While playing with his other band, What Moon Things, Brooklyn-based artist Jake Harms began to start to feel an itch to make something wholly his own. It didn't start as a record - just a group of songs that seemed to make sense out of a fog of journal entries and scraps and demos and half-finished ideas throughout the years.
Working as HARMS, the inspiration for his forthcoming, debut EP, Aquarium, came from a poem he had previously written about the feeling of living in New York City for the first time as an adult:
walking around is like being at the aquarium observing 6 tons per square meter of pressure on the glass dividing you and everything else
The resulting EP finds Harms crafting pressurized dark rock fusing the goth grandeur of The Cure with the lonely indie pop of Porches.
"Walking around the streets of the city felt like being at an aquarium," shares Harms. "The pressure from millions of thoughts and bodies pushing against glass that just barely separates you from them. The sound and feeling are shaped by riding the subways in Brooklyn, hearing sirens, scrapes, voices filter in to the space in my arrangements, the space in my headphones."
Portuguese collective HHY & The Macumbas share a new video for "Swisid Mekanize Rejiman", taken from Beheaded Totem LP/CD/DL", which was released September 28th by House of Mythology. Directed by Diogo Tudela, and starring Frankão and Teresa Froufe Castro, the collective's brainchild Jonathan Uliel Saldanha talks us through the video...
“This video is made in a vibe and tempo that brings a spasmodic effect to the hyper-presence in the music of HHY&TM. With images that I’m sure can resonate with peripheral places in any human city, but in this case comes with flavours from a popular Portuguese party style called “Romaria”: done in earlier days for the saints, but now serving mainly the sinners that look for trouble in the night – a night illuminated by explosive pyrotechnics."
Febrile, haunting and at times overwhelming, Beheaded Totem is nothing short of a dream for the necro-tourist. Cerebral and alluring. Toxic. Welcome to the four-dimensional meltdown. “Beheaded Totem continues a long investigation into percussion, circular rhythms, dub strategies, and horns coming from the alcohol-fuelled Portuguese marching bands,” says constructor and conductor in the world of HHY & The Macumbas, Jonathan Uliel Saldanha. For those unfamiliar with the Macumbas, they are a shifting musical entity. Built amid smoke and fiery red lights, the performers on Beheaded Totem are: João Pais, Filipe Silva, Frankão and Brendan Hemsworth on percussion, and Álvaro Almeida, André Rochaand Rui Fernandes on horns. An Arkestra reaching not for the stars but the boiling core under our feet.
This music stems from a deep connection with the streets of Porto and its undertones, nights and drags,” Saldanha says. Emerging from SOOPA, an art and music production unit based in the old harbour city, he has been a leading force in the Portuguese experimental music scene since the early 2000s, through which he coined a signature “skull-cave echo.”
“It comes with a love for trance, otherness and sound pressure,” he explains. Beheaded Totem is indeed a pulsating and physical album, revealing both an ultimate pain and unbearable joy – a funereal ecstasy – as if everything might collapse in on itself at any moment. The disruptive nature of the seven tracks also hints at a free form. They are more evocations than songs, found in the depths Saldanha reached for in the filmic and musical explorations of Tunnel Vision (2016), made alongside director and musician Raz Mesinai. Recorded in tunnels and cavities in and around the city of Porto, the sub-frequencies of Tunnel Vision functioned as a panoramic documentation of the underground, a “dub fiction,” as Mesinai put it. Add the Macumbas’ already famed live capacities evoked on this album, and Beheaded Totem comes across as a fear- less interpretation of sulphurous storms. Both meticulous and massive, raw and ravishing, as if their minds are set on rewilding a hollow earth. And as the nightly creatures prepare themselves to join HHY & The Macumbas in a final Danse Macabre, they might realise what they’re in for: to never find their way back to the corrosions of daylight. But, then again, some sacrifices come with joy.
– adapted text, originally by Tore Engelsen Espedal, May 2018
CUTS, the audio-visual project of composer and filmmaker Anthony Tombling Jr, will release his debut album A Gradual Decline through Village Green Recordings on 30th November.
Continuing with the environmentally themed videos, after the beautiful yet foreboding "A Gradual Decline', CUTS have now shared one for 'From Here To Nowhere'. He explains: "This was the first piece I wrote for the album. I watched British diver Rich Horner’s powerful and devastating film of him diving in a sea of plastic and felt inspired to write something to it. It was the catalyst I guess for the rest of the album and its themes. Rich kindly gave his permission for me to use the film. I’m sure a lot of people have seen it, but if more people end up watching it as result of this, then that can only be a good thing."
Summoning 11 widescreen, electronic compositions in response to global political and environmental breakdown, album A Gradual Decline addresses the planet’s current fragility using actual field recordings of ice collapsing from glaciers. Weaving these momentary, dramatic events directly into the DNA of the music, CUTS has sculpted rhythmic elements out of geological transformation.
“We are living in the age of the Anthropocene and it feels like everything is in decline,” reflects Anthony. “We’re in a moment where extinction is regular. I wanted this record to reflect these frailties.”
