Posts Tagged ‘Single’

Stockholm-based Australian doctor turned musician Tim Spelman (also of Swedish indie pop group Tiny Fighter) has released his new single ‘Aula’ under the name Kaapstaad, his solo electronic music project in pursuit of what could be described as sublime Nordic ambient-chill.

This sophomore single is out today, having achieved that very objective, hot on the trails of his recently-released piano-based ambient debut solo Night.

NYC’s Big Takeover Magazine writes, “There is something in the spaciousness of this piano and beat-driven instrumental that captures more than just a vague feeling of relaxation… minimal structures perfectly describe windswept lands, its spacious ways conjuring big, star-strewn, open skies and wide-open spaces.”

Watch ‘Aula’ here:

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You could say that feminist/queercore punk trio Shooting Daggers have been ‘nailing it’ since the release of their first single ‘Manic Pixie Dream Girl’ last year.

Amongst a clutch of rave reviews of the single, they have become a ‘must see’ on the grass roots punk circuit, on top of that the band were invited to support Amyl and the Sniffers at their recent London shows and also asked to play Desertfest 2022. Their upward trajectory seems inevitable.

Perhaps it’s because they are ‘the real deal’.  Shit kicking UKHC full of youthful fury and shorn of vacuous posturing. Fierce and committed in what they believe in, as how they play. Case in point being their latest track ‘Liar’. The band says …

‘Liar is a song about breaking the silence over abusers, a song that calls them out for who they really are with no more excuses. This is a really important song to us and we would like to spread this message, to not only the victims of rape and abuse, but also to the entire community, encouraging people to not engage with abusers and to stop trying to justify their rapist friends’

The video that goes with it (created by guerrilla filmmakers Punkvert TV) echoes that sentiment.

A furious cut up of images, by turns visceral and edgy, and definitely not for the faint hearted. Watch the video now:

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‘Liar’ is taken from Athames the band’s debut EP set to be released on 20th May by New Heavy Sounds. Landing on 7” eco mix coloured vinyl with an 8 page lyric booklet and full download included. Limited to 500 copies. The ep will also get a limited edition CD and audio cassette release as well as being available on digital platforms.

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Progressive metal quartet OU (pronunciation: “O”) will be releasing their debut album ‘one’ on 6th May 2022 on InsideOutMusic. The band recently released the explosive first single “Travel” and now are excited to share the album’s second single titled “Mountain.”

You can watch the video here:

Drummer Anthony Vanacore says this about the new song:

“Mountain is absolutely one of our favorite tracks on the album, we are so proud of how this song came out! I think it really captures the spirit of OU and I’m pretty sure you’ve never heard anything quite like it.”

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“Witchy” goth rock band, METAMORPH recently unveiled their new single, ‘Love In The Wreckage.’ Not, sadly, an homage to JG Ballard, the song tells a story of life in today’s chaotic world. It’s a transmutation of the world’s chaos into love; a tale of light in the dark.

METAMORPH’s music has always been about change. 2021 was full of so much chaos and pain. METAMORPH’s Margot Day says: “There has been a strange undercurrent of joy in the madness. I found myself transforming this emotional intensity into a spiritual awakening. These new lyrics and melodies are pouring in like an avalanche.”

Check ‘Love in the Wreckage’ here:

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Fresh off their first UK tour since the days before Covid, The Kut has released a brand new single ‘Satellite’. Emotive, powerful and featuring a guitar solo straight out of a Clapton ‘How To’ school, the track released on Valentine’s Day as the second single from her forthcoming sophomore album. And now there’s a video to accompany it, which you can watch here:

Announced a Double Award Winner in UK Songwriting Contest this week, winning both the UKSC Rock Award and UKSC Music Video Award, The Kut (PhD) is a rising rock multi-instrumentalist who performs and records alongside a collective of women in music.

The award winning ‘ANIMO’ (meaning courage or spirit) was released in November as the first single from the forthcoming long player. The single charted at No.8 in the UK Physical Singles Chart and No.35 in the UK Sales Chart.

Premiered by Johnny Doom at Kerrang! Radio, the record received playlist support from Janice Long, BBC Radio Wales, Planet Rock, BBC Introducing, Amazing Radio, Total Rock, Primordial Radio, Hard Rock Hell and upwards of 1500 plays worldwide. US Radio is well represented too, with FM playlising in 20+ US States including at 91X, San Diego, The New Music Foodtruck, WVUR, Chicago, WOOL, Burlington, WCSF, Chicago, KXT, Dallas, KXUA, Fayetteville, KFCF, Fresno, KXFM, Laguna Beach, WVZA, Marion, KBRE, Merced, KFAI, Minneapolis, KZMU, Moab, WODU, Norfolk, WRKC, Philadelphia, Radio Phoenix, KMUD, Redway,KAMP, Tucson, WQRR, Tuscaloosa, WERA, Washington, KPCA, California, KUPR, New Mexico, WDWN, New York, WNIA, North Carolina and WVUR, Virginia. The music video has now also been playlisted on LATV, adding to previous US support from MTV, MTV-U AXS TV and Music Choice.

