Friday, September 28, 2012

What I Heard This Morning: Aperiodic

For your Friday's amusement, please check out the gritty Free Jazz and No Wave informed Aperiodic.  Their new album, Future Feedback, was released this week and the band is comprised of members that are currently or have previously performed in Holy Fuck, The Exponential, Enon, A Ten O’ Clock Scholar and Lab PartnersFuture Feedback was recorded by Shane Chaney of the band Swear Jar and mastered by Bob Weston (Shellac, Mission of Burma).

All info and links were provided by Phratry Records.

Letters From A Tapehead

Coves: "No Ladder" (TOY remix)

I was recently exposed to Coves, a Nugget-flirtation dealing in shoegazy psychedelia and post-punk repetition.  The band recently released an EP called Cast A Shadow, which is out via Cross Keys Records.  The album is available to sample below as is a remix of the band's single, "No Ladder," which was reinterpreted by members of the band, TOY

All info, links and music were courtesy of Meliz Gokturk from Wasted Youth PR.

Letters From A Tapehead

Wednesday, September 26, 2012

We Got Power!: David Markey and Jordan Schwartz's book of photographs from 1980s Southern California hardcore.

I received this press release from AGGRONAUTIX this morning.  A new book of photographs from the collections of David Markey and Jordan Schwartz called, We Got Power!: Hardcore Punk Scenes From 1980s Southern California, is available for pre-order.

Here is the press release from AGGRONAUTIX.

Hardcore Punk Scenes From 1980s Southern California,
by David Markey and Jordan Schwartz

Available for Pre-order Now HERE for October 5, 2012 shipping

In 1979, punk was over... but by 1981, hardcore was born.

As teenagers in 1981, David Markey and his best friend Jordan Schwartz founded
We Got Power, a fanzine dedicated to the first-generation hardcore punk music community in their native Los Angeles. Their text and cameras captured the early punk spirit of Black Flag, the Minutemen, Social Distortion, Red Cross/Redd Kross, Suicidal Tendencies, the Descendents, White Flag, The Last, The Gun Club, Saccharine Trust, Sin 34, Nip Drivers, Circle One, M.D.C., Big Boys, Youth Brigade, D.R.I., the Butthole Surfers, Firehose, and many others at the height of their precocious punk powers.

In the process, the duo's amazing photographs also captured the dilapidated suburbs, abandoned storefronts, and dereliction of the early Reagan era-a rubble-strewn social apocalypse that demanded a youth uprising! Never before seen except in crude fanzine form, these detailed and richly narrative photos are now collected to present an intimate portrayal of a uniquely fertile creative moment.


SBN 978-1-935950-07-3

Deluxe 304pp large-format hardcover featuring essays by David Markey, Jordan Schwartz, Jennifer Schwartz, Henry Rollins, Keith Morris, Chuck Dukowski, Dez Cadena, Louiche Mayorga, Cameron Jamie, Pat Fear, Steve Humann, Tony Adolescent, Jack Brewer, Jula Bell, Mike Watt, Sean Wheeler, Joe Carducci, Daniel "Shredder" Weizmann, and Janet Housden.
Presenting nearly 400 first-generation L.A. hardcore punk photographs
Including complete color reprints of
We Got Power fanzine 1981-1983 and beyond.
Dimensions: 12" x 9" (30.5 cm x 23 cm); 4 lbs. (2.5kg)


"Essential reading... the funniest of the local mags"-Matt Groening, 1983

"Celebrating the hardcore punk scene of 1980s Southern California... a new book by zine gods David Markey and Jordan Schwartz"-LA Weekly

"Stunning and beautiful"-AP

"A yearbook for SoCal dropouts who changed the world."-Inked

"The essays are sometimes anecdotal, sometimes reflective, but never maudlin. And photographs-nearly 400 of them, hard-boiled and loving simultaneously-capture the decrepit L.A. landscape and its wasted youth"-LA Record

"A nostalgic trip through the past for those who lived it, but an anthropological case study of a lesser-known subculture, and quite simply, a work of art"-The Los Angeles Beat

"The Black Flag bus rolled out to the San Fernando Valley to hear Minor Threat play. Jordan Schwartz was there, looking like a reporter straight out of some '30s movie, wearing a trench coat and a fedora with press pass in the hatband, holding a camera with an old-style flash reflector. It was a pivotal conceptual moment..."-Chuck Dukowski


David Markey was born December 3, 1963, in Burbank, CA. He made his first film at the age of 11 and published a neighborhood newspaper at 12. In 1980, he became involved in the local underground music scene. He helped form Sin 34 in 1981, and captured the punk scene in the Super 8 film The Slog Movie. Markey was a part of We Got Power magazine from 1981 to 1983, then kept the name alive through his We Got Power Films. He cowrote and directed Desperate Teenage Lovedolls in 1984. He photographed, edited, cowrote, and directed Lovedolls Superstar in 1986. Also that year, his band Painted Willie toured with Black Flag for six months, a period depicted in his film Reality 86'd. Markey has directed music videos for Meat Puppets, fIREHOSE, Shonen Knife, Mudhoney, and Pat Smear, and collaborated with visual artists Cameron Jamie, Raymond Pettibon, and Kim Gordon.

Jordan Schwartz met David Markey while skateboarding in a flooded Santa Monica parking garage in 1979. As they discovered the growing Los Angeles hardcore punk rock scene, Jordan teamed up with David, his sister, Jennifer, and Alan Gilbert to found
We Got Power magazine. Jordan contributed in many roles, including that of staff photographer. Jordan had producing and acting roles in Desperate Teenage Lovedolls and the sequel, Lovedolls Superstar, notably appearing as the rock star Brews Springstein. Jordan facilitated the release of three Black Flag skateboards featuring original artwork by Raymond Pettibon. In 1984, Jordan began working and living at SST Records' Global Network Agency booking gigs and tours for various high-profile bands on and off of the label during the pioneering years of the U.S. independent scene.

Word got out in the early 90s that the basement of the original Masque club was totally intact and untouched after all these years. So Dez Cadena and David Markey broke in and took a bunch of photos. "We felt like we were raiding King Tut's tomb-it was like an archaeological dig into LA punk history."

Letters From A Tapehead

Dum Dum Girls: "Lord Knows"

A video for the Dum Dum Girls' new single, "Lord Knows," surfaced yesterday.  The song is from the band's new EP, End Of Daze, which is now available as a physical treasure or an unsatisfying download. 

All info, links and tour dates are courtesy of Sub Pop.

Dum Dum Girls' End of Daze EP out now!
Debuts new video for "Lord Knows"!
Updated fall tour dates!

"Lord Knows" video premiere w/ Rookie!

Watch "Lord Knows"
Download "Lord Knows" MP3 here.

