Friday, October 19, 2018

Gritty Death Mask...

Ben Parrish of Kill Rock Stars made the following statement:

I followed up:

If you haven't picked up Veblen Death Mask by Taiwan Housing Project, I recommend you remedy that as quickly as possible. I reviewed the album in 2017. You can find that review here.

Letters From A Tapehead

No Ripcord (Quick Takes: August/September 2018): Thou & KEN mode

For a No Ripcord's monthly installment of blurb-sized reviews, or "QUICK TAKES" as the feature is titled, I submitted KEN mode's Loved and Thou's Magus. Both albums contain some of the most exciting, violent, and emotionally turbulent music I've heard this year. Please enjoy the reviews and I'd recommend reading about the other albums covered in this feature as well.

Please feel free to comment or send all angry missives to

Hit the link:

Sacred Bones
Released: 8.31.18


KEN mode
Season of Mist
Released: 8.31.18

Letters From A Tapehead

Wednesday, October 17, 2018

Phawker: Public Image Ltd. — 10.16

Public Image Ltd.
Union Transfer

Acting on an unexpected offer to attend Public Image Ltd.'s Philly stop on their current The Public Image is Rotten tour, I wound up with a writing assignment for Phawker. The show review is linked below along with some shitty iPhone photos I managed to take. The professional shot was taken by Josh Pelta-Heller.

One observation that I didn't include in the show review: Following PiL's performance of "Black Swan," John Lydon shot two of the most confident and spectacular snot rockets from his nostrils that I've ever seen. I was simultaneously impressed and disgusted. It was kind of amazing.

Letters From A Tapehead

Monday, October 08, 2018

New Selections — Big Bliss, Farao, Rattle, FUKU, Wimps, DEW

A new month begins! 

Big Bliss: "Constants"
(via Tell All Your Friends PR / Exit Stencil Recordings / Bandcamp)

Via Tell All Your Friends PR:

Brooklyn-based, post-punk trio Big Bliss announce their new album, At Middle Distance, and share lead single, "Surface" and second single "Constants." Billboard exclusively premiered the lead single with praise, stating, "The music of post-punk trio Big Bliss is almost like a dream on wax with its trance like bass and guitar riffs and driving drum beats." All Things Go premiered "Constants" - check out the piece hereAt Middle Distance is due out October 19th on Exit Stencil Recordings. 

At Middle Distance marks a new, unprecedented milestone for the band. Recorded and mixed at Tony Maimone’s (Pere Ubu) Studio G and Thump Recordings in Brooklyn, producer Jeff Berner (Psychic TV) evokes the tonal clarity and emotive noise that constitutes Big Bliss’s special brand of dark-tinged melodic euphoria. Songs successively ebb and flow in tempo and mania, alternating the spotlight on each player. Cory Race's fervent drumming is simultaneously unwavering and creative, as May’s fluid, leading bass lines offer clarity and resolve in every hook. Tim Race’s ethereal guitar shimmers like spurts of heat lightning during summer’s thick humidity, and the thundering rhythm section only compliments its brilliance. Their instruments alone are enough to fill any room, no matter the size. Tim's effectual and guttural vocals can either hover above the mix, or swoop through it, giving an actual tangibility to this “feelings” thing on which you can’t quite put your finger.

Lyrically, it is a challenge to Race’s notions of identity ("Duplicate"), a hidden history of addiction ("RTK"), and in the record’s opening salvo (“Constants”), the destruction left in the wake of a twenty-something person selfishly chasing “constant, eternal bliss,” and alienating the ones they love. He asks how we cope with events that shift our concepts of ourselves, like the death of an alcoholic uncle ("Richard Race"), or the end of a devoted companionship ("High Ideal"). He’s both looking inward and reaching out, hoping to find solid ground somewhere in between, a place from which he can be a better friend, a better lover, a place from where he can meet you.

At Middle Distance speaks in urgent tongues, desperate to convey unknowable longing, like every great post-punk artist who came before. Moments of joy, moments of unspeakable sadness, moments of rage, all rub shoulders through these songs, and by the record’s end, you’ve undoubtedly run the gauntlet.

Facebook / Twitter / Instagram / Bandcamp

Soundcloud / Website / Youtube


Farao: "Lula Loves You"
(via Stereo Sanctity / YouTube)

Via Stereo Sanctity:

Berlin by-way-of Norway multi-instrumentalist and producer Farao (née Kari Jahnsen) announced her new album, Pure-O, will be released October 19th via Western Vinyl. The album’s first single “Lula Loves You” follows the May release of critically acclaimed song "The Ghost Ship" and arrives with a kaleidoscopic, analog-shot video directed/edited by Farao herself.

About the song, Farao says, 
“Loosely based on the movie Wild At Heart by David LynchLula Loves You is about resilience in the face of adversity – fighting for something in less than ideal conditions."

Pure-O, Farao’s sophomore album, is a prog-pop exposition on the curious dichotomy between beauty and destructiveness in sex and relationships, observing “How so often the thing that sparks our passions is the constant need to hide from one to find the other.” The musician notes, “I've felt like that. Like an addict seeking a fix.” Throughout 10 original tracks, Soviet-made synth tones ripple out from an undefined center like a Frank Stella painting, with sharply angled lines of color buzzing with concentric, hand-painted ecstasy. Album-opener “Marry Me” leads with the lyric “The heart is the organ of desire,” setting the stage for the warm-blooded essence of Pure-O. Lyrics about the possessiveness inherent in marriage unravel over a tenacious yet patient bassline, and by the time the song reaches its rapturous three-minute mark, Jahnsen is breathlessly rattling off descriptions of romantic obsession, while perhaps hinting at the upcoming listening experience: “overwhelming, undying, overpowering, unconditional, all-encompassing, heart-enriching, mind-expanding.”

“My choices for instrumentation and arrangement on the record were inspired by my falling in love with old Soviet disco (Eduard ArtemyevZigmars LiepiņšAleksei Kozlov) and subsequent collecting of boutique, Soviet-era analog synthesizers. A reawakening of my love for sensual ‘90s R&B (TLCJanet Jackson), the spiritual harp playing of Alice Coltrane, and the minimal compositions of Terry Riley have all inspired the album,” Jahnsen explains, adding, “A danceable contrast between the industrial framework of the beats and synths, and the organic vitality and flow of the vocals and zither are what provide the sonic bed.”

