Eschar / Throatpunch City / Atiptoe / The Deadlights [Live Review – The Boileroom, Guildford, 3/4/2015]
On an average Friday night, the most challenging music you’re likely to encounter will involve a four-to-the-floor kick drum, some cheesy synths, and the chart topping pop puppet of the day warbling over the top. Prog fans on a night out often find themselves hitting a wall beyond which they either choose to go home, or encounter a sudden urge to Read more…

Al Heslop of Creative Control Studios seems to be the go-to guy for Surrey and Hampshire’s top instrumental post-rock bands. It wasn’t too long ago that For Astronauts and Satellites dropped their Creative Control-enhanced album A Homing Light – and now long-time TMMP favourites Eschar have their first full-length album ready to go, in the form of Nova. Needless to say, the production suits the music perfectly.
This show may have been a hard sell for a Sunday, but a sizeable portion of local music fans still made it down to the Boileroom for this show. Earlycomers were treated to Tusks (aka Emily Underhill), a recent discovery who is fast becoming
Instrumental post-rock can be tough to listen to at times. Even when the vibes are cool, it can quickly become repetitive and dull rather than sublimely hypnotic. This release is definitely the latter though.
Fuck Suzuki. Their cars are crap. My formerly faithful four-wheeler failed at completing a function even more basic than going forwards, and refused to even start. While Throatpunch City were getting through their set, I was pretty much doing this:
Beyond the fuzzy opening grind of They Should Have Warned Us Years Ago, For Astronauts And Satellites’ new mini-opus drops straight into the Yellow-Magic-Orchestra-go-post-rock sublimity of title track A Homing Light.
If your plans for the night of February 2nd 2015 involve chugging absinthe, spinning round in circles until you fall over or puke or both, repeating the above until you pass out, and then waking up and putting on your coat and going to work, this album is the soundtrack you need.
Some shows are born special. Although I’m relatively new to The Hell, I’ve already become hopelessly addicted to their latest album (reviewed
When it comes to math-rock, ‘control’ is a key word. When odd time signatures, super-syncopated riffs, and all manner of other rhythmic tricks come into play, the results inevitably become difficult to suss out. In other words, the music feels unpredictable. Hyperactively labyrinthine. Out of control.