Cadaver Em Transe hail from Sao Paulo, Brazil, and create punk noire of an intriguing and dependency-forming nature. The four-piece ensemble are currently gaining attention rapidly, as fellow Sao Paulo residents, Rakta, blaze a trail across the US and Europe on tour, subsequently lighting up interest in their hometown scene.
Cadaver Em Transe began there recording adventures back in 2013, when they committed 4-tracks to the ‘Virus Tropical’ compilation c/s (Jameican Nights Fitas), alongside their Sao Paulo comrades from Rakta, Likzo, and Gattopardo:
In April 2004, CET released their 6-track demo on flexi disc (Nada Nada Discos):
Finally, in August 2014, CET dropped their alluringly masterful s/t 11-track debut (see header image), available through Feral Ward currently in the US, and awaiting a European release date at this time. The album is available to download from the CET bandcamp (see link below), and those of you who like your noire blacker than black would be advised to get involved.
Since trakMARX last featured Moriaty at Lemon Quay during the Spring, the Devon dirty blues duo have been going places. The release of their debut album ‘The Devil’s Child’ was met by rave reviews across a number of print monthlies, they were featured in Classic Rock Blues magazine and their album launch at Plymouth’s White Rabbit in June was a sweaty, celebratory triumph for a band that have honed their chops, paid their dues and are now cooking up unmatchable material that makes commercial contemporaries such as Royal Blood look feeble by comparison.
While tracks such as ‘Dahmer Blues’ and ‘Venus Fly Trap’ generate churning cesspools of sonic desire on disc, live Moriaty have demonstrated, again and again, their singular ability to turn venues into sweat-soaked caverns of voodoo-blues infused, poultry strutting abandon. On the eve of the release of their new seven-inch slab of envy-green vinyl ‘Jealous MF’ b/w ‘Gimmie Love’ on Easy Action Records, we caught up with Jordan and Mat to get the lowdown…
It’s been a big year … what have been the highlights?
J: It’s been one hell of a year. The album launch was probably my proudest moment. The BTTF secret cinema was the most fun and having Thom Yorke tell us how good we are is definitely the coolest thing. We have something up our sleeves that’s gonna surpass all that put together – But you’ll have to wait till January I’m afraid.
M: Yeah everything has been epic, lots of new people into the band and the gigs always seem rammed and the response to the album has been very good, it’s nice to know people still enjoy dirty rock and roll! The album launch was the epic bit! Such a great night and it could not have gone better! I’ve enjoyed the way people react to the tunes – and like Jordan said the big one is coming!
The album was a monster, were you pleased with the reception it got?
J: Yes definitely. It really got us out there. We’ve had people saying they thought the album was so good they never thought we’d be up to scratch live – Which is weird because I never had us down as recording artists really, it’s always been about live for us.
Do you think the album accurately represents the Moriaty that plays live?
J: No, not really. It does in places, but we do things on the album we won’t do live. I mean it’s not far off, but it’s a totally different discipline. I don’t want someone to come see us and say ‘Yeah it sounds just like the record’, ‘course not. I hope the record will peak your interest, get you in the mood and when you come see us, you should be blown away completely.
There seems to be an exchange of energy between yourselves and the audience at gigs (this was particularly evident at the Standard when you were a bit knackered beforehand, and then it just went…boom) is this something that you’ve regularly noticed?
J: Yeah, I guess. The Standard was pretty special, felt like a homecoming, but we have lots of places that feel like that these days. I think that was the night I realised I’ll never be able to stop playing. I just need it. If we have too long a live break I don’t know what to do with myself. But you cannot beat a good crowd and we have learnt the hard way that a good crowd can be 2 or 2000 people, you just have to engage them in the right way… But a drunk audience is always a good audience!
Would you ever consider a live album?
J: We have thought about it. But it would have to be right, I think that’s a bit further down the line when we have a good sound team behind us. It’s not the same though, live is about how loud it is, how sweaty you get and the people you share that experience with, which is why I try to keep records separate.
‘Jealous MF’ has been a live favourite for ages – did that play a part in its selection as the single?
J: Yes. The lyrics made it a fairly difficult choice and a restrictive one, but it’s general popularity made it an obvious one.
You’ve shot another video to go with the single…
J: The video was done at The Golden Lion in Bristol and stars a couple of the lads from Bristol bands Idles and The St Pierre Snake Invasion and our mate Diego basically having a fight over a girl. The song came about after a night I had in that pub so it made textbook sense to do it there – It’s really funny.
