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Alternative & Indie - Released June 21, 2019 | Rough Trade

Hi-Res Distinctions Pitchfork: Best New Music
In the space of 10 years, the post-punk revival which has shaken the UK to its core has spawned countless new bands, each bolder and more exciting than the last. In Black Midi’s case, the scope of influences seems to have broadened beyond words. Twisting together the formulas for math rock, krautrock and progressive, Georgie Greep (vocals/ guitar), Cameron Picton (bass/vocals), Matt Kwasniewski-Kelvin (guitar) and Morgan Simpson (drums) have an uncanny ability to rebuild every code and rule they smash to pieces. Dominated by massive rhythmicity, Schlagenheim is unlike anything before it, perhaps owing to the forward-thinking writing process of its young London-based creators – working additively and subtractively around an initial musical structure. Their endless jams sometimes become a single riff, which spans across a few measures. Black Midi’s songs are shapeshifting, otherworldly; a sort of droning, ambient, noisy thing according to Greep. A musical approach reminiscent of the free, uncompromising, unhinged brand of rock’n’roll so characteristic of Swans, Boredoms, Neu!, Public Image Ltd., Merzbow, Fugazi, Test Icicles and more. Black Midi isn’t content to follow in others’ footsteps; they are heralds of change in the rock scene. Schlagenheim: An uncompromising affair. © Marc Zisman/Qobuz
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Alternative & Indie - Released May 26, 2021 | Rough Trade

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A good way to get started with the music of the young UK group Black Midi is to take a look at the sleeve of their second album, Cavalcade. Look closer. No, closer than that. Try and step into it. It is chaos, a maelstrom of colours and shapes, a work of computer-assisted surrealism, a disorienting, energy-saturated visual shock, beyond beauty and ugliness, and yet a crazy harmony is emerging from the chaos. Their music is exactly the same: at first glance, it's a big mess, a mixture of free jazz and noise rock: it's aggressive, deconstructed, and furiously wild. Digging a little deeper, we hear rapid-fire echoes of Captain Beefheart and his psych-ward cellmate Frank Zappa; of King Crimson, The Fall, John Zorn in his Naked City period, Primus and Slint. The geometric, taut guitar lines of 90s post-rock explode at every turn in this record. This is more than mere revivalism: Diamond Stuff recalls a Buddhist mantra, while Geordie Greep's voice sounds like a drug-addled Sinatra being pulled over by the cops. Black Midi's art lies in the repeated contrasts between acoustic sounds and electric thunderbolts; in furious lyrical and rhythmic sallies; and in their older influences (lounge jazz, prog rock) and their contemporary way of recycling them. This is not a group, it is a particle accelerator. In the old days, we might have talked about jazz-rock and fusion. This is a soundtrack for atomic fission. © Stéphane Deschamps/Qobuz
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Alternative & Indie - Released March 23, 2021 | Rough Trade

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Alternative & Indie - Released May 26, 2021 | Rough Trade

A good way to get started with the music of the young UK group Black Midi is to take a look at the sleeve of their second album, Cavalcade. Look closer. No, closer than that. Try and step into it. It is chaos, a maelstrom of colours and shapes, a work of computer-assisted surrealism, a disorienting, energy-saturated visual shock, beyond beauty and ugliness, and yet a crazy harmony is emerging from the chaos. Their music is exactly the same: at first glance, it's a big mess, a mixture of free jazz and noise rock: it's aggressive, deconstructed, and furiously wild. Digging a little deeper, we hear rapid-fire echoes of Captain Beefheart and his psych-ward cellmate Frank Zappa; of King Crimson, The Fall, John Zorn in his Naked City period, Primus and Slint. The geometric, taut guitar lines of 90s post-rock explode at every turn in this record. This is more than mere revivalism: Diamond Stuff recalls a Buddhist mantra, while Geordie Greep's voice sounds like a drug-addled Sinatra being pulled over by the cops. Black Midi's art lies in the repeated contrasts between acoustic sounds and electric thunderbolts; in furious lyrical and rhythmic sallies; and in their older influences (lounge jazz, prog rock) and their contemporary way of recycling them. This is not a group, it is a particle accelerator. In the old days, we might have talked about jazz-rock and fusion. This is a soundtrack for atomic fission. © Stéphane Deschamps/Qobuz
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Alternative & Indie - Released June 21, 2019 | Rough Trade

In the space of 10 years, the post-punk revival which has shaken the U.K to its core has spawned countless new bands, each bolder and more exciting than the last. In Black Midi’s case, the scope of influences seems to have broadened beyond words. Twisting together the formulas for math rock, krautrock and progressive, Georgie Greep (vocals/ guitar), Cameron Picton (bass/vocals), Matt Kwasniewski-Kelvin (guitar) and Morgan Simpson (drums) have an uncanny ability to rebuild every code and rule they smash to pieces. Dominated by massive rhythmicity, Schlagenheim is like anything before it, perhaps owing to the forward-thinking writing process of its young London-based creators – working additively and subtractively around an initial musical structure. Their endless jams sometimes become a single riff, which spans across a few measures. Black Midi’s songs are shapeshifting, otherworldly; a sort of droning, ambient, noisy thing according to Greep. A musical approach reminiscent of the free, uncompromising, unhinged brand of rock’n’roll so characteristic of Swans, Boredoms, Neu!, Public Image Ltd., Merzbow, Fugazi, Test Icicles and more. Black Midi isn’t content to follow in others’ footsteps; they are heralds of change in the rock scene. Schlagenheim: an uncompromising debut. © Marc Zisman/Qobuz
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Alternative & Indie - Released April 28, 2021 | Rough Trade

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Alternative & Indie - Released August 4, 2021 | Rough Trade

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Alternative & Indie - Released April 30, 2019 | Rough Trade

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Alternative & Indie - Released February 5, 2020 | Rough Trade

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Alternative & Indie - Released March 26, 2019 | Rough Trade

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Alternative & Indie - Released May 19, 2021 | Rough Trade

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Alternative & Indie - Released November 8, 2019 | Rough Trade

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Alternative & Indie - Released December 24, 2019 | Rough Trade

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Alternative & Indie - Released March 23, 2021 | Rough Trade

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Alternative & Indie - Released April 28, 2021 | Rough Trade

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Alternative & Indie - Released August 4, 2021 | Rough Trade

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Alternative & Indie - Released May 19, 2021 | Rough Trade