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Leeds based militant dance-punk duo Polevaulter dropped their debut album ‘Hang Wave’ on Friday to widespread acclaim.

If you haven’t heard it yet, it’s a superb sonic assault of seismically sharp bass and loin-grinding beats, and we wrote about it at length recently.

Now following the album release and ahead of their UK / EU tour starting this week, Polevaulter have unveiled a brand-new video for the album’s latest single ‘Pissed In The Baths’, which you can watch here:

The sonic assault the two create is almost arrogant, fathered from the marriage of seismically sharp bass and loin-grinding beats. The words are quipped and brayed atop the aural landscape. They are boastful, accusing, repellent and inviting, they question and skewer the veins of masculinity, sexuality, the order of things, the music industry and the miserable reality of the North. Polevaulter have toured with JOHN, shared a stage with Thank, Mandy Indiana, Pink Turns Blue, Bambara, A Place To Bury Strangers, VR Sex, and others.

Now, following the album release and ahead of their UK / EU tour starting this week, Polevaulter have unveiled a brand new video for the album’s latest single ‘Pissed In The Baths’.

On writing the track, Polevaulter’s Jon Franz explains; Pissed In The Baths came about from Dan’s chorus riff which he just pulled out of thin air, we made the verses more straight and got it to swing with my delay. I wrote the lyrics pretty quickly on a bus to the doctors, lyrically it’s about manifesting strength and about us setting sail, I tied the chorus into it as those lines came from a while ago about warming oceans and rising sea levels, it all got glued together.”

The result is a cacophonous injection of climate change activism, brimming with hypnotic beats and thick fuzzy bass and glossed in a coat of sharp unnerving darkness. Chaotic and smashing you in the face with its tidal wave of full-on noise and addictive shouted refrains, Polevaulter are not holding any punches with ‘Pissed In The Baths’ as they continue on their bulldozer-like mission to tear up boundaries.

Debut Polevaulter album ‘Hang Wave’, is a hard-hitting dark and fiercely off-kilter slab of awesome sickly noise alongside baritone-led lyricism acerbic, vitriolic and intense throughout, raising eyebrows and dropping jaws. The album features recent hits like ‘Trend’ and newly released single ‘Violently Ill’ which Polevaulter’s Jon Franz explains- has more sparse vocals than most of our tracks, gives our music a chance to shine. Its maybe my favourite song on the album.” Other tracks like ‘Pissed In The Baths’, ‘Mint Condition’ and ‘Mia Goth Made Me Do It’ all stand out in what is essentially an absolute mind melting juggernaut of a punk electro dance record for 2024, which lays down the gauntlet from a studio perspective alongside Polevaulter’s diligent process to earnestly take the title of ‘hardest working band in showbusiness’.

Polevaulter weren’t always a duo though as Jon Franz recalls, “We were steaming along as a post-punk band with various noise elements and then lost some members over covid, but me and Dan wanted to keep going. We thought about starting a new band, but we felt that this still had legs. Ultimately, it’s not that different, me and Dan did most of the composition, and we’ve got a clear vision on what we want to do. After touring last year as a two-piece, figuring out whether we could even do it, we realised there’s definitely no reason to stop – and it’s definitely getting better every time we have a round of gigs. I like not carrying instruments around – that’s quite nice. Although, having said that, we’re a duo now and we have more amps, which is weird. Dan has three amps now, and I have two.”

The album was co-produced by longtime friend and artist Shaene Hunter which straddles confidently atop several themes, to which Jon Franz says, “This being our first album or our maiden voyage, I dunno why, but I like a lot of nautical terminology and see that kind of visual imagery when this album was being made. I also write a lot of lyrics about things that directly affect me, like my masculinity, my mind, about being tough and overly arrogant to sell the image of us we’ve created. We have a lot of reference points that I work in, and since we’ve become a two piece, I think there is a lot more depth to everything we do now. We’ve made ‘Hang Wave’ because it’s about time we made this kind of a statement about who we are, what we want to do and what we sound like after multiple line-up changes and situations slowed the progress me and Dan were desperate to make. Since we’ve been a two piece, we’ve got far more done, and we both feel really proud of this album, and we feel strongly that it will do what we need it to do.”

