VOTE! A Quietus Award For 6 Music!
, February 28th, 2012 12:11
Vote for Tomorrow's Cult Star Today
Our friends at Now Playing on BBC 6 Music have asked us to put together a category in their 6 Music Blog Awards, airing this Friday. We've decided that the Quietus award will be for Tomorrow's Cult Star Today - the artists that, right now, are perhaps not setting the charts afire but will become influential and irritatingly collectable on vinyl in the future. The show airs on March 2 from 7pm, and our shortlist can be found below. We want you to go and vote for which artist you think will be Tomorrow's Cult Star Today over on our facebook. Nominations are:
We say: "Album highlight 'London, We Have You Surrounded' is stark and pummeling, all metallic percussion, but four minutes through finds its mood suddenly lightens with the arrival of soft, reedy tones in the background. And penultimate track 'Snow Chain' could almost be described as pretty, its slow rhythmic churn and flickering melodies bringing to mind the dubbier moments of Demdike Stare's Voices Of Dust. Its presumed status as interlude matters little in the context of the album; rather than remaining a collection of dancefloor tracks interspersed with mood pieces, Wicker & Steel's success is that it convincingly blurs the boundaries between the two. The result is an involving and addictive album-length statement."
We say: "There's nothing nostalgic about Laurel Halo's music, for example, although last year's debut King Felix was buoyed by huge, booming 80s drums, and excellent new EP Hour Logic ripples with the electric blues and purples of first-wave Detroit techno. Alongside Oneohtrix Point Never and sometime Hippos In Tanks labelmates Hype Willliams, the themes and concerns she explores are unique to now, and couldn't possibly have been approached in the same way at any other juncture in time. At its heart lie the glaring contradictions of the information age, at a time when the future is presented as a bright and endlessly rewarding series of social interactions. Virtual connectivity vs. physical isolation. The humanity of analogue imperfection vs. coolly flawless digital reproduction. The false sensation of speed, of instant world-spanning movement, vs. the physical reality of increased stasis. And even, with the advent of stay-at-home club experiences like The Boiler Room, armchair vs. dancefloor. Her track titles give some indication as to their concerns: 'Supersymmetry'; 'Strength In Free Space'; 'Hour Logic'; 'Speed Of Rain'."
We say: "Tucker is an artist in the most traditional, least ostentatious sense of the word. He is interested in art that depicts and craft that works. He started as a painter, something you can tell from not just his audio textures but his brightly radiant imagist lyricism as well. Once obsessed with creating an image, always obsessed with it. And with this newfound confidence in his lyrics has come a newfound confidence in his own voice to deliver them. His singing has never been stronger, even though sometimes (as on 'Craters') he sounds less like a radical English folk performer and more like Brian Eno wandering through Another Green World - no bad thing in my opinion. A great, grand album. A keeper, as they say."
We say: "Both on the 2009 debut album Buried Alone: Tales of Crushing Defeat and the new EP Dear Lord, No Deal, Knifeworld flaunts all of the characteristic Torabi features – complex, winding structures, daunting musicianship and vast ambition, but with a primary focus on strong melodies, fizzing energy and, well, pop. Yes, it's prog, but it's a strident, irresistible prog you'll sing in the bath."
We say: "Factory Floor are a bracing proposition live but they do not make horrible or beastly music for people to pit their resistance or toughness against. As Stephen Morris pointed out on the Quietus yesterday, it reminds him more of Giorgio Morodor than any industrial assault on the senses. The music is not apocalyptic like some extreme metal, avant garde or noise – even though there is a sense in which this is end time music, in the way that all electronic amplified music is. There was a slow, gentle and analogue curve up to the production of this noise that lasted for a century. When it ends it will be abrupt, harsh and digital.
We say: "Other aspects strike me. Weaver's life - rather like that of Kate Bush, albeit on a somewhat more modest level - remains grounded in normality. Children, it seems, providing the perfect antidote to aesthetically damaging traces of celebrity. Herein lies the paradox. Punctuated by such mundanely, it is left to the imagination of Weaver, to stretch to truly progressive levels. Well, that's her quest. It is furthered considerably here and, while modest sales will surely follow, she is slowly forging a powerful and lasting cult appeal."
The Haxan Cloak
We say: "Bobby Krlic's debut album as The Haxan Cloak, which emerged earlier this year through Aurora Borealis, was far more intricate, carefully arranged and accomplished than your average debut. The Haxan Cloak was a set of eight dense, light-starved compositions that, as the project's name suggested, alluded to very British ideas of the occult. Its ragged string drones, groaning low-end and sunken choirs called to mind visions of sodden grey and green moorland, slate barrows and knackered old mining equipment, like a late autumn wander through some of the more isolated regions of the North of England."
Uncle Acid & The Deadbeats
We say: "With Blood Lust Uncle Acid & The Deadbeats live up to their name. Violent, druggy and hammy, its nine tracks - thick, groovy, riff-driven things, practically dripping with THC - are recorded in brow-beaten low-fidelity for an appropriately cracked, B-movie sort of feel. Blood Lust's production couldn't be a better match for the songs themselves - the drums have half-vanished somewhere in the depths of the mix, drowning behind angry wasp buzz of guitar and razor vocals. It lends everything a driving sense of urgency, even when the band slow everything to a doom metal trudge on 'Curse In The Trees'. An exhilarating listen, one prone to shifting pace on a sixpence, and one gifted with an almighty closer in the shape of lumbering, heavy-lidded beast 'Withered Hand Of Evil'."
Zun Zun Egui
We say: "Katang [is] an album with rock music at its heart, but deflected through an array of hypnotic polyrhythms, pop-up guitars and multilingual vocals. At its bright, colourful best it's as though a carnival's gallivanting through your head, dozens of different touchstones melded together, but done so in a spirit of celebration rather than contemplation. What's striking about Zun Zun Egui is an unspoken belief in this land."
We say: "Indie hip hop's second play for the big time this year and a salutary reminder that mainstream rap is one 50 Cent single away from its Warren - 'Cherry Pie' moment, Ex-Military is a monumental blow for the underground. Connives Mr Ride on 'Guillotine': "Sit in the dark and ponder / how I'm fit to make the bottom fall through the floor / And they all fall down!" Let’s hope so - a gold guillotine to complacency, or it's back to the 'Candy Shop' we go."