Posts Tagged ‘video stream’

MILDREDA’s sinister video clip ‘Liaisons Dangereuses’ has been selected by the Brussels Independent Film Festival in the short film category "The Rabbit Holes". This category is dedicated to a cinematic rabbit hole of offbeat, weird, wonderful, poetic, surreal, and abstract films. The clip had been created by the Belgian production house Pigeon Eggs and features Belgian actress and model Miss C.

Watch the video here:

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Mildreda comment: “The girl in the video played by Miss C symbolises a ‘poisonous muse’, which is what I like to call this type of character”, explains mastermind Jan Dewulf. “In the short film, you will see that the girl evolves from white to black, which illustrates her allegorical shift from ‘good to evil’. Though in fact, she was toxic from the start.”

‘Liaisons Dangereuses’ has been taken from Mildreda’s critically acclaimed physical debut full-length I Was Never Really There.

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Image: Pieter Clicteur

In 2022, a year after the release of Kvitravn and as a prelude to the forthcoming and much anticipated live dates, Wardruna are presenting Kvitravn – First Flight of the White Raven.

An immersive audio arrangement that underscores the experiential paradigm shift and masterful musicianship of their superlative and boundary-pushing virtual live experience First Flight of the White Raven of March 26th 2021. This new release captures their special set list consisting of songs from Kvitravn and a selection of favourites from the discography, and will be released on a 2LP, as well as 2CD that also features the original studio album track listing. To mark the event’s exceptional impact, it will also be available as a limited Boxset Edition including 2LP (black), 2CD, DVD with livestream performance and bonus documentary material and three videos (only available in the boxed set), flag of the CD album cover, certificate of authenticity for the box and an exclusive autographed card signed by Einar Selvik.

As a taster, they’ve shared the performance of ‘Solringen’ from the release.

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Wardruna’s UK tour commences in March. About the tour Einar comments “It has been more than two years since we last gave a performance in front of an audience. Needless to say, this long and unwanted hibernation has made us very excited to finally be able to realistically plan our return to the stage.”

Full list of dates in the UK and Ireland below:

Thursday 17th March: Southbank Centre, London

Friday 18th March: Albert Hall, Manchester

Sunday 20th March: Cambridge Corn Exchange, Cambridge

Monday 21st March: Symphony Hall, Birmingham

Tuesday 22nd March: The Glasgow Royal Concert Hall, Glasgow

Wednesday 23rd March: Vicar Street, Merchants Quay, Ireland

​Plus more live dates can be found here: http://www.wardruna.com/tour-dates/

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Almost 30 years since their inception, the members of Engine Kid got together in 2021 to hang out and record new music. The result of which arrived by way of the Special Olympics EP flexi-disc/digital EP, released last December on Southern Lord.

The band has shared a music video for the EP’s second single, ‘Patty : Tania’ alongside a Q&A with Engine Kid’s Greg Anderson.

Watch the video here:

The tracks on the Special Olympics EP are re-workings of old material which were never recorded. The music represents the sonic direction that Engine Kid were heading before they disbanded. With this EP, the band commemorates the joy of playing music together for the first time in 26 years, and pick up where they left off. As Jade Devitt comments, "The musical commitment and connection that we forged in the 90’s has held like a magnet, finally pulling us together after 26 years! The newly recorded songs were dusted off blueprints from our very last practice tapes from the summer of ’95. Now enhanced with experience & age and new arrangements. The Kid flies again."

Earlier this year, the 90’s post-hardcore collective featuring Greg Anderson (Southern Lord label owner, also in Sunn O))), Goatsnake & Thorr’s Hammer) released a 6-LP box set of their career-spanning recordings on colour vinyl LP’s for the first time titled Everything Left Inside (find out more about that here) Engine Kid’s Brian Kraft adds, "Greg, Jade and I spent the summer and fall of 2020 gathering old photos, flyers, artwork and audio rehearsals /remixes/remasters for the Everything Left Inside box set. This remote reunion of the Kid made me realize how important Greg, Jade and Engine Kid was and is in my life. The reconnection led to recording some new material. It felt as if we were continuing right where we left off.”

Engine Kid’s first new material since 1995, the Special Olympics EP’s cover art is a symbolic metaphor about living one’s best life, and with extravagant swagger. The songs themselves continue the band’s “take on the world” attitude with restless, wild energy.

