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With every movement of American Standard, Uniform peels off a new layer and tells the story inside of the one that came before it.  It’s Uniform’s most intimate work to date, tackling themes of self-destruction and with a particular focus on vocalist Michael Berdan‘s lifelong struggle with bulimia nervosa. His lyrics sink down into the core of the innermost self, the small human being crushed in the grip of sickness. His bandmates join him, applying majestic droning that becomes both mechanical and omniscient. As the rhythms continually pulverise, Uniform gives themselves over to the grinding gears of an uncaring universe.

The thematic content behind American Standard can be divided down the middle into two distinct sections. While the A-side of the record deals with an individual who exists in a purgatorial state of physical and psychic crisis, the B-side serves to address how a lifetime of dealing with an eating disorder has impacted those around him.

Permanent Embrace,” available today, is the album’s final statement. Berdan tells, “It touches on a facet of the disease that I’m incredibly wary of facing. Built on a narrative foundation laid out by author and lyrical collaborator Maggie Siebert, the song revolves around the idea of a person holding a loved one as an emotional hostage. Seeing perverse beauty in a story about a car crash, the narrator relates the analogy of two automobiles twisted together to that of his last standing relationship. As he has broken down over time, so has the one who continues to stand by him. The object of his manipulative guilt trips remains locked in a hopeless situation, terrified of what he may do to himself if they were to finally leave.

The music reflects the psychic violence of the lyrics, as riffs and rhythms that wouldn’t feel out of place in the Unsane catalog careen into giant synth melodies before collapsing into itself. This is kind of our misguided interpretation of what Faith No More were doing on ‘Angel Dust’, and we hope that our tip of the hat to those masters of madness can hold a candle to their horrific splendor.”

For “Permanent Embrace,” Uniform teamed up with director Sean Stout on the single’s compelling visual. Stout tells, "Without sounding trite, when we first read Mike’s lyrics to the record our reaction was extremely visceral. They are brutally introspective and beautiful at times and we wanted to try visually to convey that range of emotion in a sequence of single images that unfold narratively and potentially shift their own meaning over time. Our concept was to intertwine images of an outer world-overgrown, rusting and moving on in its decay-with an inter-world that is largely going through the same process as a result, but is markedly separate as well. We never see one observe or interact with the other, yet they are the same and of the same world."

Watch the video for ‘Permanent Embrace’ here:

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Uniform wants to find what’s underneath. And what’s underneath the underneath. And what’s under that.
American Standard begins with a shock. A voice, a room, a face in a mirror. In the mirror stares a visage, doubled and staring back. Each line comes back to him: reflected and refracted in the unsympathetic glass. Forget for a moment that Berdan has been destroying his throat in Uniform for over a decade. Forget his highly stylised delivery on the band’s acclaimed collaborative work (alongside experimental doom titans The Body and Japanese heavy rock powerhouse Boris). Forget the entire tradition of abrasive vocals in aggressive music. Look for what’s underneath the songs, the form, and the style.

To help peel away this narrative of eating disorders, self-hatred, delusion, mania, and ultimate discovery, Berdan sought assistance from a towering pair of outsider literary figures. Alongside B.R. Yeager (author of the modern cult-classic Negative Space) and Maggie Siebert (the mind behind the contemporary body horror masterpiece Bonding), the three writers eviscerate the personal material to present a portrait of mental and physical illness as vividly terrifying as anything in the present-day canon. The result is an acute articulation of a state beyond simple agony, capturing the thrilling transcendence and deliverance that sickness can bring in the process.

American Standard is surely Uniform’s most thematically accomplished and musically self assured album to date. Sections spiral and explode. Motifs drift off into obscurity before reasserting themselves with new power. Genres collide and burst open, forming something idiosyncratic and new. There’s a grandeur, due in part to the addition of Interpol bassist Brad Truax alongside the percussive push and pull of returning drummer Michael Sharp and longtime touring drummer Michael Blume, marking his Uniform recorded debut here. However, this magnificence is most clearly attributable to the scale and power of guitarist and founder Ben Greenberg’s arrangements, matching ever elegantly to the intense lyrical subject matter.

Underneath it all, what remains is trust. A record of this range and depth, a piece of art so far out on a ledge, can only be attempted with an extreme and almost foolish amount of understanding between collaborators. American Standard stands firmly on the bedrock that Uniform’s two original members, Michael Berdan and Ben Greenberg, have been building on for over a decade.

