Posts Tagged ‘Lyric Video’

Backxwash, aka Ashanti Mutinta, is a Zambian-Canadian rapper & producer based in Montreal, Quebec. She is most noted for her 2020 Polaris Music Prize-winning album God Has Nothing To Do With This Leave Him Out Of It.

Her work includes a culmination of themes around the intersection between faith, identity, and queerness. The poetry of her lyrics are the beginning of a cathartic healing process in which she is granting herself permission to be angry.

Backxwash’s critically acclaimed trilogy—God Has Nothing to Do With This Leave Him Out of It (2020), I Lie Here Buried With My Rings and My Dresses (2021), and His Happiness Shall Come First Even Though We Are Suffering (2022)—has cemented her as a visionary in experimental hip-hop. The trilogy reflects different points in her life and delves into themes of identity, spirituality, and personal struggle, blending haunting beats with unfiltered, introspective lyricism.

Backxwash emerges from the shadows of her trilogy with Only Dust Remains, a new direction that showcases her evolution into a broader and more diverse sonic landscape. The record details the experience of life and death all occurring at once, while embracing a more melodic and complex soundscape.

Lyrically, the verses on Only Dust Remains are more complex, word-heavy, and poetic. The album touches on themes of mourning, reflection, and hope, exploring them with a sincerity and depth that deepen her storytelling. This is a work that balances light and shadow, crafting a narrative that is as introspective as it is outward-reaching.

Only Dust Remains stands as a testament to Backxwash’s ability to evolve while maintaining the raw emotional power that defines her music. This is an album that demands to be felt as much as heard, inviting listeners to engage deeply with its intricate layers and striking themes.

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SWANS have announced details of their seventeenth studio album, Birthing, due for release on Mute / Young God Records (N America) on 30 May 2025. Birthing will be released on triple vinyl (in a brown chipboard sleeve, double CD (in a brown chipboard digi-pack), and digitally. Initial pressings of the triple vinyl and CD editions will come with a bonus DVD featuring ‘Swans Live 2024 (Rope) The Beggar’, a live concert film directed by Marco Porsia from the last Swans US tour, plus Christopher Nicholson’s documentary from Michael Gira’s solo tour in 2022 entitled I Wonder If I’m Singing What You’re Thinking Me To Sing.

Listen to the first track to be shared, ‘I Am a Tower’ here:

“The material contained in this album was largely developed over the course of a yearlong Swans tour, during 2023 – 2024 (‘The Healers’, ‘I Am a Tower’, ‘Birthing’, ‘Guardian Spirit’, ‘Rope’, and ‘Away’), then recorded and further orchestrated and rearranged in the studio. Two pieces were created and performed in the studio (‘Red Yellow’, ‘The Merge’).

In all cases the material began with me sitting in my office with an acoustic guitar, singing and dreaming about what would become of these skeletal songs. I’m blessed to have such a stellar group of musicians to work with live (listed below), and through improvisation, endless revisions and an intensity of focus in performance (not to mention endurance), over the course of time the music morphed into what you generally hear on this collection.

This album, coupled with the recent live release, Live Rope, constitutes my final foray (as producer / impresario) into the all-consuming sound worlds that have been my obsession for years. We’ll do a final tour in this mode towards the end of 2025, then that’s it.

After that, Swans will continue, so long as I’m able, but in a significantly pared down form. Hints of that direction can be found in a few moments on the current album. In the meantime, my hope is that the music provides a positive and fertile atmosphere in which to dream.” – Michael Gira / Swans

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Swans

Prophecy Productions

Christopher Nosnibor

Ahead of the release if their seventh full-length album, A Pathway to the Moon, Unreqvited, the Canadian blackgaze solo-project of 鬼 (Ghost), has unveiled a new lyric visualiser for ‘Void Essence / Frozen Tears’. While it’s a timely taster for the album it’s also a reminder that singles are something of a rarity nowadays. I can’t help but feel that this is a significant loss. Perhaps not so much for acts like Unreqvited, whose singles are unlikely to garner radio play or drive the same kind of album-buying traction singles would in the 80s or 90s. The Internet has certainly changed our habits when it comes to music consumption, and while one may reasonably argue that the old industry model was a massive con on so many levels, we not longer appreciate the single as we once did. Singles were an art, and not only the kind pitched to radio play, and not only the standalone release which bridged spaces between albums and perhaps indicated a transition for an artist.

While it’s true that singles far too long for radio have been around since living memory (The Orb’s ‘Little Fluffy Clouds’ and ‘Psychonaut’ by Fields of the Nephilim spring to mind, but let’s not forget the songs radio made exceptions for, like ‘Bohemian Rhapsody’ and ‘American Pie’), it’s really only with the advent of the digital stream that ten-minute singles have become commonplace. It is, of course, much easier when terrestrial radio play isn’t on the cards, and fitting a track onto a side of vinyl isn’t something which requires consideration either.

