Thursday, May 2, 2013
Friday, September 28, 2012
YURT w/ Realistic Train & Wild Rocket - Live at THE PINT (Dublin) 5 OCT 2012
A live construct by the Sonic Elders of YURT http://www.yurtattack.com/
With guests: REALISTIC TRAIN WILD ROCKET FB EVENT PAGE HERE.
On this occasion there will be audible distraction. The Sonic Elders of YURT have spoken.
Friday, August 17, 2012
YURT live - 5th October 2012
A live construct by the Sonic Elders of YURT. ( first appearance in over 2 years )
Friday, 5 October 2012 20:00, The Pint, 28 Eden Quay, Dublin 1 Dublin, Ireland
Facebook event page HERE
With guests:
REALISTIC TRAIN
WILD ROCKET
On this occasion there will be audible distraction.
The Sonic Elders of YURT have spoken.
Monday, July 16, 2012
Thursday, June 28, 2012
Sunday, June 24, 2012
NEW TRANSLATION - ARCHIPELAGOG review from www.portalesquizofrenia.com - April 2012
It's time to
talk about Yurt, a powerful trio dedicated to practicing a an electrifying form
of eclectic rock which mixes space-rock, stoner, progressive psychedelia, and
old-school heavy rock. Formed in 2006 by Steven Anderson, (guitar, synthesizer
and voice) Boz Mugabe (bass, synthesizer and voice) and Andrew Bushe (drums),
Yurt say that their musical ideology is strongly focused on 'conducting
experiments in the broader areas of prog rock' so they say on their myspace
page. The first recording by the band, EGE ARTEMIS YURTUM was released in
December 2009 and two years later, also in December, came its follow-up
ARCHIPELAGOG. We can consider the two records as two paths in a musical journey
signified by energy, intensity and magic.
EGE ARTEMIS
YURTUM begins with an aura of nocturnal splendor and stoner tendencies in
FLIGHT OF THE INTERGALACTIC MALLARD; the virile strength expressed in the
instrumental framework finds its perfect companion in the robust rhythmic
structure developed underneath. The Guru Guru of KANGURU would have been proud
to devise this agile storm of rock, but this accolade goes to Yurt in the third
millennium. RUN THE GAUNTLET, the following track, capitalizes on this strength
in a kind of hybrid between Hawkwind, Blue Oyster Cult and Black Sabbath. After
these nine minutes of resounding and unnamable viscerality, follows 11 ¾
minutes of BUSHMEAT, with more of the same. The group seems very comfortable
adjusting and reinforcing the nuts of its torturous psychedelic machinery, and
in fact, BUSHMEAT develops an imposing revitalization of the sophisticated
rudeness, which has prevailed thus far. MOG’S BRAIN TUMOR DIAGNOSIS and THE
FEAR OF ALL SUMS, the two following tracks take up the remaining 27 minutes of
the album. They reap this sophisticated harvest and translate the essential
forcefulness of the trio to epic new levels. MOG’S BRAIN TUMOR DIAGNOSIS
provides us with an effective inference of well-defined motives, starting with
a deployment of viscerality well attuned to the ideology of heavy prog, which
then passes into a rougher section where the rhythm section adopts an almost
ceremonial attitude. The intervention of the vocals signals the next transition
to a new section where the band reformulates its initial intention, whereby the
triangulation of the neurotic riffs of the guitar and the urgent pulsing of the
dual rhythm section fills all the spaces as they expand into the ether. With
the soundscape so incendiary and frenetic, the groundwork is prepared to
generate a coda where the defensive resources serve to give a fresh turn to the
permanent intensity. For its part, THE FEAR OF ALL SUMS takes charge of
consummately concreting the wishes of the trio to reach new levels in a
magnificent climax. The key to this is that the group adopts a true halo of
elegance as a coating on its essential roughness, incorporating large amounts
of layers of synthesisers at some points, maintaining more graceful rhythm
cadences in others, opening up space for the development of ornamental
space-rock in some interludes, as well as extensive chaotic passages where the
group plays with exploring the possibilities of deconstruction. Its 17 ½
minutes of sonic exaltation is where the record reaches its conclusive
pinnacle.
We now reach
the second disc, ARCHIPELAGOG. The homonymous piece takes up the first 14 ½
minutes of the album, and from this starting point we note a group that is more
streamlined and refined in its manner of exploring its psychedelic voyages, the
fluid branching of the diverse jams, the engineering of the rhythm section and
the arrangements which recycle corny (?) rock on course into a special
excellence of sonic mass, at the same time as preserving the true vitality
which is the registered trademark of this trio. Next comes THE WRETCH, a track
which displays a shooting viscerality after a pregnant intro, the pulsing theme
sustained over an insistent mechanical rhythm makes the track sound like a type
of NEU!-esque reconstruction of jams inspired by Hawkwind and Ash Ra Tempel.
RAT NEBULA is an interlude of little more than three minutes where the group
explores an energetic jam of Arabic details, opening the way to XERIC
ASCENSION, on par with an opera as a perfect appendix for the electrifying
glare of THE WRETCH. XERIC ASCENSION is a 13 minute long piece which once again
positions the band in a creative position that allows them to direct their
rivers of lysergic energy on the shoulders of various rhythms through
consistent environments full of energy. Patently retaking the fierce content of
the first two tracks, especially creating a link with the muscular
sophistication of the first one, it can be added that the group increases its
hooks in this piece, making it especially striking at the punch (?) which
continues to create along with the diverse sections of this piece, there are
certain passages where a certain whiff of Black Sabbath filters through in the
middle of all this psychedelic-progressive adventuring. Here we have the zenith
of this album. With A DYSTOPIAN GYRE they reveal to us a point of floating
electronic sounds, a brief random journey which gives way to the magic
hallucination of CICADA, the monumental piece that takes up the last 19 minutes
of the album. The first part of CICADA is based in a ceremonious reasoning over
a semi-slow compass, adorned with organ scales, much like Pink Floyd, circa
68-71. A little after the three minute mark, the group takes a new turn to
visceral rock, in the style of Hawkwind. A little later the group turns to a
new dimension of cosmic improvisation and muscular pulsating, which has a lot
of Floyd, kraut and cybernetic dimensions. This section closes lavishly, with
an air of expectation marked by the interaction between the cosmic layers of
synthesizers and the effective beating of the drum. But what seems to be the
final solution is in reality a passage towards the reprise of the pulsating
section which we found earlier, articulated in a voracious rocker's glare in
the style of a ship sailing to the moon to crash on a crater and generate a
true satellite armageddon. At the end of the experience of CICADA, it's clear
that its role is to provide a second and definitive climax to the album.
Based on our
balance sheet of EGE ARTEMIS YURTUM and ARCHIPELAGOG, Yurt appear as a group
that knows how to maintain fixed on truly familiar terrain without forgetting
to create a fresh sound with each new turn that takes place in the expansion of
a particular piece. They have the confidence and excellence necessary to
maintain a vibrant musical position in the middle of strict coordinates, which
they choose as their modus operandi in their rock creativity. Prog psychedelic
which obsessively longs for these times of emergency and rearranges the slopes
of psychedelia and space-rock in the progressive genre, this is what is offered
up by yurt, and what we should welcome and appreciate, and wait respectfully
for future recordings - 8/10
Original review HERE ...
Original review HERE ...
Thursday, April 5, 2012
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