Gum Takes Tooth
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Gum Takes Tooth

London, England, United Kingdom | INDIE

London, England, United Kingdom | INDIE
Band Alternative Rock

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"Silent Cenotaph"

"A terrifying, monstrous amalgam of precision and abandon. Wonderful." 4/5 - The Fly


"Silent Cenotaph"

"A magnificent and gung-ho monument to the terrifying joys of making a childish racket..." 7/10 - NME


"Silent Cenotaph (Record Of The Week)"

RECORD OF THE WEEK

Imagine a band that sounded like a bastard mix of UK-via-Texas, multiple drummered noise rockers Shit And Shine, grinding bass and drum duo Lightning Bolt and legendary weirdo drug rock combo Butthole Surfers. Then imagine the sort of din such a band could and would kick up and mix in all manner of mangled and freaked out electronics. Finally, imagine all of that noise being conjured up essentially by a single drum kit. And thus you have UK duo Gum Takes Tooth, which is essentially a drummer, whose drums are wired up to a dizzying array of home brewed electronics and tone bent circuit boards, with a second member tweaking and fucking with the sound in real time. 43 minutes of electronic-ed drumming might not sound that appealing to some folks, but don't make the call until you get an earful of the sounds these two whip up. Sure at times it's raw and rhythmic, noisy and chaotic, but the sounds here are all over the map, from super charged This Heat style rhythmic workouts, to blasting almost grind metal like blow outs, minimal FX fueled ambient drifts, to tripped out sci-fi psychedelia, murky, meandering distorto slow-core to frenzied noise drenched prog and pretty much every conceivable stop inbetween. Add in some Merzbow style noise, a little Psychic Paramount drum heavy post rock heaviness, some world music like tribalism, and stir it all up, and voila.
Opener "Young Mustard" is a pretty good sampling of what these guys are capable of, offering up a wild frenzy of tribal drum pound, weird processed vox, swirling electronics and FX, which eventually explode into some seriously aggro Lightning Bolt style, blast beat driven, downtuned grind, only to blossom into some Six Finger Satellite like synth-drum craziness, before the whole thing devolves into a abstract stretch of minimal clatter, random bloops and bleeps, swirling electronics, all beginning a slow build, the tribal drums swooping back in, slowly goring more distorted and intense, until finally fracturing into what sounds a bit like the Ruins crossed with Man Is The Bastard, thick blown out buzz low tones, pounding drums, howled processed vox, all woven into a seriously crushing electro-dirge.
"Tankjott" is another good one, starting out with some rapid fire kick drums, some gurgly vox, some squiggly electronics, building to a lurching, stuttery groove, soon more electronics, and more of that heavy bass buzz swoop in, and it's some sort of metallic krautpsych groove, with all manner of buzzes, strange twisted vocals, electronic pulses, before exploding into another fried and buzz drenched rhythmic workout, sounding to us like a way more chaotic / noisy / electronic version of MITB offshoot Geronimo, definitely the heaviest track here, sounding almost metal, but via Hawkwind and This Heat and Melt Banana and all blurred into some impossibly mesmerizing electrometal krautgroove, WAY too short at 7+ minutes.
And in between those two tracks, plenty of hypnotic, cyclical, rhythmic noise, progged out heaviness, stuttery drum heavy buzz and psychedelic noise rock, usually all at the same time, "Strychnine Motive" probably the most traditionally song sounding, but it's really relative, while "The Earth's Mantle Colonised" takes that same sort of sound and trips it WAY out into some sort of psychedelic space rock, the vocals chopped and processed, plenty of spacey squiggles and weird chanted vocals, the whole thing still drum driven big time, "Nomad/Monad" sounds like some bastardized gamelan orchestra, or a punk rock electronic noise version of Konono No.1, all looped thumb piano like melodies, tangled up and barraged by all manner of strange sounds, and then finally, record closer "Hermaphrodite And Nourishment" which does in fact feature a member of Shit And Shine on second drum kit, and while we were expecting a super frenzied drum heavy blowout, instead, it might be the pretties song on the record, all moody and loping and melodic, laced with ringing Tibetan bowls, crooned softly distorted vocals, squalls of feedback, and the cool thing is it never really explodes or freaks out, instead, it's just gorgeously mesmerizing and hypnotic, droned out and tribal, the perfect sort of sonic come down at a record that spends much of its time at a serious musical fever pitch.
Probably one of our most exciting recent musical discoveries (thanks Jason P.!), and with every listen this record continues to confound and delight and reveal more of the weird shit that seems to constantly be going on just below the surface, and odds are if you like any/some/all of the above mentioned bands, imagine them all mashed together and distilled into some wildly and gloriously twisted hybrid, and we imagine you'll probably be as knocked out as we were. - Aquarius Records


"Silent Cenotaph"

Take filthy grind and replace the guitars with errant, glitchy synth. Now compress everything to fuck. You’re now on your way to comprehending Gum Takes Tooth’s noisier moments. Album opener ‘Young Mustard’ in particular displays, with a big yellow grin, the propensity for making bastard noise that has seen the band tour with Napalm Death, Melt-Banana and others. Yet, under all this, a primal, almost thoughtful reverie exists in quieter passages. ‘Nomad/Monad’ clinks away tribally, while ‘Peace In Your Middle Yeast’ trundles very carefully along the line between the two extremes. It’s a thrilling dichotomy, curious but curiously natural, veering wildly, and it makes Silent Cenotaph a stunning, uncompromising and thoroughly compelling listen. 9/10 - AU Magazine


"Silent Cenotaph"

"Fans of Civil Civic and Warp Records' madness will find plenty of brain food to munch on here." 4/5 - Artrocker Magazine


Discography

2010 - Young Mustard / Lofty Thatch (7" single, Adaadat Records)
2011 - TRI (10" EP, Tigertrap Records)
2011 - Silent Cenotaph (CD album, Tigertrap Records)

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Bio

Gum Takes Tooth decisively bring together their influences of out-there noise, metal, primeval rhythms, spacious psyche, pan-ethnic oddities, primal punk, acid house and vintage electronics on their debut album 'Silent Cenotaph'.

Thomas Fuglesang’s live acoustic drums are physically wired into home grown electronic instruments and bare circuit boards that are tweaked, moulded and mangled in real-time by Jussi Brightmore. Jaxson Payne provides precise rhythmic counterpoint on second drum kit. No laptops, samplers, backing tracks, guitars or basses feature in Gum Takes Tooth.

The three musicians have enjoyed disparate and involved travails through the musical underground, Fuglesang and Brightmore first meeting in the white noise pop outfit Infants. Brightmore featured in the pioneering I'm Being Good, the improv Milche Grand and Blood Stereo with releases on John Olson of Wolf Eyes' American Tapes, Mike Connelly of Wolf Eyes' Gods of Tundra and alongside releases by Thurston Moore on Dylan Nyoukis' Chocolate Monk. Brightmore also co-germinated Chrome Hoof from its conception as a trio to multi-limbed prog juggernaut. Meanwhile Fuglesang, previously of Agoskodo Teliverek, now moonlights with numerous other projects. Paine’s electronic drumming as bass bin ripping Derehctub re-evaluates what is possible as a solo percussionist.