards. 

Some songs, such as “Welcome” and 

“Amazing Journey”, were inspired by 

Baba’s teaching, and others came from 

observations within the band. “Sally 

Simpson” is about a fan who tried to climb 

on stage at a gig by the Doors that they 

attended and “Pinball Wizard” was written 

so that New York Times journalist Nik 

Cohn, a pinball enthusiast, would give the 

album a good review. Townshend later 

said, “I wanted the story of Tommy to 

have several levels ... a rock singles level 

and a bigger concept level”, containing 

the spiritual message he wanted as well 

as being entertaining. The album was 

projected for a Christmas 1968 release 

but recording stalled after Townshend 

decided to make a double album to cover 

the story in sufficient depth. 

An independent production by Russell and 

Robert Stigwood, Tommy was released by 

Columbia Pictures in the US on 19 March 

1975 while in the UK it was released on 

26 March 1975. Ann-Margret received a 

Golden Globe Award for her performance 

and was also nominated for the Academy 

Award for Best Actress. Pete Townshend 

was also nominated for an Oscar for his 

work in scoring and adapting the music 

for the film. The film was shown at the 

1975 Cannes Film Festival, but was not 

entered into the main competition. In 

1975, the film won the award for Rock

Loud Cities Magazine_Issue 4_04_2021

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