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viewing 1 To 17 of 17 items
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CD
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WSR 050CD
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In Blood is the 14th album by Hey Colossus and the follow-up to 2020's critically acclaimed Dances/Curses. It was typical of a band so well-known for stellar live performances to release their most successful album at a time when they were unable to back it up on the road. As was the case for many, lockdown changed the band's lives in unexpected ways. Some felt a form of cabin fever at not being able to continue to make music (diverting their energies elsewhere -- founding Wrong Speed Records for starters) whereas others relished the peace and quiet, perhaps questioning whether they wanted to return to the life they had before. Gigs (so long the lifeblood of the band) were booked, postponed, and cancelled. Things began to unravel and perhaps for the first time since the band formed in 2003 it was hard to see how it could continue. A plan was hatched to attempt to re-energize and reassemble the band: they would begin work on a new album. They would approach this as though a Somerset version of The Desert Sessions -- members old and new and guests would contribute as and when time and restrictions allowed. Lyrically, British folk and ghost mythology provided the starting position for the song themes ranging from mutated stories of grief and loss written in the 14th Century ("Perle"), spiritual reawakening by ancient apparitions ("Avalon") to the growth of nature after devastation ("Can't Feel Around Us", "Over Cedar Limb"), a metaphor also for spirit and body renewal and rebirth after trauma. The results sound free of any genre shackles and it suits Hey Colossus. They have taken the expansive anything-goes approach that made Dances/Curses so successful and fine-tuned and shaped it into an eight-song single album that never treads water or fills time. The prominent vocals steer the listener through the music, defining it as opposed to punctuating it (or being buried by it). In Blood positions Hey Colossus somewhere new, outside of perceived contemporaries and in a more rarefied place altogether, alongside "classic" bands like The Cure, Killing Joke, Sonic Youth, Dead Can Dance, or even New Order (or The F-word of course). The band changes but in doing so remains the same. Hey Colossus only sound like Hey Colossus. The album is a calling card for the band in their 20th anniversary year. As odd and challenging as long-term fans would expect or hope for, but somehow more accessible and to the point than ever before.
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LP
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WSR 050LP
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LP version. In Blood is the 14th album by Hey Colossus and the follow-up to 2020's critically acclaimed Dances/Curses. It was typical of a band so well-known for stellar live performances to release their most successful album at a time when they were unable to back it up on the road. As was the case for many, lockdown changed the band's lives in unexpected ways. Some felt a form of cabin fever at not being able to continue to make music (diverting their energies elsewhere -- founding Wrong Speed Records for starters) whereas others relished the peace and quiet, perhaps questioning whether they wanted to return to the life they had before. Gigs (so long the lifeblood of the band) were booked, postponed, and cancelled. Things began to unravel and perhaps for the first time since the band formed in 2003 it was hard to see how it could continue. A plan was hatched to attempt to re-energize and reassemble the band: they would begin work on a new album. They would approach this as though a Somerset version of The Desert Sessions -- members old and new and guests would contribute as and when time and restrictions allowed. Lyrically, British folk and ghost mythology provided the starting position for the song themes ranging from mutated stories of grief and loss written in the 14th Century ("Perle"), spiritual reawakening by ancient apparitions ("Avalon") to the growth of nature after devastation ("Can't Feel Around Us", "Over Cedar Limb"), a metaphor also for spirit and body renewal and rebirth after trauma. The results sound free of any genre shackles and it suits Hey Colossus. They have taken the expansive anything-goes approach that made Dances/Curses so successful and fine-tuned and shaped it into an eight-song single album that never treads water or fills time. The prominent vocals steer the listener through the music, defining it as opposed to punctuating it (or being buried by it). In Blood positions Hey Colossus somewhere new, outside of perceived contemporaries and in a more rarefied place altogether, alongside "classic" bands like The Cure, Killing Joke, Sonic Youth, Dead Can Dance, or even New Order (or The F-word of course). The band changes but in doing so remains the same. Hey Colossus only sound like Hey Colossus. The album is a calling card for the band in their 20th anniversary year. As odd and challenging as long-term fans would expect or hope for, but somehow more accessible and to the point than ever before.