If the demise of the single as we used to know it has one positive, it’s that artists are no longer constrained or limited by these boundaries. You want to release a single track that’s three hours long with no interruptions? No problem. No physical release and probably no audience, but no problem. Anyway. ‘Void Essence / Frozen’ is a single released as a lyric video, as seems to be popular right now. It may not be especial popular with me, but that’s neither here nor there.

According to the press release, ‘UNREQVITED explain: “The final advance track, ‘Void Essence / Frozen’ reveals the causatum of its antecedent, traversing vehemently into the undistinguished”, mastermind 鬼 comments. “Obstreperous yet endowed in euphony, it emblematizes a juncture in the greater odyssey by which it subsists. Redolent of prior opera, it is an ardent offering to the fervent disciple.”’ ‘Explain’ may be a rather generous overstatement, but it’s a bold counteractive stance against the perpetual dumbing down and overt aversion to anything which could feasibly construed as art in mainstream culture in recent years.

Clocking in at nine minutes, ‘Void Essence / Frozen Tears’ is but a brief interlude following ‘The Antimatter’. It’s also something of a contrast to its full-blooded raging guitar assault, with a graceful, chiming guitar. It takes a while for the rapid kick-drumming to hit and propel the guitar, by now soaring high, into the stratosphere.

There is so much detail, so much texture subtly woven into the fabric of this epic, epic composition, and then, around the mid-point, the vocals finally arrive. The screaming anguish is almost submerged in the mix… and then, suddenly, we’re adrift in space, airless. An ambient calm descends for a time, paving the way for the ultimate theatrical climax.

The album is now set for release on February 7, 2025.

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UNREQVITED drop the new lyric video ‘The Antimatter’ as the second single taken from the forthcoming new album A Pathway to the Moon.

UNREQVITED comment: “The next single track, ‘The Antimatter’, is an exploration of chaotic dissonance that transcends the palisade of precedence within its taxonomy”, mastermind 鬼 writes. “A grave tumult that culminates into a disturbed meridian of bedlam and unrest, thereafter dissipating into an apprehensive tranquility as wistful and haunting as a brooding gaze.”

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GRÀB unveil the lyric video ‘Kerkermoasta’ (English ‘dungeon keeper’) as the first single taken from their forthcoming new album Kremess (English: ‘funeral feast’’ German ‘Leichenschmaus’). The sophomore full-length of the Bavarian black metal duo has been scheduled for release on February 21, 2025.

GRÀB comment: “Our first advance single ‘Kerkermoasta’ is probably the most in-your-face track of the album”, vocalist and lyricist Grànt states. “It also shows a wide range of basically everything that makes our sound unique. Some parts remind me of the best days of such bands as the Norwegians Gehenna. There is also a dulcimer that introduces the melody, mid-tempo, blast beats, groove, and a slow ending. On the lyrical side the Bavarian word ‘Kerkermoasta’ literally translates to ‘Dungeon Master’. The dungeon keeper in question is the Grim Reaper himself. In other words: Life creates the doorway, death holds the key.”

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We Are Bodies is the British duo of Dave Pen and Robin Foster. They create anthemic electro-prog soundscapes that combine guitars and electronics with lyrical subjects inspired by love, loss, paranoia and…. robots.

Dave Pen is a south coast-based vocalist and guitarist who is also one half of the alternative/electronic group BirdPen and co-frontman with the experimental trip-rock collective Archive, who have built a huge continental fanbase during three decades of activity that has seen them sell out arenas and achieve significant album chart success in multiple territories.

Based in north-west France since the late 1990s, Robin Foster is a composer, songwriter, producer and multi-instrumentalist with a penchant for creating brooding soundscapes packed with lush cinematic textures, underpinned with his signature guitar sound. He has written scores for award nominated movies, Netflix and Amazon Prime dramas, numerous TV commercials and has released several acclaimed solo records with guest vocalists that have included Pen.

The duo began collaborating in 2011 and released an eponymous debut as We Are Bodies in 2015. Its long-awaited follow-up, the genesis of The Love Was All We Had was as a pandemic project with ideas emailed back and forth across the Channel themed around what was occurring in the world at that time. Its focus then switched to the present, with the lust for power and war taking centre stage. The album finally took shape, its songs primarily concerned with love and loss, both on a personal level and for mankind as a whole.

The music is a mixture of the stridently luxurious and atmospheric, with Pen’s lyrical subject matter describing love from different perspectives. This includes new single ‘Dancing In The Midnight Howl’, a song about a pair of lovers torn apart, with the male protagonist having a recurring image in his mind of his partner dancing and longing to escape the mess of modern society to be with her. It follows ‘Lost’, an upbeat earworm about a twisted relationship that was released in early October.

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You may not require any introduction to the members of ROACH SQUAD, or at least one or two of the band. Needless to say, Hugo Mudie (The Sainte Catherines), Frankie Stubbs (Leatherface), Graeme Philliskirk (Leatherface) have all graced the Paradise Gutters around the Punk Rock world for some time. Joining them is Alex Keane (The Murderburgers), along with another local Sunderland Lad, Sim Robson.

