Wednesday, May 29, 2013

Sunday, May 26, 2013

Archie Shepp: "The Magic of Ju-Ju" (and, My Mind Wanders Onto My Keyboard)

My fascination with the avant school of jazz music has much to do with that it's the frantic, loosely constructed illustration of the human psyche in a state of personal, societal and internal unrest.  Some call it annoying.  I call it the artistic realization of an extreme as a mind incapable of settling knows no boundary or structure, and life in tumult brings this sort of offensively off key deliverance to people unprepared to accept and ready to dismiss. 

Because of when and how it grew out of the continual evolution of jazz music in the 60s, the idea of improvisational styles completely losing any semblance of key or structure, the avant and/or free jazz stands as truer testimony to the era, moreso in some ways than the folk swaying hippie culture that's typically identified as the protest music of the decade.  This is loud and chaotic surface noise designed to delve into and distill.  It's not "peace" and "love" inasmuch as it's "power" and "respect:" a mantra one could (and should) take more seriously.  Respect can exist with or without love.  As a comment not only to the racial and societal tension of the time, but also as far as the people and their united wish to be heard, the avant-garde is protest without violence, declaration without civil unrest.  It's about gaining respect. 

Having said that, if anyone points to the world's ills ("what's wrong with these kids today," and the like), it's not that we've forgotten to love.  We've forgotten respect.

Listening to Archie Shepp's "The Magic of Ju-Ju," a piece of music that squeals and chokes, rushes and wanders, I want my stream of consciousness to sound like this.  I want the nights when my brain won't quit to burn with this sort of magnified intensity, as opposed to when it's lost in a constant cycle of remembrance, dream and calculation.  I want my hands to work with this sort of random brilliance, words, phrases and images to grow from nothing but untrained, unguided magic.  I want to drop a needle and become better.  

Happy belated, Archie Shepp.  75 years young, so another 75 shouldn't be too difficult to handle.

Letters From A Tapehead

Friday, May 24, 2013

No Ripcord: Ten Kens

Ten Kens
Released: 5.21.13

Letters From A Tapehead

Thursday, May 23, 2013

Singles: Exwife, Hooded Fang, Free The Robots

Exwife: "Rituals" (via Noisey)

Hooded Fang: "Ode to Subterrania" (via NME)

Free The Robots: "Transmission" (via FACT)

Letters From A Tapehead

Wednesday, May 22, 2013

Shopping For Records: The Clash's Sound System

I guess this could be called the "only box set that matters," (and I'm sure once I publish that less than clever little comment, I'll find 77 just like it.) 

To be released in the US in early September, The Clash's upcoming discography-disguised-as-a-boombox set called Sound System, will be released alongside a new hits compilation, The Clash Hits Back.  I'm sure the box set will be very inexpensive, except not really.

Letters From A Tapehead

Tuesday, May 21, 2013

Ray Manzarek (1939-2013)

Jim Morrison may have been the voice, but Ray Manzarek was the sound.

The Doors' keyboardist succumbed to cancer yesterday, May 20th, at the age of 74.  He, of course, is the mastermind behind the omnipresent licks that drove "Break On Through (To the Other Side)," "Light My Fire," "Five To One," "Riders on the Storm" and I could go on and on.  It's actually absurd the overabundance of well-known music that The Doors had churned out between 1965 and 1973, much of it brilliantly conceived and driven by Manzarek's melodies.  Lest I use the occasion of his unfortunate passing to assassinate the character of Morrison, I'll just say that, for me, I've always considered the The Doors to be Manzarek's band.  While I can't argue that Morrison redefined the role of frontman and remains a lasting and influential presence in rock n' roll history, Manzarek shaped the band's tone and certainly their identity during the time of 60s political unrest and drug culture, making The Doors musically distinguished and perfectly evocative of the era.  The "Wild Child," lizard-drinking king had some swagger, but the seriousness with which one could take The Doors' music was aided by its execution.

In addition, Manzarek produced three of the best albums to emerge from L.A. area punk greats, X, performing a very memorable section of the song, "The World's A Mess (It's in My Kiss)" from their excellent debut, Los Angeles.  That being said, this is a loss that spans generations.

R.I.P., Ray Manzarek.

Letters From A Tapehead

Monday, May 20, 2013

Liars: "I Saw You From the Lifeboat" (Video)

New song and video from Liars along with tour info, a mini-documentary, special occasion shows and a contest.  Are they not giving?

