boat race, june 2000 - live review
portland arms, may 2000 - live review
rock sound, may 2000 - >HYPERKARMA review
the mix magazine, may 2000 - >HYPERKARMA review
kerrang! magazine, february 2000 - beating bowie
cambridge student magazine, february 2000 - live review
guitarist magazine, february 2000 - review of >HYPERKARMA.
melody maker january, 2000 - review of >HYPERKARMA.
cambridge evening news, november 1999 - review of >HYPERKARMA.
namesuppressed.com, september 1999 - review of >HYPERKARMA.
circuit magazine, august 1999 - live review
Cambridge evening news, august 1999 - best bands in Cambridge
Cambridge evening news, june 1999 - live review
making music, may 1999 - review of supercharge
cambrdige evening news, april - band competition final review
Cambridge evening news, April 1999 - band competition final preview
Cambridge evening news, march 1999 - band competition heat review
Cambridge evening news, march 1999 - supercharge review
guitarist magazine, december 1998 - supercharge review
rhythm magazine, march 1998 - broken window theory review
sound on sound, 1998 broken window theory review
the mix, 1998 - broken window theory review
drum media austrailia, jan 1998 - blacknotgreen CD review
sound on sound, December 1997 - blacknotgreen CD review
total guitar magazine, November 1996 - blacknotgreen CD review
rhythm magazine, october 1996 - blacknotgreen CD review
melody maker, September 1996 - blacknotgreen CD review
black:not:green live review
(The Boat Race Cambridge, 12th June 2000)
Billed as their summer call, this Friday night saw
black:not:green return to their home turf The Boatrace
after a 3-month absence from their frenetic stage show
(the last of such activity being their successful mini
tour of London venues).
Cadre and Miss Black America on tow as very special
guests, both fresh from the Cambridge Band competition.
Cadre sounded great, and to be honest would have gone
down best if this were a packed out club on a bigbeat,
techno fusion night. Miss Black America then brought
visual energy and excitement with a snarl and a big
'fuck you' to anyone thinking themselves too
cool to mosh. If you haven't yet witnessed the
punch that Seymour and the boys deliver then beware
that your Placebo, Stiff Little Fingers, Muse and
Pixies albums are exiting your record collection once
you do, cos these boys do it all much better.
Black:not:green enthusiastically mingle during the
support slots. Whispers are overheard of a new EP by
November and a white label remix of Sub3 by September.
At 9.30pm the place is packed, the atmosphere friendly
and relaxed (after all it's a Friday night). The
walls awash with hyperkarma postcards make the
black:not:green brand as lively as their stage show.
After questioning Tim on the songs to be played tonight
he jokingly retorts with,
"We'll put a fake smile on our faces and
trawl through the same shit one more time"
I guess they're looking forward to debuting new
material. The thing is though that the 'same
shit' still works as well as it did the first time
we were all knocked over by it. Disco opens, and AYM
closes. In between we are treated to Rolling, Sub3,
Crash, Supercharged, Home, Moja (hyperfly), Untouchable
and 270 Days. The dynamic treatment throughout this
time though is much more pronounced with subtle twists
and contrasts. The stage set is complete with extra
lighting and tv sets showing vintage black and white
films (something which they apparently debuted in their
unplugged show, which I managed to miss!)
This time, more than any, the guys seem to be
enjoying themselves. Albino spends most of the gig
thrashing about in the mosh with his light sabres, and
getting mugged in the process. Sam and Tim exchange
expletive gesticulations and undertake a spitting
contest, and Roger croons his way through the set with
smudged mascara to boot. By the end of the show the
three mike stands are in the crowd, and the guitar is
thrown onto the monitor where it screams in agony.
Nothing new tonight then. Just a great excuse to
come and let off steam with 150 punters who knew
exactly what to expect, and who went home with a
satisfied glow and dripping wet T-shirts. Bring on the
next new installment please lads.
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I am I am unplugged
(black:not:green unplugged at The Portland Arms
27th May)
Now the black:not:green you and I have grown to know
and love are those 4 guys clad in black, thrashing out
their industrial grunge, drum'n'bass pop to
crowds of like-minded punters ready for some
angst-fuelled action. How then in the name of
Albino's armadillo can they deliver their vibe in
an acoustic convivial 'Real Music' ambiance in
the back of a pub? With flair, ease and bruised emotion
it would seem. Believe me, this has been their most
intense gig yet.
