This is the show we have been dreaming of doing since we started the promotion! We are ecstatic to announce that we have finally secured our favourite band Bohren Und Der Club of Gore to play an exclusive and totally one off evening in the depths of Islington Mill.

We are flying the band in especially for this show as part of their November tour. This is their only UK date this year. Those in the know will no doubt be aware that Bohren Und Der Club of Gore rarely tour or play more than 12 shows a year. It goes without saying that this is not to be missed.

For an understanding of the power of the groups music, we have a gushing review/love letter below:

“I first saw Bohren Und Der Club of Gore in 20005, at the Astoria in Brixton. So started a 7 year plus love affair with my favourite band. The quartet were opening for Isis during their Panopticon tour. I had no idea who they were; just that their name alone piqued my interest. Having gone to this gig at the height of my love for Isis (which has dramatically waned since – although Celestial still bangs), I didn’t expect to come out of the show with an absolute disregard or care for the headliners performance. In the opening few seconds of their set, Bohren easily undermined both Jesu and Isis with the sheer weight and power of their music, making the two following acts simply redundant.
Playing it pitch blackness, their atmosphere swallowing sound conjured cinematic images of darkened alley ways, homicide interrogation rooms, speakeasy’s and dive bars, beautiful women lighting cigarettes and crest fallen men battling their demons. Trench coats, fedorahs and the winking embers of a cigar; A mise-en-scene that fitted perfectly with the hardboiled world of the film noir tradition, yet somehow implacably their own. Suite after suite of mournfully blues and opium paced jazz sustained an impenetrable cloud of both class and darkness; novellas describing the gritty underbelly of the urbane. It was and continues to be easily one of the most powerful examples of live music I have ever experienced. Their music was all consuming in that room, like the thickest fog ingesting everything in its path. And each time I have had the profound fortune of seeing Bohren live, at The Spitz in 2006, at Corsica Studios and ATP in 2008 and most recently at Supersonic last year, they have never failed to deliver the exact same experience. I’m sure anyone who has seen them live more than once would agree with me and, were not for their astounding discography, serve as validation for their legions of obsessed fans.

At times, the quartet have been described by lazy journalists as ‘Twin Peaks Jazz’, a unflatteringly reductive term to apply a group who produce music of this magnitude. Whilst one can detect an influence of Bandalementi in their earlier output (Gore Motel, Sunset Mission), even these records are distanced from the kind of kitsch and crass that characterised his works for David Lynch’s TV show. For me, the tradition of composers like Miklos Rozsa and Bernard Herrmann darkest work resonates far more in the drama of this quartet’s music. As does the unmistakeable lurch of classic doom metal. If we are to judge an albums heaviness by weight of atmosphere, with Black Earth, Bohren created easily one of the heaviest records of the last decade. It’s worth mentioning that bar the rolling and shimmering sustain of the electric Rhodes and the Organ, Bohren’s dread on this record is produced from acoustic sources. Not a overdriven guitar in sight. Black Earth revealed a careful and near tantric examination of the end time melody, superbly underlined with a sexual and sensuous grasp of late night lounge music via Christopher Closer’s mournful saxophone and Morten Gass delicate approach to space, coloration and mood.

Far from continuing to repeating themselves, with 2005’s Geisterfaust, Bohren explored the subtly and restrain of contemporary minimalism with aplomb. In 2008, Dolores followed and for my money it is their finest record to date. Managing to envelope their previous experimentations with minimalism and merge it with iconography of Sunset Mission and Black Earth, the quartet had deftly managed to elevate their music into lofty realms of near contemporary classical music, albeit delivered with the might and conviction that harkens back to their doom metal roots. It also shows a new melodic flowering, a warmth of tones and emotional melodies, delicately referencing the balladry of pre-50’s Jazz and perhaps, often cited comically in interviews, Sade. Dolores presents far more panoramic view of sounds than those heard on the likes of Black Earth, as if the group had crawled from the gutter and into the dawn light. I guess I’m not alone in suspecting that Bohren’s November tour will be ushered in by a new record which continues on the peerless trajectory of their oeuvre. I can’t wait to hear it.

When I first started my involvement with Fat Out a good few years ago, we dreamed of one day being able to book Bohren Und Der Club of Gore. You have no idea how proud and honoured we all are to be entrusted with bringing you this show.”

David McLean – Fat Out/Tombed Visions

With support from Cornered Yet Climbing

£15 presale available through our website
www.fatout.co.uk