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Posts Tagged ‘Metallic Taste Of Blood’

June 25th, 2015

Metallic Taste Of Blood’s Doctoring The Dead now available in all Formats!

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Dear Friends

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Metallic Taste of Blood‘s Doctoring The Dead is now available as CD Digipack, Single Vinyl 180gms and multiple download formats, both in the real world and across the web!

from the press release:

“Metallic Taste Of Blood, the instrumental math-rock/outer rock unit lead by Italian guitarist and soundsculptor Eraldo Bernocchi and Australian bassist Colin Edwin is back with a vengeance, joined now by legendary drummer Ted Parsons, whose earlier ventures included Swans, Prong, Buckethead, Godflesh and Killing Joke, and British keyboard player extraordinaire Roy Powell, whose recent work includes Mumpbeak, InterStatic and Naked Truth.

The vigor and inventiveness which characterized Metallic Taste Of Blood’s first release still sits center stage, a natural outflow of the band founder members’ very wide palette of musical experiences/collaborations and individual talents, spanning an incredibly rich vocabulary which extends from ambient and electronica, to progressive rock and avant-jazz, to noise and industrial electronics, all firmly anchored by the deep and precise dub beats laid out by Ted Parsons, sparkled, on select tracks, by the surprising keyboard inventions of Powell.

This variety of influences and musical idioms manifests itself in a very specific kind of sound, one that is now characteristic of the band, one which is predicated and thrives on the very notion and practice of the contraposition of opposites. The music of Metallic Taste Of Blood is both incredibly brutal and delicate, distorted, but incredibly clear, boiling hot and yet suddenly very cool, sweet yet suddenly brackish, that very peculiar unity in contradiction to which the band’s own name refers to.

Doctoring The Dead, recorded in Prague at Faust Studios, mixed in Italy and mastered in the US by Mike Fossenkemper, though moves ahead towards new territory by bringing in a new, focused single-mindedness; witness to this are the album’s eight tracks, starting with “Ipsissimus, ” where an deep dub rhythm section supports the entangled duel of baritone electric guitar and synth, to “Pashupati, ” whose guitar lines dance between extreme cleanliness and growling distortion, to the cosmic Ambient Bass inflections of “Synthetic Tongue, ” to the calming riff and distorted electronica of the title track, to Blind Voyeur‘s beyond-post-rock grandeur, the dark ambient glitch of “Day of Bones, ” and further down to “Murder Burger” and beyond, towards the closing “Death Of Pan.”

Out of contrast perfect balance is reached, when distorted guitars sound clean and soothing, while cascades of piano notes suddenly morph into threatening shards – listening to this will lift you into a state not unlike that of cognitive dissonance, one of deep, uncomfortable enjoyment.”

Enjoy!

July 31st, 2014

2015 Is The Year Of The GOAT: The Greatest Of All Time?

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Dear Friends

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2015 is the Year Of The Goat – will it also be the Greatest Of All Time? We let you decide

February 

CU//TS  – Merzbow / Mats Gustafsson / Thurston Moore / Balazs Pandi

SPIN MARVEL (Martin France w. Nils Petter Molvaer)

March

JÜ and Kjetil Møster

FREQUENT FLYER II (Lorenzo Feliciati feat. Steve Jansen)

April/May

METALLIC TASTE OF BLOOD (New w. Ted Parsons)

SPANISH DONKEY (Jamie Saft, Joe Morris, Mike Pride)

June/July

FREE NELSON MANDOOMJAZZ – The Awakening of The City

DAVID FIUCZYNSKI’S PLANET MICROJAM – Flam! (w. Rudresh Mahanthappa

September

NAKED TRUTH (NEW)

October

SLOBBER PUP (New w. Mats Gustafsson)

May 2nd, 2013

Metallic Taste Of Blood Live at Asymmetry 5.0 / Wroclaw / Poland – May 4th 2013 – 7pm

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Dear Friends

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this is to remind you that Metallic Taste of Blood (Eraldo Bernocchi on Guitars, Colin Edwin on Bass, Balazs Pandi on drums, Roy Powell on keyboards) will be performing at the Asymmetry 5.0 tomorrow in Wroclaw, Poland. They will be playing on the main stage of the Wroclaw Congress Centre (Multipurpose Hall) from 7 pm onwards. 

