New release from London's Mosquitoes out on Knotwilig Records, due to land in April. *UPDATE - NOW DUE MAY 12th*
"Music fans, journalists and so on have been puzzling words and phrases to describe the impact of the music of Mosquitoes. I am indeed talking about "impact".
Lumping them in the nowave/postpunkdub/rockdeconstructivism bin is way too easy. Of course there are references, but then again: not really. I honestly believe every single second they released not only set a bookmark, but also stands out as a landmark in music history such as PIL's Metal Box, Oval's Diskont and Stockhausen’s Kontakte for instance.
Every note is an evolution in an oeuvre which specialises in having an immediate impact on the listener. Reverse Drift / Reverse Charge is a natural progression, and a step forward from their previous output. Like ocean waves gently invading dune territory.
Muffled vocals, haunting bass fragments, deconstructed loops/guitars and a crumbling rhythm in a world which barely holds itself together. This music deserves to be played through grant speakers, even in silenced mode.
Everyone who ever had the chance to catch them on a stage know what impact they have on an audience. Mostly baffled, speechless and holding breath because your guts just tell you so. The new tracks are of a similar calibre. They immobilize you instantly in whatever you are doing. You simply need to surrender and listen to it, again and again and again... What would the world be without these 22 minutes of sheer beauty?"
Broken, atonal guitar scree, ultra-minimal half-jazz percussion and nervous bass probing with songs reduced to a few desolate lines.
“Supposing I live to be one hundred, I like to think that on my deathbed in 2081, if someone were to hand me a 7″ single and say, “hey, check this out, it’s limited to 100, self-released and is kinda no-wavey” I’d still light up like a child catching a Mickey Mantle home run. I certainly was glad to check out this one from the UK’s Mosquitoes, a bass / drums / guitar trio that play somewhere between DNA de-tuning their instruments before practice or Sightings with the PA system and all their effects turned off. The a-side’s “Keep Breathing” has that nervous Sightings bass transmission going, that’s for sure, while the other two squabble like Menstruation Sisters. The b-side’s “Life, End Of” follows an uncomfortable jazz dance on the bass while the guitar squeaks in and out and the vocalist mutters something about something, calling to mind some sort of informal interlude produced by a Mars / US Maple collaboration. Completely inessential and wonderful record right here.” – Yellow Green Red