Archive for the ‘Recommended Streams and Videos’ Category

A Place To Bury Strangers have shared ‘I’m Hurt’, the newest single from their anticipated sixth studio album, ‘See Through You’, out February 4th (digital) and March 11th (vinyl) on Dedstrange. Following previous singles ‘Let’s See Each Other’ and ‘Hold On Tight’, the post-punk legends dive headfirst into suffering on today’s dark and explosive ‘I’m Hurt’.

The accompanying video, directed by Chad Crawford Kinkle (Dementer, Jug Face), is the first in a series of ‘See Through You’ videos from horror movie directors hand-selected by A Place To Bury Strangers. Under Kinkle’s frantic and hallucinatory direction, Oliver Ackermann’s expression of relentless liminal terror is transubstantiated into a brutal backwater blood feast. While the flickering, kinetic visuals will be familiar to anyone who has seen the band live, the psychological horror at the heart of ‘I’m Hurt’ is raw. Together, Kinkle and APTBS scramble our collective unconsciousness with scenes of grotesque public freakouts from the outskirts of the subliminal that are tied to a scorned woman’s black magic ritual which conjures up teenage demons on the hunt for revenge.

Watch ‘I’m Hurt’ here:

“‘I’m Hurt’ is the sound of friendship dying. At the time of writing this song, I was going out of my mind dwelling on conflict in my head and beating myself down while trying to rebuild my faith in humanity which is reflected in the actual structure of the song. The drums build with this frustration and a desire to scream with no voice. Listen closely to the vocal phrasing of ‘I’m Hurt’ in the chorus and you can hear the self-doubt and failure I was experiencing at the time,” says Ackermann.

A Place To Bury Stranger’s Oliver Ackermann always brings surprises. The singer and guitarist has been delighting and astonishing audiences for close to two decades, combining post-punk, noise-rock, shoegaze, psychedelia, and avant-garde music in startling and unexpected ways. As the founder of Death By Audio, creator of signal-scrambling stompboxes and visionary instrument effects, he’s exported that excitement and invention to other artists who plug into his gear and blow minds. In concert, A Place To Bury Strangers is nothing short of astounding — a shamanistic experience that bathes listeners in glorious sound, crazed left turns, transcendent vibrations, real-time experiments, brilliant breakthroughs.

And just as many of his peers in the New York City underground seem to be slowing down, Ackermann’s creativity is accelerating. He’s launched his own label – Dedstrange – dedicated to advancing the work of sonic renegades worldwide. He’s also refreshed the group’s line-up, adding Ceremony East Coast’s John Fedowitz on bass and Sandra Fedowitz on drums. Ackermann and John Fedowitz are childhood friends who played together in the legendary Skywave, and the band has never sounded more current, more courageous, or more accessible. 2021’s Hologram EP was the first release from the new line-up – and the first on Dedstrange – and the reaction was ecstatic, with Pitchfork saying that Ackermann had “transcended his gearhead tendencies, gracefully navigating fuzz and feedback loops as well as melodies and hooks”. ‘See-Through You’ pushes things even further. Simply put, it’s an epic, instant classic.

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A PLACE TO BURY STRANGERS 2022 UK/EUROPEAN TOUR DATES – TICKETS ON SALE HERE

Wed 09 March – Hafenklang – Hamburg, Germany  

Thu 10 March – Beatpol – Dresden, Germany

Fri 11 March – Klub Poglos – Warsaw, Poland

Sat 12 March – Futurum – Prague, Czech Republic
Sun 13 March – Randal Club – Bratislava, Slovakia

Mon 14 March – Durer Kert – Budapest, Hungary

Wed 16 March – Control Club – Bucharest, Romania

Thu 17 March – Mixtape5 – Sofia, Bulgaria
Fri 18 March – Eightball – Thessaloniki, Greece

Sat 19 March – Temple – Athens, Greece
Mon 21 March – 25th of May Hall – Skopje, Macedonia

Tue 22 March – Club Drugstore – Belgrade, Serbia

Thu 24 March – Mochvara – Zagreb, Croatia
Fri 25 March – Freakout Club – Bologna, Italy