For those of you at the Festival – enjoy it and film it!

 

August 23rd, 2012

Metallic Taste Of Blood’s Eraldo Bernocchi Interviewed by TheQuietus

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One of the most frustrating things about being a fan of heavy metal is that the all too many people think that the entire scene is like one giant, global version of Heavy Metal Parking Lot on infinite repeat. It isn’t. In fact arguably it continues to produce some of the most diverse and forward thinking music around – why can’t you grow up on a healthy diet of Kiss and Motörhead, and then eventually find yourself playing guitar in front of the Dalai Lama as part of a free improv collective performance that includes, amongst others, seven Tibetan monks, a Japanese Trumpeter and legendary bassist Bill Laswell? Because as strange as it sounds, as part of Somma, that’s exactly what Eraldo Bernocchi did. And what he continues to do through more recent, more metal orientated bands – the sludgy, yet near-operatic Obake and the Colin Edwin featuring Metallic Taste Of Blood.

Although currently a member of two bands, Bernocchi’s first serious musical venture, the industrial-tainted world/noise outfit Sigillum S, was created with the specific intention of being totally against the perceived notion of what a ‘band’ is, with members and collaborators dropping in and out as they saw fit. Since then his collaborations have veered from the warped, beat driven noise of Black Engine – featuring Mick Harris and members of Zu – to the ambient, guitar only drones of Parched, with Ephel Duath’s Davide Tiso. And all this from someone who has Lamb Of God’s latest album on heavy rotation on his iPod and (rightly) believes Slayer to be the best band in the world.

In the lounge of a small hotel in Wroclaw, Poland, the morning after Obake’s headline set at the Asymmetry festival, the Quietus caught up with Eraldo to find out about his latest projects and to try and keep up with his truly heroic intake of espressos (we failed miserably at the latter).

Hi Eraldo, that’s quite a few espressos you’ve got there! Anyway, can you tell us a little bit about how this Metallic Taste Of Blood project came about?

EB: I did a project called Parched, a record called Arc, together with Davide Tiso, the guitarist from Ephel Duath – only two guitarists, it was an ambient record, kind of like a soundtrack thing. Then, one day I got an e-mail from a friend who said, ‘Look, Parched is in the end of year top ten of Colin Edwin from Porcupine Tree – it’s one of his favourite records’, I think it was number three or something, so obviously I was like ‘Whoa, what the fuck?’ And after a couple of days Colin contacted me on MySpace and said that he loved the record. I wrote him back and we started to exchange ideas and at a certain point we said ‘Ok, let’s try and do something together, maybe the result will be interesting.’

At the very same time I was producing the Obake record, so I was working with Balazs, so invited him to be involved and we started to work on some tracks. Colin came to my place two or three times, we worked on tracks, put together some ideas – very open structures. After a while we started to say to each other, y’know, where are we heading with this? Are we going with a trio? No. We needed some other voice – but I didn’t want to have a vocalist because that would have made it Obake number two, basically. I didn’t want to have, like, a trumpet or a saxophonist either, because I’d already worked with those recently.

Then Balazs had this idea of involving Jamie Saft, and I said, ‘Well, why the hell not?’ Jamie is one of my favourite keyboardists – notwithstanding Jamie loves Slayer, Black Sabbath, ZZ Top and all this stuff – so there was a lot of connection there. We started to discuss this with Jamie and he was totally into it and we started to work on things.

Are you a fan of Porcupine Tree?

