Friday, April 03, 2020

Jenny Hval: "Bonus Material"

A new single from Jenny Hval called "Bonus Material" is streaming online. It's airy, light, and wanders as Hval gently sings, a saxophone (performed by Espen Reinertsen) and sprinkled piano strokes cutting through the tonal swells beneath. Initially, I likened this track to Julee Cruise as it contains the same sorrow-laden and angelic disposition that Cruise carries through her work.

Hval's most recent work, Practice of Love, was released last September via Sacred Bones Records.

Via Stereo Sanctity:

Today, Norwegian multidisciplinary artist Jenny Hval presents a new single, “Bonus Material.” It follows the widely acclaimed The Practice of Love, which was released last year via Sacred Bones. “Bonus Material” is sparse and celestial, floating with Hval’s light vocals and twinkling keys. It features saxophone by Espen Reinertsen, who appeared on The Practice of Love. “It is an unfinished track about unfinished substances leaking into one another,” says Hval. “Trash practicing love.”

See Jenny Hval live:
Thu Sep 10 - Chicago IL Constellation
Sun Sep 13 - Brooklyn NY National Sawdust
Mon Sep 14 - Brooklyn NY National Sawdust
Fri Sep 18 - San Francisco CA Grey Area - Grand Theatre

Letters From A Tapehead

Wednesday, April 01, 2020

2020 Playlist — El Ten Eleven, Helen Money, Mong Tong, Allegra Kreiger, Animal Hospital

I hope everyone's staying safe and, if and when able, staying home. And while you're home, maybe check out the ever-expanding 2020 Playlist.


El Ten Eleven "With Report"
(via Speakeasy PR / Joyful Noise / YouTube)

Album Preorder

Via Speakeasy PR:




April 1, Southern California – El Ten Eleven have announced a trio of full-length albums dubbed Tautology I (release date: May 1), Tautology II (July 10) and Tautology III (Sept. 18) with the Joyful Noise Recordings’ releases representing a sonic meditation on the arc of human life, composed in three parts.

The music on the first disc, Tautology I, has a heavier sound that might surprise longtime El Ten Eleven fans. “I wanted to represent what my teenage years were like, when I was full of testosterone and depression,” says guitar/bass player Kristian Dunn. “When you're a teenager everything feels so grandiose and dramatic.” The album’s second movement, Tautology II, reflects Dunn’s current state. “I'm middle-aged now, and this is the happiest I've ever been. I think that comes across in the music. This record is the one that sounds the most like the El Ten Eleven people are used to.” For the final chapter, Tautology III, Dunn composed a transcendent set of ethereal music inspired partly by the loss of a dear family member. “I don't know what it's like to be elderly. But my grandmother-in-law Frances McMaster was a very inspiring person. She died recently, and I was thinking about her a lot. She was really smart. She lived into her early nineties and she wrote her fourth book when she was 88. I'd like to be like her if I make it to that age.”

The pair preview Tautology I with the release of “With Report” ( which can be heard now and is available immediately to all who pre-order the six-song release ( The three albums are initially available digitally with a 3xLP physical release available on Sept. 18.
autology I track list:

1. Entropy
2. With Report
3. Jejune
4. Moral Dynamite
5. Division
6. Lassitude

The Southern California duo of Kristian Dunn (bass/guitar) and Tim Fogarty (drums) have flourished outside the accepted norms of rock orthodoxy, releasing eight full-length albums, four EPs and performing over 750 live shows. Utilizing inventive arrangements and a masterful use of looping, El Ten Eleven have been noted for their ability to create a sound much bigger than their individual parts. SF Weekly said of the pair’s live performance: “watching El Ten Eleven play is something like watching two superheroes do their thing.” Consequence of Sound called their music “euphoric,” KEXP described their output as “transcendent” and Under The Radar declared the pair’s unique style a “buoyant brand of post-rock.”


Helen Money: "Understory"
(via Thrill Jockey / Bandcamp)

Via Thrill Jockey Records:

Helen Money shares the intimate, moving single "Understory":

New album Atomic out 20 March

Helen Money touring throughout Europe spring 2020

Helen Money EU tour dates
May 2 - Copenhagen, DK - Vega ^
May 3 - Goteborg, SE - Fyrens Ölkafé ^
May 5 - Prague, CZ - Kastan ^
May 7 - Gdansk, PL - Drizzly Grizzly ^
May 8 - Poznan, PL - Pawillon ^
May 9 - Hranice na Moravě, CZ - Karnola ^
May 10 - Kosice, SK - Tabačka Kulturfabrik ^
May 11 - Graz, AT - Cafe Wolf ^
May 12 - Vienna, AT - Fluc ^
May 13 - Zurich, CH - Schallbeton ^
May 14 - Torino, IT - Blah Blah ^
May 15 - Lyon, FR - Le Sonic ^
May 16 - Mannheim, DE - Alter Beach Stage ^
May 17 - Lille, FR - La Malterie ^
May 18 - Bristol, UK - The Exchange ^
May 19 - Birmingham, UK - Dead Wax ^
May 20 - Glasgow, UK - Broadcast ^
May 21 - Preston, UK - The Ferret ^
May 22 - Newcastle, UK - Cluny ^
May 23 - Cardiff, UK - Cardiff Noise & Psych Festival
May 24 - London, UK - Raw Power Festival w/ Pye Corner Audio, Enablers + more

^ w/ Sanford Parker

Helen Money has shared the intimate, moving single "Understory" from her forthcoming album
Atomic, out 20 March. Following the album's release, Helen Money will be embarking on a tour throughout the US and Europe joined by Atomic collaborator Sanford Parker, including a set at Raw Power Festival in London.

Helen Money stands as one of the most unique and versatile cellists working today. Composer Alison Chesley uses the instrument to access and channel the extremities of human emotion, employing extensive sonic manipulation and an array of plucking and bowing techniques to summon an astonishing breadth and depth of sound. A prolific collaborator, Chesley is equally at home in both New Music and Metal circles. Past albums saw her collaborate with Jason Roeder (Sleep/Neurosis) and Rachel Grimes (Rachel’s), and she has toured extensively with Shellac, Russian Circles, Earth, Bob Mould and MONO. On her new album Atomic, Chesley pushes even further out towards the extremes of her output with a daring leap forward in her songwriting through minimalist arrangements that stand as her most intimate, direct, and emotionally bare work to date.

Listen elsewhere:
YouTube | Spotify | Apple Music


Mong Tong: "Chakra"
(via Stereo Sanctity / Guruguru Brain / Soundcloud)

Album Preorder

Via Stereo Sanctity:

Taipei, Taiwan sibling duo Mong Tong have signed to Guruguru Brain, the label for Asian underground music run by Kikagaku Moyo, and have announced details of their debut album, Mystery秘神 for release on June 19th. Today they share the first single, “Chakra”.