Polevaulter recently performed their debut album on repeat for 8 hours straight via a livestream to raise funds for the Gaza Sunbirds, a para cycling team based in the Gaza Strip. The team is currently providing emergency food parcels and aid to families sheltering around the Gaza Strip. Watch the livestream back here:

– And to donate visit: https://www.justgiving.com/page/polevaulterforgazasunbirds

Polevaulter will tour the UK and EU as follows:

Jan 31st – The Fenton, Leeds – Album launch

Feb 2nd – Hatch, Sheffield

Feb 3rd – Little Buildings, Newcastle

Feb 6th – New Adelphi, Hull

Feb 7th – The Lounge, Manchester

Feb 8th – Old Blue Last, London

Feb 9th – Bear Cave, Bournemouth w/ JOHN

Feb 10th – Craufurd Arms, Milton Keynes w/ JOHN

Feb 13th – DAda, Toulouse, France

Feb 14th – TBA, France

Feb 15th – Le Lezard, France

Feb 16th – Melody Maker, Rennes, France

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The members of MISSILES are no new kids on the block. Coming from punk, rock, and metal, as well as surf and rather diverse backgrounds, they all answered to the call of their good friend Gabriel Forslund – sincerely interested in doing something new and exciting together.

The band’s trajectory began with a 7" single released by the Swedish label Fetish in 2016. Initially viewed as a project, MISSILES have organically evolved into a fully dedicated band with a laser-guided focus, causing shock waves in the underground with their jet-fuel genre-clash. Combining abandoned sounds with new inventions on Weaponize Tomorrow, MISSILES promises to both pat you on the head and stab you in the back, delivering a unique blend of post-punk with a touch of goth rock.

MISSILES claim their debut is a one-of-a-kind album, truly a loved bastard. Weaponize Tomorrow will appeal to those who enjoyed the certain “je ne sais quoi” found in the New Wave movement, a line of thought that is liberating to hear today when artists go to the bank with a genre description. MISSILES couldn’t be bothered; it’s rock, it’s pop, its punk, it’s je ne sais quoi.

Hard to pin down, but undeniable to freak out to, Weaponize Tomorrow is a high yield blast wave that will leave MISSILES hot on the tongues of those looking for a sudden and dramatic, incendiary kick. A gut smashing future shock that will resonate across diverse musical landscapes, Weaponize Tomorrow will be the perfect atomic cocktail for fans of Wipers, Dead Moon, The Birthday Party, The Gun Club and even modern iconoclasts Molchat Doma and Beastmilk.

Their inaugural album, Weaponize Tomorrow is out on May 10, 2024, under the banner of Svart Records. Witness the album’s opening track ‘Dead Summer Moon’ here:

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Credit: Johan Snell

Farhood Nik and Anis Oveisi have reunited to form a new electronic group called Delusive Relics. After touring internationally with the band they had in China, Iran, Turkey, France and USA. Farhood reignited his love for electronic music and finally followed his childhood dream of being an electronic artist Delusive Relics describe their music as a culmination of genres such as Synthpop, Industrial, EBM and Electronic Rock and are inspired by artists such as Depeche Mode, Massive Attack, NIN and Tangerine Dream.

Their reminiscent love for older forms of electronic music allow for them to create music in a style that is a breath of fresh air in today’s electronic scene. Delusive Relics’ 2018 debut went off with a bang as they released their single ‘A Woman’s Diary’, the first in an 11-track series titled ‘Chaotic Notions’ was release in February 2019. ‘A Woman’s Diary’ has already been broadcasted on MTV and VH1 and racking up thousands for views on YouTube. Delusive Relics pride themselves on addressing taboo issues with their music too as they dedicated their debut song to gender equality.

In 2019, Delusive Relics was nominated to New England Music Award as Best Band from New Hampshire. The band released the "Blind Owl" album in 2021, They are currently working on an EP called "Mycelium" which is set release later in 2024.

Watch ‘Fairy Ring’ here:

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CNTS are back!

The noisy punk band from Los Angeles, CA are back with their second album release for Ipecac Recordings, Thoughts & Prayers (29th March). Pre order/pre save here.

The band features guitarist and producer Mike Crain (Dead Cross, Retox, Festival Of Dead Deer), drummer Kevin Avery (Retox, Planet B) and vocalist Matt Cronk (Qui).

