Wednesday, November 20, 2019

What's (Re)New — Thee Oh Sees / Oh Sees / OCS on 8-Track

Photo Credit: 5Seven Records
If you check out the 5Seven Records website right now, you'll be confronted with an annoyingly unreadable nod to the days of GeoCities web pages, vivid green and yellow paragraphs typed out in Times with inactive underlining placed as if joking with the user: "Is it a link? Nope!". As if to drive home antiquity, you'll also be shown some info regarding John Dwyer's new boxset, which compiles 8-track versions of his work dated 2008 till 2018. This includes records from Thee Oh Sees, Oh Sees, and OCS. It also contains a zine.

I imagine the circle jerk comprised of collectors that commenced following this news was significant and led to multiple floods and drownings. While I'm not thrilled with the prospect of an unplayable boxset, (which is the case unless you own an 8-track player), the artifact(s) itself is something to look at. The cool factor is undeniable and there was certainly a lot of work put into it, but its impracticality runs strong.

That said, I still want one.

The set is due for release on November 25th. 5Seven Records is where to go get it.



This info comes courtesy of Tell All Your Friends. More info below.

Oh Sees have announced the release of their new box set of 8-track tapes. The box set will be a 12-album collection covering John Dwyer's work from 2008-2018. Each tape is a different album from The Oh Sees, Oh Sees and OCS and includes a zine and extra goodies.

"Only 100 hand numbered boxsets were made with only 60 going up for sale to the public. It took us well over a year to make these 100 sets, so this is the first and final edition of this massive boxset. Every 8-track cart in this collection was reconditioned by hand from 40+ year old cartridges and each album is on a specific color and hand numbered cartridge. No expense was spared making this limited boxset with original artwork by ELZO DURT, and which includes 130 songs and over 8 hours 21 minutes of music. The release includes a 36 page zine (with the making of the release, 8-track history, album information, band posters and more), a limited edition 5"x7" photo signed by JPD, & some extra goodies (3" patch, stickers, buttons)."

collectors beware

your gathering of arms is dangerously close to incomplete
the wizard has shook his crooked stick and *poof*
a thing of beauty
12 selected full albums from the discography of john dwyer’s oh sees, thee oh sees and OCS ranging from 2008-2018
the meat of the beast
this touring machine has time machined back in time to plant their kisses upon a plethora..no, a rainbow of 8 track cartridges
professionally dubbed and packaged beautifully (fest your peeled peepers on the pictures below)
with art by ELZO DURT ( ocs live, carrion crawler artist)
flourished with fan zine, iron-on patch pins and stickers

its a tank
had to search through many dimensions to unearth this arcana
and it took a master to wrangle it all into shape for this very special and limited release
niche? yes
substantial ? yes
fucking cool?
we think so

cheers big ears
jpd

Oh Sees the 8-track collection is available for order via 5Seven Records.

Sincerely,
Letters From A Tapehead

Thursday, November 07, 2019

The Day In Headphones: JOBS — "Similar Canvas" b/w "Different Properties" 7"

As a vivid patchwork of loose and colorful geometry, both the visual and musical aspects of "Similar Canvas"/"Different Properties", the new 2-song single by improv quartet JOBS and artist Sam King, speak to me as a heavily encumbered personal and maybe even first-world (or suburban) dystopia.

With a range of disorganized thoughts being spoken aloud for the title track, dissonant tones being dragged from the strings of a viola as factorial steam-pistons run erratic, vocalist/guitarist Dave Scanlon is somewhat robotic in his delivery, a relative monotone appropriate to what plays beneath. There is eventually a seasick sway to what perhaps functions as a discernible enough hook, but as King's visuals play with structure, so does the song: "What is the color of the glitter you seek? What is the color of your gestures? What is the color of the jewelry you keep? And I'll take your capital." 

For "Different Properties", scratchy tones and light bass strokes fall behind more observational content, out-of-place and disconnected stanzas spoken in shifting pitches: "I came here to drink and I do not plan on drinking only water. And I am unsure whether that would be nutritious. I have been seeking glitter. I have romantic purposes." The liberated musical proclivities of Dirty Three resonate here alongside the proliferation of random sounds and rhythmic irregularity.

The 7" is currently available for pre-order at Bandcamp. Info on the release and links were provided by Clandestine Label Services and Ramp Local.