EB: Yeah. I mean, not a massive fan, I like a lot of what they do – especially the last two albums, The Incident I love. But it’s a mix; it’s one of those things where sometimes they are too overly complex for my tastes. For instance, Steven Wilson, he’s one of the most incredible musicians that has surfaced in the last 20 years, I think.

The improvisational aspect is key to your other ‘band’ project, Obake…

EB: Well, I would say that a good 30 percent of what we play live is improvised – but the album is totally improvised.

So presumably that’s the same with MTOB?

EB: Yeah, me and Colin put together ‘structures’ – we just give a name to the madness and try to encapsulate things. What I try to avoid, it’s something I really hate, even when I’m producing bands, is the ‘cut and paste’ thing. I hate that. Let’s play things for real! The real shit!

Generally speaking then, do you have skeletons of tracks or basic ideas before you enter the studio?

EB: No. Maybe I’ll be thinking ‘Yeah, I have this riff that I like’, Colin will say ‘Well, look, I have this bass line in mind’ or Balazs will be doing certain things; we’ll just be jamming. And when we’re jamming, if we’re finding something that we like we’ll record it – 20, 30 or even 40 minutes – and develop it. So that’s basically how all the tracks are made.

Colin is known for his often bizarre time signatures – how was it trying to establish a connection with him, musically, at first?

EB: The connection was there right from the beginning really, I didn’t struggle with playing together at all. In the very beginning I had to change my musical perception a little bit. But that’s part of the fun, right?

EB: Well, I’m used to working on so many different things that I’m always Obake-sizing myself and shapeshifting, so it didn’t take long. There’s one track on the record that is in 7/8, it’s very drum & bass-y, almost a bit tribal, and on that track I only did droning guitars because I tried so many different things every time it was sounding like fusion or something. Because the drums and the bass are so precise, with that piano line on top, putting a groove on top of all that was spoiling everything.

That being the case, and with the amount of improvisation going on live, how much is Obake more or less a live band than a recorded one?

EB: I was asked the same question by another guy just yesterday actually. I never had bands in the past because I hated the concept of ‘bands’, I hate the idea of playing the same shit every night. To me that is unbearable, I’ll never understand how people can do, like, 200 gigs playing the same fucking songs every night – to me that is unconceivable. What I like is to have some structures, that replenish my energy, and to have open sections. For example, the last track that we played last night – ‘The Human Genome Project’ – on the record there is no improv part but over these last three of four gigs we have started to develop this improv part – we never know how long it’s going to last, it could be five minutes, it could be ten seconds, it depends on how we look at each other, how Trevor and Balasz are working with bass and drums. That for me is the key, that’s the only way I can imagine a band.

And do you see MTOB as becoming a live project at any point?

EB: Oh yeah, totally, we are thinking about that – we are actually thinking about it as a proper ‘band’. There’s a lot of people asking if there’s going to be another album already too, but it’s like, c’mon, enjoy the first one first! But yeah, we’re thinking about doing some festivals or something.

Changing track slightly; we talked a little bit last night about some of the first records you’d bought – Elton John, Kiss, etc – and, of course, your love of Slayer. Yet with Obake and MTOB especially, the influences don’t seem quite so obvious…

EB: Ahhhh… But I listen to anything, absolutely anything!

So those early record are just the seeds that things grew from, or do you still draw inspiration from Love Gun or Capitan Fantastic And The Brown Dirt Cowboy?

EB: Oh yeah, totally, totally. It’s like, for instance, Kiss were my idols when I was 10, 12, and as a teenager, and they are still there – if I listen to ‘Deuce’, ‘Detroit Rock City’ or ‘Cold Gin’ for instance, I love it, I mean, it’s something that is there. The guys from Asymmetry [Festival, Poland] they did for their website a long, long interview with me – I mean, it’s endless! – and they asked me about the five records that are most important to me; that’s Reign In Blood, Ace Of Spades, Hear Nothing, See Nothing, Say Nothing and then you have The Pearl by Brian Eno and Harold Budd, and Closer by Joy Division. I mean, how can you fit them together?

