This Is Not This Heat
Although widely considered to be Post-Punk’s finest, This Heat actually began performing their music in the early days of London’s punk era. Within their two albums and an EP they perfected a strange and volatile new strain of avant-garde rock that time has proved to be massively influential, a blueprint for much that would follow: post-rock, math rock, homemade musique concrète, experimental electronica…..
Exactly 40 years to the day of their first gig in 1976 the two surviving members (Hayward and Bullen) of the original three came together, with a large group of collaborators, to perform expanded versions of the recordings. Conceived solely as a two night residency at Café Oto, under the project title of THIS IS NOT THIS HEAT, it sold out in a matter of hours with fans travelling from as far as Japan. An invitation from the Barbican followed along with countless offers from around the world. A touring band distilled in early 2017 leading to selective performances at major festivals and venues in the UK, Europe, USA and Japan with unfaltering fervent acclaim from critics and audiences alike.
Ahead of their time, This Heat’s music sounds as startlingly original and relevant, live and on record, as the day it was created, but ,in the words of Charles Hayward “moving forward has always been deep inside the music and we need to resolve that contradiction. Now.”
Consequently THIS IS NOT THIS HEAT have recently played their final homecoming gigs in South London and will play their very last international dates this July on their third and final trip to the US, ending with Elsewhere, Brooklyn.
“… It does feel like we’ve been witness to something special. A fine body of work has been brought to life with energy and vitality that seems improbable nearly 40 years after the fact.” – The Wire
“This doesn’t feel like nostalgia but a new beginning” –The Guardian
“While this music might have been written 40 years ago, its creeping sense of dread and strange beauty has never sounded more eerily prescient.” – Rolling Stone
“It was plain to see that This Is Not This Heat is just as much a living, breathing collective as it is an homage to one of Britain’s most eclectic and innovative experimental rock groups”
– BrooklynVegan review of Pioneer Works, New York
When punk had barely dawned, This Heat was already post-punk. From its start in 1976, This Heat was a contrarian band, dispensing corrosive noise, intricate math-rock patterns and cryptic, often politically charged lyrics. This Is Not This Heat’s Big Ears set was utterly precise in its cantankerousness…the songs’ bristling cynicism defies obsolescence.”
– The New York Times review of Big Ears Festival, Knoxville
“Bowie and i hit it off insanely and talked about Mishima and This Heat and all sorts of stuff”
–Arcade Fire’s Owen Pallett on meeting David Bowie
“I get asked to play more music like This Heat, but to my knowledge there is no other music like This Heat” John Peel
“Playing a fringe yet stylized version of noise and industrial that is intelligent, expressive, and powerfully physical, Dreamcrusher is the solo musical endeavor of multidisciplinary artist Luwayne Glass- hailing from Wichita, Kansas. Formed in 2003, reveling in the aughts of myspace, tumblr, soundcloud and other social media sites, Dreamcrusher began as a project of self-discovery and self-release while contained in a queer, gender non-binary (they/them pronouns, not he/him or she/her), black body in America’s bible belt. Creating over thirty releases, splits, extended plays and singles all before 2014, without ever releasing a full-length album, each project shows a very individual growth while sitting in many scenes that often don’t lend themselves to explicit artistic morphing. The Dreamcrusher project and their releases have become increasingly more personal, confrontational, concise and challenging. After migrating from Kansas to New York City, their success hit new heights diving headfirst into the American live DIY scene. Dreamcrusher continues to alter the overwhelmingly rigid aesthetic of ‘noise’ and underground scenes by expanding the meaning of ‘genre’, and in many ways completely distorting ‘genre’ to form to them rather than the reverse. They choose not to underestimate the intelligence of their audience by challenging them at every sea change.”