Brothers Hom Yu and Jiun Chi also play in ​Prairie WWWW​ (落差草原 WWWW) and Dope Purple. They both returned to Taipei in 2017 after finishing their studies and before long began to explore their mutual obsession for Taiwanese occult-inspired art and vintage superstitious imagery, channelling it through music. Mong Tong means many things in Chinese, but the translation they choose to fit their music is “the east-side of dreams”.

Growing up in Taiwan in the 90’s, the brothers listen to ​電子琴音樂 which they describe as “relaxing Chinese synth pop” along with video game soundtracks, psychedelic music, doom metal and sound collage/library music. On
“Mystery秘神” these inspirations combine with the dark humour of Taiwanese folklore and a love of conspiracy theories to form what they describe as “a psychedelic journey to the east.”

First single “Chakra” is one of the first songs they wrote and set the tone for the rest of the album. It sees the duo use sound samples including sword fights and a voice-over that amused them in which a reporter talks about the connection between Hinduism and UFOs. The resulting record is a surreal and mystifying journey through 80’s cult influences, with a distinctly Far Eastern outlook.

Recorded in their home studio in Taipei, “Mystery 秘神” is a psychedelic journey into Taiwanese folklore combined with the 80’s media obsession with the supernatural. It’s a record that manages to combine nostalgia and tradition with humour and an underlying intrinsic earthiness to create something unlike anything else out there.

The album’s artwork is inspired by vintage Taiwanese book covers (Hom Yu runs an Instagram account dedicated to them here) and contains a hidden code; a puzzle they challenge listeners to solve.

Mystery 秘神 track list:
1. Intro
2. Mystery 秘神
3. Chakra
4. Jou-tau
5. 717
6. Ancient Mars
7. A Nambra
8. In The K. Court



Allegra Krieger: "The Push And The Pull"
(via Clandestine PR / Northern Spy / YouTube)

Via Clandestine PR:

Allegra Krieger Shares New Single "The Push And The Pull"

Today, Allegra Krieger announced her signing with Northern Spy Records and released a brand new song titled "The Push And The Pull," which she explains "is a reflection on each person’s capacity to experience great emotional heights and depths."

Reminiscent of indie folk artists like Laura Marling and Feist, on “The Push The Pull” Allegra Krieger weaves an intimate tale about the balance and duality of emotional discordance that belies her age. Krieger’s captivating voice and mellow acoustic guitar take the spotlight on this bittersweet yet utterly infectious song.

Allegra Krieger is a Brooklyn based songwriter & composer. With emotive lyricism weaving through explorative harmony, her songs are at once cathartic and compelling. Her first full length LP will be released later this year.

Stream - Instagram - Facebook


Animal Hospital: "Fatigue"
(via Whited Sepulchre / Bandcamp)

Album Preorder

Via Whited Sepulchre:

Fatigue is a chronicle and culmination of the past 10 years of Micka creating live music for large ensembles. In his return to the recorded format, Micka collapses his exploded-view approach to composing and has created four laser-guided and utterly distinct pieces of music composed with vinyl’s inherent limitations in mind. Mastered by James Plotkin, Fatigue dives deep into layered microtonal passages and ping-ponging guitar samples and field recordings on “Framework” while album opener “Conditions” is a dense study of sustained tones that contain worlds of sound within its boundaries.

“No Pressure” and the B-Side spanning “Absolute” bear resemblance to 2009’s Memory in their form. “No Pressure” is a stunning drone-blues composition that lets each passage hang heavy in the humid air before another riff rends a fresh hole in the stereo. 
“Absolute” is a Kraut-inspired longplayer that recalls Cluster and LFZ in its patient but persistent build and neuron-rearranging guitar leads that swell, dissolve and reassemble as layers of oscillating tonal passages.

Perhaps with the format’s eventual demise on the horizon, Animal Hospital has created a listening experience that pushes back and celebrates our relationship to the LP.

Letters From A Tapehead

Tuesday, March 17, 2020

GRID: "Brutal Kings"

I'm thinking since we have "power violence," we should have "jazz violence" if we don't already. I'm not sure how else to categorize the sounds of GRID, the trio responsible for this "Brutal Kings" track. Groups like Zu, Wolf Eyes, and maybe even Naked City have been cutting numerous, intersecting paths through these territories, injecting chaos into improv with as much dire and affecting aural malice as can be manifested when you deal with erratic composition. GRID ably follow suit here, inflicting some high-caliber low end and percussion upon the listener as heavy blasts of saxophone and grinding racket pierce through the mire. "Brutal Kings" is excellently unsettling and acts as the lead into the group's upcoming new LP, Decomposing Force

The record is scheduled to release 4/24 via NNA Tapes. Check out the single below. Info on GRID and Decomposing Force was provided by Clandestine Label Services.

You can pre-order the album at NNA Tapes' Bandcamp.

GRID, the experimental trio of Matt Nelson (Battle Trance; Elder Ones) on saxophone, Tim Dahl (Child Abuse; Lydia Lunch Retrovirus) on bass, and Nick Podgurski (New Firmament; Feast of the Epiphany) on drums, have returned to NNA Tapes for the release of their colossal sophomore album, Decomposing Force.

Recorded live in one room with no overdubs and mixed to 1/2 inch tape, GRID builds off of their earth-rattling self-titled debut. Decomposing Force relies on the composite sound of Nelson, Dahl, and Podgurski interacting and reacting to each individual as well as their combined output—the continual flowing-in of individual and agglomeration serves to add dimension to the blackness and possibility of GRID’s musical ecosystem. With Dahl’s bass-amp angled directly into the microphone Nelson uses for his saxophone, the improvisational sounds of the entire band are fed through Nelson’s pedals and monitor to create a continuously interactive and variable feedback loop that comes to define the visceral immensity of GRID’s soundscapes. This combines with a mutual willingness to evenly shoulder the weight of composition. There is no showcasing of any single player in this amorphous system. The impact of what is created shall be carried by all.

Remaining beyond strict categorization, GRID’s crushing dissonance is an amalgamation of each member’s background in free-jazz and improvisational music, as well as Doom-Metal, Noise, and Ambient influences. The resistance towards classification and familiarity leaves listeners in an environment negotiable only by feel. Musically synthesizing and re-synthesizing in each moment, GRID’s cyclical transmission of sound and energy continually develops expressive, hyperactive, protean textures that brutally and masterfully navigate through the dense, heavy atmosphere of Decomposing Force with vigorous dynamism.