You can also pre-order the record from Ramp Local — https://ramplocal.com/new-products/jobs-sam-king-similar-canvas-limited-edition-7-vinyl

Follow JOBS — Website / Facebook / Instagram / Bandcamp

Follow Sam King — Website / Instagram



NYC Experimental Rockers JOBS Announce 7" Single, Collaboration w/ Visual Artist Sam King

Genre: Experimental Rock, Improvisation, Minimalism
RIYL: This Heat, Gastr Del Sol, The Books, Robert Ashley, The Books


JOBS’ most recent release for Ramp Local, Log On For The Free Chance To Log On, was “delightful and confounding in the best possible way,” (Pitchfork). Their bizarre, interlocking melodies flourished, and the addition of violist Jessica Pavone added an elegance unmatched by any previous JOBS album. Similar Canvas finds JOBS continuing their tradition of disorienting experimental rock, defined by a constant burst of musical ideas, where disjointed jolts of sound sit over and under tight, yet disorienting grooves. “Similar Canvas” is a restless track alternating between crashing waves of David Scanlon’s vocal sways and the pounding electronic rhythms from drummer Max Jaffe. All the while Jessica Pavone’s viola sits in the back, providing the long-tone meditative vibe she’s best known for. “Different Properties” is reminiscent of musical pastiche a la The Books. Surrealist lyrics take the forefront here, all the more jarring because of Scanlon’s vocal effects, oscillating between high and low pitch bends.

The music of JOBS simultaneously confronts and amazes listeners. Their music can easily be compared to abstract, cubist painting — discernible forms and themes exist, but are altered and distorted so much to the point where it becomes an almost-impossible task to divulge specific themes behind the music. Common threads like tabulation, socialization and commerce come about, but are never concretely touched on. Rather we are left to wrestle with fleeting emotions and concepts; opaque, raw and euphoric, yet utterly complete in JOBS’ unique tonal world.

JOBS -
Similar Canvas
November 22nd, 2019 - Ramp Local

Pre-order:
https://ramplocal.com/new-products/jobs-sam-king-similar-canvas-limited-edition-7-vinyl

Track List

1. Similar Canvas
2. Different Properties

Credits
Collaboration initiated be Sam King and JOBS in fall 2016, works completed, recorded, mixed, photographed, printed, and pressed in 2019.

Max Jaffe // Sensory percussion
Rob Lundberg // Bass
Jessica Pavone // Viola
Dave Scanlon // Guitar, Voice, and Programming

Mixed by Matt Mehlan

Visual works by Sam King

Sincerely,
Letters From A Tapehead

Saturday, September 28, 2019

New Selections — Kal Marks, Rosa Bordallo, NOUS, Casanova, Anne Müller, Red Spells Red, FITTED

Apologies for the quiet September. My time was needed everywhere but here. That said, I'm happy to end the month with some good singles that I hope you'll enjoy. Autumn has begun to bring comfort to the air following the oppressive Summer heat. I do love this time of year.

Enjoy!

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Kal Marks: "Heads Been Ringing"
(via Force Field PR / Exploding In Sound Records / YouTube)

Album Preorder



Via Force Field PR:

Kal Marks' 'Let The Shit House Burn Down' EP is out today via Exploding in Sound Records; watch the new "Heads Been Ringing" video

STREAM: Let The Shit House Burn Down
Spotify

WATCH: "Heads Been Ringing" -
YouTube

Kal Marks' Let The Shit House Burn Down EP is out today via Exploding in Sound Records. Stream the EP here and watch the new "Heads Been Ringing" video.

"the band have never sounded this good, as they unleash an aggressive assault on both the climate catastrophe and personal demons. Kal Marks' ability to find the sweet spot where folk and metal intertwine — a demilitarized zone most of us thought didn't exist — will leave you screaming and crying in the same chorus. ... Kal Marks' decade-long career has had many peaks, but Let the Shit House Burn Down could be the highest — so far" (8/10) - Exclaim!

There’s nothing pretty about Kal Marks’ new record, an album rooted in feelings of failure and a decline of faith in humanity. What it lacks in positive sentiments it makes up for in honesty and a hope for change. The themes of Let The Shit House Burn Down carry beyond the album’s exceptional title and into the music itself; a batch of songs that band weren’t always sold on prior to recording. It was only after the Boston based trio hit the studio that they realized they had created a strong and cohesive set of new music, capturing what could be considered their best performances and their best sounding recording to date. It’s another triumphant collision of sludge, folk, and art punk – deliberately unhinged and primal in a way that has become unique to Kal Marks.

Considered veterans of the Boston DIY scene, Kal Marks has been going for over a decade, constantly pushing themselves and growing along the way. Their tireless work ethic keeps them out on the road, throughout the US and most recently their first tour of Europe and the UK. While many bands settle into a comfortable place, Kal Marks take pride in expanding their sound, contorting and reshaping the formula with every album they’ve released. They’ve challenged their audience over the years and its been met with adoration and critical acclaim from outlets like NPR, Pitchfork, Fader, and Stereogum. Known for being one of the loudest and heaviest “indie rock” bands out there, they’ve shared bills with Big Business, Black Midi, The Messthetics, METZ, True Widow, and more. Their explosive live show is built on feedback and cathartic aggression, an outlet to exorcise the weight of the world around us.

