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LP
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BING 162LP
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LP version. "Some bands struggle to transcend their initial mythos, those stories that introduce them to the public eye. But The Dead C is a notable exception. They appeared in 1986 under a cloud of mystery, their unconventional location (South Island, New Zealand) helping to fuel their erratic sound. Name-dropped through the nineties by groups like Sonic Youth and Yo La Tengo, they gained influence and acclaim but never strayed from their original mainlined performing technique, which can sound like chaos to the casual listener. What kind of a world greets them and their new album Unknowns in 2020? New Zealand culture is better known throughout the world, not to mention a low-virus paradise. Yes, isolated as in the past, but this time for being a nation of efficacy in tackling a public health crisis. But what about the rest of the world? The music of Mssrs. Robbie Yates, Bruce Russell and Michael Morley endures, partially because their errant sounds, once so alienating, now feel like they've been made flesh in a large part of the modern-day world. Continuing to delve inwards for inspiration with tin ears towards trends, styles and technique, The Dead C forge onward. Unpolished, dusty and gritty, these three have again taken two guitars and drums, a combo which has less to say than ever, and leave the listener stunned. Unknowns has Morley slurring over spiraling dissemblance, with tracks ricocheting from intense to assaultive to drained, yet consistently magnificent. As reliable as ever, The Dead C are firmly grounded as an unassailable Truth."
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CD
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BING 162CD
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"Some bands struggle to transcend their initial mythos, those stories that introduce them to the public eye. But The Dead C is a notable exception. They appeared in 1986 under a cloud of mystery, their unconventional location (South Island, New Zealand) helping to fuel their erratic sound. Name-dropped through the nineties by groups like Sonic Youth and Yo La Tengo, they gained influence and acclaim but never strayed from their original mainlined performing technique, which can sound like chaos to the casual listener. What kind of a world greets them and their new album Unknowns in 2020? New Zealand culture is better known throughout the world, not to mention a low-virus paradise. Yes, isolated as in the past, but this time for being a nation of efficacy in tackling a public health crisis. But what about the rest of the world? The music of Mssrs. Robbie Yates, Bruce Russell and Michael Morley endures, partially because their errant sounds, once so alienating, now feel like they've been made flesh in a large part of the modern-day world. Continuing to delve inwards for inspiration with tin ears towards trends, styles and technique, The Dead C forge onward. Unpolished, dusty and gritty, these three have again taken two guitars and drums, a combo which has less to say than ever, and leave the listener stunned. Unknowns has Morley slurring over spiraling dissemblance, with tracks ricocheting from intense to assaultive to drained, yet consistently magnificent. As reliable as ever, The Dead C are firmly grounded as an unassailable Truth."
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CD
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BING 139CD
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"Disguised as the meandering outpourings of vacant thought and activity dialed simultaneously from zero and ten. Formed in the cauldron of a fevered mistake resolute. Surrounded by ignorance, dis-interest, and the attention of the carefully self-selected. Recorded and burned through a thousand galaxies of dust and doubt and endless infinite wonder, transforming both time and space. Forever exiled to the very bottom of the world to reflect on the struggling desperate pile above. Recognizing any contribution as miniscule and insignificant when placed within the greatness of the other, the dominant insolent preening satisfied, continually shouting the pre-eminence of the first world order. The latest by The Dead C -- Rare Ravers: it's a long player."
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LP
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BING 139LP
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2019 repress; LP version. "Disguised as the meandering outpourings of vacant thought and activity dialed simultaneously from zero and ten. Formed in the cauldron of a fevered mistake resolute. Surrounded by ignorance, dis-interest, and the attention of the carefully self-selected. Recorded and burned through a thousand galaxies of dust and doubt and endless infinite wonder, transforming both time and space. Forever exiled to the very bottom of the world to reflect on the struggling desperate pile above. Recognizing any contribution as miniscule and insignificant when placed within the greatness of the other, the dominant insolent preening satisfied, continually shouting the pre-eminence of the first world order. The latest by The Dead C -- Rare Ravers: it's a long player."
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2CD
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BING 114CD
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"'Every time I hear their recordings, I'm reminded that they are one of the greatest rock bands to ever pick up a guitar and attempt to play it wrong. Listening to The Dead C causes me to think differently. It brings up emotions with which I'm otherwise unfamiliar. It strikes to the essence of my being and reveals what otherwise remains hidden. I take solace in knowing that one out of every thirty of you reading this know exactly what I'm talking about. On the spectrum of The Dead C's sound output, Trouble could very well be seen as springing from the same realm as the massive 'Driver UFO,' one of the band's greatest tracks ever, off Harsh 70s Reality. There's a youthful aggression here, a churning anger, deadened by pounding drone. Much like H70s, this record serves as a gateway drug -- if you were ever looking for an album to play to a newbie curious about experimental rock, this would be it. The visceral strength of their performance trembles out of the speakers. The magnificence of their stamina survives each album side.' -- Ben Goldberg, Ba Da Bing"
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2LP
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BING 114LP
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Double LP version. Gatefold sleeve. "'Every time I hear their recordings, I'm reminded that they are one of the greatest rock bands to ever pick up a guitar and attempt to play it wrong. Listening to The Dead C causes me to think differently. It brings up emotions with which I'm otherwise unfamiliar. It strikes to the essence of my being and reveals what otherwise remains hidden. I take solace in knowing that one out of every thirty of you reading this know exactly what I'm talking about. On the spectrum of The Dead C's sound output, Trouble could very well be seen as springing from the same realm as the massive 'Driver UFO,' one of the band's greatest tracks ever, off Harsh 70s Reality. There's a youthful aggression here, a churning anger, deadened by pounding drone. Much like H70s, this record serves as a gateway drug -- if you were ever looking for an album to play to a newbie curious about experimental rock, this would be it. The visceral strength of their performance trembles out of the speakers. The magnificence of their stamina survives each album side.' -- Ben Goldberg, Ba Da Bing"
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CD
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BING 053CD
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"In their first new album since 2003's The Damned and last year's double-CD greatest hits behemoth, Vain, Erudite and Stupid, New Zealand's The Dead C return with another uncompromising realization of the finest rock improvisation you'll ever hear. Future Artists contains five tracks of genius drone and barbarous clashing sounds. From the first track, 'The AMM of Punk Rock' through to the last, 'Garage,' their intensity is unyielding, their inventiveness jaw-dropping. It's been twenty years, and The Dead C show no sign of losing their ability to express the surreal and undefined. Long may they prosper."
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STAR 021CD
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"Over the last 17 years, The Dead C have produced some of the most strident, uncompromising and downright nasty rock screech to exit from their homeland of New Zealand, without sacrificing an ounce of the grace and finesse required of tamers of gigantic, wild sandworms. Their eighteen full-length albums and numerous seven-inch singles have garnered worldwide respect from vertebrates and invertebrates alike. The Dead C's improvised noise rock verges on disintegration with a trademark hazy disorientation, invariably evoking hypnotic and heavy moods. But The Dead C are no bummer. They have always sought liberation from shallow and easy rock conventions; amid the murk of cardboard box guitars, underwater vocals, and ramshackle drumming, a new consciousness emerges. The recognizable, sullen strumming, mumbling and lyrical ennui of painter and educator Michael Morley (also known for his solo work as Gate), anchored by percussionist Robbie Yeats and punctuated by the atonal bursts of writer and Corpus Hermeticum label boss Bruce Russell (also known for his solo work as A Handful of Dust), coalesce in a solid front that mocks the efforts of schmaltz-peddling hacks."
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