Archive for the ‘Recommended Streams and Videos’ Category

Constellation Records share the eighth entry in their Corona Borealis Longplay Singles Series. "Je Vois / Non-Dit" by Montreal based avant-electronic artist Joni Void and featuring vocals by poet/singer and frequent collaborator N NAO, with an experimental film by Sonya Stefan.

"Je Vois / Non-Dit" combines live recordings by the duo into a single track longform where N NAO’s vocals are given unearthly yet organic treatments through Void’s warped manipulations, sampling, atmospheric textures and deconstructed beats – joined by Eddie Wagner on flute about halfway through the track’s 21-minute running time.

Listen to ‘Je Vois / Non-Dit’ here:

…and stream the video here.

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Photo by Thomas Boucher & Sonya Stefan, 2018

Gas Lit is the new album by the multidimensional duo Divide and Dissolve, incoming on Invada Records on 29th January, and produced by Ruban Neilson of Unknown Mortal Orchestra. The album is preceded today by the second single and powerful video “Denial” which encapsulates their message behind the music: to undermine and destroy the white supremacist colonial framework and to fight for Indigenous Sovereignty, Black and Indigenous Liberation, Water, Earth, and Indigenous land given back.

Divide and Dissolve’s mighty new single “Denial” is a potent blend of ominous and unsettling sax that blows wide open into colossal riffs for almost eight glorious minutes. The accompanying video was shot in Taupo, Aotearoa by notable indigenous music video director Amber Beaton at the end of the southern hemisphere’s winter.

The vibrant, unfolding colours and delicate personality of the flowers at the beginning of the film have the potential to be in contrast with the intro of the song, but it’s actually escorted by it perfectly. It’s further varied with the colossal boom signalling the arrival of the guitars and drums while visually we start to explore the thermal grumblings of the Taupo volcanic zone. We follow the Huka falls/Waikato awa (Waikato river) up stream to settle into Taupo-Nui-A-Tia moana (Lake Taupo) as the return of the sax lulls us gently after being nourished so generously by Divide and Dissolve’s signature gargantuan tone. Thanks are given to the local Iwi\tribe Ngāti Tūwharetoa, the rightful guardians of the whenua/land and to Rūaumoko the god of volcanoes, earthquakes and the seasons.

Watch ‘Denial’ here:

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Divide and Dissolve image by Billy Eyers

Mr. Bungle, who recently released their first album in over two decades, The Raging Wrath of the Easter Bunny Demo (Ipecac Recordings), have partnered with acclaimed Director Derek Cianfrance (“The Place Beyond The Pines,” “Blue Valentine”) for the band’s “Sudden Death” video.

"If you lived in Lakewood, Colorado, during the early 1990s, there’s a slim chance you would have seen and heard a 16 -year-old boy driving slowly around town in a white, 1974 Mustang II, with his windows rolled down, disrupting the neighborhood by blaring the music of Mr. Bungle. That 16-year-old kid was me, and that music that I listened to, over and over and over again, set the bar for my life as an artist,” explained Cianfrance. “So, 30 years later, when I got a call from Mike Patton asking me to direct a music video for one of the songs on their new album, The Raging Wrath of the Easter Bunny Demo, I questioned whether my life was really a dream… I informed Mike that I had never directed a music video before, but he wasn’t dissuaded. I listened to the album and asked if I could work with the song “Sudden Death.” It reminded me of the feelings of angst I carried throughout my youth while growing up in the shadow of a looming, forbidding thermonuclear war. I decided I could make a short film (well, not so short – the song is almost 8 min!) about these fears that haunted me. I was also interested in meditating on the theme of desensitization in modern society, where citizens are gradually and systemically numbed to the possibility of cataclysmic consequences. Since the song was written in the mid-‘80s, I determined that the video should feel like it was made during that time and imagined it as some sort of rediscovered relic. Shooting during a global pandemic proved a fitting backdrop to the malaise of the song. It also presented a unique challenge as I was too nervous to work with actors – so I had to come up with another solution. making this video with a small team of trusted collaborators, and working with my life-long heroes, was nothing short of a total dream come true."

Watch the video here:

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Constellation Recordings – 12th November 2012

JOYFULTALK’s new a/v single ‘New Biology’ is the seventh entry in Constellation’s Corona Borealis Longplay Singles Series. ‘New Biology’ follows the acclaimed full album, A Separation Of Being released this past March, and includes an experimental film by JOYFULTALK’s Jay Crocker.  ‘New Biology’ is exclusive to Bandcamp and PWYC for the first week of release. JOYFULTALK’s Constellation digital discography is also on sale during this time. Proceeds from all these sales go 100% to the artist, as part of Constellation’s pandemic initiative for immediate artist support.