“Brutal Kings” is a short, claustrophobic passageway of bristles and thorns—each instrument and each note are distinctly and singularly piercing. The cacophonous “Nythynge” violently builds and releases tension as the band moves through passages of imposing, jagged musical discourse. The playing loosens and the tempo slows to an enveloping trudge on the thick, sludgy “The Weight of Literacy.” Then “Cold Seep” closes the album in a chilled, unsettling ambiance more expansive than anything that precedes it, leaving the impression that you’ve only explored but one tiny corner of GRID’s world.

Built on the tenets of weight, difficulty, challenge, collaboration, and adaptability, GRID constructs and confronts the oppressive dark—not with transcendent opposition but with an embrace, diving deeper in as a way through. Decomposing Force is sonic catharsis of the highest and harshest caliber.

Matt Nelson - Saxophone
Tim Dahl - Bass
Nick Podgurski - Drums

Recorded by Jason LaFarge at Seizures Palace
Mixed by Michael Coleman at Figure 8
Mastered by Carl Saff

Letters From A Tapehead

Monday, March 16, 2020

Online Sounds: Test Card, worriedaboutsatan, Spectral Habitat

Good morning. I have some some ambient picks to begin the week via Sound In Silence and Verses Records.

Test Card
Music For The Towers
Sound In Silence
Released: 1.9.20

Fans of mid-70s Cluster and Brian Eno will appreciate the light and airy electronic and instrumental mutations of Test Card, the solo alias of artist Lee Nicholson. Music For The Towers is Nicholson's third Test Card release, a palatable selection of electronic arrangements with amusing titles like "Data Taken Over Under Rating," "We Oscillated Like Sheep Grazing On Grassy Waveforms," or "Let Single Sideband Loneliness Receivers Be Happy."


Sound In Silence
Released: 1.9.20

With textural cuts and an ethereal lean, worriedaboutsatan's Crystalline relishes in filling space with tone and timbre, wandering synthesized or analog embellishments and thick walls of sound enhanced by choral voices. Crystalline plays like a study in assembly, every piece built up from minimalist loops and intensified as layers develop.


Spectral Habitat
Verses Records
Released: 2.28.20

Pairing strings with vocals, the aural experiences crafted by Meg Mulhearn (USX) and Elisa Faires throughout the length of ATLAS, the duo's first recording, may tempt one to employ overused descriptors like "haunting," "mesmerizing," or "lovely." Thing is, none of that is incorrect. Spectral Habit's environs play as mini-sode scores, each title (i.e. "Day Dunes," "Night Dunes," "Fireflies") a topic and every sound an articulation of meaning and story. This could sound overly romanticized, maybe dramatic. But to hear "Night Dunes," whose midway intrusion of relentless scurrying almost overtakes the heavenly waves of sound beneath, like an infestation or scourge, is to absorb an interpretation in lieu of prose. ATLAS is a traveler's journal told through sound, an embrace of moments. I think it's gorgeous.

If you like what you hear, please consider supporting the labels and the artists.

Letters From A Tapehead

Thursday, February 20, 2020

2020 Playlist — tētēma, Oval, Flat Worms, Wreckmeister Harmonies, Ulver, Caleb Landry Jones, L.A. Takedown

Behind on the 2020 Playlist, but I hope that doesn't discourage anyone from checking out some newest inclusions.


tētēma: "Wait Till Mornin'"
(via Speakeasy PR / Ipecac Recordings / YouTube)

Album Preorder

It's rare that a Mike Patton project is going to evade my curiosity as I've been a fan of his myriad projects since Faith No More's Angel Dust and Mr. Bungle's s/t debut remade my impressionable teenage brain. That said, some projects have been better than others obviously and the couple of singles I've heard now from this tētēma (Patton/Anthony Pateras) project are angling toward some familiar ground, but I remain enthusiastic.

Necroscape is out April 4 via Ipecac Recordings.


Oval: "Improg"
(via Thrill Jockey / YouTube)

Order Scis

Order Eksploio EP

Via Thrill Jockey Records:

Following the recent release of his hypermelodic new Oval album Scis, pioneering producer Markus Popp has shared the new video for single "Improg". Much like the track, Russian visual artist Sveta Rybkina's video for "Improg" takes the humble piano as its starting point, manipulating its form and sculpting it into a dizzying, ecstatic barrage of digital patterns.

The piano motif stemmed from Rybkina's early batch of sketches for the Scis album cover, resurfacing once again when the artist was working with Popp on the live visuals for the album premiere at Kantine am Berghain in Berlin last month. He elaborates: "Initially, there were many attempts at making live action footage of a piano work (famous piano scenes in movies, piano-themed documentaries, videos of music/art performances featuring pianos etc), but ultimately, a CAD-rendered piano was chosen as the way to go, as it offered the most creative control". Rybkina eschewed off-the-shelf animation tools and instead scripted the video manually, frame-by-frame, mirroring the meticulous level of detail Popp worked into the track's intricate instrument loops.

Oval began in the early 90’s and rapidly gained acclaim for its innovations in electronic music. Each new release saw Popp radically redefine his practice, introducing new elements and embracing new creative challenges, integrating cutting-edge technology and processes into his practice to ensure that each record sounded as contemporary and exhilarating as the last. Where early compositions saw Popp tinkering with software and systems to reduce his own visible hand in the music, Scis and its accompanying EP Eksploio instead foreground the human element in his creation, shifting focus from process to composition. Both records see Popp exploring and subverting elements of club music and experimenting with a new palette of sounds to create some of his most immediate and emotive work to date.


Flat Worms: "Market Forces"
(via mutante / Drag City / God? Records / YouTube)

Album Preorder

Via Drag City / God? Records:

Flat Worms, the Los Angeles-based trio of Will Ivy (guitar), Tim Hellman (bass) and Justin Sullivan (drums), announce their new album, Antarctica, out April 10th on Drag City imprint, God? Records, and share lead single, "Market Forces." Antarctica is for people invested in the future, despite a world in flames, deserts in permafrost, and everyone in their own corners, looking down into their hands. It considers the chaotic, dysfunctional contemporary landscape and reflects a situation that's dire, but not hopeless.

Since the release of their 2017 debut LP - even since last year's
Into the Iris mini-LP - Flat Worms' sound has hardened, with the polarities of psych and post-punk smelted into a brutal cobalt alloy. No doubt they're aided by the Steve Albini-engineered sound rendered at Electrical Audio, where the album was recorded and mixed (in collaboration with Albini and Ty Segall) in six days. The rest of the evolution is down to Flat Worms, whose world view and musical viewpoint pulse with a remorseless drive and a sense of collaborative unity. Ivy's cortex-scorching guitar leads are in united space with the full-body rhythm of Hellman's bass and Sullivan's drums.