There’s also a new track (‘Gimmie Love’) on the B-side…
J: About two days after the launch we were invited to do some recording with Chris Wolstenholme. We’ve had the track knocking around for a while and it seemed suitable for the single as it’s loosely about greed. Being the B-side for ‘Jealous MF’ and going out on green vinyl it just made sense.
It must be satisfying to have a proper hunk of vinyl out?
J: Fuck yeah! It’s something we always wanted to do!
What’s coming up for Moriaty between now and the end of the year?
M: We’re launching the single at the Hub in Plymouth on Friday 24 October, plus there’s a gig with the Computers at the Apple and Parrot on 14 November. We’re gonna be writing and recording some more brand new tracks and videos for release the first half of next year. Pretty exciting times!
Iceage’s five-year metamorphosis from angst-ridden teen-punks to angst-ridden copper-bottomed rock’n’roll stars-in-waiting has reached its apogee with ‘Plowing Into The Field Of Love’ (Escho).
At twice the length of the band’s previous two long players, ‘New Brigade’ and ‘You’re Nothing’, ‘PITFOL’ represents somewhat of a paradigm shift, both in emphasis, and in signature sound. Presented as a double album in its vinyl format, ‘PITFOL’ features twelve of the band’s finest compositions to date over three sides, leaving the forth side blank, employing a range of instrumentation that could not have been predicted when Iceage debuted back in 2009 with ‘Hole’.
Parallels with the The Clash‘s third album, ‘London Calling’, are valid. Just as The Clash broke free from the confines of British first wave punk in search of the Yankee Dollar, so Iceage go International with ‘PITFOL’, in a bid to escape the crowded cellars of the DIY global punk underground. The breadth and depth of expansion is comparable, and, following the sonic development and subsequent wider acclaim afforded both Var and Lust For Youth over the eighteen months since ‘You’re Nothing’, Copenhagen’s youth are evidently ready to stake their claim on the world’s stage.
Those parallels continue in the live arena: The Clash had refused to play songs off their eponymous debut album (e.g. ‘White Riot’) by the time of ‘London Calling’ and the 16 Tons Tour. Similarly, Iceage are already refusing to play songs from ‘New Brigade’ (e.g. ‘White Rune’), claiming that they relish not giving their LCD live audience what they want, preferring instead to challenge them with new material. In this respect, The Clash and Iceage share common values incumbent of ‘the greatest rock’n’roll band on the planet’, circa whenever.
In terms of preparation, ‘PITFOL’ came trailed by a succession of videos, before eventually leaking online around the 22nd of September. The first of these visual tasters, ‘The Lord’s Favorite’, raised more than a few eyebrows when it landed on our device’s screens back in August. Riding a vaguely honky-tonk chassis, with a banjo driven engine, and a drawling Elias Bender Rønnenfelt hoedown of a vocal, higher in the mix than ever before, the song itself is a signifier, in terms of both the album’s general direction, and the promotion of EBR to ‘singer’; front-man; heart-throb, even: “You’re probably the only one, though it is hard to admit/That can save me/And I never like to ask for a helping hand/But I do now”. Aurally, Iceage have evidently achieved the immensity to match their intensity.
The second of these video trailers announced track-eight from the album, ‘Forever’: further evidence of the band’s immersion in Americana-noire, with a side-order of Antipodean menace. Swathed in violins, and embellished with an enormous horn section, the song builds to a crescendo from a standing start in just shy of five minutes: “If I could dive into the other/Like it was an ocean/Caressed by its water/I’d lose myself forever”.
A third video appeared for track-three, ‘How Many’, in the third week of September. More recognisable as the Iceage that recorded ‘You’re Nothing’, yet gargantuan by comparison, ‘How Many’ introduced the piano that plays such a significant role in setting the parameters of atmosphere that engulf ‘PITFOL’: “How many more days of disorder/Of drunkenly raving around”.
Finally, as September crawled to an exhausted close, the album leaked, seeping out through a succession of blogspots, and a further visual companion emerged in the form of the closing track from side-1 of the record, ‘Glassy Eyed, Dormant And Veiled’, an epic ballad of biblical proportions: “Don’t’ think I didn’t hear you coming home, boy/Don’t think I didn’t hear you coming home, last night”.
