Posts Tagged ‘track stream’

Godflesh share new track "LAND LORD" from their forthcoming album, PURGE. It’s a track which spirals out in pent-up rage from the first second, distorting and mutating 90’s drum and bass through the Godflesh filter.

About the track Justin comments, “’LAND LORD’ references ownership, entitlement and the objectification of human beings, as practised by almost anyone who wields power.”

Listen to ‘Land Lord’ here:

With the highly anticipated new album PURGE, Godflesh brings a whole host of new dirges and laments. Amongst the many layers of dirt, PURGE mangles 90s hip hop grooves and puts them through the Godflesh filter to create something futuristic in style – and utterly unique.

Both minimal and maximal, Godflesh deliver alien grooves that swing whilst also retaining the psychedelic, bad trip edge with layer upon layer of filth and heaviness – that Godflesh have always been known for. This is, and always has been, feel-bad music.

The title alone – PURGE – references directly how songwriter and creator Justin K. Broadrick utilises Godflesh’s music as a temporary relief from his diagnosed autism and PTSD. It’s the next stage in a journey he has been on since he began creating music, feeling alone and like an outsider in any scene or group, from childhood through to adulthood.

The music of Godflesh gives Broadrick the means to express a lifetime of feeling misunderstood and overwhelmed by hyper-sensitivity. The band is the vehicle to provide some sense of catharsis and transcendence; a way of communicating overload, as well as the constant disenchantment at the human condition, and man’s abuse of power and the systems that chain us.

PURGE references the cycle of horror that man always has and always will put us through; those in positions of power revel in the infliction of pain and horror upon individuals – in the name of their religion, their power, their money, their flags…

PURGE is out on 9th June.

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XASTHUR unveil the next sinister single, ‘A Future to Fear II’, taken from the forthcoming double-album Inevitably Dark, which is set up for release on June 23, 2023.
The stylistically highly diverse American outfit instigated by multi-instrumentalist Scott Conner has created a kaleidoscopic double-album that is ranging from acid folk to black metal.

A visualizer of the eerie track ‘A Future to Fear II’ is available here:

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There is hardly a more fitting title for the new XASTHUR compositions than "Inevitably Dark". Darkness is the element that holds all the tracks together despite the fact that they are expressed in a multitude of genres, which even includes black metal. This time. Be warned: this album is neither meant as a return to black metal of mastermind Scott Conner, even though he does this time, nor a guarantee that it will happen again next time – although, he might. Maybe.

This monolith of musical darkness that is balefully towering in the shape of a monumental XASTHUR double album has been made from sonic granite. Like the intrusive igneous type of rock, it is coarse-grained, composed from different minerals that have formed from magma erupting to the surface from infernal depths, and has a high content of metal oxides that do not always show at a superficial glance.

Instead of quartz, alkali feldspar, and other types of rock, Conner has used black metal, dark ambient, acid folk, doomgrass, and other genres to express what he has seen and felt, as well as a way to find his own sound or style at a point in time – for example when he was without a steady home and often living in hotels or cars. His insights into the underbelly of the American dream are reflected in the lyrics of "Inevitably Dark", which are there even though there is no singing on the album. Conner is taking a look into the minds of the mentally ill. The puzzle of people that he encountered on the road and that might be homeless because they are ill, or whose minds shattered when they lost their homes.

Documenting what he has heard and seen, Conner recorded all the tracks of "Inevitably Dark" live and by himself, which might make it sound coarse to modern ears, but it is just the grit and stain of unfiltered reality. His way is the old hard way of a live sound and not the fake glitter of a perfectly polished product. XASTHUR are sounding exactly as the mastermind has envisioned his album to be: real.

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Xasthur by Lukasz Jaszak

Their debut extended-play release, the ‘PLAYTEST’ EP finds the Yorkshire noiseniks delivering 5 tracks of ferocious, Doomsday-baiting post-punk ripe for our times. From the cataclysmic Dune-inspired ‘Spice King’, to the slithering gothic-rock stylings of ‘Wee Van Bee’, or the intense industrial clamour of ‘Smother’; the band make their mark with a dark, brooding collection of songs that meld the gothic and euphoric with invigorating results.

Opening this Pandora’s box is the pulse-quickening ‘Fractured’, which is also out now. A song about dual-identities and the dawning realisation of deception when it’s been staring you in the face, lead vocalist Jamie explains of the track: “’Fractured’ channels the complicated relationship of having a double-life paraded right in front of your eyes, understanding its insidiousness but ultimately fearing the fire of confrontation.”

