65daysofstatic
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65daysofstatic

Sheffield, England, United Kingdom | INDIE

Sheffield, England, United Kingdom | INDIE
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"'One Time For All Time' review"

“the most vital, enthralling and unrelenting record of 2005” 4.5/5 - Drowned In Sound


"'One Time For All Time' review"

"As far as burgeoning British bands go, right now it doesn’t get any better than this” KKKK - Kerrang!


"'One Time For All Time' review"

“Opening with infectious piano chords before building into an intelligent dance/drum ‘n’ bass/drag beat crescendo, mixed with metallic guitar, drums and the kitchen sink, the Static are back and doing what they do even better than before. Although it’s near impossible to follow-up their legendary debut, ‘The Fall Of Math’s rave reviews, ‘One Time For All Time’ is so full of emotion that it’s simultaneously sombre and uplifting. Take ‘Welcome To The Times’ with it’s synth-fuelled melodies and ‘Mean Low Water’ which begins as avant post-rock before unleashing itself into an apocalyptic samurai math-beat onslaught. Elsewhere, tracks like ‘Await Rescue’ and ‘Climbing On Roofs’ sounds as if they’ve come straight from Warp or Rephlex Record’s cannon-yet their diversity on tracks like ‘Radio Protector’ separates them even from these. So far, so good; two shots and two goals and providing they don’t get lazy, we could be in for a hat trick.” 9/10 - Terrorizer


"'One Time For All Time' review"

“an inventive, powerful, sonic experience... epic closer Radio Protector is unforgettable" **** - Metro (London)


"'The Fall Of Math' review"

"65 Days of Static, however, genuinely seem intent on gatecrashing a genre and redefining its boundaries.Their knack of infusing levitating, Mogwai- esque ambience with skittish, industrialised breakbeats is truly without precedent." KKKK
- Kerrang!


"'The Fall Of Math' review"

Most bands form and then make a conscious choice to imitate, plagiarise and become a pastiche of their idols. The music buying public love to be reminded of the good times; the old times; the familiar. It’s the reason we've had The Beatles, The Clash and The Stooges clones plague our minds, radio, newspapers, TV, and our souls for the past twenty-five years. It’s the reason guitar based music has driven itself into a rut; become stale, bland, tired and overblown. Time for an overhaul.

But that’s most bands, and it’s clear that 65 Days of Static have no intention of being some retro-fuck entity. Nestling themselves in a scene loosely called math-rock or post-rock, they appear to have broken the golden alt-rock rule of not using computers, samplers, electronics etc (it’s not real music you know). Instead of sounding like some scrappy, mix-genre soundclash, 65 Days of Static take your pre-conceptions and smash them into a million pieces.

'Retreat! Retreat!' swoops in with a glorious, spine tingling glockenspiel intro, which gives way to a riff that is so wide, so heavy, so burnt that it hurts; it's heart wrenching stuff. 'The Cat Is a Landmine' weaves in and out like Venetian Snares vs a monged Godspeed! You Black Emperor. 'Aren’t We All Running' uses a moribund prog-rock piano intro and calmly sits back and lets the guitars and drums (the drummer clearly having eight arms on this track) walk in and bludgeon you with reckless abandon. It is pure passion, and it’s clear that 'The Fall of Math' was created to worship the beauty of music. Radiohead took three albums to become this adventurous and IDM is still too afraid to include live instruments on this level; when the Mercury Music Prize comes around the judges won’t go anywhere near this.

Go home, take your play safe indie-punk records and burn them. 65 Days of Static have their heads in 2007 and everyone else is thirty years behind…… Magnificent. (4.5/5)
- Playlouder


"'The Fall Of Math' review"

"We assume you're here because you like music, or are aware of exciting developments in a musical world existing beneath the mainstream. As part of a seemingly blossoming new form of complex but enjoyable guitar music, spearheaded by bands such as Youthmovie Soundtrack Strategies, Mono, Mondo et al, the term 'post-rock' is often applied. But its use of the prefix 'post-', although presumably encompassing the weight of influence and how it has been developed, does little to suggest how the majority of these bands have and will be inspirational as well as inspired. Listening to The Fall Of Math, the first album from controlled-noise tykes 65*DAYSOFSTATIC, you can see why it may be problematic as a term, broad or not - for if this sort of indescribably wonderful clamour doesn't influence countless ensembles in its wake then we'll eat our own effects pedals.

