Posts Tagged ‘Single’

Renowned singer, musician, activist, and cultural icon Mari Boine shares her newest single, ‘Lean dás’. This captivating track is a unique collaboration with Norwegian-Sámi band ISÁK & the band’s vocalist Ella Marie. The artists bring their rich musical backgrounds to the track, infusing it with a profound sense of authenticity and passion.
The track is taken from Mari’s full-length Alva, scheduled for release on the 6th of September 2024 via By Norse Music.

Mari shares her insights on the new single:"It can be difficult to maintain hope in these dark times, but to surrender hope is to lose our will to action, to render ourselves powerless. One reason I love "Lean dás (I Am Always Here)" is because it shines with hope. In this duet with my dear friend Ella Marie, we joik (summon) the Universal Mother, Divine Source, Giver of Life, Creative Force."

Ella Marie from ISÁK comments: "It truly is a dream come true to be featured on Mari’s new album. I have listened to her music as long as I can remember, and she is the greatest role model I have ever had. To now call her my friend and collaborator feels very special, and me and the rest of the band ISÁK are so honored that she wanted to merge her own song with our song, "Mun Lean dás", for this unique release. Singing it in the studio with Mari present was not only a magical experience, but also a master class in how she conveys emotions through her art. I am truly grateful for this experience."

Check it here:

Mari Boine Live 2024 and 2025
15-08 Bodø – Torsdag i Parken [tickets]
12-09 Elverum – Elverum Kulturhus SOLD OUT
14-09 Jessheim – Ullensaker kulturhus SOLD OUT 
20-09 Kristiansund – Kulturfabrikken [tickets]
21-09 Sunndalsøra – Sunndalsøra Kulturhus [tickets]
22-09 Molde – Bjornsonhuset [tickets]
26-09 Førde – Førdehuset [tickets]
27-09 Sandane – Trivselshagen [tickets]
28-09 Geiranger – Festspela [tickets]
03-10 Sandnes – Sandnes Kulturhus [tickets]
04-10 Bryne – Storstova [tickets]
10-10 Strand – Kino [tickets]
11-10 Suldal – Kulturhuset i Suldal [tickets]
12-10 Sauda – Sauda Kulturhus [tickets]
20-10 Oslo – Den Norske Opera & Ballett SOLD OUT
01-11 Mandal – Buen Kulturhus [tickets]
02-11 Asker – Asker kulturhus SOLD OUT
03-11 Larvik – Bølgen Kulturhus [tickets]
08-11 Steinkjer – Hilmarfestivalen [tickets]
09-11 Oppdal – Oppdal Kulturhus [tickets]
15-11 Zürch, Switzerland – Volkshaus [tickets]
20-11 Kongsvinger – Radhus-Teatret [tickets]
21-11 Lier – Lier kulturscene [tickets]
22-11 Moss – Verket Scene [tickets]

2025

17-01 Bergen – Grieghallen [tickets]
18-01 Stavanger – Stavanger Konserthus [tickets]
24-01 Ålesund – Parken Kulturhus [tickets]
25-01 Trondheim – Olavshallen [tickets]
08-02 Tromsø – Tromsø Kulturhus [tickets]
09-02 Tromsø – Tromsø Kulturhus – EXTRA CONCERT [tickets]
14-02 Hammerfest – Arktisk Kultursenter [tickets]
15-02 Alta – Alta Kultursal [tickets]

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San Diego-based alternative rockers Los Saints have released a new visualizer for the single ‘Hard’ off their recently released debut album Certified, out now ENCI Records.

Watch the video here:

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Art opens a window into the soul. It doubles as a haven for all of our most intimate thoughts, desires, and emotions. Like splashing paint on a canvas, Los Saints pour all of their experiences and feelings into a vibrant mosaic of indie, alternative, and rock. They piece together memories and mantras in the form of gauzy melodies, fuzzy guitars, and dusty rhythmic grooves. Co-founded by cousins Angel Mariscal [vocals, guitar] and Emiliano Garcia [drums], as well as mutual friend Gianluca Exposito [guitar], who has since parted ways with the band, the group have quietly buzzed out of the sleepy border town of Chula Vista, CA with sold out shows and acclaim from the likes of San Diego Union Tribune, Remezcla, Alternative Press, and more.

