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Italian post-punk band Leatherette have just released ‘Fiesta’, the title track from their debut album out on 14th October via Bronson Recordings.

One of the darkest, smokiest tunes of the record, ‘Fiesta’ is a minimalist, abstract love tune about absence and distance. The band explain: "We wrote the theme thinking of jazz standards, while the title and the atmosphere were inspired by Hemingway’s homonymous book. And there’s brushes and 7th chords and a sax solo in the end".

Listen to ‘Fiesta’ here:

The latest single from the album, Fiesta follows previously released tracks ‘So Long’, an extravagant and catchy slice of modern post-punk, full of rugged noise and crushing melodies and ‘Sunbathing’, an irresistible punk-shoegaze anthem.

Leatherette are, by their own description, “five shy guys who sometimes get off the stage and punch people,” a quintet whose car-crash of jagged noise, twisted love and dark, anguished melody has delivered a remarkable – and eminently combustible – debut album. 

The group are based in Bologna, but all hail from different towns in Italy. These five young men – singer/guitarist Michele, bassist Marco, drummer Francesco, guitarist Andrea and saxophonist Jacopo – are united by a profound need to make music, to express themselves naturally and honestly.

The group bonded over wildly differing influences – everything from midwestern emo gods American Football, to Berlin-era Bowie, to James Chance & The Contortions, to rap and electronic music – to create a dense, passionate, articulate sound of their own.

You can file them near fiery post-punk kindreds like Shame and Squid, or unhinged 90s noisers like Unwound or Hoover, or squalling No Wavers like James Chance, but the truth is there are few bands like Leatherette that walk this Earth.

Their first full-length, Fiesta follows an EP, Mixed Waste, recorded during lockdown. The songs on Fiesta precede the Covid era, though the group spent the pandemic rewriting and overhauling their maiden batch of songs at leisure. 

The result is an astonishing and remarkable debut: poetic, caterwauling, broken and beautiful. The album title is “a reference to the bullfights in Pamplona,” the group say. It’s no empty metaphor. “Bullfight is a strange ritual,” they elaborate. “And we’re against bullfights, but they’re fascinating in an iconographic way. And also metaphorically, violence flows on both sides, but in a feastful way. It’s similar to a concert, really – you’re expressing violent things, in a physical way. And people react to that, which is wonderful, which is fantastic.”

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Seattle’s Calm Collapse Release ‘Sounds God’ the next single off the forthcoming album Mirrored Nature –out November 25

Featuring a roster of indie rock nobility – Doug Lorig (Roadside Monument), Rob Smith (Traindodge, Museum of Light), Jon Pease (Medicine Bows), the album was recorded With Matt Bayles (Botch, Mastodon, Minus The Bear).

Watch the video here:

After meeting at a show in Seattle, Lorig and Smith began to build the framework for what would ultimately become the band’s debut record, Mirrored Nature. "From the early days we documented and cataloged almost every riff, song idea, arrangement, tweak, etc., iterating through so many changes to create a finalized version of these songs," says Pease, who solidified the band’s lineup shortly after its inception. "Everything that is heard on this record is extremely intentional. Not to say that we didn’t experiment or have happy accidents in the recording process. But we combed through and dissected all of our parts to craft something with intention." The sonic result is driving, angsty, and propulsive, but still open and spacious. The grind of Melvins, the melodic discernment of Chavez, and the ethereal tendencies of Grails and Black Mountain.

With so much experience and groundwork laid with previous projects, a guiding force for Calm Collapse was continuing to chart familiar waters, but in a new and fresh direction. "For me, the last couple of bands that I’ve been in have generally been more heavy than other previous projects I’ve done. But with this project, I didn’t want it to be one-dimensional," says Lorig. "It’s generally the kind of music that I’ve been writing for years. Songwriting has always been a tedious process for me. I generally write in bunches but with long lapses in between, so some of these songs or parts have been kicking around for several years — I just needed the right couple of guys to be able to finally flesh these ideas out." Smith adds, "[Doug’s] ideas are by and large more rhythmically and harmonically complex than my other bands, so sometimes he needs to just play them for a while before I can find a way in. It can be weeks of messing with an idea before it takes the shape of a song." The result of this project is a propulsive and heavy listening experience, punctuated by memorable melodies and cinematic and ambient arrangements. "Even though a lot of our album is on the heavier side, we did not want to trap ourselves in," says Lorig. "The album goes in several directions — we did not want to follow the common things that heavy bands seem to do. We all had a common goal to write songs that had movement and took us places."

