Tag: British prog rock

I was talking with a friend of mine over the summer and he asked me if I’d heard anything by this new English band called Black Midi.

“I don’t know what they’re doing, but it’s pretty cool,” he said.

That’s as good of an explanation of them and their debut album, Schlagenheim, as I can give. The band (Geordi Greep – guitar and vocals, Matt Kwasnievski-Kelvin – guitar, Cameron Picton – bass, and Morgan Simpson – drums) mixes prog-rock, math rock, shoegaze rock, kraut rock, Japanese black MIDI rock (for which they are named) and, for all I know, actual rocks to produce music that is baffling, intriguing, and mesmerizing. The band have stated in interviews that the music they’ll make in ten years will sound nothing like they’re making now. They love experimenting. I heard an interview in which one member said they’ll sometimes jam for two or three hours and only take two or three minutes of material from it. They blatantly defy any attempt to label their music, which some people might find maddening, but it somehow makes my job easier. It’s like when another friend of mine described Aqua Teen Hunger Force by saying, “Once I knew there was nothing to ‘get,’ I got it.”

The album opens with guitars pleading for their lives on “953” as a drum kit is beaten into oblivion by Simpson doing an impression of a drunken kung fu master. The lyrics, which have something to do with the wages of sin (I think) take a back seat to the chaos around them. Just to screw with your head more, “Speedway” starts off quiet and mellow (despite its title) and adds robotic vocals to further disassociate the band with the listener’s expectations.

“Reggae” is anything but reggae (although one could possibly compare it to some of The Police‘s more experimental tracks, as they loved reggae, but why bother?). It’s sharp drumming and post-punk guitars in some sort of three-way with the odd lyrics about “fresh leather shoes” and strutting in style. One can only guess that “near DT, MI” was written while the band was driving to or from there. Don’t expect it to sound like any Detroit bands (Stooges, MC5, White Stripes) because it’s more like angry punk band from Math-magic Land. You’ll understand once you hear the guitars and keys.

The band has been known to wear cowboy hats onstage, which, along with “Western,” might be hint to their secret love of country music. Lyrics about being up before daylight and unrequited love certainly qualify, but this is country music filtered through the computers used to pilot the Mars rover.

“Of Schlagenheim” has Greep singing of a woman with a hot temper while his bandmates create some kind of post-punk madness behind him (and some of Picton’s heaviest fuzz on the record). “bmbmbm” could be a Goblin track in an alternate universe. “She moves with purpose,” Green singing while a woman cackles, laughs, and / or madly babbles in the background and Picton’s bass thuds like a hammer.

“Years Ago” is like riding a rollercoaster designed by H.P. Lovecraft, and the closer (and first single), “Ducter” is a track that’s evolved from when Greep and Kwasnievski-Kelvin used to busk in train stations that blends kraut rock synths with prog-rock jams.

I realize that this review is almost worthless, and you’ll understand this realization when you hear Schlagenheim. Another friend of mine saw Black Midi at the 2019 Pitchfork Music Festival in Chicago. He told me their live set was a highlight of the weekend. I told him what my friend said about them.

“I don’t think they know what they’re doing either,” he said, “but they were amazing.”

Keep your mind open.

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