Now, Los Saints sharpen their distinct and dynamic signature style on their full-length debut LP, Certified.

“Los Saints isn’t just a band for me,” proclaims Angel. “It’s everything. It’s all I can do. That goes for the other guys too. The more we know ourselves, the more we know what our band is and are able to define our sound. Certified is who we are not just as musicians, but as people.”

Growing up in a Mexican-American family, he immersed himself in music. His mom hailed from Tijuana, and his dad grew up in the United States. Classic rap boomed through the house as he eventually gravitated towards Mac Miller and his “lifelong biggest influence” Cage The Elephant. In 2019, he formed Los Saints with Emiliano, envisioning “music almost everyone from any background can vibe with.”

In honor of their heritage, the group chose the moniker Los Saints.

“We were thinking of the Day of the Dead in Mexico, and its primary representation is a skull,” he goes on. “We needed to make it our own, so we turned it into ‘Spanglish’ by choosing ‘Los Saints’. Like the music, it’s a mixture.”

Los Saints initially gained traction with the Welcome To Confusion EP in 2022. The Honey Pop christened them “your next indie obsession,” while San Diego Union Tribune pondered, “Could Los Saints be Chula Vista’s version of Cage the Elephant?” Building on this momentum, the three-piece hit the studio with producer Keith Cooper (Dear Boy) and brought ‘Certified’ to life during sessions at Wildflower Recordings in L.A. The first single and opener “Faded” hinges on a bold bass line and a punchy drum groove. Guitars glow beneath a hazy and hypnotic vocal plea, “I don’t want you to look at me when you’re faded?”

On “Never Said,” a loose chime-y riff pierces a disco-style beat as falsetto rings out on the refrain.

“I’m not a dating app kind of dude,” he admits. “I’m a cave dweller, but I think so many kids my age can identify with these experiences of modern dating. On the first half of the song, you’re going into online dating with genuine intentions and looking for something true. The second half is the aftermath where reality hits, and your view changes. You realize all that glitters isn’t gold.”

Evocative of yet another dynamic, glitchy keys wrap around breezy acoustic guitar on the somberly nostalgic “If Everything Goes.” He sighs, “Don’t call me back, even though I’d like you to.”

“I was beating myself up for the way I am and how it affects romantic relationships,” he continues. “This person left your life, but you can’t help but blame yourself. Even though it was going to happen either way, you just think you’re the problem.”

Elsewhere, “Doctor” conjures “dark imagery of being interrogated like in a movie” via breathy lyrics and an off-kilter soundscape. Then, there’s “Hard.” Raw emotion seeps through the cracks in the vocals as thick distortion buoys the hook, “Help me see again who you are.”

“It’s about how being in a toxic situation—either romantically or with friends—has affected me and brought me down,” he states.

The title track culminates on a chantable chorus awash in shoegaze distortion. Stretching to a soaring climax, it evokes the feeling of “being isolated because you’re in a relationship that your friends and family don’t approve of.”

In the end, Los Saints bring the kind of emotion that bonds us together to the surface.

“When you listen to us, I hope you find our art to be a place of comfort,” Mariscal leaves off. “Sometimes, I cry when I write. I’m always trying to come up with songs you can connect to so you don’t feel alone. The world is a tough place. We can be friends one way or another.”

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Prophecy Productions – 6th August 2024

Christopher Nosnibor

I tend to give releases a wide berth if there’s anything that could be construed as iffy about them or the artist or anyone else involved, not because I’m fearful of controversy, but simply feel it better not to provide a platform. Of course, some will argue that silence is tantamount to complicity – and I’m painfully aware of the extent to which that it’s true that many bad things happen while no-one speaks out. But I like to think that overall, my positions on matters of politics and beyond are fairly obvious on account of what I do cover, and some of the discussions around them, and I’m not about to virtue-signal with a list of releases by abusers and shady shits which have landed in my inbox to be immediately deleted.

