Archive for the ‘Recommended Streams and Videos’ Category

German post–modern noise rock ensemble ZAHN present their second full–length album Adria, an 80–minute–long journey into the heart of classic European holiday culture. Adria offers a bold escape from your daily life through technicolor transmissions of post–rock, krautrock, dark jazz, noise–rock, post–punk and electronic music. Influenced by the likes of TRANS AM, THE JESUS LIZARD, METZ, THE MELVINS and TORTOISE "Adria" is a compelling soundtrack to a 1980’s anti–utopian road movie!

‘Adria’ was mixed and mastered by Magnus Lindberg (RUSSIAN CIRCLES, CULT OF LUNA) at his Stockholm studio. The cover artwork, based around photographs by Lupus Lindemann(KADAVAR), was designed by Fabian Bremer (RADARE, AUA).

Adria is a testament to the incredible power of this trio and its ability to effortlessly ensnare your attention for the duration of a ten minute–song of purely instrumental music. Over the course of the albums 11 tracks ZAHN emerge as a form of PINK FLOYD of noise rock, relentlessly pushing the envelope on what’s already accomplished while remaining tasteful and tasty at every corner.

In advance of this, they’ve released a video for ‘Apricot’.

The video for ‘Apricot’ was directed by N. Hildebrandt, bringing ZAHN’s unique vision to life. The track was recorded by Peter Voigtmann at Die Mühle Studios, Gyhum, and expertly mixed and mastered by Magnus Lindberg at Redmount Studios, Stockholm.

ZAHN comments: "Being in a band often entails profuse sweating, whether it’s under the stage lights, lifting heavy gear, sitting on a sweltering bus without air conditioning or the anxiety-induced perspiration before a performance. For many rockers, being intoxicated is a vital element of a show. With ZAHN we’re approaching this in a different way – we’re pursuing an altered state of consciousness by pushing ourselves to the limit in a sauna – Apricot is a sober yet sensory and psychedelic sauna experience.”

Watch the video now:

‘Dead Air’ is the lead single from ferocious noise rock duo Modern Technology’s new full-length Conditions of Worth.

‘Dead Air’ kicks into life with a dense smog-like atmosphere, engulfing the listener in a battering of hard-hitting drums, fuzzed out bass riffs and gruff, acidic yelling. The song’s chorus “IS THIS HOW THE WORLD ENDS!?” becomes a cautionary mantra as the duo reminisce about good times gone, trudging on through a world that has become increasingly scarier, more dangerous, inhospitable and absurd. Dead Air is a sonic beatdown forged from chaos, restlessness and hostility concerning our impending shared future. The goal for the Dead Air music video was simple – to capture the rawness and visceral live energy of Modern Technology’s celebrated live performances.

Shot in exquisite black and white, director Chris Purdie favours simplicity and authenticity, stripping everything back and placing the duo and their live gear into a proverbial blank space, captured in minimal unbroken takes. Even devoid of an audience feeding back their energy, the heavy pair showcase the sweat, fury and unyielding power that makes their exhilarating shows so compelling. With this song and much of the album being written and demoed during the pandemic, the band’s on screen solitude echoes the conditions in which the album was conceived. The visible anguish on the faces of band members Chris Clarke and Owen Gildersleeve mirror their shared concerns about social unrest, austerity, the climate crisis, and the feelings of fear, hopelessness and anger that came from such turbulent times – the very themes that make up Conditions Of Worth.

Director Chris Purdie, who has previously worked on seminal videos for the likes of Oxbow and AVSA, says of this project “I knew from the first time I heard Modern Technology that I wanted to work with them on a video like this. Visually I felt we shared similar aesthetics, so I pitched to them the idea of a RIFF.Underground-style performance video, minus the trappings of the live environment. When the band explained the meaning behind the song to me, it became clear that we were all on the same page so the visual design came together quickly. Having that extra freedom to explore meant we could really go to town with extreme camera angles, fog, and especially light placement.”