Liars' last album, 2012's WIXIW, was reviewed at No Ripcord.

All info is courtesy of Mute. 

Offer Free Download of Two New Exclusive Tracks With Mini Film

Play The MET on May 18th & Le Poisson Rouge on May 19th

European Tour Starts Next Week

Including Primavera, Sonar, Manchester Parklife & Brighton Festivals

Before LIARS embark on their European tour next week, they will be playing two very special shows in New York this weekend. They will perform at The MET in the Temple of Dendur on Saturday, May 18th and Le Poisson Rouge on Sunday, May 19th. The MET show is sold out, but tickets are still available for Le Poisson Rouge show – grab them while you can!

As they get ready to head out on the road, they are also sharing a special surprise: a free download two brand new tracks – “I Saw You From The Lifeboat” and “Perfume Tear.” They have also created a unique film, documenting the past few years, offering a rare insight to the life Liars. Check out the video now to sign up for your free downloads!

Video for “I Saw You From The Lifeboat”

Everyone that receives the download will be entered into a draw to win a piece of original artwork created by Liars.

The two tracks are solitary from any album, simply a freedom of the bands creativity. Explains Angus,
“After releasing WIXIW and returning home from touring there was a palpable sense of creative relief and release. We relished in the opportunity to make stuff under no real directive and began almost immediately to produce all kinds of unrelated works. It’s a great position to be in creatively so we decided to share a small portion of the results with you today. Both of these songs happened almost instantly, and, in sharp contrast to the music we produced for WIXIW, were not labored over or scrutinized. It’s been great for us to recall the immediacy and excitement of creating music on the fly - unrestricted by subject matter and void of preoccupations about how it should 'work' in the greater context of things.”

Following their New York shows, the trio heads over seas for a two week European tour, including stops at Primavera, Sonar, Manchester Parklife & Brighton Festivals.

Summer Tour Dates:

5/18--The Temple of Dendur at The Met-New York, NY **SOLD OUT**
5/19—Le Poisson Rouge – New York, NY

European Tour Dates:

5/23--La Cartonerrie-Reims, France
5/24--Bad Bonn Kilbi Festival-Dudingen, Switzerland
5/25--Primavera Sound-Barcelona, Spain
5/27–Circolo Artisti—Rome, Italy
5/28—Interzona-Verona, Italy
5/29--Musica 90 Molodiciotto-Torino, Italy
5/30-- Cabaret Aleatoire-Marseille, France
6/1--Optimus Primavera-Porto, Portugal
6/5—Sterelux-Nantes, France
6/6--Trabendo-Paris, France
6/9--Parklife Festival-Manchester, England
6/13--Sonar Festival-Barcelona, Spain
6/15—Barby-Tel Aviv, Israel

LIARS: Website|Facebook|Tumblr|Twitter 

Mute: Website | Facebook | Twitter

Letters From A Tapehead

Queens of the Stone Age: ...Like Clockwork videos

Here's the complete set of Queens of the Stone Age's ...Like Clockwork promo videos artistically conceived and executed by Boneface

Letters From A Tapehead

Sunday, May 19, 2013

What I Heard This Morning: CLEANTEETH

In the interest of keeping my Sunday morning unholy, I checked out the new five-track promo release from the Dullest Records' acquisition, CLEANTEETH.  If the music alone, doom-laden grime meets ambient experimentalism, isn't enough to sway you into giving CLEANTEETH a try, it needs to be noted that they have a track called "2 in the Pink, 1 N'Sync," which is one of the best track titles in history of track titles.

Dullest will be releasing the band's LP, Pushing Rope, later this month.  In the meantime, you can check out the promo below along with info on LP, tour dates and then, if you're compelled to do so, give the band $5:

All info comes courtesy of Earsplit PR.

CLEANTEETH: Crush Your Teeth Trek Ongoing; Tour Promo Available Online

Brooklyn’s savage underworld collective CLEANTEETH is still out pummeling rockers abroad on the remaining dates of their 2013 Crush Your Teeth Tour. While the act’s debut LP
Pushing Rope is pending release via Dullest Records in the coming weeks, from the road the band directly released a 2013 tour promo featuring several tracks from the upcoming album to help fund their fuel and brews intake for the remainder of the tour.