But this one stood out. I sift through emails and divide them into ‘yes’, ‘no’, ‘maybe’ for review, and have a separate flow for those that I’ll likely not have time or energy to review, but might be posting as a stream.

I’d never heard of Nachtmystium, but was intrigued to learn that they were back, although the tone of the press release struck me as a little different, more muted, perhaps: ‘…after all that was said and done, mastermind Blake Judd aka Azentrius is still standing. Not only that, but Judd has clawed himself back from the abyss of a most extreme life imaginable to a much more quiet, observant, and matured artist and person… His return will not be met with universal applause – even from the black metal scene. For anybody following the tumultuous career of Blake Judd and his pioneering band that has pushed the borders of their genre into new territories, this comes hardly as a surprise.’

But the video… on first play, I figured it was perhaps a Day Today or Brasseye type spoof, or that Nachtmystium was the Bad News or Spinal Tap of Black Metal. But no. Comparatively cursory research reveals Blake Judd’s long history of junkiedom, thieving, scamming, fraud, and unpaid bills, not to mention connections to the National Socialist Black Metal scene – something Judd is on record as renouncing and denying direct involvement with, but saying ‘We don’t oppose people’s right to be ‘NS’ or whatever… Even though I personally, my band(s) and my label have absolutely no interest in being a part of that scene, I will ALWAYS take their side when it comes to their freedom of speech being imposed upon.”

Freedom of speech has become a battle ground like no other in recent years , and thanks to social media, it’s a debate that’s taken the ugliest, most divisive of shapes, largely splitting along lines of left and right, with the left calling out fascists and twats, with the right calling the left fascists and twats for wanting to suppress their right to be fascists and twats. But, just as opposing Antifa is, effectively to align oneself as being Profa, to say ‘hey, free speech, it’s their right to be nazis’ is not only spineless, but a tacit statement in support of the nazis, even if it’s one born out of ignorance of just how much harm their ‘free speech’ can cause – and I find it hard to believe any adult could truly be that ignorant nowadays.

So, to return to the video… it contains some stills of the man himself, treated with grainy effects overlayed, with some lyrics flashed up, flickering, as the main focus of the visuals to what is, in real terms, some pretty standard black metal. But throughout, presented as ‘cuttings’, snippets of comments from social media and various other sources, essentially decrying what a deplorable scumbag he is.

It seems perverse that while he’s growling about ‘the return of a rightful might’, there are comments to the effect of ‘fuck this guy’ and ‘he owes me so much money’ to ‘good luck, Prophecy’. And against snippets reporting on his jail time and drug addiction, he snarls ‘No remorse, no remorse’.

Prophecy is a label which has released countless fantastic acts, and continues to do so, but I can’t help but feel that this is something of a mis-step – not even releasing new work by Nachtmystium, necessarily, but the pitch may be rather misjudged. These aren’t a few ‘oops’ moments – which should be approached apologetically even if they were – but to market the release in a way which celebrates all of this? Even if intended humorously – which there’s nothing to indicate that it is – it’s not very funny for the victims of his wrongdoings. And yes, they are victims, however desperate his drug plight or whatever at the time.

Musically, ‘Predator Phoenix’ is fine, and although the title seems both dubious and self-aggrandising, it’s par for the course in black metal. But the way this comeback is being heralded… not cool, man, not cool.

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Released on Monday (29 July 2024) ‘Please Reply’ is the third promo single release from UK “synth and darkwave firebrands” 404 Error, taken from their debut album, Scene Killers. Hailing from Newcastle upon Tyne in Northern England, 404 Error is the semi-anonymous project of an artist known as 36663. ‘Please Reply’ meanwhile features an animated black and white lyric video, by someone credited only as Arif.