In Greenberg’s words, “When we started this record, Berdan told me: ‘I trust you to come up with a solid foundation for this, however you envision this thing. I want you to realize it completely, because I believe in you.’ So I wanted to write something overwhelming and all-encompassing for Berdan to lead his narrative through… because I trust and believe in him.” For an album to defy simple genre exercises and become a work of art, the musicians behind it must push themselves so far beyond the frayed ends of an established comfort zone that they might never return. Without a shred of doubt, American Standard is a work of art, agonising in its honesty and relentless in its pursuit of sonic transcendence. It is hideous. It is beautiful. It is necessary.

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Press Photo By Joshua Zucker-Pluda & Sean Stout
Pictured: Founding Members Ben Greenberg (Guitar), Michael Berdan (Vocals)
Not Pictured: Mike Sharp (Drums), Brad Truax (Bass), Michael Blume (Drums)

The collective of renowned musicians from Norway’s west coast henceforth known as WHISPERING VOID is releasing their first ever video single ‘Vi finnes’ (‘We Exist’) taken from their forthcoming debut full-length At the Sound of the Heart. The album has been slated for release on October 18, 2024.

Watch the video here:

WHISPERING VOID comment: “The main lyrics in this song are in Norwegian, more specifically in an Eastern dialect of Norwegian, and this creates a slippery and almost untrustworthy character”, vocalist Kristian Espedal writes. “The title, ‘Vi finnes’ means ‘we exist’, but the lyrics are about us never existing. The words are about the morning, which is an opportunity, and about the hours, which are the repetition of everything that happens all the time but is never the same. There is much hopefulness in this song, and at the end even a bit of suffering. When the lyrics move into English, they steer into a different direction. Ferrucio came up with the idea for the video. The lady in this film is observing life from the past. I like the very subtle connection to the lyrics.”

Lindy-Fay Hella adds: “I love the vibe of the video”, the vocalist enthuses. “I like that there is a connection with the song’s lyrics, but it also adds a new dimension to it. The haunted house in this video is situated in my neighbourhood and the lady in the video is one of my best friends. She really fits this song. I feel somewhat reminded of the fairy tale ‘Goldielocks and the Three Bears’.”

WHISPERING VOID album cover "At the Sound of the Heart"

Black metal legends Mork have announced their new album Syv today, set for release on 20th September on Peaceville. Alongside the news, the band have shared the album’s first single ‘Utbrent’. Speaking about the new single, Mork creator, frontman and mastermind Thomas Eriksen said “Utbrent is a depiction of getting burnt out and the struggle of holding oneself standing. Even whilst silently knowing the day will actually come and break you down…the harsh punishment of living as life breaks you down and burns you out”.

Watch the lyric video for ‘Utbrent’ here:

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Following on from Thomas Eriksen’s self-titled Udåd project debut earlier this year; a dark release which explored the more underground & murkier-sounding waters of primitive black metal from a by-gone era, Syv emerges as the new pinnacle of Mork’s and Eriksen’s ever-evolving journey, as well as a creative expansion both sonically & compositionally over all prior works.

Syv also undoubtedly represents Mork’s most expressive and diverse works to date, with exquisite melodies interspersed with brutal and even occasionally progressive riffs amid an ever-present air of melancholy. This forms a perfect backdrop for Eriksen’s thematic dive through the contemplations of looming mortality, and digressions through the depths and contrasts of human existence; from the blackness of despair, to the pride & strength in overcoming, as well as absorbing additional inspiration from tales of old.

“We have reached the seventh chapter of the Mork saga. As I have stated earlier, it has been important for me to let the music evolve over the span of albums. It has really been a rewarding couple of years writing and recording “SYV”. When listening back the finished product I felt a great satisfaction. Brutal riffs meeting melancholy and melodic passages with a slight progressive approach. Lyrically scraping the bottom of human existence and frailty as well as touching an immense pride and strength. This is probably my most varied album to date. Which in my mind makes a perfect outcome and addition to the Mork catalogue.” – Thomas Eriksen

Syv was performed, recorded & mixed by Eriksen himself, with engineering assisted by Freddy Holm (who also contributes with strings and synths). Mastering work on the album was carried out by studio mastering guru Maor Appelbaum (Sepultura) in collaboration with Jack Control at Enormous Door (Darkthrone).

