Artifact Shore
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Artifact Shore

New York City, New York, United States

New York City, New York, United States
Band EDM Avant-garde




"Highlights of the Week"

Landscape Removal is a split release between Minneapolis band Artifact Shore and Bay Area solo artist Linedotstar. You get four tracks apiece. Be forewarned, the pale green blue hued cover doesn't really offer any indication of the sounds contained within. The cd begins with a blast of abrasive industrial noise from the former. Artifact Shore's four tracks are propelled by a stormy rhythmic undercurrent and bristly effected angstful male vocals. Linedotstar's aural offerings are considerably more gentle composed of stuttery electronics, guitar samples, airy drones and wispy melodies. Quite a contrast of dark and light, imposing solid masses and soothing vaporous ephemera. - Aquarius Records San Francisco

"Landscape Removal Review"

" noisey and layered in the vein of Flying Saucer Attack, My Bloody Valentine" - KZSU 90.1 FM

"WNYU Charts"

Artifact Shore was #6 on the WNYU chart for the week of 10/02/06 - WNYU New York

"Fun Is Near Review"

"Standout track "2 in 24" rips and rolls open this EP from Minneapolis based group Artifact Shore. The elements are simple but effective: slashed guitars, chorused vocals and robust electronic interventions placed with enough care to prevent songs becoming too predictably song-like. The mid-paced title track dwells in the same twilight world of broken melody and restrained vocals as Sonic Youth. The even slower "Insight and Action" is somnambulant and festers with malign intent, while the high-plucked bass and heavily echoed vocals of "Stupid Coma" distinctly recall Joy Division. Closer "On the Banks of Black" is a monochrome dirge more at home in the mill buildings of Manchester than Minneapolis. While the influences may be out in the open, Artifact Shore handle them with deft confidence and make them their own, and Fun Is Near an assured release." -Nick Southgate - Wire Magazine Feb 08

"Fatal Correctives 7" Review"

"As near as I can tell, this is a reissue of an out of print CD shared by these two groups, one of whom is from Minneapolis, the other of whom I've had trouble tracking (but they feel midwestern). Bravo Team actually sound like a decent variation on the standard rabid-foam guitar groups of the Ruthless/Am Rep era, which is something I miss more than I can easily explain. Suffice to say they have a certaiin amount of Killing Joke cunning and a lot of screech around their edges. Artifact Shore are a little tougher to grasp. Their moves are closer to those of their conemporaries in the Michigan noise underground, but they're nowhere near as harsh as most of those proponents. They pile it up and pile it on, sure, but there's a sinuousness inside the structures that seems almost psychedelic. Mmmm." - Wire Magazine Jan 08

"Fun Is Near Review"

This Minneapolis four don't give critics much to do. They honestly list as influences Joy Division, shoegazers like Ride, Sonic Youth, Big Black, The Fall, ect. Writers get used to dubious, off-base assertions; but this EP is those bands in a blender to a "t"! Considering how far afield the aforementioned five are, it makes Artifact Shore so peculiar. The icy-silence wave of Factory records hits the shore of heavily reverbed dreampop plus avant garde noise-art and ends up spewing up a grinding industrial post-punk spray! Now, no track is the same, so permutations seem to shift from track to track in equal measure: like the eerie Sonic Youth of "Insight & Action" giving way to the drum machine claustrophobia of Ian Curtis and A Certain Ratio, with Big Black's Dave Riley-like fuzztone basslines on "Stupid Coma". Endlessly unusual, endlessly surprising. - The Big Takeover Magazine

"S/T EP Review"

"An early instrumental EP on Interference Shift, 'Artifact Shore' offers a glimpse into the earlier stages of Artifact Shore's development on a label which has carved out a deserved niche delivering multi-edition, multi-media works of real beauty. Interference Shift state that they "hope to create lasting popular culture artifacts" and with this and other releases they make good on their promises.

Four hypnotic tracks couple motorik rhythms with surface tapestries that shimmer and sheen, sparkling and atmospheric. 'Version 1' opens with elastic rhythms grafted onto energetic and metronomic undercurrents, its persistent and weighty undertow recalling Mogwai's relentless rhythms.

'Regional Winter', the closing track, opens with foreboding rhythms, firm and insistent before unravelling a delicate surface guitar melody edged with careful electronics. A tightly wrapped package.

Packaged beautifully with minimal, blind debossed artwork by Interference - whose elegant limited edition bookworks are equally compelling - 'Artifact Shore' is a rare combination: audio/visual gestalt." - Falt Publishing

"S/T EP Review"

"Minneapolis' avant-garde quartet Artifact Shore offers up a solid, self-titled instrumental EP on Interference Shift that opens with seven minutes of pitter-patter thumps and laser synths akin to early Autechre. Elsewhere, it gets no happier but the group at least starts to use guitars, and should be recommended for its new-wave ethos alone. Those Minnesota winters can be tough." - Martin De Leon - XLR8R Magazine


Welcome Home EP
Fatal Correctives split 7" with Bravo Team
Artifact Shore s/t EP
Landscape Removal split 12 with linedotstar
Fun Is Near EP
Instruments of the Devil LP



“A song of innocence and crippling experience”: A lyric from “Kill the Switch,” on Artifact Shore’s new LP, Instruments of the Devil, captures the emotional reach and aural ambition of the band. Channeling the “two contrary states of the human soul” as the poet, visual artist, and visionary William Blake conceived it, the music of Artifact Shore carefully balances and puts into opposition grace and fear, optimism and nihilism, clarity and distortion.

“This is where perfection begins to break and fail”: Originally hailing from Minneapolis but currently based in Brooklyn, NY, Artifact Shore’s earlier recordings, Landscape Removal (2006) and Fun is Near (2007) construct an architecture of fevered violence, evoking bleak post-apocalyptic landscapes by ranging from frenetic rage to a subtly layered melancholy.

“In a place that I thought I knew”: Building upon the earlier albums, Instruments of the Devil (2009) evokes a sense of loss, disorientation, and disaffection. The sense of the uncanny lurking in places, people, and situations that we feel we know also describes the band’s aesthetic, drawing on well-known musical influences—pop, noise, post-rock, jazz, shoegazer, prog rock—but estranging them ever so slightly.

“I took your hand and you lead me to the end of the world”: Instruments of the Devil is far and away the band’s most ambitious music to date. The album is inspired by the drive to explore and violate boundaries. Lyrically, musically, and visually, the album tries to push the listener past prior expectations and into new expanses.

“Emerge! Emerge!”: Moving effortlessly from introspection to catharsis, Instruments of the Devil forges a haunted vision of terror and loss, but one that is always paired with a promise of beauty and redemption, as wave upon wave of sound surges ecstatically forward.