Perhaps then, on Pure-O we’re hearing Jahnsen’s early youth in Norway finding perfect equilibrium with her adulthood in Berlin. She says of the time she spent recording, “I was in the process of learning how to conduct myself while not getting sucked in to the whirlpool that is Berlin party culture,” and of her childhood, “It wasn’t a place I felt stimulated creatively, and felt quite lonely there growing up, which made me turn to music as a language for a set of emotions I didn’t know how to release otherwise.” It’s precisely this relationship between quiet reflection and overstimulation that makes the album unlike anything of its genre. In an age when non-electronic pop seems like an outlier, Farao constructs a bridge of humanity from the organic to the inorganic, rounds out the hard edges and sharpens the soft ones, and altogether transplanting a healthy, beating heart into modern synth-pop.

Pure-O follows Farao’s 2015 debut album, Till It’s All Forgotten, which earned acclaim from outlets such as Pitchfork (“Jahnsen's work defies categorization and commodification at every turn”), The FADER, NPR Music, Noisey, Vanity Fair, Paste, Clash, and The Line Of Best Fit, among others. She has also performed at a number of UK and European festivals such as Green Man, End of the Road, Øya, Roskilde, BY:LARM, and Eurosonic.


(via mutante-inc. / Upset The Rhythm / YouTube)

Via mutante-inc.:

RATTLE is an ongoing musical project concerned with experiments in rhythm, metre and tension. Katharine Eira Brown and Theresa Wrigley make up the duo from Nottingham, who with just drums and occasional vocalisations weave an expanse of percussive vortices. Their songs swirl and envelop with all the physicality and drama of another world pulling together around its own shifting centre of gravity. The drum beats phase and sidestep, they trade accents and overlap, providing a suitably alive terrain for the vocals to explore similar tendencies of pattern. Rattle’s debut album was released in 2016 through Upset The Rhythm / I Own You and was greeted with much critical praise, this often singled out their hypnotic minimalism and ecstatic regard for the dance floor. The following six months saw Rattle support Animal Collective on their UK tour before heading out around Europe with The Julie Ruin. Rattle used these opportunities to try out new material and unconsciously began writing their next album. Brown recalls that “hearing our drums in these larger venues, with amazing sound, made us excited about how beautiful and magic the drums sounded, we were quite spellbound by how they were able to fill a venue so completely.”
Saturday 13th October at Forever Records, Nottingham. 3.33pm. Sequence playback as part of BBC Radio 6 National Album Day
Saturday 20th October at Oslo, London supporting Hot Snakes
Saturday 27th October at Dubrek Studios, Derby with Unit Ama
Tuesday 6th November at Chameleon, Nottingham with Duds and Cai Burns

23/11 - Toronto, ON @ Lee's Palace w/ Protomartyr + Preoccupations
24/11 - Ottawa, ON @ 27 Club 
w/ Protomartyr + Preoccupations
26/11 - Boston, MA @ Brighton Music Hall 
w/ Protomartyr + Preoccupations
28/11 - Brooklyn, NY @ Warsaw 
w/ Protomartyr + Preoccupations
29/11 - Washington, DC @ Union Stage 
w/ Protomartyr + Preoccupations
30/11 - Philadelphia, PA @ The Foundry 
w/ Protomartyr + Preoccupations
01/12 - Columbus, OH @ The Basement 
w/ Protomartyr + Preoccupations
03/12 - Buffalo, NY @ Mohawk Place 
w/ Protomartyr + Preoccupations
04/12 - Ann Arbor, MI @ Blind Pig 
w/ Protomartyr + Preoccupations
06/12 - Chicago, IL @ Thalia Hall 
w/ Protomartyr + Preoccupations
07/12 - Omaha, NE @ Waiting Room 
w/ Protomartyr + Preoccupations
08/12 - Kansas City, MO @ Record Bar 
w/ Protomartyr + Preoccupations

Sequence was written in much the same way as their debut, with the duo facing each other over their shared palette of drums, allowing songs to develop naturally and suggest their own direction. However, Brown and Wrigley were more confident of what they wanted to achieve with this follow up, having already proven the concept watertight through their debut and subsequent concerts. They knew they could wrestle songs out of the silence with such a setup, so afforded themselves greater time to explore extended, long-form composition. Sequence is composed of four tracks, each clocking in around 10 mins or over and focused squarely on a deeper resonance with the creative act, illustrative of how ideas build from scratch, of how music can grow out of repetition. Recorded at JT Soar in Nottingham with Phil Booth and Mark Spivey (Rattle’s live sound engineer), the album developed out of these four points, with Rattle honing their sound with detail. Everything was stripped back to just the drums and Brown’s voice. Percussion flourishes were deemed unnecessary, overdubbed layers of vocals were kept to a minimum. As a result, this quartet of songs are more meditative and aware than previous efforts, with the duo’s attentions spent tapping into each track’s potential, mapping out expeditions in tempo and making much of the journey over destination.

‘DJ’ is the first part of the album to unfold, its insistent, rotating beat slowly morphs into an avalanche of shimmering cymbals, before a plateau of echoed rim shots cools all to the core. Throughout, Brown’s wordless singing tethers the song to its atmosphere, an effect similarly employed to perfection in ‘Disco’ which follows. ‘Signal’ unfurls as an odyssey of rhythm, it’s tumbling beat, punctuated by shivers of hi-hat bluster and mesmeric tom fills. 
“Put your ear to the ground, it’s an incredible sound” confesses Brown in her most telling lyric from the album, leaving you convinced that Rattle are somehow channeling all this music from a quiet, elemental other-place. ‘The Rocks’ concludes the record with sparse assurance, it’s an exercise in magnified scope and altered states. Wrigley and Brown divide duties across all these tracks, with the cadenced, dynamic shifts of hi-hat and cymbal being Theresa’s domain, whilst Katharine holds down the toms and snare. Brown notes that “each song can be seen as representing a different drum in my set up”. ‘DJ’ is an exploration of her snare, whilst ‘Disco’, ‘Signal’ and ‘The Rocks’ are based around the floor tom, rack tom, and bass drum respectively. All of this is complemented further through the production interventions of Mark Spivey, who wanted to capture Rattle’s huge live sound on tape for this album with all its incurred dub-delay trippiness, taming and melding.