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7"
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ALT 074EP
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A new double single by Hey Colossus for Alter. "Carcass" is taken from their latest Four Bibles album (ALT 047CD/LP) and leaves a poppier impression, albeit Hey Colossus style, with dual vocals and searing guitars. "Medal" is a near three-minute blast of their signature dirge with a hook as big as the sound itself. Two tracks, the two sides of Hey Colossus -- half melodic downer pop and the other a destruction tune with no respite. Edition of 300.
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CD
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ALT 047CD
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Hey Colossus are one of Europe's great live bands. Since 2003 the six-piece has been driving around the continent with their "pirate ship" backline of broken amps and triple-guitar drang, elevating audiences in every type of venue imaginable; a doctor's waiting room in Salford, an industrial unit in Liege, and a vast field next to a river in Portugal. Four Bibles is their twelfth studio album and the first to be released by London label Alter. Recorded by Ben Turner at Space Wolf Studios in Somerset, it's their most direct album yet and follows a well-documented trajectory of evolution that began (in the truest sense) with 2011's RRR (REPOSE 063LP) for Riot Season and continued across three albums for Rocket Recordings. Lead vocalist Paul Sykes sounds more in focus than before, dialing down the effects and using reverb/delay to carry his lyrics rather than smother. The band has also fine-tuned to leave some room for extra depth. Piano, electronics, and violin (by Daniel O'Sullivan of This Is Not This Heat and Grumbling Fur) all find a way in amongst a familiar mesh of interlacing guitars, wrapped round a taut rhythm section. Like every other Hey Colossus record before, the line-up has altered and the sounds reflect this. From the weight of "Memory Gore", to the subtlety and swag of "It's A Low", via the sonic extremes of "Palm Hex/Arndale Chins" this is exactly as the band are live; raging and rail-roading but somehow in control. Grooves for those who want to dance or for those who want to hug a wall and nod... bleak dystopian imagery submerged in relentless rhythms and low-end rattle. The songs breath life and soul -- Hey Colossus have never sounded fresher or more on point.
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LP
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ALT 047LP
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LP version. Hey Colossus are one of Europe's great live bands. Since 2003 the six-piece has been driving around the continent with their "pirate ship" backline of broken amps and triple-guitar drang, elevating audiences in every type of venue imaginable; a doctor's waiting room in Salford, an industrial unit in Liege, and a vast field next to a river in Portugal. Four Bibles is their twelfth studio album and the first to be released by London label Alter. Recorded by Ben Turner at Space Wolf Studios in Somerset, it's their most direct album yet and follows a well-documented trajectory of evolution that began (in the truest sense) with 2011's RRR (REPOSE 063LP) for Riot Season and continued across three albums for Rocket Recordings. Lead vocalist Paul Sykes sounds more in focus than before, dialing down the effects and using reverb/delay to carry his lyrics rather than smother. The band has also fine-tuned to leave some room for extra depth. Piano, electronics, and violin (by Daniel O'Sullivan of This Is Not This Heat and Grumbling Fur) all find a way in amongst a familiar mesh of interlacing guitars, wrapped round a taut rhythm section. Like every other Hey Colossus record before, the line-up has altered and the sounds reflect this. From the weight of "Memory Gore", to the subtlety and swag of "It's A Low", via the sonic extremes of "Palm Hex/Arndale Chins" this is exactly as the band are live; raging and rail-roading but somehow in control. Grooves for those who want to dance or for those who want to hug a wall and nod... bleak dystopian imagery submerged in relentless rhythms and low-end rattle. The songs breath life and soul -- Hey Colossus have never sounded fresher or more on point.
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2LP
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REPOSE 063LP
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RRR was Hey Colossus's seventh album, originally released back in 2011 by Riot Season on CD and a ridiculously limited LP. The band had a weekend booked in at The Dropout Studio, Camberwell, in the winter of 2010. They were going to do "some recording". The Friday of the weekend the six-piece played a show at The Windmill in Brixton. The show was a typical (of the time) debauched affair, in the post-show glow the band asked Jon (Notorious Hi-Fi Killers) and Leon (Shit And Shine) to come down to the session the following day: Bring guitars, what can go wrong? By noon they hadn't shown up so they got called: Where are you? Neither believed the offer to be true, by 1 PM they showed up with guitar and synth in tow. An hour later RRR was being recorded by the now eight-piece band, lights down, volume up. Over 48 hours it was done. This reissue comes in a 350gsm printed sleeve wide-spined sleeve; Includes insert and download code; No repress; limited edition of 400.
