February
Jonathan Kane is a Downtown NYC legend — as co-founder of the no-wave behemoth Swans, and the rhythmic thunder behind the massed-guitar armies of Rhys Chatham and the rock excursions of La Monte Young and one of the hardest-hitting drummers on the planet.
“Wedding the brutal severity of Delta country boogie and Seventies German pulse rock – all dead-ahead motion and mounting detail…Epic.” - Rolling Stone
“Somewhere between Sonic Youth and Steve Reich is the drummer Jonathan Kane. Interested in the crossroads of new-music iconoclasm and experimental rock, he has a drummers sense of steady dynamic development and an unapologetic love of noise. Virtuosic.” - New York Times
“Intensely propulsive motorik blues, its muscularity and greased relentlessness is never less than exhilarating.” - Uncut
Monotract
Monotract blends trad to avant hardcore dynamics with electronic textures and far-out spatial distortions, resulting in a compelling marriage of worlds more accessible than the patronage of Load Records, home of Lightning Bolt and Yellow Swans, might suggest. One of the keys to the [Trueno Oscuro's] success lies in the application of dubwise treatments to the Q: Are We Not Men? Devo clamour of “The Ballad of Lechon” becomes a mind-shatteringly percussive assault, thanks to the liberal application of echo, most notably in its devastating final moments. This is by no means a new conceit- reverb has long been appropriated by cannier noisemakers, from Sonic Youth to Wolf Eyes- but [they] appear to have near-as-damnit perfected this particular art. Of course, it helps that in Roger Rimada the trio have a spectacularly talented drummer capable of balancing idiosyncracy with accuracy in a manner that wouldn’t shame Keith Moon. Other tracks indicate a possible way out of the crowded noise ghetto, applying the abject-electro filth favoured by the aforementioned Wolf Eyes and their ilk to solid song structures, surprisingly without diminishing either. “Red Tide” is a particularly effective example, an unholy collision of synthesized throb, metallic clang and compulsive martial rhythm that epitomises the album’s excellence. (The Wire)