Fast-forward to 10/10/14, and the vinyl’s final arrival. As I removed the record from it’s packaging, I was relieved to find it had arrived in one piece: sans dinks, sans folds, sans splits (chapeau, Escho). Having recently endured fits of apoplexy with regard to the relationship between shipping costs and the care taken by postal workers in transporting and delivering fragile packages, I digress, momentarily: With the majority of my purchases, as I imagine with most of yours, being of a postal nature, it is both infuriating and counter-intuitive how vendors seem incapable of treating their customers fairly when the art of over-zealous postage results in damaged goods. Take, for example, Superior Viaduct, who shipped me a copy of their recent Crime compilation on red wax (already sold out at source, obviously) in packaging so meagre that it was a miracle the fucking record arrived unscathed. When I approached them regarding a replacement, they responded thus:
“We can send you a replacement. However, since shipping to the UK is so expensive, is there anything else you want to order from the label and we can put it in the same box?”
What? So you can send me a damaged copy of that, too? I responded by answering in the negative, and repeating my request for a replacement, offering photographic evidence of the damage. Two emails later: no reply, this bird is sinking. Morals? Fuck Superior Viaduct!
Meanwhile, back at the plot, sound is not the only element Iceage have overhauled for ‘PITFOL’. The cover art resembles a lipstick-smeared Roxy Music sleeve from the mid-70s. Gone are the front cover ‘runes’ of the previous two albums, that drove Everett True to accuse the band of Nazism, relegated to a colour version inside the gatefold, and a smaller white (got a problem with that, ET?) icon on the jacket’s rear, along with another first: a photograph of the band themselves. In its twelve inch format, the image looks more like a painting than the photograph of the CD edition, or online images: a subtle shift in tone, and the suggestion of canvas stock, renders it twice as endearing in the flesh.
Having lived with ‘PITFOL’ for nigh on three-weeks now, my appreciation of it as a work of art has undergone much reflection and revision. As with any release of this stature, the investment of time and consideration is vital to unlocking the many levels on which it operates. On a bed of guitars, bass, drums, violin, viola, banjo, piano, horns and anguish, Iceage have matured beyond all expectation, crafting twelve compositions of widescreen cinematic sound, firing the imagination, and stirring the soul.
Opening with the brooding, piano-stained ‘On My Fingers’: “They try and feed me in times of hunger/But I refuse their generous hands/Though I am a taker, an opportunist/I’ve got longings no offer can stand”. EBR dominates the mix with his breathy, muttered vocals, his native tongue rounding his pronunciation, brining an indefatigable uniqueness to his delivery of the English language. The lyrics for ‘PITFOL’ were apparently written in Berlin, during an extended session of concentration, fuelled by poverty and isolation. EBR should be commended for his mastery of a foreign tongue, and its subsequent application in the creation of what is tantamount to poetry, in any language.
The aforementioned ‘The Lord’s Favorite’, ‘How Many’ and ‘Glassy Eyed, Dormant And Veiled’ complete side-1, without putting a foot wrong. Meanwhile, ‘Stay’ opens side-2, with nods to The Pogues circa ‘Rum Sodomy And The Lash’. A plucked violin punctuates the chorus like an arrow from a bow: “Every which way I turn/I can sense it creeping in/So stay a little while/Before my thoughts go running wild/As a feral horse/And it will gallop till its death/So stay a little while/Before my thoughts go running wild”.
‘Let It Vanish’ is closer to the spirit of ‘You’re Nothing’, with its martial drum intro, strident bass, and anthemic guitar-led call to arms. The intonation on “I gave you life” provides the hook that delves into your ears, snagging your attention, forcing the issue beyond all reasonable doubt. ‘Abundant Living’ follows, quoting The Pogues’ ‘Dirty Old Town’ in its intro, before further referencing Shane MacGowan et al. with its horn-stamped chorus: “In the gaslight’s fire/I felt the power/As the mist came down/Hour by Hour”. Side-2 closes with the aforementioned grandeur of ‘Forever’, and the sense that a classic has been forged from the depths of despair has already begun to set in.
Side-3 commences with ‘Cimmerian Shade’, harking back to the ramshackle aggression of ‘New Brigade’, this is by far the album’s darkest and harshest moment: “I want to hear the silence in my drunken comfort/But voices they echo on and on and on/In the Cimmerian shade”. Territory previously explored on ‘Morals’ expands exponentially on ‘Against The Moon”, a piano-led, horn-flecked ballad that may well set the tone for album number four? Stranger things have happened, after all: “I can fight it/Make it roam/But a fugitive has a tendency to return home/Pissing against the moon”. ‘Simony’ (the act of selling church offices and roles) takes a penultimate glance back over its shoulder to ‘You’re Nothing’, with its rambling chorus and shimmering acoustic embellishments (the drop at 2:12 is particularly rewarding), before the album’s title-track brings proceedings close.