Sat 26 March – Largo – Rome, Italy
Sun 27 March – Legend Club – Milan, Italy

Tue 29 March – Bogen F – Zurich, Switzeralnd
Wed 30 March – Backstage – Munich, Germany

Thu 31 March – Caves Du Memoir – Martigny, Switzeralnd

Fri 01 April – La Trabendo – Paris, France
Sat 02 April – Lafayette – London, UK
Mon 04 April – Kayka – Antwerp, Belgium
Tue 05 April – Gleis 22 – Munster, Germany
Wed 06 April – Melkweg – Amsterdam, Netherlands

Thu 07 April – Vera- Groningen, Netherlands
Sat 09 April – Hus 7 – Stockholm, Sweden
Sun 10 April – John Dee – Oslo, Norway
Mon 11 April – Pumpehuset – Copenhagen, Denmark

Tue 12 April Hole 44 – Berlin, Germany
Wed 13 April – MTC – Cologne, Germany

Greece has spawned countless instances of criminally underrated music acts in diverse genres ranging from black metal to electronic to avant garde pop music, and the sophomore album of modern progressive metal act Playgrounded titled ‘The death of Death’ is yet another striking example.

“Where did this come from?” you will find yourself wondering, while absorbing the stunning intensity and musical prowess on display. From the perfection of the production and the inherent innovation in defining heaviness by means of not only downtuned guitars, but also elements of electronica are the pillars of an intriguingly idiosyncratic, incredibly mature sound.

Hailing from Greece, but spending most of their time in the Netherlands, the musical pedigree of the members of Playgrounded is quite unprecedented in the metal/rock underground. Main composer and producer Orestis Zafeirou is a graduate from the Institute of Sonology of the Royal Conservatoire of The Hague, a department focused on electronic music education and production research. Additionally, he works in a synth factory. Vocalist and co-producer Stavros Markonis graduated from the Amsterdam conservatoire and is an award-winning composer for film and TV. Bass player Odysseas Zafeiriou and guitar player Michael Kotsirakis both work as computer engineers, while drummer Giorgos Pouliasis is a graduate from the Rotterdam Conservatoire, as well as a drum teacher and a popular session musician in Greece as well as in the Netherlands.

Starting out in 2007, Playgrounded have been together for over 15 years, playing both national and international tours, while also opening for bands like Riverside and even Nine Inch Nails in Amsterdam. Their first EP Athens (2012, Casket Music) portrays an already mature band playing modern prog rock influenced by Tool and Deftones. Their debut full-length In Time With Gravity (2017) shows the band in full flux, experimenting with extended compositions as well as influences from influential contemporary electronic music acts like Modeselektor and Moderat.

Playgrounded’s sophomore album lives up to the aspiration of its lofty album title. The death of Death is music that results from mastery rather than lacklustre exploration and experimentation. The album was recorded at MD Recording Studios by Nikos Michalodimitrakis, long collaborator of Stavros in film productions. Mixing was handled by C.A.Cederberg (Leprous, Shining, and more) in Kristiansand, NO, while the album was mastered by George Tanderø (Madrugada, Satyricon, Jaga Jazzist, and more) in Oslo, NO.

Guitarist Michael Kotsirakis comments on the album’s title track which the band shared today,

"The death of Death" is a study of unity in opposition, a disclosure of contradictory aspects of reality, an expression of their mutual relationship.  For the occasion of sharing this first taste of the album with the world we worked closely with director Dimitris Anagnostou and director of photography Yannis Karabatsos, the duo that we came to know from the award-winning short film Mare Nostrum for which Stavros composed the score.  The director’s idea about a "study of movement" using early cinematography techniques drew inspiration from Orestis’ dialectically composed lyrics and was eventually adapted into the clip’s script. We felt that Karabatsos’ sinister photography was the perfect means to explore the song’s contradictions… black and white, direction and diffusion, alienation and struggle, stillness and life.”

Watch the video for ’The death of Death’ here:

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Demonstrating a profound understanding of the glitches they produce, Playgrounded evoke a sense of the uncanny closely related to the cut-up movie fragments of sound artists like the German Orson Hentschel. “We start with dynamic sound design structures, most of the times initiated by Orestis,” explains guitarist Michael Kotsirakis. “We then work in pairs expanding the musical space and creating variations and flourishes. Sometimes the lyrics and vocals will dictate a change in quality, other times it’s one of the instruments. After many ideas are on the table Stavros and Orestis sit together and propose a song structure. After this loop has been repeated over and over we have a very good idea of all the parts. That’s when we hit the rehearsal space and refine the details.”