Continuing on from the sonically adventurous Universal Care LP, Kal Marks drew inspiration for their latest from the dark and dusty folk of Nick Cave and Tom Waits to the bludgeoning art metal of Sumac, finding the unique common ground that resides in-between. Heavy and insightful, brilliantly composed, and brutally free, Let The Shit House Burn Down is dense and emotionally crippling. Everyone feels like a failure from time to time, and for Carl Shane, the only way out is to fight your way out, with a set of songs that are both aware of his mental sabotage while clawing towards change. The anxiety comes in both personal detachment and for the world at large as we slink ever deeper toward climate change’s oncoming destruction. It’s a record that surveys all it sees and doesn’t like the results, that sinking feeling of despair and decay. Kal Marks are pushing back against it all however, one colossal riff and one intricate rhythmic stampede at a time.

Tour Dates
9/26 Northampton, MA @ Red Cross
9/27 Rochester, NY @ The Bug Jar
9/28 Toronto @ Duffy’s
9/29 Kalamazoo, MI @ Candy Cane Lane
9/30 Chicago, IL @ Subterranean downstairs
10/1 St. Louis, MO @ Nu Craig
10/2 Fayetteville, AR @ Backspace
10/3 Denton, TX @ J&Js
10/4 Austin, TX @ Mohawk
10/5 New Orleans, LA @ Bank St Bar
10/6 Nashville, TN @ Drrkmttr*
10/8 Asheville, NC @ Static Age
10/9 Raleigh, NC @ Neptune’s
10/10 DC @ Rhizome
10/11 Philadelphia, PA @ Dumpster Out Back
10/12 NYC @ Chili’s



Kal Marks
Let The Shit House Burn Down
(Exploding In Sound Records)
Street Date: September 27, 2019

Track List:
1. Nu Legs
2. Kimmy
3. Heads Been Ringing
4. It’s So Hard To Know How To Say Goodbye
5. Science Is Science

KAL MARKS LINKS
Facebook
Twitter
Instagram
bandcamp

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Rosa Bordallo: "Citadel"
(via Clandestine Label Services / Ears To FeedTime Castle / YouTube)

Album Preorder



Via Clandestine Label Services:

What does it mean to belong? To find a home, whether in a building or within a community? Is it ever possible to find it all in one place?

Rosa Bordallo has been seeking these answers all her life. Before moving to New York for film school as a young adult, she grew up in Guam, the island natives know as Guåhan. Her family are CHamoru, the indigenous people of the Mariana Islands in Micronesia, who have been subjected to the vicious whims and brutalities of occupations by the Spanish, the Japanese, and the United States over the past five centuries. Since moving halfway across the globe, she's grappled with feeling disconnected from her birthplace while trying to build a life for herself. The recent loss of her grandmother compounded the grief spurned by the deaths of her father, grandfather, and numerous aunts and uncles in the time since she left Guåhan. These were the elders who spoke CHamoru to her. Her guilt from never mastering the indigenous tongue added to her despair. To cope, she turned to music, which gave her a way to process these feelings with grace and detachment.

Reef Walker is a result of this pursuit. It's Bordallo's first full-length solo album under her own name, following nearly a decade of work with the post-punk revival band cholo and then a trio of EP's under the solo moniker, Manett. It's a prickly, fuzzy batch of songs. Poignant lyrics shed light on buried traumas and a prevailing sense of loss and devastation. But the underlying themes are hope, transcendence, and liberation.

To develop
Reef Walker's knotty, crepuscular arrangements, Bordallo turned to multi-instrumentalist and engineer Duane Lauginiger. She first encountered Lauginiger's work in the psych-rock band BIRDS, and considers his production and lo-fi sensibility a key aspect of her album. She also credits the guitarist Donn Denniston and the musician Felipe Flores for backing her in the nascent stages of the album's songwriting.

The title for
Reef Walker is a nod to Bordallo's Pacific Islander heritage and a childhood spent surrounded by Oceania’s natural beauty, from limestone forests to tranquil lagoons and volcanic sand beaches. Bordallo remembers endless days watching her father traverse the coral reef. The boundary between the shoreline's safety and the vast ocean can be unclear; the tides and currents are perilous. In navigating her own feelings about being CHamoru or American (or neither, or both), she recalls her father and other CHamorus who explored the sea as fearlessly as they fought for their own sovereignty.

