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Saturday 2 May 2015


Klubovna Povaleč
Generála Píky, Praha, Czech Republic


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Letmo & Cary mlhy present:

Father Murphy je experimentální, žánrově neukotvená, občas psychedelická a projevem nevypočítavá kapela v současné době složená z Chiary Lee a Freddie Murphyho. Jejich hudba skládá střepy noise rocku, no wave, chytlavých popěvků, mystiky sakrální hudby a rytmiky starého industriálu do velkolepé vitráže, na kterou se místo do katedrály chodí do sklepů. Sledovat je naživo povznáší a zároveň budí tíseň, neboť je dost dobře možné, že svoji vitráž hodně hlučně vysklí, a to přímo na vás. Kdyby ke katolicko-mystickému giallo filmu dělali soundtrack Michael Gira a Jarboe, mohlo by to znít tak trochu jako Father Murphy. 2. května přijedou do Prahy představit své šesté, koncepční album Croce (italsky kříž).

Vystoupí s nimi Dead Pigeon, kteří se po několika koncertech, kde svou tvorbu prezentovali v dubové poloze, lehce vrátí ke svému původnímu zvuku. Uvidíme, zda stále platí “industrial hypertension meets ambient asphyxiation”.

V sobotu 2.5. v Klubovně Povaleč (Generála Píky, Praha 6) od 20:00. Vstup za 200,-

One of the most mysterious and enigmatic musical entities to come out of Italy in recent years, Father Murphy, has announced a new full-length album that will be available March 17th from The Flenser. Titled Croce, this new collection of dark psychedelic/industrial cabaret is a concept record about the cross (yes, it's THAT cross - 'croce' in Italian), with one side of the record sonically representing the suffering and sacrifice and the flip side reflecting what comes after; the end of said suffering, resurrection, or perhaps oblivion. This album marks the band's fifth full-length release of their extensive catalogue and was recorded by John Dieterich in Albuquerque, NM and mixed by Greg Saunier earlier this year.

The sounds Father Murphy creates on Croce are shadowy, the atmospheres muddy and murky, from which spring unexpected blurts of impossibly catchy noise pop, approaching at times something almost operatic, like some twisted musical detailing the trials and tribulation of the crucifixion. Male and female vocals by Freddie Murphy and Chiara Lee intertwine over distorted blasts of guitar crunch, anchored by stuttering homebuilt percussion. This sound is both textural and nuanced but also noisy and chaotic, and that chaos is carefully sculpted into jagged shards of fragmented pop, and that pop oven into a dramatic, almost theatrical song suite.

The first side of the 8 song, 36-minute album finishes up with the song "In Solitude", an appropriately dour slab of murky miserablism that sounds like a slow sonic death, a haunting dirge that dissolves into that ineffable space that exists between the record's second side; the netherworld, the afterlife, Purgatory even. But Father Murphy erupt from this stygian blackness with the second half of Croce (meant to be the light to the A side's dark) and yet the opener is still somehow strangely doomy; a field of metallic shimmer and more junkyard percussion, strung together into a spare framework, over which dramatic male vocals soar, the female vocals responding like some demonic Greek chorus, but true to the theme, the vibe grows strangely warm. Croce's finale, "They Won't Hurt You", is all majestic pipe organ, a stirring and stately court music, lush and lovely and epic, the sound of rebirth, redemptive and ultimately restorative, a return from the beyond, arisen from the grave, ascended into the heavens, the sounds drifting upwards, beyond the galaxy, the universe, into the unknowable infinity. Croce is yet another masterpiece in Father Murphy's pervasive and provocative story.

2015 will see Father Murphy touring once again - they recently closed out US and Canadian dates with Iceage and upon their return to Europe, played a set at Michael Gira's Mouth to Mouth Festival in The Netherlands - this time in support of Croce. Look for tour dates, song premieres, and more information to come soon.

Father Murphy is the sound of the Catholic sense of Guilt.
A downward spiral aiming at the bottom of the hollow, and then digging even deeper.
Father Murphy over the years became one of the most mysterious and enigmatic musical entities coming out of Italy, part of that community that Simon Reynolds and Julian Cope started to call the new “Italian Occult Psychedelia”.