Known for sharp social commentary and provocative takes on goth scene politics, Please Reply is a pastiche drawn largely from the cesspool of unsolicited messages. Drawing from the biting social satire of Fad Gadget and Heaven 17, the lyrics sketch a man in his mancave, desperate and crude, yearning to be a woman’s submissive partner. His attempts to get her attention are filled with insincere promises and disrespect. He calls himself a nice guy, but his focus is selfish, driven by his own needs and desires, completely ignoring her boundaries or interests.

Watch the video here:

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I think it’s terrible that women get messages like these. And I know many receive much worse, but I didn’t want to make the song too vulgar. I know a lot of women, especially goth women, who get strange guys addressing them as Mistress, or wanting to be their slave – even if there’s nothing they’ve said or done to signify that they’re even into fetish/BDSM. Some have had open propositions for pictures of their feet. And of course, many of these guys also try to guilt trip, hence the line “It’s so hard for men like me, nice guys just want a chance”.  As if there’s anything ‘nice’ about propositioning a stranger.”

I find it hard to say whether I even wrote this song, or if the lyrics are just the contents of far too many inboxes.”

The digital single on Bandcamp includes two bonus “virtual B-side” tracks: ‘Hawk Tuah’, and a cover of ‘Chop Suey’ by System of a Down.

Hawk Tuah was a bit of fun that I didn’t know if I’d release. The problem with viral memes is they become old very quickly.  But given the person in question is currently living her best life getting paid big money for club and TV appearances, I’d say people are still interested. Gosh knows how many messages she’s had from ‘Please Reply’ guys.”

‘Chop Suey’ meanwhile continues 404 Error’s tradition of rendering nu-metal covers barely recognisable (albeit, arguably more intelligible than the originals): a pattern established with a rendition of Slipknot’s ‘Wait and Bleed’, included with the debut single ‘ETHAL’. And where ‘ETHAL’ featured a guest vocalist known as J.A.N.E., ‘Chop Suey’ features vocals by one MXVC.

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British singer, songwriter, producer and prog pioneer Tim Bowness has shared his stunning new single ‘Idiots At Large’. The third single to be released from his forthcoming album Powder Dry (out 13thSeptember on Kscope), ‘Idiots At Large’ presents an intriguing combination of delicate atmospherics and dynamic explosions to tell the story of someone drifting away from their previously safe home life and mainstream views.

Mixed by Bowness’s partner in no-man, Steven Wilson, the new single is accompanied by a vibrant, atmospheric visualiser created by Matt Vickerstaff.

Check it here:

Tim Bowness says, ‘The song is partly about eco-apocalypse and partly about someone becoming detached from their family and friends as a result of their increasingly strong beliefs (beliefs reinforced by digging deeper down the internet rabbit hole). This isn’t a commentary on the rights or wrongs of anything, it’s an observation about how idealism can alter the course of a life.’

Featuring 16 pieces over its restless 40-minute duration, Tim Bowness’s eighth studio album Powder Dry represents a new beginning on a new label.

A collection of acute contrasts, the album is a vibrantly accessible and wildly experimental genre-blurring assault, embracing Industrial Rock, Electro Pop, singer-songwriter directness, haunted carnival soundscapes and more.

Entirely produced, performed and written by Bowness (a first), Powder Dry was mixed (in stereo and Surround Sound) by Bowness’s partner in no-man (and The Album Years podcast), Steven Wilson, who also acted as Bowness’s sounding board during the mixing process.

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Human Impact, the New York-based outfit founded by Chris Spencer (Unsane) and Jim Coleman (Cop Shoot Cop), who recently announced their sophomore album, Gone Dark (Oct. 4, Ipecac Recordings), have released a second single from the upcoming album. The video for ‘Hold On’ is out now, and you can watch it here:

Spencer discusses the concept behind the song: “’Hold On’ is an expression of resistance in the face of a system that’s using convenience and expediency to pry its way into a position of control.”

