Wednesday, August 07, 2019

Uniform & The Body: "Not Good Enough"

I stress that The Body remains a consistently fascinating entity whose work I either champion or dismiss, the creative push-n-pull a la Chip King and Lee Buford qualifying as anything from merely pushing decibels to forward thinking and genre-hybridizing to unlistenable grating shit-spew. With that said, The Body partners well. Those excellent recordings they released with Thou, Released From Love and You, Whom I Have Always Hated, remain some of the most ear rupturing sounds I've heard on a physical album. So, being a Uniform fan, I have high hopes for Everything That Dies Someday Comes Back, The Body's second collaborative noise venture with the group, which is due to release 8/16 via Sacred Bones.

Uniform, another duo with a penchant for amplified gloom and tolerance-pushing vocals, has a machined edge that suits The Body's amp'd up misery. "Not Good Enough" is like a ten-megaton Suicide, every driving pulse set to trudge as if dragging the track's remaining elements behind it. The quartet heads well into the red, most of its make-up built from hollow-out drum fills and its aforementioned stomp, though radiating drone and glacial stabs of synth tone eventually inform its latter half enough that it doesn't become monotonous. 

Of the singles I've heard from this release so far, "Not Good Enough" is the stand out.

All links, information, and tour dates were provided by Rarely Unable.



Uniform & The Body share the new single "Not Good Enough" from their second monolithic collaboration, Everything That Dies Someday Comes Back, out August 16 via Sacred Bones.

Of the track, Uniform's Michael Berdan explains, "There is no deeper meaning to Not Good Enough outside of what the title spells out. It is a song about my relationship with my worst enemy: myself. So much of who we become is shaped in our early childhood. For me, my identity was that of a heavy set kid with a learning disability from a broken home in a rougher neighborhood. I may have grown up. My physical body may have changed. I may have made peace with my family. I may have escaped my hometown. I may have developed techniques to function as an adult. In the end, in my mind, it means little to nothing. I am still the hyperactive fat kid who can't stay still and gets beat up in the nearby park. Self knowledge avails me little. True or not, I will never be complete. I will always be defective. I will never be good enough. All of the love and success and acceptance in the world will never heal the scared little kid in my head."


Comprised of an amalgam of abrasive influence that spans Swans-y dirge and purge, Whitehouse's clenched-jaw noise, middle-period Ministry's penchant for metallic post-industrial everything, New Order's nose for melodic emotionality, and Juicy J-inspired beats, Uniform and The Body's approach delves deeper down the rabbit hole than before, igniting a sonic world of terror and bliss poised to grip the throats of fans yet again.

Much like the collective's bombastic debut,
Everything was built over a series of collaborative sessions with Seth Manchester at Machines with Magnets in Rhode Island, mixing industrial-influenced synths, squalls of harsh noise, manipulated guitar, oodles of samples along with hard rock-inspired riffs, saccharine pop, and the alternately antagonistic and harrowing vocals of Michael Berdan and Chip King. The result is nine tracks of ear-bleeding and confrontational fury with defined moments of beauty that bring to mind equal parts No Trend, Merzbow, and Information Society while forging a path that is distinctly their own.

Everything That Dies Someday Comes Back is specifically culled from the immortal Bruce Springsteen effort Nebraska, joining a long line of literary and cinematic references that pepper the album. And while the title is specific to that lyric, the sentiment also ties into author James Elroy and his notion that closure is an illusion, a conclusion found in his 1996 effort 'My Dark Places'. Dealing with tragic loss is never a closed book, and the details, circumstances, and inherent emotions that surround coping never end, they just morph into something else, only to rear their ugly head again later in life.

The collaboration between the two bands was built upon mutual admiration for each other's work, which led to bonds of friendship. After the release of the debut collaborative effort, Uniform released the critically praised
The Long Walk and embarked on a smash tour with Deafheaven and Drab Majesty, while The Body released the widely acclaimed I Have Fought Against It, But I Can't Any Longer and took to the road for their own successful and extensive North American tour. The demand for the collaboration eventually necessitated a U.S. jaunt, pairing the collective for rare dates with Author & Punisher and Street Sects on both coasts. It was on those dates that the bands started to plant the seeds for what would become Everything That Dies Someday Comes Back.

Everything That Dies Someday Comes Back will be released August 16 as part of Sacred Bones' Alliance Series. A new CD edition, also out August 16, will include both Uniform & The Body collaborative albums - Mental Wounds Not Healing and Everything That Dies in their entirety - for more info and to pre-order go here.


Uniform Live Dates continue...
08/19: San Diego, CA - Casbah *
08/20: Phoenix, AZ - Valley Bar *
08/22: San Antonio, TX - Paper Tiger *
08/23: Austin, TX - Barracuda *
08/24: Denton, TX - Rubber Gloves *
08/25: Houston, TX - White Oak Music Hall *
08/26: New Orleans, LA - Poor Boys
08/27: Birmingham, Alabama - The Firehouse
08/29: Tallahassee, FL - Wilbury
08/30: Tampa, FL - Orpheum *
08/31: Gainesville, FL - High Dive *
09/01: Atlanta, GA - Masquerade *
09/03: Nashville, TN - Exit/In*
09/04: Asheville, NC - The Orange Peel *
09/06: Baltimore, MD - Joe Squared
09/07: Washington, DC - Black Cat *
09/08: Jersey City, NJ - White Eagle Hall*
09/10: Brooklyn, NY - Elsewhere *
09/11: Boston, MA - Paradise Rock Club *
09/12: Portland, ME - Port City Music Hall *
09/14: Toronto, ON - Lee's Palace *
09/15: Grand Rapids, MI - Pyramid Scheme*
09/17: Chicago, IL - Lincoln Hall *
09/18: St. Louis, MO - Delmar Hall *
09/20: Denver, CO - Marquis Theater *
09/21: Salt Lake City, UT - Metro Music Hall*
09/23 Seattle, WA - Neumos *
09/24: Portland, OR - Doug Fir Lounge *
09/26: San Francisco, CA - Great American Music Hall *
09/27: San Jose, CA - The Ritz *
09/28: Camarillo, CA - Rock City *
09/29: Los Angeles, CA - Echoplex *
* w/ Boris

The Body Live Dates continue...
06/09: Denver, CO - Denver Hex at Lost Lake Lounge
07/09: Kansas City, MO - The Riot Room
13/09: Providence, RI - Columbus Theatre ^
14/09: Hudson, NY - Basilica Soundscape ^
15/09: Brooklyn, NY - The Bell House ^
^ w/ Assembly of Light

Letters From A Tapehead

Monday, August 05, 2019

New Selections — MONOLORD, Laurie Anderson/Tenzin Choegyal/Jesse Paris Smith, Fly Pan Am, HIDE, Loscil, The Paranoyds, Corridor

Overdue once again, but there are some good tracks here to peruse.

MONOLORD: "The Bastard Son"
(via Relapse Records / Bandcamp)

Via Speakeasy PR:

MONOLORD: Announce Relapse Records Debut No Comfort Coming September 20Share New Song "The Bastard Son"

Swedish trio MONOLORD, who have been dubbed “Swedish doom royalty” (Noisey) and praised for their “truly modern sound” (Consequence of Sound), announce their Relapse Records’ debut, No Comfort, coming September 20th.

“This one has been the most challenging yet,” said MONOLORD in a collective statement. “As always striving for evolvement, but within the Monolord realm and with that inviting another person into that process. We hope you like it.”