EBR has stated that ‘PITFOL’ itself is the closest Iceage have come to writing an Oasis song, and I can see where he’s coming from, but there’s no cause for alarm, Noel Gallagher is not capable of irony such as: “All those brash young studs/They have no idea what it’s like up here”. Never mind an outro that closes on: “they will place me in a hearse, hearse, hearse, hearse, hearse, hearse, hearse, hearse, hearse”.
So, there we have it, my album of the year is complete, and Iceage have fashioned a statement that confirms my long-held belief that they are the band of their generation, spiritually, morally and indubitably. If The Clash were the only band that mattered, then Iceage are the only band that muttered.
“Bootlickers stand aside/I am plowing into the field of love”.
trakMARX extend hearty thanks to Johny Brown and The Band Of Holy Joy for inviting us aboard ‘Bad Punk’ on Resonance FM on 11/10/14. For those of you who missed it, you can tune in here:
Sonic assassins Night Motor aren’t ones to do things by halves. After a summer of kicking up dust storms and clearing galleries of the bourgeoisie like Jesus emptying temples, the trio of Lee Dobson (Vocals, underpants); Mawgan Lewis (Guitar, crepuscularity); and Steve Potter (Keyboards; shades) have returned to their recording bunker and emerged with two singles – live favourite ‘Ice Age Man’ and the insidious ‘Voodoo Radio’.
Ever keen to writhe around in their transgressive, visceral world, trakMARX snuggled down between Mawgan and Lee to find out more.
Why two singles on the same day?
M: We could have popped it all onto an EP, but we decided it would be a different approach to have the two singles. Plus, there were different opinions on which should be the lead track. Both singles have remixes by Drofler as the b-side. It also allowed us to make two videos
Is the visual aspect of NM crucial?
M: I guess I want to get across what a captivating front man Lee is, it’s all in his crazy eyes. We often get comments that they can’t stop watching him. It’s just a continuation of that onto video.
How did you come to join Night Motor, Lee?
L: I met Mawgan at a party and what with me being a magpie I was drawn to Mawgan’s shiny head. A couple of weeks later I was in bed drinking whiskey and Mawgan called me and asked if I’d like to be in Night Motor.
Had you heard the band before then?
L: No never, I heard things similar when I used to clean the guttering at Broadmoor except the only dirty base in there was smuggled in via a sex queen called Colin.
What had you done prior to Night Motor?
L: I was in a hokum blues collective called Custom Of The Sea, it was all hush hush, but then members moved abroad so that’s on back burner. I’ve been in various crap punk bands over the years, and I do love to smash out ‘Gold’ by Spandau Ballet on the karaoke.
How did your first Night Motor gig go?
L: It was a blur, we played with Drenge and all I remember was how everyone wouldn’t stop fucking looking at me.
You’re pretty intense on stage – where does that come from?
L: My mother. She dances like a horse with ginger up its arse. I always dedicate a song to her if I can.
You generally get to have a pretty rough time of it in the videos…
L: If anything I never get hurt enough to get a full erection, but that is something the boys can work on maybe?
M: He mostly volunteers his body for abuse. I didn’t tell him to munch down the splintering lolly stick in the ‘Ice Age Man’ video. He really doesn’t have a notion of consequences…
Lee’s made a big difference to the band – How do you think his presence has changed your direction?
M: All bands are the sum of their personnel. I always wanted a frontman with some mustard, across between Alan Vega and Lux Interior. We are now more punk, shorter songs with of course more words.
Are you pleased with that?
L: Yeah I guess so, to be fair though you can’t go wrong if you chuck on ‘Take The Acid’. The core sound of the dirt we are based on is still there.
You seem to have arrived at a settled line up…
M: Yes! For now. It’s great having Steve Potter on board playing the synth parts, it adds more depth live and it frees me up for guitar duties. The guitar still feels like a strange object to me, but we’ve become friends over the past year.
Has this changed the overall musical direction?
M: It’s mutated over time … the tracks have become more physical. I think there might be a contrast over how we perform a track live to how it’s recorded. We are deeply rooted in electronic music with a more garage ethos … it’s my mega crush on all things Cramps.
You’ve been pretty productive this year with singles – would you ascribe this to the stability?
M: I’m always busy writing new tracks … It’s a boiling swamp of ideas and occasionally one floats to the surface. I guess I can hear Lee delivering a vocal – that helps when penning the lyrics. I’m pretty fussy about lyrics.
Is Night Motor a creative democracy?
M: That sounds like a statement from our rehearsal room. It’s not a democracy, because I write the music, the words, mix it, produce it. If Steve wrote a Night Motor track then we’d be called Drofler, d’oh, cat’s out the bag for Mr Drofler.