The accompanying video carries on a visual aesthetic that the band has used since their inception, including their recently released track and video for “Destroy to Rebuild” – an apocalyptic landscape with oversaturated colors and a not-so-subtle commentary on the current state of the world. Spencer and Coleman will venture further into the mix of music and art by performing an ambient noise set on Aug. 15 at Berlin’s Silent Green as part of Beth B’s Now Wave/Glowing exhibition.

The Human Impact arsenal is more formidable than ever thanks to the addition of two more noise-rock veterans: bassist Eric Cooper (Made Out of Babies, Bad Powers) and drummer Jon Syverson (Daughters). Spencer had spent the 2020 COVID lockdown working on a cabin in the East Texas woods and would travel into Austin for informal jam sessions with the pair in the Cooper’s garage. Friendly blasts through vintage Unsane songs ultimately resulted in the rhythm section being fully absorbed into Human Impact.

"Jon and Coop bring incredible musicianship," Spencer adds. "I feel incredibly lucky to be in a band with Jon. We’ve really clicked from the minute we started playing together. Cooper is awesome, and one of my best friends forever. We have a communication that I won’t have with just anybody. I can’t wait to fucking play this live."

The band will be announcing live dates soon.

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US-based occult doom rock trio Hail Darkness are set to enchant listeners with their debut full-length album, Death Divine, scheduled to be released on August 15th via their own label, Vatican Records. Ahead of the album release, the band is now thrilled to premiere the video for their haunting new track ‘With Horns of the Beast’, which you can watch here:

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The band had this to say about the video: “‘With Horns Of A Beast’ is the first video from our debut album Death Divine, the video clip portrays the psychedelic trip of a persecuted woman hunted by masked wild animal humans lost in the depths of the forest and is inspired by ‘70s horror, Mansonic clans and exploitation movies.
Death Divine was recorded over a period of more or less four years during different recording sessions, it compiles and captures our vintage lo-fi occult doom rock with pinches of ‘60s psychedelia and exotica creating our own musical time-warp trip”.

Comprised of ten songs, Death Divine sees Hail Darkness incorporating elements of occult 70’s rock, psychedelia, doom and folk to take listeners on a magical and dark cosmic journey, while the lyrics talk about occult themes inspired by old occult movies and some personal experiences.

Hail Darkness was founded by bassist Joshua in Phoenix, where the first songs were recorded and produced around mid-2020, alongside Jez on guitar and vocals and Emmet on drums. The trio later relocated to Jez’s home in South Carolina, setting up a home studio for an extensive three-year recording session that resulted in four hours of material. Their initial goal was to recreate the vintage sound of their idols—T-Rex, Jefferson Airplane, Pentagram, Shocking Blue, Focus, Jes Franco soundtracks, Black Sabbath, Lucifer Rising, Mountain, and Captain Beyond—while blending the sounds of modern favorites like Cathedral and Electric Wizard.

In the studio, Hail Darkness is accompanied by a host of friend multi-instrumentalists, known as the Hail Darkness Coven, who contribute various instruments to craft the expansive and psychedelic sound that defines the band.

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With every movement of American Standard, Uniform peels off a new layer and tells the story inside of the one that came before it.  It’s Uniform’s most intimate work to date, tackling themes of self-destruction and with a particular focus on vocalist Michael Berdan‘s lifelong struggle with bulimia nervosa. His lyrics sink down into the core of the innermost self, the small human being crushed in the grip of sickness. His bandmates join him, applying majestic droning that becomes both mechanical and omniscient. As the rhythms continually pulverise, Uniform gives themselves over to the grinding gears of an uncaring universe.

The thematic content behind American Standard can be divided down the middle into two distinct sections. While the A-side of the record deals with an individual who exists in a purgatorial state of physical and psychic crisis, the B-side serves to address how a lifetime of dealing with an eating disorder has impacted those around him.