‘New Biology’ is an extended improvised piece with a focus on the exploration of “free” electronics.  For the past decade my practice has been working towards the construction of a portable electronic music system completely based on the principles of immediacy. I have tried to design a system where I can explore improvisations without ever being “cornered” by the system itself. A system that can be played and manipulated as easily as a guitar, saxophone, drums etc. I wanted to be able to play in time or with the absence of time to perform manipulations of stored sounds or constant recycling and reimagining of new sounds with no dead ends and only the limitation of creativity as an obstacle.

The visual aspect of the piece works along the same lines of improvisation. It is a meditation in  smudging, painting, glitching and pulsing analogue and digital strains into endless video streams of trans-configured consciousness. NEW BIOLOGY follows a loose narrative of moving from this physical manifestation of being to another. Bypassing linear time to be recast as something new.

Check ‘New Biology’ here:

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Corrupt Moral Altar who feature Napalm Death live guitarist John Cooke have shared the video for the nicely titled track Maximum Bastardry’ which you can watch now.

After years of being associated with that one band from the 60s you might have heard of, Liverpool has done its level best in the past decade to be a hotbed for filthy, nasty riffs, rapid, crushing blast-beats and fuck-you vocals; and Corrupt Moral Altar are one of the leading names in that movement, merging the abrasive sensibilities of  the heavy spectrum into a head-pounding cacophony of pure aural hurt.  

Gliding effortlessly between the jarring aggression of the heaviest of grind and sludge to those infectiously punky hooks, their two full lengths, 2014’s ‘Mechanical Tides’ on Season of Mist and 2017’s self-released ‘Eunoia’, barb their way into your brain stem and don’t leave your head no matter how hard you pull. You’ll be lucky if your neck stays in one piece when Corrupt Moral Altar are assaulting your eardrums.   

With new EP ‘Patiently Waiting For Wonderful Things’ set for release on 27th November (APF Records), the remaining months of 2020 are going to get a bit more brutal round these parts as Corrupt Moral Altar look to cave your skull in.

Vocalist Chris Reese comments on the video for new single ‘Maximum Bastardry’,

"Here it is, the contingency plan to what was originally going to be a 4k, 3D, multihundred pound production with more explosions and celebrity cameos than you could be bothered to say "hey, that wasn’t Kenneth Choi" at.

Instead you get this grotty DIY effort as Liverpool was recently banned from having any fun. It’s more fitting really, as this track is about the unsustainable lifestyle of someone getting wrecked every night. There can be a romanticism about drinking and drug culture, but this track explores the fact they know they are a terrible bastard, that people get them fucked up to gain amusement from the resulting behaviour and they are aware that ultimately, they’re fucking up their own life.

Live in the moment, seize the day… I say Maximum Bastardry.”

Watch the video now:

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FORTÍÐ have unleashed a video for a hard hitting track with the prophetic title ‘Pandemic’, which is taken as the second single from the Icelandic pagan metal duo’s forthcoming sixth full-length, World Serpent, which has been slated for release on December 11th.

Einar Eldur Thorberg comments: "The lyrics of ‘Pandemic’ were sparked by the news of a virus outbreak in China last winter", writes the Icelander. "In those early days of the epidemic, I did not foresee that this would develop into a global crisis. Therefore ‘Pandemic’ was never meant as a commentary on the current situation. It just hits the mark somewhat accidentally. My lyrics rather revolve around diseases, plagues, and viruses as a universal threat. Tiny microbes, bacteria, and other germs that are invisible to the eye can bring down the biggest and strongest among us humans. This song serves as a reminder that no matter how much we alter this planet to suit our lifestyle, nature can always strike back without mercy and much harder than we care to consider. The supposed anthropocene might just be brutally ended by an age of microbes."

Watch the video for ‘Pandemic’ here:

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Jason Sharp has been a fixture of Montréal’s experimental/improv scene for many years, chiefly as a saxophonist exploring eletcro-acoustic and durational music, and in a wide variety of jazz, avant and contemporary music ensembles. “Gates of Heaven” is an 18-minute through-composed acoustic recording and Sharp’s first official new release since Stand Above The Streams (2018). The single accompanies an experimental film by Guillaume Vallée.

