FADOHT – AXONAL FIRING SQUID

It has become somewhat of an annual tradition for New Zealand experimental noise-rock duo Flogging A Dead One Horse Town to add to their already brimming discography with MUZAI Records.

Last year saw Tim and Dave not only release two EPs, Sly Flogging and Old Scum, but also a documentary on VHS – 10 Year Flog! – to inform the slowly swelling listener-ship to the band how they began and how they got to this many releases.

Axonal Firing Squid, the latest EP from the pair, once again bears the hallmarks of the hard working band; lo-fidelity, krautrock-esque drumming and song titles to confuse even the most abstract of listeners.

But more importantly it once again pushes the band into the more experimental aspects of noise-rock.

The shift from earlier works stemming from Listening Will Cause Death and moments caught with their compilation/mix-tape, Flogging A Dead One Horse Town, is even more apparent this time around.

Building upon their already vast home studios in Christchurch and Otumoetai, Axonal Firing Squid utilizes more samples, malevolent synths and eerie soundscapes. Doing their best to move away from the apparent Shellac comparisons of old and pushing the envelope even more away from the conventions one associates with noise rock.

It’s less pragmatic and more luscious. Which is perhaps a phrase more akin to other genres than the noise-rock movement (and somewhat of an unfair assessment of noise music at times.)

Lead single “Notorious Puzzles” is a nightmarish, Hitchcockian soundscape of atonal tapped guitars bedded in Dave’s once again exceptionally steady yet eclectic drumming with Tim’s even more apparent love of sound collages.

Its hypnotic opening crescendo, shamanic in it’s delivery, makes way for the powerful, angular guitar work with its overriding hook looped in the background but always apparent.

As it places the listener into a certain groove that develops over four minutes, Flogging A Dead One Horse Town lays their strong opening hand on the table. The gambit for the listener has been set; will you fold or will you call?

With the macabre EP art created alongside Mitchell Shannon, Axonal Firing Squid is not for the faint of heart (and if you’re a long-time MUZAI listener, you more than likely are aware of that) – it’s an entire package designed to unnerve listeners.

But like all great horror movies, there is that ghoulish quality amidst the visceral nature of the art.

Axonal Firing Squid is released September 17th 2021 through MUZAI Records.

Context in the FADOHT Catalogue

For those who have followed Flogging A Dead One Horse Town since their earliest cassette-only releases, Axonal Firing Squid represents both a continuation and a departure. The duo’s previous EPs on MUZAI Records — EPs like Sly Flogging and Old Scum — were already moving away from the tightly wound, bass-heavy attack that once drew comparisons to Shellac. On this new record, that evolution accelerates. The songs are longer, more patient, and more willing to dissolve into texture rather than resolve into riffs.

It is worth noting that the band has never been interested in repeating themselves. Their catalogue, now spanning over a decade, is a testament to restless experimentation. Axonal Firing Squid is the logical next step in a trajectory that began with the abrasive minimalism of Listening Will Cause Death and continued through the more atmospheric passages of their compilation appearances. Fans who have followed the band’s live shows in Christchurch and Tauranga will recognise fragments of these new pieces — they have been road-tested in various forms over the past two years.

Recording and Production Approach

As with all FADOHT releases, Axonal Firing Squid was recorded entirely in the band’s own home studios — Tim in Christchurch and Dave in Otumoetai. The process is deliberately lo-fidelity, but not in the sense of carelessness. There is a clear attention to sonic detail: the placement of microphones, the use of room ambience, and the careful layering of found sounds. The result is a record that feels both intimate and alien, as if recorded in a room that is slowly filling with static.

The duo have spoken in past interviews about their preference for first takes and minimal overdubs, and that ethos remains. However, this EP features more post-production manipulation than previous efforts. Tim’s growing collection of analogue synthesisers and tape loops is put to use throughout, creating a bed of eerie textures beneath the guitar and drums. Dave’s drumming, as always, is the anchor — his patterns are hypnotic and precise, often sounding more like a motorik pulse than a traditional rock beat.

Track-by-Track Overview

While the band has never been keen on explaining their song titles, a brief walkthrough of the EP’s five tracks may help new listeners orient themselves. The record opens with “Notorious Puzzles,” the lead single, which sets the tone with its slow-building tension and atonal guitar lines. From there, the EP moves into even more abstract territory.

• “Axonal Firing Squid” — The title track is a sprawling, nine-minute piece that shifts between near-silence and bursts of distorted noise. It is the most overtly “krautrock” moment on the record, with a relentless drum pattern and layers of synthesiser drones.
• “Muzzle of Bees” — A shorter, more claustrophobic track built around a repetitive guitar figure and whispered vocals buried deep in the mix. The tension never releases, leaving the listener on edge.
• “Cephalopod Lament” — As the title suggests, this is a mournful piece. A slow, melodic bassline (played on a detuned guitar) is gradually swallowed by feedback and tape hiss. It is the closest the band has come to a ballad.
• “Static Bloom” — The closing track is the most ambient on the EP. For six minutes, the duo explore pure texture, with only the faintest hint of rhythm. It ends the record on a note of unresolved tension, as if the listener is left floating in a dark sea.

Artwork and Visual Identity

The EP’s cover art, created in collaboration with Mitchell Shannon, is an integral part of the release. Shannon, who has worked with the band on previous projects, has crafted an image that is both grotesque and strangely beautiful. The central figure — a squid-like creature with exposed nerve endings — seems to pulse with an inner light. The colour palette is muted, dominated by deep blues and sickly greens, evoking the depths of the ocean and the decay of organic matter.

This visual language extends to the limited physical release. The cassette version (available through MUZAI’s Bandcamp page) features a hand-numbered insert with additional artwork and liner notes. The vinyl edition, pressed on translucent blue wax, includes a poster of the cover art. As with all MUZAI releases, the packaging is designed to be a tactile experience, not just a container for the music.

Reception and Critical Response

Early reviews of Axonal Firing Squid have been positive, with several critics noting the band’s continued refusal to be pigeonholed. One reviewer described the EP as “a descent into a fever dream, where the familiar shapes of rock music are distorted beyond recognition.” Another praised the duo’s “uncompromising vision” and their “ability to find beauty in the most abrasive sounds.”

It is unlikely that this record will win over listeners who prefer their noise-rock to be straightforward and aggressive. But for those willing to follow FADOHT down their rabbit hole, Axonal Firing Squid is a rewarding and deeply unsettling journey. It confirms the band’s status as one of New Zealand’s most adventurous underground acts.

Where to Listen and Purchase

Axonal Firing Squid is available digitally through the MUZAI Records Bandcamp page and all major streaming platforms. Physical copies (cassette and vinyl) can be ordered directly from the label’s webstore. As with all MUZAI releases, a portion of proceeds goes towards supporting independent music venues in Christchurch and Tauranga.

For those new to FADOHT, this EP is an excellent entry point. It encapsulates everything the band does well — hypnotic rhythms, unsettling textures, and a fearless approach to songwriting. And for long-time fans, it is further proof that Flogging A Dead One Horse Town remain one of the most vital and unpredictable bands in the New Zealand underground.