120 eagerly curious people packed out the Portland
Arms to see for themselves. Before taking the stage the
lights are dimmed to near darkness, and candles
illuminate the stage. 2 TV sets flicker to add to the
visual noise; one then shows Citizen Kane, the other
'Pi' (a suitable contemporary back and white
psychologically tormented mathematics rollercoaster).
The band then take the stage in a Noel Coward meets
Marilyn Manson bedraggled black tie costume, complete
with very special guest double bass player, Simon.
After a white noise introduction a suitable hypnotic
bass groove introduces an astounding rework of
Supercharged. Sam and Simon lock like a jazz duo
who've played together for 40 years, Tim's
guitar looks acoustic, yet sounds haunting with a
suitable distortion tinge ripped through it. Albino
provides backing vox and live keys throughout, and
Roger is note perfect and delicate to the touch from
start to finish.
The set list sees a welcome unveiling of older
material which hasn't seen the light since
1997's Broken Window Theory - Sex Hate Song, Broken
Window Theory itself and shortstory. The latter sees
Albino kneeling at the front of the stage, unnerving
the crowd with his sinister whisper telling this morbid
tale with a lonely guitar accompaniment. A cool blue
jazz outro briefly segues into hyperkarma and finally
comes out into 270 Days.
Two furthermore pleasant surprises come in the form
of perfect reworkings of Massive Attack's
'Teardrop' and Portishead's 'Sour
Times' - both retaining their original key for
female voices leaving Rog to deliver what the publicity
poster accurately describes as the 'voice of an
angel'. Sub3 sounds harrowing, making maximum use
of the double bass. The evening then closes with Crash,
and a hugely accessible Little Punk Song.
So, all in all a live show which provided a long
awaited platform for black:not:green's creepy,
lo-fi hypnotic moods. For those of you not there, you
can try to imagine the bonding of Nirvana and
Soundgarden with a very sleepy Yo La Tengo and Low, but
you're not doing yourselves justice until you
bombard their website with emails insisting that they
do the same again in your packed front room if they
have to. This unplugged show really exposed the depth
of their musicianship and their quietly disturbing
charisma. Definitely one logged in the memory
banks.
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>HYPERKARMA review rock sound, may 2000
Cambridge three-piece black:not:green are a
reviewer's nightmare. That's not to say that
the music isn't up to scratch, but such is the
diversity of musical influences (the press pack points
to everything from Roni Size to Nirvana) that it's
hard to know what angle to approach
'Hyperkarma' from.
'Moja (hyperfly)' has an almost rock/dance
crossover feel to it, less Prodigy more Jesus Jones.
'Rolling' continues the experimental almost
hectic eclectic vibe with some great vocal wailings
from Roger Kelly.
It's hard not to be drawn into their cocktail of
drum'n'bass infused AC/DC guitar, with both
'Gravity' and the superb 'Aym' creating
aural confusion that brings to mind Atari Teenage Riot
jamming with The Wonderstuff.
In a strange way you could hear at least half these
tracks making it onto radio, and for the sheer musical
audacity they deserve to.
'Hyperkarma' is not an easy listen but
ultimately rewarding.
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>HYPERKARMA review the mix, june 2000
These guys have already had a shedload of coverage
for their rocky/ambient dance nuances, and deservedly
so. They are really adept at taking some of the most
exciting elements of fairly recent trance, ambient
jangly pop, rock and moulding it into a gorgeous
fusion. I'll bet they're an absolute stonking
live act too.
Sam Winwood, Sony S2: Could this be the next
Jesus Jones? And is that an insult or compliment? I
dunno, but I liked it anyway.
Sil Wilcox, Cruisin Music: Phasing on vocals
always leaves me wondering if anyone can actually sing
and is not a good way to try and initially interest a
record company. However, the actual song is very
strong, well-produced and commercially instant,
reminding me of early Todd Rundgren in places.
Luke Cunningham, Freedom 4 records: Psychedelic
techno trance anyone? I dunno. Confused but fun with a
great chorus.
