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PREORDER
The album title is a vibrant hommage to « The Big Cheese » episode of Cartoon Network’s animated series « Dexter’s laboratory » from 1996. In this episode, Dexter decides to learn french while sleeping. After putting and turning on his subconscious discographic hypnotator, he falls asleep to the sound of a french learning method playing on vinyl (!). The record turns out to be broken and stuck on an endless loop, repeating the phrase « Omelette du Fromage » over and over. By the time he wakes up he is physically incapable of saying anything else than these three words. For some reason he ends up becoming worldwide famous, giving public speeches and being a celebrity just by saying « Omelette du Fromage ».
Just like Dexter, the band is hoping to gain instant celebrity across the universe with this very much à-propos album name and its beautiful and elusive graphic design. Or maybe Closet Disco Queen & The Flying Raclettes are just as much of a fraud as Dexter in the big cheese episode.
But don’t be fooled : the album is an organic yet powerful piece of instrumental loud rock music. The additional musicians (bass and guitar) have allowed the former two piece to enhance their songwriting and dig deeper into their sound, implementing stronger punk, progressive as well as psych and ambient elements in their music. Bands quoted as inspiration during the creative process went from The Mars Volta, Breach, The Hives or Goat. The album was written, recorded, mixed and mastered within 20 days by the band itself.
This record was the result of a project initiated by one of Switzerland’s coolest event : Palp Festival. In the beautiful scenery of the Valais mountains they organize tons of shows with international and local acts in places as remote as they are breathtaking (dams, cabins, mountain lakes, etc…). They also make sure everybody gets their fill of the local and worldwide famous products : white wine and cheese. They gave Closet Disco Queen the opportunity to live in the tiny mountain village of Bruson and an access to an abandoned school where the band built a DIY mobile studio, started writing and 15 days later the album was sent to the pressing plant.
To summarize this release in one sentence : Sorting out shit on hard drives during the lockdown can make people (especially those running a record label) want to release records that no one asked for.
This Closet Disco Queen live album features songs from two different shows. The first one was recorded in Krasnodar, Russia in 2016 during the band’s second Russian tour named “Draining Russia’s Vodka Reserve Tour 2016”. It was engineered, recorded and mixed by Evgeny Poluyantsev, friend of the band and back then also the official sound guy at this venue called Sgt. Peppers. There was no purpose to this live recording other than the sound guy being nice enough to offer and set it up. This is probably why Luc (drums) and Jona (guitar) had to add “Vodka Version” next to some songs. I mean, coffee and fruit juices weren’t exactly the official drink back (and on) stage…
The second show was recorded at L’Aéronef in Lille, France, during the band’s last tour in June 2017. Closet Disco Queen was supporting Red Fang on a few shows. After the Lille show, the band’s sound guy – super hero Chris Edrich – gave them a USB stick and said : “Here’s a stereo recording of tonight’s mix.”. And that was it.
“Drink the Minibar” was the name of the band’s 2017 tour of Poland. Credit goes to polish promoter and longtime friend “Boro” (he also plays in this awesome band called Lonker See).
Irrer Stuff aus der Schweiz! TCM released eine ltd. Version (333 green wax – exclusive at TCM) des Debuts der beiden Coilgun Jungs! Denkt an Russian Circles, meets Oxxes meets einen wilden Instrumental-Gitarren-Wizard!
Recorded live at Bikini Test, La Chaux-de-Fonds, CH by Jona Nido and Luc Hess
Mixed by Raphale Bovey at MyRoom Studio, Lausanne, CH
Mastered by Magnus Lindberg at Magnus Lindberg Productions, Stockholm, SWE
A:
1. Ninjaune (6:37)
2. El Moustachito (3:57)
3. Délicieux (6:14)
B:
*No music but Etching
Strictly limited to 330 copies – Blue covers
110 on black
110 on silver
vinyl (all 140g)
One-sided 12” Vinyl with etching
Und seinen Worten muss man Glauben schenken. Sie werden von ihm auf den 10 Songs von “Collider” anders als bei den meisten vergangenen und gegenwärtigen Postpunk-und Noisebands, nicht in Verzweiflung und Aggressivität und Rock ‘n Roll Geste intoniert – vielmehr scheint Fraser ein Wissender zu sein, der mit seiner tiefen und ruhigen Stimme von der Unmöglichkeit des Seins und dem eigenem Unvermögen erzählt, sich zwischen Menschen zu bewegen.
Man muss sich dass Album so vorstellen, als hätte hätten die Postrock Legenden Slint sich nicht aufgelöst, sondern Leonard Cohen als Sänger engagiert, um die Pupertät endgültig zu überwinden.
HEADS. verstehen wie kaum eine andere Band das Spiel mit dem “Laut – Leise” ist dabei so raffiniert, dass einen die eigene Gänsehaut an unerwarteten Stellen trifft. Gerade, wenn einem die souveräne Distanz von Frasers Stimme und die satte runde Fettheit von Sound und Spiel, die Kontrolle und Macht zu nerven droht, lässt die Band mit einem Bonnie Prince Billy Bluesartigen Akustik-Song “Collider” los. Zu recht der Titelsong dieses Albums, das das Zeug zum Genre-Klassiker hat. Fans von Bitch Magnet, Slint, The Melvins, Codeine und The Jesus Lizard werden diese Platte lieben.“ Patrick Wagner / Gewalt
With Collider the German-Australian trio HEADS. evade all the pitfalls of the sophomore slump. These ten songs carry an atmosphere of restrained anger and maturity, capturing a somber narrative that continues to resonate and leave the listener pondering. Collider listens like a trudge through inhospitable badlands with each song starting as if it was always there, and you just walk into the music at hearing distance.
Having members spread out over the globe, the band adjusted their writing and recording process to accommodate work schedules and extended family visits. On top of this, Collider features a whole string of guest musicians who infuse the record with extra fresh sounds.
Kevin Whitley from legendary US noise rockers Cherubs joins the band on ‘Smile’, while Luc Hess (Kunz + Closet Disco Queen + ex-The Ocean) lends his incredible drumming to ‘Youth’ and ‘To Call and Let It Ring’. Emilie Zoë (solo + Autisti) and Fabian Bremer (Radare + graphic design) bring the haunting qualities of their musicianship to ‘Wolves at the Door’. All of this is held together by an impeccable mix and mastering of the one-and-only Magnus Lindberg (Cult of Luna).
This album proves HEADS. to be masters at bending noise into narrative and heavy riffing into images of vast wastelands. Collider is art rock meeting sludge in a carefully arranged interplay of grave digging and marble sculpting. A bleak redefinition of heartland rock that’s situated on the verge of the savage and the sophisticated. (Robert Westerveld / Arctic Drones)
Heads. bei This Charming Man Records
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Jolle sind zwei Dudes aus Potsdam, die irgendwo an der schnittmenge von Garage, Noiserock und NDW grasen. Errinnern mich ein Bisschen wie eine simple Version von Disco Closet Queen meets Dyse
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