Flat Worms' social comment, bleak, yet earnest, is leavened with bone dry humour (the title track's isolation conundrums:
"My dog is smiling as I drive her to the park / we sit together in the kitchen after dark / I ask her questions / She just barks") and caustic pronouncements. Lead single "Market Forces" kicks the modern malaise of alienation from our over-commodified social media mirror image. As market forces drives feels to capitalise on later, Flat Worms ask: Are you really helpless in this dynamic?

Commitment. Intention. Collaboration. And a sense that we're meant to enjoy what we're doing. Even in the desert of
Antarctica, Flat Worms are looking for the upside.


Wreckmeister Harmonies: "Midnight To Six"
(via Thrill Jockey / Bandcamp)

Album Preorder

Via Thrill Jockey Records:

Ahead of the release of new album We Love To Look at the Carnage, Wrekmeister Harmonies have released the single "Midnight To Six". The elegiac song acts as the album's thesis, charting a restless journey beginning in the middle of the night and ending in the small hours of the morning. Guitarist/vocalist JR Robinson’s brooding lyrics grapple with phantoms both real and imagined, apparitions amplified by the feverish anxiety of insomnia. Robinson's words are buoyed by multi-instrumentalist Esther Shaw's ethereal melodies, Jamie Stewart's (Xiu Xiu) subtle electronic flourishes, and a steady churn of cymbal scrapes, thuds, and twinkling glockenspiel by Thor Harris (Swans).

While early Wrekmeister Harmonies albums were written for large ensembles and to be performed in grandiose public spaces, more recent recordings peeled back the layers of orchestral bombast to focus in on the raw emotion at their heart of their compositions.
We Love to Look at the Carnage, recorded by Martin Bisi at BC Studios, represents some of their most subtle and powerful work to date. The album traverses an emotional landscape, through a metaphorical night with moments of calm between the dark storms, each piece guiding us towards dawn and its promise. It is a celebration of the beauty of endurance, the hope in stoically moving against the dark forces that invade our thoughts and lives.


Ulver: "Russian Doll"
(via Rarely Unable / YouTube)

Via Rarely Unable:

Friday 14th February, Valentines Day 2020, Ulver release the new single "Russian Doll" from a forthcoming album. The song follows in the footsteps of their previous album, The Assassination of Julius Caesar, only this time the wolves draw the listener deeper into a black infinity mirror.

"Although this is pop music in our heads, the images and connotations in the lyrics are probably far away from what one usually associates with this genre. It actually began with some images and memories from the movie "Lilja 4ever" by Lukas Moodysson, which arrived in the early 2000s, and hit us like a brick. A dark and disillusioning film about human trafficking in the Baltic" explains Kristoffer Rygg. He continues, “Russian Doll” refers to the babushka, we began to think about this figure in the extension of "Lilja 4ever" and Eastern Europe. The doll became an object, an object of desire, which we mixed with mise-en-abyme – a composition technique that places pictures, or stories for that matter, inside each other. In this context we see it as a kind of vicious circle, unfolding inwards,"

Crystalline, punchy and intelligent, with an enticing hook. The song is again mixed by Michael Rendall and Martin "Youth" Glover, in London, who the band worked with on the aforementioned and previous album, The Assassination of Julius Caesar.

The video was filmed in Thamesmead, London, where
A Clockwork Orange and Aphex Twin’s "Come to Daddy" were filmed. It stars the young dancer Annija Raibekaze.

"A young filmmaker tipped me off about Thamesmead, where parts of A Clockwork Orange was shot," says Marek Steven, the director. He continues, "we did a couple of location scouts and realised that although the part Kubrick had filmed was currently rubble, nearby was still a huge estate with loads of similar and consistent concrete locations. We roughly planned a pseudo linear location routine with Annija, coming back a third time to shoot on one cold and short November Sunday. It was a small crew of four and two Sony A7’s. Annija is a young Latvian from the border of Russia. She recently moved to London to study dance and we felt she that fitted our idea perfectly, with her suitably aggressive urban dance style."


Caleb Landry Jones: "Flag Day / The Mother Stone"
(via Stereo Sanctity / Sacred Bones Records / YouTube)

Album Preorder

Via Stereo Sanctity:

Actor and musician Caleb Landry Jones announces his debut album,‘The Mother Stone’, out May 1st on Sacred Bones, and presents the lead single/video, “Flag Day / The Mother Stone.” 

The Mother Stone is brilliantly ostentatious and psychedelic, built from abrupt detours and schizoid shifts of voice. Shaped by the influence of Jones’ formative encounters with the BeatlesWhite Album and Syd Barrett’s solo work, The Mother Stone is a parade led by multiple unhinged narrators who rail against the universe, profess their love and vacate the stage before we can ask them a question.

Born in Garland, TX, Jones has been writing and recording music since age 16, around the same time he started acting professionally (
Get Out, Stonewall, X Men: First Class, Three Billboards Outside Ebbing, Missouri, Twin Peaks, The Florida Project, Friday Night Lights, etc). He played in a band called Robert Jones briefly, but it was following a breakup that the songs really started coming hard and fast. In the ensuing years he’d spend a lot of time carrying unrecorded songs around in his head, waiting for a chance to record them in marathon sessions in his parents’ barn. “I started writing record after record after record after record, because I didn’t know what to do with myself,” says Jones. “It was a good way of healing. And it felt like as soon as I started doing it, it felt like it needed to happen all the time.” Sometimes the ideas fused together, one chapter to the next; this is how songs grew into seven-plus-minute epics like the ones on The Mother Stone. His back catalogue is around seven hundred songs deep— a whole discography of full albums, most of them unheard outside the barn, at least for now, thanks to a pivotal meeting with Jim Jarmusch.

“I was a big fan of his work,” Jones says, “Instead of wanting to talk, I thought I’d write him a piece that would somehow let him know who I was.” He spent a few nights composing a new instrumental work for solo piano and showed up ready to play it for the director at their meeting— which turned out to be at a diner where the amenities did not include a piano, so they had a conversation instead. Jones slipped Jarmusch two collections of songs from the barn, most of them up to eight years old at that point. Jarmusch liked what he heard, told Jones he should talk to Sacred Bones founder Caleb Braaten, and before long Jones was making The Mother Stone — whose brassy and theatrical “Flag Day/The Mother Stone” incorporates that piano piece Jones wrote to explain himself to Jarmusch.