The Dum Dum Girls' lovely new EP, End of Daze is available now via Sub Pop on CD, LP and digitally. The 5-song set is led by the single "Lord Knows", along with track highlights "Mine Tonight", "I Got Nothing", and a cover of Strawberry Switchblade’s “Trees and Flowers”. You can purchase the EP at the following locations: Sub Pop; iTunes; Amazon; or at fine retailers near you.

There's a new video for "Lord Knows", featuring the band and directed by Christin Walker (Dum Dum Girls "Ja La La", "He Gets Me High", "Bhang, Bhang, I'm A Burnout"). Rookie Magazine, who premiered the video, says,
“Lord Knows,” is huge and haunting and romantic, and the video... is full of important witchy vibez and flower crowns. Enjoy/obsess (see Rookie Sep. 24)."

Additionally, End of Daze and "Lord Knows" were both given "Best New Music" status by Pitchfork. Of the new EP, they say, "The Dum Dum Girls have transcended their influences but more importantly they've stuck around, pushed past their limits, and gotten better with each release. End of Daze is the best thing they've done, succinct but irrefutable proof that this band's dynamite has a long fuse (read more at
Pitchfork Sep. 24).

Dum Dum Girls will support
End of Daze with week of release shows in Los Angeles, CA , with an in store on September 25 at Origami Records, and a club show on September 27 at Los Globos; Brooklyn, NY on September 30 at Europa and New York, NY on October 1 for an in store at Other Music. The band will also play October 11 in Syracuse, NY at Schine Underground at Syracuse University and in Mexico City, MX on October 13 at Corona Capital Festival. Dum Dum Girls will then hit the road for a 17-date run, which begins October 18 in New York, NY at Terminal Five and ends on November 3 in Lawrence, KS at the Granada Theatre. You can find a full list of tour dates below.

More about Dum Dum Girls
End of Daze EP:

Much has been written of her personal trials, but no words speak better of her handling of experience than her musical output. The new EP out on Sub Pop titled End of Daze offers a bracing, daring sonic example of an artist evolving in their understanding of the world.

Two of the songs, "Mine Tonight and “I Got Nothing,” were written immediately following the
Only In Dreams session. They were recorded in New York City with Sune Rose Wagner of The Raveonettes in February 2011, as was the Strawberry Switchblade cover of “Trees and Flowers.” Intended as b-sides, their nature was of another beast entirely, and Dee Dee set them aside for a future, more atmospheric release (read more at Sub Pop).

Tour dates
Sep. 25 - Los Angeles, CA - Origami Records instore
Sep. 27 - Los Angeles, CA - Los Globos
Sep. 30 - Brooklyn, NY - Europa
Oct. 01 - New York, NY - Other Music instore
Oct. 11 - Syracuse, NY - Schine Underground / Syracuse University
Oct. 13 - Mexico City, MX - Corona Capital Festival
Oct. 18 - New York, NY - Terminal Five**
Oct. 20 - Providence, RI - PVD Social Club
Oct. 21 - Boston, MA - Brighton Music Hall
Oct. 24 - Baltimore, MD - Ottobar
Oct. 25 - Charlottesville, VA - The Southern
Oct. 26 - Raleigh, NC - King's Barcade
Oct. 27 - Atlanta, GA - The Earl
Oct. 28 - Birmingham, AL - Bottletree
Oct. 30 - New Orleans, LA - One-Eyed Jacks
Nov. 02 - Austin, TX - Fun Fun Fun Fest
Nov. 03 - Lawrence, KS - Granada Theatre
** w/ The Walkmen

Letters From A Tapehead

Tuesday, September 25, 2012

Current Listening: Nick Cave & The Bad Seeds — Abattoir Blues/The Lyre of Orpheus

Nick Cave & The Bad Seeds 
Abattoir Blues/The Lyre of Orpheus
Reissued: 8.14.12

Truly an amazing pair of albums.  

Letters From A Tapehead

The Replacements: Color Me Obsessed documentary trailer

On November 20th, MVD Entertainment Group will be releasing Color Me Obsessed, a new documentary about The Replacements.  Directed by author/filmmaker Gorman Bechard, Color Me Obsessed will be the first documentary to detail the history and the lasting importance of the band.

All info comes courtesy of MVD Entertainment Group.

The Replacements Color Me Obsessed comes to DVD on November 20

One of 'The Seven Best New Music Documentaries of the Year' - David Browne, Rolling Stone

COLOR ME OBSESSED, the first documentary about famed 80's indie-rock band The Replacements,will be released in a two-disc DVD set (with 6 hours of extras) on November 20 via MVD Entertainment Group.

Told through the eyes of fans, friends, and contemporaries, COLOR ME OBSESSED breaks from the traditional music documentary format of music and performances. Not looking to make a VH1/where-are-they-now style documentary, director Gorman Bechard took a unique approach, "I decided to present the band in a more iconic way," he explains. "I thought, people believe in God without seeing or hearing him but rather through the passion, faith, and stories of others. After watching COLOR ME OBSESSED, I'm pretty sure music fans will believe in The Replacements in much the same way."

Telling the band's story was a project close to the heart for Bechard. Like many who were weaned on punk music he latched onto this brash young Minneapolis band with fervor. Dubbed "the last best band" by Spin Magazine, their live shows could be miraculous or downright disasters. Their fans, unwaveringly faithful. As critic's darlings, their albums were wrought with angry guitars and passionate well-written lyrics that hinted at potential commercial success. Yet, somehow, the band managed to continually shoot themselves in the foot. Their relative obscurity was a motivating factor in presenting their story on film. "The Replacements should have been the next Rolling Stones," Bechard says, "And to the people who loved them, I think they were."

Combining over 140 interviews with rockers (Colin Meloy of The Decemberists, Craig Finn of The Hold Steady, Tommy Ramone, Grant Hart and Greg Norton of Husker Du, all three members of Goo Goo Dolls), journalists (Robert Christgau, Legs McNeil, Ira Robbins, Greg Kot, Jim DeRogatis), and fans both famous (Tom Arnold, Dave Foley, George Wendt) and not, Bechard delivers the obsessive tale of the most influential band you've never heard of, The Replacements. And though containing not one note of their music, COLOR ME OBSESSED is a documentary that really rocks.

Bechard is also releasing his Archers of Loaf reunion tour/concert documentary WHAT DID YOU EXPECT? on November 20. The film features the Indie rock icons playing two hometown concerts at Cat's Cradle in Chapel Hill, NC. It premiered at NXNE in Toronto in June.


Pre-order (with free magnet):


Gorman Bechard is the author of seven novels, THE SECOND GREATEST STORY EVER TOLD, UNWOUND (under the pseudonym Jonathan Baine), NINTH SQUARE, GOOD NEIGHBORS, BALLS, THE HAZMAT DIARY, and the up-coming NOT SO PRETTY. He directed/co-wrote the indie features FRIENDS (WITH BENEFITS) (2009) and YOU ARE ALONE (2006), THE KISS (2003, starring Eliza Dushku and Terence Stamp), the horror comedy cult-classic PSYCHOS IN LOVE (1986), as well as the award winning shorts OBJECTS IN THE MIRROR ARE FURTHER THAN THEY APPEAR (2003) and THE PRETTY GIRL (2000).