Stream the first single "The Bastard Son" on YouTube HERE and all additional streaming services HERE.

No Comfort pre-orders are on-sale now, with several limited-edition vinyl variants available, including a exclusive in partnership with Orange Amps. The 100-piece release features the actual material used to wrap Orange Amps and is pressed on neon orange vinyl. The set includes an exclusive two-sided Orange Amps inspired t-shirt and guitar pick set. To view this set as well as the CD/2xLP/CSand digital pre-orders that are available, visit

MONOLORD Tour Dates:
Aug 08-10 Moledo, PT Sonic Blast
Sep 06-08 Sao Paulo, BR Setembro Negro Festival

--- All Headline EU Dates Sep 28 - Oct 26 w/ Firebreather ---

Sep 28 London, UK @ The Garage (w/ Ufomammut)
Sep 29 Sheffield, UK @ HRH Doom V Stoner
Sep 30 Bournemouth, UK @ The Anvil
Oct 01 Utrecht, NL @ De Helling
Oct 02 Brussels, BE @ Magasin 4
Oct 03 Pratteln, CH @ Up In Smoke Festival
Oct 04 Reims, FR @ La Cartonnerie
Oct 05 Paris, FR @ Saturday Mud Fever Festival
Oct 07 Dortmund, DE @ Junkyard
Oct 08 Nuremberg, DE @ B-Zau
Oct 09 Cologne, DE @ Helios 37
Oct 10 Mainz, DE @ Schon Schon
Oct 11 Hamburg, DE @ Molotow
Oct 16 Oslo, NO @ John Dee
Oct 17 Gothenburg, SE @ Sticky Fingers
Oct 18 Malmo, SE @ Babel
Oct 23 Linkoping, SE @ The Crypt
Oct 24 Stockholm, SE @ Close Up Baten
Oct 25 Tampere, FI @ Olympia
Oct 26 Helsinki, FI @ Nosturi

--- All Headline US Dates Nov 04 - 27 w/ Blackwater Holylight ---

Nov 05 San Diego, CA @ Brick by Brick
Nov 06 Tucson, AZ @ Club Congress
Nov 07 Albuquerque, NM @ Sister
Nov 09 Austin, TX @ Levitation x Relapse Showcase
Nov 10 Lafayette, LA @ Freetown Boom Boom Room
Nov 11 New Orleans, LA @ One Eyed Jacks
Nov 12 Atlanta, GA @ The 529
Nov 13 Asheville, NC @ Mothlight
Nov 14 Richmond, VA @ Camel
Nov 15 Baltimore, MD @ Metro Gallery
Nov 16 Philadelphia, PA @ First Unitarian Church
Nov 17 Brooklyn, NY @ Saint Vitus
Nov 20 Chicago, IL @ Reggies
Nov 21 Indianapolis, IN @ Black Circle
Nov 22 St. Louis, MO @ Fubar
Nov 23 Lawrence, KS @ Bottleneck
Nov 25 Denver, CO @ Marquis
Nov 27 Los Angeles, CA @ Teragram Ballroom

Monolord is singer/guitar player Thomas Jäger, drummer Esben Willems and bass player Mika Häkki. The band released their debut album, Empress Rising in 2014, with full-length albums Vænir arriving in 2015 and Rust following in 2017. In the years since their inception, they’ve become one of heavy music’s rising stars, with much-chattered about performances at Roadburn, Desertfest and Psycho Las Vegas.


Esben Willems - Drums
Thomas Jäger - Guitar Vocals
Mika Häkki - Bass



Laurie Anderson, Tenzin Choegyal, Jesse Paris Smith: "Lotus Born, No Need To Fear"
(via Rarely Unable / Smithsonian Folkways / Soundcloud)

Via Rarely Unable:



Pre-order and other streaming platforms

Smithsonian Folkways has announced the release of Songs from the Bardo, a collaborative long-form composition by multimedia artist Laurie Anderson, Tibetan singer and multi-instrumentalist Tenzin Choegyal, and activist and composer Jesse Paris Smith, to be released September 27. The piece, first performed as a mostly improvisatory performance at New York’s Rubin Museum of Art, is a guided journey through the visionary text of the Tibetan Book of the Dead. Over the course of a single, 80-minute ebb and flow of sound and words, this unique assemblage of artists, joined by cellist Rubin Kodheli and percussionist Shahzad Ismaily, has created a transporting experience, meant to draw the listener into the present moment and provide a framework for inner exploration.

Laurie Anderson’s voice, and its subtle concoction of gravity and grace, is a central sonic element of Songs from the Bardo. Her narration acts as a beacon for the karmic imprint of all beings as they experience the ultimate transformation of one life into what comes next. “Homage to the gurus,” she begins with a weightless solemnity as she invokes Amitābha, the Buddha of Infinite Light. Throughout her artistic career, which extends beyond music, sculpture, and immersive virtual reality experiences, Anderson has incorporated elements of her personal Buddhist practice, but never as explicitly and with such depth as she does on Songs from the Bardo. Throughout the recording, her experiential understanding of Buddhist philosophy is demonstrated through her expressive capabilities, as her intonation and articulations reflect the confusion, fear, and quiet ecstasy that the text evokes. “Do not be afraid of the brilliant light, luminous and clear, sharp and bright,” she speaks with a disconnected calm before bearing down, “Recognize them as wisdom.”

Tenzin Choegyal and Jesse Paris Smith, along with cellist Rubin Kodheli, craft a panoramic musical counterpoint that purposefully drifts in and out of the foreground, often dissolving into silence from grand crescendos of triumphant song. Choegyal, who was born into a family of Tibetan nomads forced out of their homeland and exiled in India, explains in the album’s liner notes, “I have tried to channel the wisdom and traditions of my ancestors through my music in a very contemporary way while holding the depth of my lineage.” He incorporates lingbu (a Tibetan bamboo flute), dranyen (a stringed, lute-like instrument), as well as singing bowls, gong, and his own voice, recontextualizing ancient musical heritage inside this new sonic landscape. Smith, who comes from her own musical traditions as the daughter of punk icon Patti Smith, guides the journey forward through expressive piano playing and the creation of beds of drone using a collection of crystal bowls.

Though Songs from the Bardo is intended as introspective, something personal and to be experienced with solitude, the roots of the project lie in shared activist work. Smith and Choegyal met in 2008 at the annual Tibet House US Benefit Concert at Carnegie Hall, raising money to preserve the endangered Tibetan culture and traditions. The pair first discussed creating a work based on the Tibetan Book of the Dead after the 2014 benefit, and the trio performed a shortened version of Songs from the Bardo at the 2015 edition. Smith is now a member of the Associate Board of Tibet House US, and all three musicians have performed at the organization’s yearly benefit multiple times.

This shared love and devotion of Tibetan culture and Buddhist tradition is at the root of Songs from the Bardo. Laurie Anderson, Jesse Paris Smith, Tenzin Choegyal, and Rubin Kodheli have created a piece of music that transcends time by creating an environment in which to lose one’s self, to imagine a space outside of sensory experience. But they also suspend time in a larger sense; by exploring the millennia-old ideas contained in the Tibetan Book of the Dead through a contemporary, exploratory lens, one based equally in spontaneity and repose, it reveals the still very much relevant wisdom contained within. These musicians build a bridge between then and now by illuminating death, the one constant in the impermanent human experience.

The musicians would like to thank Michael Askill for his inspiration in the creation of this work.