A stark sense of urgency permeates A Gradual Decline. At times chaotic and alarming, the album’s siren-like tones and volatile, stuttered beats converge with synthetic gales of melody and glacial percussion. Elsewhere, the sense of precariousness is subtler, enveloped in gaseous chords that swell and evaporate, ethereal and dense guitars and distant vocals – all hallmarks of previous CUTS material - here honed into a concise, conceptual set.
“I have tried to make a record that feels like it’s all come from one place," explains Tombling Jr. “My only musical influence on this was William Basinski’s ‘Disintegration Loops’. Not the music, but the process. The idea of a decline in sound really suited the concept of this record. All this music and instrumentation trapped in this declining digital signal. I wanted it to sound brittle and precarious. I also wanted to avoid doing overly dark material, opting instead for something that was more fragile, melancholic and even hopeful in moments.“
CUTS signed to Village Green Recordings earlier this year and released the double EP EXIST in April. The EP featured the track ‘Bunsen Burner’, which can be heard in the memorable climactic scene of Alex Garland’s Ivor Novello-winning, sci-fi masterpiece, Ex Machina. Tombling Jr’s composition was also used in the finale of JJ Abram’s cult TV show, Person Of Interest. Taken from the same double EP, ‘Dream Voyager’ was remixed by shoegaze legends Slowdive and Village Green label mate, Ben Chatwin.
CUTS has performed at ATP, Simple Things, Drill Festival and played with Fuck Buttons, James Holden, Haxan Cloak and Wire.
Regardless of any perceived time between record or tours, CAVE keep such a fluid beat that their actual musical time becomes a universal constant. CAVE's music relies equally on energy as well as a formalist rigor, and Allways may be their finest example. CAVE's chosen path of expression is bed-rocked in repetitive and interlocking rhythmic patterns, and over the course of their rich catalog, one can easily identify modes and moods that can be described as punk, funk, post-punk, kraut, psych, boogie, and jazz. Yet no matter which way you listen, CAVE sound uniquely like CAVE and nothing (and no one) else.
Perhaps it's this singular nature that makes "Beaux," the endlessly pleasing jammer from Allways, so outrageously groovy. We could describe it with various fluff and verbiage and still never quite land on what makes it such an ear tingling delight. Now "Beaux" can be seen in a way that's just as wild and stunning as it sounds on record: CAVE present "Beaux", a video directed by Krzys Piotrowski with VFX from Nick Ciontea.
The audio portion of the video for "Beaux" was recorded live to tape in session Labranza with no overdubs as it was being filmed, all in one take. A beautifully kaleidoscopic snapshot of a band with peerless sound and vision.
CAVE are set to hop back into the van for a string of US dates on the East Coast and in the Midwest, and in Europe in 2019. Full dates below.
CAVE EUROPE 2019 TOUR DATES
29/3/2019 Galeria ZdB, Lisbon PT 30/3/2019 Palacio de La Prensa, Madrid ES 4/4/2019 Radar Estudios, Vigo, ES 6/4/2019 Psych Fest, Barcelona ES 7/4/2019 SUFRE Soundsystem, Valencia ES 8/4/2019 Planta Baja, Granada ES 11/4/2019 Sala X, Seville ES 13/4/2019 Vera, Groningen NL 14/4/2019 Roadburn,Tilburg NL 15/4/2019 The Shacklewell Arms, London UK 16/4/2019 Gullivers, Brighton UK 19/4/2019 Rotondes, Luxembourg LU 20/4/2019 Rockerill, Charleroi BE
Never Betters are pop worshipping punkers in the church of fuzz. Danny got a good deal on a sick amp; Davita teaches drums to children; April lip syncs; Pat doesn’t want to deal with their bullshit anymore (neither did Nathan, Joey, or Andrew — hopefully Bob sticks). They're just trying to be better.
Surachai, the musician/producer who has been hailed for his adeptness at merging the worlds of tweaky electronics, aggressive metal and avant-garde noise, returns with his seventh full-length album, Come, Deathless, on Jan. 25 via BL_K Noise.
“I spent a terrible year recording sounds around the world and finding places for them to fit into this semi diary of an album,” explained Surachai about the 12-track release.
The album also features three guests: ISIS/Palms’ drummer Aaron Harris, The Locust/One Day As A Lion keyboard player Joey Karam and newcomer, singer Sara Kendall. Resident Advisor recently previewed the track “An Unfamiliar Reflection Activates A Gate”, which features Harris’ contribution.
Come, Deathless pre-orders, which include limited edition test pressings, various vinyl editions, cassettes and digital options, are available now via surachai.bandcamp.com.
Surachai’s most recent release, the 2016 album Instinct and Memory, has been praised across a wide spectrum of outlets, with XLR8R saying his music is “conjured from a deep knowledge and relationship with machines, machines that in this case sound like they are let off the leash to run wild across a desolate, apocalyptic sonic landscape. Post-Punk said Surachai’s releases are “always dangerous, never predictable,” while No Clean Singing described his technique of layering samples with guitar and various electronics “creating an almost symphonic atmosphere.”