Bechard has just completed a dark drama about internet modeling entitled BROKEN SIDE OF TIME, the second part of his planned ALONE trilogy. He is currently working on part three, a horror film entitled ONE NIGHT STAND. He has also begun shooting PIZZA, A LOVE STORY, a documentary on the holy trinity of pizza joints, the legendary Sally's Pepe's, and Modern, in Bechard's hometown of New Haven, Connecticut.

Letters From A Tapehead

Zs: Retrospective and Upcoming Show

Well over a month ago, I posted an entry about Zs and the band's then-upcoming retrospective, Score — The Complete Sextet Works: 2002-2007.  I received a press release today that Zs will be marking the occasion of the collection's release with a performance at New York's PAC Gallery. 

For me, this was a good excuse to re-post the four song sampler provided to promote the release.  Enjoy the tracks.  All info comes courtesy of Northern Spy Records.

Zs Moseys Into PACS Gallery with Nate Young (Wolf Eyes), Sightings, and Drainolith on Saturday, September 29th

ZS (Greg Fox, Patrick Higgins, Sam Hillmer)

Please join us this Saturday, September 29 at PACS Gallery (70 N 6th Street, Brooklyn - above Public Assembly) ) in heralding a new era of Zs: featuring Greg Fox on drums and Patrick Higgins on guitar. The band is celebrating the recent 4 disc retrospective box set SCORE and finalizing a new EP. The rest of the night’s line-up will be one of the heaviest you’ll see.

LQQK & BUNCE Present:
Saturday, September 29, 2012
$10 | 21+ | 8:30pm

PACS Gallery, 70 N 6th Street, Brooklyn NY

Regression (Nate Young, Wolf Eyes)
Drainolith (Alexander Moskos, AIDS Wolf)

facebook invite

Letters From A Tapehead

Over the Hill: Black Sabbath's Vol. 4

One of the truly masterful rock albums of the 70s, Black Sabbath's Vol. 4 is forty years old today.  Proto metal at its finest and quite possibly the last truly flawless, (with the exception of "Changes"), Sabbath record from the Ozzy era, Vol. 4 contains three songs featuring my favorite Tony Iommi riffs (Master Of Reality's "Into the Void," notwithstanding): "Tomorrow's Dream," "Snowblind" and "Cornucopia."

Letters From A Tapehead

Ladies Auxiliary: "Don't Cry" (Guns N' Roses cover)

I received an email a couple weeks ago from Colin Pate of the Philadelphia dream pop band, Ladies Auxiliary.  He sent me this video clip of their version of the Guns N' Roses Use Your Illusion II hit, "Don't Cry," which the band converted into a synth pop lounge ballad. 

Letters From A Tapehead

What I Heard This Morning: Departures

"Pillars" is a new single from Departures, a retrofitted post-punk band whose upcoming new album, Still and Moving Lines, will be out October 9th.  Mastered by Bob Weston (Shellac, Mission of Burma), "Pillars" has a constancy to it that I'm drawn to, a tense "on edge" persistence that mimics to some extent The Feelies' Crazy Rhythms (think "Loveless Love"), Wire's Pink Flag and some of the more melodic moments of Sonic Youth's Murray Street.

Letters From A Tapehead

Friday, September 21, 2012

Shopping For Records: Rites of Spring's Six Song Demo

Dischord Records will be releasing Six Song Demo by Rites of Spring on October 22nd.  All info comes courtesy of Rarely Unable.

Rites of Spring were among the most important and beloved bands to emerge from the DC underground music scene in the mid-80s. Formed by Guy Picciotto (vocals/guitar), Mike Fellows (bass), Brendan Canty (drums), and Eddie Janney (guitar) in 1984, the quartet released a self-titled LP and a 7” single before disbanding in 1986. They were central to what came to be known as 'Revolution Summer', a period of redefinition and creative burst from the DC scene in 1985. Before that – before they even played a show -- the band recorded a six-song demo tape at Inner Ear with Don Zientara and Ian MacKaye.

After the dissolution of their previous band, Insurrection, in 1983, Canty, Picciotto, and Fellows joined with Faith guitarist Eddie Janney and began writing new songs. Unfortunately, just as they became ready to play out, Fellows announced plans to relocate to Los Angeles, effectively ending the band before it even got started. Before the bassist departed, the group decided to go to Inner Ear to document the handful of finished songs that they had written.

At this point, not only had they never played a show, Rites of Spring hadn’t even settled on a name (on the tapes, Zientara listed the ses- sions as Insurrection II). But already, the music marked a musical shift for the DC punk community, consciously breaking away from the macho-clichés that had come to plague hardcore music.

The sessions were notable for being the first time that anybody had heard Picciotto sing. At the time, few bands had access to a PA system during practice and the volume of the other instruments often blotted out vocals. Shortly after tracking was completed, Fellows hit the road and the recordings were mixed in his absence, hence the Beatles-inspired “Mike Fellows is dead,” gag at the end of “By Design.” Because the band had broken up before ever playing, there was no plan to officially release the recording, so the completed songs were dubbed onto cassette tapes and given out to friends, who passed them along to others. As a result of the tape-trading the recordings were heard far and wide, though each copy suffered a loss of sound-quality.

As it turned out, the West Coast didn’t agree with Fellows and in July he came back to DC to rejoin the band. Shortly after his return the band performed its first show at Food For Thought opening for Gray Matter. They would perform fewer than 20 shows before they dis- banded.

These six songs capture Rites of Spring in its earliest stages. Once the band started playing out, the songs gained velocity and intensity (see the 7-minute plus version of “End on End” that closes their LP), but many of the elements that defined their music – frenzied energy, sharp melodies, and introspective lyrics -- were already very much in place. The release has been mastered from the original tapes and is presented exactly as it was on those cassettes in 1984 complete with the tape collages and assorted audio-graffiti. Members went on to play in Happy Go Licky, Fugazi, Royal Trux, and Silver Jews.

1) End on End
2) Remainder
3) Persistent Vision
4) Hain’s Point
5) All There Is
6) By Design 

Letters From A Tapehead

Unknown Mortal Orchestra: "Swim and Sleep (Like a Shark)"

I haven't heard enough Unknown Mortal Orchestra to really formulate an opinion about them, but "Swim and Sleep (Like a Shark)," the A-side to their upcoming 2-song single release, grabbed me when I first listened to it.  It's admittedly an "indie is the new pop" kind of track that's laced with college daze.  It's the type of song someone would be "enchanted with" as opposed to "really dig" or "fucking love."  Still, though, its gentle use of anti-clarity and the R.E.M.-lite melodic touches is engaging.