Today, they share a first taste of their second album, the track ‘Smart Mouth’.

Watch the video here:

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Following a devastating car accident in which frontman Matt Cronk lost his vocal cord – couldn’t speak, let alone sing – the band thought they might have to call it a day. Then against the predictions of his doctors, Cronk’s injured vocal cord began to heal and within two months his voice returned, as did CNTS.

“We got together and ran through a song and it sounded good.  We kept playing and my voice held up, sounded cool, and we all felt good playing together.  It was clear immediately that we could do it again, that we’d really missed playing together and we wanted to do it.” says Cronk. “Personally, the experience was a significant marker in my recovery. I got a little teary after that first song.”

Reinvigorated by Cronk’s recovery, CNTS spent the rest of the year hard at work on their new record, Thoughts & Prayers, the title inspired by the banality of our collective reaction to crises. With a great deal of inspiration from their recent challenges, CNTS have channeled several years of frustration and hardship into a well articulated and aggressive statement. Songs such as the aforementioned “Smart Mouth,” and “Thoughts & Prayers,” chronicle Cronk’s pain and anger throughout his various injuries and subsequent recovery. “I Won’t Work For You,” and “Eating You Alive,” deal with the inequity inherent in modern life. “For A Good Time (Don’t Call Her)” is a screed about the age-old theme of fighting with one’s romantic partner.

Guitarist Michael Crain adds, “I really wanted to have SONGS on this record. Hooks. Choruses. Shit I listen to. In all times of confusion or indecision during the making of this album we’d stop and ask ourselves… What would AC/DC do?”

Equal parts catharsis and blood-letting, CNTS as a live entity is an unapologetic display of rage and sex, of belligerence and contempt, a warm gob of spit in the eye, all done with a sarcastic smile.

The future belongs to CNTS.

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Toronto tech death band Apogean has unveiled the third single, ‘Hueman (The Pleasure of Burn),’ off their debut record, Cyberstrictive, slated for 08 March 2024 via The Artisan Era physically (vinyl, CD) and digitally. The track, along with its accompanying music video, contributes to the album’s core theme of exposing the dark side of technology and digital poisoning by painting a dystopian picture of Blue LED Light Fallout.

Apogean States: “‘Hueman (The Pleasure of Burn)’ tackles the aftermath of a lifetime of exposure to blue LED light. Describing the physical ailments and the effects of poisonous photoradiation on the human populace, this song and video serve as a metaphoric representation of what awaits a generation plugged into cyberspace. Musically, this piece marks a turn towards adding more black metal elements to our music. This allows us to use more atmospheric choruses and expand the depth of feeling that we can provide artistically.”

Watch the video here:

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Apogean is a five-piece band from Toronto, Ontario, seeking to transcend metal’s traditional realms with their musical machinations. Drawing inspiration from a broad spectrum of artistic influences, this Canadian ensemble is set to embark on an unending journey, exploring the intersections of progressive metal, technical death, deathcore, and blackened death, positioning themselves at the forefront of heavy music’s ever-evolving landscape.

Despite their recent formation, Apogean features members bringing years of honed skills, diverse collaborations across genres, endorsements from leading musical instrument brands, and notable ventures into video game collaborations and licensing original compositions featured on ESPN. Their debut EP, Into Madness, was released in June 2021 through Blood Blast distribution, with mixing and mastering from renowned metal producer Zack Ohren (The Faceless, All Shall Perish, Immolation, etc.).
Cyberstrictive, the debut album, is Apogean’s first venture with the new vocalist Mac Smith, known for his involvement in various projects and recent stint as the live vocalist for Decrepit Birth. Beyond his vocal responsibilities, Mac, with a background in managing notable metal bands, also independently oversees the management of Apogean.

Across 10 songs, Cyberstrictive discloses the dark aspects of technology, taking a broader look at its impact on our minds, bodies, and souls. Drawing significant inspiration from Ray Bradbury’s Fahrenheit 451 and echoing the dystopian excerpts of George Orwell’s 1984, the album explores the hazards of modern technology, covering risks such as sensory damage, psychological trauma, desensitization, information paradoxes, predatory practices targeting children, addiction complexities, and the erosion of creativity. Ultimately, the album culminates in a reflection on overarching manipulation and concludes by addressing the burdensome aspects of technology, employing wordplay and metaphor to illustrate the overwhelming drawbacks outweighing the benefits in the modern digital world.