The legendary Peter Kemp, had this to say: "The record starts off with slow guitars and screaming ghostly voices like from a horror film, this first track ends with some talking and then goes into the next song which sounds like they are swinging the guitars around their heads and banging them on the floor....there are dark voices screaming ARRRRRRRRGGGHHHHH ARRRRRRRRRGGGGHHH ....The next song does sound a bit more Spanish as it starts with a guitar which sounds like a Spanish church bell and a deep voice which sounds like somebody praying and another voice which sounds like somebody dying....The closing song is faster and has talking in it and what sounds like a priest in the background and then lots of loud guitars come in - it is a good way to finish the record. Overall I think this was very good record by a brilliant band and I would give it ten out of ten."
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REPOSE 061LP
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Riot Season present a first time vinyl reissue of Hey Colossus's classic album Happy Birthday, originally released in 2008. Happy Birthday was Hey Colossus's fourth album, and it was originally released by Riot Season back in 2008 on CD only. The album marked the beginning of chapter two for the band, it was the first for Riot Season, the first where the wings were spread and the band took flight. Total noise rock, 100% out-there sounds. The band was a five piece at the time and had just completed a tour of Spain that was riddled with ups-and-downs but mainly full of future talk. Having done three albums on their own label, the main topic was what to do next. "You gotta keep moving" is the band's mantra, and it still is to this day. Check the three recent records on Rocket Recordings -- In Black and Gold (LAUNCH 077CD/LP, 2015), Radio Static High (LAUNCH 083CD/LP, 2015), and The Guillotine (LAUNCH 115CD/LP, 2017) -- and compare them to the first records. It was time to move away from conventional song writing and screw with the heads. Happy Birthday was recorded in Dropout, South London. The only label they sent it to was Riot Season, as Mainliner, Shit And Shine, and Circle were doing stuff with them at that time. It was the beginning of the band's noise rock trilogy all on Riot Season -- Happy Birthday (REPOSE 018CD, 2008), Eurogrumble Vol. 1 (2010), and RRR (2011). Now, nine years later, it's finally time for the vinyl version. No tweaks. No new mastering bullshit. Nothing different. Same songs, on a slab of classic black vinyl. Comes in a full color outer sleeve with a black inner sleeve; Comes with download code; Edition of 400.
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CD
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LAUNCH 115CD
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Hey Colossus's latest transmission The Guillotine marks another peak for an innovative force in the realm of heavy amplification. Darker and more brooding than their recent work, Radio Static High (LAUNCH 083CD/LP, 2015), it's also perhaps their most richly melodic to date. The interplay of their three guitar lineup has never sounded more fluent than on these eight songs, nor their song-craft more well-defined. The Guillotine is a record whose alchemical charge arrives from a reinvention of loud rock shapes into forms both feral and fresh. Whilst Hey Colossus can still bludgeon with over-amped vigor, as on the hypnotic and devastating krautrock-Jesus Lizard hybrid of "Back In The Room", they can also deliver the haunting waltz-time serenade of "Calenture Boy" with uncompromising fortitude, with the new-found confidence and allure of Paul Sykes's vocals at the forefront. These menacing and immersive songs chronicle a band exploring a unique sound and invigorating approach in a decade in which cliches and genre pieces in the realm of the psychedelic have frequently surrounded. Here the six-piece find themselves transcending the limitations of the underground scene from whence they came, whilst exposing the paucity of inspiration in much of the guitar-rock mainstream.