Sequence is a liminal album, thoughtfully crafted with themes of transition and realisation at its heart. It feels like a trance or ritual if you give yourself to the recording. It urges you to step outside and listen deeper. Rattle are seeking out a vivid array, an order from the noise, a pattern that unlocks the next. This album is the nurturing of intention and when we walk to its beat we arrive anew. Sequence will be released on November 2nd by Upset The Rhythm on LP, CD and digitally.


(via Happily There's No Earlids / Bandcamp)


(via Kill Rock Stars / YouTube)

Via Kill Rock Stars:

In the Marcy Stone-Francois directed video for "O.P.P.," Wimps drummer David Ramm grapples with the urge to covet another's pizza... but only if it's cheese! Watch the video above and enter to win a test press of Garbage People AND a large cheese pizza over on Twitter.

"O.P.P." appears on Wimps' new album Garbage People, which was recently named one of the Best Albums of Summer 2018 by Bandcamp.


(via P.O.G.O. Records / Bandcamp)

Via P.O.G.O. Records:

Do you know DEW?

P.O.G.O. records is very proud to present their 1st LP! Take their first 8 tracks in your mind!
Post punk industrial experimental new wave from Germany! guitars vs voice vs machine!
With an ex-Clarkys Bacon / Powerpissed!

Letters From A Tapehead

Friday, September 28, 2018

Thursday, September 27, 2018

New Selections — Tera Melos, Wume, Zealotry, Under, Daniel Carter-Patrick Holmes-Matthew Putman-Hilliard Greene-Federico Ughi, Mackenzie Davis-Carrie Coon-Andrew Brassell

Some songs to end the week. Enjoy!

Tera Melos: "Lemon Grove" ft. Rob Crow
(via Us-Them Group / Sargent House / YouTube)

Via Us/Them Group:

Tera Melos share a new song from their forthcoming EP today. The track "Lemon Grove" features Rob Crow (Pinback) sharing vocals with vocalist/guitarist Nick Reinhart. The song is culled from the forthcoming 3-song Treasures and Trolls EP on Sargent House. Hear and share "Lemon Grove" via YouTube HERE.

Tera Melos also launch extensive North American tour dates in November, first headlining with support from Mouse On The Keys, followed by the main support slot on the farewell tour of Minus The Bear. Please see dates below.

Treasures and Trolls will be available November 2nd, 2018 on 7" vinyl and download via Sargent House. Pre-orders are available HERE (all store & streaming links) and via HelloMerch and Bandcamp.

NOV 02 SLC, UT @ Kilby Court *
NOV 03 Denver, CO @ Larmier Lounge *
NOV 05 Chicago, IL @ Chop Shop & 1st Ward *
NOV 06 Pontiac, MI @ The Pike Room *
NOV 15 Cambridge, MA @ Sonia Nightclub *
NOV 16 Philadelphia, PA @ Boot & Saddle *
NOV 17 Brooklyn, NY @ Elsewhere - Hall *
NOV 18 Washington, DC @ DC9 *
NOV 20 Carrboro, NC @ Cat's Cradle - Back Room *
NOV 21 Nashville, TN @ The High Watt *
NOV 23 Asheville, NC @ The Mothlight
NOV 24 Atlanta, GA @ The Masquerade - Purgatory
NOV 25 Orlando, FL @ Soundbar
NOV 27 Tampa, FL @ The Ritz Ybor +
NOV 29 New Orleans, LA @ House Of Blues - New Orleans +
NOV 30 Dallas, TX @ Granada Theater +
DEC 01 Austin, TX @ Emo's Austin +
DEC 03 Albuquerque, NM @ El Rey Theatre +
DEC 04 Denver, CO @ Ogden Theatre +
DEC 05 Salt Lake City, UT @ The Complex - Grand Room +
DEC 07 Tempe, AZ @ The Marquee +
DEC 08 Pomona, CA @ The Glass House + SOLD OUT
DEC 09 Los Angeles, CA @ Fonda Theatre + SOLD OUT
DEC 11 San Francisco, CA @ The Regency Ballroom +
DEC 12 Sacramento, CA @ Ace Of Spades +
DEC 13 Portland, OR @ Hawthorne Theatre + SOLD OUT
DEC 14 Seattle, WA @ The Showbox + SOLD OUT
DEC 15 Seattle, WA @ The Showbox +

w/ Mouse on the Keys *
w/ Minus the Bear +

Artist: Tera Melos
Treasures and Trolls 7"
Record Label: Sargent House
Release date: November 2nd, 2018

01. Treasures and Trolls
02. Lemon Grove
03. Super Fxx (digital only)

On the Web:


Wume: "Shadow"
(via Clandestine Label Services / Northern Spy Records / YouTube)

Via Clandestine Label Services/Northern Spy Records:

Wume Towards the Shadow LP on Northern Spy Records
Release Date: November 9th, 2018
EU Tour supporting Beach House
10/07/18: Rockefeller - Oslo (NO)
10/08/18: Munchenbryggeriet - Stockholm (SE)
10/09/18: The Grey Hall - Copenhagen (DK )
10/11/18: Kampnagel - Hamburg (DE)
10/12/18: TivoliVredenburg - Ronda - Utrecht (NL)
10/13/18: Autumn Falls @ AB - Brussels (B)
10/15/18: Olympia - Paris (FR)
10/17/18: Troxy - London (UK)
10/18/18: Troxy - London (UK)
10/19/18: Albert Hall - Manchester (UK)
10/20/18: Vicar Street - Dublin (IE)

11/10/18: Union Pool - Brooklyn, NY with Special Guests, JOBS
11/16/18: Ottobar - Baltimore, MD with Matmos, Amanda Schmidt

Towards the Shadow, the third full-length from Wume, the Baltimore duo of April Camlin (drums, vocals) and Albert Schatz (keyboards, electronics), offers eight exploratory, polyrhythmic jams taking the listener on an excursion deep into inner space—not as a form of escape, but rather in search of purpose and personal liberation in a time of chaos.

