Dim Imagery do post-punk, post punk with more than a hint of way back when. They approach this with a complete lack of fear, mixing it up, juxtaposing that against this with complete abandon. This was the revelation seeing them live for the first time. But if you haven’t had that privilege you need proof. In evidence I present you with ‘Three Degrees’.

‘Three Degrees’ is a glorious unholy mix of out-there noise rock, the warped sound of left-field post-punk, a kind of mutant Doors where the lyrics are declaimed or they are more poetry than lyrics. Add to this a wondrous dash of madcap keyboards and jerky guitar (that has more than a small Cardiacs feel to my somewhat ancient ears). It’s fantastically unhinged and chaotic. And yes, this is joyously bleak or bleakly joyous if you prefer.

And all of this cartwheels, it spirals, it swirls. It goes from loud and dense to sparse almost randomly. Almost as though it’s a jam. I say randomly yet it’s brilliantly put together. I say a jam but no jam could sound this good.

I said right at the start that the band do post-punk with more than a hint of way back when, and I was right, but also wrong. I was wrong because bits of this song could have existed separately way back when, it’s unlikely that they would have all existed together in the same song. And that is the brilliance of this track.

This, their first release, confirms that they can take their live sound into the studio. ‘Three Degrees’ is simply incredible.

The info

Dim Imagery are:

Matt Bond – Vocals
Seth Husband – Guitar
Jack Coles – Bass
Freddie Shortland – Keys
Jack Melling – Drums

https://www.facebook.com/Dimimagerydimimagery
https://linktr.ee/dimimagery

While it would be easy to describe Augustin’s ‘I’m Alice’ as quirky; that would be lazy reviewing. Instead I’m going to describe it as an eclectic mix of electro-pop, jazz and way out strangeness.

This would be expected from his work with Gurgles – if we’re honest – but there’s a depth beyond the strangeness. For this is a sonic representation of something – an actual syndrome – Alice in Wonderland syndrome. There’s more about this below.

Augustin explains ‘“As a kid I used to get strange visual and perceptual distortions while awake in bed. My limbs and head appeared and felt to grow enormous or contract to a tiny size. I also got loads of sparkly TV snow fx when I tried to close my eyes. I thought it was just my daft brain but a few years ago I found out it is actually a thing. Never happens now though”.

Once you know what the song is about it all makes musical sense; the warped, elastic sounds, the fantastic soundscape it evokes. The strangeness is part of the experience.

The combination of subject and music is fabulously compelling. You are drawn into the soundscape and the deeper you go the more there is to discover. Surprising sounds emerge, jazzy sections juxtapose electro-dance, sudden shifts in feel that throw you in different directions.

This is something different musically but it’s a joy. The sound of a musical imagination at full throttle.

Augustin’s four track EP ‘I’m Alice’ is released on 14th December in download and on cassette. Pre-order

The info

Augustin is from Bradford and has played with Gurgles, Mucky Sailor, Henry Parker, Nope and many others as well as performing as Lord Adonis, and remixing as Tomorrow’s Dad. He has recently been co-producing Saint Etienne’s latest album. He’s performed improv sound and noise, solo and with others at Bradford’s Threadfest, Fundada Festival in Halifax, Vespertine Festival in York and the launch of the Doctor Who exhibition at the National Science and Media Museum with jazz pianist Matthew Bourne and baritone guitarist Andy Abbott.

He has written theme and incidental music for lots of TV shows, a number of films and hosted a BBC6music show. He has also remixed bands including Bearcraft, Printed Circuit, Cowtown and Lark.

Recently Augustin has been working on new material with Saint Etienne and playing with improv trio Nostril.

He’s also finishing a new Gurgles LP

Alice in Wonderland syndrome

Alice in Wonderland syndrome is a rare condition that causes temporary episodes of distorted perception and disorientation. You may feel larger or smaller than you actually are. You may also find that the room you’re in — or the surrounding furniture — seems to shift and feel further away or closer than it really is.

These episodes aren’t the result of a problem with your eyes or a hallucination. They’re caused by changes in how your brain perceives the environment you’re in and how your body looks.

This syndrome can affect multiple senses, including vision, touch, and hearing. You may also lose a sense of time. Time may seem to pass faster or slower than you think.

AWS primarily affectsTrusted Source children and young adults. Most people grow out the disordered perceptions as they age, but it’s still possible to experience this in adulthood.

AWS is also known as Todd’s syndrome. That’s because it was first identified in the 1950s by Dr. John Todd, a British psychiatrist. He noted that the symptoms and recorded anecdotes of this syndrome closely resembled episodes that the character Alice Liddell experienced in Lewis Carroll’s novel “Alice’s Adventures in Wonderland.”