All info comes courtesy of Life or Death PR & Management.




As Unknown Mortal Orchestra, New Zealand by-way-of Portland songwriter and guitarist Ruban Nielson marries psychedelia with sharp soul touchstones. Timeless pop hooks are produced with a soft buzzsaw edge so that the effect is akin to Stevie Wonder producing Plastic Ono Band into Nuggets-like gems. With bassist Jacob Portrait and drummer Greg Rogrove, Unknown Mortal Orchestra is preparing a full-length for Jagjaguwar in early 2013. In the meantime, the band have a number of upcoming North American tour dates, including an East Coast run with Grizzly Bear.

To celebrate news of their signing and the launch of their tour with Grizzly Bear, the band has shared a first taste from the new album. The song, "Swim and Sleep (Like a Shark)," is a bittersweet romp with melodies more delicate than most approaching the genre would dare. It's b-side, the 7"-only "Waves of Confidence," is slow-grind sizzurp psych that, by its end, has built and layered to transcendent heights. This limited 7-inch will be exclusively available at UMO's tour with Grizzly Bear in September. Check it out along with all upcoming tour dates below.

STREAM: "Swim and Sleep (Like a Shark)" -


09/18 - Ryman Auditorium - Nashville, TN w/ Grizzly Bear
09/20 - 9:30 Club - Washington, DC w/ Grizzly Bear
09/21 - 9:30 Club - Washington, DC w/ Grizzly Bear
09/22 - Orpheum Theater - Boston, MA w/ Grizzly Bear
09/23 - Olympia de Montreal - Montreal, QC w/ Grizzly Bear
09/24 - Radio City Music Hall - New York, NY w/ Grizzly Bear
09/26 - Massey Hall - Toronto, ON w/ Grizzly Bear
09/28 - Midpoint Music Festival - Cincinnati, OH
09/29 - Pygmalion Music Festival - Champaign, IL
09/30 - The Pabst Theater - Milwaukee, WI w/ Dirty Projectors
10/01- Pyramid Scheme - Grand Rapids, MI
10/02- Annabell's Bar and Lounge - Akron, OH
10/03 - Metropolitan Kitchen - Annapolis, MD
10/05 - Taix - Los Angeles, CA

10/12 - Campestre Don Juan - Cholula, Mexico

10/13 - Corona Capital Festival - Mexico City, Mexico
12/28 - Rhythm and Alps Festival - Christchurch, NZ

12/30 - Pyramid Rock Festival - Phillip Island, Australia
12/31 - Peats Ridge Sustainable Arts & Music Festival - Peats Ridge, Australia

Check out Unknown Mortal Orchestra's Jagjaguwar artist page:

Letters From A Tapehead 

Wednesday, September 19, 2012

Ufomammut: Oro Videos

Ufomammut's second installment of their Oro series, Opus Alter, released September 18th.  In addition to the albums, Ufomammut also issued videos of tracks from both albums.  All of them are available for perusal courtesy of Earsplit PR.

A review of Ufomammut's Opus Primum was posted at Stereokiller.  A review for Opus Alter is pending.

Letters From A Tapehead

Current Listening: Menomena — Moms

Barsuk Records
Released: (9.18.12)

Expect a review soon as Kicking Against The Pricks.

Letters From A Tapehead

Tuesday, September 18, 2012

Shopping For Records: Michael Jackson's Bad25



Cover pulled from Idolator

At ten years old, the spectacle of subway choreography as it collided with street politics and the hilariously suited Michael Jackson, (who'd evidently forsaken zippers five years after breaking up a knife fight in "Beat It"), charmed me to no end.  "Bad" was a very mediocre single, but it was aided by an over-dramatic black n' white concrete jungle storyline that followed a neighborhood kid (Jackson) making good while his hoodlum friends (one of whom was played by Wesley Snipes no less) threatened to drag him back into the urban underbelly where he could mug old men.  Involving Martin Scorsese to helm an episodic video for the song was an obvious attempt to remake the success of Jackson's "Thriller" video, which had been directed by American Werewolf In London's John Landis.  "Thriller," despite its homage to classic horror and its iconic cast of dancing zombies, was more realistic.

Celebrating its 25th year, Bad remains the last Michael Jackson album that had any real presence for me personally, having undercut my teenage years by three.  It spawned most of the videos I remember seeing in 1987 that weren't by Def Leppard, "Dirty Diana" with its Steve Stevens rock pose, "Smooth Criminal" boasting machine gun fire and that anti-gravitational lean and "The Way You Make Me Feel," Jackson's continual pelvic interaction with nothing visible one time warranted a comment from my father: "That's right, Michael! Get the air pregnant!"  And then "Man in the Mirror" became the most played message song of the year, video footage of starving children and third world turmoil meant to enliven mankind's charitable nature, motivating the "man in the mirror" to "make that change" and start putting extra pennies in the Unicef cartons making the rounds on Halloween.

I think it's fair to say that Bad represents Jackson's last true stand as an entertainer as opposed to entertainment, his later existence as tabloid fodder leading him to eventual ruin.

This is not cheap, by the way.

Letters From A Tapehead

Current listening: Locrian & Christoph Heemann

Locrian & Christoph Heeman
Handmade Birds
Released: 9.18.12

Letters From A Tapehead

Saturday, September 15, 2012

The Soft Moon: "Insides"

A new track from The Soft Moon's upcoming release, Zeros, appeared this week. Typical of Luis Vasquez (Mr. Soft Moon, himself), the song is stark, cold and danceable with a very engaging low end.  I usually love the bass harmonies Vasquez employs.  Inasmuch as The Soft Moon is emulative of an era long gone, the way Vasquez chooses to reinvigorate an old formula sounds fresh to me and I think this has a lot to do with the way he works rhythmically.  There's nothing too remarkable about the guitar effects or even the calculable chill that fills every riff, (even though I enjoy this), but there is something about his bass rhythms.  I'm going to try and review Zeros at some point.  In the meantime, check out "Insides."


The Soft Moon photo by Julie Bonato
The Soft Moon was never intended for the public's ears, but you found it, were drawn in by its danger, and insisted that others hear. Oakland's Luis Vasquez began the project in order to better know his own self. He'd holed up in his apartment and let the tape roll, allowing gut and memory guide him. Those twin sherpas, however, led him to a place of darkness, claustrophobia and dread: a musical wasteland moving to a Motorik tic, its edges made jagged in the image of early post-punk, swathed in the moody atmosphere of vintage darkwave. Now, because the word has spread, the Soft Moon waxes again, returning with a most vicious, seething and focused second album: Zeros.