Bordallo's
Reef Walker is her confident statement of self as she enters a new chapter of clarity and creative vision. In the past year she helped found a collective of urban indigenous artists and activists who gather monthly in Lenapehoking. Through music, activism, and solidarity with other indigenous peoples, she hopes to weave CHamoru cultural values into her life as a New Yorker. The principle of harmony (known to CHamorus as inafa'maolek), as well as the sacredness of nature and the respect for ancestral wisdom, are central to her indigenous experience. By deepening her camaraderie to urban indigenous communities, she reclaims her CHamoru identity on her own terms, aloft from the spectres of colonialism, cultural genocide, and displacement. Thus perhaps, for the next generation, a sense of home might not be so hard to find.

Tracklist
01 - To Mariana
02 - Sleight of Hand
03 - Lost on the Coast
04 - Dust Bowl
05 - I Am Pupa
06 - M.O.S.S.
07 - Hoarders of New York
08 - Citadel
09 - Trust Territory
10 - See You in the Afterlife (No Longer Set Apart by Language)


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NOUS: "Here In My Chest It Is What It Is"
(via Us-Them Group / Heavy Blog Is Heavy / Our Silent Canvas / YouTube)

Album Preorder



Via Us-Them Group:


NOUS II project of all-star experimentalists shares second single
Christopher Bono w/ Greg Fox (ex-Liturgy), Thor Harris (Swans), Shahzad Ismally (Yoko Ono, Laurie Anderson), ACME strings, yMusic members


"A half-airy, half-aggressive interdisciplinary happening organized by the young and enterprising composer Christopher Bono, who brought together a wise, postcategory, electric and acoustic 12-person crew." -- New York Times

"You couldn't pigeonhole it into one genre if you tried -- it goes from eerie David Lynchian soundscapes to Eastern melodies to avant-garde jazz drum freakouts to a million other places, all while remaining strangely accessible." -- Brooklyn Vegan

"(Sometimes) it is clear from the get-go that you're handling something potent, that the music you're about to hear is going to leap out of the digital format and grab you by heart... A captivating and moving piece of music." -- Heavy Blog Is Heavy

New York experimental music project NOUS, led by producer and composer Christopher Bono, shares a new track from
NOUS II, the followup to their 2018 eponymous debut album. The group shares "Here In My Chest It Is What It Is" today from this more melodic leaning recording that its predecessor via Heavy Blog Is Heavy HERE.

PopMatters recently shared lead track "Nighten Gale" HERE.

Nous is an experimental music project with a fluctuating group of artists exploring ritual and spontaneity within music. NOUS II features the same lineup as the debut: multi-instrumentalists Christopher Bono (keyboards/electronics/percussion/vocals), Greg Fox (drums/percussion/electronics), Thor Harris (drums/percussion), Shahzad Ismaily (electronics/guitar/bass) and Grey Mcmurray (guitar), with special guests.

On this album, NOUS founder and curator Christopher Bono takes the project and the musicians on a deeper dive into the post-rock, and ambient genres. The project maintains the spirit of spontaneity, but the musical experiments are conducted within a framework of more melodic exploration alongside cellular motif and groove oriented experiments.

"Nighten Gale" is the first single release from the new album. This piano and strings driven piece was presented in the studio to the the talented group of experimental musicians as a basic lead sheet featuring a simple progression and no dynamic suggestions. The 9 musicians received this minimalist input and together recorded a sweeping new-classical sonic Ark that journeys through contrasting peaks of heavy and gentle dramatic moments.

Woodstock, NY label Our Silent Canvas is preparing to release the second of 3 albums culled from sessions the group recorded in an intensive 7-day immersion at legendary Dreamland Studios with
producer Kevin McMahon (Swans, Titus Andronicus, Real Estate).

Each recording, and performance will center around a different focal concept, always seeking alternative ways of creating art. The name Nous was chosen for its double meaning. 'Nous' in the French language is the plural personal pronoun in the first person, meaning 'we' or 'us'. However, within the philosophical tradition it is a word, sometimes equated to intellect or intelligence, used to describe the faculty of the human mind which is described in classical philosophy as necessary for understanding what is true or real, similar in meaning to intuition.