I only had five, otherwise I could have even put stuff like Miles Davis’ Kind Of Blue and A Love Supreme by Coltrane. But I don’t know if in my music you can feel that influence. Tangerine Dream are another one, they were a major influence on me, especially in terms of the electronic parts. And actually I don’t really care if people can pick it out!

Last night, for instance, I had a very good time with Trevor during the last track, during the last part of ‘The Human Genome Project’, I recognised that the bass line he was playing in that very moment was the bass line from ‘100,000 Years’ by Kiss, so I played on top of that the guitar riff from that song – and it worked perfectly, it’s like four bars of, like, a quote, but nobody will discover that. It was great fun!

Improvised or not though, there doesn’t seem to be a lot of positivity in the sound of Obake, especially with Lorenzo’s vocals – parts of it sound almost anguished…

EB: To be honest with you, I can tell you honestly, I’m really, really tired; I’ve been a dark, negative, negative person for a long, long time in my life – coming from industrial music and all the darkness – there’s a dark side to me. But I’m tired of doing all that shit. It’s obvious that Obake is not something that you listen to at the beach, it’s not something that you pump out under your parasol like [in a girlish falsetto] ‘Yeah, ‘Human Genome…’ by Obake, yeah!’, but you’ve got to have a serious sense of humour – and I want you to underline serious sense of humour – if you want to survive the fact that this fucking planet is doomed.

So, we’ve got a record that is heavy, kind of dark sometimes, and sometimes it opens up with light, melodic parts and stuff like that. Lorenzo’s vocals I think are reflecting that, he’s sad in moments and he’s raging and angry in others. Some evenings on tour we play without a single fucking smile, we barely even look at each other, except for me and Trevor, and some other evenings, like yesterday, it was like ‘Yeah, rock & roll!’ and with those guys bringing those [shop dummy] legs on with them. I like it like that. It’s not diminishing the value of what’s happening.

Metallic Taste Of Blood’s self-titled debut is available now via RareNoise records. To listen to tracks from the album, head to their website.

Photo by Bruna Rotunno

January 24th, 2012

RareNoiseRecords: A Hyperopic Perspective on 2012

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Dear Friends,

as we mentioned in the fourth chapter of our Myopic Retrospective, we have now finally prepared the ground for a Hyperopic Per-Spective of 2012.

The first couple of months of 2012 will start, as one expects, where 2011 ended – with the releases in the US of Winter Garden and Animation’s Agemo, which will be followed by a spate of new releases. Please be aware that the release dates vary by country, and that excluding FREQUENT FLYER, most of the artwork is not final)

RNR023 – LORENZO FELICIATI – FREQUENT FLYER – End Of February/End of March 2012

Subtitled “Diary of A Travelling Musician”, Frequent Flyer is a celebration of the musical talents (travels…) of Italian bassist, music producer and founder of Naked Truth, Lorenzo Feliciati as he scours the lands of jazz and progressive rock with a very large cohort of musical conspirers –  Bob Mintzer, Cuong Vu, Roy Powell, Phil Brown, Patrick Djivas, Lucrezio De Seta, DJ Skizo, Paulo La Rosa, Pat Mastelotto, Aidan Zammit, Roberto Gualdi, Stefano Bagnoli, Maxx Furian, Pier Paolo Ferroni, Andrea Di Cesare, Daniele Gottardo, Jose Fiorillo, Daniele Pomo and Guido Block. A multi-faceted record as broad in scope as it is deep in musical ideas, Frequent Flyer is both a voyage as it is a statement of intent, musical intelligence, spectacular taste and grand architectural vision.

and here as her performs a track from the Album, “Law & Order”

RNR024 – METALLIC TASTE OF BLOOD (Eraldo Bernocchi, Colin Edwin, Jamie Saft, Balazs Pandi) – End of March/End of June 2012