As with many of the members previous works, a DIY approach to writing and recording their new album was taken. The bulk of the recording took place at their own Rocket Studios in Sunderland, UK with the exception of Hugo laying down the vocals at Mixart Studios, Montreal (Quebec, Canada).

Little Rocket Records are absolutely bouncing at releasing the lyric video for ROACH SQUAD’s first single ‘Wax & Dust’ off their upcoming debut album which will be available for pre-order starting Monday 3rd of February, 2025.

Stream the ‘Wax & Dust’ lyric video here:

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Phoenix-based metal band Buried has just released a gripping lyric video for their single ‘No Saviors,’ off the band’s forthcoming debut EP, Infect and Replicate.

‘No Saviors’ is just a taste of what’s to come from their debut EP, set for release in early 2025. With this powerful introduction, Buried is poised to establish themselves as a force to be reckoned with in the metal world.

Watch the video here:

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Founded by the creative forces of Preston Wilson (bass) and Alex Valdés (guitar), they sought to channel their vast array of influences into a sound that melds multiple genres. In search of like-minded bandmates, they brought on Erik Scott, a powerful drummer with a diverse style, and Ben Rosputni, a fierce vocalist who had shared the stage with Preston in a band 15 years prior. Their reunion added a layer of depth and history to the band’s formation, grounding Buried in both experience and renewed passion.

Buried’s music can be described as a mix between the heavy, doom-laden riffs of Black Sabbath and the aggressive intensity of Burn the Priest. Infect and Replicate is set for release in early 2025, promising to introduce their powerful sound to metal fans everywhere.

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Photo Credit: Fargone Productions, Mikel Pickett

Following the announcement of their new album Syv and the release of the wonderfully brutal first single ‘Utbrent’ last month, Norwegian black metal masters Mork are back today with their latest instalment of filth and misanthropy, ‘Heksebål’. An epic and progressive piece journeying back to the old times of judgment, fear and witch burning, ‘Heksebål’ arrives alongside a haunting new video by Matt Vickerstaff.

Watch the video here:

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When asked about the new single, Mork creator, frontman and mastermind Thomas Eriksen said “A depiction of mankind destroying what they don’t understand. Witch-hunts and witches at the stake burned to a crisp. Probably one of the more progressive songs with spellbinding riffs of witchery. May the spell curse those in doubt to a lifetime of bad luck and misery!”

Now marking twenty years since inception – which has seen a strong rise through the tiers of the black metal scene – Mork was created by Thomas Eriksen in 2004 & was primarily a side-project from inception until the debut album, Isebakke, in 2013. Since then, with a constant flow of releases and live performances spanning various continents including a hugely successful slot at this year’s Hellfest, the band has rightly earned the accolade as one of the top Norwegian black metal acts of recent years.

UPCOMING MORK SHOWS

14th September – Royal Metal Fest, Aarhus, Denmark

21st September – John Dee, Oslo, Norway (SYV release show)

28th September – The Bell Festival, Enebakk, Norway

12th October – California Deathfest, Los Angeles, USA

30th January -> 2nd February – 70.000 Tons Of Metal, Miami, FL – Ocho Rios, Jamaica

Mork by DP

Photo by Daniel Pedersen

Norwegian grindcore innovators Beaten to Death have recently shared a video for a brand new track off the ban’’s forthcoming sixth full-length studio album Sunrise Over Rigor Mortis, which is scheduled to be released on May 31st via Mas-Kina Recordings. 

Watch the ‘Enkel Resa Till Limfabriken’ video here:

As always, the record was recorded live and mixed by guitarist Tommy Hjelm, and just like the previous two releases, William Hay signs the amazing illustration that adorns its cover.

The Oslo-based five-piece claim that they have all “aged horribly” since the band’s acclaimed last album, Last Maar, Ik Verhuis Naar Het Bos, was released in 2021 and have embraced that natural process and its theme within this new effort, but dismiss any thoughts of a band slowing down and settling into a more relaxed acceptance of things though for Beaten to Death are as uncompromising and voracious as ever and Sunrise Over Rigor Mortis ensures no one will have any doubts. Unleashing their familiar and fiercely individual torrents of grindcore dispute with melodic discord, the new offering is Beaten to Death at their most physically merciless, creatively ravenous and gleefully mischievous.

Unleashed on the grindcore scene back in 2011, Beaten To Death has quarrelled with and dismissed expectations of the genre and the boundaries of any hardcore fury from day one. It has seen their five full-lengths from debut Xes and Strokes through to Last Maar, Ik Verhuis Naar Het Bos greedily welcomed and frequently acclaimed. Of course their sixth full-length holds nothing back in its dismissal of trends and expected processed procedures in its making either, broadly grinning at both and having fun with the themes it takes apart.

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