On release the record featured at No.12 in the US NMD NACC Top Singles ‘Heatseeker’ Chart, and subsequently made its debut in the US Submodern Singles (Airplay) Top 100.  Funded by Arts Council England, the award sees in the release of ‘Satellite’ as a second video single from the forthcoming album, alongside touring and documentation from behind the scenes at rehearsals, at the studio and on set.

“Every single release we are challenging ourselves to grow and level up!” The Kut shared in a post from East End Studios, London. The new music video for ‘Satellite’ is directed by Mike Gripz of Smith Town Studios, and expected for release next week. Featuring Diana Bartmann (drums), Alison Wood (keys / bvs), Jennifer Sanin (bass / bvs) alongside The Kut (vocals / guitar), the single’s powerful message is expected to pull some heartstrings this Valentine’s. Dedicate to ‘everyone who’s had my back when I needed it most’ the single is produced by James LeRock Loughrey and was recorded at Axe & Trap Studios, Wells. It releases at all digital retailers, with CDs via the Criminal Records store.

Performing as late headliner on The River Stage, Isle of Wight Festival in September, The Kut has recently taken part in the Music Venue Trust x The National Lottery #ReviveLive Tour, with one rescheduled tour date remaining. The multi-venue event features a series of special shows in grassroots venues with the aim of kick starting the return to live gigs and featuring performances from Enter Shikari, Feeder, Becky Hill and many more.

In 2018, The Kut’s debut album ‘Valley Of Thorns’ reached No. 7 in the UK Rock Albums Chart and No. 18 in the UK Independent Albums Chart. The record was released on Criminal Records, now home to a host of rising artists including Weekend Recovery, The Last Siren, LORI, Mike Walsh, Argonaut, Calaveras and most recently music critic Everett True.

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A Place To Bury Strangers have shared ‘I’m Hurt’, the newest single from their anticipated sixth studio album, ‘See Through You’, out February 4th (digital) and March 11th (vinyl) on Dedstrange. Following previous singles ‘Let’s See Each Other’ and ‘Hold On Tight’, the post-punk legends dive headfirst into suffering on today’s dark and explosive ‘I’m Hurt’.

The accompanying video, directed by Chad Crawford Kinkle (Dementer, Jug Face), is the first in a series of ‘See Through You’ videos from horror movie directors hand-selected by A Place To Bury Strangers. Under Kinkle’s frantic and hallucinatory direction, Oliver Ackermann’s expression of relentless liminal terror is transubstantiated into a brutal backwater blood feast. While the flickering, kinetic visuals will be familiar to anyone who has seen the band live, the psychological horror at the heart of ‘I’m Hurt’ is raw. Together, Kinkle and APTBS scramble our collective unconsciousness with scenes of grotesque public freakouts from the outskirts of the subliminal that are tied to a scorned woman’s black magic ritual which conjures up teenage demons on the hunt for revenge.

Watch ‘I’m Hurt’ here:

“‘I’m Hurt’ is the sound of friendship dying. At the time of writing this song, I was going out of my mind dwelling on conflict in my head and beating myself down while trying to rebuild my faith in humanity which is reflected in the actual structure of the song. The drums build with this frustration and a desire to scream with no voice. Listen closely to the vocal phrasing of ‘I’m Hurt’ in the chorus and you can hear the self-doubt and failure I was experiencing at the time,” says Ackermann.

A Place To Bury Stranger’s Oliver Ackermann always brings surprises. The singer and guitarist has been delighting and astonishing audiences for close to two decades, combining post-punk, noise-rock, shoegaze, psychedelia, and avant-garde music in startling and unexpected ways. As the founder of Death By Audio, creator of signal-scrambling stompboxes and visionary instrument effects, he’s exported that excitement and invention to other artists who plug into his gear and blow minds. In concert, A Place To Bury Strangers is nothing short of astounding — a shamanistic experience that bathes listeners in glorious sound, crazed left turns, transcendent vibrations, real-time experiments, brilliant breakthroughs.

And just as many of his peers in the New York City underground seem to be slowing down, Ackermann’s creativity is accelerating. He’s launched his own label – Dedstrange – dedicated to advancing the work of sonic renegades worldwide. He’s also refreshed the group’s line-up, adding Ceremony East Coast’s John Fedowitz on bass and Sandra Fedowitz on drums. Ackermann and John Fedowitz are childhood friends who played together in the legendary Skywave, and the band has never sounded more current, more courageous, or more accessible. 2021’s Hologram EP was the first release from the new line-up – and the first on Dedstrange – and the reaction was ecstatic, with Pitchfork saying that Ackermann had “transcended his gearhead tendencies, gracefully navigating fuzz and feedback loops as well as melodies and hooks”. ‘See-Through You’ pushes things even further. Simply put, it’s an epic, instant classic.