Nous band members on this recording:
~ Christopher Bono (Composer, Ghost Against Ghost) www.christopherbono.com
~ Greg Fox (Guardian Alien, Zs, Ben Frost, ex-Liturgy)
~ Shahzad Ismaily (Yoko Ono, Laurie Anderson, Bonnie Prince Billy)
~ Thor Harris (Swans, Angels of Light, Amanda Palmer, Shearwater)
~ Grey Mcmurray (itsnotyouitsme, So Percussion, Tyondai Braxton)

Special guests:
~ Clarice Jensen (Cello, ACME: American Contemporary Music Ensemble, yMusic, Ra Ra Riot
~ Caleb Burhans (Composer, itsnotyouitsme, ACME)
~ Laura Lutzke (Violin, ACME)
~ Alex Sopp (Flutes, ACME, yMusic)
~ Imago (Cello, Vocals, Múm)
~ Laraaji & Arji (Zither, Ambient Sounds)
~ Akil Davis and Loud Sol Productions

NOUS II will be available on LP and download on December 6th, 2018 via Our Silent Canvas. Pre-orders are available HERE.


Artist: NOUS
Album: NOUS II
Record Label: Our Silent Canvas
Release Date: December 6, 2019

01. Look Again at That Dot
02. Formless
03. Here In My Chest It Is What It Is
04. Yoj! Yoj!
05. Nighten Gale
06. World Map One
07. Uthando
08. Formless Too
09. Assume a Sunbeam

On the Web:

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Casanova: "Live (feat. Giggs)"
(via Republic Records / Roc Nation / YouTube)



Via Republic Records:


CASANOVA RELEASES “LIVE” FT. GIGGS VIDEO TODAY

The Roc Nation/Republic Artist Expresses Gratitude for the Everyday Struggle in the Latest Video from the Upcoming Behind These Scars

"Unlike most current New Yorker rappers, Casanova opts to body tracks akin to the days of G-Unit or Dipset, brandishing rapid-fire flows and throaty growls full of malice that are equally as menacing as his 6’4” frame."HipHopDX

"Thanks to Casanova’s strapping voice, charismatic personality, and unyielding confidence, “Don’t Run” set New York’s music scene ablaze...With an already convincing résumé, Casanova isn’t slowing down anytime soon."Billboard

"Move over fake rappers because Casanova is out to prove he's the real deal. The Brooklyn, N.Y. native (Flatbush to be exact) isn't faking the funk when it comes to his reality; he prides himself on being authentic and serving lyrics based on real life events rather than fabrication."XXL

Incisively and aggressively painting a portrait of NYC street life, Casanova shows no signs of slowing down. Coming through with a subdued and introspective new video single, the Brooklyn rapper shares "Live." Rhyming with raw emotion over a collage of mournful horns and chopped-up snares, Casanova digs deep inside the problems that can't be solved by fortune and fame: "Cops wanna frisk me, homies wanna diss me/You sendin' shots, hope you miss me, RIP Nipsey/I think my baby momma tryna turn my son against me/So I mix the D'us with the juice 'til it's empty." The track features a guest verse from UK rapper Giggs, who draws parallels between his troubled youth in London and Casanova's in NY.

Filmed in crisp black-and-white by director Mollana Burke, the video follows a young family in Peckham, a rough neighborhood in South London, as they try to make ends meet against all odds: "I don't wanna die broke/I don't wanna die rich...I'm just tryna live." "Live" is the latest video from Behind These Scars, Casanova's upcoming album.

Comprised of a breathless 10-tracks, Behind These Scars traces Casanova's path from poverty to prison to prominence, carefully examining every aspect of the rising star's life. Expanding on the turbulent East Flatbush narrative that began with 2018's Commissary, the upcoming album bursts with radio-ready bops, reflective ruminations on post-prison life, and the confrontational bangers on which Casanova made his name. Featuring appearances from Young Thug, Chris Brown, Jeremih, Gunna, Fabolous, and more, Behind These Scars drops October 11th via Roc Nation, in partnership with Republic Records.

Behind These Scars boasts two successful pre-release singles: "Coming Home" and "So Brooklyn." Featuring an appearance from Chris Brown, "Coming Home" is a radio-ready, romantic jam with a butter-smooth hook, earning over 1 million Spotify streams in its first two weeks of release. The Fabolous-featuring "So Brooklyn" inspired over 35,000 submissions to the #SoBrooklynChallenge in which thousands of fans, and several famous faces posted their best bars about what their hometown means to them atop the "So Brooklyn" instrumental. Over the past few weeks, the #SoBrooklyn challenge received entries from the likes of Brooklyn natives like Young M.A., Papoose, Memphis Bleek, Maino, Rob Markman, and game out-of-towners like DMX, G Herbo, Wyclef Jean, Trae Tha Truth, Freeway, Cassidy, Bandhunta Izzy, Houston Rockets guard Iman Shumpert, and Los Angeles Chargers defensive end Melvin Ingram


Pre-order Behind These Scars: https://smarturl.it/BehindTheseScarsCASS

Behind These Scars tracklist:
1. Jail Call
2. Knock Knock
3. So Brooklyn (feat. Fabolous)
4. So Drippy (feat. Gunna & Young Thug)
5. Woah (feat. Jeremih)
6. Coming Home (feat. Chris Brown)
7. In My Hood
8. Stay With It
9. Could’ve Been Something (feat. KayCyy Pluto)
10. Live (feat. Giggs)