"I had no idea what an astounding and unusual musician Caleb Landry Jones was until he gave me some of his music to listen to two years ago" says Jarmusch. " Oh man, I don’t even know how to describe it! But I asked Caleb if we could get it to Caleb Braaten at Sacred Bones! And now, thanks to these two Calebs it’s being delivered to the world – a strange and beautiful gift!"

Soon after coming together with Sacred Bones, Jones ventured to Valentine Recording Studios, where everyone from Bing Crosby to Frank Zappa once logged time, to record with producer Nic Jodoin. Jones brought his collection of battered Yamahas and Casios up from the barn and played them alongside vintage equipment from Jodoin’s collection. Working in a real studio for the first time gave Jones a chance to finally slow his creative process down. They built the songs up from acoustic guitar, let them sit a while, circled back.

So here Sacred Bones present the first glimpse into the barn; a collection of fifteen songs that shoot into outer space and back again, flitting from the grand to the obscure. Bringing together wholly contrasting worlds of sound and colour, Caleb Landry Jones journeys through a kaleidoscopic world of his own creation – full of imagination, inspiration, drama and emotion. It makes for a thrilling and exhilarating ride.


L.A. Takedown: "The Swimmer"
(via Tell All Your Friends PR / Castle Face RecordsEarmilk / YouTube)

Via Tell All Your Friends PR:

L.A. Takedown has announced that they will release their upcoming LP, Our Feeling Of Natural High March 13th via Castle Face Records.

Last year, L.A. Takedown released "The Swimmer" off of their upcoming LP,
Our Feeling of Natural High. The video was premiered with EARMILK praising, "Playing like a short story, every stage of a hypothetical hero's plight is woven into the production. From the curious introduction heralded in by echoing chords to the renewed energy of the fuzzed synths, down to the very last disintegrating notes."

"When L.A. Takedown hovers over your ear hairs the first time, so much is communicated without a word - there are patient, capable hands at the wheel as we phantom through a neon Los Angeles of the mind, a Los Angeles that only three harmonized electric guitars can conjure, with a sunset so infinitely variegated in color that only synthetic washes of synth could serve as your fainting couch. Studio magic dust seems to drip off these android dreams projected against the wall - in person it defies logic that such a sound is coming from humans, but as you watch their hands it’s unmistakable - these are calm warriors sallying forth these sweeping, swooning epics, crowned with triumphant tripartite thunderbolts of wail. For a few fleeting moments, things seem right with the world; our hero has prevailed, the race was won by a hair, the unmanned drones levitate & strafe the coast, rending the coral sky with a psychic boom, shaking loose a few palm fronds and setting off some car alarms but otherwise leaving the sprawl unchanged and teeming. While produced and performed by Aaron M. Olson, Our Feeling of Natural High was engineered and mixed to glossy perfection by Jason Quever and (we hear) it benefits greatly from the seamless contributions of John Herndon, Jason Quever, Marcus Savino, Miles Wintner, Mose Wintner, Nicholas Krgovich and The Musical Tracing Ensemble. We’re even treated to a city-hum lullaby to humanity as a nightcap, with Nedelle Torrisi and Yellow Magic Orchestra’s Yukihiro Takahashi on vocals, truly a mint on the pillow of this fantastic soundscape. For fans of Michael Rother, Top Gun, later Tangerine Dream, convertibles and long walks on the beach." -John Dwyer
Letters From A Tapehead

Wednesday, February 12, 2020

Uniform: "Awakening"

"I have no use for God / God has no use for me / When there's nothing to lose / Then you are finally free…"

Good to know.

Navigating the industrial dance punk spirit of Wax Trax!, a new Uniform single called "Awakening" surfaced as part of Adult Swim Singles. For Uniform, the level of ire is familiar if not stylistically necessary at this point, though "Awakening" is a tad easier on the ears than what I'm used to. The recent acquisition of drummer Mike Sharp is immediately noticeable, a sturdy snare beat breaking through an array of electrified racket and droning guitar sounds while vocalist Michael Berdan waxes frantic about complacency, which is a worthy target. It's a solid four+ minutes. 

Uniform's 2017 release Wake In Fright was reviewed for No Ripcord.

All info, including tour dates, comes courtesy of Rarely Unable.


Press Photo By Ebru Yildiz
Adult Swim Singles have shared a new song by prolific industrial/noise/metal group Uniform as the eleventh entry in the 2019-2020 program. Recently expanded to a trio with the addition of drummer Mike Sharp, "Awakening" serves as the first taste of a new song cycle that doubles down on the most immediate aspects of the band's sound.

“Stylistically, it’s far more dance oriented than we’re typically accustomed to,” states vocalist Michael Berdan. “The song was originally commissioned by my friend Adam Fuchs for the Adult Swim Singles Program, whose departed brother Jerry was one of the finest disco drummers who ever lived as well as one of the most spectacular friends I will ever have. I like to think of this song as a tribute to Jerry. ‘Awakening’ is about the daily frustrations of a complacent existence in late capitalism. Some might take it as a protest song. However, it’s to be implied that waking up with a deep seeded anger is something that happens every day. We know they are mad, but we don’t know if anything will ever change.”

Uniform US Live Dates (all w/ The Body):

March 01: Portland, OR - Doug Fir Lounge
March 02: Vancouver, BC - Biltmore Cabaret
March 03: Seattle, WA - Laser Dome at the Pacific Science Center
March 05: San Francisco, CA - Rickshaw Stop
March 06: Los Angeles, CA - Zebulon
March 07: Las Vegas, NV - Bunkhouse Saloon
March 08: Phoenix, AZ - The Rebel Lounge
March 10: San Antonio, TX - Paper Tiger
March 11: Dallas, TX - Three Links Deep Ellum
March 12: New Orleans - Gasa Gasa
March 13: Atlanta, GA - Food Court
March 14: Durham, NC - The Pinhook
March 15: Washington, DC - Black Cat
March 16: Philadelphia, PA - Boot & Saddle
March 18: Brooklyn, NY - Market Hotel
March 19: Somerville, MA - Once Ballroom
March 20: Providence, RI - Columbus Theatre
March 21: Montreal, QC - La Vitrola
March 22: Toronto, ON - The Garrison
March 24: Chicago, IL - Empty Bottle
March 25: Minneapolis, MN - Turf Club
June 05 - 07: Austin, TX - Oblivion Access

Uniform: Online | Instagram | Facebook | Twitter | Bandcamp

Letters From A Tapehead

Friday, February 07, 2020

JG Thirlwell & Simon Steensland: "Heron"

As one looks for comparisons when attempting to explain a musical arrangement as gratifying and cinematic as "Heron" by JG Thirlwell and Simon Steensland, I immediately went to Mahavishnu Orchestra and Magma and Kōenjikyakkei and Alain Goraguer. The vocal passages are lovely and the composition itself wasn't what I expected from the guy from Foetus. Granted the mood conveyance of "Heron" isn't particularly uplifting, but the overall tone shifts greatly from some of those early Foetus tracks, (thought the immense, ensemble feel is intact), and benefits from lush melodies and moments of respite. 