Three years ago I reviewed an EP from Sheffield band Bear Chest called ‘Leather and Sweat’; I loved it. So it’s been a while. But now we have an album of Bear Chest goodness.

Before I dive into the review I need to tell you something about the EP. Bear Chest played heavy, no heavy heavy, loud music. Glorious but it felt a little like having your head rammed into a brick wall repeatedly; I mean this, of course, in a good way. This album, however, had surprises lying in wait.

The opening track – ‘Holy Roller’ – is different to what I reviewed 3 years ago. It’s still loud, bass heavy, and hard riffing but it kinda sits in a psych-grunge space rather than a metal/sludge rock space. This is not in any way a criticism; I can’t imagine that a band would stand still completely over a period of 3 years. The kicker is that sometimes over that hard fast riff the vocals are the sweetest. It’s the contrast that makes it fantastic.This thing comes at you like a tidal wave; occasionally pausing for breath before it hits you hard again.

‘I Know You Hear It’ does that bass and grungy guitar intro; this signals something different is on the way. It jerks, it jerks good. It’s kind of like psychedelia as interpreted by Black Sabbath. The weird thing is that what you left with is that this has a great tune that stays with you. And a great guitar break.

Ah now, 70s heavy rock. ‘Burned Away’ is heavy but it has a groove to die for. The vocals come on like a sinister preacher while the riffs lay down a bed of sonic joy. ‘Don’t Feed It’ continues that heavy with a groove theme. Guitars stab out. Hints of Led Zep in the feel – it’s that swing, that groove. And then a guitar break that thrills.

‘Swinger’ is slow, way slow. Grinding guitar, vocals buried in the mix. This is all good, in fact very good, But the extra here is the drumming, which is mainly splashes of cymbal, because it follows that grinding riff so closely. You sit and wait for the track to speed up but it doesn’t, it appears to slow down – a searing guitar. Wonderful, quite quite wonderful.

Suddenly it’s a faster track – ‘Strip The Leather Away’. What I get here is 70s Heavy Metal – it has that guitar riff feel, the ‘screaming vocals’. But it’s way bassier than 70s Metal. But then it drops out to a bass note repeating before it blasts into noise.

‘Snake Breath’ burns, it burns hot. Guitars grind, on the edge of being out of control vocals. Words that tell of something I can only describe as disturbing. Soundwise- let me think – Mutant Black Metal is what I’m getting.

‘Eat From The Inside’ reminds me of something I can’t quite put my finger on. Oh wait there are hints of early Sabbath, more than hints, What I can only describe as NWOBHM guitar solo. It’s a mash-up that becomes something all of its own. Glorious.

‘Red Cavern’ is a surprise. It starts with a rattling beat, delicate guitar, then a quiet voice. It’s hypnotic, melancholic, atmospheric and moody. And gradually it builds; guitars start to boil, and then it explodes but briefly. It quietly makes its way into your head and sticks there. The builds come at times you just don’t expect. This is epic; Bear Chest’s take on a big epic 70s rock track.

Another surprise – ‘No Love’ is a guitar and voice ballad. I was so shocked by the change in tone I had to go and check whether I was still playing the Bear Chest preview stream. I was. It’s simply a lovely song. Album closer – ‘Bleeding Through The Eyes’ – is another riff laden grinding guitar track. With the most incredible 70s sounding guitar break I’ve heard in a long time. A great album closer.

This album is both what I didn’t expect and what I expected. Yes, it’s mainly loud, grindy and bass heavy but there are things I didn’t expect – that psych-grunge feel, the light and shade in some of the songs and that acoustic ballad. BUT it hangs together, at no point – except for the ballad – did I feel I wasn’t listening to Bear Chest doing their thing. And that ballad, make no mistake, is wonderful.

And their thing is fucking fantastic; it burns, it grinds, you feel it through your whole body. It’s played brilliantly – the guitar, bass, drums and vocals can’t be faulted. And this is in no way mindless noise – and let’s be honest it could be – there are inventive sonic touches all over this album.

This is an album of music made by a band taking guitar based rock – in all its guises – to the edge and beyond. Play loud enough to wake the dead and wallow in its glorious fucking sound.

Another visit to a new venue, seeing two bands I’ve seen before and two new bands to see and hear; the set up for the night was right. On the night things were a little chaotic in feel – this being down to a ‘happy event’ for one of Moretti; so it feels very wrong to complain.