Fly Pan Am: "Distance Dealer"
(via Rarely Unable / Constellation Records / Soundcloud)

Via Rarely Unable:


C'est ça marks the return of Montréal avant-rock quartet Fly Pan Am, who released an acclaimed series of albums in Constellation's early years, from 1999-2004. The band’s unique and heady collision of motorik repetition, shoegaze maximalism, punk skronk, tape- and electronic-based interventions and audio sabotage, garnered them a cult following among fans of audaciously deconstructed post-rock.

Fly Pan Am quietly reunited in late 2017 for purely artistic reasons (needless to say), to explore making new music together after more than a decade spent in pursuit of separate sonic adventures. Within weeks, it was clear the band was firing on all cylinders again, brimming with electricity and eager to pick up where they’d left off with their last album N’écoutez pas back in 2004: pushing further into full-spectrum intersections of noise pop, post-punk, power electronics and musique concrète, while continuing to incorporate shrouded, textural vocals as alternately melodic and visceral components.

C'est ça is a brilliant return to form for Fly Pan Am – an album of renewed vitality and experimentation where rock structures underpinned by J.S. Truchy’s trademark rapid-fire bass and Félix Morel’s disciplined, ascetic drumming are submerged beneath waves of processed guitar by Roger Tellier-Craig and Jonathan Parant, with fluorescent noise treatments and sonic vandalisms wrought by all four. “Distance Dealer”, “Each Ether” and “Interface Your Shattered Dreams” nod to important influences like MBV and Hüsker Dü, while collapsing into/out of themselves in various ways. “One Hit Wonder”, “Bleeding Decay” and “Discreet Channeling” vault some of Fly Pan Am’s earliest reference points into the present: namely, the intrepid proto-Kosmiche of This Heat and Can, and later style-adjacent torchbearers like Boredoms, Flying Saucer Attack and Trans Am.

But Fly Pan Am have always and reliably been much more than the sum of their influences and of their own constituent parts. C’est ca is terrific slab of restless, conceptual, psych-cosmic noise rock that could come from no other band, forged by four musicians with long histories both together and apart. Following years of sonic exploration in all sorts of other projects and guises, whether in rock/punk/pop groups like Pas Chic Chic, Feu Thérèse, Avec Le Soleil Sortant De Sa Bouche and Panopticon Eyelids (to name just a few) or through a wide range of experimental electronic and audio-art projects – including Roger Tellier Craig and J.S. Truchy each with solo releases on Root Strata, and Truchy having run the Los Discos Enfantasmes label for several years – Fly Pan Am have reconvened with all four original members and made a new record sparkling with the creative buzz of lifelong artistic intensity, dialogue and friendship. 

20 September – Ritz PDB, Montreal, QC
21 September – Feast In East Festival, Toronto, ON
22 September – This Ain’t Hollywood, Hamilton, ON
26 September – The Mansion, Kingston, ON
27 September – Silence, Guelph, ON
28 September - 27 Club, Ottawa, ON

In addition to these shows, Fly Pan Am will also be perming a live soundtrack as part of the multimedia FRONTERA dance piece at the following dates:

20 November – Grand Théâtre, Québec City, QC
4-7 December – Place des Arts, Montréal, QC
19-20 February – National Arts Centre, Ottawa, ON


HIDE: "Raw Dream"
(via Stereo Sanctity / Dais Records / YouTube)

Via Stereo Sanctity:

Having recently announced their new album Chicago duo HIDE are now sharing the second single & video from the record "Raw Dream". Their new LP Hell is Here is due August 23rd via Dais Records and the band are set to tour the UK this October. 

In the words of the band "'Raw Dream' is an anthem for the rise of the disenfranchised - a long overdue and joyous recalibration of an imbalance of power." The video shot by Eon Mora, edited by Christopher Michael Hefner and HIDE.

HIDE are an electronic duo based in Chicago, made up of fine artist Gabel and percussionist Seth Sher. Together since 2014, the pair create sample based compositions using a combination of self sourced field recordings and various pop culture/media. Releases include 2016's Black Flame EP which is dedicated to the memory of Reyhana Jabbari, a 27 year old Iranian woman who was hung for allegedly killing someone who was trying to rape her, and deals with various human rights violations in Iran. HIDE's 2017 debut album Castration Anxiety on Dais Records addresses issues of power dynamics and representation. Seething with textured yet minimal tracks, HIDE gives raw vulnerability an opportunity to unfurl, yielding an album that calls for personal autonomy and the destruction of anything barring the way. A single on Sub Pop for the label's singles club followed, with two unhinged tracks touching on the phenomenon of internalized misogyny and aspects of motherhood.

HIDE's second full length album Hell is Here on Dais is set for release August 23rd and sees the band's evolution pushed even further. The tone is sick and heavy. Using their previously established blueprint of complex drum programming, stomach churning sub bass and aggressive expressive vocals, Gabel and Sher poke and prod at the perception of musical context, and remind the listener that feelings of anxiety, pain, and discomfort are equally as important as those of resolution. Perhaps the strongest tool utilized here is the material’s dichotomy between the abrasive and the sterile. Beneath the crushing noisy exterior, sparks the familiar human voice. Divorced from their caustic counterparts Gabel’s vocals play a decisive role in cementing narrative for the material’s uncompromising assault on the senses.

Opening track “Chainsaw” immediately lays the groundwork for the excursion to come. Twisted, cold, and dry repetition soundtracks a one sided catcalling verbal assault. The theme of objectification carries through to the following track “999” with the use of a well placed vocal sample that declares “...when you depersonalize another person... it seems to make it easier to do things you shouldn’t do.” This sentiment is expertly echoed throughout the rest of Hell Is Here and attempts to forcefully remind the listener of humanity’s absurd and animalistic nature. Nearing the end of the punishing trek we find “Pain”, which is arguably the record’s most formidable use of space. The call and response nature of both the harsh percussive elements paired with the impending vocals effectively induces a deafening anxiety that’s rivaled only by the lyrical content of Gabel’s shrieking voice.

"SSSD" (which stands for Self Self Self Destruct) calls for total destruction of the ego via empathy. Here Gabel instructs the listener "Become nothing, you can feel everything, become nothing, you can be anything" in an effort to destroy the societal constructs that dictate the way we view ourselves and interact with others/the earth. 

The summation of material presented on Hell Is Here is perhaps best interpreted as the rawest innards of HIDE’s vision for the self-governing ideology that’s consistently present throughout their body of work. Painful truth and honest examination of life’s darkest, and often undiscussed, crevices scratch and claw their way to the surface through the duo’s strongest and most confrontational work to date.

HIDE cut their teeth in the DIY spaces of Chicago and have continued touring vigorously since. Last year the band toured Europe, Russia and UK in addition to multiple North American runs. Known for their energetic live performances, the duo also work as interdisciplinary artists together, creating films and visual art installations as well. 