One way or another, the gigs generally seem to be memorable – what’s stood out this year?
M: As with all live bands we are sometimes in the hands of a sound man that’s probably not used to an act like us. We’ve had a couple of crackers at Studio Bar, Penzance. There’s always an element of perplexed audience, but we ride rough shot over that. It’s a collective feeling when you know all the cogs have clicked into place. Another great workout was Mangos, Lee was on fire that night. More recently Boardmasters got the Night Motor treatment, you can see on peoples faces (“What the hell’s this?”) but it’s like a rabbit in the headlights, they have to stay. Of course we had a blast at Waynestock, brilliant sound and atmosphere, plus loads of bands we love. The stage turned into the red planet, breathing loads of rust dust.
Yeah, there generally seems to be somebody looking astonished…
M: We’ve of course had loads of comments from punters who want pub rock. Mostly, “Please fuck off and never come back”.
Do you enjoy that?
L: Yes. If I was like Chris Martin I’d take a Wonga loan out, buy a gun and shoot Chris Martin. Gobby twat.
What’s been the best aspect of being in the band so far?
L: Making new friends through it is probably the biggest thing for me but I’m soft like that. It’s been an honour to be part of it and not everyone can say they’ve released music to the world. Well, they could, but they’d be talking bollocks.
Do you see yourselves as outsiders?
M: We are not experimental noise, but for some reason we are irksome. We write and perform what we want, hopefully we can’t be pigeonholed. We are not following any trends or passing musical fads.
Do you believe in confronting and challenging audiences?
M: A lot of people say we are an intense live experience, but never personally get that. I guess it depends on what you’re listening to at home, for me it’s The Swans, The Contortions, Italian Soundtracks and early synth pioneer stuff. Perhaps we’d be a bit much if you’re sat at home listening to chart pop.
Have you encountered much genuine hostility?
M: Just hostile words – mostly people sense that Lee might be a loose canon and don’t risk it. Though he’s a teddy bear really…
Exactly, people sometimes don’t seem to know how to respond to him, but he’s cuddly…
M: It’s his eyes … that ‘hook you’ stare.
You cleared the Penzance Gallery in two songs…
L: I know. To be fair it was full of beige wankers with boat shoes tutting every time I shouted ‘Die’ at them. I’m glad they left. Some hardcore lovelies watched me murder the serene atmosphere though. Thanks guys!
How would you describe Night Motor to someone that’s never heard or seen them?
L: I’d ask them to close their eyes and count to ten and when they got to four I’d smack them round the chops with a gravy soaked bike chain and shout ‘Visceral Love’ at them. Or maybe point towards Chrome/Cramps/human flesh trifle.
Tell us a little about the themes behind the two singles.
L: ‘Voodoo Radio’ is a noise driven pop song and the Germans will love it, ‘Ice Age Man’ is more of a love-in with the Ramones maybe? Fuck I don’t know. They do showcase our two best talents, noise and aggression.
M: ‘Ice Age Man’ is basically modern man and his dumb macho persona, from heads of state sending in the war planes to an aggressive bloke on a dancefloor. It’s a very alien thing to me. Voodoo Radio is like a drunk cabaret singer a lounge lizard reeling off a late night tale of a decadent past.
It’s two facets of the band, really…
M: Yes, I think they are very different beasts these two songs, one is caught in the dirty beats world and the other could exist as a seventies punk track. Indeed, beats and the beast.
What’s next for Night Motor?
M: More gigs, more music … hoping to play some shows with our mates Brunel, so maybe Plymouth and London soon.
Where would you like the band to be six months from now?
L: Getting ready to build on this year’s festival appearances and maybe an album in the sack? I could be on TV endorsing 89p pizzas like that cross eyed wanker Peter Andre, I’d love that. 89p, what the fuck is the cheese made from? Katie Price’s ear cheese?
On the subject of food, if you had to slap Mawgan over the head with a fish, which variety would you opt for?
L: A fish finger because he loves those little ignorant shits
‘Ice Age Man’ and ‘Voodoo Radio’ are released on Monday 13 October on Death Drop Records
- trakMARX: ROCK AND ROLL, GARAGE PUNK, PSYCHE, HEAVY METAL, PROTO PUNK, KRAUTROCK, JAP ROCK, PUNK ROCK, POST PUNK, INDUSTRIAL, BLACK METAL, DOOM/DRONE, POST ROCK, NOISE, AVANT ET L'ART DE L'ETRANGER