F*cking yes!
Avon Terror Corps is here for round two, presenting the debut release (after having whipped up many a storm in venues across Bristol and further out of town) from improv-force Dali De Saint Paul (EP/64) and Miguel Prado (Nzumbe), together as Harrga –
‘a burn’ in the Moroccan Darija dialect – you’ve been warned.

Adding to the catalogue of furious flames caused by that recent Kinlaw & Franco Franco LP (make sure you grab that too, if you haven’t yet – copies running low), and the Avon Is Dead comp, this LP will go down in history as one of the starkest statements of intent in recent times.
This is a take-no-prisoners, kick-in-the-teeth contemporary take on Industrial music, loaded with all that anger and pent-up frustration, as well as the harrowing, yet exhilarating and utterly cleansing force of these frequencies in combination… There’s nothing contrived or over-polished here, but equally this is as concise and direct as it gets – a visceral focus of energy and creative force.

Hear this:

“The project began mid-2017 as an outlet to create, without a motive or political intention. Soon though, the escalating Migration Crisis could no longer be ignored. They felt compelled to pay tribute to the ‘Harragas’ (people who cross borders illegally and must burn their papers, thus losing their identity.)

Héroïques Animaux de la Misère’s music is a meditation on the horror of that which crevasses borders. A great deal of state refugee policy is aimed at the silencing, repression or denial of the horrors of migration. The anxieties connected to and generated by refugee movement reflect the transgression of borders, including borders between the human and inhuman, as well as the failure of containment, borders and border walls as a response to crisis.

Turning white innocence in the Black Mediterranean into a survival horror show, Harrga tries to hijack the diasporic sound trajectories. The nomad war machine and all the Swarmachines from the liminal space of exchange and migratory fluxus.

Dali de Saint Paul mixes poetics and politics, singing in French, Darija and some English. She spits with fire and fury, though there is a tangible compassion in her pained lamentations. Paired with Miguel Prado’s singular, amorphous noise-design, they conjure a seething and thoroughly anomalous vision of contemporary industrial music .”

Yes, yes.
full support!

Served in edition of 300,
Includes insert.
Mastered and cut by Lewis Hopkin at Stardelta.

1. Melilla
2. Artaud
3. War
4. Lava
5. La Mer
6. Desert Song
7. Phone Recording
8. À Vif (ft. Moor Mother)

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