There've been some changes. While 2010's
The Soft Moon LP was recorded entirely in solitude in an utter absence of expectation, these ten songs were written and recorded between days on the road. Out there The Soft Moon sound had expanded into a full-band attack accompanied by immersive video visuals. Vasquez needed the new work to be just as primal and enveloping, and so set to paring down his post-apocalyptic soundscapes. What was began as barely controlled exorcism became an exercise in control, and after six months of intently shaping Zeros on his own, Vasquez met with producer/engineer Monte Vallier at his San Francisco studio where he could get loud, beat on things, scream.

The result is complete immersion.
Zeros opens with "It Ends," a rumbling eerie epic that explodes and then fades. The slowing breath and pulse at the finish signify our break with reality as consciousness drifts deeper into Vasquez' world. Welcoming us into "Machines," a demon utters unclear incantations over snapping drums and flange-warped tones, while the titular song gives us a beat to dance to as a strange voice gushes lascivious "aahhhs" from a cloud of swirling synths. Songs like "Insides" and "Crush" feel utterly inward-looking-a loner's cry buried in soil and metal shavings-but "Remember the Future" bounces like a twisted John Carpenter score, and "Die Life" lashes out at everything within reach. Listen closely and you'll hear the sounds of the creatures and people that survived whatever catastrophe created this space: chirping insects, bawling whales, strained howls, jungle percussion, tribal chanting. It's this basic stuff that makes Zeros familiar-the animal need to not be alone in the dark, to be heard by another living thing even whilst working solo, The Soft Moon as the lone wolf. This becomes clearest as the album approaches its close and the whipcrack snares of "Lost Years" give way to the wild hand drums of "Want." The aggressively hypnotic build eventually runs smack into the wall of "ƨbnƎ ƚI," a reversal of the opener that slowly, surely, delivers us back to the waking world-untouched, yes, but not unchanged.

MP3: "Insides" -


MP3: "Die Life" -

The Soft Moon

(Captured Tracks)
Oct 30, 2012

1. It Ends

2. Machines
3. Zeros
4. Insides
5. Remember the Future
6. Crush
7. Die Life
8. Lost Years
9. Want
10. ƨbnƎ ƚI


09-20 Brooklyn, NY - Glasslands * %  
09-21 Montreal, Quebec - La Sala Rossa * 
09-22 Toronto, Ontario - The Drake * 
09-23 Pontiac, MI - Crofoot Ballroom * 
09-24 Indianapolis, IN - White Rabbit Cabaret * 
09-25 Pittsburgh, PA - Brillobox * 
10-30 New York, NY - Bowery Ballroom § + 
10-31 Middletown, CT - Eclectic House § 
11-01 Rochester, NY - Bug Jar § 
11-02 Cleveland, OH - Beachland Ballroom § 
11-03 Chicago, IL - Schubas Tavern § 
11-04 Columbus, OH - Ace of Cups § 
11-05 Asheville, NC - Broadway's 
11-06 Atlanta, GA - 529 § 
11-07 Athens, GA - Caledonia Lounge § 
11-08 Durham, NC - The Pinhook § 
11-09 Washington, DC - Black Cat § 
11-10 Philadelphia, PA - North Star Bar § 
11-13 Strasbourg, France - Musèe d'Art Contemporain 
11-14 Rennes, France - Antipode @ $ 
11-15 Paris, France - Point Ephémère # 
11-16 Metz, France - Les Trinitaires @ 
11-17 Lyon, France - Le Sonic # 
11-18 Lausanne, Switzerland - Le Romandie # 
11-19 Stuttgart, Germany - 1210 # 
11-20 Köln, Germany - MTC # 
11-21 Berlin, Germany - Festsaal Kreuzberg # 
11-22 Hamburg, Germany - Hafenklang # 
11-23 London, England - Cargo # 
11-24 Bristol, England - Start the Bus # 
11-25 Leeds, England - Brudnell Social Club # 
11-26 Manchester, England - Ruby Lounge # 
11-27 Birmingham, England - Hare and Hounds # 
11-28 Brighton, England - Greenstore # 
11-29 Brussels, Belgium - Magasin 
11-30 Utrecht, Netherlands - Le Guess Who? Festival # 
12-01 Frankfurt, Germany - Nachtleben # 
12-02 Prague, Czech Republic - Meat Factory # 
12-03 München, Germany - Orangehouse # 
12-6 Barcelona, Spain - Mercat de Les Flors (Primavera Club) 
12-12 Los Angeles, CA - Echo § 
12-13 San Diego, CA - Casbah § 
12-14 Oakland, CA - The New Parish § 
12-15 San Francisco, CA - Mezzanine § 
12-18 Portland, OR - Holocene § 
12-19 Seattle, WA - Barboza § 
12-20 Vancouver, British Columbia - Waldorf §

* with Cold Showers
% with ERAAS
§ with Group Rhoda

+ with Pop. 1280 
# with Dracula Lewis 
@ with Ty Segall 
$ with Xiu Xiu 

Letters From A Tapehead

A Place To Bury Strangers: "Leaving Tomorrow"

A Place To Bury Strangers released a new video for the single, "Leaving Tomorrow," from their recently released full-length, Worship.  Lots of reverb, immediacy and noise pop tension. 

All info comes courtesy of Dead Oceans.

A Place To Bury Strangers Release New Video "Leaving Tomorrow"
Announce US, Russia, Greece Tour Dates

A Place To Bury Strangers have released a new self-produced video today at SPIN for "Leaving Tomorrow," the third single off the recently-released full length Worship. Filmed & performed by the band with the help of close friend Sam Donahue, the video is based on the short story "Katsu Gee" by Momo Fujiwara.

Watch the video for "Leaving Tomorrow"

The action was filmed in Central Park and APTBS headquarters Death By Audio on the band's day off using the iPhone 8mm app. In it, lead singer & frontman Oliver Ackermann plays the hapless Terry who is stalked and kidnapped by Robi Gonzalez's Wizard. Bassist Dion Lunadon comes to the rescue as Handsome Saviour of Mankind (on his faithful steed Mr. Toots) but is thwarted when the Wizard transforms Terry into Terrible.

Listen to "And I'm Up"

A Place To Bury Strangers have also announced a new series of dates across North America, Russia and Greece. After spending September and October in the UK and Western Europe, the band heads to St. Petersburg & Moscow, followed by several stops in Greece. They return to the US at the end of October, just in time for Halloween and an appearance at Austin's Fun Fun Fun Fest in November. The band will split their North American dates with
Bleeding Rainbow, including headline appearances in Los Angeles at the Troubadour on November 6 and a hometown show at Bowery Ballroom on November 18.