Around November 2009 we were very honoured when Colin Edwin, bass player extraordinaire of Porcupine Tree acquired a copy of Arc by Parched, one of RareNoiseRecords’ first releases, featuring the combined talents of Eraldo Bernocchi and Davide Tiso. The seeds of artistic consonance between Edwin and Bernocchi have since flourished  and with the infusion of talent by keyboard-player/composer Jamie Saft and drum powerhouse Balazs Pandi (of Obake fame), have eventually blossomed into a genre-defying instrumental recording spanning the space between metal, progressive, dub, alternative…in a smooth and all-encompassing way. Utterly spellbinding

Very soon (probably early february) we will be able to share one or two tracks with you. For the time being head over to their website and read about it on Colin Edwin’s Blog.

RNR025 – DAVE FIUCZYNSKI’S PLANET MICROJAM (Dave Fiuczynski and musicians, with appearances by Jack DeJohnette and Kenwood Dennard – April/May 2012)

In an article appeared on Fusion Magazine (the literary and Multimedia voice of the Berklee School of Music and community) David Fiuczynski defines the notion of “MicroJam”, which is central to this revolutionary and spellbinding release on RareNoiseRecords, as follows :

“Drawing on unique elements of western classical microtonality and ethnic folk melodies organized in a jazz/groove context, unheard of harmonies and counterpoint are possible. What sets this microJam apart from other microtonal music is its method of organization. Unlike the microtonal chromaticism of Julian Carrillo, the athematicism of Alois Haba and the post-Scriabin style of Ivan Wyschnagradsky (all venerable microtonal pioneers in western classical music), this MicroJam is not so much MICROtonal as microTONAL. The emphasis is on microtonal harmony that has a jazz-based modal origin. New harmonic colors can be expressed vertically through the stacking of, for example, an Arabic maqam (a type of Arabic mode) into chords based on 3rds or 4ths over a tonal center – in other words, harmony derived from a microtonal chord scale. This is not done in eastern music traditions or modern classical music. Music from the Middle East and Asia rarely has chordal harmony and in the modern western classical tradition, either tonal centers are avoided or harmony is produced from counterpoint. In our ever-shrinking global village could Global MicroJam be a shape of Jamz to come?”

Or, as the artist himself wrote in his tweet  ” … all the out of tune notes you always wanted to hear in a funky setting”

It is hard for us to describe the incredibly subtle and mesmerising, at times overwhelming beauty of compositions to be paraded in “Planet MicroJam”, which range from a microtonal re-writing of a fragment from Beethoven’s 5th Piano Concerto to microJam arrangements and performances of microtonal works by Juan Carrillo, Alois Haba and Sun Ra, exquisite arrangements of traditional songs and delightful original compositions by David Fiuczynski, all played by musicians of  unbelievable caliber, from Fiuczynski himself to Evgeny Lebedev, David Radley, Takeru Yamazaki, Evan Marien, Jovol Bell, David Ginyard, and including two guest perfomances by drum masters Jack DeJohnette and Kenwood Dennard.

For the time being, here is “Drunken Longing” recently performed in NYC

RNR026 – INTERSTATIC (Roy Powell, Jarle Vespestad, Jacob Young) – March/May 2012

Shards of light and guitar poke the thick, incessant, impenetrable mass of layered drum rhythms as maelströms of liquid organ notes form and dissolve, to embrace, fracture and propel this aural light. The incredible Roy Powell, who also plays organ and keyboards on Naked Truth, master drummer Jarle Vespestad and guitarist extraordinaire Jacob Young (the last two partners in repeated ECM releases) deliver their second recording (after their previous Anthem) as a trio, this time under their new name InterStatic. 

(video by Neil Loughran)

Their music, again, knows no boundaries, as it flows often incessant, at times lunar and nordic, with over-archingly powerful melodic themes penetrating the dense, at times apparently chaotic but sharply contrasted, always slickly cut layers of sonic architecture. ChiaroScuro, for synaesthetes.

