Archive for the ‘Recommended Streams and Videos’ Category

WITCH RIPPER have created a loving pastiche of the legendary pulp science fiction stories of old. The story told on their sophomore full-length The Flight after the Fall has all those tasty ingredients: a mad professor, his dying wife, cryogenic chambers, a black hole as well as themes of love, failure, loss, and acceptance.

Musically, Witch Ripper have packed The Flight After the Fall with as much aggression and barely tamed electricity as anybody knowing them would expect, but there are also fleetly intricate guitar interplay touches of subtle synth, and cosmic atmospherics as well as unshakably catchy clean vocal hooks. In short, Witch Ripper maintain their brutal roots while embracing the arena rock bombast of Queen and David Bowie, the exuberant modern prog of Coheed and Cambria, and MUSE.

Born and raised in the city of grey skies and loud music, Seattle in 2012, Washington’s WITCH RIPPER have seamlessly welded together the contemporary heaviness of such hard-hitting acts as Mastodon, GOJIRA, and Baroness with the anthemic quality of classic rock artists.

With a self-titled EP Witch Ripper (2012) and the debut full-length Homestead (2018),Witch Ripper garnered both critical acclaim and a strong buzz in the underground metal scene. Witch Ripper have performed alongside heavy rock outfits such as MONOLORD, CONAN, and RUBY THE HATCHET as well as modern metal acts including SLIPKNOT, GOJIRA, and KHEMMIS among many others.

Witch Ripper approach their music in true American fashion: big riffs, bigger hooks, and damn, that drummer! With The Flight After the Fall, this heavy Seattle outfit re-emerge boldly into the guitar-driven US metal scene.

Watch the video here for some bombastic, overblown guitar entertainment:

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Berries totally grabbed us with their debut album, How We Function.

Taken from said debut album,  ‘Spiral’ showcases everything we dig about them, and the new release comes ahead of a UK headline run in March 2023, plus a run of Winter shows with Skinny Lister this December.

Steeped in BERRIES’ trademark craggy, contagious rhythms and earworm choral hooks, it’s another fine example of the band’s melodic noise-driven rock in full flight. A track about concealing our innermost struggles and the escalating repercussions it can cause, vocalist Holly explains:

“’Spiral’ is about how easily we share insignificant details about ourselves but struggle to open up about serious matters through fear of seeming weak or vulnerable. And how what we do share with people is often for the satisfaction and approval of others and not for ourselves.”

Blending distinctive melodies with inner-battles we’ve all faced, ‘Spiral’ is a quintessential BERRIES cut plucked from the band’s new album How We Function (out now, via Xtra Mile Recordings); an album ostensibly about mental health struggles and how we can overcome them.

Watch the video here:

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BERRIES – UK DATES

December

08 – Manchester, Gorilla +

09 – Newcastle, University +

10 – Bristol, Thekla +

14 – Leicester, The Y Theatre +

15 – Wolverhampton, KK’s Steel Mill +

16 – Leeds, Stylus +

17 – London, Islington Assembly Hall +

March

27 – Nottingham, Bodega

28 – Leeds, Santiago Bar

29 – Manchester, Gullivers

30 – Bristol, Mr Wolfs

31 – London, Oslo

+ w/ Skinny Lister

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Before we wave adieu to 2022 – IST IST – pause for reflection with the philosophical: ‘Mary In The Black And White Room’.

This new single arrives as the Manchester post/punk frontrunners also confirm a series of UK headline shows for April 2023, with dates in Glasgow, Newcastle, Nottingham, Birmingham, Bristol and London. Tickets will be on sale this Wednesday (7t December) at 10AM here.

A reminder of their keenly-anticipated third album ‘Protagonists’ (slated for Spring 2023 via Kind Violence Records), the track finds the band revealing one of its most cerebral, synth-driven moments.

With shades of classic OMD, The Cure and New Order, ‘Mary In The Black And White Room’ effervesces in the darkness with its potent blend of layered synthesisers, darting basslines, and labyrinthine lyrical intrigue.

“Mary…” is inspired by a thought experiment proposed by the philosopher Frank Jackson that has since become known as ‘the knowledge argument’ (or ‘Mary’s room’). Hypothesising the work of a scientist called Mary, who exists in a black and white world where she has extensive access to physical descriptions of colour, but no actual human perceptual experience of colour; Jackson’s theory wonders whether Mary will gain new knowledge if she actually experiences seeing colour.

Speaking about the track, IST IST’s  Adam Houghton says:

“Mary in the Black and White Room is about trying to figure out if experience trumps knowledge. See ‘the Knowledge Argument’ where the subject, Mary, exists in a black and white world but has extensive descriptions of colour, but you don’t know if she knows what they actually look like until exposed to it. Really interesting stuff.”

Absorbed by themes explored in Jackson’s theory of physicalism, IST IST create an unconventional love-song-of-sorts. As if reaching out from another dimension, frontman Adam Houghton delivers a cascade of cryptic couplets and non sequiturs in his rich baritone, looking to add colour to a world that could be so much more than monochrome.