Donate to the “Crush Your Teeth, Brush Your Teeth With Beer On The Road Fund” and pick up a few gnarly NYC-style doom/sludge anthems RIGHT HERE.

On another note, these pirates are still in need of two venues, basements or keg parties to raid for shows this week. Between their Columbus, Ohio show this Friday, May 17th and their take-a-shit-at-home gig back in Brooklyn, on Monday the 20th, CLEANTEETH are looking for spots in Pittsburgh and Baltimore (or somewhere else cool enough along the way) this weekend. Interested? Please drop a line to the “Brush My Teeth With CLEANTEETH Because I Put Them Up Fund” at or simply by replying to this communiqué. 

5/15/2013 Fubar - St. Louis, MO w/ Cathedral Fever, Rites Of Impiety, Cauldron
5/16/2013 Stage Bar - Chicago, IL
5/17/2013 Carabar - Columbus, OH w/ Axebomber, Ves, Artillery Breath, False Light
5/18/2013 TBA - Pittsburgh, PA
5/19/2013 TBA - Baltimore, MD
5/20/2013 Saint Vitus Bar - Brooklyn, NY

CLEANTEETH's highly-anticipated first album Pushing Rope demands attention, with forty-two minutes of sinister doom metal combined with bruising rhythms and raucous swells played on four stacks higher than the tallest band member. Within the first ten seconds of Pushing Rope, thunderous riffs echo out of three guitars while ominous licks force heads to bang with rhythmic precision. Fans will recognize influences ranging from Will Haven, KEN Mode, Harkonen and Harvey Milk to Breather Resist, Gaza, and Godflesh, yet CLEANTEETH's sound is uniquely its own; a crushingly beautiful array of electric noise and soul-punching drum beats that will make you want to break something and come back frothing at the mouth for more. Pushing Rope will be available on vinyl from Dullest Records in the coming weeks; stay tuned for further details.

Letters From A Tapehead

Friday, May 17, 2013

Singles: Two Inch Astronaut, Indian Handcrafts, Big Deal, The Child Of Lov w/ DOOM

Two Inch Astronaut: "Blood From a Loyal Hound" (via Exploding In Sound Records)

Indian Handcrafts: "Bruce Lee" (via Noisey/Sargent House)

Big Deal: "Dream Machines" (via Mute)

The Child Of Lov: "Owl" (featuring DOOM) (via Life or Death PR)

Letters From A Tapehead

Thursday, May 16, 2013

Master Musicians of Bukkake: "Gnomi" (Video)

What I hear is Josh Homme's Desert Sessions and Neu! filtered through a voluntary downer intake and hours of hunting shows and scrambled porn.  Master Musicians of Bukkake's Far West will be out June 10th.  In the meantime, check out "Gnomi" and view the info, which was provided by Rarely Unable.


On the eve of their 2013 European tour, Master Musicians of Bukkake have released another mysterious video, a sequel of sorts to the previously unveiled 'White Mountain Return' this time for the track 'Gnomi'. On this video there are similar unsettling vibes but the tone of the song and the music takes a u-turn from white noise and synths into progressive folk with sinister vocals.
Here is the direct link:

Don't forget you can also watch the video for 'White Mountain Return':
Both tracks are taken from their brand new album Far West, which is due for release 10 June through Important Records.


15-05-2013 - Zeche Carl - Essen, Germany
16-05-2013 - Stpln - Malmo, Sweden
17-05-2013 - Truckstop Alaska - Gothenburg, Sweden
18-05-2013 - Bla - Oslo, Norway
19-05-2013 - Kagelbanan - Stockholm, Sweden
20-05-2013 - Loppen - Copenhagen, Denmark
21-05-2013 - Kantine am Berghain - Berlin, Germany
22-05-2013 - Ut Connewitz - Leipzig, Germany
23-05-2013 - OCCII - Amsterdam, Netherlands
24-05-2013 - VK - Brussels, Belgium
25-05-2013 - Villette Sonique - Paris, France w/ Neurosis, Swans
31-05-2013 - Stereolux - Nantes, France
01-06-2013 - Trix - Antwerp, Belgium w/ Wolf People, Alvarius B, ...
02-06-2013 - Jubez - Karlsruhe, Germany
04-06-2013 - L'Usine - Geneva, Switzerland

“Go west, young man.” –Horace Greeley

On Far West the Master Musicians of Bukkake mark a turn from their Totem Trilogy. If the Totems were an expression of yang energy, then the
Far West cycle is the yin that took seed within the trilogy.