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bowie green with envy
kerrang!, february 26 2000
a double whammy for cambridge quartet
black:not:green, not only do they claim their
live show "smacks you straight in the shag-piece
and screams down your throat", but they were the
buggers responsible for pipping mr. david bowie to the
post by launching a free downloadable album
(>HYPERKARMA.) on the web. fifty thousand visits in
six months! not too shabby. with a penchant for
battenburg cake and fruit teas, black:not:green
describe their brand of noise as "a unique blend
of industrial-tinged drum'n'bass fuelled with
big guitars, big vocals and a psyched-up vibe to be
shared with like-minded punters pissed-off with a bland
UK music scene". Ooh, better visit
www.blacknotgreen.com or write 'em at
info@blacknotgreen.com.
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bng live at the boatrace
the cambridge student, february 2000
drum:and:bass:and:rock:and:roll
black:not:green at the boat race 26/01/00 review by
dan archer
this band is the future of music. their unique blend
of drum and bass with rock guitar riffs is exactly the
sort of direction that most mainstream bands are
looking to experiment with and yet black:not:green have
been pulling it off for over five years and three
albums. obvious influences include the prodigy, aphex
twin and nine inch nails - a list that would encourage
most to class them as thrash metallists with the likes
of slipknot and korn.
what remains intriguing about this particular band
is their ability to engage and enthral the audience
with weapons ranging from sampled computer clips to
live guitar solos, mcs with light rods to bubble
machines. they have confidently embraced the latest
technology and fused it with an obvious musical talent
to create their own genre of infectious aural hedonism,
proving themselves to be quite unlike anything you are
likely to have seen or heard before. in particular, the
lack of a bassist may raise a few eyebrows, replaced by
a maniacal slaphead who spent the majority of the gig
fiddling with an array of beatboxes and synthesizers or
leaping into an unexpectant crowd. its differences like
this that distance these local boys from their more
established rivals like bush, who seemed far more
reluctant to venture into the murky depths of
dance/rock fusion.
but don't take my word for it. download their
latest album for yourself off their interactive website
(www.blacknotgreen.com) and beat the masses to
discovering one of the most promising acts of the new
millenium. the most unsurprising thing about the whole
evening was the bands confession that they're
currently still unsigned to a major record label.
guitarist said as part of their 9/10 review of their
third album that if black:not:green wasn't signed
soon they'd "eat their strat". let's
hope it won't come to that.
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>HYPERKARMA: review
guitarist, february 2000
sign 'em!
a professional looking sleeve design and biog serve
only to confirm the quality of the music within. this
offers ten flammable tracks pumped full of
black:not:green's sample-laden break-beat filled
dance/pop. guitarist tim dodd's capable playing
runs the gamut from heavy riffery on rolling through
some sensitive spanish guitar moments on supercharge
and onwards to the experimental morse code style
playing of aym.
sonically this woofer-challenging collection of
tunes displays plenty of varied elements; certainly
more than a single listen can cope with. vocalist roger
kelly's voice weaves its way through the powerful
beat-drive tunes, making his contribution to this demo
cd one of real importance. programmer, albino, and tim
dodd help out with the vocal harmonies on the
placebo-meets-prodigy disco and even tim's slide
and acoustic playing put in a tasteful appearance.
production is great with plenty of atmospheric drones,
cleverly incorporated samples and cool
deck-manipulation.
if these guys don't make it big, i'll eat my
strat.
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>HYPERKARMA: review
melodymaker, february 2000
they are a dance/crossover unit who claim to combine
punk energy with dance precision in a futuristic rock
style. there's certainly lots goin on here, from
synthesisers, spanish guitar samples and john
bonham-style beats on some tracks, to underworld vocals
and heavy guitars on others - and sometimes both.
eclecticism is, it would seem, paramount, albeit
confusing.