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LP
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LAUNCH 115LP
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LP version. Hey Colossus's latest transmission The Guillotine marks another peak for an innovative force in the realm of heavy amplification. Darker and more brooding than their recent work, Radio Static High (LAUNCH 083CD/LP, 2015), it's also perhaps their most richly melodic to date. The interplay of their three guitar lineup has never sounded more fluent than on these eight songs, nor their song-craft more well-defined. The Guillotine is a record whose alchemical charge arrives from a reinvention of loud rock shapes into forms both feral and fresh. Whilst Hey Colossus can still bludgeon with over-amped vigor, as on the hypnotic and devastating krautrock-Jesus Lizard hybrid of "Back In The Room", they can also deliver the haunting waltz-time serenade of "Calenture Boy" with uncompromising fortitude, with the new-found confidence and allure of Paul Sykes's vocals at the forefront. These menacing and immersive songs chronicle a band exploring a unique sound and invigorating approach in a decade in which cliches and genre pieces in the realm of the psychedelic have frequently surrounded. Here the six-piece find themselves transcending the limitations of the underground scene from whence they came, whilst exposing the paucity of inspiration in much of the guitar-rock mainstream.
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2LP
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MIE 042LP
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In 2015, Hey Colossus released two albums on Rocket Recordings, In Black and Gold in February (LAUNCH 077CD/LP) and Radio Static High in October (LAUNCH 083CD/LP). Dedicated To Uri Klangers is a look back. It's best summed up by the 3000 words that can be found on the inner sleeve of the record. The tale begins: "The 2LP compilation that's in your hands now was initially released on cassette by S.O.U.L for our tenth anniversary show, September 2013, about 50 tapes were made and sold on that night. We thought a 'Best Of' would be hilarious. We were average at that show and I'm being generous. I'd give us 5.5/10. A shame. Hacker Farm and Helm also played. It was at The Sebright Arms in London, somewhere out east....." The cassette sat in the MIE car for three years, sound tracking journeys back and forth across the country. When a new car was bought, criminally minus a tape deck, the decision was made to put it on vinyl. Included are one or two tunes from all the Hey Colossus albums released from 2003 to 2013. It includes the track "Witchfinder General Hospital" from the 12" of the same name, pressed in an edition of 100 in 2012. All vinyl versions of the albums from this era are long gone. The discography is a bit of a mess now, the band doesn't fully know and the Discogs site is not much help - Godspeed to anyone trying to buy the back catalog. This record is a fine way to dig into the first ten years. Comes in a gatefold sleeve with printed inner sleeves, stacks of photos and the aforementioned spiel; Edition of 500.
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LP
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LAUNCH 083LP
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LP version. Initially lurching from the UK noise underground in 2003 like a bedraggled audial creature rendered from toxic waste in a VHS horror movie, Hey Colossus has since grown at a rate spectacular to observe. Yet from the nightmarish murk of early driller-killer works such as 2004's debut Hey Colossus Hates You and 2008's Happy Birthday (REPOSE 018CD) to later nuggets of perversity like 2013's Cuckoo Live Life Like Cuckoo (MIE 018LP), this beast has mutated and evolved into something uncommonly alluring. The six-piece London-via-Somerset troupe began 2015 with the release of In Black and Gold (LAUNCH 077CD/LP), on which the brawny repetition-driven raunch upon which they built their sound was furnished and burnished by dub-derived spatial awareness and cinematic drama, making it both a bold reinvention and an uncommonly compulsive avant-rock document. Still not content, the band immediately set about following it up with their second album of the year, and one that further ups the ante on their savagely graceful assault. Radio Static High is the sound of a confident outfit honing their attack to become a veritable force of nature. With the band citing -- tongue presumably in cheek -- inspirations as diverse as Jane's Addiction, Fleetwood Mac (Tango in the Night-era), and Cypress Hill, they constructed songs a fierce rate, yet with a focus and intensity partly instilled by band members living hundreds of miles apart, and partly by the relentless passage of time. Songs took shape from demos, exchanged riffs, and drunken text messages alike -- one such of the latter from guitarist Bob Davis to guitarist Jonathan Richards demanding an homage to Neil Young's "Cortez the Killer" resulted in a demo to that effect a mere 20 minutes later, which eventually became album centerpiece "Memories of Wonder." Elsewhere, "Hop the Railings" takes the powerfully propulsive groove of Can and cross-pollinates it with Beefheartian interweaving triple-guitar skronk to make a heat-haze-dwelling juggernaut of intimidating proportions. With all the bulldozing primal drive of heavy AmRep-style rock and none of the clichés, and a sound infused with leftfield sleight-of-hand yet hitting home like hammer to anvil, Hey Colossus prove themselves as potent as they are prolific. What's more, Radio Static High, in all its sun-kissed widescreen glory, is set to leave most all their contemporaries eating their dust.