Indianapolis-based band S-E-R-V-I-C-E have shared the live video for new single, "Who Are You Anyway," in an exclusive premiere with Glide Magazine. They had high praise for the visual, saying "The video perfectly captures the band’s hard-charging rock and roll sound in what looks to be a backyard day party." Previously, the band shared "Hey". Magnet premiered the track calling it "a caterwauling assault of a post-punk song that will help you end your bummer summer on a high note." Both of these singles can be found on the band's forthcoming debut album Drag Me due for release in early 2019.
S-E-R-V-I-C-E began when Jon Spencer Blues Explosion drummer Russell Simins and We Are Hex singer Jilly Weiss met on tour. They wrote their first song together in 2015 at a messy kitchen table in his Manhattan apartment. They fell in love, got married, and wrote a dozen or more perfectly flawed rock and roll songs.
Taking a breather from JSBX, Russell joined Jilly in Indianapolis to turn these raw songs into an urgent, swaggering rock and roll record. They found their accomplices in Sharlene, Johnny, and Mitch. Together they’ve made S-E-R-V-I-C-E into the most authentic expression of vulnerability and self-awareness, with wildly impactful vocals set against roaring guitars and a giant beat. It’s post-punk, then punk again.
S-E-R-V-I-C-E is Sharlene Birdsong (keys, guitar, noises from space), Mitch Geisinger (guitar), Russell Simins (drums), Jilly Weiss Simins (vox), and Johnny Zeps (bass).
Their debut record Drag Me will be released early 2019 with supporting tour dates.
When you read the mission statement of the record label Our Silent Canvas, an entity that prides itself on encouraging “exploration of the complete sensory experience, by developing performances featuring a collaboration of these various arts,” it seems to outline and explain the existence of NOUS, a collaborative musical endeavor started by Ghost Against Ghost’s Christopher Bono. With a five-member core of outsider and neoclassical artists — Bono, Greg Fox (Guardian Alien, Zs, Ben Frost, ex-Liturgy), Shahzad Ismaily (Yoko Ono, Laurie Anderson, Bonnie Prince Billy), Thor Harris (Swans, Angels of Light, Amanda Palmer, Shearwater), Grey McMurray (itsnotyouitsme, So Percussion, Tyondai Braxton) — NOUS was developed during a week of recorded sessions, the first of which will be released by Our Silent Canvas as NOUS I: A Musical Rite.
Structurally varied enough to cross genres, though the album would undoubtedly qualify as a post-rock jam, NOUS I is fascinatingly consonant, the nature of improvisation and sound exploration not always conducive to the most coherent soundscapes. A percussive exercise like “Kabay” becomes immersive the longer it plays, identifying early this intent to envelope and guide the listener through ritual with “Dancing Marvels,” otherworldly travel with “Shumisah” and finally meditation with the album’s closer “Transitory Reality.”
While I wouldn’t say that album was meant to be transcendent, it speaks to the potential of creative partnerships, offering through the boundlessness of its participants an engaging listen.
NOUS I: A Musical Rite is scheduled to release November 16th in both digital and vinyl formats. Pre-order links are below along with an album stream.
The wildly eccentric Guerilla Toss took full advantage of the Halloween season for Saturday night's gig at Johnny Brenda's, letting the naturally dark and playful setting that the holiday typically provides enhance the band's artful and cartoonish nuances. Attendees dressed up for the occasion, inspiring a costume contest (Mother Nature won and then promptly fellated the trophy).
Punk disco was the scene, the evening's collection of costumed and plainclothes fans caught in the groove and dazzled by the vivid lights and the abstract visuals that gleamed overhead. Think of The Exploding Plastic Inevitable had it been set to post-punk/mutant disco.
Guerilla Toss is currently touring to promote Twisted Crystal, their latest LP which is currently available at DFA Records. I reviewed the album for No Ripcord.
For a No Ripcord's monthly installment of blurb-sized reviews, or "QUICK TAKES" as the feature is titled, I submitted KEN mode's Loved and Thou's Magus. Both albums contain some of the most exciting, violent, and emotionally turbulent music I've heard this year. Please enjoy the reviews and I'd recommend reading about the other albums covered in this feature as well.
Acting on an unexpected offer to attend Public Image Ltd.'s Philly stop on their current The Public Image is Rotten tour, I wound up with a writing assignment for Phawker. The show review is linked below along with some shitty iPhone photos I managed to take. The professional shot was taken by Josh Pelta-Heller.
One observation that I didn't include in the show review: Following PiL's performance of "Black Swan," John Lydon shot two of the most confident and spectacular snot rockets from his nostrils that I've ever seen. I was simultaneously impressed and disgusted. It was kind of amazing.