In order to bring Mirrored Nature to life, the band brought in acclaimed producer Matt Bayles (Mastodon, Foxing, Isis) to help execute the vision. "We knew for our music to come across convincingly that the record had to be produced at a higher level. This is why we went with Matt Bayles. I have worked with Matt on a previous couple other projects over the years, so I knew what we were going to be getting. I can say that it definitely was not the easiest thing I’ve ever done — quite the contrast, it was probably the hardest record that I’ve done, but the end product is everything that I had hoped it would be. It sounds huge and expansive," says Lorig. "Matt definitely challenged us to a high standard during the production phase, but it paid off in a huge way," says Pease. "I think because we were so invested and prepared to craft this record, Matt stepped up to meet us there. He really put in a lot of care and detail in the recording, mixing, and production phases that makes this record sound as great as it does."

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The latest single by Swedish post-punk/darkwave act A Projection sees the Stockholm-based quartet maintain their recent move towards a more electronic sound with a new single entitled ‘Anywhere’ that has a distinct mid-80s electro-pop vibe. Out on 30th September, a video for the song has been made available a day ahead of its release.

The group’s upcoming fourth album, In A Different Light, has already had the songs ‘Darwin’s Eden’, ‘No Control’, ‘Careless’ and now ‘Anywhere’ lifted from it as singles. Encompassing both ‘80s post-punk and electronic elements, it will be their second full-length record released on Metropolis Records and follows 2019’s ‘Section’. Further details will follow shortly.

Initially inspired by the dark post-punk/proto-goth of The Cure, Sisters Of Mercy and Joy Division along with the electronica of Depeche Mode, the band are also known for their compelling and dynamic live shows.

The video for ‘Anywhere’ has been made by Ukrainian filmmaker and artist Shorkina Valeri, who also shot the recent promo clip for ‘Careless’.

Watch the video for ‘Anywhere’ here:

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Dead Cross unveil a third and final single, and video, from the band’s eagerly-awaited album, II (28th Oct, Ipecac Recordings) with today’s release of ‘Christian Missile Crisis’.

Justin Pearson explains the themes behind the song: ‘Christian Missile Crisis’ takes an obvious jab at organized religion, NRA-holes who clearly compensate for their lack of masculinity by fixating on gun ownership and gun ‘rights,’ and the fact that a large enough amount of Americans have the inability to negotiate peace and prefer oppressing others.”

Watch the video here:

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Accompanying the release of “Christian Missile Crisis,” is the launch of an online auction, in partnership with Fender, to benefit the American Foundation for Suicide Prevention (San Diego chapter) and The Satanic Temple’s Religious Reproductive Rights Campaign. The fundraiser, features two custom Fender Player Lead III guitars, one black, and one beige. Both guitars have been modified by The Black Moon Design with clear vehicle wrap grade vinyl decals featuring art from the band’s album. The band said, collectively: “In light of the recent loss of our ex-bandmate, comrade, brother, and all around amazing person Gabe Serbian, Ipecac Recordings and Three One G will donate all proceeds from the beige guitar to help suicide prevention awareness. All proceeds from the black guitar will go to help fight laws that do not promote the health and safety of individuals in relation to bodily autonomy.”