That said, "Heron" is the first peek at a new album from the Thirlwell/Steensland combo called Oscillospira. As an early intro to this album, I am looking forward to this one. It's out via Ipecac — a true mark of quality — on 4/24. 

All info on the release has been provided by Rarely Unable.



Brooklyn based composer/producer/performer JG Thirlwell (
Foetus, Manorexia, Xordox) - who has collaborated with the likes of Zola Jesus, Melvins, Swans, Kronos Quartet and many others, and is the composer for the highly acclaimed animated TV series ‘Archer’ and 'Venture Bros’ - and Swedish multi-instrumentalist and theatre music composer Simon Steensland collaborate on a new album Oscillospira due April 24th on Ipecac Recordings.

Different yet complementary, both creators make idiosyncratic music that can be characterised by dramatic intensity, shadowy suspense, darkness and light, sometimes breathtaking and always evocative cinematics.
Oscillospira is an odyssey of dark chamber prog with a cinematic bent, largely instrumental album with eerie choral parts.

JG Thirlwell and Simon Steensland's journey together first began in 2017 in Stockholm at a workshop for the Great Learning Orchestra, a collective that operate on the model of an experimental music ensemble from the late 60s, Cornelius Cardew’s Scratch Orchestra, using musicians from a variety of backgrounds and abilities.

JG Thirlwell recounts
"I had been a fan of Steensland’s work for some years through his albums like Led Circus and Fat Again. I admired the dark power in his work and it seemed adjacent to a lot of music that I love and inspires me - groups in the Rock in Opposition and Zeuhl worlds such as Magma, Univers Zero and Present, as well as 70’s era King Crimson and Bartok."

Taking JG Thirlwell's commission for Great Learning Orchestra as a starting point, the pair exchanged ideas and extended the work into a new collaboration which eventually became Oscillospira. The extraordinary drummer Morgan Ågren (Mats/Morgan band, Zappa, Devin Townsend etc) plays on all the tracks, bringing them to life in an explosive manner. The record also includes contributions from a variety of guest musicians playing oboe, bass clarinet, violin, voice and further sonic embellishments to enrich the album.

JG Thirlwell and Simon Steensland truly exist in their own world, and we're delighted to be welcomed into it on April 24th.

Letters From A Tapehead

Sunday, January 26, 2020

2020 Playlist — tētēma, Wombbath, The Homesick, Slift, CP Unit, Collectress, Bedroom, Eye Flys

I hope that everyone can pull themselves away from that new Pearl Jam track to hear some other goodies. Here are some new additions to the 2020 Playlist.


tētēma: "Haunted on the Uptake"
(via Speakeasy PR / Ipecac Recordings / YouTube)

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Jan. 10, 2020, Melbourne, Australia – tētēma, the bi-continental outfit featuring Mike Patton (Faith No More, Mr. Bungle) and the Melbourne based, electro-acoustic artist Anthony Pateras, return with their sophomore album, the mind-bending Necroscape (April 3, Ipecac Recordings).

An early preview of the Spring release can be heard now, with “Haunted On The Uptake,” a track Pateras describes as sounding “like The Melvins' tour van broke down in the Balkans and instead of going home, they decide to open a mountain laboratory dedicated to possible hybrids of Rembetika and hardcore,” streaming now: Pre-orders are also available via that link.

Necroscape is sculpted around isolation in the surveillance age; and although lofty/high-concept sounding, it is still an intensely fun and heavy listen. Necroscape synthesizes a lot of territory: odd-time rock, musique concrète, otherworld grooves, soul, industrial noise, microtonal psychoacoustics… seemingly strange bedfellows on paper, yet they seamlessly coalesce into 13 songs which playfully challenge our notions of sonic logic and make you move at the same time. In a nutshell, listening to Necroscape creates the weird sensation of exclaiming "of course!" and "wtf?" simultaneously.

Pateras and Patton “created an intelligent but ferocious mixture of avant-garde experimentalism, world music accents, and heavy metal velocity” (All Music) within the confines of their 11-track, 2014 debut, Geocidal. NME described the collection as “Roni Size getting spiked with GHB and fed through a woodchipper” while Alternative Press said, “once you are acclimated, it will leave you tingling.” The pair, joined by Will Guthrie (percussion) and Erkka Veltheim (violin), both of whom appear on Necroscape as well, made their live debut, fittingly at the Tasmania Mona music and art festival. The Guardian said of the outing: “tētēma didn’t enrapture with anthems or token festival rock gestures, they enraptured with mood, with surprises, and with evocations rarely felt by audiences…”

# # #


Wombbath: "A Vulgar Declaration"
(via Clawhammer PR / Soulseller Records / Bandcamp)

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Swedish Death Metallers WOMBBATH to Release 'Choirs of the Fallen' March 6 on Soulseller Records / New Single Streaming

Sala (Sweden) - Nearly two years after The Great Desolation, WOMBBATH are back with their fourth full-length album, Choirs Of The Fallen. The album will be released on CD, digital, and limited edition vinyl formats March 6 via Soulseller Records. Stream first single "A Vulgar Declaration" below.




Choirs of the Fallen features 10 tracks of full force death metal mixed by Maestro Tomas Skogsberg at the legendary Studio Sunlight. A penetrating mix of death metal sounds that will appeal to all fans of non-nonsense Swedish death metal, Choirs of the Fallen is the genuine article, complete with chainsaw guitar tone!

Choirs of the Fallen comes with a new lineup. On guitar is Thomas Von Wachenfeldt, known from Wachenfeldt, session bass playing for Entombed, and his work arranging the Entombed Symphony. On bass we find Matthew Davidson who took over after Johan Momqvist left in early 2019. Matthew is known from Repulsive Vision where he plays guitar. Jon Rudin of Just Before Dawn has been punishing the drums with the band since 2018. We can say without hesitation that WOMBBATH is now a rock solid team.