The single arrives with an official lyric video created by Shaolin Pete, which elegantly reflects the themes explored in ‘Mary in the Black and White Room’. Watch it here:

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2022 has been a phenomenally active year for Greg Anderson as The Lord. Having previously shared standalone track releases, he then released his debut solo album Forest Nocturne in Summer followed by a collaborative album with Petra Haden, Devotional, in October.

Now, he is heard in collaboration with David Pajo in a brand new track, "Nazarite", which sees the two musicians meet over ominous arpeggios and spoken word segments in this new track which Greg suggests is a "gateway" to more collaborations in the future.

Greg says, "I’m beyond honoured to have been able to collaborate with David Pajo for this ever evolving output as The Lord. Slint remains one of the most important bands ever to me. I composed the music for ‘Nazarite’ as a love letter to Slint that exemplifies my obsession and devotion. David’s brilliant response to my humble offering is clear proof of his genius."

David Pajo says, “In Tennessee, I played a bit of acoustic guitar on the Goatsnake song ‘Another River To Cross.’ It was then that I realized we had a perfect working dynamic. We seem to be able to push an idea from nothing into solid shape, without much effort or ego. I trust Greg’s ear and musical sense implicitly—he’s fearless.”

Listen to ‘Nazarite’ here:

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With eleven full-length records under their belts, Swedish melancholic metal masters Katatonia don’t need to prove anything to anyone. Yet, it comes as no surprise that the band is about to impressively solidify their unique stance in the world of metal and beyond once more with their 12th album, the hauntingly beautiful Sky Void of Stars.

Today, Katatonia unveil the second single and Sky Void of Stars’ album opener ‘Austerity’, along with a visually palpable video. The heartfelt offering crashes through the dark with memorable, mind-bending rhythms as it shifts with elaborate guitar riffs that perfectly showcase the musical expertise and experience of the band. Topped off by the dark, conjuring voice of Jonas Renkse and mesmerizing lyricism, the gloomy mood for the album is set. The song is now available via all digital service providers worldwide.

Katatonia on ‘Austerity’: “We hereby present you our new single and the opening track of Sky Void of Stars – ‘Austerity’. Energetic and dark, stern and disenchanted. Enjoy.”

Watch the official video for ‘Austerity’ here:

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Ahead of the release of Modern Addictions available to pre-order from 2nd December, Human Worth have unveiled a video for Remote Viewing’s ‘Your Opinion Is Wrong’.

Featuring members of Palehorse, Million Dead, Sly & The Family Drone, Nitkowski and Wound (to name but a few) the band are no strangers to making heavy music, but together they demonstrate an even broader sound that incorporates elements of hardcore, post-rock and shoegaze into the palette of sludge and noise-rock.

Featuring guest vocals from Amée Chanter of Human Leather, ‘Your Opinion Is Wrong’ is an absolute belter of a raging racket, and it’s absolutely brutal in the best possible way. Check it here:

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Magic Door Record Label

28 November 2022

Sometimes, you just need to ease the pressure a bit, kick back, chill, unwind. Breathe. Intensity, catharsis, and rage are good, vital, but a change can be the rest in itself. So here it is.

Art pop band Elk City presents new timidly confessional single ‘Apology Song’, a Suzanne Vega-esque offering from their new album Above the Water, following up earlier singles ‘That Someone’, which explores the dual nature of self and other, excitement and dismay, and the more laid-back and philosophical ‘Your Time Doesn’t Exist’.

Revolving around its founders, artist/ vocalist Renée LoBue and producer/drummer Ray Ketchem, the band is rounded out by guitarist Sean Eden (Luna), bass guitarist Richard Baluyut (Versus) and Chris Robertson of Punch Havana and Psychedelic Furs side-project Feed. Since their formation in 1999, Elk City has released five albums, three EPs and numerous singles. Pursuing a glimmering rock thread, Elk City makes potent atmospheric pop with psychedelic undertones and overtones.

A new chapter in the Montclair, New Jersey band’s evolutionary story, this album is vibrant, raw-edged and bold, showcasing a new guitar-rich lineup. Released via the newly-launched Magic Door Record Label, founded by Guided by Voices drummer Kevin March with Ketchem and LoBue with a simple mission to release music created by the rich community of artists who surround them, this album reveals the band’s North Jersey roots and lineage with The Feelies, Yo La Tengo (with whom they share a former label, Bar/None) and Luna (with whom they share a guitarist).

“’Apology Song’ is probably Elk City’s most well-crafted song to date. Straight up songwriting craftsmanship. I came up with the chorus late in the game. The band wanted something more, something additional to sink their musical teeth into. They asked me to come up with an add-on to the parts that were already there. That’s when I came up with the part that says, “I’m sorry. I did it. I got all caught up in my head. I’m sorry, you know it. My head got caught up in that thing”,  I’ve never written a lyric so simplistic, yet meaningful. Both off-the-cuff and relatable AF,” says Renée LoBue.