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Photo by Daniel Pedersen

Italian psych band Cosmic Room 99 have announced their debut album will be released on 11 October via Sister 9 Recordings" (UK)/ Little Cloud Records (US)/Shyrec (ITA).

They recently shared their debut single ‘Plastic Venus’. They explain: “Everything is fiction, everything is altered, everything is seen through filters, nowadays even Venus is made out of Plastic”.

Watch the video here:

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The band’s name was inspired by a documentary called ‘The Cosmic Room’, which tells the story of NATO employee Bob Cohen accidentally discovering a top-secret plan to eradicate part of the world’s population to maintain Earth’s sustainability. The number 99 in numerology represents someone who uses their gifts to make the world a better place, encapsulating the band’s ethos.

Musically, Cosmic Room 99 draw influences from a diverse range of sources, including the obsessive rhythms of The Velvet Underground, the dreamy psychedelia of Syd Barrett’s Pink Floyd, the harmonies of The Beach Boys’ "Pet Sounds", the sharp feedback of The Jesus and Mary Chain, the austere wave of Joy Division, and the deep, abysmal worlds of Bauhaus, all linked by a punk attitude.

The album was recorded primarily in their home studio in Treviso, Italy, where band members played various instruments, creating a collaborative and cohesive work. To add warmth to their sound, they recorded vocals and analog drums and mixed the songs at Overdrive Studio in Treviso, with producer and sound engineer Edoardo "Dodi" Pellizzari. Final mastering was done by Collin Jordan at The Boiler Room in Chicago, USA, adding the finishing touch to their music.

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Photo credit: Francesca Janes

Industrial band, FLEISCHKRIEG has unleashed their new single & video, ‘Eve’.

The song ‘Eve’ is based on the Gnostic tradition of Adam’s wife being the hero in the Genesis creation myth – rather than the villain. This second century Christian sect revered Eve as an early incarnation of the Divine Feminine, and if it weren’t for her courage to commit “original sin” – we’d still be trapped in a genetics lab known as the Garden of Eden.

The song is sung from Adam’s point of view – he praises Eve for delivering them from the tyranny of the Elohim. Though they are “thrown out the gilded cage”, Adam asks Eve to “make the thorns our home”, a poetic nod to human resilience in the face of catastrophe.

iItalian scholar Mauro Biglino and his research on the Biblical Apocrypha inspired the song’s themes and lyrical content. Mauro briefly translated for the Vatican – but was eventually fired when his published works revealed modern Christian theology was incompatible with the written texts of ancient Hebrew authors.

The song was produced, mixed, and mastered by Logan Mader (Machine Head, Once Human).

Watch the video here:

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‘Pagan Synth’ duo, ESOTERIK has just unveiled their new single, ‘Mentor’ from the forthcoming EP, Archetypes.

For the next installment of the EP, ESOTERIK explores the insight and experience the ‘Mentor’ has to offer. Get lost in the hypnotic groove but heed the advice of the Mentor for it’s the end of suffering. It’s a beacon in the darkness calling you from the illusive world of form. It’s a voice that’s behind the incessant stream of thoughts; a gentle nudge with a firm but helping hand. The choice has always been yours all along. Will you be a listening ear, or will you flounder in the chaos?

On the upcoming EP Archetypes, the band examines the tropes that have weaved a thread across societies for centuries. “It’s such an interesting topic and really highlights the power of language whether written or passed down via word of mouth. The legends hold a commonality that span through time and culture. Before the world was connected by technology, these stories held the experiences and wisdom for generations to come. Whether they are steeped in symbolism or ritual, the lessons are still infused and if sensational that only ensures the survival beyond our limited life spans.”

Check ‘Mentor’ here:

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TRELLDOM drop ‘Exit Existence’ as the next single taken from the legendary Norwegians’ forthcoming new full-length: …by the shadows… has been scheduled for release on September 13

TRELLDOM do neither comment on their music nor explain their art.

Listen to ‘Exit Existence’ here:

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Finnish black metal act HEXVESSEL have set their signatures under a multi-album deal with Prophecy Productions.

HEXVESSEL will release their seventh studio full-length via the label and have already been confirmed for this year’s edition of Prophecy Fest.