Choirs of the Fallen on CD, digital, and vinyl formats:
- jewel case cd w/ 8-page booklet
- Limited edition black vinyl w/ double sided insert
- Limited edition brown vinyl w/ double sided insert
- Limited edition transparent green vinyl w/ double sided insert (SOULSELLER EXCLUSIVE)



Watch The Homesick’s “Male Bonding” a new song from The Big Exercise, the group’s forthcoming Sub Pop debut

YouTube (video):
Spotify (audio):
Apple Music (audio):
Amazon (audio):
Bandcamp (audio):

The Big Exercise will be available worldwide February 7th, 2020

The Homesick take on the patriarchy in this trippy new video for “Male Bonding,” a standout from The Big Exercise, the group’s label debut, released worldwide February 7th, 2020. The visual was directed by Karlos Rene Ayala (Low’s “Poor Sucker,” “Dancing and Blood”; Chelsea Wolfe’s “American Darkness”).

The Big Exercise, which features the singles “I Celebrate My Fantasy,” the aforementioned “Male Bonding,” “Kaïn,” and the title track, was produced by The Homesick at Schenk Studio in Amsterdam, mixed by Casper van der Lans, and mastered by Mikey Young (Total Control, Eddy Current Suppression Ring).

The Big Exercise is available for preorder on CD/LP/DL from Sub Pop. Preorders of the album through and select independent retailers in North America will receive the limited Loser edition on bright yellow vinyl (while supplies last). Meanwhile, preorders in the UK and Europe from select independent retailers will receive the limited Loser edition on opaque yellow vinyl (while supplies last).

The Homesick’s international tour schedule in support of
The Big Exercise resumes January 17th in Groningen, NL at Eurosonic Festival and currently ends March 7th, 2020 in Utecht, NL at Ekko. Additional live dates to be announced soon.

Jan. 17 - Groningen, NL - Eurosonic Festival (Werkman Stadslyceum)
Feb. 21 - Groningen, NL - Vera
Feb. 28 - Nijmegen, NL - Merleyn
Mar. 05 - Amsterdam, NL - Paradiso
Mar. 06 - Rotterdam, NL - WORM
Mar. 07 - Utrecht, NL - EKKO

About The Homesick’s
The Big Exercise:
If their debut
Youth Hunt marked The Homesick’s tryst with faith and pastoral life, the band’s upcoming second album The Big Exercise brings them to more grounded, tangible pastures. With its title ripped from a passage in the Scott Walker-biography Deep Shade Of Blue, the record is a concentrated effort by Jaap van der Velde, Erik Woudwijk and Elias Elgersma to explore the physicality of their music in fresh ways.


Slift: "Hyperion"
(via mutante inc. / Stolen Body Records / YouTube)

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SLIFT return this year with their phenomenal space rock album, UMMON. Composed during endless tours across Europe in 2019, conceived as the soundtrack of an imaginary film; UMMON is a dreamlike odyssey staging the Titans, their exile to the outer reaches of space in search of their creators and the return of the Titan Hyperion to Earth.

Beyond music and lyrics, it's about
"all these questions to which we'll never have answers", which dig their furrows in the humans heart.

For sulfur guitar lovers, Prog from beyond the grave and blip blup blop of old synthesizers. Blitzkrieg fuzz and geyser Free. Bass escaping from the Minas Morgül's dungeons, and Nostromo’s drums travelling at the speed of light. Vicious solos and assassins bends. Acid krautrock and cosmiccomics jazz. There are distant echoes and reveries, celestial choirs illuminating space. And r r e e p p e e t t i i t t i i o o n n. Ancestral voices and ancient extraterrestrial rites. Abyssal doom and apocalyptic noise. There's chaos. And there's silence.

The three guys come from Toulouse, south of France, and their first EP was released in June 2017 via Howlin Banana (fr) and Exag 'records (be). His name is Space Is The Key. Inspired by Alain Damasio's science fiction novels and the work of French illustrator Pierre Ferrero.

In September 2018, they released
La Planète Inexplorée, (Stolen Body Records) with the engineer/producer and guru of the French garage sound, Lo Spider. The album was mastered by producer Jim Diamond (The GO, Fleshtones, Sonics, White Stripes ..) king of the regretted Ghetto recorder in Detroit.


CP Unit: "Orelius"
(via Ramp Local / Bandcamp)

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CP Unit Releases Noisy New Single "Orelius"

One Foot On The Ground Smoking Mirror Shakedown Drops February 21st on Ramp Local

// CP Unit - "Orelius" //

"Together, these musicians strike a pitch-perfect balance of individuality and accord, conjuring an arresting mix of funky, bluesy electric jazz, noise rock, and more". - National Sawdust Log

Genre: Avant-Garde Jazz, Noise Rock
RIYL: Ornette Coleman, The Contortions, Albert Ayler, Deerhoof

Today the flagship band of avant-garde saxophonist Chris Pitsiokos releases a new single ahead of their upcoming album One Foot On The Ground Smoking Mirror Shakedown. CP Unit will celebrate the release with a show at Brooklyn's Roulette venue on February 27th with an opening set from the CP String Ensemble, who will be presenting new works for string instruments composed by Pitsiokos. More details can be found on the Roulette website.

About "Orelius":

Orelius is a collision of funk-infused groove and angular phrasing. Bass and drums introduce a groundwork, before guitar and sax enter with a thorny melodic passage in a different tempo. The opening material only serves as a launch pad for the many twists and turns the rest of the piece take: kaleidoscopic reconfigurations of instrumentation, noise, and rapid-fire articulation, all with a consistent feeling of forward motion and organic development of ideas. If "One Foot on the Ground " showcases the work of Pitsiokos and Lisabeth as individuals within the aggregate, Orelius reveals CP Unit's ability to move as one.

Release Show: February 27th, Brooklyn NY @ Roulette (INFO/TIX)


Collectress: "In The Streets / In The Fields"
(via Rarely Unable / Peeler Records / YouTube)

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The experimental chamber collective Collectress, who create unique surrealist-tinged chamber pop and have been described as a cross between "the Elysian Quartet and possessed Brontë sisters teasing an unsuspecting dinner party" (Foxy Digitalis) release a video today for new single "In The Streets, In the Fields".

Using dance as a means to explore the nature of the music, and with nods to both psychedelia (particularly 13th Floor Elevators), and the 1937 recording of Virginia Woolf’s “Words”, Collectress play at taking you somewhere imaginary whilst staying grounded in reality- ‘in the streets’ yet also ‘in the fields.' The band remark "we liked the sense of the transience of language as evoked by the crackly Woolf recordings, of time passing and of spaces shifting, of being in one place yet another at the same time, in “Different Geographies”. In this technological world of ours, Woolf's “Words” speaks to us from the past, visionary in suggesting we are mere vessels for language to occur, adapt and move around in. “In the Streets, In the Fields” melodically ‘sets off’ and in some way is doing this too, its simple structure unfolding, shifting and developing over the course of the song."