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CD
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LAUNCH 083CD
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Initially lurching from the UK noise underground in 2003 like a bedraggled audial creature rendered from toxic waste in a VHS horror movie, Hey Colossus has since grown at a rate spectacular to observe. Yet from the nightmarish murk of early driller-killer works such as 2004's debut Hey Colossus Hates You and 2008's Happy Birthday (REPOSE 018CD) to later nuggets of perversity like 2013's Cuckoo Live Life Like Cuckoo (MIE 018LP), this beast has mutated and evolved into something uncommonly alluring. The six-piece London-via-Somerset troupe began 2015 with the release of In Black and Gold (LAUNCH 077CD/LP), on which the brawny repetition-driven raunch upon which they built their sound was furnished and burnished by dub-derived spatial awareness and cinematic drama, making it both a bold reinvention and an uncommonly compulsive avant-rock document. Still not content, the band immediately set about following it up with their second album of the year, and one that further ups the ante on their savagely graceful assault. Radio Static High is the sound of a confident outfit honing their attack to become a veritable force of nature. With the band citing -- tongue presumably in cheek -- inspirations as diverse as Jane's Addiction, Fleetwood Mac (Tango in the Night-era), and Cypress Hill, they constructed songs a fierce rate, yet with a focus and intensity partly instilled by band members living hundreds of miles apart, and partly by the relentless passage of time. Songs took shape from demos, exchanged riffs, and drunken text messages alike -- one such of the latter from guitarist Bob Davis to guitarist Jonathan Richards demanding an homage to Neil Young's "Cortez the Killer" resulted in a demo to that effect a mere 20 minutes later, which eventually became album centerpiece "Memories of Wonder." Elsewhere, "Hop the Railings" takes the powerfully propulsive groove of Can and cross-pollinates it with Beefheartian interweaving triple-guitar skronk to make a heat-haze-dwelling juggernaut of intimidating proportions. With all the bulldozing primal drive of heavy AmRep-style rock and none of the clichés, and a sound infused with leftfield sleight-of-hand yet hitting home like hammer to anvil, Hey Colossus prove themselves as potent as they are prolific. What's more, Radio Static High, in all its sun-kissed widescreen glory, is set to leave most all their contemporaries eating their dust.
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CD
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LAUNCH 077CD
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Emerging in a haze of demented riff science and booze-addled abandon, London-based tinnitus machine Hey Colossus have carved out a notable niche for themselves in the British underground's murkier quarters. They've dished out a formidable array of wax over the last decade, specializing in a primordial barrage of abject noise from overheated amp stacks. Yet for all the grit and gnarl of their output thus far, it's seemingly only been a warm-up for their latest opus, which sees their monstrous assault finely honed into an album as beguiling as it is bulldozing. In Black and Gold, their eighth album proper and first for Rocket Recordings, ushers in a new incarnation of Hey Colossus. Marrying malevolent attack to expansive celestial splendor, In Black and Gold follows a sonic trajectory that expands on Hey Colossus's trademark ornery overload. The songs herein may be leaner and more artful than the fearsome sound that made the band's name on albums like 2008's Project: Death and the monstrous 2013 opus Cuckoo Live Life Like Cuckoo (MIE 018CD/LP), but Hey Colossus remains possessed of the Stoogian and Stygian wrath that fuels their noise rock transgression. With their maximalist tendencies augmented by a sharp focus on space and restraint, not to mention a refreshing stylistic diversity, the band delivers some strange aural alchemy. Here, they sound as comfortable tackling electronically-fried dub mantras like "Lagos Atom" as they do the Cluster-esque lullaby of opener "Hold On." Yet there's no shortage of primal rock action to be had on In Black and Gold; on "Sisters and Brothers" they summon up a swaggering, demented groove that sashays like a zombified Gun Club, while on the dramatic spaghetti-psych of the title-track a revelatory cinematic sprawl of sound recalls The Bad Seeds and The 13th Floor Elevators engaged in a psychic duel in the noonday sun. Hey Colossus have always made fine work on the vital and Spinal Tap-approved "fine line between clever and stupid." Yet with In Black and Gold, in a laudable leap of faith, they've stepped beyond, and the result is both vicious and visionary. These unpretentious underworld overlords have emerged from the shadows to create an avant-garage pièce de résistance, finding that the sunlight suits them better than they ever realized.