The result is a collection of songs that reveal Playgrounded as composers in the act of decomposition. The memorable guitar riffs and vocal melodies serve as gateways to a deeper layer of glitchy synth textures and liquid drumming, until the perspective of radical decomposition consumes one whole. “The shortest sound units become extended themes,” explains main composer Orestis Zafeirou. “Steady rhythmical blocks interact with unstable ones. Noise becomes tone and melody. Sonic grains gather to form masses, masses dissolve into a single entity. With every repetition, comes change.”

On The death of Death, Playgrounded analyse and take apart their surroundings, reducing reality to its smallest components, subsequently converting them into sound to create a new platform – a representation of reality from which they build their artistic vision. In essence The death of Death is dialectical, a study of unity in opposition. A disclosure of contradictory aspects of reality, an expression of their mutual relationship. From these contradictions the band manages to construct a brooding world of dark magnificence. The death of Death has the appeal of a film score that slowly starts to haunt you as the movie progresses. The more you listen to it, the more its sublime beauty becomes apparent.

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Rokia Koné, one of Mali’s most popular female singers, has announced her long-awaited debut album BAMANAN — a collaboration with Irish-born, California-based rock producer Jacknife Lee. Ahead of its release on 18 February 2022, they have shared the single ‘Kurunba’, the follow up to debut track ‘N’yanyan’.

Rokia Koné, who is already a major star in her home country, was first introduced to international audiences as part of the acclaimed feminist supergroup Les Amazones d’Afrique in 2017 when she featured alongside some of West Africa’s biggest female artists on the critically-acclaimed album République Amazone.

Jacknife Lee is the acclaimed producer of globally-renowned bands U2, R.E.M and The Killers, and has earned Grammy recognition for his work on Taylor Swift’s multi-million selling Red. Stadium-sized soundscapes are his speciality, yet BAMANAN finds Lee upholding the stark beauty of Rokia’s voice with subtlety and sensitivity. Every nuance and breath is heard, each inflection and melismatic improvisation carefully preserved.

The song ‘Kurunba’ is a powerful example of resistance and denouncing the customs of exclusion faced by women when they have finished raising their husband’s children. In some patriarchal societies, once her children are married, the wife’s role in the family is diminished and often results in the arrival of a co-wife. If she rebels against this, she could be branded as ‘mad’ and isolated from society.

“Kurunba tells the story of a particular woman who was freed from her isolation,” explains Rokia. “On the day of her daughter’s wedding she sang this song, and the same people who had tried to lock her up were transformed into dogs and flies. It’s like a curse.”

As a member of Les Amazones d’Afrique (the West African musical collective who campaign for gender equality) women’s issues are a regular theme in Rokia’s songs. “We cannot list all the problems women face,” she says. “Lack of access to education for girls, conjugal violence suffered by women in households, rivalry amongst co-wives, and more besides. I call on men to get involved in works that protect and make women happy.” — Rokia Koné 

In the video for ‘Kurunba’, Rokia enters a London nightclub as an apparition amongst a gathering of some of the city’s most talented young contemporary dancers, who react to the song’s high-energy, uplifting spirit. It was directed and choreographed by Zambia-born dance artist Kennedy Junior Muntanga.

Watch the video here:

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Photo credit: Paulina Biswell

‘The Boogeyman’ is the latest single from NYC Horrorpunks, Cut Like This. A deliciously evil lullaby, the song delves into the tortured musings of an insomniac facing their desire for sleep while battling their lack of control in obtaining it.

The single art portrays the horrific personification of insomnia, the titular Boogeyman,  with impressive practical SFX makeup by singer Rose Blood. Blacklight uv colors glow in stark contrast to the pitch-black darkness, echoing how the sing-song vocals intertwine with the harsh screams in the outro insisting “You’ll NEVER get to sleep!”