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A PLACE TO BURY STRANGERS 2022 UK/EUROPEAN TOUR DATES – TICKETS ON SALE HERE

Wed 09 March – Hafenklang – Hamburg, Germany  

Thu 10 March – Beatpol – Dresden, Germany

Fri 11 March – Klub Poglos – Warsaw, Poland

Sat 12 March – Futurum – Prague, Czech Republic
Sun 13 March – Randal Club – Bratislava, Slovakia

Mon 14 March – Durer Kert – Budapest, Hungary

Wed 16 March – Control Club – Bucharest, Romania

Thu 17 March – Mixtape5 – Sofia, Bulgaria
Fri 18 March – Eightball – Thessaloniki, Greece

Sat 19 March – Temple – Athens, Greece
Mon 21 March – 25th of May Hall – Skopje, Macedonia

Tue 22 March – Club Drugstore – Belgrade, Serbia

Thu 24 March – Mochvara – Zagreb, Croatia
Fri 25 March – Freakout Club – Bologna, Italy

Sat 26 March – Largo – Rome, Italy
Sun 27 March – Legend Club – Milan, Italy

Tue 29 March – Bogen F – Zurich, Switzeralnd
Wed 30 March – Backstage – Munich, Germany

Thu 31 March – Caves Du Memoir – Martigny, Switzeralnd

Fri 01 April – La Trabendo – Paris, France
Sat 02 April – Lafayette – London, UK
Mon 04 April – Kayka – Antwerp, Belgium
Tue 05 April – Gleis 22 – Munster, Germany
Wed 06 April – Melkweg – Amsterdam, Netherlands

Thu 07 April – Vera- Groningen, Netherlands
Sat 09 April – Hus 7 – Stockholm, Sweden
Sun 10 April – John Dee – Oslo, Norway
Mon 11 April – Pumpehuset – Copenhagen, Denmark

Tue 12 April Hole 44 – Berlin, Germany
Wed 13 April – MTC – Cologne, Germany

6th January 2021

Christopher Nosnibor

Like so many IKEA item names, Swedish black metal act Rimfrost’s moniker is one which has the capacity to raise a smirk and a snicker for English speakers. I know, I know, it’s juvenile, chuckling to myself about cold cock and chilly willy, and there‘s nothing particularly comical about this release. But as ever with black metal, there’s an element of high theatre that’s only as serious as you take it. Or, put another way, an element of theatre that can only be taken as seriously as it’s pitched. Venom’s Black Metal may have defined the genre, but ultimately, it was no more than an underproduced collision of punk with Motorhead (who arguably blended punk and metal with shedloads of speed).

The corpse-paint wearing black metallers split in 2019, but reconvened in the Autumn of 2021, and unveiled the first fruits of their reunion in the form of ‘Killer Instinct’ in October. So to refer to The Rise of Evil: Killer Instinct as an EP feels a shade disingenuous, since it contains just two songs – the aforementioned ‘Killer Instinct’ plus ‘The Rise of Evil’ make up a single that form a narrative that, as they explain ‘depicts the story of a killer’. In that sense, I’m reminded of the debut single by iLiKETRAiNS, on which the two parts of ‘As The Curtains Close’ tell of a stalker with murderous intent.

Rimfrost’s release is a lot less brooding and considerably less sinister. ‘The Rise of Evil’ is fast and furious, staccato guitars nailed to a frenetic drum driving the headbanging behemoth slog without pause, and it’s heavy alright, but there’s also some musicianship on display here.

‘Killer Instinct’ is less black in its metal persuasion and altogether more heavy metal, with histrionic guitars and a crisp production, with an overall feel – aside from Hravn’s growling, deep-throated vocal snarlings – that’s more Iron Maiden than Immortal, more Saxon than Satyricon. It’s the sound of spandex more than of souls being crushed.

Sure, genres evolve, and rightly so, but this cleanly-produced fretwork frenzy is a far cry from Bathory or even subsequent Swedish exponents of black metal like Dissection, although the theatrical element is perhaps more in common. While it’s serious music, I’m not certain that they’re entirely serious. The result, then, is ok, but rather cozy if you’re on the market for something more purely black or simply something that’s spine-crunchingly strong.

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Toundra are enchanted to be releasing ‘El Odio, Parte III’, the third and last part of their 22-minute-long piece ‘El Odio’ off of their new album HEX. For the video of ‘El Odio. Parte III’, the band once more collaborated with Asturian director Jorge Carbajales again. Watch the video here:

And the band is just as excited to be announcing the launch of the full short film ‘El Odio’ on January 10th (1PM CET) via Youtube.