So first the venue. The Underground is a place that I’d heard good things about from people I trust; they weren’t wrong. Great sound, stage and bar. On the large side of small or, if you prefer, the small size of medium. The Underground has some great bands booked for the coming months. If Bradford is close for you – and even if it’s a train ride away, it’s but a short walk from either of the two stations – check out upcoming events and go visit.

First up, The Veese. It took a few songs for things to click with me, but in my defence I didn’t know what to expect, the band are new to me. From their opening song I got a feel of old style indie – we are talking great acoustic rhythm guitar, a great voice singing good words. But then as the set progressed I began to notice a couple of things that made me sit up and listen.

Firstly in that indie sound there is something of a 60s’ R’n’B feel going on; yes that indie jangle is there but there’s a rawness in there. Secondly there is some great playing going on – and you’re going to notice the lead guitar, this is not your usual indie lead, this is full on rock sound. Having got that there are other things to love here – the songs are great, great tunes.

The one thing I did feel was that all the songs were a bit full on; there’s no dynamic, no light and shade. Now I’m happy to admit that this may not be the band but the sound’s fault but it’s a thought that popped into my head.

The surprise in their set was saved until the last song called – unless I misheard – ‘To The People’. They launched into a full on 60s’ psych number; complete with far out guitar solo and the inclusion of ‘You Can’t Always Get What You Want’. I’m not kidding about that, honest. Epic, sonically rich and impressive.

From what I can work out The Veese are only a short way along on their musical journey. The signs are good. This is a band to watch.

Blue Orchid Reaction share a band member with Moretti – their lead guitarist. Checking their Facebook Page they describe themselves as an indie rock band which in my humble opinion is something of an understatement. What I heard was a band playing songs that thrown in all sorts of influences – punky, hints of that B-52s’ sound, a big 80s’ style pop ballad.

So it’s clear that this is a band who write and play music influenced by the music they love. And they play really well – I was especially drawn to the lead guitarist who plays with a fantastic casual intensity.

Early in the set I had them marked down as a ‘great fun party rock band’ but this is underselling them. Yes they’re fun and entertaining but their songs have a depth that goes beyond that. So it’s a case of go to be entertained – and music should entertain, and they do – but come away impressed by the songwriting depth and playing. Blue Orchid Reaction are a band I want to check out again.

And now to Purple Thread. It’s kind of difficult for me to be objective about them as they’re one of my favourite bands. It has to be said that they were initially hit with ‘the very local audience who had come down to see three local bands play’ thing’. But as their set progressed the audience space filled up. And by the end of their set they had gained some new fans.

This is down to the fact that they basically have two modes of playing – either full on or over the top full on. I’ve seen them in over the top full on mode and it’s something you don’t forget. But even their full on mode means that you basically can’t resist.

Anyway, back to the night. The set included a new track – ‘Give Me More’. Liz in snarly sneery vocal mode, the music NYC punky and dirty. One to look out if you’re going to see them play. The usual Purple Thread cover was ‘Murder On The Dancefloor’. And the ‘I Don’t Believe In Jesus But I Wear Him On A T-shirt’ song – always a great inclusion.

It feels rather unfair, given the circumstances, to give them a full on review but for me, fab set guys.

Our headliners, Moretti. My history with the band is that this is the third time I’ve seen them play. The first time I didn’t like them that much, the second I did. It has to be said that because the set times ran over the planned timings I didn’t actually manage to see their full set.

They’re a raucous band, full of attitude. There’s an element of that ‘Manchester thing’ going on in their music, and that’s all about attitude. That said they do it in a very Yorkshire way, and this is all to the good.

What we are talking about here is rock – call it indie rock, call it alt/indie rock – it’s rock. One thing that marks them out is that there is swapping of lead vocals – so you get a variation in feel from unexpectedly emotional to harder rock.

Being a local gig for them there’s a party atmosphere and, hey, Moretti are a good time party band making music that you can, and should, throw yourself around to. Their cover of ‘Sit Down’ is just the icing on the party cake.

Yep, even though I couldn’t stay to see the end of the set I like them more now. Good stuff.

Zero Cost’s second single is short, sharp and bloody raucous.

Yep there’s still those metal elements but this is punky as fuck. Played at breakneck speed, vicious guitar upfront and centre, vocals spat out in a tumbling rush, drums thrash.

The song seems to be about not being held back by society, making the most of your life and fulfilling your potential – from what I could work out, those words come thick and fast. Again your classic punk song subject. Zero Cost really are doing punk right here.

And the production’s just right; live and direct in feel, just the best live you’ve ever heard. This is a production done for the energy not the finesse and it’s all the better for it.

Zero Cost have come out into the world as a fully fledged band, doing what they do so incredibly well. They do punk, and they do it right, fucking right. This track thrills, go listen right now.