Art Of Burning Water were born out of the ‘white flats’ of Hanwell (W7) and the pre-gentrified homes of Hammersmith (W6) in West London in 2001. The sound of suburban alienation and misfit isolation forged an awkward visceral sound that was too punk for the metallers, too noisy for the arthouse crowd and too weird for seemingly everyone else. AOBW continue to plough their own furrow despite personal injury and often chronic disorganisation. with self-promotion taking a back seat to the importance of sound creation to combat the often ugly hardships of everyday living.
Like Slayer gone sludge, AOBW channel the prime noise-rock of vintage Zeni Geva and Godflesh with the more complex rhythmical riff obsessions of the Melvins, Keelhaul and mid-period Voivod. In saying that however, AOBW also adhere to the original punk philosophy of ‘anything goes’. There are no restrictions. Punk isn’t about Discharge (as good as they were and are), studded belts and crusty bum flaps. Punk is the heart to tell the narrow minded to get fucked.
“This Disgrace” continues the more spontaneous writing approach of third album “Love You Dead” with some emotionally draining dirge sections akin to a more budget “Children Of God”-era Swans, “What’s This For?” period Killing Joke as well as the “Souls At Zero” beatings of Neurosis. All subject to opinion of course.
For fans of : Godflesh, Swans, Melvins, Unsane, Jesus Lizard, Mastodon etc etc
Well this is damn good. I’m struggling to describe it, but here goes: Birthday Party era Nick Cave arthouse post punk with a stoner rock vibe to the production. Whew!
The bass drives the music and there is considerable variety between the songs. They tag it as, among others, psychedelic rock, and while I’m not sure I hear it, this lines up nicely with other recent standout additions to my collection like Hochen, Dreamtime, and Black Rainbows, who also use that tag. So maybe it’s just me. Lute FP
Prior to the release of The Mirror, Gnod had generally been a long-form, krautrock-influenced psychedelic collective, putting out tribal rhythm, pagan rituals on LP. That's why the first 30 seconds of The Mirror are so shocking: This is repetitive, heavily political, metallic post-punk. It sounds less like Amon Duul and more like Metal Box-era PiL or Cop-era Swans, with angry sloganeering about the rise of fascism shouted above the din. Levrikon
Another fine installment on the path they started diggin since 2015' Black&Gold. This one sounds définitive. So good ! I wouldn't be surprised if they change it all on their next offering. But for now juste sit back and enjoy the ride. berenger mouton