Casanova 2X elbowed his way into rap’s competitive coliseum. Armed with the infectious warning shot “Don’t Run,” the Brooklyn rhyme rookie simultaneously made a name for himself and scored early success at radio and streaming platforms. His robust energy and primal charisma consumed the entire New York City tri-state area, convincing hip-hop heads to adopt his signature salute, “Boom Boom Boom!” Certified by the years he spent incarcerated, Casanova's debut EP Commissary—featuring guest appearances from Chris Brown, Fabolous, A Boogie wit da Hoodie, and G-Eazy—established him as one of hip-hop’s hottest rising stars. Off parole and ready to see the world, Casanova let his artistry fly first class with the recent release of his aptly titled Free At Last EP, released in 2019.


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Anne Müller: "Nummer 2"
(via Julian T. Schoen / Erased Tapes / Bandcamp)

Album Preorderhttps://annemuller.bandcamp.com/album/heliopause


COLLABORATIVE CELLIST ANNE MÜLLER STEPS OUT ON OWN FOR SOLO LP ON ERASED TAPES

Anne Müller is a cellist and composer based in Berlin. While you may not know the name, you more likely have heard her on various releases in the Erased Tapes universe, such as Nils Frahm's All Melody, Victoria, and the collaborative 7fingers; as well as Ólafur Arnalds & Frahm's Collaborative Works, and Lubomyr Melnyk's Fallen Trees. Indeed, Müller has over 60 credits since 2007.

On November 22, Müller will release her long awaited debut album, Heliopause, on Erased Tapes.

A solo record in every sense of the word, Müller wrote, recorded, arranged and produced Heliopause. The album is named after the boundary where the sun's wind ceases to have influence. It is ultimately, the border of our solar system. The name struck a chord with Müller since the two voyagers sent on an exploratory mission 42 years ago, recently crossed the Heliopause, entering into interstellar space and losing power from our own sun. Müller recognized herself in this moment, not only approaching the same age, but also breaking new ground; having relied on collaborating with so many other stars and now venturing into the unknown with her first solo statement; "Heliopause marks the end of a long journey but also the start of voyages to explore strange new worlds".

Boldly opening the album with "Being Anne", it sees Müller embrace her new found freedom with the most experimental piece on the record, placing the cello in a completely new context. Playing the strings of a broken down piano with a plectrum and scratching parts of the key mechanism to produce a rhythm, the once lost instrument is given a new lease of life among looped cello drones and drums. 

"I used the sounds of a tiny piano I got from my mother that she bought when she was a student and didn't have any money. Later it stood for years in our little summer garden house, where I practiced on it constantly for my piano lessons. Even though it's old and not in the best shape, I love the way it sounds and call it my little circus piano".

The atmospheric swells of noise on "Being Anne" are juxtaposed beautifully with the most stripped back and exposed song, "Solo? Repeat!". The J.S. Bach and Gaspar Cassadó influenced piece sees Müller go solo in its purest form: unaccompanied cello. Lead single "Nummer 2" is so titled as it's the second piece Anne ever wrote. A mixture of old sounds and newer structures, its repeated arpeggio conjures drama and displays Müller's dexterous production abilities. "Drifting Circles" meanwhile provides the album's climax, amid an orchestra of looped cellos and vocals. Referencing the minimalism of contemporary composers such as Steve Reich and Philip Glass, it builds to a crescendo of harmonics, allowing the cello to sore as it crosses the border from minor to major.


Anna Müller - Heliopause LP
(Erased Tapes, out November 22)

Track Listing
1. Being Anne
2. Solo? Repeat!
3. Nummer 2
4. Aarhus / Reminiscences
5. Drifting Circles
6. Heliopause

Anne Müller

Erased Tapes

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Red Spells Red: "Secret Sounds"
(via Verses Records / YouTube)



Via Verses Records:

Born in 2010 when two old friends decided to ditch rock bands in favor of improvised ambient soundscapes, Red Spells Red has been experimenting with and pushing the boundaries of their take on moody, experimental music.

Their latest release, “Secret Sounds”, finds them exploring a dark, psychedelic world of decidedly lo-fi textures. Departing from the smoother sounds of their 2015 release, “Listener”, “Secret Sounds” is full of messy guitars, mangled loops, analogue synths and vintage effect units all recorded to tape.

