Posts Tagged ‘single stream’

Grunge-noise duo GHXST have recently announced the release of their new EP ‘Dark Days’ on 16th November.

Following up the release of ‘P.U.R.R’ back in September, the duo has now shared a second track from EP. ‘It Falls Apart’ was written when GHXST drove out to California leaving New York behind, after having lived there for over a decade. Hazy vocals are mixed with the downtuned riffs of a Marshall cab, a loving reference to two of their all-time heroes Jimi and Iommi.

Divide and Dissolve members Takiaya Reed (saxophone, guitar, live effects/ (Black & Tsalagi [Cherokee]) and Sylvie Nehill (drums, live effects/ (Māori) are very excited to announce the signing to Invada Records.

Today they release their new single and video for “We Are Really Worried About You”, from their forthcoming album Gas Lit,  which is produced by Ruban Nielson of Unknown Mortal Orchestra and set for release in late January 2021.

Watch the video here:

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About the new single, Divide and Dissolve comment:

‘We Are really worried about you’ is a call to transformation and freedom. This song and video seek to undermine and destroy the white supremacist colonial framework. We are weaving together our fight for Indigenous Sovereignty, Black and Indigenous Liberation, Water, Earth, and Indigenous land given back. Decolonise now.

At the start of the song, Takiaya’s formidable saxophone sound resonates strikingly like a siren song, beautiful with an undertone of danger. This gives way to a sudden surge of crushing percussion courtesy of Sylvie, and heavy guitar riffs, revealing the magnitude of their exhilarating multidimensional sonic, and powerful expression of their message.

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Photo credit: Billy Eyers

Hellripper have released a new single and the title track from their forthcoming album entitled “The Affair Of The Poisons”.

Having revealed the theme of the album through the release of “Spectres of the Blood Moon Sabbath” and their last single “Vampire’s Grave”, based on true life events from Glasgow in 1954,  Hellripper continues to explore the historical dark & insidious underworld of witchcraft and the occult.

James MacBain explains the inspiration for ‘The Affair Of The Poisons’ “the song takes inspiration from a series of events that occurred in 17th Century France. Possession, witchcraft, child sacrifice & poisonings were at the heart of a large-scale investigation conducted during the reign of the Sun King (Louis XIV) after an extensive plot was unearthed within the court of Versailles, targeting members of the aristocracy and the King himself in order to gain power and influence; the scandal exploded when it was revealed that the royal favourite herself was partaking in black masses and had allegedly poisoned a younger rival to win back the King’s favour.

Listen to ‘The Affair of the Poisons’ here:

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Emma Ruth Rundle (appearing courtesy of Sargent House) and Thou’s groundbreaking collaborative album, May Our Chambers Be Full sees its release October 30th via Sacred Bones. While their solo material seems on its face to be quite disparate, both prolific groups have spent their lauded careers lurking at the outer boundaries of heavy scenes, each having more in common with DIY punk and its spiritual successor, grunge.

The debut straddles a similar, very fine line both musically and thematically. While Emma’s standard fare is a blend of post-rock-infused folk music, and Thou is typically known for its downtuned, doomy sludge, the conjoining of the two artists has created a record more in the vein of the early ’90s Seattle sound and later ’90s episodes of Alternative Nation, while still retaining much of the artists’ core identities.

The visual art accompanying this work was created in collaboration with preeminent New Orleans photographer Craig Mulcahy. The faceless, genderless models are meant to emphasize this pervasive state of ambiguity and emotional vacillation, the images falling somewhere between modern high fashion and classical Renaissance.

Check the single here:

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Album Artwork | Photo By Craig Mulcahy

NYC industrial trail blazers Uniform reveal the title track from their forthcoming album due September 11th on Sacred Bones. “Shame is the song that sets the thematic tone for the rest of the record, which seems appropriate for a title track. It is a portrait of someone riddled with regret in the process of drinking themselves to death. Night after night they sit in dark reflection, pouring alcohol down their throat in order to become numb enough to fall asleep,” vocalist Michael Berdan explains.

“I took inspiration from a few stories of alcoholic implosion, namely Sam Peckinpah’s Bring Me the Head of Alfredo Garcia and John O’Brien’s Leaving Las Vegas. The line ‘That’s why I drink. That’s why I weep’ appears in homage to Rod Serling’s Twilight Zone episode ‘Night of the Meek.’”

Listen to ‘Shame’ here:

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Photo By Ebru Yildiz

Jaye Jayle reveals an evocative new album track, “The River Spree", by way of a new video. Patterson crafted the music—an organic mixture of digital contrabass and interweaving drones—while driving on tour across the long barren stretch of Kansas. But the lyrics capture a moment across the Atlantic, when Patterson found himself lost in Berlin late at night, peaking on acid, without a working phone, and without knowing the whereabouts of his bandmates. He charts his journey over the six-minute song with a drug-high ambivalence, recounting a mugging with the same stoicism as breathing in the night air while “thinking about David / thinking about Iggy.” It sounds like Alan Vega singing from an opium den, comfortably numb while recounting some urban nightmare.

About the making of this track Evan comments "I made this original composition while on the driving from St. Louis to Denver. This particular drive is one of the worst in the country. The long straight and barren stretch of Highway that rolls through the entire state of Kansas gifts one a purgatory-like aura. My story of wandering the streets of Berlin while tripping on acid made for an ideal narrative. I could close my eyes and be transported back to that particular evening. And now, you can too."