Watch the video here:

Operating in the same dark and subversive corners where Fever Ray, Jenny Hval or Bjork may find solace, ‘Flesh it Out’ is a track that arrives shrouded in a mystique all its own, with a strident confidence to defy conventions.

Written while gazing into the flickering flames of an open fire in her current base of Nashville, Proteins of Magic found herself caught in the daze of a flashback in which she had seen a young couple openly having sex during the day on the beach in Aotearoa / New Zealand. As Kelly Steven AKA Proteins of Magic remembers:

“The hope and the idealism, the youthful sheen on their skin, being unaware of what life lies ahead for them. That is what triggered the start of the lyrical process. I think the song lays out an emotionally treacherous life for them, a day in the life spanning 10 years and 2min52 seconds.”

Surrounding surrealistic lyrics with hex-like incantations, tribal rhythms, sinister synthesiser trills, and haunting woodwind sections, PoM creates an unsettling ambience and intimidating presence to send shivers. “If I give you a smile will you resuscitate me?” she coos through gritted teeth. Building to a hypnotic climax, ‘Flesh It Out’ couples brooding instrumentals with a litany of foreboding vocal textures, each representing a disjointed voice of differing lost souls. Foreshadowing a bleak future, these spectres emerge to erode the wide eyed innocence of youth and replace it with existential questions and hollow false promises.

As its title may suggest, ‘Flesh It Out’ was born from within a jam to evoke a spirit that is discernibly raw and immediate, before being layered and moulded repeatedly to find its current recorded form. The finished song spawns, regenerates and severs over its three-minute course, summoning a sense of self determination out of the chaos.

Directed by Ranger Garrett, ‘Flesh It Out’ arrives with an art-house style official video intended to capture a ‘day in the life’ in Nashville. Showing another side of the fluorescent glitz and glamour of the music city, it was shot around various alternative landmarks using a vintage Sony PMW-F3 and Sony Handycam DCR-SX45, including footage of the Dragon Park that was featured in Harmony Korine’s Gummo.

“I liked the idea of it being lo-fi and raw, and I wanted the filming to be like the recording process,” says Kelly of the video. “Less formulated. The cameras were actually literally held together with tape and things were falling apart. I wanted it to be a ‘day in the life’ in Nashville, in a manic, irregular, fractured way.”

Watch the video here:

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Credit: Chris Cuffaro

French/Irish alternative rock-metal outfit MOLYBARON, known for their energetic, hard-hitting sound, are set to release their new album Something Ominous in just 2 weeks, on the 15th of September via InsideOutMusic/Sony Music.

Today, MOLYBARON are pleased to share the epic 4th single from the album – ‘Reality Show,’ a high-energy track, fusing driving guitars and bass with soaring synths, alongside a catchy memorable vocal melody.  

You can check out the video here:

Formed in Paris, early 2015, by Dublin-born singer/guitarist Gary Kelly, MOLYBARON have become one of the most talked-about bands in the modern metal scene.

Fusing together elements of alt rock, hard rock, and modern metal to create an eclectic, sonically dynamic experience, MOLYBARON deliver an intensely raw, original musical signature, appealing to fans across the genres.

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Photo Credit: Teddy-Masson

Mumbai deathgrind band Gutslit explores the darkest impulses of the notorious serial killer Jeffrey Dahmer in the music video for ‘Altar of Putridity,’ a track that served as the third single from their new full-length, Carnal. The band celebrated the album’s release by performing at Obscene Extreme 2023 on 07 July, aligning with the official release date.

Of the track, the band states: “The composition at hand delves into the intricate depths of human depravity, drawing inspiration from the haunting figure of Jeffrey Dahmer, an embodiment of moral corruption and an indelible legend within the annals of serial killers. The magnitude of the devastation, carnage, and unfathomable tragedy he wrought in his wake reverberates throughout history, leaving an indelible mark on the collective consciousness.

