BRO005 –– Cease 'Coelacanth'
Perth doom/sludge/drone merchants launch their recording career via
the Brothers imprint with this 3 track EP of molten lava spilling over
into groove heavy bliss. Narrowing in on the sounds of early 90s Dylan
Carlson, the band, recorded here as a drums and guitar duo lock into some
cyclical patterns that slowly spiral onwards towards oblivion. A live
favourite in Perth, Western Australia, the Coelacanth marks the beginnings
of what promises to be an extra-special audio journey. Heres what some
local music rags have had to say about them recently: "Upon walking
into the Hydey tonight I was greeted by a man in a pink and black lacy
bodysuit droning away at his guitar while standing on top of his amplifier.
To his right there sat the drummer, who was revealed to be wearing nothing
but a sweaty pair of grey undies and next to him was a fully dressed man
sitting at a desk manipulating his voice. This was Cease...." *Drum
Media* "....the Cease brand of soundtrack doom is one hell of
a ride, and if you're slightly sideways coming in, you best hold on tight."
*Xpress* "...it was like 'Molten Universe' by Kyuss, but
played a whole lot slower." *Perthsounds.com* "Probably
one of the most innovative and interesting bands in Perth right now, the
best thing about Cease is their disregard for any kind of convention and
their music is the type one can really get lost in." *FasterLouder.com*
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BRO004 ––
At Waugh With Gieles ‘Cautious Movements’
"At Waugh With Gieles is the alter ego of the youthful Camryn
Rothenbury, resident of Perth, Western Australia. In his first
outing for the Brothers imprint, Rothernbury delivers 3 tracks of slow-burning
guitar drone. Tense shimmering waves of tonal layerings and feedback squall
slowly build and retreat with a harkening to such comparitive predecessors
as Thela or early Fushitsusha. Occassional bursts of other oblique fragments
of instrumentation build upon a solid core of late night meanderings."
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BRO003 ––
EOH ‘Cavernous Hall’
EOH are a coming together of Rob Mayson [Grey Daturas,
Bone Sheriff, Breathing Shrine etc], Simon Taylor [Whitehorse,
Malakat, Bone Sheriff] and Aaron Coyes [Rahdunes,
Omen Compass etc] named for Mayson's son Max's imaginary
friend. A trio of drinking buddies who channel their sparkling ale and
amyl fueled unruliness into recording session after recording session.
These 3 chunks of dark drones and abstract free noise were culled from
hours and hours of wild drunken recording in a cavernous hall in the heart
of Melbourne way back in April 2006. Aside from kicking out the drone,
the three spent many an evening hanging around Mayson's kitchen, listening
to records, eating Japanese curries, getting boozy and stoned… the
usual shit. Densely packed with organ, oscillators, circuit-bent instruments,
contact microphones, ride cymbals, bass, guitar, piano, floor tom, tape
machines, transistor radio, the EOH - Cavernous Hall CD is being delivered
as a memento to commemorate the group's upcoming West Coast tour of the
US in late July 2007. This is what AQUARIUS RECORDS had to say about they're
debut 3" CD: "still dense and noisy and intense, but
with a soft touch. More whisper than roar, more drone than screech. A
Wolf Eyesian industrial murk march. Dense swirling layers of thick pulsing
guitar distortion, wavering and warbling in thick sheets laid over everything,
peppered with occasional cymbal crashes and what sounds like some sort
of throat singing. This is some seriously massive ur-drone shit. Huge
industrial wastescapes, abstract spare stretches of low end rumble swirling
like black fog over ruined landscapes of damaged amplifiers and detuned
guitars. Haunting, and desolate but strangely lovely. "
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BRO002 ––
Chris Cobilis
‘Two Hams in a Can’
“Somehow or rather, Chris Cobilis (b. 1979 in Perth,
Australia) began performing pop music and noise music in the same month
- May 1997. He isn’t really sure how he landed himself in this situation
since he had little experience in music aside from being an avid listener
& sometimes music journalist. Early noisy performances earnt recognition
for Cobilis as an “accomplished musician” which he thought
very funny because he felt this was untrue. Early pop performances with
the ‘good time’ pop group, The Tigers, were
met with startling reviews also, some suggesting that this new ‘party’
band were “avant-gard” and “challenging”. Cobilis
thought this funny also, as he had always imagined The Tigers to be a
‘fun’ pop band.Cobilis has performed at many of Perth’s
Totally Huge New Music Festivals. In 1997 he did his regular song and
dance routine for the good folk attending the festival club following
the percussionist Amy Knowles. Unfortunately, an ant bit him mid set,
causing the disorented Cobilis to drop his guitar and scream “I’m
an angry young man” over and over. Nobody was impressed. In 1999,
Cobilis was asked to support the affable and well-adjusted fellow, Masame
Akita and partner Reiko A (aka Merzbow), in the wonderful surrounds of
the Players Diskotheq, where the few people actually watching him thought
he was the ‘disc-jockey’. Cobilis regrets his decision to
wear headphones for the duration of said performance. Cobilis has subsequently
played on bills featuring Four Tet, Wolf Eyes, Pita, Pimmon, Rik Rue,
David Thrussel, Annie Gosfield, Alan Lamb, Ross Bolletter & Cat Hope.
In addition he has shared the stage with Damo Suzuki, Ikue Mori &
Jon Rose. In 2006, Cobilis intends to pedal his wares across the entire
globe, busting heads, making noise and generally having a good time. If
you reckon you’d like Cobilis in your town this year, drop him a
line. He will come and dance for you. –– CHRISCOBILIS.COM
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BRO001 ––
Brutal Snake
‘Tiny Stubborn Lights vs Clustering Darkness’ [repress
of the super-limited edition CD originally pressed on Diagnosis Don’t]
“…NOISE with a capital
N, as do we, and here comes Brutal Snake to give it to us. BUT, this isn't
shrieking hissing facemelting noise, no, this is dark and ominous, creepy
crawly, rumbling dronelike noise, which just happens to be our favorite.
Lengthy expanses of black ambience, slow burning swells of muted guitar
fuzz, deep cavernous tremors rumbling in the background, like watching
black clouds drift by, each a gauzy wisp of low end shimmer, slowly changing
shapes and spreading out across the sky. Totally gorgeous and foreboding.
Packaged in a cool stiff textured paper sleeve, with a complicated folded
over Japanese style obi holding the disc in place, with the liner notes
printed on the inside.” ––
AQUARIUS RECORDS
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