In February I was lucky enough to bear witness to Throw Down Bones live show; a beastly run down of industrial, noise, post-punk and hypno-psych. Comprising two righteously bodacious Italian noise-niks we were enthralled and enraptured. With no drummer, but guitars and synths they cooked up a flaming hot sound.
Their self-titled studio album was released last November. Let’s have a listen…
The most surprising thing is that while the sounds and influences may be dark, the music baked on this album may well be cold, but depressing? No fear! Throw Down Bones’ music is inviting and consuming. Have no doubt, this is dance music! It may be rigid, it may be icy, but the focus is on movement. Each track is long, linear and plotted to a fever pitch conclusion.
‘Exposure’ machine beats conveys full steam industry. The bass powers in heavy rotation. Guitars provide steel walkways to cruise. The rapture of Throw Down Bones becomes evident.
‘Our Home, The Holy Mountain’ takes us on a cruise that starts with a classic icy Teutonic motorik glide but imbues it with the roasting heat of the Mediterranean sun, helped in no small manner thanks to a flavour of Wooden Shjips’ hippy-dippy-highway riding triumph West.
‘A Premise To Action’ drips slowly, the creeping paranoia of a serial killer cop film complete with barbarous jump-cut stabs. A guitar appears, sweet to the point of unbearably tender when compared with the endlessly sad bass behind it.
‘Inner Lights’ is where Cabaret Voltaire’s influences raise their head, with simple beats and a bass booming from next door. The situation goes haywire with day-glo keys that bring us nearer to Peaking Lights. So, dark dance or summer dub? Either way, despite the gloomy undertow, the song is alive with energy, no matter how creepy the energy.
‘Emitters’ turns up the heat with scurrying drums and a bassline to pursue you; ravenous Velociraptors in the dewy grass. A salty spaghetti western riff twangs. Synths swoosh tantalisingly around the foreground.
‘Saturator’ launches with the spluttering electronics of a malfunctioning Gameboy before kicking into life with a jaunty bassline not so distant from The Cure’s ‘Let’s Go To Bed’, with cheeky percussion to reinforce Throw Down Bones surprising frivolity. The structuring of the song again highlights the band’s status as maybe the planet’s least likely makers of dance floor… “bangers” is the term I believe the youth of today would use. But we’re still on shaky foundations as the guitars are nearer to Joy Division’s ‘Novelty’. This is all getting very confusing.
‘Bones’ twists ambient with a T-Dream shimmer of electro before chaos reigns supreme with subway bass and steeplechase drums. Cheeky scratching guitars. Delirium meets pandemonium. Waltzing on power lines, this song brings the energy home.
‘It’s All Around Us’ starts with the warping oscillations of an alien octopus squirming in its’ slime vat. A melting, churning cauldron of dilating dub. Empire State guitar. Battle drums.
Throw Down Bones are constantly chasing the darkness with light, or are they chasing the light with darkness?