"Worship shows that they're sleeker, darker, and spikier-sounding than ever." -ALLMUSIC
"there's a textural richness and emotional depth to Worship…" -PITCHFORK
"[Worship] is, according to bassist Dion Lunadon, 'Our vision of what music in 2012 should sound like,' and if you can imagine a future dystopian parallel to today where this is the mainstream, then you have just imagined something very cool indeed." -VICE NOISEY
"The atmospheric, steadily building lead single 'You Are the One' from [this week's] Worship shows them at their hypnotic best." -THE ATLANTIC
"Come for the psychedelic washes of guitar and brittle Joy Division-esque drumming, but stay for the awesome spindly guitar pickin.'" -FUSE

is defiantly abrasive, trafficking in squealing, drill-to-the-brainpan noise-rock" -PASTE

09/14/12 - Sheffield, UK - Queen's Social Club
09/15/12 - Glasgow, UK - Nice N Sleazys
09/16/12 - Manchester, UK - Ruby Lounge
09/17/12 - London, UK - Dingwalls
09/19/12 - Stuttgart, DE - Universum
09/20/12 - Munich, DE - 59:1
09/21/12 - Carpi, IT - Mattatoio
09/22/12 - Rome, IT - Traffic
09/24/12 - Winterthur, CH - Salzhaus
09/25/12 - Geneva, CH - L'Usine
09/26/12 - Prague, CZ - Meetfactory
09/27/12 - Dresden, DE - Beatpol
09/28/12 - Warsaw, PL - Cafe Kulturina
09/30/12 - Aarhus, DK - Voxhall
10/01/12 - Stockholm, SE - Debaser Slussen
10/02/12 - Oslo , NO - John Dee
10/04/12 - Copenhagen, DK - Lion & Barrels
10/05/12 - Lingen, DE - Alter Schlachthof
10/06/12 - Amsterdam, NL - Sugar Factory
10/08/12 - Brussels, BE - Botanique
10/09/12 - Feyzin, FR - L'Epicerie Moderne
10/10/12 - Dijon, FR - La Vapeur
10/11/12 - Strasbourg, FR - La Laiterie
10/12/12 - Metz, FR - Les Trinitaires
10/13/12 - Amiens, FR - La Lune des Pirates Nuit Blanche Festival
10/14/12 - Lille, FR - La Peniche
10/16/12 - St. Petersburg, RU - Zal Ojidania
10/17/12 - Moscow, RU - 16 Tons
10/19/12 - Thessaloniki, GR - Mylos Club
10/20/12 - Athens, GR - Fuzz Club
10/21/12 - Larissa, GR - Stage Club

10/27/12 - Richmond, VA Strange Matter*

10/28/12 - Chapel Hill, NC - Local 506*
10/29/12 - Asheville, NC - Emerald
10/30/12 - Atlanta, GA - Drunken Unicorn
10/31/12 - Tallahassee, FL - Club Down Under*
11/02/12 - Houston, TX - Warehouse Live Studio*
11/03/12 - Austin, TX - Fun Fun Fun Festival

11/04/12 - Austin, TX - Fun Fun Fun Festival

11/06/12 - Los Angeles, CA - Troubador*

11/07/12 - San Francisco, CA - Independent*
11/08/12 - Salt Lake City, UT - Urban Lounge*
11/09/12 - Seattle, WA - El Corazon
11/11/12 - Denver, CO - Larimer Lounge*
11/12/12 - Omaha, NE - Waiting Room*
11/13/12 - Madison, WI - Frequency*
11/14/12 - Chicago, IL - Empty Bottle*
11/15/12 - Cleveland, OH - Beachland Ballroom*
11/16/12 - Buffalo, NY - Mohawk*
11/17/12 - Montreal, PQ - M For Montreal Festival at Lambi&
11/18/12 - New York, NY - Bowery Ballroom*
11/19/12 - Boston, MA - MIddle East Upstairs*

* = w/ Bleeding Rainbow

& = w/ Suuns, Sun Airway & Bleeding Rainbow


Video: "Leaving Tomorrow"MP3: "And I'm Up"
Video: "You Are The One"

MP3: "You Are The One"

Video: "So Far Away"

A Place To Bury Strangers Official Site

Press Photos & Album Artwork



Dead Oceans Artist Page

Letters From A Tapehead

Thursday, September 13, 2012

Flag Of Democracy: Shatter Your Day reissue (maybe)

With less than a week to go, a Kickstarter effort is in play to help fund the reissue of Shatter Your Day, the classic 1986 album from Philadelphia area (my hometown of Ambler, Pennsylvania!) hardcore band, Flag Of Democracy.  This will be a very ambitious and remarkably abundant reissue, brimming with rare tracks and performances.  Much band for your buck.

You can find the Kickstarter page here.  

Letters From A Tapehead

Wednesday, September 12, 2012

Hydra Head Records (1993-2012)

"There is no way to sum up nearly 20 years of incredibly important music, experiences, and evolution other than to say a big heart felt 'thank you', and that we hope this closing will provide an opening into other even more positive and rewarding experiences for all of us and all of you who have been a part of our shared experience. For now we bid you all a very fond farewell...."  — Aaron Turner

It's likely that those who work to enrich our lives will continue to do so at their own financial peril.

Aaron Turner, best known as the frontman for the now defunct post-metal band Isis, had been running Hydra Head Records for almost two decades.  Citing mounting debt, Turner announced yesterday that, as of this December, the label would no longer sell or distribute new music.  Instead, Hydra Head will function purely to sell off its back catalogue.  It can be surmised that label supporters and fans of Turner's dug into their pockets after the announcement as the label's Facebook page expressed its gratitude: 

"Thanks so much to all of you for your kind words and outpouring of generosity. It makes this painful process a bit easier to bear. We may just find our way out of debt yet.  We sincerely love and appreciate you all. Thank you, thank you, thank you..."

It's difficult to be cynical in the face of generosity.

Still, being a non-commercial entity in the high-stakes music industry is a largely thankless endeavor.  When you consider the turn ons and offs of the seeming majority of the U.S.A., most of what makes us feel whole revolves around the things we own, the things we flash, the things we use to shape our existence and convey (for others and for ourselves) a degree of personal success.  In the meantime, art, music, film, literature...  These things are supposed to culturally enrich us, expand our perspectives, put us in a frame of mind more susceptible to thought or consideration, excite us in a way that could possibly leads us on some personal journey of discovery.  Acting outside of the normalized apparatus, you're more likely to find artists and independent activists working to expose the population to something new and potentially worthwhile.

But, if it can't sell something, how worthwhile could it possibly be?  I believe this to be the lesson of capitalism.

Now, don't get me wrong, capitalism is a model also applicable to independent industries.  Inasmuch as I credit Ian MacKaye, for example, for doing his best to act apart from advertisers, managers and big label dollars, he's a businessman.  It just happens that MacKaye is savvy at both art and business and he's found a way to make the two coexist amicably.  And, he's managed to do this on his own terms.