"I’ve had this concept and have wanted to direct this video for a while now. I describe the video as "A sensual comedy packed with nutrition". As ‘Apology Song’ is heavy on drama, we knew we needed to go lighter/comedic with a video for the song. It’s the visual wack-a-doo companion that balances the song’s "heart on sleeve" message. Eat your fruits and vegetables, kids!"

We can’t condone the use of plastic bags, but we can very much condone everything else about this song and its video.

Watch ‘Apology Song’ here:

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We Become Strangers is the debut EP from the new darkwave project, The Bleak Assembly, a collaboration between Kimberly of Bow Ever Down and Michael Smith of Fiction8.  While there are a few electronic textures here and there, We Become Strangers is straight-up post-punk and darkwave. Guitars, drums, and songwriting with hooks for days.  This EP sits more comfortably alongside Siouxsie & the Banshees, ACTORS, and Bootblacks than it does VNV Nation or Covenant.

Add to that list Skeletal Family, Ghost dance, later March Violets. It’s pure vintage mid-80s goth.

Regarding the nature of ‘change’ that inspired the EP, Michael Smith states, “if there’s a theme to this EP, it’s in recognizing how we’ve changed as artists and as people. What if you met your younger self and your younger self didn’t even recognize you?  That’s what We Become Strangers is about.  Kimberly goes on to say, “It’s a strong feeling of ‘being cut from the past’.  It’s a little alienating but also very liberating.”

Listen here. Do:

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New Heavy Sounds is stoked to announce their first release of 2023, and what a beast it is. The self-titled debut album by Death Pill, an all-female hardcore punk power trio of considerable muscle, combining metalcore, punk rock and (like labelmates ‘Shooting Daggers’) oodles of ‘Riot Grrl’ vibe.

It’s significant how many female punk bands are using the stance and attitude of the ‘Riot Grrl’ movement as a touchstone for what they are about, but it doesn’t end there. From the classic punk of Black Flag, The Distillers and Circle Jerks, to modern outfits like Axe Rash and the thrash metal of Nervosa and Exodus, there’s a nod to all of this in Death Pill’s visceral sound. Full on and fully formed.

That aside, what makes this release even more pertinent for us, and the fact that it is happening at all, is that Mariana, Anastasiya and Nataliya are from the Ukraine, who’s troubles are well known to all of course, but naturally enough have hit the band very hard.

Singer/guitarist Mariana tells the story so far.

Just imagine: You are a 20-year-old girl. Society constantly puts pressure on you: you should find a nice husband, have children and at the same time build a successful career. But no one asks what do you really want? What are exactly your interests and ambitions?

Because maybe you want to be a punk rock star?

Yes, I do and even against it all. I can create a female non-commercial band, play heavy high-quality music, and ignite the crowd. After all, rock is not only about brutal men with curly long hair, right?

Nafa (Anastasiya), the drummer, also got sick of this idea. Together we created an all-female punk rock band Death Pill (2017), just like we wanted to! Before COVID started we played a lot of gigs at the main underground festivals in Ukraine (“Back to Youth”, “Burn the Scene for Fun”). We also released EP (2018). We had a lot of success in front of our audience, which led to the creation of more female bands.

We did have trouble with bass players. They changed one after another and we were looking for someone who would be “on the same vibe” with us …

There is a strong and super friendly community of people in Ukraine. It’s a big family of true music lovers, people who live by creating the Ukrainian underground scene. This is also how we met Nataliia. After our first practice with her, we realized that this is a real perfect match, and the problem was solved. We started recording our first full album, filming music clips etc.

Until the war comes… In February fucking Russia started a full-scale invasion of Ukraine. It really changed our plans, dreams, and attitude. So now we are spread out, Mariana stays in Kyiv, Nafa is in Spain, Nataliia is in Australia. We try to stay in touch online, we keep working on the album and support our defenders. Like all in our Ukrainian scene.

Some do it with weapons in their hands, some volunteer and help in any way they can to bring our victory closer. Hard times, but right now we have a real chance to change lives for the better.

Victory will be ours; we are sure of it.

P.S. It is soon, and we have already decided to make the most hot, amazing and gig ever!

Watch out.

Watch ‘Расцарапаю Ебало’ here:

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Allen Epley (Shiner, The Life and Times) has released ‘Evangeline’ the next single off his upcoming debut solo album ‘Everything,’ out 6th January 2023  on Spartan Records.

Listen here:

Epley says, “’Evangeline’ is a reference to someone close to me who tends to bottle up emotions until another person says something quite innocently, and it triggers an often hateful and explosive response. So the smallest innuendo or slight from a passerby could set off cannons and flamethrowers from this person. The offense doesn’t merit the response many times, inflicting even more damage.

I wanted it to be a short song and get to the point pretty quick. Don’t bore us, get to the chorus. Agreed. Vocally, I feel like the chorus part in particular reflects a kind of Elliott Smith vibe. Mike Burns adds the beautiful lap steel line that perfectly echoes the hurt in the lyric. Drummer Chris Prescott (from Pinback) sets the song in a restrained way then lets it open up on the solo section.”

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