While Wume draws much inspiration from past masters, with a particular rooting in German cosmic sounds of the 1970s, their music has always celebrated forward-motion and growth—the name “Wume” both nodding to the hometown of the legendary band Faust and homonymously suggesting gestation.
Towards the Shadow announces a new phase for the band featuring a bold expansion of their palette, distilling influences as different as Francis Bebey, Midori Takada, Erkin Koray, and Alice Coltrane into interdimensional songs born of profound personal change. While Wume’s sound remains rooted in crisp, precise, and dizzyingly intricate percussion worthy of comparison to Can wedded to harmonic synth patterns and kaleidoscopic electronic textures, Towards the Shadow also features guitar, treated violin, hand percussion, field recordings, and, on “Pool of Light,” a player-piano improvisation (an instrument borrowed from Dan Deacon, with whom both Camlin and Schatz frequently collaborate).

Towards the Shadow centralizes vocals and lyrics more than any prior Wume outing. It’s not simply that Camlin’s voice is more dominant in the mix. Once employed to ride waves of sound or convey abstract feeling, Camlin’s lyrics here grapple head-on with deep philosophical issues probed during an intense period of reading, self-teaching, and focus on her artistic practice in weaving, resulting in real breakthroughs and dramatic shifts in perspective.

On standout “Shadow,” Camlin sings about facing the darkness that many bright and creative people bury deep within. Lyrics like
“I embrace my shadow/It’s the self that I know/Go below the ego/And welcome your shadow/Repression serves no one/And limits our freedom” affirm a willingness to not only confront the most secretive aspects of ourselves but learn to love them. “Pool of Light” reconjures dream images Camlin experienced over the course of crafting this record; “It’s Okay” champions an acceptance of human impermanence unreliant on religion or a belief in any afterlife; and “Functionary” even features a reading from Herbert Marcuse’s Eros and Civilization, a transformative and empowering text for Camlin.

Wume hail from the collaborative, radical, and highly varied Baltimore music scene that includes such artists as Dan Deacon, Abdu Ali, Horse Lords, Raw Silk, Smoke Bellow, and Chiffon, and
Towards the Shadow offers one of this community’s most exciting and essential documents yet. This is a record that looks within and asks listeners to do the same, a record that has the guts to give its listeners not only diversion, but challenges: to know themselves better; to question and confront systems of power; to not just keep going, but keep growing. But Wume never ask for more than they give; each time the listener takes Towards the Shadow’s illuminating journey through to the album’s stunner of a closing track “GenSeq,” they’ll find their inner battery recharged, their ears and mind newly attuned to the complex worlds they face—both within and without.


Zealotry: "At the Nexus of All Stillborn Worlds"
(via Clawhammer PR / Unspeakable Axe Records / YouTube)

Via Clawhammer PR:

Two years after their last full-length, ZEALOTRY are back with their newest offering (and first with Unspeakable Axe Records), titled At the Nexus of All Stillborn Worlds. This is progressive death metal at its most uncompromising, dense with intricate riffs, elaborate bass lines, mind-melting lead guitar work and more. Clean choral vocals add a Timeghoul-ish aspect to certain songs; in other places, bewildering effects occasionally will warp a track into an aural acid trip. Elaborate structures occasionally peel back to reveal a Chasm-inspired melodic development.

Featuring a member of Chthe'ilist and influenced by a broad palette of death metal explorers including At the Gates, Obliveon, Brutality, and Atheist,
At the Nexus of Stillborn Worlds is a dizzying new peak in ZEALOTRY's 13-year history. Experience eight tracks and nearly 43 minutes of some of the most dense and rewarding music death metal has to offer, on CD, cassette and digital platforms from Unspeakable Axe Records. 


Under"Traitor's Gate"
(via Polymath PR / APF Records / YouTube)

Via Polymath PR:

Fuzz rock trio Under have released the brand-new video for the track “Traitors Gate”! The clip, which premiered recently on Echoes and Dust, shows the band performing while stripped half nude while chained and gagged. Shot in a grainy, weathered VHS style it fits perfectly with the trio’s lo-fi, bass heavy sound.

When asked on the theme behind the video, the band stated:
"Lyrically 'Traitors Gate' is a rant about cutting someone off for being a piece of shit. We wanted to create a video that was suitably demented, unsettling and reflected our DIY ethos. We’ll leave it to your imagination why we had chains and masks so readily to hand".

Their new album, Stop Being Naïve, is set for release via APF Records on October 30th.

Under are a trio from Stockport, Greater Manchester. Formed in 2016. Though rooted in the blueprints of Sludge and Doom Metal, their sound is harder to pin down with elements of Prog, Noise and Avant Garde creeping in. Under play with jagged, slow, off kilter riffs that tease the listener into a false sense of security with dark and abstract lyricism evoking a trippy and sinister unease. The trio cite the likes of Swans, Mr. Bungle, The Melvins and Radiohead as prime influences.

After the success of their debut EP First Attempt in 2015, Under built up a solid reputation playing frequent live shows in and out of Manchester. In 2016 they embarked on a successful UK mini-tour with Kurokuma.

in 2017 Under signed to APF Records and released Slick, their highly anticipated debut full length album, completely self-produced and recorded by the band themselves. The trio successfully built on everything they had been working towards, carefully fine-tuning every detail on the record. ‘Slick’ was an eclectic listen - chock full of crushing riffs, odd time signatures, and a mixture of aggressive screaming vocals and more relaxed tripped out clean sections. All three band members provided vocals, often harmonizing together to create epic melodic textures.

In support of the “Slick” Under played live shows throughout 2017 and early 2018: both as headliner and as support to Whores, King Parrott, Church of the Cosmic SkullSlabdraggerElephant TreeThe Hyena KillHundred Year Old ManGurtPart ChimpPrimitive Man and Slomatics. They also played the Dreadfest, Cvltfest and Gizzardfest Festivals and the APF Records Showcase in Manchester.


Telepatia Liquida by Daniel Carter,
Patrick Holmes, Matthew Putman,
Hilliard Greene, Federico Ughi
(via Clandestine Label Services / 577 Records / Bandcamp)

Via Clandestine Label Services:

577 Records announces Limited Edition LP Telepatia Liquida — Featuring Daniel Carter, Patrick Holmes, Matthew Putman, Hilliard Greene & Federico Ughi - Due December 7

About Telepatia Liquida

This project is the exciting, unusual and at times unexpected result of five musicians from different backgrounds getting together and making music. This unlikely group that features a scientist on piano and an array of musicians from different places around the world is able to communicate on a level that is not only beyond planning and speech but also rational thought. The resulting music goes from moments that are exquisitely soft to deep juicy grooves. When studied attentively, it’s as if you are entering into the musicians’ collective subconscious. The chemistry of this group is so particular and unique, it is as if the music is being driven by a telepathic understanding, hence the title of their debut album
Telepathic Alliances (577 Records, 2017) and this second work, Telepatia Liquida, recorded live at the Forward Festival 2017.