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No preamble, no hype needed – just listen, because it’s ace.

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Ahead of the release of their debut collaborative album Orchards of a Futile Heaven, out February 23rd, The Body & Dis Fig share potent, affecting new single ‘Dissent, Shame.’

The track’s devastating force lies beyond pure noise or abrasive textures, evoking weighty emotions with a minimalist drone dirge that gradually builds into an enchanting choral passage. Suffused with a raw vulnerability and a longing for catharsis, Dis Fig’s voice searches for escape in the midst of oppressive atmospheres as if determined to find relief from guilt. She elaborates on the track: “It’s about the act of abandonment, and the guilt and shame that comes with it. Running away from something, seemingly towards your own safety, but as your conscience picks you apart the entire way.”

Orchards of a Futile Heaven affirms The Body & Dis Fig as skilled sound sculptors who have an exceptional ability to make deeply affecting music, bracing as it is touching, harrowing as it is awe-inspiring. While sampling has long been essential to each, The Body & Dis Fig deftly meld their differing approaches to sampling and creating extreme sounds until the boundaries are entirely blurred. The group transmute weighty emotions into bristling sonic atmospheres, buoyed by Dis Fig’s ethereal vocals. She elaborates: “I love the balance. You could never connect to just a machine as well as you could a human. Which is why the combination is so potent for me. I don’t want to hide. I think nothing connects you more empathetically than another human’s voice.”

The Body & Dis Fig plan to tour throughout the US, UK, and Europe in 2024. Dates and details incoming soon.

Listen to ‘Dissent, Shame’ here:

The Body & Dis Fig are a natural pair. Each has pioneered instantly recognisable worlds of sound all their own that defy any traditional categorisations or boundaries. The Body, Lee Buford and Chip King, continually challenge any conventional conception of metal, collaborating with myriad artists and from the folk-leanings of their work with BIG|BRAVE to their groundbreaking work with the Assembly of Light Choir to the intensity of their collaborations with OAA or Thou.

Dis Fig, aka Felicia Chen, pushes electronic music into dark extremes, from warped DJ sets to avant production, from being a member of Tianzhuo Chen’s performance-art series TRANCE to being the vocalist with The Bug. The Body and Dis Fig find kinship in reimagining what it means to make “heavy music”. Their debut Orchards of a Futile Heaven is the perfect synthesis of two forces, twisting melodicism and intoxicating rhythms, layering a dense miasma of distortion with intense beats and a soaring voice clawing its way towards absolution.

The two found kinship in their desire to find new avenues to make heavy music that looked beyond tropes of metal and electronic music by merging the two. “I always wanted the heavier stuff but I also didn’t really like heavier guitar music,” says Buford. “None of it really felt quite heavy enough to me. A human can’t be as heavy as a machine.”

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NYC-based electronic punk band LIP CRITIC, who are no strangers to Aural Aggro, have shared a new song and video, ‘The Heart’.

They may have switched labels and stepped things up a bit, but you couldn’t exactly say they’ve sold out.

Watch the video here:

The video was filmed in a barn in Roxbury, NY, and follows their Partisan debut single ‘It’s The Magic’, which earned them praise from Rolling Stone (‘Song You Need To Know’), NME (“on their way to becoming the next great NYC band”), Paste (“an apocalyptic wasteland of NYC’s best underground punk”) and more.

‘The Heart’ is a high-speed train of delirious percussion (two drummers!) and wonderfully demented electronic samples, weaving in and out of frontman Bret Kaser’s lyrics that inquire into the state of spiritual marketplace and the isolating results of consumption. It’s an exhilarating and singular piece of hardcore electronic punk, with Lip Critic using a broad palette of only the most extreme hues of emotion, each marked by a distinctive danceable mania.

Fresh off dates with Screaming Females for their last-ever tour and shows in London and Pitchfork Paris, Lip Critic will tour extensively in 2024. Their first-ever headline tour will kick off this summer. Prior to that, the band will play a special hometown show on 22 Feb at Elsewhere (Zone 1) in Brooklyn and stop at SXSW for a string of shows.

