Posts Tagged ‘single stream’

Utopia, the technical metal group centred around guitarist John Bailey and Corrupt Moral Altar vocalist Chris Reese have shared the 2nd video from their upcoming debut album Stalker set for release on 27th August (APF Records).

New single ‘It’s Not The End’ sees John and Chris joined by drummer Lee Fisher (Psyopus / Fawn Limbs) and bassist Arran MacSporran (De Profundis). Watch the video now:

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New York experimental art punk duo Cinema Cinema continues their partnership with Nefarious Industries for the upcoming late August release of their new album, CCXMDII. Alongside the album’s cover art, track listing, and more, the lead single ‘A Life Of Its Own’ has been posted alongside preorders.

With a running time past 18 minutes, ‘A Life Of Its Own’ is no conventional single. Get your lugs round it here:

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Following the announcement that the new Darkthrone album, Eternal Hails, is to be released on 25th June, the band have premiered “Hate Cloak” – the first and only track to be revealed ahead of the album’s release. The 9min 17 seconds, Fenriz penned, hallowed epic “Hate Cloak” is steeped in the majestic thunder of vintage heavy doom metal. Fenriz comments “Hate Cloak is certainly the slowest song on the album, there are plenty of “fast" parts on Ted’s songs, middle tempos and slow as well. The whole point of us having long songs is variation in tempos/pace, hence the epicness”

Watch ‘hate Cloak’ here:

Eternal Hails will be released on Peaceville on 25th June

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Following the release of their debut album ‘Dominion’ on APF Records last year,  Video Nasties are back with another slab of moral-panic inducing heaviness – the addiction inspired single ‘Draw The Shades’

With ‘Dominion’ selling out on vinyl, APF Records are repressing the album for release on 7th May. Limited to only 300 copies (150 Flaxen Lust / 150 Suspirium Pink), the reissue will include ‘Draw The Shades’ on a 70s retro style Flexi-disc. Bassist Rick Owen comments,

‘We’re extremely excited about Draw The Shades. It’s our first single since the release of Dominion and we feel it picks up right where They Rise left off so it makes a perfect companion piece for the repress of the album. We decided to go down the same path with recording it ourselves, to make sure we really nailed the early 90s sound that we felt we captured so well with Dominion. At its crux, the song is about addiction. Whether that is blood, drugs or love… There is a need that has to be sated. ‘

Listen to ‘Draw The Shades’:

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‘Love Poem’, the second video from Los Angeles-based instrumental outfit TEETHERS’ eponymous first EP; all the songs are from drummer Andrew Lessman’s book of compositions.​ Lessman is a drummer known in the L. A. underground for his chameleonic contributions to a roster of projects whose jazz, avant garde, and indie pop scenes don’t always intersect.

Watch the video here:

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Most of these pieces were written during Lessman’s days studying at the California Institute of the Arts under Wadada Leo Smith. This is also where Andrew met the irreverent psycho-talents who now 10 years later play on this first TEETHERS EP… sometimes it takes time to cultivate a group sound that does justice to the sound in one’s head. Joining Andrew in the studio on these recordings are: Graham Chapman on bass, guitarist Alexander Noise, Joe Sanata Maria and Ted Faforo on saxophones and Stefan Kac on tuba. Laced into this moody wordless music, like a delicious mushroom chocolate, is a humble nudge to look past the decaying fetters of our assumed boundaries and imagine new organizational forms.

Andrew grew up in a suburb of Chicago called Elgin with a single mom who worked as a dental hygienist. With no musicians in the immediate family, his musical awareness came from playing trombone in the middle school band and listening obsessively to Q101 (“Chicago’s Home for Alternative”).

At age eleven, after making fart noises on a rented trombone for a year, he received a $200 Hohner drum kit as a birthday reward, and promptly formed a Nirvana cover band with his buddy Jim. It was a good start, but at age thirteen everything changed. His mother had been fighting cancer for about six years and it spread out of control and took her life. It was decided that he and his sister would leave Illinois to go live with his jazz musician father in San Diego.

It was a painful loss, but dialectically embedded in this loss was opportunity for growth. On the first day of high school, he made fast friends with some punks on the quad who’d also just gotten some instruments, and they started a band called The Irrelevants. Through hardcore punk, they learned how to channel teen angst into volume and speed. They wore ugly homemade clothing, hated the government, smoked weed out of apples, and booked quite a bit of DIY shows.

At the same time, his dad was a professional gigging musician and his home was a constant hangout for many of the great players in the San Diego scene. His dad’s record collection confronted him with the confusing sounds of Miles’ “Kind of Blue”, Ornette’s “Shape of Jazz to Come”, Coltrane’s “Giant Steps”, and Art Blakey’s “Freedom Rider”. These sounds were incredible, and his dad was there to help demystify it. Within a year of obsessively drumming along to those records on the same $200 Hohner kit, he started sitting in at his dad’s gigs, booking gigs of his own, and picking up lessons from local legends like Charles McPherson.

One of his dad’s friends, drummer and educator Duncan Moore, thought he would benefit from attending UCSD’s summer jazz camp, so he pulled a few strings to squeeze him in last minute. Since all lessons with the drum faculty were full, he was randomly given a lesson with Wadada Leo Smith, the iconoclast composer and trumpeter who in the 60s helped start the AACM (Association for the Advancement of Creative Musicians). From this very first meeting, he permanently broke Andrew’s brain and got him thinking about composition. His advice on thinking beyond rhythm, melody and harmony to make creative use of musical form was like jumping from 3D to 4D. Andrew spent the next year shedding for college audition tapes and he ended up following Wadada to the California Institute of the Arts in Los Angeles.