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FITTED: "The Legend of Lydmar Lucia"
(via Stereo Sanctity / ORG Music / Soundcloud)

Album Preorder



Via Stereo Sanctity:


Debut album ‘First Fits’ out November 8th on ORG Music

FITTED is a new project from Wire members Graham Lewis and Matthew Simms, with Mike Watt (Minutemen, Stooges, fIREHOSE) and drummer Bob Lee (Fearless Leader, The Freeks). They release their debut LP, First Fits on November 8th via ORG Music and today they’ve shared a new track "The Legend of Lydmar Lucia".

FITTED first convened after just one practice to perform at Wire’s DRILL festival in 2017 at The Echo in Los Angeles. On their debut album,
First Fits, the free-wheelin' psych powerhouse ploughs through six numbers over the course of 38 minutes, with Lewis and Watt trading lead vocal duties.

The Legend of Lydmar Lucia” is the second single from the record, following the brawling “Training Pitbulls for the Navy”. On this latest cut, Lewis takes the lead for a brooding, poetic recital.

“The vocal was recorded in one shot at Sean Douglas’ studio in Seven Sisters” he explains. “Funnily enough I wrote this ‘report' about 25 years previous, the day after an extraordinary 24 hour art event at the Lydmar Hotel in Stockholm to celebrate the Festival of Santa Lucia. There were 40 International artists, representing the disciplines of literature, sculpture, performance, a wide range of music and photography. It was a non-stop unprogrammed ticketless delight, including sumo snow wrestling, the dance of the Seven Veils with a vacuum cleaner, a glitch strewn Gilbert stitch up of Victor Sylvester, Mika Vanio beamed as a loon as he dropped a DUB set, Chris Watson conjured hyena’s devouring zebra in the restaurant… you get the idea? An artist who was unable to attend was Jim O’Rourke, hence the name check “Is Jim coming? No….”

“Before FITTED’s only practice I’d suggested Dome’s “Jasz” as a jump off point to Mike and Bob, they cooked a groove, I voiced it, Matthew built a world and I threw in some punctuation and galactic time shift. It’s a fave of mine, it flew together.”

Guitarist Matthew Simms adds: “Lydmar is one of my favourites from the record, the mood, the textures in the mix and the effortless way it came together all playing some combined influence. This was started in our as yet only practice and performed at our as yet only gig the next day but underwent severe transformation when Graham added his words, recorded in one / first take (we tried for another, wasn’t as good, of course!)”




First Fits track list:
1. Plug The Jug
2. Training Pit Bulls For The Navy
3. The Legend of Lydmar Lucia
4. Magically Blessed
5. The Chunk That Got Chewed
6. The First Fit

Links:
Press shots
ORGmusic.com

Sincerely,
Letters From A Tapehead

Tuesday, September 24, 2019

The Day In Headphones: Warish

Warish
Down In Flames
RidingEasy Records
Released: 9/13/19

My most direct and least verbose comment about this new Warish record is this: my head has not stopped nodding since I hit PLAYDown In Flames, the band's latest release for RidingEasy Records, released Friday, September 13th. The cover art is like an homage to Sabbath's Never Say Die!, perhaps inspired by the pilot motif. The music, however, owes more to the substantively caustic output that made Touch & Go and Amphetamine Reptile the fine subsidiaries of quality annihilative sounds that they were/are, the trio no doubt influenced by the muck-riddled sounds of the late 80s/early 90s underground that those labels curated.

Oh, and the vocalist/guitarist is Tony Hawk's fucking kid

All info comes courtesy of Us-Them Group/Riding Easy Records.



Warish streaming forthcoming full length debut ahead of release
SoCal "evil-ish" sludge-punk meets early Nirvana, Scratch Acid


Southern California trio Warish are streaming their forthcoming full length debut Down In Flames in its entirety today ahead of release via Metal Injection.

Loudwire recently premiered the lead single "Healter Skelter" HERE, Rolling Stone previously hailed Warish as a
Song You Need To Know feature HERE.

Warish hit the road this month in support of the album with San Francisco stoner rock progenitors Acid King, who reissued their legendary Busse Woods album on RidingEasy on August 30th. Please see all dates below.

Imagine if early, weird Aberdeen Nirvana were crossed with low budget horror-obsessed garage-punks. You'd have sinister vibes with a visceral, twisted weirdness and bludgeoning riffs. Some might call it nightmarish, we call it Warish.

Warish is a very newly minted SoCal trio formed in early 2018 that has wasted no time making its presence known. The band formed when guitarist/vocalist and pro-skater Riley Hawk (son of skating legend Tony Hawk) and drummer Nick (Broose) McDonnell decided they wanted to try their hand at something more distinct than they'd done previously.

"We wanted to do simpler riffs and a fun live show," Riley explains. "A little more punk, a little bit of grunge... a little evil-ish."