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Photo Credit: Becky DiGiglio

Swedish crust/death-metal unit Industrial Puke featuring members of Burst and Rentokiller have recently shared a music video for a new track off their debut EP  Where Life Crisis Starts, released on September 16th via Suicide Records. 
The video for "Industrial Puke" was filmed by Mathias Coulouri and features Dödsvarg as guest vocalist, check it out here:

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Linus Jägerskog from Burst and Jens Ekelin from Rentokiller started Industrial Puke out of their common love for Disrupt and Dismember, along with a pressing need to make music for imminent affect release.

After a long period of writing, finding band members and recording, the debut single ‘Mental Taxation’ was released in June of 2022. The single spawned a partnership with Suicide Records for the release of their debut EP Where Life Crisis Starts in September and a full-length album titled Born into the Twisting Rope is already set for release in late spring of 2023.

The EP is a direct bombardment of crust, death metal and hardcore minced down to four relentless songs about failing yourself and the men that fail the world.

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The Stockholm based quartet The Hanged Man was formed back in 2013 as the solo project of Rebecka Rolfart (Those Dancing Days, Vulkano, Second Oracle etc). She’s since been joined by Dennis Egberth (Saigon etc) on drums, Elias Jungqvist (side effects, Viagra Boys etc) on keys and Mattias Gustavsson (Dungen, AOP) on bass, with Rolfart handling vocals and guitar.

Now they’re back with their third full-length album Tear It All due out on November 4 via PNKSLM Recordings, after two full-lengths and a couple of EPs with Dubious Records and Kning Disk. The new album Tear It All was recorded in Studio Rymden in Stockholm and co-produced with Daniel Bengtsson (First Aid Kit, Viagra Boys, Sudakistan etc), and the band describes it as revolving around “transformation, about tearing everything down in order to be resurrected. It is about hoping to be freed, to change, while also being about sorrow”.

On Tear It All, The Hanged Man are joined by Oskar Carls (Viagra Boys, Saigon etc) on saxophone and flute, and the album was mixed by Daniel Ögren.

Tear It All is due out on November 4 via PNKSLM Recordings on vinyl, cd and digitally.

Listen to ‘Boundless and Infinite’ as a taster now:

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Live
Nov 4 – Stockholm, Sweden – Hus 7 (w/ Holy Now, Holm, Trader)
Nov 23 – Leipzig, Germany – Noch Besser Leben
Nov 25 – Viechtach, Germany – Altes Spital
Nov 26 – Schorndorf, Germany – Manufaktur
Nov 27 – Offenbach, Germany – Hafen 2
Nov 28 – Bamberg, Germany – Live Club
Nov 29 – Hamburg, Germany – Astra Stube
Nov 30 – Copenhagen, Denmark – Råhuset

"White Noise is about sensory overload and the overwhelming feeling of claustrophobia that neurodivergent humans experience on a near daily basis,” explains lead vocalist Harvey Freeman. “It’s a horrible feeling of helplessness and anxiety that nothing can really help other than a quiet space and something to take your mind off of the situation.

We wanted to create something visually that could portray how that experience feels. The room used with the exposed hole in the wall was the perfect fit paired with the mirrors in particular scenes. We wanted it to almost look like you were inside the mind of someone going through that feeling."

Mixing moments of snarling nu-metal aggro and the scalding fury of Slipknot’s debut album with instrumental passages that at times recall the genius of Nine Inch Nails’ Trent Reznor, is where they have nailed the Graphic Nature sound.

Check the video here:

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Manchester-based art-rock five-piece Sylvette have shared a spine-tingling cover of Nine Inch Nails classic, ‘Right Where It Belongs’, which appeared on 2005’s With Teeth.

The new track arrives as the band confirm a release date for their third album: ‘Single Thread’ – which will arrive on 25th November 2022.

A sprawling rendition that sees Sylvette pay homage to the Nine Inch Nails original just as easily as they do douse the track with their own allure, the band initially released an early version of “Right Where It Belongs” on YouTube back in 2020. Having amassed almost 20,000 views since, the cover gained traction with Nine Inch Nails fans who flooded the video’s comment section “proclaiming they connected to it just as much if not more than the original.”