Daniel Carter, Matthew Putman, and Federico Ughi have been collaborating closely for the last ten years. Their first album,
The Gowanus Recordings, was released in 2009.

Daniel Carter was born in Pennsylvania and grew up in Massachusetts. His musical background includes recording and performances with legendary artists such as Sun Ra, Yoko Ono
Cecil TaylorLiving ColourTESTOther Dimensions In MusicMMW (Medeski Martin and Wood)Jaco PastoriusSonic Youth and many many others. Pianist Matthew Putman grew up in Ohio where he studied classical music and theatre. He is a renowned scientist and educator, best known for his work in nanotechnology, the science of working in extremely small dimensions. Drummer Federico Ughi grew up in Rome, Italy. He has developed his own style through the years, studying with master Ornette Coleman and playing and touring the world with celebrated bands like The Cinematic Orchestra and Blue Foundation.

The other members of the group are Texas-born clarinet player Patrick Holmes (a brilliant up-and-coming member of the New York downtown scene) and veteran bassist Hilliard Greene, a mainstay of the avant-garde for the last 20 years. He has played with Cecil Taylor, Don Pullen, and Charles Gayle among many others.

Daniel Carter’s poetry is featured on the inner sleeve of these exclusive limited edition vinyl LPs.

This group will celebrate the release of this album by performing a set at the Forward Festival 2018.

This is an exclusive limited edition of 300 hand-numbered vinyl LPs, plus CD/digital album.

About 577 Records

577 Records is proud to be celebrating its 17 year anniversary.

The legendary music master Daniel Carter was one of the first people 577 cofounder Federico Ughi met soon after arriving in New York from Italy, after a brief stint in London.

It was a meeting of like minds and shortly thereafter the two started a series of house concerts at 577 Fifth Avenue in Brooklyn, the apartment where Federico was living at the time.

The spontaneous nature of the concerts along with the incredible caliber of the deep downtown underground music they were able to present inspired them to bring the unique nature of what they were doing to a wider audience and they founded the label 577 Records to further that mission.

577 Records started the Forward Festival in 2015 to mark the momentous occasion of Daniel Carter’s 70th birthday. The festival has become an annual tradition and continues to delight audiences year after year with its surprising and eclectic lineup.

Instagram || Facebook (Daniel Carter || Facebook (label) || Pre-Order || Label || Twitter || Youtube ||

“Shine-a-town” Streaming now: Spotify || Bandcamp


Mackenzie Davis, Carrie Coon and
Andrew Brassell: "Axemen (Heavens To Betsy cover)"
(via Kill Rock Stars / Pitchfork / YouTube)

Via Kill Rock Stars:

Pitchfork has premiered Mackenzie Davis and Carrie Coon's powerful acoustic cover of Heavens To Betsy's "Axemen" as performed in the indie film Izzy Gets the F*ck Across Town (2018). Like its 1994 predecessor, the stirring duet balances tenderness with raw fury and is available digitally for the first time from Kill Rock Stars!

Letters From A Tapehead

Tuesday, September 25, 2018

EP Talk — A Dainty Bit by AD.UL.T

A Dainty Bit EP
Released: 7.13.18

AD.UL.T is what Lightning Bolt or Hella may have sounded like had their members sat down for a month with Frank Zappa’s 200 Motels and spun its host of ensemble-led absurdities while absorbing every intense, complex, and comedically taut second. From the vocal performance of the opening track “Pole Shift,” a nonsensical and undulating wall of queasy sound that glazes its otherwise reductive bass-n-drum musical progressions, AD.UL.T aims to generate and twist density and atmosphere into something both engaging and strange. For the span of its 10-minute runtime, A Dainty Bit is a packed listen, AD.UL.T’s shape of garage-infused punk prog to come demonstrated via raw harmonized calculation (“Slutty”), start-stop rhythmic and melodic shifts (“SELAH”) and a rather sinister closer (“700,000 FEMA Coffins”). For all its sensory plentitude, four tracks is the perfect length. 

Letters From A Tapehead

Monday, September 24, 2018

No Ripcord: Guerilla Toss

Guerilla Toss
Twisted Crystal
DFA Records
Released: 9.14.18

Letters From A Tapehead

Friday, September 21, 2018

The Mon: "Doppelleben"

Acting somewhat contrary to his normal work with the doom metal colossus Ufomammut, vocalist/bassist Urlo performs as The Mon, whose new album, Doppelleben, will be out November 8th. The title track is gorgeously layered and the track's accompanying video adds a hypnotic quality to this already meditative and immersive piece. 

You can view the video below:

Doppelleben will be released through Supernatural Cat. All info and links were provided by Rarely Unable.

Via Rarely Unable:


The Mon, the new solo project by Urlo - best known as the lead vocalist, bass and synth player in heavy trio Ufomammut - officially announces the debut album Doppelleben, due for release on Supernatural Cat on November 8th. An official video for the album’s title track has been shared. In addition, the artwork, track listing, and more are revealed for the first time.

The artist remarks on the new video he created for the album’s title track,
"'Doppelleben' is a German word meaning 'double life.' The entire album circles around this concept; the idea we become different people over time, we change, sometimes we evolve, sometimes we involve, but the flowing of time is what we have left when we face ourselves. 'Doppelleben' is a 'scary' song; very introspective. Its video is like an ouroboros; a journey that never ends, it starts again and again."


View the previously-released video for the album’s “Her”

Supernatural Cat, the label formed by members of Ufomammut and the Malleus Rock Art Collective, will release Doppelleben on CD, LP, and digital formats on November 8th, the vinyl to be printed with red metallic foil, including a twenty-page booklet with photos and more. Find physical preorders at the label’s webshop and digital via Bandcamp where the previously released singles "Relics," "Souloop," and "Her" are streaming.

