Come 20 September 2014 and 65daysofstatic‘s debut album, The Fall of Math will be ten years old. It’s an album that thrust an instrumental post-rock band from Sheffield and all of their odd time signatures and samples of film dialogue firmly into the limelight. With radio attention and a lead single that resonated with many, it has led to the band having a healthy career of four more excellent albums, a soundtrack and a collaboration with Robert Smith of The Cure. Not bad. Here, we ask guitarist Paul Wolinski to talk about the album, track by track, ten years on.
Like any artform, music is not a competition. There is only good and bad music and that categorisation in itself is all down to subjective taste. However, in a bid for scientific rigour; some quantitative analysis to fortify the qualitative spiels, we’ve asked all the Thrash Hits contributors to list their favourite albums of 2013. Yeah, it’s here to boost our egos by claiming what we say is best and it’ll surely get some good clicks and you may (rightly) point out that it’s just another list but, at the very least, you might see an album that you’ve never heard of and think about buying it. That would be cool.
Due to the fact Raz and Hugh run things at Thrash Hits, their opinions are the most important. Yes there’s an overall TH Top 20 Albums of 2013 and there’s a list of the individual contributors’ favourite albums, but their opinions are also the most correct. That’s why they’ve got their own post where they can explain their own favourite albums of 2013 without being sullied by democracy.
If you’re on this page, you really should have seen the Thrash Hits Albums of the Year 2013 list already. If you haven’t, you should click that link or this link and sort that out. This piece will attempt to delve into some vague statistical analysis of the results. This is really only interesting if you care deeply about either the Thrash Hits Top 20, any old statistical analysis or both, so the chances are you’ll have clicked through to something else by now. Anyway…
Having released an excellent new album last week in the form of Wild Light, 65daysofstatic are doing the usual promotional tour for it. Seeing as the album is so excellent, it would’ve been foolish to miss them in London, wouldn’t it.
In a bizarre coincidence, 65 per cent of all articles written about 65daysofstatic feature the word “unstoppable” in them. It may be a direct quote of the sample in ‘Retreat! Retreat!’ from the Sheffield post-rockers’ debut album, The Fall of Math or it may be cleverly sculpted into a different slab of hyperbole, there to indicate that 65dos can do no wrong. That’s lazy journalism, that is. And you can say that line about stats being made up in your own head.
It’s time for another Thrash Hits festival splash page – and this time it’s for Sonisphere! All of our Sonisphere Festival 2010 coverage from the weekend will be linked to on this here post, so make sure you bookmark it as it’s all you’re going to need need. That means individual band coverage (interviews, photos, setlists and maybe even some reviews), all the dodgy rumours and salacious gossip we overhear, and every lewd photo of fit girls frolicking about at Knebworth we can rustle up will be here.
We did possibly the worst interview we’ve ever done with 65daysofstatic at Sonisphere. It wasn’t their fault – when it came to our on-camera dicking about, they were having none of it. Luckily, they just went onstage and blew Bohemia away. If you ever feel like seeing a drummer hit his kit really, REALLY hard, watch this band. They’ll make you want to ‘do drugs’.
Every so often Thrash Hits .com stumbles upon a band totally by accident and falls in love a bit. Emma Edmondson introduces the unwieldily monickered, And So I Watch You From Afar.
Who needs lyrics? Beethoven didn’t and he’s one the biggest selling music dudes around. And so it goes neither do And So I Watch You From Afar. Who, despite having a massive mouthful of letters in their name, abscond from any wordage on their tracks.
“It was meant to be a bit Orwellian but instead we seem to come across as stalkers,” explains animated guitarist Tony Wright AKA Tony Face Eater. “With the long song titles we just want to make sloganeering statements of intent. Some of the new songs only have one word in the title though.”
A blazing mini rock opera in each five-minute plus opus the Northern Ireland four-piece aren’t afraid to tease your brain with gliding guitar sonics before dropping in a barrage of string and skin mauling so loud and brain throttling it’d make any hardened Hitler cry salt tears. Sob.
Watch ‘Clench Fists, Grit Teeth… GO’ by And So I Watch You From Afar
Despite drawing comparisons with other instrumentalists like 65daysofstatic and other postrock specialists such as My Vitriol, Tony insists that none of the band really listens to those sort of bands.
So, let’s get this clear – three chord strumming schmindie mimsies they’re not (“We’re just a band, but we’re a fucking great band.”) In fact their orchestrabatics are so genius they make fellow vocal dodger Beethoven’s symphonies seem like that of a grade A dunce. And that’s no easy feat.
Having already whipped up a salivating tornado of frenzy in their Belfast hometown the quartet are currently putting final tweaks on the tracks for their as-yet-untitled full-length debut album, due for release this autumn and it’s going to be bloody fantastic. Go discover them now.
This Is Our Machine And Nothing Can Stop It by And So I Watch You From Afar is out now on Our Machine Records.