Still, Turner's Hydra Head is another casualty of not only the diminishing returns of the record business, but also the production, support and distribution of product too esoteric or "out there" to be deemed "viable."  There are many independent labels doing the same thing, attempting to better or evolve our worldview by keeping in plenitude music that could either affect or offend, and all of them depend on their following.  They depend on every dollar they receive as these artists are largely inaccessible to the mass public, the notion of scoring additional income through endorsements, commercial radio or licensing absolutely absurd.  And, while major labels bitch and moan about loss of revenue thanks to Internet piracy, these labels sell music that sounds good next to a sweaty, colorful can of Pepsi.  This isn't a new observation, but what this says is that, while the importance of the album as a physical manifestation of art continues to weaken, major labels represent artists that are profitable in ways apart from their music.  Plasticity is versatile and typically capable of morphing itself into whatever's commercially fit to print, play or process, so long as the performer is marketable.  So, the album weakens.  Music weakens.  But, it's still perfect background noise for cars, toys and Apple products.  It's difficult to sympathize with the complaints of major labels when they can still squeeze their talent for every dollar they can get and devalue what many of us hold dear.

Besides, these labels are, after all, guilty of issuing substandard, mediocre product and supporting disposable entertainers, many of whom are so incapable of performing they require pitch correction, not as an added studio effect, but because they really need it.  What sane individual would want to shell out their hard earned money just to get laughed at by men in suits completely disconnected from the experience of music?  It's insulting.  Between Walmart and iTunes, the largest bulk of music is sold through either in this country, so it's really no wonder independent labels continue to suffer and the public's taste continues to dwindle.  Who would line the pockets of an industry so hellbent on dispensing shit and expecting the public to happily ingest it?  Many people, apparently. 

Integrity, though; integrity requires passion and the ability to fail a million times.  It requires an acceptance that success, while mostly elusive from a monetary standpoint, will reveal itself in small victories.  There's pride in saying you created something worthwhile.  There's even more pride in the revelation that what you created affected enough people to keep you afloat for almost twenty years.  While Hydra Head will soon be seen as another label doomed to fail thanks to its promise of dealing in uncomprising artists, Turner can hopefully see that his efforts were (and still are) recognized by those of us who still appreciate alternatives. 


Letters From A Tapehead

Mission Of Burma: "Semi-Psuedo-Sort-of Plan"

The new Mission Of Burma album, Unsound, remains one of 2012's sinful omissions.  Their new video for the song, "Semi-Pseudo-Sort-of Plan," which premiered today through Pitchfork, is enough to convince me that Unsound is something I'll need to have in my life very soon.  I love that this band, especially after they sort of dropped the ball and called it quits in '83 after releasing Vs., has managed to maintain a winning streak all through this millennium.

Cover image picked up from CMJ.

If you get a sec, give the song a listen/look.

Letters From A Tapehead

Monday, September 10, 2012

MusicFilmWeb: Until the Light Takes Us

MusicFilmWeb's Music Documentary Monday feature, 9.10.

Until the Light Takes Us
Directed by Aaron Aites and Audrey Ewell
Released: 2008

Letters From A Tapehead

Saturday, September 08, 2012

Fergus & Geronimo: "Roman Tick"

Fergus & Geronimo's Funky Was the State of Affairs has been gaining some press for its affections for both garage punk and mid-80s guitar pop.  "Roman Tick" is the newest offering from the album.

Fergus & Geronimo - Roman Tick from Hardly Art on Vimeo.

All info comes courtesy of Hardly Art.


VIDEO - "Roman Tick" [dir. Ruben Mendez]
MP3 - "No Parties"
MP3 - "Roman Tick"
VIDEO - Album Teaser

Are you tired of feeling like a loser at the game of love? Do you ever find yourself wondering, “Why me?” Do you feel lonely, estranged, and increasingly solipsistic due to prolonged, frequent immersion in a shallow high-tech world of virtual interaction? Did your Summer Love already return to their home planet?

Fergus & Geronimo have just the thing for you. This new video for their song “Roman Tick,” off their new LP
Funky Was the State of Affairs, might lift your spirits with its endearing depiction of hopeless (and perhaps also clueless, irritating, and ill-conceived) romanticism. Also: a copy machine is destroyed with a guitar. That’s cathartic, right?

Tonight in Detroit, the band kicks off a string of dates with Sub Pop’s Jaill. See below for a full list of dates, and watch the video at the link above.

Tour dates:

09.04.12 - Chicago, IL - Empty Bottle

09.05.12 - Detroit, MI - The Lager House *
09.06.12 - Toronto, ON - Rivoli *
09.07.12 - Montreal, QC - Il Motore *
09.08.12 - Portland, ME - SPACE Gallery *
09.09.12 - Somerville, MA - Johnny D's *
09.10.12 - New York, NY - Mercury Lounge *
09.11.12 - Hoboken, NJ - Maxwell's *
09.12.12 - Philadelphia, PA - Johnny Brenda's * ~
09.13.12 - Washington, DC - Comet Ping Pong *
09.14.12 - Greensboro, NY - Blind Tiger *
09.15.12 - Charleston, NC - Tin Roof *
09.16.12 - Athens, GA - Farm 255 *
09.17.12 - Atlanta, GA - 529 Club *
09.18.12 - Asheville, NC - Emerald Lounge *
09.19.12 - Athens, OH - The Union Bar

* - w/ Jaill

~ - w/ Tough Shits

About the record:

Fergus and Geronimo’s leap between their early R&B-influenced singles and their first wildly diverse record was so daring, many music writers and fans were forced to reconsider the pigeonhole to which they had already damned them. Happily damned them, since, after all, those early tracks went over exceptionally well.

But observers and admirers were also left doing something not many get to experience in this dime-a-dozen singles renaissance: scratching their heads concerning what this group would do next. After a first record that was such a departure, not only did they wonder, they actually cared.

Like some of history’s most well-regarded and oft-reissued acts, the group is doing exactly what they are compelled to do for their anticipated sophomore LP
Funky Was the State of Affairs: making an album that actually plays like a cohesively complete statement.

And yet the record is entirely unpredictable, even as it tackles reoccurring themes, which Savage says include,
“aliens, technology, intergalactic dating/hooking up, the Roman Empire, and the earthling resistance movement.”

Though at times it sounds like fairly serious subject matter, the group employs a sharp-tongued attack with the same sort of gallows humor cracked wise by the likes of their equally Doubting Thomas inspirational figures, everyone from the Mothers of Invention to Devo.

Within the first few minutes, the tone is set; the bright, spiky, opening track over a Krautrock rhythm, “No Parties,” contains a line summarizing the restlessness caused by the alienation of modern habits, sung in a mock-English accent:
”Collecting devices, you’re paying the prices/Of overconsumption, with mental destruction.”