Doppelleben Track Listing:
1. Hedy Lamarr
2. Salvator Mundi
3. Hate One I Hate
4. Blut
5. Relics
6. Soulloop
7. Her
8. Doppelleben

Where Ufomammut create mind-expanding, heavy psychedelic, almost other-dimensional sounds, The Mon by comparison is far more intimate, looking inward, as Urlo explores and examines his inner most thoughts through music. In his own words, the goal of The Mon is,
"to reach the boundaries of a spiritual soundscape in which the music becomes purification and atonement, a way to bring out to the world inside my soul."

Created entirely but Urlo, The Mon builds layers of brooding sounds which sometimes unfurl at a glacial pace and other times lurch with rhythmic propulsion on Doppelleben, each piece distinct, densely packed, and all-consuming in their evocative atmospheres. Analog and electronic instrumentation weaves seamlessly around both instrumental and vocal movements through eight diverse tracks encompassing nearly forty-three minutes of spellbinding music. Doppelleben weaves a creative web of sounds which should entice fans of Ufomammut, John Carpenter, Bobby Beausoleil, Nine Inch Nails, Angelo Badalamenti, and more.

Letters From A Tapehead

Wednesday, September 19, 2018

New Selections — Death Valley Girls, Saturn and the Sun, Eiko Ishibashi, Hekla, The Soft Moon, An Eagle in your Mind, J Mascis, Cripple Bastards, Pig Destroyer

Some new singles and others I've been meaning to post. Enjoy.

Death Valley Girls"More Dead"
(via Stereo Sanctity / Suicide Squeeze / YouTube)

Via Stereo Sanctity:

After recently announcing that their new album Darkness Rains is set for release on Oct 5th via Suicide Squeeze Records, Los Angeles doom boogie/dystopian punk/occult glam rockers Death Valley Girls have shared a new single & video entitled "More Dead".

Speaking about the new track, the band commented:
"After having experiences with people we love struggling to stay alive, we believe the harder the battle, the less one is able to ask for help. We wanted to write a song about how important and necessary each person is, especially these days. We need numbers now more than ever to fight the good fight."

The video director Dylan Mars Greenberg went on to add “I wanted to create a video that dealt with a serious issue that affected both Bonnie and I but in an abstract way. I used animation to generate the concept of rebirth and the juxtaposition of aerial videography with dark environments to tell the story of the overworld and underworld fighting over a soul.

I should also mention we filmed with an iguana indoors but then he escaped into Bronson canyon. We all believe he is now very strong and happy in his new world.”

Rock n’ roll has always served as a means to elevate the fringe of society, though it’s accentuated the plights of the outcasts and misfits in different ways throughout the years. In its infancy, rock was a playful rebuttal against segregation and Puritanism. In the ‘60s, it became a vehicle for an elevated consciousness. In the years following the Summer of Love and the clampdown on Flower Power, that countercultural spirit adopted the aggravated and occasionally nihilistic edge of bands like The Stooges, Black Sabbath, MC5, and The New York Dolls. And then as the ‘80s approached, popular rock n’ roll turned into a relatively benign celebration of hedonism and decadence, but that contingent of dark mystics from the ‘70s who lifted the veil and used music as a means of rallying people to altered planes had left their mark. It was an undercurrent in rock that would never die, but would percolate in corners of the underground. Today we can see it manifest in LA’s Death Valley Girls.

Death Valley Girls feels less like a band and more like a traveling caravan. At their core, vocalist/multi-instrumentalist Bonnie Bloomgarden and guitarist Larry Schemel channel Death Valley Girls’ modern spin on Fun House’s sonic exorcisms, early ZZ Top’s desert-blasted riffage, and Sabbath’s occult menace. Their relentless touring schedule means that the remainder of the group is rounded out by whichever like-minded compatriots can get in the van. On their third album Darkness Rains, bassist Alana Amram, drummer Laura Harris, and a rotating cast of guests like Shannon Lay, The Kid (Laura Kelsey), and members of The Make Up, The Shivas, and Moaning help elevate the band from their rogue beginnings to a communal ritualistic musical force. On the surface level, Death Valley Girls churn out the hypercharged, in the red, scuzzy rock every generation yearns for, but there is a more subversive force percolating beneath the surface that imbues the band with an exhilarating cosmic energy.

Death Valley Girls’ second album Glow In The Dark was based on the concept that many of us are trying to become more enlightened, and you can tell by the way they ‘glow in the dark.’ Darkness Rains goes a step further, attempting to shift the consciousness of those that have not yet considered how we are all connected and how that relates to the way we view life beyond death. Those that ‘glow’ can use the songs on Darkness Rains as new chants—or they can be used for pure entertainment. “Songs come from beyond and other worlds, you just have to tune into the right radio wave signal to dial them in. Our signal happens to be in a 1970 Dodge Charger Spaceship,” says Schemel.

Album opener “More Dead” is a rousing wake up call, with a hypnotic pentatonic guitar riff and an intoxicating blown-out fuzz-wah solo underscoring Bloomgarden’s consciousness-rattling proclamation that you’re “more dead than alive.” The pace builds with “(One Less Thing) Before I Die”, a minute-and-a-half distillate of Detroit’s classic proto-punk sound. But at track three, Death Valley Girls hit their stride with “Disaster (Is What We’re After)”, a gritty, swaggering rager that takes the most boisterous moments off Exile On Main Street and beefs it up with Zeppelin’s devil’s-note blues. Darkness Rains retains its intoxicating convocations across ten tracks, climaxing on an astral plane with the hypnotic guitar drones and cult-like chants of “TV In Jail On Mars.”

“Learn from the stars and beyond! Be happy and thankful we got to live together on Earth at the same time! And death is just a shift—stay alive and awake,”Bloomgarden and Schemel respond when asked for a final thought on Death Valley Girls. “Embrace the darkness and don’t fear the Reaper.” Suicide Squeeze Records is proud to further the cause by releasing Darkness Rains on October 5th, 2018 on LP/CD/CS/ and digital formats. The first vinyl pressing is limited to 1,500 copies. Both the cassette and vinyl include digital downloads.