(via Tell All Your Friends PR / Exit Stencil Recordings / Bandcamp)
Via Tell All Your Friends PR:
Brooklyn-based, post-punk trio Big Bliss announce their new album, At Middle Distance, and share lead single, "Surface" and second single "Constants." Billboard exclusively premiered the lead single with praise, stating, "The music of post-punk trio Big Bliss is almost like a dream on wax with its trance like bass and guitar riffs and driving drum beats." All Things Go premiered "Constants" - check out the piece here. At Middle Distance is due out October 19th on Exit Stencil Recordings.
At Middle Distance marks a new, unprecedented milestone for the band. Recorded and mixed at Tony Maimone’s (Pere Ubu) Studio G and Thump Recordings in Brooklyn, producer Jeff Berner (Psychic TV) evokes the tonal clarity and emotive noise that constitutes Big Bliss’s special brand of dark-tinged melodic euphoria. Songs successively ebb and flow in tempo and mania, alternating the spotlight on each player. Cory Race's fervent drumming is simultaneously unwavering and creative, as May’s fluid, leading bass lines offer clarity and resolve in every hook. Tim Race’s ethereal guitar shimmers like spurts of heat lightning during summer’s thick humidity, and the thundering rhythm section only compliments its brilliance. Their instruments alone are enough to fill any room, no matter the size. Tim's effectual and guttural vocals can either hover above the mix, or swoop through it, giving an actual tangibility to this “feelings” thing on which you can’t quite put your finger.
Lyrically, it is a challenge to Race’s notions of identity ("Duplicate"), a hidden history of addiction ("RTK"), and in the record’s opening salvo (“Constants”), the destruction left in the wake of a twenty-something person selfishly chasing “constant, eternal bliss,” and alienating the ones they love. He asks how we cope with events that shift our concepts of ourselves, like the death of an alcoholic uncle ("Richard Race"), or the end of a devoted companionship ("High Ideal"). He’s both looking inward and reaching out, hoping to find solid ground somewhere in between, a place from which he can be a better friend, a better lover, a place from where he can meet you.
At Middle Distance speaks in urgent tongues, desperate to convey unknowable longing, like every great post-punk artist who came before. Moments of joy, moments of unspeakable sadness, moments of rage, all rub shoulders through these songs, and by the record’s end, you’ve undoubtedly run the gauntlet.
Berlin by-way-of Norway multi-instrumentalist and producer Farao (née Kari Jahnsen) announced her new album, Pure-O, will be released October 19th via Western Vinyl. The album’s first single “Lula Loves You” follows the May release of critically acclaimed song "The Ghost Ship" and arrives with a kaleidoscopic, analog-shot video directed/edited by Farao herself.
About the song, Farao says, “Loosely based on the movie Wild At Heart by David Lynch, Lula Loves You is about resilience in the face of adversity – fighting for something in less than ideal conditions."
Pure-O, Farao’s sophomore album, is a prog-pop exposition on the curious dichotomy between beauty and destructiveness in sex and relationships, observing “How so often the thing that sparks our passions is the constant need to hide from one to find the other.” The musician notes, “I've felt like that. Like an addict seeking a fix.” Throughout 10 original tracks, Soviet-made synth tones ripple out from an undefined center like a Frank Stella painting, with sharply angled lines of color buzzing with concentric, hand-painted ecstasy. Album-opener “Marry Me” leads with the lyric “The heart is the organ of desire,” setting the stage for the warm-blooded essence of Pure-O. Lyrics about the possessiveness inherent in marriage unravel over a tenacious yet patient bassline, and by the time the song reaches its rapturous three-minute mark, Jahnsen is breathlessly rattling off descriptions of romantic obsession, while perhaps hinting at the upcoming listening experience: “overwhelming, undying, overpowering, unconditional, all-encompassing, heart-enriching, mind-expanding.”
“My choices for instrumentation and arrangement on the record were inspired by my falling in love with old Soviet disco (Eduard Artemyev, Zigmars Liepiņš, Aleksei Kozlov) and subsequent collecting of boutique, Soviet-era analog synthesizers. A reawakening of my love for sensual ‘90s R&B (TLC, Janet Jackson), the spiritual harp playing of Alice Coltrane, and the minimal compositions of Terry Riley have all inspired the album,” Jahnsen explains, adding, “A danceable contrast between the industrial framework of the beats and synths, and the organic vitality and flow of the vocals and zither are what provide the sonic bed.”
Perhaps then, on Pure-O we’re hearing Jahnsen’s early youth in Norway finding perfect equilibrium with her adulthood in Berlin. She says of the time she spent recording, “I was in the process of learning how to conduct myself while not getting sucked in to the whirlpool that is Berlin party culture,” and of her childhood, “It wasn’t a place I felt stimulated creatively, and felt quite lonely there growing up, which made me turn to music as a language for a set of emotions I didn’t know how to release otherwise.” It’s precisely this relationship between quiet reflection and overstimulation that makes the album unlike anything of its genre. In an age when non-electronic pop seems like an outlier, Farao constructs a bridge of humanity from the organic to the inorganic, rounds out the hard edges and sharpens the soft ones, and altogether transplanting a healthy, beating heart into modern synth-pop.