From the harbingers of occultism and eroticism lifted from their nation’s giallo tradition, to their theatrically adopted pseudo-religious personas (unless Murphy’s a real-life ‘padre’, in which case I can only beg his forgiveness), this Italian group are a ‘cult’ band in every sense of the word.
Tristan Bath, THE QUIETUS

Father Murphy knows perfectly the meaning of the work “experimenting” and he never loses the occasion to boost the envelope to create a unique composition.
Daniela Patrizi, ECHOES AND DUST

Father Murphy’s Pain is on Our Side Now is a fascinating listen. It’s an unapologetic venture into head music and contains some powerful compositions. It’s steeped in a sense of reverence, but one that looks below, rather than expecting anything from above

The oddball psychedelic chamber pop the Italian trio exhale will creep you out with drones, lullabies and anguished vocals all competing for front-runner spot in your next nightmare. Perfect.
Jose Carlos Santos, TERRORIZER

Italian trio Father Murphy’s 2012 album, Anyway, Your Children Will Deny It, is a towering release of grandiose pop that really transcended any sort of genre lines.

Close spiritual cousins of Kayo Dot, they make three instruments sound like a much larger ensemble and make meticulously structured composition seem like spontaneous abstract improvisation. Impressive but mightmarish, like a beautifully rendered self-portrait splattered with blood and self-loathing.

After their really rather glorious debut it is reassuring to see that this strange Italian troupe have lost none of their experimental verve…If you’ve got an open mind then you might just discover a new favourite band.
Alex Deller, ROCKSOUND

If it were a canned pasta meal it would be a tasty bowl of Berthold Brechts’ Spaghetti Western-Styled Dirge-ee-Oh’s.

Italy’s fabulously lawless organ-guitar-drums trio Father Murphy, who have – with their colossal new album Anyway Your Children Will Deny It – delivered a disc of exhilarating vocal harmonies, low church organ themes, and flipped out heathen tantrums all exquisitely staged and performed with that same theatrical drama as early This Heat or JA Caesar… this is a haunting and superb work that you really must check out.

It is no surprise that Julian Cope is a big fan of this eccentric Italian trio, their second albun sounds genuinly gothic but somehow manages to invoke other disparate influences.
John Lewis, UNCUT

I’ll put an extra shilling in the collection plate if Reverend freddie Murphy has been ordained. There’s chanting and banging and bells-a-plenty, a peculiar hymnal to the art of noise. Throughouth, the percussions, strangulated sounds, epic songstitles and conceptual doom as if the world’s faiths are administering the last rites over the rattlin’ bones of Liars. If the papists hear this, there’ll be excommunication for Reverend Fred. Amen to that.
Luke Turner, NME

Where to start? Highly recommended, we don’t know how to tell you about it… wonderful…

The dead-eyed chants, keyboard drones and bone-dry rhytms of Italian Father Murphy’s second album conjure up a funereal atmosphere somewhere between homemade Morricone and toytown Goblin… That ol’devil Dario would surely approve.
Joseph Stannard, THE WIRE

Recently watching the 1974 “classic” Nude for Satan confirmed that A: Italian art can often be simultaneously Catholic and subversive and B: they make music that’s fantastically fucked up… There are elements of Michael Gira’s shabby grandeur crossed with the improvised drum racket of My Cat is an Alien. Their guitars seem infected with distortion and the percussion blends rowing rhythms with sea spray cymbals. The whole procession keeps shifting focus so that you can’t be sure if they are winking or wincing.
Eric Hill, EXCLAIM!

Father Murphy delve further into the prog horror sound of 2008 …And He told us to turn to the Sun, with a poundling Gialloesque score that suggests a band who’ve studied Messiaen’s Messe de la Pentecote alongside Os Mutantes and spotted a deep and true connection.

The Italian rock renaissance of the 21st century — at least in some corners — continues with the work of Father Murphy, as aggressively outré as early Jennifer Gentle, say, but with their own distinct style, twisted stop-start chants and clatter instead of bizarrely winsome sparkles… Father Murphy are well on their way to establishing their own solid reputation for an intriguing listen.

Compliments to Michael Gira for pointing Dream Magazine in the direction of this intriguing Italian psychedelic outfit… This is definitely a band to keep an eye and ear open for.
George Parsons, DREAM MAGAZINE

When I played a non-band set in Oakland, California, opening for the Italian band Father Murphy, they completely floored me. I had never heard of them until then, but their album And He Told Us Not To Turn to the Sun packs some of the most original, beautiful music I’d heard in a long time – think eerily spacious songs with strange yet perfect arrangements. And such nice people! I’m a huge fan.
John Dieterich (Deerhoof) as interviewed by THE INDEPENDENT

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