Death Valley Girls Tour Dates:
09-13 - Pioneertown, CA @ Pappy and Harriets *
10-03 - Los Angeles, CA @ Teragram Ballroom **
10-04 - Tustin, CA @ Marty’s on Newport **
10-05 - San Diego, CA @ Casbah **
10-14 - Desert Daze Festival - Lake Perris, CA w/ My Bloody Valentine, Death Grips, Shellac etc.
10-18 - Riverside, CA @ Aurea Vista
10-19 - Las Vegas, NV @ Bunkhouse Saloon
10-20 - Phoenix, AZ @ Yucca Tap Room
10-21 - Tucson, AZ @ Club Congress
10-23 - Austin, TX @ Hotel Vegas
10-24 - Dallas, TX @ Regal Room
10-25 - Norman, OK @ Opolis
10-26 - Memphis, TN @ The Hi Tone
10-29 - Baltimore, MD @ Metro Gallery #
10-30 - Philadelphia, PA @ Kung Fu Necktie #
11-01 - New York, NY @ Mercury Lounge #
11-02 - Cleveland, OH @ The Winchester #
11-03 - Detroit, MI @ Deluxx Fluxx #
11-04 - Chicago, IL @ Beat Kitchen #
11-05 - Milwaukee, WI @ Cactus Club #
11-07 - Denver, CO @ Larimer Lounge #
11-08 - Salt Lake City, UT @ Urban Lounge #
11-09 - Boise, ID @ The Olympic #
11-11 - Chico, CA @ Duffy's #
11-13 - Portland, OR @ Mississippi Studios #
11-14 - Vancouver, BC @ Fox Cabaret #
11-15 - Bellingham, WA @ The Shakedown #
11-16 - Seattle, WA @ Freakout Festival
11-17 - Eugene, OR @ Old Nicks #
11-20 - San Francisco, CA @ Rickshaw Stop #

Saturn and the Sun: "In Love With The Extreme"
(via Modern Matters / iDeal Recordings / Soundcloud)

This is the title track to Saturn and the Sun's upcoming LP, which will be out September 21st via iDeal Recordings. Members Joachim Nordwall and Henrik Rylander also perform together as The Skull Defekts.


Eiko Ishibashi: "Iron Veil"
(via Drag City / Bandcamp)

Via Drag City:

Eiko Ishibashi's sixth solo album, The Dream My Bones Dream, rides the rails into a partly envisioned, partly imagined past. It's been four years since Car and Freezer, a time during which Eiko has been steadily working, writing for stage and cinema, playing live, recording and releasing Kouen Kyoudai (Editions Mego), a collaboration with Merzbow; and Ichida, her collaboration with Darin Gray. What a work ethic!

Amongst all this abject jet-setting and debauched gadding about, the music of The Dream My Bones Dream started to gather. Following the death of Eiko's father, she discovered photos from a time she knew nothing about: his childhood. Having never discussed this part of his life, he came of age during an infamous setting of recent Japanese history, the occupation of China's Manchurian region in the 1940s. In the light of this, questions about Eiko's lost family history took on a larger resonance. The Dream My Bones Dream imagines a past she never knew, those who raised her father and the environment in which is grew up in.

The music is richly conceived in cinematic arrangements with details referencing Eiko's grandfather, who worked as a railroad man in occupied territory. For Eiko, the train that ran through this rough terrain is now headed for her future, and only by accepting its past will she able to direct it through what is to come. Something to think about, yeah? We at Drag City are hopeful that this musical message will be blared down the main streets of Fascist Everytown USA - at least until they come to get us!

On The Dream My Bones Dream, as with Eiko's previous albums, the diverse sounds within the musical arrangement and the qualities of Jim O'Rourke's mix (off the couch and mixing again!) are crucial to the achievement. The Dream My Bones Dream is a record of exquisite musicality and deep emotions, a travelogue pointed towards a time hopefully better than the future we see coming down the line! Listen to the first single, "Iron Veil", now and pre-order the album for November 16th.


Hekla"Heyr Himna Smiður"
(via Phantom Limb / YouTube)

Via Phantom Limb:

Describing her sound as "minimalistic sci-fi", mysterious avant-garde musician Hekla has today released her uniquely beautiful debut album for solo theremin and voice Á, on Phantom Limb, a label run and curated by former FatCat Records, Thrill Jockey and Royal Albert Hall execs.

You can download and stream Á on Bandcamp, Apple Music, etc. It's also available on heavyweight 180g black vinyl here and at all good record stores.

After sharing the surreal and Gothic-tingled video for 'Ekki Er Allt Gull Sem Glóir' last month, Hekla has just released the Logi Hilmarsson directed video for 'Heyr Himna Smiður'. The track is Hekla's version of the classic Icelandic hymn by the late Þorkell Sigurbjörnsson.

Hekla has confirmed dates in Europe, including headline shows in London, Bristol and Berlin in October. Please note London venue has now moved from The Islington to Jazz Servant Quarters.

Tour Dates:
September 21 - Copenhagen, DK @ Festival of Endless Gratitude [tix]
October 15 - London, UK @ Jazz Servant Quarters * [tix]
October 16 - Bristol, UK @ The Cube [tix]
October 25 - Berlin, DE @ Ausland
December 13 - Berlin, DE @ Kantine am Berghain **

* w/ Ingrid Plum Trio
** w/ Kaufmann Frust, Indridi

A Berlin-residing Icelander, Hekla’s sparse, delicate, fractal music exists within these two worlds: dark and magical as Iceland’s permanight folklore; and (though beatless) as deeply sonic and intense as Berlin’s electronic scene. A long-term scholar of solo theremin, Hekla (shortened from her own name Hekla Magnúsdóttir) uses her instrument as an otherworldly and highly evocative Siren-call. A spectral, wailing, howling, lamenting yearning second-voice that underpins a soft vocal delivery... as if her studio had been haunted with a chorus of ghostly backing singers.

While a handful of reference points share a similar ground to Á - Colleen's interplay of voice and instrumentation; the richly immersive film score work of sadly passed fellow Icelander Jóhann Jóhannsson's; "grandmother of theremin" Clara Rockmore's close relationship with such a singular instrument; Julia Holter's intelligent and classically-aligned songwriting - Hekla's music still exists singularly. A one-off talent, emerging from no particular scene, ascribing to no particular rules.