Listen here:

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Scottish six-piece – Parliamo – are back with the new single ‘Matters Like’, out today.

Arriving as the band’s grittiest, stickiest offering to-date, it sees Parliamo’s usual bright rhythms and funky basslines, traded-in for howling Suede-esque electric guitars, low-slung hooks and unconventional choruses.

Like a migraine growing under the noon-day sun, ‘Matters Like’ has a burbling, off-kilter intensity quite at odds with the brilliant sunshine that baked the Summer of 2022 in which it was written. Finding nuanced inspiration during those mind-melting times in the Fontaines D.C. track ‘Roman Holiday’ and the spring reverb bass of The Last Shadow Puppets’ second record, the band’s Jack Dailly and Finn Freeburn Morrison began assimilating both into a new track that would mark a moody left-turn for the band.

A song about finding confidence in a new relationship and the overcast feelings that can come hand-in-hand with it, vocalist Jack Dailly explains: “’Matters Like’ has a moodier sound than most of our previous output, with its screaming guitars and echoing hi-hats. This mood fits well with the lyrics, as the song touches on feelings of uncertainty and internal conflict. It’s a song about insecurity in a fledgling relationship and the plethora of emotions which come with getting to know more about someone than you might have bargained for.”

Weaving their straight-up songwriting and babbling instrumentals niftily through a heatwave-warped collision of influences, ‘Matters Like’ finds a band pushing the Parliamo sound and enjoying getting a little experimental.

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Photo credit: Lauren Kellie

FEN release the epic and constantly shape-shifting track ‘Truth Is Futility’ as the second single taken from the East Anglians’ forthcoming album Monuments to Absence, which is slated for release on July 7, 2023.

Fen comment on ‘Truth Is Futility’: “The title says it all: the quest for truth is a futile one and even when presented with self-evident realities, our species will violently reject anything that contradicts enshrined dogma and the fragile beliefs to which many desperately nail their sense of identity to", mastermind Frank “The Watcher” Allain muses. “History has shown time and again that the purveyors of knowledge, the seekers of understanding, and those who challenge conventional wisdom are persecuted and stigmatised. At the very core of most of us lurks the kernel of one actual truth that many of us dare not even admit to ourselves: we do not desire to know the fundamental truths of ourselves and our world. We do not want our cosseted egos and comfortable safety blankets to be disturbed in any way – even by the revelations of enlightenment. Against such cemented defence, what is real truth if nothing but futility? Musically, this song is a true Fen ‘journey’. We feel that ‘Truth Is Futility’ embodies the balance of intensity, encroaching despair, and the primordial roar of rage that can be the only genuine reaction to such hopelessness.”

Hear ‘Truth is Futility’ here:

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To celebrate and commemorate the ending of Emma Ruth Rundle’s soul-bearing Engine of Hell album cycle, Emma has announced a live album in addition to sharing the final dates of her Engine of Hell tour through the EU. Engine of Hell – Live at Roadburn 2022 will be released on 7th July 2023.

Of the release, Emma says;

“Roadburn has been such an important place for me and my evolution as an artist. The opportunity to perform Engine of Hell in full there in 2022 was the end of something… and the beginning of this whole new chapter in my life and art. I really do feel free in so many ways. I wanted to commemorate and honor the experience by making my Live at Roadburn album my first self release in 13 years.  I will always treasure the Roadburn community”

In anticipation of this release, Emma is sharing ‘Razor’s Edge’ in advance of the live recording; listen below:

ENGINE OF HELL SUMMER SHOWS 2023

Jun 08 – Sideways Festival – Helsinki (FI)
Jun 11 – USF – Bergen (NO) 
Jun 21 Sled Island Music & Arts Festival – Calgary (AB)
w/ special guest William Fowler Collins
July 15  – BOS Festival – Kortrijk (BE)   
July 17 – Kulturkirche – Cologne (DE)  
July 18 – St. Mathäus – Munich (DE)   
July 20  – Electric Castle Festival – Cluj Napoca (RO)
July 21 – Synagogue – Novi Sad (RS)    
July 22 – Mocvara – Zagreb (HR)          
July 24 – Anfiteatro del Venda – Padova (IT)         
July 25 – Porgy & Bess – Wien (AT)
July 26 – St. Barthlmä – Innsbruck (AT)           
July 28 – Magyar Zene Háza – Budapest (HU) 
July 29 – Primate’s Palace – Bratislava (SK)   
July 30 – Lukaskirche – Dresden (DE) 

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Magic Wands is a US dark pop outfit originally formed in Nashville by guitarists & vocalists Chris and Dexy Valentine, but now based in Los Angeles where they have been joined by drummer Pablo Amador. Their name stems from the gift of a wand from Chris to Dexy when they first started making music together while still living on opposite sides of the country.