Their sound takes cues from a variety of cool underground sounds and twists it all into an energetic and exciting fist to the face of dark fury. Hawk's effect-laden vocals hearken to 90s industrial monsters Ministry and David Yow's tortured caterwaul in Scratch Acid. The guitars are heavy and powerful, though decidedly not straightforward cookie cutter punk; more like Cobain's and Buzz Osbourne's wiry contortions. The rhythms bash and pummel right through it all with aggressive force ensuring that nothing gets overly complicated and the horrors keep coming throughout the band's uh, warlike assault.

Down In Flames will be available on LP, CD and download on September 13th, 2019 via RidingEasy Records. Pre-orders are available HERE.

WARISH LIVE 2019:
09/20 Portland, OR @ Star Theater - Hesh Fest *
09/21 Seattle, WA @ Highline *
09/23 Denver, CO @ Marquis Theater *
09/24 Omaha, NE @ Slowdown *
09/25 Chicago, IL @ Reggies *
09/26 Indianapolis, IN @ Black Circle *

09/27 Cleveland, OH @ Grog Shop *
09/28 Buffalo, NY @ Mohawk Place *
09/29 Boston, MA @ Sonia *
09/30 New York, NY @ Knitting Factory *
10/01 Philadelphia, PA @ Johnny Brenda's *
10/02 Richmond, VA @ Richmond Music Hall *
10/03 Raleigh, NC @ Kings *
10/04 Asheville, NC @ Mothlight *
10/05 Atlanta, GA @ The 529 *
10/06 New Orleans, LA @ One Eye Jack's *
10/07 Dallas, TX @ Gas Monkey *
10/09 Albuquerque, NM @ Sister *
10/10 Mesa, AZ @ Club Red *
10/11 Los Angeles, CA @ Satellite *
10/12 San Francisco, CA @ Chapel *
11/09 Austin, TX @ Levitation Fest

* w/ Acid King

On The Web:
instagram.com/warish.usa
facebook.com/Warishband
ridingeasyrecs.com

Sincerely,
Letters From A Tapehead

Wednesday, August 07, 2019

Uniform & The Body: "Not Good Enough"

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

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

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

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



UNIFORM AND THE BODY REVEAL THE NEXT SINGLE "NOT GOOD ENOUGH" FROM THEIR INCOMING AND SECOND COLLABORATIVE RECORD EVERYTHING THAT DIES SOMEDAY COMES BACK

INCOMING AUGUST 16 VIA SACRED BONES


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

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

LISTEN TO THE NEW SINGLE "NOT GOOD ENOUGH"

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

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

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

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

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

REVISIT THE SINGLE "PENANCE"

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

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


Sincerely,
Letters From A Tapehead

Monday, August 05, 2019

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

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

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



Via Speakeasy PR:

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

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

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

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

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

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

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

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

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

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

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

MONOLORD Is:

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

OFFICIAL LINKS:
https://www.instagram.com/monolordofficial/
https://www.facebook.com/monolordsweden/
https://twitter.com/MonolordSweden

__________________________________________________________


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



Via Rarely Unable:

SMITHSONIAN FOLKWAYS ANNOUNCE THE RELEASE OF SONGS FROM THE BARDO

A COLLABORATIVE LONG- FORM COMPOSITION BY MULTIMEDIA ARTIST LAURIE ANDERSON, TIBETAN SINGER TENZIN CHOEGYAL AND ACTIVIST AND COMPOSER JESSE PARIS SMITH

Pre-order and other streaming platforms

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

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

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

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

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

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

__________________________________________________________

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

Via Rarely Unable:

FLY PAN AM ANNOUNCES NEW ALBUM C'EST ÇA INCOMING SEPT 20TH
AND SHARES FIRST NEW MUSIC IN 15 YEARS WITH LEAD TRACK "DISTANCE DEALER"

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

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

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

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

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

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

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

__________________________________________________________

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



Via Stereo Sanctity:

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

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

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

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

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

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

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

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

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

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

Links:

__________________________________________________________

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


Equivalent 6 from loscil on Vimeo.

Via Rarely Unable:

LOSCIL SHARES A VIDEO FOR "EQUIVALENT 6" TAKEN FROM THE NEW ALBUM
INCOMING VIA KRANKY, 16 AUGUST, PRE ORDERS AVAILABLE

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

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

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

__________________________________________________________

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



Via Stereo Sanctity:

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

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

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

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

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

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

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

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

http://suicidesqueeze.net/


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



Via Stereo Sanctity:

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

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

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

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

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

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

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

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

Corridor will release their Sub Pop debut later this year.

Sincerely,
Letters From A Tapehead

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