Jason reveals, "this recording captures a solo bass saxophone performance in the Gates of Heaven, a small synagogue in Madison, Wisconsin. After an exhaustive recording session elsewhere, I visited the synagogue en route to the airport to quickly record a solo piece. The engineer and I had only a couple of hours to capture something before catching our flight home to Montreal.  Microphones were set up at varying distances throughout the synagogue and I improvised a solo piece using the acoustics of the space. We had just enough time to record what became an 18 minute multi-tracked piece. Each layer was a first take and a response to the previous. It began to rain heavily towards the end of our session audibly rattling the synagogue, we tore down the mics, and hurried to the airport. Taking this fleeting moment for myself to play in this beautiful resonant space was both nourishing and revitalising. I returned to this recording when the pandemic hit in mid-March as a way to focus my attention on something positive and future-driven. Listening back to this acoustic document during this unprecedented time, I once again felt the support this space had provided – and was reminded of the fragility that improvised music can often reveal and the strength it can restore."

Guillaume Vallée adds, "along with the musical beauty of the piece, the context of recording was an inspiration to me. When Jason explained to me that he recorded the piece in a place of worship, I imagined something soft & dark, some sort of suggested figurative visual ambiance. After listening obsessively for days, I began to work on a three-part narrative structure that follows the music’s progression. Everything comes from Super8 images that I shot years ago and got processed and scanned during isolation. Flowers, walls from the Middle Ages, a church – in colour and black & white that have then been heavily processed through analog video tools. I wanted the images to be sculpted by the music, as a pure depiction of the emotional states of mind this piece puts me in."

Watch the video here.

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Pic: Gwendal le Flem

Mr. Bungle, who are mere days away from the release of The Raging Wrath of the Easter Bunny Demo (Oct. 30, Ipecac Recordings), have shared a third and final single ahead of the 11-song release, streaming “Sudden Death”.

The song’s arrival comes as the Bay Area-born band, which features core Mr. Bungle members Trevor Dunn, Mike Patton and Trey Spruance with Scott Ian (Anthrax, S.O.D.) and Dave Lombardo (Dead Cross, Slayer, Suicidal Tendencies), prepare for the Halloween virtual live concert experience dubbed “The Night They Came Home!” The online event screens at 7pm GMT on Oct. 31 with the on-demand program available for the following 72 hours. Tickets and exclusive merchandise are available now via www.mrbungle.live.

Hear ‘Sudden Death’ here:

PERCHTA have released a video for the song ‘Wåssa’, which is the fourth visualisation of a track taken from the Tyrolian band’s debut album ”Ufång”.

PERCHTA comment: "The video for ‘Wåssa’ is the fourth clip from our album ‘Ufång’ and closes the circle that ‘Åtem’ had begun this spring", writes the vocalist. "This song is dealing with the element water and dedicated to the cycles of life. It is symbolised by the tripartite primal goddess, the virgin, the mother, and the crone as it flows through the water’s cycle of existence from the drop to the bottom of the deepest lake."

Watch the video here:

Raymond Watts aka PIG began his musical crusade in a Berlin basement in the shadow of the Wall back in the mid-1980’s. Perhaps it was the terror and turmoil that  lends a certain sense of menace to the trademark decadence of his group’s sound. When the Wall fell, our salacious saviour set out into the desert on a journey that has spawned countless albums and projects….not only PIG, but some of KMFDM’s finest material and numerous other collaborations that have included scoring for Alexander McQueen shows, as well as installations and exhibitions.

Our sacred saint of all seven sins has now delivered a new divine declaration in the form of Pain is God. Fourteen tracks of swine and swagger, it is an exegesis of excess – glitches and guitars, allure and libido, danceable decadence – and the weaponised word of the Lord of Lard, here to save your skin from the wages of sin.

A single from the album entitled ‘Rock N Roll Refugee’ is out now. A delicious taste of electronic rock, Watts describes it as “the demon seed of glam and electronica stirred to an apotheosis of ejaculating guitars and lamenting vocals. A song that’s loose enough for your vices and tight enough for your virtues.” The hook heavy song features backing vocals from Michelle Martinez to add an extra touch of soul, and also sees Watts reunite with guitarist Steve White on record for the first time since PIG released albums via Nothing Records and Wax Trax! in the 1990’s.

A video for ‘Rock N Roll Refugee’ (directed by E Gabriel Edvy) is a decadent dive into Pop art influences, but can be seen as more of a nod to the Fluxus movement and the likes of Nam June Paik or George Maciunas rather than the mainstream Warhol-ian aspects of the genre. The song and video interplay as a homage to Intermedia, filtered through the mind of the Swine.

Watch the video here:

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