Pure-O follows Farao’s 2015 debut album, Till It’s All Forgotten, which earned acclaim from outlets such as Pitchfork (“Jahnsen's work defies categorization and commodification at every turn”), The FADER, NPR Music, Noisey, Vanity Fair, Paste, Clash, and The Line Of Best Fit, among others. She has also performed at a number of UK and European festivals such as Green Man, End of the Road, Øya, Roskilde, BY:LARM, and Eurosonic.
RATTLE is an ongoing musical project concerned with experiments in rhythm, metre and tension. Katharine Eira Brown and Theresa Wrigley make up the duo from Nottingham, who with just drums and occasional vocalisations weave an expanse of percussive vortices. Their songs swirl and envelop with all the physicality and drama of another world pulling together around its own shifting centre of gravity. The drum beats phase and sidestep, they trade accents and overlap, providing a suitably alive terrain for the vocals to explore similar tendencies of pattern. Rattle’s debut album was released in 2016 through Upset The Rhythm / I Own You and was greeted with much critical praise, this often singled out their hypnotic minimalism and ecstatic regard for the dance floor. The following six months saw Rattle support Animal Collective on their UK tour before heading out around Europe with The Julie Ruin. Rattle used these opportunities to try out new material and unconsciously began writing their next album. Brown recalls that “hearing our drums in these larger venues, with amazing sound, made us excited about how beautiful and magic the drums sounded, we were quite spellbound by how they were able to fill a venue so completely.”
Saturday 13th October at Forever Records, Nottingham. 3.33pm. Sequence playback as part of BBC Radio 6 National Album Day Saturday 20th October at Oslo, London supporting Hot Snakes Saturday 27th October at Dubrek Studios, Derby with Unit Ama Tuesday 6th November at Chameleon, Nottingham with Duds and Cai Burns
23/11 - Toronto, ON @ Lee's Palace w/ Protomartyr + Preoccupations 24/11 - Ottawa, ON @ 27 Club w/ Protomartyr + Preoccupations 26/11 - Boston, MA @ Brighton Music Hall w/ Protomartyr + Preoccupations 28/11 - Brooklyn, NY @ Warsaw w/ Protomartyr + Preoccupations 29/11 - Washington, DC @ Union Stage w/ Protomartyr + Preoccupations 30/11 - Philadelphia, PA @ The Foundry w/ Protomartyr + Preoccupations 01/12 - Columbus, OH @ The Basement w/ Protomartyr + Preoccupations 03/12 - Buffalo, NY @ Mohawk Place w/ Protomartyr + Preoccupations 04/12 - Ann Arbor, MI @ Blind Pig w/ Protomartyr + Preoccupations 06/12 - Chicago, IL @ Thalia Hall w/ Protomartyr + Preoccupations 07/12 - Omaha, NE @ Waiting Room w/ Protomartyr + Preoccupations 08/12 - Kansas City, MO @ Record Bar w/ Protomartyr + Preoccupations
Sequence was written in much the same way as their debut, with the duo facing each other over their shared palette of drums, allowing songs to develop naturally and suggest their own direction. However, Brown and Wrigley were more confident of what they wanted to achieve with this follow up, having already proven the concept watertight through their debut and subsequent concerts. They knew they could wrestle songs out of the silence with such a setup, so afforded themselves greater time to explore extended, long-form composition. Sequence is composed of four tracks, each clocking in around 10 mins or over and focused squarely on a deeper resonance with the creative act, illustrative of how ideas build from scratch, of how music can grow out of repetition. Recorded at JT Soar in Nottingham with Phil Booth and Mark Spivey (Rattle’s live sound engineer), the album developed out of these four points, with Rattle honing their sound with detail. Everything was stripped back to just the drums and Brown’s voice. Percussion flourishes were deemed unnecessary, overdubbed layers of vocals were kept to a minimum. As a result, this quartet of songs are more meditative and aware than previous efforts, with the duo’s attentions spent tapping into each track’s potential, mapping out expeditions in tempo and making much of the journey over destination.
‘DJ’ is the first part of the album to unfold, its insistent, rotating beat slowly morphs into an avalanche of shimmering cymbals, before a plateau of echoed rim shots cools all to the core. Throughout, Brown’s wordless singing tethers the song to its atmosphere, an effect similarly employed to perfection in ‘Disco’ which follows. ‘Signal’ unfurls as an odyssey of rhythm, it’s tumbling beat, punctuated by shivers of hi-hat bluster and mesmeric tom fills. “Put your ear to the ground, it’s an incredible sound” confesses Brown in her most telling lyric from the album, leaving you convinced that Rattle are somehow channeling all this music from a quiet, elemental other-place. ‘The Rocks’ concludes the record with sparse assurance, it’s an exercise in magnified scope and altered states. Wrigley and Brown divide duties across all these tracks, with the cadenced, dynamic shifts of hi-hat and cymbal being Theresa’s domain, whilst Katharine holds down the toms and snare. Brown notes that “each song can be seen as representing a different drum in my set up”. ‘DJ’ is an exploration of her snare, whilst ‘Disco’, ‘Signal’ and ‘The Rocks’ are based around the floor tom, rack tom, and bass drum respectively. All of this is complemented further through the production interventions of Mark Spivey, who wanted to capture Rattle’s huge live sound on tape for this album with all its incurred dub-delay trippiness, taming and melding.