See HIDE live:
24/07 - US San Diego, Music Box*
26/07 - US LA, Fonda Theater*
27/07 - US Phoenix, Crescent Ballroom*
28/07 - US Santa Fe, Meow Wolf*
30/07 - US Dallas, Deep Ellum Art Co*
31/07 - US Austin, Mohawk*
01/08 - US Houston, White Oak*
02/08 - US New Orleans, One Eyed Jacks*
03/08 - US Atlanta, Masquarade/HELL*
04/08 - US Nashville, Exit/In*
06/08 - US Durham, The Pinhook*
07/08 - US Richmond, Broadberry*
08/08 - US DC, Union Stage*
09/08 - US Brooklyn, Music Hall of Williamsburg*
09/15 - US Pittsburgh, Skull Fest 
09/24 - US Chicago, Empty Bottle RECORD RELEASE 
* w Drab Majesty, Body of Light

27/09 - BE Antwerp HetBos-**
28/09 - DE Leipzig Zoro Fest**
29/09 - DE Munich Rote Sonne**
01/10 - UK Bristol Exchange**
02/10 - UK Manchester Soup Kitchen**
03/10 - UK London The Shacklewell Arms**
04/10 - FRA Paris Espace B**
05/10 - DE Freiburg Slow Club**
06/10 - DE Berlin Urban Spree +**
08/10 - Russia Moscow Bumazhnaya Fabrika #
09/10 - Russia St Petersburg Mosaique #
10/10 - SWE Stockholm Slaktkyrkan #
12/10 - FIN Helsinki Blow Up Festival #
- Drab Majesty, SrSq
** co headline w/ Kontravoid
+ Lingua Ignota
# only HIDE



Loscil: "Equivalent 6"
(via Rarely Unable / kranky / YouTube)

Equivalent 6 from loscil on Vimeo.

Via Rarely Unable:


Canadian composer Scott Morgan shares a video (via the 4:3 website) for the track "Equivalent 6" taken from his 12th long-player as Loscil, Equivalents - watch the video here

The album takes its title from an influential series of early 20th century photographs by Alfred Stieglitz, abstracting clouds into miasmic, painterly canvases of smoke and shadowplay. It’s a deeply fitting analog for Morgan’s own musical process across the past two decades, fraying forms and tones into widescreen mirages of opaque texture and negative space. The name Equivalents referred to Stieglitz’s notion of the photographs as being equivalent to his “philosophical or emotional states of mind;” the same could be said of these eight weighty, shivering chiaroscuros of sound. Each piece unfolds and evolves enigmatically, adrift in low oxygen atmospheres, shifting dramatically from pockets of density to dissipated streaks of moonlit vapour.

The entirety of the record was created specifically for the album with the exception of “Equivalent 7,” which began as a dance score for frequent collaborator Vanessa Goodman. The album version of this track was reworked with Vancouver musician Amir Abbey aka Secret Pyramid.


The Paranoyds: "Carnage Bargain"
(via Stereo Sanctity / Suicide Squeeze / YouTube)

Via Stereo Sanctity:

Today LA newcomers The Paranoyds have shared the title track from their forthcoming debut album, Carnage Bargain, due for September 13th release on Suicide Squeeze.

The album Carnage Bargain sees the four-piece deliver a raucous blend of garage rock grit, new wave swagger, classic horror film soundtrack campiness, and a myriad of other left-of-center influences. Following the album’s first single of feminine-empowerment “Girlfriend Degree,” the record's title track “Carnage Bargain” shows the band delivering scathing lyrical observations wrapped in jubilant punk-pop hooks. 

“People want things all the time—there seems to be a constant manic need of consuming, now more so than ever. 'Carnage Bargain' is about the people higher up wanting to get all this evil work done at a wholesale price,” bassist and vocalist Staz Lindes says. “It’s impossible for us to get through a day without thinking of the thousands of migrant children in cages at the border alone, some without proper beds, soap, toothbrushes, and with lights on 24/7. We can not continue to ignore the black lives, young and old, taken by police almost every week. The plastic crisis. The mass shootings. The extreme need of prison reform. The opioid crisis. The water crisis in Flint, Michigan. The list goes on, and the hole gets deeper. Sometimes I can’t sleep and I wonder: do they sleep well in the White House? What else can I do as a privileged citizen? They want to get a Carnage Bargain. I want to pick up garbage.”

“We’re living in the dystopian future. Our lives are completely tracked and programmed, our extension of ourselves is a handheld computer with a microphone and camera that stays on while were unaware, and, on top of everything, the extreme right is gaining continuous world power,” The Paranoyds explains of their name. “What isn’t there to be paranoyd about?”

It’s ironic that the band’s moniker winds up being an apt summary of the band’s general outlook on technology and modern culture given that The Paranoyds’ humble beginnings can be traced back to a friendship forged between Staz Lindes (bass/vocals) and Laila Hashemi (keys/vocals) over Myspace in their early teens. Bonded by a shared interest in local underground music, the pair eventually moved their online friendship into the real world. Laila’s childhood friend Lexi Funston was brought into the fold and the first vestiges of The Paranoyds began to take shape. “We would all go to our friends’ shows and it hit us that we could start a band and play shows too,” Funston says. With the addition of drummer David Ruiz in 2015, the band found the perfect personnel for their sonic balance of jubilant energy and foreboding undercurrents. 

Carnage Bargain captures this chemistry perfectly—channeling the genre-mashing weirdness of guitar-and-keyboard provocateurs like The Intelligence on tracks like “Laundry,” the fever-dream kitsch of early B-52s on“Ratboy,” krautrock’s motorik groove on “Hungry Sam,” and the beguiling pop of Blondie on the sweet-and-salty highlight “Courtney.” The band may indeed be paranoid, but they offer a solution to our modern ills through the simple act of being an inspiring, independent, and unflappable musical force. 

Carnage Bargain comes out on September 13th via Suicide Squeeze. Pre-order HERE

The Paranoyds tour dates:
THU SEP 5 - San Diego, CA, Casbah^
FRI SEP 6 - Pomona, CA, The Glass House^
SAT SEP 7 - Phoenix, AZ, Valley Bar^
MON SEP 9 - Austin, TX, Barracuda^
TUE SEP 10 - Dallas, TX, Club Dada^
WED SEP 11 - Houston, TX, Satellite Bar^
FRI SEP 13 - New Orleans, LA, Gasa Gasa^
SAT SEP 14 - Atlanta, GA, Masquerade (Hell Stage)^
SUN SEP 15 - Durham, NC, Motorco Music Hall^
TUE SEP 17 - Washington, DC, U Street Music Halll^
THU SEP 19 - Brooklyn, NY, Elsewhere^
FRI SEP 20 - Philadelphia, PA, PhilaMoca^
SAT SEP 21 - Boston, MA, Brighton Music Hall^
MON SEP 23 - Toronto, ON, Horseshoe Tavern^
TUE SEP 24 - Columbus, OH, The Basement^
WED SEP 25 - Nashville, TN, Exit/In^
SAT SEP 28 - Minneapolis, MN, 7th Street Entry^
SUN SEP 29 - Chicago, IL, Lincoln Hall^
MON SEP 30 - St. Louis, MO, Firebird^
THU OCT 3 - St. Louis, MO, Firebird#
FRI OCT 4 - Des Moines, IA, Vaudeville Mews#
SAT OCT 5 - St. Paul, MN, Amsterdam Bar & Grill#
MON OCT 7 - Denver, CO, Larimer Lounge#
FRI NOV 1 - San Francisco, CA, Cafe du Nord
SAT NOV 2 - Santa Cruz, CA, The Crepe Place
SUN NOV 3 - Reno, NV, The Holland Project
TUE NOV 5 - Portland, OR, Bunk Bar
WED NOV 6 - Seattle, WA, Barboza 
^ = with Bleached
# = with White Reaper


Corridor: "Carnage Bargain"
(via Stereo Sanctity / Sub Pop / YouTube)

Via Stereo Sanctity:

Today Sub Pop welcome Corridor, a Montreal-based, Francophone-band who will release their label debut in 2019. While we await more details, check out the band’s official video for “Coup d'épée” from Supermercado, the group’s acclaimed album from 2017.

