Baba Yaga’s Hut
Nothing is as it seems…..
Thursday 12th November
7.30pm – 12
4/5 Elephant Road
For press/media enquiries and for any further info contact firstname.lastname@example.org
Baba Yaga’s Hut
Baba Yaga’s Hut is proud to present an evening of the finest psychotic-prog-noise-metal-death-blues that you’re likely to find anywhere, anytime. Oxbow are a harrowing, ugly and confrontational amalgam of heavy blues rock, noise and naked howling emotion fronted by predatory Eugene Robinson who’s drug addled hyper-masculine persona is mesmerising and terrifying in equal measure. Unparalleled and absolutely awe inspiring. Guapo return to Corsica with their dense, dark and complex prog-metal sonic sculptures that evoke the very best of prog horror maestros Magma and Goblin and TODD open up proceedings with their chaotic noise-metal assault.
The quiet kill off the country road, the time before the time when everything went wrong and the last 16 hours of that great love affair are the seminal beginnings of OXBOW. Designed to be the last aural will and testament of failed humanity, OXBOW actually garnered listeners from among the ranks of the fucked, with their 1990 release FUCKFEST (cfy/pathological). Followed by KING OF THE JEWS (cfy), THE BALLS IN THE GREAT MEAT GRINDER COLLECTION (pathological), LET ME BE A WOMAN (brinkman/crippled dick hot wax) recorded by the estimable STEVE ALBINI, SERENADE IN RED (SST/CDHW), AN EVIL HEAT (neurot) LOVE THAT’S LAST (Hydrahead) by OXBOW and the recent THE NARCOTIC STORY (Hydrahead) as well as various singles and dance remixes, OXBOW has met with increasing critical acclaim and popular support.
The OXBOW core membership — DAN ADAMS/bass, GREG DAVIS/drums, EUGENE ROBINSON/voice, and NIKO WENNER/guitars — has been supplemented by the subtle stylings of LYDIA LUNCH, KLAUS FLOURIDE, MARIANNE FAITHFULL, RICHARD KERN (SONIC YOUTH et al), JON RASKIN from the ROVA SAX QUARTET, and a string section that would make Barry White wince.
Though claiming San Francisco as their hometown, OXBOW played in England in 1990 and toured Europe and the U.S. in 1995, 1996, 1998, 1999, 2002, and 2003. OXBOW has also performed in Japan, London, Berlin, New York, Vienna, Prague, Portland, Paris, Copenhagen, Amsterdam, Los Angeles, Seattle, San Francisco, Gent, and almost every other place people will pay them to hear them play.
Three years have passed since “Black Oni” (Ipecac Records). Four years since “Five Suns”(Cuneiform Records). The new album by Guapo is finally here and thus concludes the recondite triptych they set out to accomplish. Flux is not uncommon here, every record taking on new musical hues and offering disparate ideas and perspectives. However an upheaval in the line-up, which of recent years has been anchored by the trio of Daniel O’Sullivan, Matthew Thompson and David Smith, triggered a change in course when Thompson left the band just prior to the release of Black Oni in 2005. In the interim O’Sullivan and Smith have been active with an abundance of other projects. Both members perform in the antique-prog band Miasma & the Carousel of Headless Horses. O’Sullivan’s work with Æthenor (Vhf Records), Mothlite (Southern Records), Grumbling Fur (Aurora Borealis Records) as well as moonlighting in the live line-up of Sunn O))) has been keeping him extremely busy. Smith created a large scale, multi media installation entitled “The Other Side of the Island” for which he made a soundtrack with O’Sullivan and Antti Uusimaki under The Stargazers Assistant moniker (the recordings of which were released on Aurora Borealis last year). Smith also plays with members of Coil, Cyclobe and Shockheaded Peters in the Amal Gamal Ensemble. Despite these distractions, Guapo has been maintained as a primary focus and “Elixirs” has been three years in the making. It is unequivocally Guapo’s most poignant and powerful work to date.
As a result, Elixirs transcends any musical antecedents that Guapo have been acknowledged for in the past. Instead, the music here explores the outer-most regions of psychedelic composition. Flickers of Popol Vuh, This Heat, Magma, Third Ear Band, Moondog and early 70’s Miles Davis are present here as over-arching themes are morphed and mined through serpentine asymmetrical structures. Chiming rounds and canons swim through a sapphirine ocean of polyrhythmic mantra. All sullenly overcast with compositions so mercurial, the paths you can take are infinite. The dense orchestration and finespun virtuosity (seamlessly captured by engineer / producer Antti Uusimaki) create a richness previously hinted at but never fully realized until now. On “Elixirs” Guapo have opened a secret vault of treasures where jewels of sulphurous green and ashen blue blossom dwell. Where springs of fire feverishly burst through a vista of golden chrysoberyls. Let the ceremony commence.
TODD, London's most primal chaotic rock unit, return this autumn with a new album out on RIOT SEASON.
Craig Clouse is a Texan in London. He has a history of making anti-social noise Stateside, playing in legendary Austin, Texas hardcore band Crown Roast and before embarking on stints with Negative Step and Amphetamine Reptile's hardcore saviours Hammerhead. After relocating to London he assembled Todd as result of a 4AD request to support The Breeders at a "secret" show in between their two 2002 All Tomorrow's Parties appearances. Playing in a packed venue, they made quite an impression, which led to many fantastic shows to follow, including SXSW Festival (Austin, Texas) in March 2003 and 2004, as well as a return to All Tomorrow's Parties (Camber Sands, UK) the very same month. Their debut release, a 5-song EP on Loose Lips Sink Ships (2002), earned them a 5K review in Kerrang. It wasn't long before Southern Records fell in love with the carnage and signed em up like lightning. TODD's debut full length Purity Pledge was released by Southern Records in 2004 to much critical praise, they got the cover of premier Underground music magazine Loose Lips Sink Ships, Mojo called them a "fire-breathing colossus of sardonic, twisted metal". Kerrang compared the album to In Utero, drawing similarities between the "lean, acrid power" of both albums. Q meanwhile preferred to get Biblical on the band comparing them to Samson "pulling the house down to prove a valid musical point". Uncut loved the "loud, ugly and unremmitingly heavy" nature of the album, with Rock Sound proclaiming that "TODD can rock seven fucking bells out of almost anyone", that certainly included Terrorizer journo Ben Crudgington who for me summed it all up:
"Purity Pledge is a fuzzing, crushing beast of an album. This power is nothing but incredibly enhanced by their live show."