Sequence is a liminal album, thoughtfully crafted with themes of transition and realisation at its heart. It feels like a trance or ritual if you give yourself to the recording. It urges you to step outside and listen deeper. Rattle are seeking out a vivid array, an order from the noise, a pattern that unlocks the next. This album is the nurturing of intention and when we walk to its beat we arrive anew. Sequence will be released on November 2nd by Upset The Rhythm on LP, CD and digitally.
Via Kill Rock Stars: In the Marcy Stone-Francois directed video for "O.P.P.," Wimps drummer David Ramm grapples with the urge to covet another's pizza... but only if it's cheese! Watch the video above and enter to win a test press of Garbage People AND a large cheese pizza over on Twitter.
"O.P.P." appears on Wimps' new album Garbage People, which was recently named one of the Best Albums of Summer 2018 by Bandcamp.
P.O.G.O. records is very proud to present their 1st LP! Take their first 8 tracks in your mind! Post punk industrial experimental new wave from Germany! guitars vs voice vs machine! With an ex-Clarkys Bacon / Powerpissed!
Tera Melosshare a new song from their forthcoming EP today. The track "Lemon Grove" features Rob Crow (Pinback) sharing vocals with vocalist/guitarist Nick Reinhart. The song is culled from the forthcoming 3-song Treasures and Trolls EP on Sargent House. Hear and share "Lemon Grove" via YouTube HERE.
Tera Melos also launch extensive North American tour dates in November, first headlining with support from Mouse On The Keys, followed by the main support slot on the farewell tour of Minus The Bear. Please see dates below.
Treasures and Trolls will be available November 2nd, 2018 on 7" vinyl and download via Sargent House. Pre-orders are available HERE (all store & streaming links) and via HelloMerch and Bandcamp.
TERA MELOS TOUR 2018 NOV 02 SLC, UT @ Kilby Court * NOV 03 Denver, CO @ Larmier Lounge * NOV 05 Chicago, IL @ Chop Shop & 1st Ward * NOV 06 Pontiac, MI @ The Pike Room * NOV 15 Cambridge, MA @ Sonia Nightclub * NOV 16 Philadelphia, PA @ Boot & Saddle * NOV 17 Brooklyn, NY @ Elsewhere - Hall * NOV 18 Washington, DC @ DC9 * NOV 20 Carrboro, NC @ Cat's Cradle - Back Room * NOV 21 Nashville, TN @ The High Watt * NOV 23 Asheville, NC @ The Mothlight NOV 24 Atlanta, GA @ The Masquerade - Purgatory NOV 25 Orlando, FL @ Soundbar NOV 27 Tampa, FL @ The Ritz Ybor + NOV 29 New Orleans, LA @ House Of Blues - New Orleans + NOV 30 Dallas, TX @ Granada Theater + DEC 01 Austin, TX @ Emo's Austin + DEC 03 Albuquerque, NM @ El Rey Theatre + DEC 04 Denver, CO @ Ogden Theatre + DEC 05 Salt Lake City, UT @ The Complex - Grand Room + DEC 07 Tempe, AZ @ The Marquee + DEC 08 Pomona, CA @ The Glass House + SOLD OUT DEC 09 Los Angeles, CA @ Fonda Theatre + SOLD OUT DEC 11 San Francisco, CA @ The Regency Ballroom + DEC 12 Sacramento, CA @ Ace Of Spades + DEC 13 Portland, OR @ Hawthorne Theatre + SOLD OUT DEC 14 Seattle, WA @ The Showbox + SOLD OUT DEC 15 Seattle, WA @ The Showbox +
w/ Mouse on the Keys * w/ Minus the Bear +
Artist: Tera Melos Album: Treasures and Trolls 7" Record Label: Sargent House Release date: November 2nd, 2018
01. Treasures and Trolls 02. Lemon Grove 03. Super Fxx (digital only)
Via Clandestine Label Services/Northern Spy Records:
Wume Towards the Shadow LP on Northern Spy Records
Release Date: November 9th, 2018 EU Tour supporting Beach House 10/07/18: Rockefeller - Oslo (NO) 10/08/18: Munchenbryggeriet - Stockholm (SE) 10/09/18: The Grey Hall - Copenhagen (DK ) 10/11/18: Kampnagel - Hamburg (DE) 10/12/18: TivoliVredenburg - Ronda - Utrecht (NL) 10/13/18: Autumn Falls @ AB - Brussels (B) 10/15/18: Olympia - Paris (FR) 10/17/18: Troxy - London (UK) 10/18/18: Troxy - London (UK) 10/19/18: Albert Hall - Manchester (UK) 10/20/18: Vicar Street - Dublin (IE)
11/10/18: Union Pool - Brooklyn, NY with Special Guests, JOBS 11/16/18: Ottobar - Baltimore, MD with Matmos, Amanda Schmidt
Towards the Shadow, the third full-length from Wume, the Baltimore duo of April Camlin (drums, vocals) and Albert Schatz (keyboards, electronics), offers eight exploratory, polyrhythmic jams taking the listener on an excursion deep into inner space—not as a form of escape, but rather in search of purpose and personal liberation in a time of chaos.