“This poignant musical creation strives to encapsulate the very essence of Dahmer’s unremorseful and nonchalant disposition, a chilling manifestation of his contempt for the sanctity of life. Moreover, it seeks to shed light on the shocking reality of his perverse creativity, as he callously constructed an altar, an unholy sanctuary, fashioned from the remnants of his hapless victims. In this ghastly act, Dahmer, consumed by a godlike delusion, dared to elevate himself above mortal boundaries, cultivating a sense of invincibility and untouchability.

“Through haunting melodies and lyrical narratives, the song weaves a somber tapestry that invites contemplation on the depths of human darkness and the disturbing allure of those who transgress the very foundations of our moral fabric. It serves as a sobering reminder of the eternal struggle between good and evil, and the devastating consequences that arise when evil is left unchecked.”

Watch the video here:

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Swiss blackened doom-metal alchemists Rorcal have just shared a music video for a brand new track off the band’s sixth album titled Silence, which is set to be released on CD, vinyl and digitally on Sept 29 via Hummus Records and on cassete via Sludgelord Records.

The follow-up to their critically acclaimed 2019’s Muladona album was recorded live at Blend Studio by Stéphane Kroug, edited by Jean-Philippe Schopfer at Yellow Recordings, mixed by Raphael Bovey at My Room Studio and mastered by Lad Agabekov at Caduceus Studio and sees the five-piece group masterly merging elements of black, doom, sludge, post-metal resulting in an unique sound that’s as adventurous as it is horrifying and unyielding.

Since its inception in 2006, Rorcal has always sought pitch black darkness. The means to reach it have been diverse but share one constant: extremity. From the insane heaviness of their debuts, to the blasting dissonant malevolence they display on their recent albums, their take on doom, black metal, industrial haunting soundscapes, drone and noise have all shown a strong and unique musical identity.

After five full-lengths and numerous collaborative splits, the band is about to release Silence, a new album on which the five musicians prove their constant dedication to the dark arts.

Watch the video here:

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Welsh disco-punkers Stickman announce their debut album Cyanide Smile. Due to release this Autumn, the record shares the flamboyant fruits of their summer touring & studio sessions. 

Described as ‘disco punk with a touch of mid-life crisis’ their sound is unmistakable.  Essentially anthemic alt.punk, their craft effortlessly switches up genres, complete with soaring choruses and dynamic melodies.

Lead-off single ‘My Genome’ is the first offering from the eagerly anticipated record,  releasing alongside their geometric music video, shot in 6:4. Watch the vid here:

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The debut album ‘Cyanide Smile’ is due to release 20th October via Criminal Records.

For Fans Of: The Darkness, Lawnmower Deth, Mr Bungle, Electric Six, Massive Wagons, Royal Republic

UPCOMING DATES

26th Aug – Carmarthen Music Festival, CWRW (Headliner)
2nd Sept – Frog and fiddle, Cheltenham w/BrokenJaw 
9th Sept – Hangar 18 w/Stop Stop 
20th October – EJ’s Llanelli (Headliner)
17th November – EJ’s Llanelli (Stickman’s Christmas bash)
26th May – Breaking Bands Festival (Headliner)

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KEN mode has released ‘These Wires,’ the latest single from its upcoming album, VOID.

The sequel to last year’s acclaimed NULL album, VOID will be released September 22nd on Artoffact Records.

Stream ‘These Wires’ here:

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KEN mode frontman Jesse Matthewson gives this statement about the new song: "Why would anything feel right again? Do you get the sense that a lot of people have been fundamentally damaged by the pandemic? The psychological fallout of this event is going to be seen for years to come, and this is its anthem."

An 8-minute epic, building from an icy lament into a deluge of distress, "These Wires" is perhaps the song that best expresses VOID’s story of sorrow and dismay. Centered around a simple piano melody, courtesy of newest member Kathryn Kerr, and Matthewson’s fragile spoken words, the song erupts into thunderous rhythms, propelled by the machine-like interplay of bassist Skot Hamilton and Jesse’s brother Shane Matthewson on drums. Jesse’s pleas hit with all the directness of Henry Rollins (whose "KEN mode" acronym, described in his book, Get in the Van, provided the Matthewsons with the inspiration for their band’s name, almost 25 years ago) as he belts out the song’s crucial six-word phrase: "Why would anything feel right again?"

