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Pictures from some recent gigs we've hosted:

29 March 2013 - Brixton, London

Viv Albertine, VuVuVultures, Left Leg, Mickey Gloss, Big Wave, No Cars, Arthur Gunn, Simon Love (Pictures)

8 March 2013 - Lexington, London

R.Ring, Golden Grrrls, Slushy Guts and Equinox (Pictures)

On Our iPod

Parquet Courts - Light Up Gold (album)

Antony Harding - Why Do Birds Suddenly Appear (album)

Black Angels - Indigo Meadow (album)

Thee Oh Sees - Floating Coffin (album)

Still Corners - Strange Pleasures (album)

Savages - Silence Yourself (album)

Mikal Cronin - MC II (album)

Can’s Ege Bamyasi played by Stephen Malkmus and Friends(album)

Victoria and Jacob - Festival 7"

Vampire Weekend - Modern Vampires of the City (album)

Sauna Youth - False Jesii Part II 7”

Lightning Bolt - Oblivion Hunter

Robyn Hitchcock - There Goes The Ice (2x 12")

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Album Review

The Dying Seconds
Glimmerers DySec Industries

Article written by Michael H - Aug 29, 2012

‘Glimmerers’, the new album by The Dying Seconds, opens beautifully with ‘Lavender,’ a slow petal-like unfolding of particle thin, resonant sheaths and a singer laying awake “waiting for an earthquake”. This duly arrives with the donning of a coat of bass filled string rumble; he becomes suddenly buried under a torrent of flapping wings, voice snatched away under a percussive barrage of beats.

This songs underlines one of ‘Glimmerers’ main strengths, the fully locked in glitch production. These flickering, mandible rubbing electronics, itch and fidget on the bare bones of the songs like insects under the skin. Fully part of the band’s compositions, it constantly disturbs the soft rippling piano and maudlin vocals; heightening rather than distracting, never settling for mere rococo fussiness, the production recalls the wonderful symbiosis of Matmos and Bjork on Vespertine, though not nearly as glacial.

What of the songs? Well, they’re excellent. ‘Rubbernecks’ awakes like a fresh from sleeping Spiritualised; cut glass trembling embracing crescent carving guitar and lilting string patterns. ‘Kid Logic’ is all Flim clockworks and unfolding metal ballerina intricacies, that develop into a rousing chorus of, “all your problems soon will pass; you’ll be safe and sound at last, wrapped up by the fireside.” ‘Tox’ exhales a frosted breath of drone and hushed vocal hum, sound wipes of fuzz upsetting the peace. ‘Competitive Learning’ is a warm hug of a song, plucked strings and a softly progressing bass line fight a slightly offstage distorted chatter. ‘Scars’ is a stunningly realised misty eyed ballad, the vocals draped over a lifting concoction of digital scatter and cloud gathering symphonic ascent, a trembling voice sings, “all I see is her, staring at the scars, and I’m scared,” finding solace in the next moment with the words, “you feel a great weight lift from your shoulders, as these lights descend.” It’s the kind of song that leaves you briefly bereft at its end.

‘Scars’ is the whole album in microcosm, a seamless alloy of experimentation and finely woven song craft, the electronics tripping the wires of your nerves as the vocals and subtle instrumentation pluck the strings of your heart.

Links:
http://www.wemakeweapons.com/about.html
http://www.myspace.com/thedyingseconds