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Credit: Justin Villar

Aural Aggro faves Hammok follow a brace a monster EPs – Jumping/Dancing/Fighting and  Now I Know with a new single, with ‘Seance’ providing the latest taste of their upcoming debut album look how long lasting everything is moving for one. The single is served up with an explosive one-take music video produced in the childhood home of vocalist Tobias Maxwell Osland.

‘Seance’ shows the band’s most direct side yet. The song barely rounds out two and a half minutes and at that time gives you a masterclass in hardcore chorus flair. The soundscape is controlled by a constantly forward-propelling drum machine and a metallic synth bass where vocalist Tobias Osland is given plenty of room to dominate the listener’s eardrum.

With fragmented images inspired by horror films and occult traditions, ‘Seance’ brings out a deeply dark and disturbing reality where the protagonist finds themselves in their worst nightmare. A feeling of being haunted or persecuted, a life where your reality is terrorized. Where it all began, in a SEANCE.

Check it here:

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AUSTERE have revealed ‘Faded Ghost’ as the first single taken from the black metal duo’s forthcoming new album Beneath the Threshold. The band from Wollongong in Australia’s east coast state New South Wales will release their fourth full-length on April 5, 2023.

Watch the video here:

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AUSTERE comment: “Initially, ‘Faded Ghost’ was written as a ‘breather’ for the record, but while we were working at the details during its creation, the song evolved into what we now consider to be the second part of ‘Just for a Moment…’ – an older song of ours”, guitarist and singer Mitchell Keepin explains on behalf of the duo. “The material featured on Beneath the Threshold was always meant to be more riff-based and driving, while we were also determined to keep our multi-layered guitar and keyboard parts. In order to retain the feel of an open, atmospheric song, we structured ‘Faded Ghost’ in more or less the same manner asJust for a Moment.…’ Once again, we employed clean vocals and additional harmonies for the entire track. Lyrically, we are delving into an obscure and dark subject, with all personal elements seemingly removed. You are invited to speculate what it’s about.”

Beneath the Threshold represents AUSTERE in the here and now. With their fourth full-length the Australians have taken a long step into the present and embrace their musical future in a way that might have been expected after a 13-year hiatus.

When their voluntary break ended with the release of Corrosion of Hearts in 2023, the duo consisting of Mitchell Keepin and Tim Yatras returned with a more mature and defined version of their own particular style of black metal, which reflected both their greater experience and evolution as artists. Both musicians had been active in other bands during the hiatus of AUSTERE.

While Corrosion of Hearts formed the bridge between the band’s musical history and the artists’ fresh vision, Beneath the Threshold takes a leap of expression. AUSTERE’s sonic heritage is still alive. Even though their roots in early Norse black metal and its depressive Scandinavian offspring continue to shine through, it is also apparent that the Australians have audibly strengthened their emotional expressiveness and previous blackgaze leanings beyond the point where a stylistic shift towards the latter needs to be diagnosed.

On Beneath the Threshold, AUSTERE offer more hooks and melodic harmonies to complement the multi-layered, harsh and dreamlike guitar textures expertly woven by Keepin with the aid of Yatras’ emotive drumming. This development is emphasised by a suitable production that lets each of the elements shine and does not try to blur the riffs.

AUSTERE evolved out of a solo-project run by multi-instrumentalist and singer Desolate alias Mitchell Keepin who joined forces with drummer, keyboard player, and vocalist Sorrow aka Tim Yatras in 2005. Signature frost-bitten guitars, alongside high-pitched screams and wails marked AUSTERE’s debut album Withering Illusions and Desolation (2007) as well as the two split-releases Only the Wind Remembers / Ending the Circle of Life (with LYRINX, 2008) and Bleak… (with ISOLATION, 2008), which AUSTERE reissued partly on the EP Only the Wind Remembers (2008). The sophomore album To Lay like Old Ashes  followed in 2009 and still featured a raw sound but with a refined production.

The same year, AUSTERE entered a voluntary hiatus until activities were resumed in 2021. During their absence the number of followers continued to grow through word of mouth.

For AUSTERE the stars under the Southern Cross have newly aligned and the harsh majestic beauty of Beneath the Threshold calls out to everyone to raise their eyes up to the night sky around the globe and behold the finally unleashed Australian band in its full musical glory.

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