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Photo Credit: Vaga Bond

Cleopatra Records

Christopher Nosnibor

Well, this is pretty fucking intense. Released to promote the duo’s new album, ‘Hear My Call’ is a beast. The verses are queasy, ominous with a hushed, almost strangulated tension. In contrast, the choruses are utterly pulverizing in their weight and density: there’s nothing hushed about them, and the tension is released in a chthonic snarl. The vocal transition is remarkable, as Lilith gears down an octave at least and flicks from anguished to a raging demon spewing toxic flames from the very bowels of hell. The crossover between electronica and black metal is almost schizophrenic, but Luna 13 render it in such a way that it’s perfect, that switch that happens at an imperceptible trigger lands with eye-popping precision, and the video, directed by Vicente Cordero (Stabbing Westward, Filter, 3TEETH) is a magnificent visual reflection of the music.

For a start, there’s splattered gore galore, as Lilith Bathory sloshes around in a bathtub that’s initially brimming with rose petals but before long it’s a streaming splatterfest where said tub is brimming with blood. She twitchily dials the telephone… and it transpires she’s not calling The Samaritans, but instead she connects on a hotline to Satan, and it cuts, and she’s a roaring, horned demon, and to the side, Dr Luna yanks a huge phallic lever that seemingly drives this whole whorl of chaos that’s blackened beyond black, the sound of scorching incineration.

A lot of so-called ‘occult’ and ‘Satanic’ shit is – well, shit – corny, half-baked, a bit laughable, at least to anyone not already invested, and you wonder how people take so many of these bands seriously. Not so Luna 13: this shit is truly terrifying. There’s no denying that some off the elements are perhaps cliché; masks, blood, and so on and so forth, but it’s all in the execution. Sonically, and visually, they’re full-on, and fearsome.

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King Garbage, with their contemporary take on American soul, return today with a new single and a Josh Finck directed video, ‘Busy On A Saturday Night.’ The song is the latest song to be unveiled from their forthcoming album, Heavy Metal Greasy Love, which will be released on April 1st via Ipecac Recordings and is available to pre-order now. Digital pre-orders include downloads of the new single ‘Busy On A Saturday Night’ plus two additional pre-release singles, ‘Piper’ and ‘Peanut Butter Kisses.’

‘Busy On A Saturday Night,’ which is available now on all streaming platforms, draws its inspiration from a magnet on that was on the fridge of King Garbage’s Vic Dimotsis’ great grandmother. “It had a sweaty male stripper pictured on it and said, ‘Everything I want is either taken, or busy on a Saturday night,’” laughs Vic. He adds, “Blurry as a memory on a slinky night out. A Tom Waits-inspired roadster awaits high high heels on a sure fire adventure. Losing articles of clothing to the magnet of the pavement, the band plays on through a duct from another world, and our eyes blur from both lust and disgust. Such motion seems still, as the accelerator and brakes lose meaning. A quiet lonely brunch awakens us from a distant stare.”

Watch the video here:

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Photo Credit: Josh Finck

Darkness treads light as a feather. The voice of despair gently wafts through the air. Delicate pain wrapped in radiant beauty pierces the heart slowly yet without hesitation. The sinister yet beguiling images that DARKHER aka Jayn Maiven paints with her ethereal vocals, guitars, and added strings conjure iridescent cinematic scenes in which it becomes hard to tell whether there lies beauty in darkness or if it is the other way around.

With her sophomore full-length "The Buried Storm", the guitarist, composer, lyricist, and producer has clearly succeeded to even improve the beloved alchemic musical formula that was firmly established on DARKHER’s debut album "Realms" in 2016. Her mostly eerie and at times even outright sinister sonic storytelling comes refined on every level and with sharpened contrasts that reflect the ongoing learning-process of their creator. 

DARKHER were conceived as the sole brainchild and solo-project of Northern English singer and guitarist Jayn Maiven in 2012. The dark and melancholic yet also massively heavy sound on the self-titled debut EP "Darkher" (2013) combined with the distinct vocals of the shy pre-Raphaelite beauty caused an audible buzz – particularly in the doom scene and brought DARKHER a quick record deal, which led to the following EP "The Kingdom Field" (2014) appearing via Prophecy Productions.

Despite not even having an album out, DARKHER were invited to prestigious festivals such as Roadburn in Tilburg, The Netherlands and Prophecy Fest in the Cave of Balve, where the English delivered widely celebrated performances. In 2016, the highly anticipated debut full-length "Realms" was finally released to much praise from critics and fans alike. Press compared DARKHER’s music with a wide range of highly individual acts such as CHELSEA WOLFE, ESBEN AND THE WITCH, SÓLSTAFIR, LOREENA MCKENNITT, and PORTISHEAD.