Consider the evidence. Opening track another code against the gone throws up impressions of Kraftwerk's last album or Boards Of Canada's Geogaddi - or indeed the bulk of 'electronic' records released over the last decade - growing muscles and subsequently turning on their creators. It soon follows on to install a break in the heart that clucks time in arabic (nope, us neither), and when we say that a frantic utilisation of Explosions In The Sky's crescendo tactics with pretty computer noise leading to earth-trembling drums still doesn't do it full justice, we don't say it lightly. retreat! retreat! is much more direct, as it quickly switches from glockenspiel-style twinkling to a glorious, sparkling and utterly exhilarating piece of alt.rock force, sounding so intense and enormous that you could almost dive in. Meanwhile i swallowed hard, like i understood flickers with the sort of complex glitch rhythms that could make Aphex Twin scream with enlightenment, whilst pummelling out weighty post-rock-shaped guitar not unlike Mogwai beating their chests in abandonment - and same goes for the title track, but while flicking between comforting yet slightly unnerving electronic plinks and plonks. What's more, tracks like hole, with its string-laden rush and stop-start feedback-drenched wall-of-sound guitar shifting, have inventiveness practically glowing off of them yet retain an accessibility (or rather sensibility) to outshine most purely 'pop' songs. Initially it's beguiling, but soon it's understandable and more than a little pleasing. That The Fall Of Math as an album can retain the dynamics, fraught tension and climactic explosiveness of its peers and influences, whilst still sounding like one of the most urgent and direct long-player releases of the year, is worthy of our praise indeed.

Music's about escapism, right? About taking you somewhere otherworldly, somewhere else. This album is a dark, tempestuous but highly inviting place that you could quite easily lose yourself in, and there's a real chance that you won't want to return. Further artillery against the argument that music isn't exciting at the moment.

Like music? Go fetch." (4.5/5) - Drowned In Sound


"'The Fall Of Math' review"

"The future, as Sheffield four piece 65daysofstatic are only too aware, is not transmitted, it's recieved, even when the signal is nothing but noise. While waiting for the block to clear, however, they trace pictures of apocalyptic grandeur out of dense audio scribble. A breakneck descent into electronically rendered sheet metal guitar, rattling drum n' bass and - you know you want them - Prog keyboards means that, like all moments of intense ending, there's never a dull moment. Cities are laid waste, warrior bands fall back on their swords and, when 65DOS tell you "this cat is a landmine", you'd better believe it's true." - The Wire


"'The Destruction Of Small Ideas' review"

"sometimes something comes along and shakes your head, takes you by surprise, delights you unexpectedly and reminds you why you were doing… this… in the first place. I have never put a CD in the player hoping to be disappointed, although these days I’m often expecting to be.

65daysofstatic’s first album, The Fall of Math, was good, but flawed. Their second, One Time for All Time, was even more flawed; like someone shouting into the wilderness to protest the city, it had good intentions but the wrong direction. Their third album, The Destruction of Small Ideas, blows their previous recorded output clean away. I gather that, distraught with an industry beset by Meatloaf’s mantra that everything be louder than everything else, they deliberately set out to make a quieter record, a more dynamic record, a record that stands out from its peers, that actually moves itself and you and, despite the lack of words, means something.