Collectress continue "the film for "Streets" was always going to include dance as a means to explore and express the nature of the music. We talked about parts of the body, colours and ‘elements’ to include. We each gave our interpretation and filmed ourselves dancing at our own respective 'different geography'. What you see in the film is a layering of those interpretations to the rhythm and layers of the individual parts of the music, to create an indefinable space that we hope has something recognisable and grounded but that also allows for an element of getting lost."


Experimental, playful and deeply connected collaboration. For two decades this has been the pilot spark of Collectress. Collectress compose and improvise daring and unique music that rarely has words but is full of stories, their creative palate is bursting colour, and this release expresses their unique and enchanting take on the world. The new album Different Geographies arrives March 6th on their own Peeler Records on digital and limited CD formats. Find out more here.

Collectress Spring Shows:
Friday April 10 - Brighton Album Launch at The Rosehill, Brighton
Sat May 9 - Daylight Session (plus special guests), Union Chapel, London

Collectress are:
Alice Eldridge - cello, Korg MS10, laptop feedback, piano, Rhodes, vocals, percussion
Rebecca Waterworth - cello, piano, vocals, percussion
Caroline Weeks - flute, guitar, Yamaha VSS200, piano, Rhodes, vocals, percussion
Quinta - violin, piano, Rhodes, Korg MS10, Yamaha VSS200, musical saw, vocals, percussion

Further album credits:
Double bass ('In the Streets, In the Fields' & 'Landing') - Andy Waterworth recorded by Arthur Jeffes (Penguin Cafe)
Engineered - Joe Watson (Stereolab)
Mixed - TJ Allen (Bat for Lashes, Portishead)
Mastered - Dylan Beattie


Bedroom: "Gulf"
(via Force Field PR / Earmilk / YouTube)

Bedroom has shared a new single/video, "Gulf," via EARMILK.

Regarding the single/video, Noah stated: "This song is sort of a reflection on the last year, nearing the end of 2019, I was questioning a few things. The video was done by a good friend of mine, Parker, he had this super 8 camera and we thought it’d be cool for him to shoot random stuff at an anime convention up in NYC."

Bedroom is the work of singer-songwriter & producer Noah Kittinger. Beginning as a recording project when Kittinger was just 16, his releases under the moniker are characterized by honest songwriting coupled with catchy hooks, beautiful melodic sensibility, and a memorable homemade sound.

Kittinger began a steady stream of releases in 2012 with the Toys EP. Vivid, a mixtape featuring rough ideas and works in progress, followed later that year. These early works garnered praise from several media outlets and began the growth of a dedicated fanbase.

Bedroom’s first full-length LP, Grow, was made during a time of transition in Kittinger’s life. Written and recorded at the age of 17, and released in 2014 when Kittinger turned 18. The album cataloged Kittinger’s experiences with his own growth into adulthood. After the release of Grow, Kittinger took the project on the road, embarking on his first DIY tour.

After returning from the tour, and a year after the release of Grow, Bedroom went on hiatus as Kittinger took a step back from the project. He remained busy, working on new songs under his own name and released an EP, Bloom. Bloom showed growth from Kittinger’s earlier work with Bedroom, exploring electronic influences with samples and new production techniques.

In May of 2019, Kittinger released “Count to Five” - the first we’ve heard of the project since the summer of 2015. A step into a different direction with newfound collaborator Paul Kintzing.


Eye Flys: "Tubba Lard"
(via Thrill Jockey Records / Bandcamp)

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Eye Flys features members of Full of Hell, Backslider & Triac
Eye Flys announced for Roadburn Festival 2020, touring Europe with Full of Hell & Primitive Man this spring

Eye Flys EU tour dates spring 2020
Mar. 29 - Berlin, DE - Bi Nuu ^
Mar. 30 - Wroclaw, PL - CRK ^
Mar. 31 - Prague, CZ - Underdogs ^
Apr. 1 - Kosice, SK - Collosseum ^
Apr. 2 - Budapest, HU - Durer Kert ^
Apr. 3 - Bologna, IT - Freakout Club ^
Apr. 4 - Milan, IT - Grinder Fest ^
Apr. 5 - Stuttgart, DE - Juha West ^
Apr. 6 - Bochum, DE - Die Trompete ^
Apr. 7 - Brussels, BE - Magasin 4 ^
Apr. 8 - Lincoln, UK - The Jolly Brewer ^
Apr. 9 - Newcastle, UK - Cluny 2 ^
Apr. 10 - Glasgow, UK - Stereo ^
Apr. 11 - Dublin, IE - Grand Social ^
Apr. 12 - Limerick, IE - Siege of Limerickk fest ^
Apr. 13 - Manchester, UK - Bread Shed ^
Apr. 14 - Bristol, UK - Exchange ^
Apr. 15 - London, UK - Scala ^
Apr. 16-19 - Tilburg, NL - Roadburn Festival w/ Full of Hell, Lingua Ignota, Russian Circles + more

^ w/ Full of Hell and Primitive Man

On the heels of their acclaimed 2019 EP Context, Eye Flys have announced their debut full-length, Tub of Lard. Following the album's release, Eye Flys will be touring throughout Europe with Full of Hell and Primitive Man, including a set at Roadburn Festival.

A band of considerable pedigree, including members of
Full of Hell, Backslider, Triac, Eye Flys are fiercely precise, churning steel-barbed riffs and beefy inventive rhythms that are delivered with exponential force. On Tub of Lard, Eye Flys expand on their concise and punishing EP with 10 songs of maximum impact in their lean and focused raw power.

The album takes its title from a jeering and unwelcome schoolyard nickname of vocalist/guitarist Jake Smith. Opening track and first single “Tubba Lard” finds Smith spitting back the insults and body shaming that he endured during his upbringing. This unvarnished truth-telling is central to the album’s commentary on our social hypocrisy and resulting abuse. Smith's lyrics across the album are unrelenting, taking aim at misogyny and rape culture, the military industrial complex, and more personal, internal conflicts.

Written during the summer of 2019,
Tub Of Lard was composed and recorded around the band’s debut tours with Daughters and Torche. Though Eye Flys members live in different cities, Tub of Lard came together as a more collaborative album than the raw and loose EP. Smith and drummer Patrick Forrest created the framework of each piece while guitarist Spencer Hazard shaped their frayed edges with layers of noise and guitar texture. The gravelly muck-laden basslines by Kevin Bernstein, who recorded the album at his Developing Nations studio in Baltimore, are handily interwoven beneath the pummel of Forrest’s drums creating a controlled sense of total abandon that is dizzying.

Letters From A Tapehead

Jenny Hval: "Bonus Material"

A new single from Jenny Hval called "Bonus Material" is streaming online. It's airy, light, and wanders as Hval gently sings,...