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October 22, 2007



I felt duty-bound to defend the 'Carrot since I live in the same town as them but thought I'd better have a listen to their Whyspace stuff first...they must've been bad, Gilb, is all I can say. We were witness to Snow White, remember. It's your Jazzophobia, I reckon.


They played the White Lion in North Kilworth last month! Bloody nora, that place must've changed. I was nearly beaten up there, once.

Jenna Jones

ello Gilbert (where's George?)

I'm actually 'the rack' you refer to in this review section. Firstly 'd like to say that your writing is appalling it should be descriptive and forward thinking. Personally i think your wasting your time with mediocre criticism that does not provide an image of what the event was like for an outsider.

This is quite clearly your hobby.

And this is the pro's think:

Wire Review July 2007

Black Carrot feature the wayward talents of vocalist and bassist Stewart Brackley, who also features in the splatterpunk duo Dragon Or Emperor and Improv combo Songs Of Norway, both outfits which maintain strong links to Volcano The Bear. Black Carrot uphold a noble tradition maintained by these and all other VTB-related musical projects - they somehow manage to sound completely unlike any other project who share an affiliation with Volcano The Bear.

This British midlands based outfit - Tom and Oliver Betts on drums and clarinet respectively complete the core line-up - are an adventurous improvising group whore mostly acoustic music is shot through with flavours of New York jazz skronk and the loosest, funkiest Krautrock. As with Dragon Or Emperor, Brackley’s apparently extemporised vocals seem to flirt with the cadences of composed songforms in a manner indebted to Can’s Damo Suzuki, but with an almost psychotic edge. The music, meanwhile, builds and recedes according to its own logic, but retains a fetching intimacy and warmth.

At least, that’s what Black Carrot were up to on their debut Cluk, released in 2005. They have now chosen to embark on a fascinating new venture, adding storyteller Nigel Parkin to the line-up, developing a novel approach to performance where Parkin becomes almost an instrumentalist soloist, shaping and reacting to the musical improvisation. Metamorphosis is a winning take on Franz Kafka’s short story that succeeds because it refuses to simply allow the music to underscore to he narrative, or the recitation to follow the ‘score’ slavishly. The Mariner’s Rest is even better, as Parkin himself spins out his story spontaneously alongisde the improvising musicians. It’s a cracking ghost story. too, with his deliciously melodramatic declamations weaving around some wonderfully unpretentious and direct playing from the group.

Keith Moliné




Thanks, Jenna.

Yeah it is a hobby.

Nice rack btw.


...and George is at the Deerhunter gig, and I've forgotten to go. Bollocks.

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