Corridor have also shared international dates for 2019, including stops in Amsterdam, Paris, London, Hamburg, Berlin, Toronto, Montreal, Quebec City, DC, San Francisco, Portland, Seattle, and Los Angeles. For more information on tickets, visit Corridor’s Sub Pop tour dates page.

Oct. 23 - Philadelphia, PA - Boot & Saddle
Oct. 25 - Washington, DC - Comet Ping Pong
Oct. 29 - Amsterdam, NL - Paradiso
Nov. 04 - Paris, FR - Point Ephemere
Nov. 06 - London, UK - Waiting Room
Nov. 08 - Hamburg, DE - Hafenklang
Nov. 09 - Berlin, DE - Westgermany
Nov. 10 - Kortrijk, BE - Sonic City Festival
Nov. 20 - Toronto, ON - The Garrison*
Nov. 22 - Montreal, QC - M for Montreal Festival (Le National)
Nov. 28 - Quebec City, QC - l'Anti
Dec. 04 - San Francisco, CA - Milk Bar
Dec. 07 - Portland, OR - Bunk Bar
Dec. 10 - Seattle, WA - Barboza
Dec. 13 - Los Angeles, CA - Moroccan Lounge
* w/ Absolutely Free

About Corridor:
Corridor began when Jonathan Robert, Julian Perreault, & former drummer Marc-andré Chapdelaine started jamming together in 2012. Though it wasn’t until bassist & longtime friend Dominic Berthiaume joined the band later that year that they began calling the band Corridor. In November 2013 the band delivered Un Magicien En Toi (tr. “A Magician in You”), a motorik guitar-pop record.

On the heels of this first EP, Corridor re-entered the studio in June of 2014 to work on their first full-length record. Collaborating with producer Emmanuel Ethier, the band spent nearly a year perfecting what would be their structured and assertive LP, Le Voyage Éternel (tr. The Eternal Voyage). While they laboured on the record, they were also each invested in their own creative pursuits. Singer and guitarist Jonathan dove into his animation and illustration work (This would later prove useful as he has assumed the role of the band’s creative director, setting the tone for the visual aesthetic of their records and videos); Dominic began writing as a music journalist and photographer for outlets in Canada; And Julian continued pursuing an environmental design career, working on installations for well-known music festivals.

In the spring of 2015, the group released Le Voyage Éternel via L'oeil du Tigre Records, and plans for their first European tour began to take shape. Marc-André departed the band shortly after the record’s release and was replaced by current drummer Julien Bakvis. Julien, like his bandmates, works in visual arts as a co-owner of a screen-printing shop in Montreal. This group (Jonathan Robert, Julian Perreault, Dominic Berthiaume, and Julien Bakvis), has become the permanent lineup of the band. That year Corridor toured Europe for the first time, including a show in Paris, promoted by "La Souterraine," where they met the mystic psych-pop outfit Halo Maud (with whom they would later collaborate on the single "Deux Coeurs" (tr. Two Hearts).

2016 was predominantly spent writing and recording. Corridor returned to the studio with Emmanuel Ethier to record their follow-up LP Supermercado (tr. Supermarket). Repetition, progression, and minimalist rhythms would be the core of Supermercado, with melodic counterpoints coming together to form exhilarating sonic mosaics. The cult success of the album allowed Corridor to return to Europe, as well as make their first foray into the United States at SXSW 2018. That year in Austin they played notable showcases for Brooklyn Vegan, Margin Walker, Felte/Part-time Punks, and M for Montreal.

In 2018 Corridor also appeared at Northside Music Festival in Brooklyn, where they performed with the likes of Snail Mail, Deerhoof, and Protomartyr. Shortly thereafter, they returned to the U.S. supporting U.K. post-punks Shame. They even found a fan in actor Michael Shannon who attended the show in Chicago and he requested a CD from the band. In April of 2019, Corridor accompanied the band Crumb on a sold-out American tour. Then in May of 2019, they followed with performances at London Calling Festival in Amsterdam and La Villette Sonique Festival in Paris. 

Corridor will release their Sub Pop debut later this year.

Letters From A Tapehead

Monday, July 22, 2019

No Ripcord (Quick Takes: June 2019): Pinkish Black

Click the link for a review of Pinkish Black's Concept Unification LP, out now via Relapse Records.

Pinkish Black
Concept Unification
Relapse Records
Released: 6.14.19

Letters From A Tapehead

Saturday, July 20, 2019

Alexander Noice: "Affectation"

Call this one a pleasant surprise: the first few seconds of Alexander Noice's latest single, "Affectation," featured on his upcoming new LP NOICE, indicated that I would be treated to a shrill vocal loop shoehorned into an anemic space bar-enabled rally of bleeps and tin cymbals. Such was not the case as the effects and vocals flourished under the composer's direction, given purpose as syncopated percussion and math-plucked melodies added the right amount of urgency. "Affectation'"s near 7-minutes is a rush of instrumental and vocal arrangement, its academia and soul culminating in a calm saxophone line (played by Gavin Templeton) that emerges a little past the midway mark. It's at that point where I was sold.

NOICE is scheduled to release on August 23rd, 2019 via Orenda Records. Check out the track below.

All info and links are courtesy of Clandestine Services.

NOICE presents a futuristic sonic landscape in a riling, cinematic album that plays out like a hypnotic space opera. In the face of our technologically exploding culture, Alexander Noice explores the elusive nature of identity and self-discovery amidst an increasing array of distraction and affectation.

Alexander Noice’s modern take on art-rock pulls on jazz, electronic music, and minimalist opera to create a sound that is inimitable and deeply personal. This amalgam of stylistic influences provides a variegated sonic bed for lyrics that delve into topics involving false pretenses pervasive in modern social contexts, and the search for meaning in revelations of science and technology. Grappling with counterintuitive manifestations of these trends, Noice dresses these themes in a sonic tapestry that marries mechanistic elements with undeniably human expression.

Relentless linear virtuosity in the guitar and saxophone intermingles with fervent, soaring operatic vocals, which either add to the band’s manic energy with sharp rhythmic articulations and lyrics, or cool it down with beautiful melodies. Thumping drums and electric bass fuel the engine of NOICE, with interjections of tailor-made samples, organically woven into highly intricate arrangements. The samples include Ethiopian vocal recordings, 808 drum samples, and recordings of children with stuttering speech syndrome, among many others. NOICE’s attraction to the extravagant visual and narrative aesthetics of filmmakers like Federico Fellini, Stanley Kubrick and Alejandro Jodorowsky make this band’s performances cinematic in scope.

NOICE sits in the cross-section of the cerebral and visceral, placing its explorations of modern culture front and center. The debut release by this ensemble on Orenda Records features an extraordinary batch of compositions by Alexander Noice, and is poised to be an instant classic from the Los Angeles underground music scene.

Alexander Noice is a composer, guitarist, producer and bandleader based in Los Angeles. Known for his highly personalized style of composition and playing, best displayed by his ensembles NOICE and Falsetto Teeth, Alexander has been a highly sought after musician in the creative music scene in Los Angeles and abroad for the past decade.

Noice has performed and toured extensively throughout the United States, Europe, Australia, Japan, and South America performing with many notable artists such as Charlie Haden, Wadada Leo Smith, Vincent Gallo, Art Ensembles of Chicago’s Famoudou Don Moye, Vinny Golia, Dorian Wood, and Daniel Rosenboom to name a few.