While Wume draws much inspiration from past masters, with a particular rooting in German cosmic sounds of the 1970s, their music has always celebrated forward-motion and growth—the name “Wume” both nodding to the hometown of the legendary band Faust and homonymously suggesting gestation. Towards the Shadow announces a new phase for the band featuring a bold expansion of their palette, distilling influences as different as Francis Bebey, Midori Takada, Erkin Koray, and Alice Coltrane into interdimensional songs born of profound personal change. While Wume’s sound remains rooted in crisp, precise, and dizzyingly intricate percussion worthy of comparison to Can wedded to harmonic synth patterns and kaleidoscopic electronic textures, Towards the Shadow also features guitar, treated violin, hand percussion, field recordings, and, on “Pool of Light,” a player-piano improvisation (an instrument borrowed from Dan Deacon, with whom both Camlin and Schatz frequently collaborate).
Significantly, Towards the Shadow centralizes vocals and lyrics more than any prior Wume outing. It’s not simply that Camlin’s voice is more dominant in the mix. Once employed to ride waves of sound or convey abstract feeling, Camlin’s lyrics here grapple head-on with deep philosophical issues probed during an intense period of reading, self-teaching, and focus on her artistic practice in weaving, resulting in real breakthroughs and dramatic shifts in perspective.
On standout “Shadow,” Camlin sings about facing the darkness that many bright and creative people bury deep within. Lyrics like “I embrace my shadow/It’s the self that I know/Go below the ego/And welcome your shadow/Repression serves no one/And limits our freedom” affirm a willingness to not only confront the most secretive aspects of ourselves but learn to love them. “Pool of Light” reconjures dream images Camlin experienced over the course of crafting this record; “It’s Okay” champions an acceptance of human impermanence unreliant on religion or a belief in any afterlife; and “Functionary” even features a reading from Herbert Marcuse’s Eros and Civilization, a transformative and empowering text for Camlin.
Wume hail from the collaborative, radical, and highly varied Baltimore music scene that includes such artists as Dan Deacon, Abdu Ali, Horse Lords, Raw Silk, Smoke Bellow, and Chiffon, and Towards the Shadow offers one of this community’s most exciting and essential documents yet. This is a record that looks within and asks listeners to do the same, a record that has the guts to give its listeners not only diversion, but challenges: to know themselves better; to question and confront systems of power; to not just keep going, but keep growing. But Wume never ask for more than they give; each time the listener takes Towards the Shadow’s illuminating journey through to the album’s stunner of a closing track “GenSeq,” they’ll find their inner battery recharged, their ears and mind newly attuned to the complex worlds they face—both within and without.
Two years after their last full-length, ZEALOTRY are back with their newest offering (and first with Unspeakable Axe Records), titled At the Nexus of All Stillborn Worlds. This is progressive death metal at its most uncompromising, dense with intricate riffs, elaborate bass lines, mind-melting lead guitar work and more. Clean choral vocals add a Timeghoul-ish aspect to certain songs; in other places, bewildering effects occasionally will warp a track into an aural acid trip. Elaborate structures occasionally peel back to reveal a Chasm-inspired melodic development.
Featuring a member of Chthe'ilist and influenced by a broad palette of death metal explorers including At the Gates, Obliveon, Brutality, and Atheist, At the Nexus of Stillborn Worlds is a dizzying new peak in ZEALOTRY's 13-year history. Experience eight tracks and nearly 43 minutes of some of the most dense and rewarding music death metal has to offer, on CD, cassette and digital platforms from Unspeakable Axe Records.
Fuzz rock trio Under have released the brand-new video for the track “Traitors Gate”! The clip, which premiered recently on Echoes and Dust, shows the band performing while stripped half nude while chained and gagged. Shot in a grainy, weathered VHS style it fits perfectly with the trio’s lo-fi, bass heavy sound.
When asked on the theme behind the video, the band stated: "Lyrically 'Traitors Gate' is a rant about cutting someone off for being a piece of shit. We wanted to create a video that was suitably demented, unsettling and reflected our DIY ethos. We’ll leave it to your imagination why we had chains and masks so readily to hand".
Their new album, Stop Being Naïve, is set for release via APF Records on October 30th.