“Basically, it's a dystopian sound-scape of our civilization's collapse,” says Savage. Indeed, those feelings of dread are sometimes instrumentally emphasized by passages of synthesizer static and noise, which Savage attributes to being influenced by groups like Chrome. New members Bob Jones (guitar, bass, analog synth) and Jef Brown (Tenor Sax) also add to the playful chaos. Savage says the original duo added members in order to achieve “the tightness that can only come from recording with a live core,” as “musicianship is extremely important to Jason and I…”

Since Brown and Jones both played in the self-explanatory Evolutionary Jass Band—which evolved out of the equally experimental Jackie-O Motherfucker—there is an expansion in the group’s improvisational capabilities that wasn’t as obvious on past recordings. Yet nothing sounds forced, each interlude is enjoyable, each hip-hop-inspired skit serves a narrative-pushing purpose. The record bounces from Booker T-styled soul (“Wiretapping Muzak I and II”) to early 80s New York dance rock (“Marky Move”) with an immodest ease.

Letters From A Tapehead

Thursday, September 06, 2012

Sunn O))) — 9.5.12

Sunn O))) at the Union Transfer, 9.5.12.

Letters From A Tapehead

Wednesday, September 05, 2012

Neurosis: Trailer for their upcoming Honor Found In Decay album

As reported, Neurosis will be releasing their latest LP, Honor Found In Decay, in late October.  For the purposes of heightening our anticipation, a trailer has surfaced.  Watch below.

The band will also be playing a London date with Godflesh in December.


All info comes courtesy of Earsplit PR.

NEUROSIS Release Visual Trailer For Tenth Album Honor Found In Decay

NEUROSIS today proudly reveals a brand new visual trailer created for their anticipated tenth studio full-length, Honor Found In Decay.

Created by video architect Kenneth Thomas, also responsible for producing the mini-documentary for NEUROSIS’ 2007-released
Given To The Rising, the intense look into the new opus features intimate details of the album’s layout hand-crafted by the band’s visual specialist by Josh Graham, personal commentary from guitarists/vocalists Scott Kelly and Steve Von Till on the creation of Honor Found In Decay, as well as the first brief moments of audio to be publicly unleashed!

States Steve Von Till in the early moments of the preview,
"A legacy can only be assured if we continually burn down the past and plant seeds in the ashes to grow new, greater things," and is followed by founding member Scott Kelly, who boldly affirms, "If you don't make a record that you think eclipses your previous record, then... you've failed."

Absorb this foretaste of
Honor Found In Decay AT THIS LOCATION.

In addition to their imminent performance at ATP's Nightmare Before Christmas in England – the lineup culminated by Steve Albini’s band Shellac, and including Wire, Mission of Burma, Oxbow, Melt Banana, Shellac and more – another UK NEUROSIS performance has been confirmed to take place just days later. The extraordinary performance will devastate the HMV Forum in London alongside the almighty Godflesh on December 2nd, as the only other UK concert in support of
Honor Found In Decay. Stated Von Till about this appearance: “Neurosis and Godflesh together is long overdue! We have been admirers of Godflesh since their first recordings. Streetcleaner changed heavy music forever. I don't think anyone can argue that this will be an extremely powerful and special night for all of us."
Honor Found In Decay will reaffirm to the planet why NEUROSIS remain one of the most important heavy acts in existence. The album will emerge through the band’s own Neurot Recordings, in Germany October 26th, in the rest of Europe October 29th, and in North America on October 30th, with their cohorts at previous label home Relapse Records confirmed to handle the vinyl release of the album.

NEUROSIS confirmed UK performances:

11/30-12/02/2012 ATP’s Nightmare Before Christmas - Camber Sands Holiday Camp, England [info]
12/02/2012 HMV Forum - London, England w/ Godflesh [info]

Letters From A Tapehead

Shopping For Records: Deerhoof's Breakup Song on Flexi

Deerhoof's new LP, Breakup Song, released 9.4.  In addition to the cassette version that's been developed by Joyful Noise, there's also a Flexi-Book version.  Trust in Joyful Noise to continue adding physical interest to new music.

I'll be reviewing the new Deerhoof at some point, likely independent of my go to Web spots.  Breakup Song was quickly tapped by a lot of the reviewers with whom I share my usual outlets, but I really like the album so I'm going to add my two cents.  In the meantime, check out the track, "Fête d'Adieu" and watch the instructional how to video on how to play the Flexi-Book. 

Deerhoof // "Breakup Song" Flexi-Book from Joyful Noise on Vimeo.

Images are from Joyful Noise.

Letters From A Tapehead

Tuesday, September 04, 2012

Liars: "Point Your Pistols to the Sigh"

"Point Your Pistols to the Sigh" is an unreleased Liars track being added to the Adult Swin Singles Program.  You can listen to the song here.

After that, read my review of the Liars' WIXIW, which is featured at No Ripcord.

All info comes courtesy of Life Or Death PR & Management.




Today, Pitchfork shares a new track from Liars as part of the 2012 Adult Swim Singles Program. "Point Your Pistols To The Sigh" is currently available for download at

MP3: Liars "Point Your Pistols To The Sigh" -

The 2012 Adult Swim Singles Program will be featured at through September 10th and will include all-new, never-before-released tracks from these featured artists:

Week 1 (June 18)
Unknown Mortal Orchestra

Week 2 (June 25)

The Hives

Week 3 (July 2)

Wye Oak

Week 4 (July 9)


Week 5 (July 16)

The Field

Week 6 (July 23)

Flying Lotus

Week 7 (July 30)

Gauntlet Hair

Week 8 (August 6)


Week 9 (August 13)

Com Truise

Week 10 (August 20)

Yamantaka//Sonic Titan

Week 11 (August 27)

Elite Gymnastics

Week 12 (September 3)  

Week 13 (September 10)

Death Grips

Adult Swim (, launched in 2001, is Turner Broadcasting System, Inc.'s network offering original and acquired animated and live-action series for young adults. Airing nightly from 9 p.m. to 6 a.m. (ET/PT), Adult Swim shares channel space with Cartoon Network, home to the best in original, acquired and classic entertainment for youth and families, and is seen in 99.4 million U.S. homes.

Turner Broadcasting System, Inc., a Time Warner company, creates and programs branded news; entertainment; animation and young adult; and sports media environments on television and other platforms for consumers around the world. Turner brands and businesses include CNN/U.S., CNN International, and HLN; TBS, TNT, truTV and Turner Classic Movies; Cartoon Network, Boomerang and Adult Swim; and Turner Sports.

Letters From A Tapehead

No Ripcord: Swans

The Seer
Young God Records
Released: 8.28.12

Letters From A Tapehead

New Selections — Emma Ruth Rundle, Tropical Fuck Storm, Primitive Man, Private Life, Uniform, Erika Wennerstrom, Djrum, Windhand

Starting August off with some new singles. Emma Ruth Rundle:  " Darkhorse " (via Rarely Unable /  Sargent House  / YouTub...