Noice first gained attention as a highly accomplished guitarist with an unmistakably strong command and unique voice on the instrument. It didn't take long before he was gaining recognition for his work as a composer displayed in a myriad of configurations and ensembles including string quartets, wind quintets, music for animation, and jazz/improvised groups. From 2008-2013 he led the highly revered art rock/punk trio Falsetto Teeth, and in 2016 Noice released his first solo electronic album called Music Made With Voicesin which he uses a single note sung by eight different people as the sole source material to create eight elaborate, fragmented, and beautiful sonic portraits that reflect our modern relationships seen through a digitized prism.

His newest project simply called, NOICE is a Los Angeles-based ensemble that seamlessly melds art rock, electronica, post minimalism, and jazz into a singular, mesmerizing sound. The ensemble is celebrated for their electrifying live performances - acrobatic in its execution and cinematic in scope. NOICE is Alexander's most personal and fully realized project to date, incorporating the diversity of genre, and musical neurosis that makes his music so inimitable. They are now embarking on the release of what will be their debut album, expected to be released in late summer of 2019.


Website | Facebook | Orenda Records | Bandcamp

NOICE Live Videos | Music Made With Voices | Falsetto Teeth

Letters From A Tapehead

Wednesday, July 17, 2019

New Selections — Torche, Lingua Ignota, Zig Zags, Oh Sees, Chastity Belt

A tad overdue on this one.

Torche: "Admission"
(via Speakeasy PR / Relapse Records / YouTube)

Via Speakeasy PR:

MIAMI, July 2, 2019 – Torche has unveiled a video for “Admission”, with the clip for the album’s title track created by the band’s own Rick Smith and Jonathan Nuñez.“'Admission,' the title track off of our new album, is an extremely important song to us on many levels. Steve has opened the doors to a deep and personal place, lyrically shedding light on his personal life, and I worked hard and diligently to capture the feeling of a song I wrote during trying times,” explains guitar player Nuñez, who also produced the album which is slated for a July 12 release via Relapse Records. “Through the use of effects and various pedals, including a couple of my own line, Nuñez Amps, the feeling of the track took the shape it was destined for. The delays and heavy overdrive are essential to the song and we wanted a video to visually capture what the delays and driven sounds provided sonically. With 15 hours, a minimal setup, help from a couple good friends, and our cellphones, the band was able to create a video we are excited about and feel is the perfect visual companion to a song, and record, that has us excited in our sixteenth year as a band as we were when we first started.”

Billboard debuted the song last week, saying,
“Torche once again constructs layers of guitar riffs that are somehow as airy as they are dense.” MetalSucks added, “Torche have not made a secret of the influence ’80s New Wave had on their new album, Admission — they’ve previously cited ‘the first three Gary Numan records as inspiration’ — but it really comes through on that record’s newly-released title track. Built around disco cymbals and a simple, starry-eyed guitar line, “Admission” has the same bittersweet-pop vibe of that movement’s high points.”

The video arrives both as Torche is on the eve of kicking off their first North American tour dates in support of the 11-song album, launching the first leg on July 8 in Tampa, and also announcing an additional two-plus-weeks run on the western side of the continent later this summer. Tickets for the newly announced shows are on-sale this Friday at 10 am pacific.

The band has given two previous previews of music from the 11-song album with streams of the songs “Slide” ( and “Times Missing” ( The trio of tracks are available as instant downloads with digital pre-orders. Admission is available in various formats (CD/LP/CS/Digital) with several limited edition vinyl versions already sold out. More information can be found via Relapse’s webstore ( Admission’s cover art was created by Richard Vergez, a Cuban-American visual artist, whose work has been shown at No Romance Galleries (TriBeCa), Urban Arts Society (Chicago) and Kids of Dada (London).

Newly announced tour dates:

September 3 Tallahassee, FL The Wilbury
September 4 Nashville, TN Mercy Lounge
September 5 Little Rock, AR Rev Room
September 6 Oklahoma City, OK 89th Street
September 7 Albuquerque, NM Sister
September 8 Phoenix, AZ 191 Toole
September 10 Los Angeles, CA Teragram Ballroom
September 11 Oakland, CA Starline Social Club
September 12 Sacramento, CA Harlows
September 13 Portland, OR Mississippi Studios
September 14 Vancouver, BC Venue
September 15 Seattle, WA Highline
September 16 Boise, ID The Olympic
September 17 Salt Lake City, UT Diabolical Records
September 18 Denver, CO Larimer Lounge
September 20 Louisville, KY Zanzabar

Full slate of tour dates:

July 8 Tampa, FL Crowbar
July 9 Jacksonville, FL The Justice Pub
July 10 Chapel Hill, NC Local 506
July 11 Lancaster, PA The Chameleon *
July 12 Poughkeepsie, NY The Chance *
July 13 Huntington, NY The Paramount *
July 14 Hartford, CT Webster Theatre *
July 15 Winooski, VT Monkey House *
July 16 Buffalo, NY Town Ballroom *
July 17 Pittsburgh, PA Mr. Smalls *
July 18 Cleveland, OH Now That’s Class
July 19 Columbus, OH Newport Music Hall *
July 20 Detroit, MI The Majestic *
July 21 Indianapolis, IN Deluxe *
July 22 Grand Rapids, MI Pyramid Scheme
July 23 Palatine, IL Durty Nellies *
July 24 Des Moines, IA Wooly’s *
July 25 Minneapolis, MN Fine Line
July 26 Omaha, NE The Waiting Room *
July 27 Lawrence, KS Granada Theater *
July 28 St. Louis, MO The Ready Room *
July 31 Washington, DC Black Cat ^
August 1 Philadelphia, PA Underground Arts ^
August 2 Brooklyn, NY Brooklyn Bazaar ^
August 3 Allston, MA Great Scott ^
August 4 Providence, RI The Met ^
August 5 Asbury Park, NJ Asbury Lane ^
August 6 Harrisonburg, VA Golden Pony #
August 7 Wilmington, NC Reggie’s 42nd Street Tavern #
August 8 Atlanta, GA The Masquerade #
August 9 Orlando, FL The Plaza &
August 10 Miami, FL Las Rosa’s (FREE SHOW) #
September 3 Tallahassee, FL The Wilbury
September 4 Nashville, TN Mercy Lounge
September 5 Little Rock, AR Rev Room
September 6 Oklahoma City, OK 89th Street
September 7 Albuquerque, NM Sister
September 8 Phoenix, AZ 191 Toole
September 10 Los Angeles, CA Teragram Ballroom
September 11 Oakland, CA Starline Social Club
September 12 Sacramento, CA Harlows
September 13 Portland, OR Mississippi Studios
September 14 Vancouver, BC Venue
September 15 Seattle, WA Highline
September 16 Boise, ID The Olympic
September 17 Salt Lake City, UT Diabolical Records
September 18 Denver, CO Larimer Lounge
September 20 Louisville, KY Zanzabar
September 21 Asheville, NC Heavy Mountain
November 1-3 Gainesville, FL The Fest
November 9 Austin, TX Levitation

^ (w/ Wear Your Wounds)
# (w/ Whores.)
* (w/ Baroness)
& (w/ Baroness & War On Women)

Torche released their fourth album, and Relapse Records’ debut, Restarter in 2015. The collection found the band on most year-end best of lists with Entertainment Weekly describing the album as “gloriously fuzzy, sludgy, hard-hitting” and calling the band members “four of loud rock’s most adroit genre-benders.” The Washington Post called Restarter “otherworldly” and the Chicago Tribune saying “Torche’s music connects muscle, songcraft and drive in a way that few bands of recent vintage can match."