Permanent Embrace,” available today, is the album’s final statement. Berdan tells, “It touches on a facet of the disease that I’m incredibly wary of facing. Built on a narrative foundation laid out by author and lyrical collaborator Maggie Siebert, the song revolves around the idea of a person holding a loved one as an emotional hostage. Seeing perverse beauty in a story about a car crash, the narrator relates the analogy of two automobiles twisted together to that of his last standing relationship. As he has broken down over time, so has the one who continues to stand by him. The object of his manipulative guilt trips remains locked in a hopeless situation, terrified of what he may do to himself if they were to finally leave.

The music reflects the psychic violence of the lyrics, as riffs and rhythms that wouldn’t feel out of place in the Unsane catalog careen into giant synth melodies before collapsing into itself. This is kind of our misguided interpretation of what Faith No More were doing on ‘Angel Dust’, and we hope that our tip of the hat to those masters of madness can hold a candle to their horrific splendor.”

For “Permanent Embrace,” Uniform teamed up with director Sean Stout on the single’s compelling visual. Stout tells, "Without sounding trite, when we first read Mike’s lyrics to the record our reaction was extremely visceral. They are brutally introspective and beautiful at times and we wanted to try visually to convey that range of emotion in a sequence of single images that unfold narratively and potentially shift their own meaning over time. Our concept was to intertwine images of an outer world-overgrown, rusting and moving on in its decay-with an inter-world that is largely going through the same process as a result, but is markedly separate as well. We never see one observe or interact with the other, yet they are the same and of the same world."

Watch the video for ‘Permanent Embrace’ here:

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Uniform wants to find what’s underneath. And what’s underneath the underneath. And what’s under that.
American Standard begins with a shock. A voice, a room, a face in a mirror. In the mirror stares a visage, doubled and staring back. Each line comes back to him: reflected and refracted in the unsympathetic glass. Forget for a moment that Berdan has been destroying his throat in Uniform for over a decade. Forget his highly stylised delivery on the band’s acclaimed collaborative work (alongside experimental doom titans The Body and Japanese heavy rock powerhouse Boris). Forget the entire tradition of abrasive vocals in aggressive music. Look for what’s underneath the songs, the form, and the style.

To help peel away this narrative of eating disorders, self-hatred, delusion, mania, and ultimate discovery, Berdan sought assistance from a towering pair of outsider literary figures. Alongside B.R. Yeager (author of the modern cult-classic Negative Space) and Maggie Siebert (the mind behind the contemporary body horror masterpiece Bonding), the three writers eviscerate the personal material to present a portrait of mental and physical illness as vividly terrifying as anything in the present-day canon. The result is an acute articulation of a state beyond simple agony, capturing the thrilling transcendence and deliverance that sickness can bring in the process.

American Standard is surely Uniform’s most thematically accomplished and musically self assured album to date. Sections spiral and explode. Motifs drift off into obscurity before reasserting themselves with new power. Genres collide and burst open, forming something idiosyncratic and new. There’s a grandeur, due in part to the addition of Interpol bassist Brad Truax alongside the percussive push and pull of returning drummer Michael Sharp and longtime touring drummer Michael Blume, marking his Uniform recorded debut here. However, this magnificence is most clearly attributable to the scale and power of guitarist and founder Ben Greenberg’s arrangements, matching ever elegantly to the intense lyrical subject matter.

Underneath it all, what remains is trust. A record of this range and depth, a piece of art so far out on a ledge, can only be attempted with an extreme and almost foolish amount of understanding between collaborators. American Standard stands firmly on the bedrock that Uniform’s two original members, Michael Berdan and Ben Greenberg, have been building on for over a decade.

In Greenberg’s words, “When we started this record, Berdan told me: ‘I trust you to come up with a solid foundation for this, however you envision this thing. I want you to realize it completely, because I believe in you.’ So I wanted to write something overwhelming and all-encompassing for Berdan to lead his narrative through… because I trust and believe in him.” For an album to defy simple genre exercises and become a work of art, the musicians behind it must push themselves so far beyond the frayed ends of an established comfort zone that they might never return. Without a shred of doubt, American Standard is a work of art, agonising in its honesty and relentless in its pursuit of sonic transcendence. It is hideous. It is beautiful. It is necessary.