HEXVESSEL comment: “I am a fiercely independent minded artist and Hexvessel has its own sound, ideology and spiritual path”, vocalist and guitarist Mat ‘Kvohst’ McNerney explains. “I wanted a label that would respect, care for and nurture that wild art spirit. I have known and been friends with Martin Koller, Stefan Belda, and Prophecy for many years. We go back to the origin of Hexvessel and our first live shows abroad and they have always supported my work. I felt we would always be destined to work together in a creative aspect and I am proud to now come under the banner of a label that stands for true beauty in art and creative music.”

Prophecy Productions state: “We are all thrilled to welcome a long-time friend and outstanding artist such as Mat McNerney and Hexvessel to our roster”, the label’s founder Martin Koller writes. “Hexvessel are in many regards the perfect fit for Prophecy Productions as their highly individualistic and ever evolving music is exciting as hard to pin down and limit to only one genre.”

Listen here:

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HEXVESSEL comment on the digital single: “I actually started writing ‘Under The Lake’ as the first song for our return to black metal before the other parts of Polar Veil took shape”, mastermind Mat McNerney reveals. “Although it was always a favourite of mine, ‘Under the Lake’ still remained unfinished. This was partly due to the fact that its theme was neither polar nor set in wintertime, which meant that the song did not sit well with the rest of the album. Instead ‘Under the Lake’ is about summer hikes into the secluded and remote deep fell areas where you will find bottomless clear lakes or ‘saivo’. In Sámi beliefs, saivos (sáiva) were thought to be homes to the deceased as well as various spirits and deities. The Sámi word sáiva was used to refer to a holy lake or fell, and the spirits residing in it. It could also denote a dwelling of the deceased or anything sacred; depending on the context. A saivo, like our own world, was usually believed to exist beyond a hole at the bottom of a lake, with another identical lake upside down. To me, this is a perfect metaphor for looking at the world. There is a deeper meaning out there, if you look hard enough. ‘Under the Lake’… there is another lake. I am glad that this personal favourite of mine finally comes to see the light of day. It happens in the preternatural summer in which we announce our pact with Prophecy!”

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07 AUG 2024 Jaroměř (CZ) Brutal Assault Festival
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LA power trio Jr. Juggernaut returns with the new album Another Big Explosion, on August 9th. The LP marks their first release with Mindpower Records, and the first to feature bassist Noah Green (of L.A.’s The Pretty Flowers).

The album, co-produced by singer/guitarist Mike Williamson drummer Wal Rashidi, is now available for pre-orders on vinyl with merch bundles. The first single "Everything I Touch" is now streaming everywhere:. Hear it here:

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Williamson says, “Like a predator pausing to consider its prey, ‘Everything I Touch’ is about acknowledging one’s own negative personality traits and how they affect the ones they love, but stopping shy of making any kind of change for the better. Man is flawed, so let’s dance to this fact with some chugging, catchy guitar rock.”

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Throughout 2024, and marking three full moons, Harvestman (a.k.a. Steve Von Till) will be presenting his ambitious Triptych project, a three-part album cycle. This album trilogy is a distillation of a unique approach that finds a continuity amongst the fragmented, treating all its myriad musical sources and reference points not as building bricks, but as tuning forks for a collective ancestral resonance, residing in that liminal space between the fundamental and the imaginary, the intrinsic and the speculative.

Today, Harvestman share ‘Galvanized And Torn Open’ from the upcoming Triptych Part Two, which will be released on 21st July via Neurot Recordings to coincide with the Buck Moon. Part One was released on 23rd April on the Pink Moon, and Part Three will be coming on 17th October’s Hunter Moon.

Harvestman has also announced a listening party for Triptych: Part Two on the day before the album’s release. The session will take place via Bandcamp on Saturday, July 20th at 7pm GMT. Save the date and RSVP HERE.

The new visualiser for ‘Galvanized And Torn Open’ was created by Von Till, who writes of the song, “This track was composed entirely around a very simple beat performed by Dave French and I on an old steel water tank that I had accidentally destroyed with my snow plow during the Winter of 2019/2020. The following Spring when rolling it to my truck to take the scrapyard, I heard its rolling thunder and knew it was a piece of percussion magic. Shortly after, Dave came out to Idaho to visit for a while, and we worked together to compose three pieces based on its various sounds. This second piece is centered around giving space to its thunderous low end. A few simple guitar and lines and synth harmonies help give it movement, accentuate its natural breath, and let it guide us on a sonic journey to a few different internal landscapes.”

Watch the video here:

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Photo credit: Kylee Pardick