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>HYPERKARMA: review
cambridge evening news, november 1999
this week i will mostly be listening to....
with influences as disparate as ronnie size and
nirvana, it's little wonder that black:not:green
touch on everything from the blissed-out ambience of
sub-3 to the electrifying breakbeat 'n' guitars
combo of stand-out track aym in this, their second
self-financed long player. if there is any sense in the
industry it won't be long before this racket is
snapped up, but before that happens you can witness
them carrying out their aural assault live at a free
launch gig at the boatrace, east road, cambridge on
tuesday night. if you can't wait that long (and we
suggest you don't) then >HYPERKARMA is available
at many independent record shops priced at a very
reasonable £9.99
alistair lawrence
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4 1/2 stars (out of 5)
Expectations of the new Black Not Green album have
been exceptionally high. Matching the success of their
highly acclaimed album Broken Window Theory was always
going to be difficult. It was named Demo of the Month
in The Mix, Sound On Sound and Total Guitar magazines,
and now the new album >HYPERKARMA looks set to do it
all over again.
Black Not Green's trademark is a blending of
guitar based rock, electronica, drum 'n' bass
and ambient styles. Even though >HYPERKARMA is less
varied in style than Broken Window Theory was (more
hard rock, less ambient), fans are sure to love it.
It's sure to win over a new legion of fans too.
>HYPERKARMA is the most radio friendly BNG album
yet. The guitar riffs on Moja, Untouchable and Sub3 are
catchy enough for commercial radio, while Rolling, Aym
and Little Punk Song are edgy enough to make
alternative radio playlists. Roger Kelly's vocals
are superb throughout, especially on Sub3. As far as
demos go, >HYPERKARMA is brilliant. I'm tempted
to give it 5 stars, but a couple of songs fall just
short of perfection.
By the time these guys have a major record deal
there will be no stopping their ascent up the
charts.
K.I.
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live review
cambridge evening news, june 1999
20 minute was all it took. the crowd (an unusually
diverse bunch even by strawberry fair's standard)
were convinced, as was i. after the polished but
soporific instrumentals of white-clad the gee, the
appearance of black-clad four-piece cambridge locals
black:not:green raised the stakes, the temp, the
eyebrows and the roof. gentle is wasn't. aggressive
it wasn't. gloriously fast, fat and full it
was.
weather it rained was touch and go, but the cold front
had cleared the air which made for an extremely clear
mix. the industrious jungle-crunch sat comfortably
across the pa, sub-bass underlayering the
guitarist's relentless contribution in turn
overlayering the impassioned and emotive lyrics. the
moshers and dancers called an armistice for the
duration and experimented with each other's thing.
out-of-context i'll quote from b:n:g "are you
happy now, now you're with your friends ?". if
you haven't made their acquaintance yet, introduce
yourself soon. the boat race would be a good place to
meet up.
mike harbour
supercharge: review
guitarist, december 1998
i love it when we get stuff like this in: its
totally impossible to categorise with any accuracy,
which has to be the idea, and the material from this
cambridge three-piece is amongst the best to ever blast
out of demo towers for some time. there's loads of
guitar and samples in there, but i can only compare
proceedings to the hypothetical bonding of korn's
jonathan davies with keith from the prodigy and then
exposing the offspring to a "hardcore meets led
zeppelin-only" diet. the best bet is probably to
check out this months cd and try to make you own
decision, as i've given up. all i know is its top
banana.
sink or swim ? these lot are going to swim like a
school of golden dolphins, and things aren't even
let down by a weak production. black not green ?
i'd sooner say fab not crap actually. 5/5
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broken window theory: review
rhythm march 1998
come on, lads - a demo is a demo not a 63 minute cd
!! however we'll overlook that technicality because
this is one of the weirder and more innovative
offerings we've heard in ages. "bleacher"
has a fast, pulsing groove and anguished vocals.
"crash" is industrial drum'n'bass
with plinking keyboards and ratm vocals.
"helpless" starts off like an electronic
pearl jam before turning into an ominous oriental
explosion. "acidbath" brings more surprises,
with its superb instrumental and vocal
arrangements.
black not green are a true tech-rock collision.
remember the name. 7/10.