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LP
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LAUNCH 077LP
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LP version. Emerging in a haze of demented riff science and booze-addled abandon, London-based tinnitus machine Hey Colossus have carved out a notable niche for themselves in the British underground's murkier quarters. They've dished out a formidable array of wax over the last decade, specializing in a primordial barrage of abject noise from overheated amp stacks. Yet for all the grit and gnarl of their output thus far, it's seemingly only been a warm-up for their latest opus, which sees their monstrous assault finely honed into an album as beguiling as it is bulldozing. In Black and Gold, their eighth album proper and first for Rocket Recordings, ushers in a new incarnation of Hey Colossus. Marrying malevolent attack to expansive celestial splendor, In Black and Gold follows a sonic trajectory that expands on Hey Colossus's trademark ornery overload. The songs herein may be leaner and more artful than the fearsome sound that made the band's name on albums like 2008's Project: Death and the monstrous 2013 opus Cuckoo Live Life Like Cuckoo (MIE 018CD/LP), but Hey Colossus remains possessed of the Stoogian and Stygian wrath that fuels their noise rock transgression. With their maximalist tendencies augmented by a sharp focus on space and restraint, not to mention a refreshing stylistic diversity, the band delivers some strange aural alchemy. Here, they sound as comfortable tackling electronically-fried dub mantras like "Lagos Atom" as they do the Cluster-esque lullaby of opener "Hold On." Yet there's no shortage of primal rock action to be had on In Black and Gold; on "Sisters and Brothers" they summon up a swaggering, demented groove that sashays like a zombified Gun Club, while on the dramatic spaghetti-psych of the title-track a revelatory cinematic sprawl of sound recalls The Bad Seeds and The 13th Floor Elevators engaged in a psychic duel in the noonday sun. Hey Colossus have always made fine work on the vital and Spinal Tap-approved "fine line between clever and stupid." Yet with In Black and Gold, in a laudable leap of faith, they've stepped beyond, and the result is both vicious and visionary. These unpretentious underworld overlords have emerged from the shadows to create an avant-garage pièce de résistance, finding that the sunlight suits them better than they ever realized.
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CD
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MIE 018CD
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Presenting Cuckoo Live Life Like Cuckoo, the eighth album from the London/Somerset eight-piece, Hey Colossus. Now in their 10th year, the band have been gathering plaudits and accumulating new fans with every release, and after playing to thousands at Supersonic Festival, things are accelerating at an even faster pace. As with each album release, Hey Colossus continue to mutate and for their eighth album they have enlisted the support of a new drummer, Part Chimp guitar/vox man, Tim Cedar, who has undoubtedly brought a whole new kind of energy that has reinvigorated the band. When the rhythm section takes a shot to the bow it's only natural for the game to change. But long-term supporters need not worry, they're still heavy, still got the same vibe, only now they are focused in a fresh way. Cuckoo Live Life Like Cuckoo was recorded live to tape throughout 2012 in Dropout Studios, South London, by Mr. Westminster Brown, mastered by James Plotkin. For this recording, Hey Colossus opt for a hefty hi-fi sound when previously they were drenched in lo-fi fuzz. Now there is room to breathe, when before they were utterly unrelenting. Tape loops and walls of noise created by bass and drum, rhythmic klang, dual vocals, and three guitars are supplemented by a variety of instruments including the bağlama saz, turntables and synths -- adding a whole new dynamic to their sound. These are signs of a band who are playing with their ears open and it's all systems go.
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MIE 018LP
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CD
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REPOSE 018CD
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2008 release. With Happy Birthday, London's Hey Colossus have constructed an all conquering citadel of experimental/metal disrepair. For fans of: Unsane, Neu!, Circle, Corrupted, Eyehategod, Fudge Tunnel, Sludge and Doom.
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