Quietly contemplative cover that’s laced with a heart-rending sense of feeling, vocalist Charlie Sinclair explains how it finds its place on their upcoming album:

“”Right Where It Belongs” is the first cover we’ve ever played together that really felt like we made it our own. The song is about questioning your reality and how going through change and trauma can distort the way you perceive yourself. It really felt appropriate for the theme of our upcoming album ‘Single Thread’, so we made it the closing track on the record.”

Staking their place as one of the most prolific and intriguing bands on the Manchester underground scene, ‘Single Thread’ will emerge on 18 November and promises to show a completely new side to the group.

Born out of Charlie’s personal struggles whilst caring for his disabled and terminally ill father, and the subsequent loss he experienced during lockdown, the album sees Sylvette shed their fantastical and dramatic sound to make way for a deeply personal, more honest and intimate kind of songwriting.

Capturing the sound of a band becoming more emotionally in-sync than ever before, the album was recorded in guitarist Jack March’s rented shipping container-turned-studio. Working on the project only between the hours of midnight and 3am, to avoid noise spill disturbing neighbours in the unit, ‘Single Thread’ is the band’s first completely self-made record, with Jack on mixing and producing duties.

With shades of John Martyn or Nick Drake appearing in some of the album’s instrumental moments, Charlie’s haunting falsetto will evoke the spectre of Jeff Buckley. Tracks like “Borrowed Time” and “Marble Stone” have a bitter-sweetness comparable to the likes of Cocteau Twins, whereas tracks like ‘Safety in Solitude’ are gently reminiscent of the darker, stripped-down side of Nine Inch Nails.

Listen to their version of ‘Right Where It Belongs’ here:

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SYLVETTE LIVE DATES 2022

27 September – Manchester, Carlton Club

24 November – Manchester – Album Listening Event, Details TBC

15 December – London, Off The Cuff

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Alternative music legend Chris Connelly has announced he will be releasing a long-player paying tribute to the iconic Nico. Originally planned as 10 tracks featuring Connelly’s versions of her songs, once recorded, he decided to write a parallel album of his own compositions, spanning the life of one of the most unique, tragic and misunderstood female artists in the history of music. The result is the 24-track Eulogy to Christa: A Tribute to the Music & Mystique of Nico, to be released in late autumn.

Ahead of this, the Chicago-based Scottish counter-culture artist presents the album’s first single ‘Eulogy to Lenny Bruce’, heralded by some as Connelly’s finest vocal performance. Appearing on Nico’s 1967 album Chelsea Girl, this song was penned by the tragic Tim Hardin about the equally tragic Lenny Bruce with the lyrics slightly altered, Nico describing her sorrow and anger at Bruce’s death.

Listen to ‘Eulogy to Lenny Bruce’ here:

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Connelly once again worked with producer and long-time Connelly collaborator Chris Bruce, a band member of Meshell Ndegeocello, who has also worked with Seal, Aaron Neville, Bob Dylan, The Waterboys, My Brightest Diamond, Cheryl Crow and Sam Phillips.

Eulogy to Christa sees Connelly purposefully adopting the personas of Nico, Lou Reed and John Cale – even Andy Warhol makes a cameo!

Connelly speaks of these early influences: “I was not a stranger to her music, I had been playing The Velvet Underground & Nico to death for about a year, but knew nothing of her solo work until Cosey Fanni Tutti played me ‘Desertshore’ whilst I was visiting her in London in the summer of 1980… Nico’s output was spartan, at that age, I didn’t know why, but I was drawn in deep to the myth, as well as the myth of Lou Reed, The Velvet Underground and the concentric rings of influence in their wake, like so many musicians.”

The album was inspired by the brilliant book You Are Beautiful and You Are Alone by author Jennifer Otter Bickerdicke, who contributed to the liner notes for the album. She writes, “This is a record to be played at full blast, all the way through, as a commemoration not just to Nico the person, the musician, but to art for art’s sake, for making something because it is important and needs to be done – an idea that is as rare and precious as Nico herself.”

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