The Destruction of Small Ideas takes the bar for postrock, where postrock genuinely means what comes after rock is done with, and raises it considerably from where it has settled in the last few years. See that Battles record? This is as good, albeit coming from the opposite direction. Initial radar observations of 65daysofstatic three or four years ago suggested IDM with guitars; and perhaps they were. Now… no. Pianos, genuine, delicate, almost inaudible pianos; drums, roiling and pounding and snapping and rolling across your head; guitars, lachrymose or tectonic or nasty; spectres of electricity, hexadecimal algorithms taking binary data packages and translating them via networks into something organic and anthropomorphic. Making the robotic human where Battles make the human robotic. I’m not sure which is the best trick. Strings (horsehair on catgut, adhesive and vibrating), a ticking hard-drive, sheets of corrugated steel (flexed and resonated), Formula One cars downshifting into chicanes and over-steering left-handers, thunder, clammy tarmac at the height of summer.

The first five tracks will take you by surprise, “These Things You Can’t Unlearn” climaxing in proximity alarms and carbon dust. “Lyonesse”, following, has a parlor piano slowly eaten away from the outside by radioactivity, but the real surprise is that it gets better. “The Distant & Mechanised Glow of Eastern European Dance Parties” is an actual infusion of electronica rather than borrowed and misunderstood signifiers; “Music Is Music as Devices Are Kisses Is Everything” is as good as, improbably, its title, more subtle piano patterns, inhumanly real drums, soporific falls from momentum and rises back again. The last three songs? Better still.

65daysofstatic have made their masterpiece, or something close to it; three albums in, in the most dirty, shallow decade of music we’ve known, who else can say that? A handful, not enough. The Destruction of Small Ideas is a weight, a tower of babel, a journey, learnings, understandings, communication, evolution. I’ve been waiting. I was promised this or something like it. The rise and fall. All so deep, so rich, so comically dynamic and detailed and powerful for it that it makes me want to cry. How to make a record. Play loud. Rating: A-" -Stylus Magazine - Stylus Magazine


"'The Destruction Of Small Ideas' review"

"Where to start? Do I mention the impeccable musicianship, the soaring and near perfect soundscapes created by this band, or the fact that it fully immerses the listener? It can be hard to review album fairly, you need to strike a balance, no matter how much you love an album you must highlight it's flaws. Similarly, if you hate it, you must point out any good points it has.

Which brings me to this, the second full length album from Sheffield band 65daysofstatic. They aren't a band as such, more a collective of insanely talented musicians. They don't make music, they make aural soundscapes. You won't find a chorus here, nor a verse for that matter. Each song progresses towards a crushing climax, rather than follow a set formula. For this reason there isn't really a lot of point mentioning song titles, each track merges into the next, creating an ALBUM as a piece rather than a collection 12 separate tracks.

This album is stunning, absolutely beautiful. I've listened through it several times now and can genuinely find only one fault. If you aren't a hardened music fan, you may find it hard going. It's the closest thing you'll get to neo-classical music, so if classical isn't your thing, and rock isn't your thing, then stay away, or try it, and really work with it, the rewards are more than worth it.

Special mention must go to the drummer. Quite honestly the hardest working musician I have ever heard. His is the main instrument on most tracks. He doesn't just keep time, he almost plays a tune.

Sorry if this has been a long review, but quite simply, this is the greatest album released in the last two years. It has no faults. Not one. I urge every single person who has read this review to beg, borrow or steal a copy. Please. Give 65daysofstatic the recognition they so richly deserve. 10/10"
- Insider Guides


Discography

'The Distant And Mechanised Glow Of Eastern European Dance Parties' CD ep (2008, Monotreme)
'The Destruction Of Small Ideas' 2LP vinyl album (2007, Monotreme)
'The Destruction Of Small Ideas' CD album (2007, Monotreme)
'Don't Go Down To Sorrow' CD single (2007, Monotreme)
'Radio Protector' 7" single (2006, Monotreme)
'One Time For All Time' CD LP (2005, Monotreme)
'Hole' CD mini-album (2005, Monotreme)
'Retreat! Retreat!' CD maxi-single (2004, Monotreme)
'The Fall Of Math' CD LP (Monotreme)(2004-Europe; 2008 North America)

Photos

Bio

Touring has always been 65days strong point and is something they have been constantly doing in the UK and Europe, since the release of their debut EP Stumble. Stop. Repeat. in 2003. They embarked on their first US tour in late 2007 with Fear Before The March of Flames. The band were asked to play the Download festival in San Francisco by Robert Smith at the end of Oct 2007, which opened up their audience playing with Kings of Leon, Metric, AFI Crystal Castles and The Cure.