The recording is currently in the final mastering stage – we will soon share a couple of tracks with you all for you to fully appreciate its greatness.

RNR027 – MOLE – WHAT IS THE MEANING? (Mark Aanderud, Hernan Hecht, with David Gilmore and Jorge “Luri” Molina) – April/May 2012

MOLE (or MOLE Productions) is the Musical Juice Collector of the incredible Mexican pianist Mark Aanderud and Argentinian-born and mexican resident (and Brainkiller drummer) Hernan Hecht, here joined by the amazing David Gilmore on guitar and the wonderful Jorge “Luri” Molina on bass. Swinging, poly-rhythmic, incredibly melodic, the new album by MOLE is nourished by the movingly beautiful compositions and virtuosistic piano work of Mark Aanderud, whilst being propelled forward by the jazz/rock/drum’n bass drumming of Hecht and the scintillating guitar-work of Gilmore.

Soon we will be sharing one or two tracks from this beautiful album by a quartet which we think has the potential to follow in the steps of EST and Phronesis.

Here in 2009 in Mexico (audio quality is not exceptional, but you will get an idea of the energy of their live performances)

RNR028 – ANIMATION – TRANSPARENT HEART (Bob Belden, Peter Clagett, Jacob Smith, Roberto Verastegui, Matt Young) – September 11th 2012

After 2011’s Asiento and its Spin-Off Agemo (also here) comes the first work by Animation which was recorded wholly in-house (in Bill Laswell’s studio in West-Orange, New Jersey), under the watchful eye of James Dellatacoma. 2011 was a year of rebirth and intense transition for Animation, as it was brought back to life via the release of the 2006 re-make of Bitches Brew (Asiento), then played a number of gigs  a hybrid formation, featuring Bob Belden on sax, Tim Hagans on trumpet, with the astonishingly young Jordan Gheen on keyboards, Jacob Smith on bass and  Matt Young on drums.

Here in Charleston:

Here at the Jazz Standard (and here the review by JazzTimes)

performing a track from Transparent Heart.

Here, finally, as they played live on a show on WBGO, The Checkout, produced by Josh Jackson just prior to playing at the Jazz Standard.

The formation of Animation has now coalesced and stabilised around Bob Belden, Peter Clagett, Roberto Verastegui, Jacob Smith and Matt Young. Soon we will have one or more tracks to share with you all, as it is quite unmeasurably beautiful.

RNR029 – NAKED TRUTH (Lorenzo Feliciati, Graham Haynes, Roy Powell, Pat Mastelotto) – October 2012

2011 saw the release of Naked Truth’s first recording, Shizaru to good critical acclaim – witness Carole Banks’s recent review in TheExaminer “…in ambient, avant-garde jazz-fusion, the hardest thing to do is make the visionary, experimental music melodically easy to follow and impossible to forget. Naked Truth does exactly this in “Touching Corners.” Whoever came up with the fan- and serious musician-friendly melodic line strengthening throughout this rocking, haunting groove, is an off his rocker prophet. It’s easily the best single for a cross-over hit, combining hard-driving rock with an ethereal, ballet-like loveliness. The cascading, intensified piano amplifies an urgency of purpose.”

Naked Truth then performed in Genoa (with Brainkiller), at the Gezmataz Genoa Jazz Festival, as part of a RareNoiseRecords – themed night (about which we will talk in the near future) with the appearance of Nils Petter Molvaer

After Cuong Vu decided to focus on his own projects, Naked Truth found a new stable member in the incredible Graham Haynes, and headed to Bill Laswell’s studio in West Orange to record their second full length. Having had the honour of being there we assure you it takes a further step into the future of music. We can’t wait to share some of the results with you – shortly we will be publishing an EPK and diary of the recording days in New Jersey.

Before we leave you, let us say we have two/three more cards up our sleeve for 2012 – Brainkiller, for example, will tour Mexico in March 2012, appear at the Vive Latino festival and record their second album for RareNoiseRecords …

Until Next time!

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