Released in September of last year, KEN mode’s eighth album, NULL, was inspired by the bleakest days of the COVID-19 pandemic and saw the band create some of the rawest, harshest material of its career. The album also marked the official debut of multi-instrumentalist Kerr, who helped install a new palette of No Wave and industrial-tinged sounds into the band’s trademark mix of metallic hardcore and noise rock.

Amongst other honors, NULL earned KEN mode the front cover of Decibel Magazine, wherein the music was described as "evocative, guttural, Howl-esque poetry laid over frantic, Godflesh-ian soundscapes." A review from Stereogum stated: "NULL is KEN mode at their peak as composers."

Arriving exactly one year after NULL, VOID is KEN mode’s ninth full-length album. More than merely the follow-up to NULL, VOID is a companion to that album, inspired by the same events, and written and recorded within the same time frame. Where NULL embodied the chaos and shock of the early days of the pandemic, VOID is the sound of disappointment and sadness that followed.

Upon VOID’s release in September, KEN mode will embark on a tour of Europe, including dates with Fange and Lingua Ignota, followed by US dates with Baroness and a slot on the next Decibel Metal & Beer Fest in Denver.

Tour:

Sep 24 – Porto, PT @ Amplifest

Sep 26 – Rouen, FR @ Le 106 w/Fange

Sep 27 – Lille, FR @ L’Aéronef w/Fange

Sep 28 – Paris, FR @ Point Ephémère w/Fange

Sep 29 – Angoulême, FR @ La Nef w/Fange

Sep 30 – Clermont-Ferrand, FR @ La Coopérative de Mai w/Fange

Oct 1 – Yverdon-Les-Bains, CH @ L’Amalgame

Oct 2 – Karlsruhe, DE @ Jubez w/Fange

Oct 3 – Dresden, DE @ Ostpol w/Fange

Oct 4 – Wroclaw, PL @ Klub Łącznik w/Fange

Oct 5 – Berlin, DE @ Urban Spree w/Fange

Oct 7 – Aalborg, DK @ 1000 Fryd w/Fange

Oct 8 – Aarhus, DK @ HeadQuarters w/Fange

Oct 10 – Liege, BE @ La Zone w/Fange

Oct 11 – Haarlem, NL @ Patronaat w/Fange

Oct 12 – Bruxelles, BE @ Le Botanique w/Fange

Oct 13 – Brighton, UK @ The Hope & Ruin

Oct 14 – London, UK @ Islington Assembly Hall w/Lingua Ignota

Oct 31 – Portland, OR @ Hawthorne Theatre w/Baroness

Nov 3 – Seattle, WA @ Crocodile w/Baroness

Nov 4 – Vancouver, BC @ Rickshaw Theatre w/Baroness

Nov 6 – Edmonton, AB @ Union Hall w/Baroness

Nov 7 – Calgary, AB @ The Palace Theatre w/Baroness

Nov 10 – Saskatoon, SK @ Amigos Cantina

Nov 11 – Winnipeg, MB @ Good Will Social Club w/Tunic

Dec 1 – Denver, CO @ Decibel Metal & Beer Festival

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Photo: Brenna Faris Photography

With just over one week to go before their tour commences, Oxbow have shared the video/track ‘The Night The Room Started Burning’- directed by Chris Purdie. The track appears on their new album, Love’s Holiday, out now via Ipecac Recordings.

About the video and track, Eugene S. Robinson says,

“Lyrically it’s a purposeful take on Johnny Hartman’s ‘The Day the World Stopped Turning’ but instead of the power of love to alter our proximal relationships it’s, in my mind, all about the incendiary nature of suchlike love. It fulfils specifically because it fills you with that which burns. And that’s something that absolutely no one slow walks.”