They returned to the UK for a headline tour in November, playing to ever-larger crowds. Their popularity continued to soar and they found themselves closing Saturday night of All Tomorrow’s Parties ‘ATP vs The Fans’ festival (selected by a popular vote of ticket-holders to perform) then racing back to London the following day to headline a sold-out gig at Londons KOKO.

Constantly on the road, the band have steadily built a fiercely loyal fan base and have recently played sold out tours in the UK, including a glorious night at London's Heaven recently (Nov 2009), as well as headline shows and festivals across Europe and as far afield as Summer Sonic in Japan, South By Southwest in Austin, Texas and several headline shows in Moscow.
2008 had been another fantastic year for rock, drum ‘n' post glitch-core protagonists 65daystatic.
Asked personally, by long time fan and 65enthusiast Robert Smith, to undertake a 46 date World Tour in 2008, as special guests of The Cure - keeping them on the road for the first 6 months of 2008, which saw them play venues once marked in bold on the 'surely never' list such as; Wembley Arena, Hollywood Bowl, Red Rocks, Radio City and Madison Square Garden.

Between touring 2 continents with the Cure, the band managed to squeeze in 3 weeks of headline dates throughout the UK and Europe - and in answer to the question; “what happens if we put these instruments down for a couple of seconds and create a 16 strong choir from our own under rehearsed voices?” they crafted the newly recorded version of “Distant and Mechanised Glow of East European Dance Parties” for an E.P release – which was Zane Lowe’s Hottest Record in the World’ and DiS ‘single of the week’, no less.

At the end of last year they were also invited by The Cure to remix all four tracks on their charity release, the EP Hypnagogic States - also featuring re-workings of tracks from the likes of Gerard Way (My Chemical Romance), Pete Wentz & Patrick Stump (Fall Out Boy), Jade Puget (AFI) and Jared Leto of 30 Seconds To Mars. Though all four tracks we’re mixed into one huge mash-up by 65days.

Influenced by the likes of Tom Waits, The Deftones, At The Drive In and New Order they produce a mix of cascading rock guitars, glitch beats and sweeping, cinematic breaks.

The band, while never chasing 'flavour of the month' status, have reviewed acclaim and support from the likes of; Kerrang Magazine, Plan B Magazine, The Wire, Disorder Magazine, The Sun, Drowned in Sound, Rock Sound Magazine, The Guardian, The Daily Star, Terrorizer Magazine, NME, Quietus.com, Metro, Kerrang TV, MTV, Radio 1, BBC6Music, XFM among others.....

2009 saw the band eager to take to the road, fresh with some new ideas for the next record they wanted to try out on their audiences. With a full programme of festival appearances in place, in the UK and Europe, the band decided to release their first live album, recorded in New York at Radio City and Madison Square Garden, while on tour with The Cure. Titled ‘Escape from New York’ and released in the UK in April, the band undertook a low key tour throughout the UK, to play both old and new songs.

The tour sold out, months in advance of the first show. European dates followed directly on and became the most successful European tour the band has done to date, with many shows in all territories selling out too.

This year also marked their first tour of Russia (though they had played Moscow twice before) at the end of May, which was as mind-blowing as anything they have ever experienced, with full warehouse raves and sweaty clubs shows, where the packed shows really kicked off.

The band also made a return appearance at the 2009 SummerSonic festival in Japan in August, now in its 10th anniversary year and along with high profile UK festivals – Latitude, Leeds/Reading and Bestival at the end of the Summer, this was the bands most successful touring year to date.

The band are currently mixing a new studio album due in Spring 2010, on a new label. With shows already booked in Singapore, Japan, a place secured at Sxsw 2010 and tours in the UK and Europe, this surely has to be the decade of 65daysofstatic.