What happens when you travel so far east looking for enlightenment that you pass your destination and are headed west again? The mania of being lost in the mountains of the Cascade Corridor, searching aimlessly for the Northern Pacific coast. A spiritual Donner party of sorts, feeding off fantasy and mirages and imaginary shamans.
Far West is the soundtrack to this expedition to the caves of light we all travel into with hopes of acquiring redemption, only to realise our bodies have dissolved—gone like rain from the sky, snow from the ground, thoughts from the mind.

The sound of Far West is a progressive folk record inspired by Paul Giovanni’s
Wicker Man soundtrack, early Canterbury prog folk, the suspenseful soundtracks of Goblin and Ennio Morricone, Gerry Goldsmith’s interwoven dark orchestrations, and Pacific Northwest folk rock. The Master Musicians of Bukkake take an earthly and shamanistic approach to these influences and infuse it with Krautrock pulses interweaved with acoustic guitars, intricately layered rhythms, hazed-out modular analog synths, brassy stabs, and cultish choirs. A true psychedelic, audiophile experience to dissolve your body in.

Far West also features backing vocals by Sub Pop! recording artists Rose Windows, a deluxe cover illustration by Simon Fowler (see below) and the amazing photography of Alison Scarpulla.

Master Musicians of Bukkake is:
David Abramson: percussion, drums, tef, shaman shakers, green fog
B.R.A.D: percussion, vocals, candles, sights unseen
Don McGreevy: percussion, drums, 12 string electric and acoustic guitar, mellotron, bass, brass arrangements
Randall Dunn: korg analog synths, mellotron, divining rod, water seeking foolishness
Milky: electric and acoustic guitar, synths, vocals, mossy fuzz
Timm Mason: electric guitar, serge modular synth, electric bass, insects

Letters From A Tapehead

Marnie Stern at Johnny Brenda's: Last Night of Giving a Hoot

Little Big League
Barren Girls
Marnie Stern

Johnny Brenda's
Philadelphia, PA

Marnie Stern ended the American leg of the Who Gives A Hoot '13 tour in Philadelphia on what wound up being a very rainy Friday night.  Indoors at Johnny Brenda's, we were being charmed by Stern, who amusingly attributed her lack of voice to an excessive helping of blow jobs during the tour, (the real reason being a drunken night of karaoke, a factoid publicly disclosed by bassist Nithin Kalvakota), and demanded that the crowd relieve themselves of their clothing (a couple t-shirts made it to the stage).  Touring drummer, Joe Wong, had no trouble shedding his t-shirt for the cause.

Yes, the banter always wins at a Marnie Stern show.  But, so does the music.

Since 2009, I've been to every Stern event in Philly, (the ONE exception being that Tera Melos show that I'm still annoyed I missed), and with every event she's become a bigger name who draws larger audiences.  Her newest album, The Chronicles of Marnia, has seemed to garner more of a public response than any of her previous albums, (the volume of reviews, interviews and show coverage has been pretty significant), and it was obvious on Friday night that the majority of us in the crowd had become very well acquainted with that album.*

She's also become a better performer, her live show now rivaling her studio output.  I wanted to suggest to her, for instance, that the version of "The Crippled Jazzer" they'd used to cap off their set initially should be put out as a live track.  The audience had more or less soaked that up, the outro extended into a very arena-worthy percussive throw down.

But, even from a technical standpoint, the playing was tight.  Stern translates her signature guitar style on stage with fluidity and ease.  It seemed to almost require no concentration on her part, just the hours of studied dexterity she's applied to her instrument and the scrawl that had composed the evening's set list, which rested on the floor of the stage.  The writing was small enough that she had to keep bending over to read what the band was playing next.

Focused mostly on Chronicles, their set went as far back as This Is It and I Am It and You Are It and So Is That and He Is It and She Is It and It Is It and That Is That ("Transformer," "The Crippled Jazzer") and her 2010 self-titled album ("For Ash," "Transparency is the New Mystery" as the encore**).  Those were, of course, the songs I knew best, despite my relative familiarity with the new album.  Every song, though, sounded great and Stern, voice or not, had a radiance to her that could've been attributed to the following:

1). That she's now a fan of Dogfish Head's 90-minute IPA (you're very welcome).