In the meantime, Jayn’s long-time drummer Christopher Smith, who already contributed to earlier releases, live shows, and again on "The Buried Storm" has been added as permanent member to the line-up of DARKHER.

"The Buried Storm" gives shape to the darkness lurking at the edge of consciousness, hidden from plain sight but patiently biding its time to strike out at the heart. DARKHER have delivered another frightening masterpiece that easily transcends musical boundaries with its broad appeal to friends of dark sounds regardless of genre. "The Buried Storm" captivates its listeners with deceptive sweetness – only to bind them tightly within a thorn-spiked nocturnal beauty forevermore.

Watch ‘Lowly Weep’ here:

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Image: Kathryn Pogue

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

Greece has spawned countless instances of criminally underrated music acts in diverse genres ranging from black metal to electronic to avant garde pop music, and the sophomore album of modern progressive metal act Playgrounded titled ‘The death of Death’ is yet another striking example.

“Where did this come from?” you will find yourself wondering, while absorbing the stunning intensity and musical prowess on display. From the perfection of the production and the inherent innovation in defining heaviness by means of not only downtuned guitars, but also elements of electronica are the pillars of an intriguingly idiosyncratic, incredibly mature sound.

Hailing from Greece, but spending most of their time in the Netherlands, the musical pedigree of the members of Playgrounded is quite unprecedented in the metal/rock underground. Main composer and producer Orestis Zafeirou is a graduate from the Institute of Sonology of the Royal Conservatoire of The Hague, a department focused on electronic music education and production research. Additionally, he works in a synth factory. Vocalist and co-producer Stavros Markonis graduated from the Amsterdam conservatoire and is an award-winning composer for film and TV. Bass player Odysseas Zafeiriou and guitar player Michael Kotsirakis both work as computer engineers, while drummer Giorgos Pouliasis is a graduate from the Rotterdam Conservatoire, as well as a drum teacher and a popular session musician in Greece as well as in the Netherlands.

Starting out in 2007, Playgrounded have been together for over 15 years, playing both national and international tours, while also opening for bands like Riverside and even Nine Inch Nails in Amsterdam. Their first EP Athens (2012, Casket Music) portrays an already mature band playing modern prog rock influenced by Tool and Deftones. Their debut full-length In Time With Gravity (2017) shows the band in full flux, experimenting with extended compositions as well as influences from influential contemporary electronic music acts like Modeselektor and Moderat.

Playgrounded’s sophomore album lives up to the aspiration of its lofty album title. The death of Death is music that results from mastery rather than lacklustre exploration and experimentation. The album was recorded at MD Recording Studios by Nikos Michalodimitrakis, long collaborator of Stavros in film productions. Mixing was handled by C.A.Cederberg (Leprous, Shining, and more) in Kristiansand, NO, while the album was mastered by George Tanderø (Madrugada, Satyricon, Jaga Jazzist, and more) in Oslo, NO.

Guitarist Michael Kotsirakis comments on the album’s title track which the band shared today,

"The death of Death" is a study of unity in opposition, a disclosure of contradictory aspects of reality, an expression of their mutual relationship.  For the occasion of sharing this first taste of the album with the world we worked closely with director Dimitris Anagnostou and director of photography Yannis Karabatsos, the duo that we came to know from the award-winning short film Mare Nostrum for which Stavros composed the score.  The director’s idea about a "study of movement" using early cinematography techniques drew inspiration from Orestis’ dialectically composed lyrics and was eventually adapted into the clip’s script. We felt that Karabatsos’ sinister photography was the perfect means to explore the song’s contradictions… black and white, direction and diffusion, alienation and struggle, stillness and life.”

Watch the video for ’The death of Death’ here:

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Demonstrating a profound understanding of the glitches they produce, Playgrounded evoke a sense of the uncanny closely related to the cut-up movie fragments of sound artists like the German Orson Hentschel. “We start with dynamic sound design structures, most of the times initiated by Orestis,” explains guitarist Michael Kotsirakis. “We then work in pairs expanding the musical space and creating variations and flourishes. Sometimes the lyrics and vocals will dictate a change in quality, other times it’s one of the instruments. After many ideas are on the table Stavros and Orestis sit together and propose a song structure. After this loop has been repeated over and over we have a very good idea of all the parts. That’s when we hit the rehearsal space and refine the details.”

The result is a collection of songs that reveal Playgrounded as composers in the act of decomposition. The memorable guitar riffs and vocal melodies serve as gateways to a deeper layer of glitchy synth textures and liquid drumming, until the perspective of radical decomposition consumes one whole. “The shortest sound units become extended themes,” explains main composer Orestis Zafeirou. “Steady rhythmical blocks interact with unstable ones. Noise becomes tone and melody. Sonic grains gather to form masses, masses dissolve into a single entity. With every repetition, comes change.”