The group have released three albums over the last decade on which they have refined a shimmering and cosmic dream-pop sound that incorporates elements of shoegaze, post-punk and goth. Textured guitars, droning synths and delicate, ethereal vocals combine to create an otherworldly atmosphere.

Armed with songs that have often been praised on both sides of the Atlantic for their euphoric quality, especially in live performance, the trio themselves have remained dedicated to creating music that is both imaginative and emotionally engaging. They have developed a loyal fanbase drawn to their ability to create a sense of mysticism and wonder through their music.

Magic Wands have shared stages with the likes of Radiohead, Slowdive, Jesus & Mary Chain, The Horrors, Deerhunter, The Kills and The Black Keys. They also played their own headlining tours of the UK and mainland Europe in 2017-18.

Having released a single in late March entitled ‘Joy’, the group have now followed it with ‘Time’. Complemented with a pair of remixes apiece, both are also included on Switch, a brand new album set for release on 12th May by Metropolis Records.

Listen to ‘Time’ here:

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Boris and Uniform might have seemed like a strange pairing when they teamed up for a US tour back in 2019. Sure, both bands harness the power of big, blown-out riffs, but Boris’s rock heroics, lysergic sprawl, and monolithic sludge summon a different energy than Uniform’s mechanised bombardments and frenzied assaults. However, when Boris invited Uniform to team up on a reimagined version of their classic “Akuma no Uta” as a part of their encore, there was an obvious chemistry between the artists. The idea of a collaborative album came up, and the bands spent the next year swapping song ideas and recordings from their home-base studios until Boris and Uniform had an album that captured the fearless exploration and unbridled power of their live performances.

Sacred Bones Records is proud to present the Boris & Uniform collaborative album Bright New Disease on June 16, 2023.

Bright New Disease opens with the collaboration’s first single, ‘You are the Beginning,’ a ferocious thrash-inflected banger concocted by the Boris camp. It was the first piece the band composed during the initial day of their studio session in July 2020. As the title insinuates, the song was written with the idea that it would open the album and, hopefully, open a show one day too. “At that time, we didn’t know when we would be able to resume concerts,” says Boris’ Atsuo, “and our wish became the song directly.”  The uncertainty and anxiety of the early months of the pandemic fuelled Bright New Disease, and “You are the Beginning” sets the stage by stampeding out of the gate with vicious palm-muted riffs, snarling vocals, and dual drum bombardments courtesy of Atsuo and Uniform drummer Mike Sharp. 

Listen here:

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“On tour, we learned more about the depth of their musicality, which we felt was compatible with our own expression,”  Boris’s Atsuo and Takeshi say of their tour mates. “They are a band that can be described in many ways—punk, metal, industrial—but they truly excel because they are not locked into any style. They are always experimenting and innovating.” The feeling was mutual.

“Uniform have been longtime fans and admirers of Boris. Supporting them on tour was a dream come true,” says Uniform vocalist/electronics wrangler Michael Berdan. Guitarist and producer Ben Greenberg was equally excited by the opportunity to team up with Boris and shape the recording of Bright New Disease in his studio. “Wata is one of my favourite guitar players ever, so I’m very stoked we got two duelling solo tracks on this record,” Greenberg says, referring to the intertwined guitar leads on “Endless Death Agony.” This isn’t to say there wasn’t also a shared appreciation for certain classics, particularly when it came to Japanese hardcore. “The first time I met Atsuo he was wearing a Gastunk shirt, and Takeshi has schooled me harder on Burning Spirits than any fetishist westerner could ever hope for,” says Berdan.