Lingua Ignota: "Do You Doubt Me Traitor"
(via Rarely Unable / Profound Lore / YouTube)

Via Rarely Unable:

Her visceral new track “Do You Doubt Me Traitor” appears on her latest album, CALIGULA, out July 19 on Profound Lore

As the utterly arresting new LINGUA IGNOTA album
CALIGULA approaches this July on Profound Lore, we are delighted to reveal headline live dates incoming this September/October including three shows with AMENRA - full itinerary below.


On her new album
CALIGULA, LINGUA IGNOTA takes Kristin Hayter’s vision to a new level of grandeur, purging her and vengeful audial vision going beyond anything preceding it and reaching a new unparalleled sonic plane. Eschewing and disavowing genre altogether, Hayter builds her own world. She fully embodies the moniker Lingua Ignota, from the German mystic Hildegard of Bingen, meaning “unknown language” — this music has no home, any precedent or comparison could only be uneasily given, and there is nothing else like it in our contemporary realm.

Due out July 19th,
CALIGULA finds Hayter at the peak of her powers as a vocalist, composer, and storyteller. The album refuses to settle in any known lane, instead opting to tackle massive scopes and influences spanning across time and place. One thing remains unchanged, though: Hayter continues to explore themes of violence and vengeance through a survivalist narrative that is equal parts chilling and empowering.

Working closely with Seth Manchester at Machines With Magnets studio in Rhode Island, Hayter strips away much of the industrial and electronic elements of her previous work. Channeling the menacing intensity of her live performances, Hayter utilised unconventional recording techniques and live instrumentation to bring a frenetic energy to

Pooling talent from Sam McKinlay (THE RITA), visceral drummer Lee Buford (The Body) and frenetic percussionist Ted Byrnes (Cackle Car, Wood & Metal), with guest vocals from Dylan Walker (Full of Hell), Mike Berdan (Uniform), and Noraa Kaplan (Visibilities),
CALIGULA is a massive work, a multi-layered epic that gives voice and space to that which has been silenced and cut out.


26/09 BE Brussells Centre Tour à Plomb
27/09 NL Amsterdam de de Brakke Grond *
28/09 NL Amsterdam Paradiso *
30/09 UK London Oslo
01/10 UK Manchester Pink Room
02/10 UK Bristol Rough Trade
04/10 FRA Lille La Malterie
05/10 NL Nijemegen Soulcrusher
06/10 DE Berlin Urban Spree
07/10 PL Krakow Unsound
08/10 CZ Prague Klub 007
10/10 SK Kosice Collosseum
11/10 HUN Budapest LARM
12/10 AT Wien Rhiz
13/10 DE Liepzig Mörtelwerk
14/10 DE Mannheim Forum Mannheim
16/10 ITA Milano Macao
18/10 FRA Clermont Ferrand Raymond Bar
19/10 FRA Paris Espace B
20/10 BE Menen cc de steiger/ stadsmuseum *

* with AMENRA



Zig Zags: "Killer Of Killers"
(via Us-Them Group / RidingEasy Records / CVLT Nation / YouTube)

Via Us/Them Group:

Zig-Zags premiere video for "Killer of Killers" 
L.A. trio w/ fury of Kill 'Em All era Metallica, and wit of a metal Mudhoney

Watch & share "Killer of Killers" video (YouTube) (CvltNation)
Hear & share They'll Never Take Us Alive album (YouTube) (Kerrang!)

L.A. punk-metal trio Zig-Zags premiere a new video from their recently released fourth album, and debut on RidingEasy Records, They'll Never Take Us Alive today via CvltNation. Watch and share the low budget horror spoofing "Killer of Killers" HERE. (Direct YouTube.)

Metal Injection also recently shared the wildly intense video for anthemic album opener "Punk Fucking Metal" HERE. (Direct YouTube.) 

Kerrang! Magazine also recently streamed the full album alongside an in-depth interview HERE. LA Weekly recently named Zig-Zags "Best Metal Band" in their annual Best of L.A. Music issue. 

Zig-Zags are in the midst of a busy year of non-stop touring throughout the EU, UK and US. The next leg kicks off in Europe next week. Please see complete dates below. 

They'll Never Take Us Alive is available on LP, CD and download, released on May 10th, 2019 via RidingEasy Records. Purchase it HERE

07/06 Nikolsdorf, AT @ Sticks & Stone Festival
07/07 Wien, AT @ Venster99
07/09 Bratislava, SK @ Kulturak Klub
07/10 Berlin, DE @ Toast Hawaii
07/11 Hamburg, DE @ Komet
07/12 Erfurt, DE @ Stoned from The Underground
07/13 Ludwighsafen, DE @ Ein Schoner Tag im Freien
07/15 Tolosa, ES @ Bonberenea
07/16 Madrid, ES @ Wurlitzer Ballroom
07/17 Barcelona, ES @ Rocksound
07/19 Helsinki, FI @ Hori Smoku Summer Boogaloo 2019
07/20 Den Haag, NL @ Grauzone Summer Special 
07/21 Bristol, UK @ The Old England
07/23 Liverpool, UK @ Drop The Dumbulls
07/24 London, UK @ The Black Heart
07/25 Le Havre, FR @ Fort de Tourneville
07/26 Lille, FR @ La Gare Saint Sauveur
07/28 Rokycany, CZ @ Fluff Fest
07/30 Wiesbaden, DE @ Schlachthof
07/31 Koln, DE @ MTC
08/01 Kassel, DE @ Goldgrube
08/02 Waldbad Stolzenhain, DE @ Elite Culture Festival
08/03 Schierling, DE @ Labertal Festival
08/04 Slavonice, CZ @ Barak
08/08 Santarem, PT @ InStr
08/09 Moldeno, PT @ Sonic Blast Moldeno
08/10 Sinzendorf, DE @ Void Fest
09/21 Portland, OR @ Dante's - Northwest Hesh Fest
11/09 Austin, TX @ Levitation Festival 


Oh Sees: "Poisoned Stones"
(via Tell All Your Friends PR / Castle Face Records / Stereogum / YouTube)

Via Tell All Your Friends PR:





Oh Sees have shared the video for their new track "Poisoned Stones" on Stereogum. Last month the band announced a new double LP titled Face Stabber. Along with the LP announcement, the band shared the 20+ minute track "Henchlock". Face Stabber is out 8/16 via Castle Face Records. The band will also go on a lengthy North American tour this fall. Dates are below.

Hey there, human kids, 
Lift your face out of the feed trough and pluck that feculence from your ears. Hark! A sonar blip from beneath the pile of bodies. Boop, blip ughhh….
People churning like a boiling swamp. Man, this din is nauseating. 
The screen flickers for the first time this year with a transmission from two months in the future:
“the internet has deemed guitar music dead and you are free to do whatever the fuck you like ….long live the new flesh!”