As a creative tool, the theremin - bizarre, unique, and rarely heard - can be expressive, intuitive and highly adaptable. In Hekla's hands, her instrument covers an enormous range, from skittering birdsong of high frequency chirrups and chirps, to grinding, tectonic sub-bass. We are given the throbbing, apocalyptic dread of 'Muddle' and the baroque beauty of traditional Icelandic hymn 'Heyr Himna Smi∂ur' in sequential tracks on the album's A-Side. Appropriately, she also writes that the album title - Á - is similarly multifaceted in her native Icelandic: "a river is an á and also it means ouch like when you hurt yourself, and also when you put something on top of something you put it á (on) something."

The album was written and self-recorded by Hekla in her home studio in Berlin around her son's daycare schedule. Icelandic super-musician Mr Silla (a part-time múm member) guests on a number of tracks. Tallinn-based engineer Jose Diogo Neves - a stalwart of Icelandic and Portuguese music - mixed and mastered Á.


The Soft Moon: "Like A Father" (remixed by Imperial Black Unit)
(via Stereo Sanctity / Sacred Bones Records / YouTube)

Via Stereo Sanctity:

Following the release of his fourth studio album Criminal earlier this year via Sacred Bones, Luis Vasquez AKA The Soft Moon has announced the release of Criminal Remixed VOL. 1 and Criminal Remixed VOL. 2, co-released with Berlin-based record label, aufnhame + wiedergabe. Today sees the unveiling of the standout track "Like A Father", remixed by Imperial Black Unit. The Soft Moon will be playing two UK shows in November in London & Manchester.

Berlin-based French duo Imperial Black Unit transforms The Soft Moon’s “Like A Father“ into a dark EBM anthem, with an unique mix of old school sounds and their vision of the shape of Techno to come.

Both 12”s are limited to 1000 copies. The digital version will be released as an album and will be available on Bandcamp and via all digital platforms.


An Eagle in your Mind: "Flows"
(via Bandcamp)

"Flows" is featured in AEM's Miraculous Weapons, which released June 1st, 2018. You can sample the album and purchase a digital copy here.

Via AEM:

An Eagle in your Mind announces the release of its new clip "Flows" on October 8th.
Minimalist and lush images for a renewed musical syncretism: it could be a post-war staging of Antigone, a Bollywood, or a futuristic cartoon of the 70's. It could be question of the suicide of Cleopatra or the flight of Adam and Eve from the Garden of Eden ...


J Mascis: "Everything She Said"
(via Sub Pop / YouTube)

Via Sub Pop:

On November 9th, J Mascis will release Elastic Days, a collection of songs brimming with epic hooks and subtle guitar textures that slide against each other like old lovers and snare you in surprisingly subtle ways. You can hear this in J’s new lyric video for “Everything She Said,” directed by Joe Salinas.”

J Mascis has extended his international tour schedule to support
Elastic Days with UK dates for early 2019. The newly added dates begin January 16th in Oxford at O2 Academy and end January 25th in Glasgow at St. Luke’s. These dates follow J’s previously announced North American tour dates which run November 7th through December 16th.

Nov. 07 - Vancouver, BC - Imperial
Nov. 08 - Portland, OR - Aladdin Theater
Nov. 09 - Seattle, WA - Tractor
Nov. 10 - Bellingham, WA - Wild Buffalo
Nov. 14 - San Francisco, CA - Slim’s
Nov. 15 - San Diego, CA - Soda Bar
Nov. 16 - Los Angeles, CA - Lodge Room
Nov. 17 - Denver, CO - Ophelia’s Electric Soapbox
Nov. 18 - Fort Collins, CO - Washington’s
Nov. 20 - Chicago, IL - City Winery*
Nov. 21 - Chicago, IL - City Winery*
Nov. 27 - Atlanta, GA - City Winery*
Nov. 28 - Nashville, TN - City Winery*
Nov. 29 - Louisville, KY - Zanzabar*
Nov. 30 - Detroit, MI - El Club*
Dec. 01 - Toronto, ON - Great Hall*
Dec. 04 - Philadelphia, PA - World Cafe*
Dec. 05 - Washington, DC - City Winery*
Dec. 07 - Brooklyn, NY - Rough Trade*
Dec. 08 - New York, NY - Public Arts*
Dec. 09 - Hamden, CT - Space Ballroom*
Dec. 12 - Providence, RI - The Met*
Dec. 13 - Boston, MA - The Sinclair*
Dec. 14 - Northampton, MA - The Academy of Music*
Dec. 15 - Portland, ME - Port City Music Hall*
Jan. 16 - Oxford, UK - O2 Academy
Jan. 17 - Bristol, UK - Thekla
Jan. 18 - Brighton, UK - Concorde 2
Jan. 19 - London, UK - Islington Assembly Hall
Jan. 20 - Nottingham, UK - Rescue Rooms
Jan. 22 - Liverpool, UK - Arts Club
Jan. 23 - Manchester, UK - Gorilla
Jan. 24 - Leeds, UK - Belgrave Music Hall
Jan. 25 - Glasgow, UK - St. Lukes
* w/ Luluc

Pre-orders for
Elastic Days through and select independent retailers will receive the limited Loser Edition on clear vinyl with purple swirl (while supplies last). There will also be a new t-shirt design available.

Cripple Bastards: "Non Coinvolto"
(via Earsplit PR / Relapse Records / YouTube)

Via Earsplit PR:

Italian grindcore legends CRIPPLE BASTARDS celebrate thirty years of misanthropic extremity with their seventh full-length album, La Fine Cresce Da Dentro (Meaning "The End Is Growing From Within").

Recorded at the legendary Fredman Studios in Gothenburg, Sweden with producer Fredrik Nordström (At The Gates, Dark Tranquility),
La Fine Cresce Da Dentro delivers eighteen tracks of inconceivable speed and brutality surpassing even their previous work. Over three decades in, the CRIPPLE BASTARDS outfit shows no signs of slowing down and continues to destroy unsuspecting eardrums with hate-filled, grind punk chaos!

CRIPPLE BASTARDS' La Fine Cresce Da Dentro is due out November 9th on CD, LP, and digital. Physical preorders are available via HERE and digital downloads/streaming services HERE.

10/06/2018 Padiglione 14 - Collegno, IT
10/20/2018 Fabrik - Cagliari, IT
11/03/2018 Factory - Azzano Veneto, IT

Pig Destroyer: "House of Snakes"
(via Earsplit PR / Relapse Records / YouTube)

"House of Snakes" is featured in Pig Destroyer's latest LP, Head Cage.

Letters From A Tapehead

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