Members of both Boris and Uniform talk about songs on Bright New Disease in the context of how they’ll play out in a live setting. Under normal circumstances, such considerations are a part of the writing process for any band with an active live presence. But considering that Bright New Disease was written and recorded in the darkest days of the pandemic, it frames the agitated and tumultuous spirit of the album in a new light. Yes, this is the sound of frustration, but it was founded on resilience. “In the end, it sounds like the crystalised essence of both bands at the heights of their creative abilities,” says Berdan. “It is a testament of friendship and hope in the face of a world on fire.”

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Everyday Is The Song is an evocatively drifting ambient-adjacent work of sampled tape, a diaristic soundwork that weaves interconnected songs out of field recordings and ephemeral music snippets featuring dozens of players in Void’s artistic community, including Owen Pallett, Sarah Pagé, N NAO, Shota Yokose and YlangYlang.

Two tracks from the album have just been made public.

‘Present Day Montage’ is one of them, and it begins as a scratchy droning chordal piece sampling organ from “I’ve Never Seen Paris In The Spring” by Philadelphian Darian Scatton’s Still Sweet project (from a rare 7-inch on Edible Onions), gradually blended with samples from a Montréal live performance recording by Acid Mt. Royal (Sarah Pagé, Maya Kuroki, Shota Yokose & Eddie Wagner). Void drops one of their trademark minimal broken-clockwork beats around the halfway mark, accentuating the sense of temporal slippage and transience. Disembodied atonal singing voices, the echoes of crowds and empty spaces, and the glistening of freight trains grinding on the tracks that run through Montréal’s Mile-End district, create a montage that melds gently otherworldly melancholy with concrete urban-industrial specificity.

“Present Day Montage” has a self-explanatory title. As one of the closing songs on the album, it was meant to evoke a time-lapse sequence that runs up to my current time and place, in relation to the years where ‘this album took place’—like those epilogues at the end of films that describe the fate of the characters. This time-lapse reveals both changes and repeated cycles, elements that stay in place and others that drift by, the sensation of both fast motion and slow stillness. — Joni Void

Listen to ‘Present Day Montage’ here:

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NYC no-wave veterans Live Skull will return with new album Party Zero on May 26th, 2023 on Bronson Recordings. Following on album opener ‘Magic Consciousness’, a modern post-punk protest tune of uncanny subtlety and power, today they share new track ‘Neutralize The Outliers’. Both urgent and catchy, it’s an addictive anthem of otherness perfectly balanced with incredible guitar work and riffs. Recorded at legendary Deepsea in Hoboken NJ by Mark C, this is timely music, essential, impassioned, angry and beautiful. It’s the sound of Live Skull in the 21st Century, a desperate time that needs heroes like these. They are back from the past and still holding the post-punk sceptre.

Live Skull’s Dave Hollinghurst explains: "We watched the chaos unfold live on the computer screen, freaking out, confusion and doubt on our faces. I realized that not only are we the hunted, but we are the hunters – and what are we going to do about it? Strike back with our own brand of chaos and noise – at least we go down in a sonic blaze of glory".

Listen to ‘Neutralize the Outliers’ here:

Insurrections. Global pandemics. The return of fascism. Climate crises. These are some serious times. But if you’ve got angst in your pants and you need to dance, or scream, or play guitar too loud, too close to your amplifier, turn your ear to what Live Skull are doing. The New York noisers, who went on indefinite hiatus just before their kind of smart, gnarly, inventive din became lucrative, rose again in 2016. Their new album ‘Party Zero’, a thrilling work redefining what Live Skull means and what they stand for: no longer a group with a past, but one with a future. 

‘Party Zero’ marks the arrival of guitarist Dave Hollinghurst, an electrifying presence pushing the band in a fresh, new direction. It’s a fiercely political album, in keeping with this politically fierce age. “Desperation inspires us to make art and music,” he says. “There’s a lot of birth and rebirth, looking for pathways of resistance and promoting the good and trying to fight against evil. I once said we had to start Live Skull because Reagan became president. And we had to restart Live Skull because Trump became president.”

‘Party Zero’ is big in sound, brash in dynamics. But the sophistication that was always the group’s calling card remains an essential element, dealing in the kind of pulverising pell-mell that characterised the 80s New York sound, but also radiant with melody, the fusion of noise and unexpected tunefulness delivering a heady, psychedelic effect.

“We’ve been pushed to the edge – how do we claw our way back?” asks Mark. “That’s been a common theme in Live Skull since the beginning, and so it is now. We’re trying to provoke thought.”

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Photo Credit: Jen Jaffe