Niko Wenner comments, "I began the music for ‘The Night The Room Started Burning’ on my fathers old folk/classical nylon string guitar, a tune to amuse my young son. My mother played clarinet in high school but it was my father who took me to see my first string quartet concert in Seattle when I was a kid, and who inspired my love for classical music. Including, as an influence heard in this song, baroque period music. “What’s not to like about baroque music? You can dance to it, it’s got a beat!”

Wenner continues, "And you can hear the steady dance rhythm in …Room Burning. And a bit of baroque style in the way the guitar line sounds like two voices in a call and response, first higher “bah bah dee bah dee dee,” and the second, lower, answering the first and going down “BAH BAH BAH.” And of course the choir. The elephant in the room here is the guy, baroque composer J.S. Bach, whose name we should never speak in the same breath as our own, from humility, and respect. Enjoy."

Watch the video here:

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UPCOMING TOUR DATES:

Friday, September 01, 2023 UK Glasgow Broadcast
Saturday, September 02, 2023 UK Birmingham Supersonic festival
Sunday, September 03, 2023 UK Leeds Brudenell Social Club
Monday, September 04, 2023 UK Bristol Exchange
Tuesday, September 05, 2023 UK London Studio 9294
Wednesday, September 06, 2023 BE Kortrijk Wilde Westen
Thursday, September 07, 2023 BE Brussels Botanique
Friday, September 08, 2023 NL Nijmegen Merleyn
Saturday, September 09, 2023 LUX Tetange Human’s World festival (free entry)
Sunday, September 10, 2023 DE Bochum Die Trompete
Monday, 11 September 2023 AT Vienna Volkstheatre Rote Bar
Tuesday, 12 September 2023 PL Wroclaw Liverpool
Wednesday, 13 September 2023 PL Warsaw Hydrozagadka
Thursday, 14 September 2023 DE Berlin Roadrunners Paradise
Friday, 15 September 2023 DE Hamburg Hafenklang
Saturday, 16 September 2023 DK Aalborg Lasher fest

US TOUR DATES:

October 20 Philadelphia PA PhilaMOCA

October 21 Portland, ME SPACE

October 22 Brooklyn, NY Elsewhere

November 9 San Francisco, CA Great American Music Hall

November 10 Los Angeles, CA Regent Theatre

November 11 Mesa, AZ Pub Rock

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Photo credit: Phil Sharp

For this follow-up effort to their 2021 debut album Blacken the Skies, the Terminal formula of industrial glam has been updated with ‘more industrial, more glam.’ Mainman Thomas Mark Anthony also makes a strident case for being his genre’s best wordsmith, weaving grand themes of power, zealotry and corruption via complex rhymes and anthemic choruses. Picking up where its predecessor left off in its excoriation of society’s dangerous hypocrites, the very first line on the new record is “How many guns would Jesus buy?” Plato’s Republic provides the album title and theme – that an unjust society is a doomed society and democracy in itself is no defence against demagogues or tyrants – while Anthony’s sonorous baritone is prominent in the mix as he ponders existential themes of religion and mortality.

Compared to the rapid-fire delivery of Blacken The Skies, the new Terminal songs are wider in breadth and depth as well as longer in duration, while experimental influences are evident in the orchestral-inspired title track and in the hard glam of ‘Don’t Be Taken Alive’, which is believed to be the first industrial blues shuffle. The album includes four instrumentals among its thirteen tracks.

The New Republic is dedicated to the late Metropolis Records label founder Dave Heckman.

The soundtrack to a world unbalanced, reeling, spinning out of control and running out of time, Terminal allies industrial music and glam rock with trace quantities of dark techno, synthpop and raw machine recordings. Each of their songs is a broadside against the atrocities of lost humanity and the devastation of our planet.

Terminal is the work of singer, songwriter and multi-instrumentalist Thomas Mark Anthony. A lifelong anti-apartheid and civil rights activist over a life lived in South Africa, Canada and the United States, Anthony is joined by the US-based Terminal Live Unit for his group’s powerful and confrontational live shows.

Check lead single ‘The Sin of the Sanctified’ here:

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