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broken window theory: review
sound on sound, june 1998
top tape
this is a dance-style demo influenced by the like of
soundgarden, underworld, prodigy, massive attack and
pearl jam. yes, it contains guitars too, and somehow
manages to fuse pop, rock and dance styles. the first
track up is bleacher and after a long, tension-building
fade-up of distorted guitar we're quickly into very
familiar territory rhythmically, with a well trodden
path into jungle territory. yet the guitar and the
vocals give the mix a completely different character,
building on the familiar to pull in the casual
listener. a clever bit of word play using the word
"bleach" runs seamlessly into a sort of
chorus from the preceding verse pattern, performed in
superb edgy fashion. there are also some cunning drops
into half-time loops, using slowed down samples that
hold the interest and are embellished by some
interesting harmonies in the vocal.
quality if oozing from the second track, honeytrap,
an excellently penned song that is once again well
performed by the singer. the dance element is retained
by the drum loops, a relaxed jazzy rhythm with a
double-headed bass drum sound that is left bone-dry in
the mix. this is complemented by the use of a familiar
organ sound in the lower mids. basically, this allows
the edgy guitar a lot of room in the mids, which is
used to good effect by a guitarist who knows how to
work within this genre. yet again i was most impressed
by the singing, and particularly the opening section.
here the vocal is broken up into five samples and
triggered instead of being sung. this has the effect of
being slightly disjointed, without losing the timing
and groove of the backing. an excellent cd deserving of
more attention.
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sound on sound
december 1997
This 10-track demo CD kicks off with a powerful
first number which proves you can program drum parts
and make them work, in the right context. This context
is influenced by Soundgarden, King's X, Senser and
the inevitable Rage Against The Machine. Influences
notwithstanding programmer Matt, vocalist Roger and
guitarist Tim have put together an interesting and
well-recorded CD that shows maturity in songwriting and
technical control. Strong rhythmic feel is very much in
evidence, and the music just wouldn't work without
it: from the cerebral heaviness of "Is anybody out
there ?" to the jazz and heavy guitar of "270
Days", the drumming is solid and all the sounds
hit the mark.
I also like how effects like delay and backwards
loops are used to enhance the rhythm. Part of the skill
of mixing is using complementary sounds, and on the
third track on the CD, the band take a fairly muddy
drum loop as a basic rhythm backdrop. The lack of
treble is not a problem - it's an opportunity to
apply plenty of presence to the up-front vocal sound.
Backing vocals are treated to heavy dose of room
reverb, and the tabla loop alongside the synth sitar
is, i suppose, the icing on the cake.
This CD shows plenty of good ideas, all well
executed, played and performed. This is definitely a
band to watch out for if you like music that's more
demanding than the norm.
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blacknotgreen cd review
total guitar magazine, november 1996
Yes, they use samplers. Purists will always argue
that the guitar(s), bass, drums and vocal format
is where it's at, but Black Not Green seem to have
fused the old 'n' new with a degree of intelligence
and style often absent from guitar bands using
technology. Is anybody out there ? is a fine
rendering of diverse influences (how about
Soundgarden, Rage Against The Machine, Aphex Twin
and Future Sound Of London?) welded into an
appealingly individual track. The guitar work is
chunky and abrupt, making maximum use of low-string
hooks and dramatic riffs exploding over a grinding,
metallic rhythm track. The vocals are spot-on;
recorded dry through much of the track, invoking an
atmospheric close-up intensity and really exposing the
range and rawness of Roger's voice.
Originality 4/5
Production 4/5
Signability 4/5
This track (along with the rest of the material they
sent) is surely
deserving of wider attention.
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blacknotgreen cd review
rhythm magazine, october 1996
Sending in a brilliantly presented CD, the oddly
titled Black Not Green perform what they describe as
"melodic vocal driven songs over trancey ambient
grooves with rough moody guitars and percussion",
which seems to be a pretty accurate description.
Opening up with a tune in 6/4 called "Is
anybody out there", the CD kicks in to life with
some samples of people talking. Once they're out of
the way, the song itself kicks in, an excellent it is
too. Particularly noteworthy are Matt's superb drum
programming and Roger's outstanding vocals. The CD
carries on with a whole series of imaginatively thought
out and well executed dance-rock and industrial tinged
songs. At no point do the songs or lyrics prove
annoying, distracting or lacking in creativity. Tim
Dodd's powerful and sparse guitar riffs add an
earthy rock influence that keeps the ambient backing
from wandering too aimlessly, leading to uplifting but
focused songs that are catchy and memorable.
Given this form of music can lose the plot so
easily, BNG have fused pop, rock and ambient dance
absolutely perfectly. A rare find indeed.
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