On The death of Death, Playgrounded analyse and take apart their surroundings, reducing reality to its smallest components, subsequently converting them into sound to create a new platform – a representation of reality from which they build their artistic vision. In essence The death of Death is dialectical, a study of unity in opposition. A disclosure of contradictory aspects of reality, an expression of their mutual relationship. From these contradictions the band manages to construct a brooding world of dark magnificence. The death of Death has the appeal of a film score that slowly starts to haunt you as the movie progresses. The more you listen to it, the more its sublime beauty becomes apparent.

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Rokia Koné, one of Mali’s most popular female singers, has announced her long-awaited debut album BAMANAN — a collaboration with Irish-born, California-based rock producer Jacknife Lee. Ahead of its release on 18 February 2022, they have shared the single ‘Kurunba’, the follow up to debut track ‘N’yanyan’.

Rokia Koné, who is already a major star in her home country, was first introduced to international audiences as part of the acclaimed feminist supergroup Les Amazones d’Afrique in 2017 when she featured alongside some of West Africa’s biggest female artists on the critically-acclaimed album République Amazone.

Jacknife Lee is the acclaimed producer of globally-renowned bands U2, R.E.M and The Killers, and has earned Grammy recognition for his work on Taylor Swift’s multi-million selling Red. Stadium-sized soundscapes are his speciality, yet BAMANAN finds Lee upholding the stark beauty of Rokia’s voice with subtlety and sensitivity. Every nuance and breath is heard, each inflection and melismatic improvisation carefully preserved.

The song ‘Kurunba’ is a powerful example of resistance and denouncing the customs of exclusion faced by women when they have finished raising their husband’s children. In some patriarchal societies, once her children are married, the wife’s role in the family is diminished and often results in the arrival of a co-wife. If she rebels against this, she could be branded as ‘mad’ and isolated from society.

“Kurunba tells the story of a particular woman who was freed from her isolation,” explains Rokia. “On the day of her daughter’s wedding she sang this song, and the same people who had tried to lock her up were transformed into dogs and flies. It’s like a curse.”

As a member of Les Amazones d’Afrique (the West African musical collective who campaign for gender equality) women’s issues are a regular theme in Rokia’s songs. “We cannot list all the problems women face,” she says. “Lack of access to education for girls, conjugal violence suffered by women in households, rivalry amongst co-wives, and more besides. I call on men to get involved in works that protect and make women happy.” — Rokia Koné 

In the video for ‘Kurunba’, Rokia enters a London nightclub as an apparition amongst a gathering of some of the city’s most talented young contemporary dancers, who react to the song’s high-energy, uplifting spirit. It was directed and choreographed by Zambia-born dance artist Kennedy Junior Muntanga.

Watch the video here:

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Photo credit: Paulina Biswell

‘The Boogeyman’ is the latest single from NYC Horrorpunks, Cut Like This. A deliciously evil lullaby, the song delves into the tortured musings of an insomniac facing their desire for sleep while battling their lack of control in obtaining it.

The single art portrays the horrific personification of insomnia, the titular Boogeyman,  with impressive practical SFX makeup by singer Rose Blood. Blacklight uv colors glow in stark contrast to the pitch-black darkness, echoing how the sing-song vocals intertwine with the harsh screams in the outro insisting “You’ll NEVER get to sleep!”

Watch the video here:

CUT LIKE THIS is a Horror Rock trio with a metal edge and a flair for theatrical live performances!  Based out of NYC, the band was founded by 2 acrobats of color Rose Blood and Thorn Black, who ran away from the Circus and back onto the grimy, underground rock stages they came from! You might recognize them from their acrobatic performances at Electric Zoo with Excision or onstage with Steve Aoki or Diplo.

Fiery haired singer Rose Blood entrances with bad girl flair, equally comfortable with seductive melodies and menacing screams.  Thorn Black’s thunderous guitar riffs are as heavy as they are catchy, supplying enough hooks to make any cenobyte happy!  Rounding off the live trio is the Neotribal, androgynous Corey Carver, a bassist with a deep love for Japanese Visual Rock. Behind the scenes, sequencing drums, is Evyl Jon of the groundbreaking, Progressive Death Metal band Evil.

With songs featuring tributes to horror movies and beckoning to the monsters within us all, this 3 piece of horror is ready to take you on a ride on an undead carousel from which you’ll never escape! Fans of bands like In This Moment, Raven Black and Wednesday 13 will dig them like a grave.

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