HEX will be released on January 14th, 2022 via InsideOutMusic.

See Toundra live at the following dates:

15.01.2202 Inverfest, La Riviera, Madrid.

22.01.2022 Nau B1, Granollers, Barcelona.

29.01.2022 Gernika, Iparragirre.

11.02.2022 Sevilla,Sala X.

12.02.2022 Málaga, La Trinchera.

18.02.2022 Granada, Teatro Caja Granada.

19.02.2022 Córdoba, Hangar.

29.04.2022 Zaragoza, Las Armas.

30.04.2022 Barcelona, Apolo.

13.05.2022 Murcia, Sala Garage Beat Club.

14.05.2022 Valencia, Sala Moon.

20.05.2022 Pamplona, Tótem.

21.05.2022 Orozko

17/18.06.2022 ADN Festival, Zamora.

03.07.2022 Viveiro, Resurrection Fest.

22.07.2022 Kanekas Metal Fest, Cangas Do Morrazo.

23.07.2022 Castelo Rock, Muros, Galicia

31.07.2022 Low Festival, Benidorm.

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Photo by Sergio Albert

Christopher Nosnibor

It’s been a while. Back in the mid/late-noughties, Maybeshewill (formed in 2006) carved their own furrow in the world of post-rock, balancing delicate ethereal explorations with some bruising riffs, and, every now and again, in the absence of vocals, incorporating samples int the mix.

They adage that absence makes the heart grow fonder certainly seems to have some currency when it comes to their comeback, seven years after their called time and bade their fans farewell.

‘Zarah’, the first cut from forthcoming album, the appropriately-titled No Feeling is Final, has already found a fan and champion in Labour MP for Coventry South, Zarah Sultana. There’s a reason for this, as Guitarist Robin Southby explains:

“The track is built around an extract of a speech by Zarah Sultana. Zarah’s words encapsulate the anger and frustration felt by younger generations, being denied a say in their own future by an older global elite who are staunchly opposed to taking action on the climate crisis in the name of wealth accumulation and upholding existing power structures. The speech decries the billionaire-led multinational corporations and nepotic career politicians who are desperately clinging on to the status quo of late-stage capitalism in the face of a world that is literally burning down around them.”

It’s easy to dismiss instrumental post-rock acts as pedalling mere atmosphere and wistfulness, but politics can be found beneath the surface of the works of so many artists: Godspeed You! Black Emperor’s music does little to reveal the band’s leftist / anarcho leanings, although there are clues in the titles and artwork and so on. But here, Maybeshewill render their position quite explicit, and it’s a strong thing to do.

It’s also a strong release: on the one hand, it’s classic Maybeshewill, a continuation of form that sees them marry unsettling undercurrents and a moody tension with incredible gracefulness, and, of course, epic building crescendos.

‘Zarah’ isn’t so much a crescendo-orientated composition, but is rich in texture, and packs all the elements of an epic into a succinct 3:45. Maybeshewill aren’t only back, but they’re better than ever.

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Rotherham based three-piece, sludge band Swamp Coffin will return on 26th November with the colossal new album Noose Almighty on UK label APF Records. It’s an incredibly cathartic record covering depression, trauma, grief, betrayal and a general disenchantment with the world. Vocalist/guitarist Jon Rhodes explains,

"Something not a lot of people know is the day that we were due to travel to London to record our 2017 demo me and my wife were woken up at 2:30am by the police to tell us her brother had been killed in a car accident. When we eventually got in to the studio a month later it made that demo session all the more emotional as he and I we were close, he’d always been a big music lover and I was gutted I never got to share any of this with him. 9 months after his death we had a housefire that left me and my family without a home for 6 months so the two events were massively influential’.

For the recording of ‘Noose Almighty’ the band returned to Top Floor Audioworks in Sheffield to again work with Owen Claxton who recorded, mixed and mastered their previous record.

Recorded in only three days, the band had rehearsed the material to death beforehand so they could record efficiently and more importantly leave time for their usual ‘mad experimentation’ and layering which takes a record from being great to something truly special.

‘Welcome To Rot’ is the first single to be shared from the album. Jon adds, "When we were close to finishing writing the album I remember saying to the other guys that we needed something incredibly nasty and horrible to finish the record with. Welcome To Rot came together really quickly and fit the bill perfectly. In the words of Owen Claxton, who recorded the album, “It’s fucking gross”.

The title is inspired by our hometown and lyrically it’s about overcoming that claustrophobia that seems to affect all dying towns. There’s that mentality that things were always better in the good old days when in reality everything has been slowly falling apart for years, shops and houses are boarded up and only those that can’t go anywhere else are left behind. It may be a shithole, but it’s a shithole we’re proud to have come from. Filming the video DIY style in a cramped, filthy barrel store under a pub seemed like a fitting location."

Watch the video here:

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