This album is Soundcloud hip-hop reversed, a far flung nemesis of contemporary country and flaccid algorithmic pop-barf.
No songs about money or love are floating in the ether.
Just memories, echoes, foggy blurs
Blip-blop goes the scope 
Heavy funk 
Dystopia-punk canons
Lonnnnng jams 
Bloated solos dribbling down your caved-in chest.
Human cattle like a beef avalanche, right on your burned out face hole.
Spider legs fuzz crawling in your brain. 
Lots of curse words for your mom.
You’ve gotten the over-population blues, so let’s have some art for art’s sake.
What else are you gonna do?
Stare at the sky? Please…
50 carbon copies of you look back at you as you walk the streets.
Take a breath, you’re going to need it.
Take drugs, you’re going to need those just to stand in line at the air and water reclamation center soon enough.
There’s no fruit, buddy.
You’re at the bleak-peak.
They will squeeze you till you’re all squeezed out.

For fans of fried prog burn out, squished old-school drool, double drums, lead weight bass, wizard keys (now with poison), old-ass guitar and horrible words with daft meanings.
If you don’t like it then don’t listen, bub. 
Back to the comments section with you!
Over and out 

It’s out on Castle-Face Records August 16th

Tour Dates:
11-13 Carnation WA Timber! Festival

9 Pioneertown, CA Pappy and Harriet's 
23 Charleville Cabaret Vert festival
24 Guéret Check-in Festival
27 Ravenna Hana-Bi (Free)
29 Vienna Arena
30 Munich Strom
31 Berlin Kreuzberg Festsaal

1 Brussels Les Botaniquesen
3 Bordeaux BT 59
4 Toulouse Le Bikini
5 Paris Le Bataclan
6 London Troxy
7 Amsterdam Paradiso
30 San Francisco, CA The Chapel

1 San Francisco, CA The Chapel
2 San Francisco, CA The Chapel
4 Portland, OR Crystal Ballroom
7 Vancouver, BC Rickshaw Theatre
10 Minneapolis, MN First Avenue Ballroom
11 Chicago, IL Thalia Hall
12 Chicago, IL Thalia Hall
14 Toronto, ON Danforth Music Hall
15 Montreal, QC Le National
16 Cambridge, MA The Sinclair
18 Brooklyn, NY Warsaw
19 Brooklyn, NY Warsaw
20 Brooklyn, NY Warsaw
22 Philadelphia, PA Union Transfer
23 Carrboro, NC Cat's Cradle
24 Nashville, TN Mercy Lounge
25 New Orleans, LA One Eyed Jacks
26 Austin TX Hotel Vegas
27 Austin, TX Hotel Vegas
29 Albuquerque, NM Sister Bar
31 Los Angeles, CA Teragram Ballroom


Chastity Belt: "Ann's Jam"
(via Stereo Sanctity PR / Hardly Art / YouTube)

Via Stereo Sanctity:

Acclaimed Seattle band Chastity Belt have returned with their first new music since 2017's I Used to Spend So Much Time Alone. This heartfelt new record, simply titled Chastity Belt, is due out on Friday, September 20th on LP, CD, digital, and cassette from Hardly Art records, and from Milk! records in Australia and New Zealand. Chastity Belt will be touring extensively in support of the record - see below for a full list of European dates.

Chastity Belt was co-produced by the band and Melina Duterte aka Jay Som. Today the band have shared a self-made music video for the album’s nostalgic opening track, "Ann's Jam”.

Chastity Belt’s energy is like a circuit, circling around the silly and the sincere. Theirs is a long-term relationship, and that loop sustains them. Tongue-in-cheek witticisms and existential rumination feed into each other infinitely, as long as they’re together. That’s a creative thesis in and of itself, but isn’t that also just the mark of a true-blue friendship?

The band talks a lot about intention these days—how to be more present with each other. The four piece—Julia Shapiro (vocals, guitar, drums), Lydia Lund (vocals, guitar), Gretchen Grimm (drums, vocals, guitar) and Annie Truscott (bass)—are nine years deep in this, after all. It seems now, more than ever, that circuit is a movement of intentionality, one that creates a space inside which they can be themselves, among themselves. It’s a space where the euphoria of making music with your best friends is protected from the outside world’s churning expectations. It’s a kind of safe zone for the band to occupy: a group of friends who love each other.

Their fourth record, Chastity Belt, embodies that. The decision to eponymously title it is as strong a statement as any on where they are in their career. “I feel like this record is a really good representation of who we all are, and I feel like we're at a point where we've really come into our own” says Julia. “We're more us than ever.”

After touring Chastity Belt’s last record I Used To Spend So Much Time Alone (2017, Hardly Art), the band took a restorative few months in 2018, each member worked on solo material or toured with other bands. “So much of the break was reminding ourselves to stay present, and giving ourselves permission to stop without saying when we’re gonna meet up again,” says guitarist Lydia Lund. “It was so important to have that—not saying, ‘we’re gonna get back together at this point,’ but really just open it up so we could get back to our present connection.” Drummer Gretchen Grimm explains it as “trying to weed out the parts of being in a band that feel like obligation and sticking to things that feel like a true expression of us” 

So when they reunited ready to record Chastity Belt, things had changed – Annie had moved to LA, they’d all been in and out of relationships and their perspectives had shifted. They came together with more intention and assertion than ever before.

With the luxury of spending several weeks in the studio with Jay Som’s Melina Duterte, Chastity Belt were able to take time and experiment. The new self-titled album sees them adding more dynamic vocal harmonies, sharing lead vocals on different tracks, and working with different instruments such as violin (played by Annie), cello, trumpet and keyboards. It makes for an intricate yet uncluttered record that is not only a product of, but a series of reflections on what it means to take what you need, and to understand yourself better. It is some of their most mature, most introspective and nuanced material to date – unhurried, thoughtful and poignant.

Many of Chastity Belt’s signature dynamics, from the silly to the sincere, have read as feminist gestures: the Cool Slut DGAF-iness, the shrugging off of the “women in rock” press gargle, the fundamentally punk act of creating music on your own as a woman, and being lyrically forthright. What the making of Chastity Belt reveals is that the band has tapped into a deeper tradition of women making art on their terms: the act of self-preservation in favour of the long game. In favour of each other. In this cultural moment, taking space like this to prioritise the love over the product seems progressive. Chastity Belt’s intentions have resulted in an album deeply expressive of four people’s commitment to what they love most: making music with each other.

Chastity Belt will be released on September 20th via Hardly Art. Pre-order here:

European tour dates:
Sep 28 - Vienna, AT - Waves Vienna Festival
Sep 29 - Munich, DE @ Kranhalle *

Oct 01 - Milan, IT @ Serraglio *

Oct 02 - Zurich, CH @ Bogen F *

Oct 04 - Schorndorf, DE @ Manufaktur *

Oct 05 - Jena, DE @ Trafo *

Oct 06 - Berlin, DE @ Franzz Club *

Oct 08 - Cologne, DE @ Bumann & Sohn *

Oct 09 - Utrecht, NL @ Ekko *

Oct 11 - Paris, FR @ La Boule Noire *

Oct 12 - Antwerp, BE @ Kavka *

Oct 13 - Bristol, UK @ Thekla *

Oct 15 - Leeds, UK @ Brudenell Social Club *

Oct 16 - Manchester, UK @ YES *

Oct 17 - Glasgow, UK @ Stereo *

Oct 19 - Oxford, UK @ Ritual Union
Oct 20 – Cardiff, UK @ SWN Festival

Oct 21 - Brighton, UK @ Patterns *

Oct 23 - Southampton, UK @ The Joiners *

Oct 24 - London, UK @ Islington Assembly Hall *
* - w/ GANG

Letters From A Tapehead

Uniform & The Body: "Not Good Enough"

I stress that The Body remains a consistently fascinating entity whose work I either champion or dismiss, the creative push-n-pull a la ...