Watch the video for ‘The River Spree’ here:

Workin’ Man Noise Unit mark the 50th anniversary of The Stooges’ second album, Fun House with the release of their take on ‘1970’. It’s a belter, and captures the blistering intensity of the original with a sinverity that’s impossible to fake. What’s more, it’s priced a pay what you feel, with everything you feel being given to Gendered Intelligence.

Good people doing good things via the medium of good music.

The world needs this right now.

Listen to and download  ‘1970’ here:

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For nearly twenty years, Gazpacho have reigned as the kings of atmospheric and affective art rock. That’s certainly no small feat, as the subgenre is full of wonderfully moody, ornate, and emotional artists; yet, none of them manage to achieve the same level of exquisite baroque resonance and hypnotically introspective weight as the Norwegian sextet. As a result, they never fail to provide awe-inspiring examinations of the human condition, and their latest observation, Fireworker, is no exception. It is undoubtedly among their greatest achievements, as well as one of the most profound pieces of music you’ll hear in 2020.

Listen to ‘Fireworker’ here:

 

Conceptually, the album follows the band’s tradition of blending grand philosophical quandaries, stimulating literary leanings, and haunting personal turmoil. In a way, it acts as the culmination of the themes and techniques that’ve decorated earlier collections, combining the fatalistic isolation of Night and Missa Atropos; the ill-fated narrative drama of Tick Tock and Soyuz; and the hefty theological/scientific contemplations of Demon and Molok. Beyond that, its central premise (that humanity has always been controlled by an infallible and omniscient creature determined to propagate at any cost) means that Fireworker comes across like the overarching umbrella under which all of its predecessors occur.

Keyboardist Thomas Andersen elucidates: “There’s an instinctual part of you that lives inside your mind, separate from your consciousness. I call it the ‘Fireworker’ or the ‘Lizard’ or the ‘Space Cowboy.’ It’s an eternal and unbroken lifeforce that’s survived every generation, with a new version in each of us. It’s evolved alongside our consciousness, and it can override us and control all of our actions.” In order to get us to do what it wants, he clarifies, the “Fireworker” will silence the parts of our mind that feel disgust or remorse so that we’re unable to stop it. The conscious part of our mind, Andersen notes, will actually “rationalize and legitimize” those thoughts and actions so that we never discover the beast behind-the-scenes. No matter how we feel about ourselves in terms of identity, accomplishments, and value, we’re all just vessels—or “Sapiens”—that the creature uses until it no longer needs us. “If you play along,” Andersen explains, “It’ll reward you like a puppy and let you feel fantastic; if you don’t, it’ll punish you severely.”

A 21-year wait and the first new music is a two-and-a-half minute cover version? Hell yeah! It was more than worth the wait, too.

Mr. Bungle roar back with their first recorded music since 1999, releasing a blistering cover of The Exploited’s politically-charged anthem, “USA” (available now on all digital platforms via Ipecac Recordings.

The Bay Area band, whose current incarnation features original members Trevor Dunn, Mike Patton and Trey Spruance with Scott Ian (Anthrax, S.O.D) and Dave Lombardo (Dead Cross, ex-Slayer, Suicidal Tendencies), is donating 100% of the proceeds from both the song and a limited edition t-shirt to the MusiCares’ COVID-19 Relief Fund, through the 4th of July. The shirt, which will only be offered through Independence Day, is available exclusively via Mr. Bungle’s webstore (https://kontraband.shop/collections/mr-bungle). MusiCares’ COVID-19 Relief Fund was created by The Recording Academy® to help those within the music community who have been affected by the Coronavirus pandemic.

"Doesn’t matter what part of the political spectrum you are on, everyone at some point has said ‘Fuck the USA’. The closest thing we have to a universal sentiment," says Spruance.

“This is a song that resonates and speaks to the country that Ipecac calls home,” adds Ipecac Recordings Co-owner Greg Werckman, who will also be donating the label’s proceeds from the single. “Over 100,000 US citizens are dead from the pandemic. At the same time protective masks have turned into a political football and no one has a grasp on testing. Racism continues to rear its ugly head. Police brutality spikes, unemployment spikes, depression spikes and ‘our’ ego driven elected officials don’t seem to care. We need to do a better job of looking out for each other. MusiCares looks after all of us in the music community.”

Listen to and download ‘America’ here:

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Steve Von Till swan-dives into the darkness of modern life with a sonic document of rural psychedelia that transcends the physical world—towards a greater spiritual acceptance that connects naturalism, spiritualism, and the corporeal form. As uncertainty abounds, Von Till’s forthcoming album No Wilderness Deep Enough and debut book Harvestman: 23 Untitled Poems and Collected Lyrics provide a voice of existential wisdom and experience to offer comfort and perspective in an era of uncharted territory. Today, he’s shared the album’s ethereal second single, “Shadows on the Run” , which you can listen to here:

Von Till’s charted an extraordinary musical path over the last several decades, from his main duties as singer and guitarist of the boundary-breaking Neurosis to the psychedelic music of his Harvestman project and the unique folk songs he’s released under his own name. But No Wilderness Deep Enough is truly like nothing you’ve ever heard from him before—an album that’s devastatingly beautiful and overwhelming in its scope, reminiscent of the tragic ecstasy of Nick Cave and the Bad Seeds’ recent work as well as the borderless ambient music pioneered by Brian Eno, late composer Jóhann Jóhannsson’s glacial compositions, and the electronic mutations of Coil.

The album’s six pieces of music shape a hallucinatory landscape of sound that plumbs the depths of the natural world’s mysteries and uncertainties—questions that have vexed humanity since the dawn of time asked anew amidst a backdrop that’s as haunting as it is holistic. It’s music to lose yourself in.

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Von Till