Watch the video here:

CUT LIKE THIS is a Horror Rock trio with a metal edge and a flair for theatrical live performances!  Based out of NYC, the band was founded by 2 acrobats of color Rose Blood and Thorn Black, who ran away from the Circus and back onto the grimy, underground rock stages they came from! You might recognize them from their acrobatic performances at Electric Zoo with Excision or onstage with Steve Aoki or Diplo.

Fiery haired singer Rose Blood entrances with bad girl flair, equally comfortable with seductive melodies and menacing screams.  Thorn Black’s thunderous guitar riffs are as heavy as they are catchy, supplying enough hooks to make any cenobyte happy!  Rounding off the live trio is the Neotribal, androgynous Corey Carver, a bassist with a deep love for Japanese Visual Rock. Behind the scenes, sequencing drums, is Evyl Jon of the groundbreaking, Progressive Death Metal band Evil.

With songs featuring tributes to horror movies and beckoning to the monsters within us all, this 3 piece of horror is ready to take you on a ride on an undead carousel from which you’ll never escape! Fans of bands like In This Moment, Raven Black and Wednesday 13 will dig them like a grave.

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Oregon-based electronic act, Luscious Apparatus has just unveiled their debut single, ‘Infiltrate.’

‘Infiltrate’ is about domestic violence, the kindness of strangers, and helping someone escape from an abusive relationship. The lyrics were triggered by an article that offered an excruciatingly detailed account of the horrors inflicted upon one of the victims of Brian Warner, aka Marilyn Manson.
The song speaks to the often terrible and destructive power wielded by abusers. It attempts to inspire hope and strength for anyone who has found themselves in an abusive situation and are trying to find their way out of the fog.

Check ‘Infiltrate’ here:

Luscious Apparatus blends cinematic soundscapes, synths, shoegaze textures, and syncopated percussion, to create a sound best described as Electrogaze or Noir Pop.  Founded by Jack Norton as a studio project in 2019, the Portland, OR based act evolved during the great plague of the early 2020s with the arrival of Sandi Leeper on vocals. Catherine Hukle, a guitarist from Seattle, moved to Portland, providing the band’s signature walls of sound. Daniel Henderson joined on drums in late 2021. All members are active in writing and producing for LUSCIOUS APPARATUS.

Luscious Apparatus’ roots are spread wide throughout the post-90’s post-punk scenes. They incorporate everything from goth and industrial to indie rock, electronica, and trip-hop. Influences are broad: from Nine Inch Nails to Garbage. Joy Division to Massive Attack. Gary Numan to My Bloody Valentine. Frontline Assembly and Delerium.

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Buñuel, featuring Oxbow’s Eugene S. Robinson on vocals, have  released ‘Crack Shot’ ahead of third album, Killers Like Us.

"Crack Shot gives me what has now become a BUÑUEL staple and is reminiscent of other famous duos — Sonny and Cher, the White Stripes, Steve and Eydie, Mickey and Sylvia — in that I get to sing with my wife, Kasia Robinson from Maneki Nekro. On the first two records, and I think it just happened by accident, we argued about something totally unrelated RIGHT before we recorded…making it a weird sort of compelling relationship journal. Pleased to report that this one was recorded without an argument.” – Eugene S. Robinson

Unforgiving, merciless, beautiful, BUÑUEL is the sound of a difficult situation made worse by an unwillingness and an inability to play nice. BUÑUEL’s unpredictable amalgam of angular rhythms, drum salvos, blitzkrieg guitars and vocals that sound more like threats than promises is post-punk, proto-heavy and arty (as in avant-garde noise).

Listen to ‘Crack Shot’ here:

BUÑUEL’s upcoming album Killers Like Us — the third part of a trilogy that started with A Resting Place for Strangers, and then The Easy Way Out – is a killer addition to the canon of good music for bad people.

The band are named after the Spanish filmmaker Luis Buñuel, "the only filmmaker to first make his bones by making good on what happens when straight razors meet eyeballs".

BUÑUEL are a near-super group of global significance boasting the sound work of the Italian trio of guitarist Xabier Iriondo (Afterhours), the bass of Andrea Lombardini, and the drums of Francesco Valente (Il Teatro Degli Orrori, Snare Drum Exorcism, and Lume), along with the vocals of Eugene S. Robinson (OXBOW).