2). That a break from traveling was on the horizon and some proper sleep was in her future.

3). That she was playing on stage in front of a very receptive and electrified crowd.  Honestly, I can't imagine that it gets much better than that.

Letters From A Tapehead

* Side note: Every Marnie Stern release I own aside from In Advance of the Broken Arm and the Cap Pas Cap split has been purchased at a show.  I'd held off on picking up Chronicles thinking I'd score the vinyl at the merch table.  However, since it was the band's last night on tour, the vinyl had sold out.  I, instead, picked up the Dog Daze cassette.  This is yet another indication of Stern's rising popularity.

**Another side note: Following the encore, Wong had thrown his drumsticks into the crowd and they'd apparently come in contact with the face of a correspondent for XPN's The Key, who wrote all about it.

Win Seven Inches of Free ROKY!!! An offer from Tracking Force...

From Tracking Force:

Who wants a free unplayed copy of the limited edition (and OOP) RSD Roky Erickson "Mine Mine Mind" single? Everyone who LIKEs the Tracking Force Facebook page between now and midnight friday will be entered in a random drawing to win it. The only catch is that the winner must be a person who lives in the lower 48 states because of shipping.

So, enter for a free Erickson 7" and then peruse Tracking Force.  There are some enviable sides featured, really good stuff for collectors. 

Letters From A Tapehead

Blow The Scene Hosting P.A.W.S. Benefit in June

Earsplit PR, the organization that has so generously provided me a wealth of music over the years, is sponsoring a Philadelphia-based event to benefit the Philadelphia Animal Welfare Society, also known as P.A.W.S., which is a no-kill animal shelter.  The music and arts festival is being co-hosted by the webzine, Blow The Scene. 

Please find event info below, which was brought to me courtesy of Earsplit PR.

Blow The Scene Hosts P.A.W.S. Benefit
Philly-Based Art Show & Music Festival Confirmed 

This June, Philadelphia-based music/arts webzine Blow The Scene is co-hosting a massive benefit drive including both an underground art show and killer music fest to aid in funding a no-kill animal shelter and rescue for P.A.W.S (Philadelphia Animal Welfare Society).

Blow The Scene editor-in-chief Joshua T. Cohen and Richard Stockton College art professor Ryann Casey have teamed up to host both the Homeward Bounds Art Benefit Show as well as the first annual Blow The Scene Fest 2013: Artists For Animals, with Earsplit now the official sponsor of the two-part funds drive.

The Homeward Bounds Art Benefit Show portion features works by over 50 artists who have contributed mixed media pieces being sold for charity beginning TODAY, running through July 10th at Philadelphia vegan eatery and art gallery, Grindcore House. In addition to the art show, the volunteers are constructing an “adoption wall” that will chart the progress of the current animals up for adoption at P.A.W.S.

BLOW THE SCENE FEST 2013: Artists For Animals portion will take place on June 29th, 2013 at Philadelphia’s Broad Street Ministry, now with a confirmed lineup of motivated outfits including DROPDEAD, DEAD IN THE DIRT, IRON REAGAN, MASAKARI, HEARTLESS, BACKSLIDER, LESS LIFE and DYING. The gathering will also feature artist displays, non-profit information and tabling, monetary and physical item donations, information booths, and much more. Admission to the all-ages fest will be $15, or $10 with a donation of blankets or supplies for P.A.W.S.

100% of the proceeds from these fundraisers will go to P.A.W.S., and if you do not live in the area and plan on attending either Philly-based event donations can be made online now.

For full donation links and info on the Homeward Bounds Art Benefit Show, click HERE.

For more info on the Blow The Scene Fest 2013, click HERE.

Letters From A Tapehead

Thursday, May 09, 2013

Queens of the Stone Age: "I Sat By the Ocean" & "If I Had a Tail"

Yesterday, news of two new tracks from Queens of the Stone Age's upcoming new album, ...Like Clockwork, surfaced via Consequence of Sound.  "I Sat By the Ocean" and "If I Had a Tail" were both recorded live for a radio session in Belgium.

Being that there were six years of silence since the last QOTSA album, (Era Vulgaris, which was reviewed in 2007), and myself being an admitted fanboy, the likelihood of any commentary regarding ...Like Clockwork having any real objective clout or lack of bias is small.  That being said, this will probably be something I cover after the anticipatory glow of the album fades, leaving behind the true product from which to assess its worth. 