Born of the long dark winters of Norway Årabrot was too black for metal and too avant-garde for punk so it forged its own path. Hewn from empty roads and the cold impenetrable depths of the fiords of its home.

A Norwegian Gothic, tales sung and stories told in screams and whispers. With its steel guitar, a steely gaze a sneer and

a Stetson, Årabrot is the bastard offspring of Billie Holiday and Elmore James. It is The Velvet Underground if Johnny Cash was a member and Nico was able to sing. It is Camus, Sartre, Poe and Burroughs cut-up and regurgitated in an unholy erotic mass. It is all the great bands you haven’t even heard of. It is you. It is here it is now and there are other bodies to bury. Årabrot is not fucking around.

Årabrot is Kjetil “Tall Man” Nernes and Karin “Dark Diva” Park. They live in the Swedish countryside with their two children in the old church that they own. Rock’n roll is their religion.

Discussing their two part short film Kjetil comments,

It is the tale of Årabrot, preachers of rock’n roll. The videos are shot in the church where we live and its surroundings, our neighbours and friends as the congregation. Karin is 8 months pregnant. If you want to know what Årabrot is all about this is where you want to start. Brilliantly directed by Thomas Knights and Kassandra Powell of Obscure Film Collective.’

Watch the video now for part 2, ”Hailstones For Rain / The Moon Is Dead’ here:

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Over the past several years, Sandro Perri has been letting us in on a fascinating collection of strange and enchanting collaborative sound recordings that he’s crafted under the project name Off World. Chiefly a studio-based endeavour, Off World traces its origins as far back as 2008, with Perri and fellow Torontonian Lorenz Peter (Corpusse, Processor) working together on tracks and very occasionally performing live under the moniker. However the project’s recordings encompass collaborations between Perri and many other producers and musicians, including Drew Brown (Lower Dens, Blonde Redhead, Beck), Susumu Mukai (Zongamin), M J Silver (Mickey Moonlight), Craig Dunsmuir (Glissandro 70, Kanada 70), Eric Chenaux, and Jesse Zubot.

About this latest track, Sandro Perri comments, “Impulse Controller (Pre-Dub)” was born in the Off World “1” sessions and developed during the making of Off World “2”. A “pre-dub” (not to be confused with a "rough mix" or a "demo") is made long before a track meets its death and subsequent rebirth as the “final mix". It has a special and usually private purpose – to hear the sounds as they are, without too much concern for the musical composition – and to notice what impulses arise in response to them. This version in particular is a showcase for a blistering first take by trumpeter Nicole Rampersaud".

Check it here:

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Chelsea Wolfe has always been a conduit for a powerful energy, and while she has demonstrated a capacity to channel that sombre beauty into a variety of forms, her gift as a songwriter is never more apparent than when she strips her songs down to a few key elements. Today she has released her gripping and reflective new single “Anhedonia”, which features guest vocals and guitar from labelmate Emma Ruth Rundle and was mixed by Ben Chisholm.

Of the single, Wolfe reveals, “I wrote Anhedonia after I experienced it during summer of 2019, then tucked the song away and moved forward with my acoustic album and subsequent North American tour. When COVID-19 hit and stay-at-home orders began in 2020, my European tour was canceled and I had to fly home. Restless, I started listening through my archives of unfinished songs and little unused ideas. When I heard Anhedonia again, it hit me how strangely relevant the lyrics felt to current times. I’d been wanting to work on a song with Emma for a long time, so I recorded it and sent it her way. She graciously added her gorgeous vocals and lead guitar, and then Ben mixed it, adding his signature sound landscape as a fortress around the song. As I listened back to the final version, I was finally able to set free those emotions which I couldn’t feel back in 2019. I had worries around releasing the song, not wanting to romanticize the condition of anhedonia (the inability to feel pleasure), but I also understood that it could possibly be cathartic for others who are struggling, as it was for me, to sing and dance my way out of a depression.”

Rundle adds, “I was moved to tears when she sent me Anhedonia, which made getting through the tracking very emotional and slow on my end. I love the way the guitars I tracked morphed in Ben’s mix. The whole song swirls in a poignant eddy of sorrowful sound and still takes a hard swing at my heart hearing it now.”

Listen to “Anhedonia” here:

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Multi-genre artist, SINthetik Messiah has just unleashed two new singles for Christmas. ‘In My Dreams’ is a collaboration with The Other LA. You can listen to this here:

The track ‘In My Dreams’ was originally produced by Cj Pierce of Drowning Pool for The Other LA’s self-titled album that was released in 2016. The Other LA approached Bug Gigabyte to take the music and bring it on a more twisted,  electronic journey. After receiving the original track stems, Bug took the audio , ground it up into a new composition and added more drums, guitars, synths and vocals. Grammy nominated engineer Joe Haze (Lords of Acid/The Banishment) then used his mastery of analog mix and mastering technology to glue all the chaos of the track together.

The band also presents their cover of Atari Teenage Riot’s, ‘Destroy 2000 Years Of Culture,’ which seems quite appropriate in 2020. 

Their first cover was meant to be an updated American version of the 1997 track ‘Destroy 2000 Years Of Culture’ by the revolutionary electronic noise act, Atari Teenage Riot.  Originally ATR sampled the track ‘Dead Skin Mask’ by American metal  act Slayer, from their 1990 album, Seasons in the Abyss
In continuing the tradition of the ATR song and ideas behind both acts’ music, Bug Gigabyte sampled the same Slayer track and gave a new spin to the fundamentals of what makes Atari Teenage Riot. Once Bug finished composing the cover, he then passed it on to Grammy nominated engineer, Joe Haze(Lords Of Acid, The Banishment) for mixing and mastering with analog technology.

Check out ‘Destroy 2000 Years Of Culture’ here.

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