"The ambiguity implied by the title where it’s not entirely clear whether the killers are similar to us or just appreciate us, is nowhere in evidence in the music, which sets out to say in as clear a way as possible: your death is an inevitable consequence of you, very precisely, being YOU." – Eugene S. Robinson
The album will be released on February 18th, 2022, on CD/LP/Digital by Profound Lore Records and La Tempesta International.

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Cover photo by KASIA ROBINSON

Toundra are enchanted to be releasing ‘El Odio, Parte III’, the third and last part of their 22-minute-long piece ‘El Odio’ off of their new album HEX. For the video of ‘El Odio. Parte III’, the band once more collaborated with Asturian director Jorge Carbajales again. Watch the video here:

And the band is just as excited to be announcing the launch of the full short film ‘El Odio’ on January 10th (1PM CET) via Youtube.

HEX will be released on January 14th, 2022 via InsideOutMusic.

See Toundra live at the following dates:

15.01.2202 Inverfest, La Riviera, Madrid.

22.01.2022 Nau B1, Granollers, Barcelona.

29.01.2022 Gernika, Iparragirre.

11.02.2022 Sevilla,Sala X.

12.02.2022 Málaga, La Trinchera.

18.02.2022 Granada, Teatro Caja Granada.

19.02.2022 Córdoba, Hangar.

29.04.2022 Zaragoza, Las Armas.

30.04.2022 Barcelona, Apolo.

13.05.2022 Murcia, Sala Garage Beat Club.

14.05.2022 Valencia, Sala Moon.

20.05.2022 Pamplona, Tótem.

21.05.2022 Orozko

17/18.06.2022 ADN Festival, Zamora.

03.07.2022 Viveiro, Resurrection Fest.

22.07.2022 Kanekas Metal Fest, Cangas Do Morrazo.

23.07.2022 Castelo Rock, Muros, Galicia

31.07.2022 Low Festival, Benidorm.

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Photo by Sergio Albert

Portuguese blackened death-metal four-piece group Nihility have just unleashed a new track off the band’s imminent new full-length album Beyond Human Concepts, which is set for release on January 8th via Vicious Instinct Records.

The follow-up to 2019’s debut album “Thus Spoke The Antichrist” was recorded, mixed, and mastered by Pedro Mendes at Ultrasound Studios Braga, Beyond Human Concepts is top-notch death-metal release that hopefully will catapult these Portuguese youngsters into the forefront of the European death-metal scene.

Listen to ‘Hubris’ here:

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Mark Sousa, the mastermind behind futurepop act, Voicecoil has just dropped the debut EP for his project, Gravity Corps.

“Gravity Corps is a different angle to what I do artistically.  It’s a more aggressive, angrier side of my mind.  It’s a more simplistic and raw presentation in its themes.” – Mark Sousa.

Zero Grav plays on various varied themes from track to track. ‘Thankful For Another Day’ is a simple statement of the same titled track. Tracks like ‘Selling Sorrow’ and ‘Cold And Elegant’ focus heavily on themes of artistic integrity and disassociation respectively. ‘Scarred To Death’ (the first piece written for the project) was inspired by dark science fiction.

Zero Grav is available now as a digital download via Bandcamp.

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Texas-based darkwave band SEVIT have just unleashed their single & video for the song, ‘It Can’t Rain All The Time.’ This is a conceptual song inspired by James O’Barr’s comic and the movie, The Crow, the character of Eric Draven and his fictional band, Hangman’s Joke.

“I always wanted to embody myself into the character’s mindset and finish the lyrics the way I always wanted to hear them in their entirety. I started to imagine the words I would have written if I was Eric Draven. The Crow was a beautiful film – so much sadness and so much longing, so much heart… When I decided to write this song, I wanted to revisit my hearts emotional vault and I wanted the words to belong to the film’s character, Eric Draven, who I imagined to be dark, poetic, theatrical, daring, passionate and beautiful."  – (Jackie Legos – Vocals/Guitar)

With hints of The Cure and New Order’s ‘Ceremony’ it’s a dark pop cracker driven by the thumping great snare sound. Watch the video here:

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