In the meantime, though, I'm enjoying the steady flow of singles that keep appearing, "My God is the Sun" and the recently released "I Appear Missing (Calling All Commas)."

Letters From A Tapehead

Singles: Man Or Astroman?, Steve Gunn, Demon Lung, Reproacher

Man Or Astroman?: "Communication Breakdown, Pt. II" (via Force Field PR)

Steve Gunn: "Water Wheel" (via Enabler Agency)

Water Wheel

Demon Lung: "Eyes of Zamiel" (via CVLT Nation)

Eyes of Zamiel

Reproacher: "Casemate" (via Earsplit PR)

Letters From A Tapehead

Friday, May 03, 2013

Jeff Hanneman (1964-2013)

I remember, as a matriculating Catholic school student of maybe 11 or 12, looking at a full-page ad in some metal magazine (could've been Rip or Hit Parader) for Slayer's South Of Heaven and being simultaneously fascinated and mortified by its cover illustration.  The various goat heads mixed with swipes of blood and darkly hued chapels weren't necessarily as corrupting as they were wildly infused with otherworldly magic, depictions that contradicted the ideological deity I'd been praying to every Sunday.  Cut to a few years later, and I'm walking to my bus stop while blaring a cassette of Seasons in the Abyss I'd borrowed from a friend into my ears, hoping "War Ensemble" would end before I reached the landing and had to take off my headphones for the sake of conversation.  There were many days when I just wanted to funnel music into my brain and be left alone.

In my little suburb, late 80s-early 90s, it was crucial to reject our insular environment and try and form an identity that was at odds with everything around us.  Evil and/or aberrant imagery was attractive, especially in line with my Catholic upbringing and subsequent rebellion, and music had to reflect both an internal and external conflict in order to mean anything.  It's understandable why a band like Slayer would resonate so heavily with those of our ilk, their fascination with the occult and seeming disdain for authoritarian dogma, not to mention their sonic brutality and speed, relatable in many ways.  Slayer birthed musicians out of some of us and devoted fans out of the rest of us, so the recent passing of Jeff Hanneman was felt.

While I can't personally claim to have been anything other than a casual fan, far from the disciple some of my friends have been, I can still point to Seasons In The Abyss and South of Heaven as having had some impact on me growing up.  I can also state with no hesitation that, out of the original four horsemen, Slayer stayed focused on what they did well and remained successful without slowing down. 

Flashing the horns for eternity and grateful for years of aggression.

R.I.P., Jeff Hanneman.

Letters From A Tapehead

What I Heard This Morning: Sandrider

Because METZ and Pissed Jeans can't have all the fun, here's a single from Sandrider's 2011 self-title debut, "Gorgon."  This track is brought to you in correlation with news of the band recording a new album slated for release later this year.  Details below were generously provided by wonderful folks over at Good To Die Records.

SANDRIDER enters the studio!

Seattle, WA's hard rock saviors, SANDRIDER (ex-Akimbo), enter the studio this weekend to record the hotly anticipated follow-up to their much praised 2011 self-titled debut. The band is again recording with Matt Bayles (Russian Circles, Ken Mode, Mastodon, Helms Alee) at Red Room Studio and a Late Fall / Early Winter release is expected via Good to Die Records.

More details, including album title, release date and regional touring plans will be announced soon. The band’s debut is currently available for streaming via their official Bandcamp page, and a pro-shot video of brand new song "Gorgon" can be viewed HERE.

This summer you can catch SANDRIDER on the Neumos stage at the Capitol Hill Block Party in Seattle. Pre-sale tickets are available HERE.

To schedule an interview with the band or for any SANDRIDER related press inquiries please contact

Sandrider on Bandcamp
Sandrider on Facebook
Sandrider on Twitter
Good to Die Records

Letters From A Tapehead

Wednesday, May 01, 2013

Iron Tongue: "Lioness"

A bit of Southern-laced, slow rock to warm the blood — "Lioness," the latest single from Iron Tongue's upcoming LP, The Dogs Have Barked, The Birds Have Flown, evokes the 70s hard rock spun by groups like Deep Purple and Cactus, though it's hard to discount the stoned rage of bands like Goatsnake and Sleep.  Really sweet bass tone.