Under are a trio from Stockport, Greater Manchester. Formed in 2016. Though rooted in the blueprints of Sludge and Doom Metal, their sound is harder to pin down with elements of Prog, Noise and Avant Garde creeping in. Under play with jagged, slow, off kilter riffs that tease the listener into a false sense of security with dark and abstract lyricism evoking a trippy and sinister unease. The trio cite the likes of Swans, Mr. Bungle, The Melvins and Radiohead as prime influences.
After the success of their debut EP First Attempt in 2015, Under built up a solid reputation playing frequent live shows in and out of Manchester. In 2016 they embarked on a successful UK mini-tour with Kurokuma.
in 2017 Under signed to APF Records and released Slick, their highly anticipated debut full length album, completely self-produced and recorded by the band themselves. The trio successfully built on everything they had been working towards, carefully fine-tuning every detail on the record. ‘Slick’ was an eclectic listen - chock full of crushing riffs, odd time signatures, and a mixture of aggressive screaming vocals and more relaxed tripped out clean sections. All three band members provided vocals, often harmonizing together to create epic melodic textures.
In support of the “Slick” Under played live shows throughout 2017 and early 2018: both as headliner and as support to Whores, King Parrott, Church of the Cosmic Skull, Slabdragger, Elephant Tree, The Hyena Kill, Hundred Year Old Man, Gurt, Part Chimp, Primitive Man and Slomatics. They also played the Dreadfest, Cvltfest and Gizzardfest Festivals and the APF Records Showcase in Manchester.
Telepatia Liquida byDaniel Carter, Patrick Holmes, Matthew Putman, Hilliard Greene, Federico Ughi:
(via Clandestine Label Services / 577 Records / Bandcamp)
Via Clandestine Label Services:
577 Records announces Limited Edition LP Telepatia Liquida — Featuring Daniel Carter, Patrick Holmes, Matthew Putman, Hilliard Greene & Federico Ughi - Due December 7
About Telepatia Liquida
This project is the exciting, unusual and at times unexpected result of five musicians from different backgrounds getting together and making music. This unlikely group that features a scientist on piano and an array of musicians from different places around the world is able to communicate on a level that is not only beyond planning and speech but also rational thought. The resulting music goes from moments that are exquisitely soft to deep juicy grooves. When studied attentively, it’s as if you are entering into the musicians’ collective subconscious. The chemistry of this group is so particular and unique, it is as if the music is being driven by a telepathic understanding, hence the title of their debut album Telepathic Alliances (577 Records, 2017) and this second work, Telepatia Liquida, recorded live at the Forward Festival 2017.
Daniel Carter, Matthew Putman, and Federico Ughi have been collaborating closely for the last ten years. Their first album, The Gowanus Recordings, was released in 2009.
Daniel Carter was born in Pennsylvania and grew up in Massachusetts. His musical background includes recording and performances with legendary artists such as Sun Ra, Yoko Ono, Cecil Taylor, Living Colour, TEST, Other Dimensions In Music, MMW (Medeski Martin and Wood), Jaco Pastorius, Sonic Youth and many many others. Pianist Matthew Putman grew up in Ohio where he studied classical music and theatre. He is a renowned scientist and educator, best known for his work in nanotechnology, the science of working in extremely small dimensions. Drummer Federico Ughi grew up in Rome, Italy. He has developed his own style through the years, studying with master Ornette Coleman and playing and touring the world with celebrated bands like The Cinematic Orchestra and Blue Foundation.
The other members of the group are Texas-born clarinet player Patrick Holmes (a brilliant up-and-coming member of the New York downtown scene) and veteran bassist Hilliard Greene, a mainstay of the avant-garde for the last 20 years. He has played with Cecil Taylor, Don Pullen, and Charles Gayle among many others.
Daniel Carter’s poetry is featured on the inner sleeve of these exclusive limited edition vinyl LPs.
This group will celebrate the release of this album by performing a set at the Forward Festival 2018.
This is an exclusive limited edition of 300 hand-numbered vinyl LPs, plus CD/digital album.
About 577 Records
577 Records is proud to be celebrating its 17 year anniversary.
The legendary music master Daniel Carter was one of the first people 577 cofounder Federico Ughi met soon after arriving in New York from Italy, after a brief stint in London.
It was a meeting of like minds and shortly thereafter the two started a series of house concerts at 577 Fifth Avenue in Brooklyn, the apartment where Federico was living at the time.
The spontaneous nature of the concerts along with the incredible caliber of the deep downtown underground music they were able to present inspired them to bring the unique nature of what they were doing to a wider audience and they founded the label 577 Records to further that mission.
577 Records started the Forward Festival in 2015 to mark the momentous occasion of Daniel Carter’s 70th birthday. The festival has become an annual tradition and continues to delight audiences year after year with its surprising and eclectic lineup.
Pitchfork has premiered Mackenzie Davis and Carrie Coon's powerful acoustic cover of Heavens To Betsy's "Axemen" as performed in the indie film Izzy Gets the F*ck Across Town (2018). Like its 1994 predecessor, the stirring duet balances tenderness with raw fury and is available digitally for the first time from Kill Rock Stars!