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Press Photo By Joshua Zucker-Pluda & Sean Stout
Pictured: Founding Members Ben Greenberg (Guitar), Michael Berdan (Vocals)
Not Pictured: Mike Sharp (Drums), Brad Truax (Bass), Michael Blume (Drums)

Black metal legends Mork have announced their new album Syv today, set for release on 20th September on Peaceville. Alongside the news, the band have shared the album’s first single ‘Utbrent’. Speaking about the new single, Mork creator, frontman and mastermind Thomas Eriksen said “Utbrent is a depiction of getting burnt out and the struggle of holding oneself standing. Even whilst silently knowing the day will actually come and break you down…the harsh punishment of living as life breaks you down and burns you out”.

Watch the lyric video for ‘Utbrent’ here:

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Following on from Thomas Eriksen’s self-titled Udåd project debut earlier this year; a dark release which explored the more underground & murkier-sounding waters of primitive black metal from a by-gone era, Syv emerges as the new pinnacle of Mork’s and Eriksen’s ever-evolving journey, as well as a creative expansion both sonically & compositionally over all prior works.

Syv also undoubtedly represents Mork’s most expressive and diverse works to date, with exquisite melodies interspersed with brutal and even occasionally progressive riffs amid an ever-present air of melancholy. This forms a perfect backdrop for Eriksen’s thematic dive through the contemplations of looming mortality, and digressions through the depths and contrasts of human existence; from the blackness of despair, to the pride & strength in overcoming, as well as absorbing additional inspiration from tales of old.

“We have reached the seventh chapter of the Mork saga. As I have stated earlier, it has been important for me to let the music evolve over the span of albums. It has really been a rewarding couple of years writing and recording “SYV”. When listening back the finished product I felt a great satisfaction. Brutal riffs meeting melancholy and melodic passages with a slight progressive approach. Lyrically scraping the bottom of human existence and frailty as well as touching an immense pride and strength. This is probably my most varied album to date. Which in my mind makes a perfect outcome and addition to the Mork catalogue.” – Thomas Eriksen

Syv was performed, recorded & mixed by Eriksen himself, with engineering assisted by Freddy Holm (who also contributes with strings and synths). Mastering work on the album was carried out by studio mastering guru Maor Appelbaum (Sepultura) in collaboration with Jack Control at Enormous Door (Darkthrone).

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Photo by Daniel Pedersen

Italian psych band Cosmic Room 99 have announced their debut album will be released on 11 October via Sister 9 Recordings" (UK)/ Little Cloud Records (US)/Shyrec (ITA).

They recently shared their debut single ‘Plastic Venus’. They explain: “Everything is fiction, everything is altered, everything is seen through filters, nowadays even Venus is made out of Plastic”.

Watch the video here:

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The band’s name was inspired by a documentary called ‘The Cosmic Room’, which tells the story of NATO employee Bob Cohen accidentally discovering a top-secret plan to eradicate part of the world’s population to maintain Earth’s sustainability. The number 99 in numerology represents someone who uses their gifts to make the world a better place, encapsulating the band’s ethos.

Musically, Cosmic Room 99 draw influences from a diverse range of sources, including the obsessive rhythms of The Velvet Underground, the dreamy psychedelia of Syd Barrett’s Pink Floyd, the harmonies of The Beach Boys’ "Pet Sounds", the sharp feedback of The Jesus and Mary Chain, the austere wave of Joy Division, and the deep, abysmal worlds of Bauhaus, all linked by a punk attitude.

The album was recorded primarily in their home studio in Treviso, Italy, where band members played various instruments, creating a collaborative and cohesive work. To add warmth to their sound, they recorded vocals and analog drums and mixed the songs at Overdrive Studio in Treviso, with producer and sound engineer Edoardo "Dodi" Pellizzari. Final mastering was done by Collin Jordan at The Boiler Room in Chicago, USA, adding the finishing touch to their music.

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Photo credit: Francesca Janes