All info comes courtesy of Earsplit PR.

IRON TONGUE Unleash Soulful Southern Jam "Lioness" Via Classic Rock

Arkansas southern rock rabble-rousers IRON TONGUE have unleashed another soulful hymn from their forthcoming album, The Dogs Have Barked, The Birds Have Flown, which is set for release in North America via Neurot Recordings on May 28th.

One of the standouts of the record, “Lioness” draws listeners in from the opening stoney, groove-laden bass wizardy of Andy Warr and Stephanie Smittle's alluring backing vocals, before the ultra-bottom heavy guitars and Chris Terry's rugged, blues-stained vocals come forth and the track explodes into a mammoth rock jam.

Classic Rock are hosting "Lioness" on their website today, be sure to check it out at THIS LOCATION

Additionally, you can still check out “7 Days” via The Obelisk HERE.

Fronted by Chris “CT” Terry, the founding throat of sludge legion Rwake, IRON TONGUE formed when a group of veteran players with diverse musical backgrounds found a common interest in the need to get down and dirty and way, way gone. Featuring CT alongside guitarists Jason Tedford and Mark Chiaro, bassist Andy Warr, drummer Stan James, keyboardist JR Top and backing vocalist Stephanie Smittle, IRON TONGUE offer up a thick, soulful blend of girthy, heavy-amped, blues-based rock. IRON TONGUE aren’t singing of magical moonlit escapades. These are songs of true hurt, regret and despair reminiscent of everything from the proto-metal stomp of Blue Cheer and Grand Funk to the darkest hours of Kiss, Deep Purple, Buddy Guy and ‘Skynyrd.
The Dogs Have Barked, The Birds Have Flown was produced by renowned audio sage Billy Anderson (Melvins, Sleep, Neurosis, etc) at IRON TONGUE guitarist Jason Tedford’s Wolfman Studios.

IRON TONGUE will bring the power of the riff to the stage with a handful of local shows beginning April 26 with additional dates to be announced in the coming weeks.

5/06/2013 Downtown Music — Little Rock, AR w/ Order of the Owl, Enchiridon
5/12/2013 Private video shoot and live studio recording/cookout — Little Rock, AR (Contact C.T. on Facebook if you can’t stand not being there.)
5/28/2013 M.F. Music — Bryant, AR w/ J. Baker (*IRON TONGUE acoustic set)
5/31/2013 White Water Tavern – Little Rock, AR IRON TONGUE Record Release Show

…a solid slab of balls to the wall shameless rock, with a power and an edge and soul that rarely exists in music today…” — NeurosisSteve Von Till 

Letters From A Tapehead

What I Heard This Morning: The Gaslamp Killer

"In the Dark" is a new single/video from LA producer William Bensussen, who is better known as The Gaslamp Killer.  The single is pretty sleek and ominous, string ensembles merged with John Carpenter-evocative tones.  The video certainly helps enhance the atmosphere of the track.

All info courtesy of Life or Death PR & Management.

Credit: Abby Wross

Watch: "In The Dark" -

Los Angeles' William Bensussen, aka The Gaslamp Killer, is proud to share the music video for Breakthrough highlight "In The Dark". The clip was directed by HYPERBALLAD (Dano Cerny and Marielle Tepper) in a forest outside Prague and in a medieval crypt built in the 12th century. Inspired by the mystic beauty of the song, the directing duo chose to shoot in Prague because of the city's ancient connection to the occult. The video also includes blended images which represent contrasting cycles of light and dark, male and female and good and evil. These are basic forces that informed the writing of the song and are emotions that we are all connected to through both our creation and demise.

The Gaslamp Killer is perhaps best known for his untamed live DJ sets which blend traditional genres of rock into the outer reaches of hip-hop and the deep into the cosmic pressure of the heaviest electronic beats, with plenty of obscurity and bizarreness in-between. In addition to his DJ sets and production work, The Gaslamp Killer, along with Daddy Kev, is the co-founder of the now infamous LA club-night Low End Theory which showcases underground beatsmiths alongside established names such as Thom Yorke and Erykah Badu. After over 10 years of performing and making music as The Gaslamp Killer, his debut LP
Breakthrough was released in 2012. The LP's unusual synthesis of California-inspired psych and eclectic world influences quickly brought national and world-wide attention to the Southern Californian.

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...