Pod Blotz

Here is a review I wrote for Juno Plus on the latest Pod Blotz album…

“Suzy Poling’s Pod Blotz project arrives on Glasgow label Clan Destine with Glass Tears, the latest album in a long line of releases dating back to her emergence under the name back in 2002. Hailing from Detroit, Poling has been involved in quite a wide range of artistic endeavours over the years, be it installation works, photography, video and performance art, with visual work that seems to parallel and overlap with her output as Pod Blotz.

From the very start of the album, Poling introduces a sense of tension that builds with terrifying urgency. Rattling drums weave throughout nightmarish electronics of opening track “Relay” with spine-chilling wails that expose a sense of subdued agony. Continuing the theme, the aptly named “Mirrored Tundra” has a darkly paranoid sensibility; it’s a track that largely relies on percussion, the kind of drumming and tapping that recalls youthful experiments with old pots and pans. Meanwhile, harsh electronics once again unfold beneath, lashing out like sirens in shrieks of desperation. The album hits its stride with “Die and Come Alive” which is perhaps the most accessible track of the album, with an enticing melody sung by Poling’s heavily treated vocals over repetitive synths, whilst retaining the same experimental curiosity of previous tracks…”

Read the rest of the review HERE


Burma Camp- Repulsion

Here is a review I wrote for Juno Plus on Burma Camp’s new release…

“Burma Camp’s release on Avian’s 10″ sub-label Mira is a new venture for The KVB’s Nicholas Wood aka Klaus von Barrel, a fuzzed-out sonic excursion, set out for more industrial sights.  Since their emergence in 2010, the KVB have put out a number of releases, including a 10” appearance on the DNS series from Karl O’Connor’s Downwards imprint, as well as releasing Immaterial Visions on Veronica Vasicka’s Minimal Wave offshoot, Cititrax.

 This new side-project is an extension of Wood’s previous work, with Burma Camp thriving on messed-up synths and aggressive drum-machine beats. Decayed electronics envelop the tracks of the Repulsion EP, creating a hazy veil of dizzy isolation. It is almost as if the listener has been trapped in an abandoned tunnel, with the forces of claustrophobia steadily compounding. Exposing a harsher side to Wood’s compositions than The KVB, Burma Camp sits between the mechanical drive of Ike Yard’s dark minimal synth and Vatican Shadow’s fierce brooding hopelessness.

There is an experimental abrasiveness that recalls bands like Wolf Eyes, well known for their noise conjuring antics. Additionally techno leanings become apparent throughout the releases, with hypnotic beats that bring to mind the music of Juan Mendez’s Silent Servant project, who has been instrumental in The KVB’s releases, helping to curate their work on the Downwards label (and notably, he was also responsible for the artwork here).”

check out the rest of the review HERE