Posts Tagged ‘video stream’

The immense success of Psychonaut’s Pelagic debut album Unfold The God Man, which has been repressed 3 times throughout the pandemic and sold close to 3.000 vinyl copies to date, has proven that Psychonaut are a force to be reckoned with.

The three gentlemen from Mechelen, Belgium now return with a ferocious and muchly anticipated concept album that proclaims the formation of a new world through the acceptance of a new human identity. “We’ve always been interested in religion, spirituality and philosophy,” explains vocalist/guitarist Stefan de Graef about the music of PSYCHONAUT. “We’ve meditated together, had long discussions about the nature of life, and we share a common vision.”

Now, with the release of their sophomore album Violate Consensus Reality on 28th October (Pelagic Records), the Belgian three-piece take you on a visceral trip into our collective human consciousness. A journey marked by explosive riffs, soaring vocals and intricate yet catchy compositions.

An impressive album which cements PSYCHONAUT’s standing as aspirants to the throne of the contemporary European progressive / post metal community.

“We distance ourselves from a system that is based on the idea that humanity is fundamentally bad and needs protection from itself in the form of a hierarchy,” continues De Graef about PSYCHONAUT’s latest album. “By no longer subscribing to the notion that we are all separate beings in a separate world that is dead and pointless, we embrace the vision of a new civilisation that is rooted in the idea that we are part of a living, sacred universe.” Likening our present state of separation to “an island on oceans grown, designed to bear unpredictable wrath,” the band accompanies their denunciation by punishing riffs and heavily syncopated rhythms, grabbing you by your guts and taking you on a turbulent journey.

Violate Consensus Reality engages the senses in a way that is quite rare for concept albums, it is raw and brutal, unlike the lofty concept albums of yore with their endlessly repeating motifs and needlessly complex song structures. It stands in a long tradition of activism in music, but it also deconstructs this tradition by taking its loud and admonishing tone and providing it with a thoughtful base rooted in philosophy and spirituality.

With music deeply rooted in communal meditation sessions, psychedelic metal outfit Psychonaut are a unique entity in the Belgian metal scene and beyond. The mantric title track of their upcoming second album, which they have now shared, sees the trio once more aligned in body and mind as they appeal to the listener with a 9-minute atmospheric slow burner. Their stature is once more affirmed by Amenra’s Colin H. van Eeckhout, who ushers the track to an unforgettable climax.

Watch the video now:

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The Bobby Lees offer a final preview of their forthcoming album, Bellevue, due 7th October via Ipecac Recordings, with today’s release of “Ma Likes To Drink” and its companion video.

Drummer Macky Bowman said of the track: “To paraphrase John Berger: there is a stark difference between being naked and being a nude. To be naked is to be natural. Stripped of societal confines you are free to be as languorous or wanton as you wish. Even in naked acts of exhibition the primary spiritual benefactor will be the model, not the voyeur. Conversely to be a nude is to be reduced to no more than your physical form, displayed as a trite odalisque for the pleasure of greasy slobs. On an unrelated note we are all very proud of this song and video! We really hope you enjoy. Love you!”

The static shot clip, featuring singer Sam Quartin on a stationary bike sandwiched between a pair of mannequins, was directed by John Swab who also created the band’s videos for “Dig Your Hips”, and the video-meets-film short, “Hollywood Junkyard”. The band have also recently released the visualiser for “Monkey Mind” in anticipation of Bellevue‘s full release.

Watch the clip here:

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The Bobby Lees - Main Photo2 Aug 2022 - credit Cyrille Bellec

Photo Credit: Cyrille Bellec

What does worldwide quarantine do to our favourite porcine libertine? Raymond Watts holed up in his sty and created The Merciless Light, the new album by PIG. Ably aided and abetted by long time accomplices En Esch and Steve White, Watts also welcomes a new swine to the trough as Jim Davies (Pitchshifter/The Prodigy) adds another new level of impeccable (in)credibility and talent.

The Merciless Light seethes, swings, seduces and snarls. Extraordinary electronics and a glut of glitz, glam, guitars and grooves create a masterful mélange of mirth, malice and winking wit from our very own venerable Vicar of Vice.

A stellar sample comes in the form of the snazzy ‘The Dark Room’, which clocks in at exactly three minutes and delivers a massive knockout punch with mercifully no paunch. A video for the song directed by LA based Ibex is available now. Watch it here:

Four further tasty morsels from the album can be consumed in the form of video snippets, while album opener ’No Yes More Less’ has also been released as a single ahead of the main course being served on 23rd September.

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PIG photography by E Gabriel Edvy

On September 9, darkwave artist Curse Mackey will release his highly-anticipated new full-length album, Immoral Emporium, the follow-up to his 2019 industrial masterpiece, Instant Exorcism. Curse will also embark on a North American tour as a special guest for darkwave legends, Clan of Xymox.
Immoral Emporium is an intense, dark electronic music experience. Curse emphasizes, “This is a NEW album for modern times, in the here and now.”

True to his word, Immoral Emporium pushes the boundaries of genre with a vast dynamic range, from a tortured whisper to a triumphant howl. The first single, “Lacerations” is a dancefloor stomper with hypnotic vocals, a hard-hitting chorus with wailing synths and bin-shaking beats.

The album moves into poppy, upbeat club territory with the earworm ‘Dead Fingers Talk’.  The buildups are big, such as in ‘Omens and Monuments’, with monstrous synths that bring Immoral Emporium to a goosebump-inducing, cathartic end leaving the listener looking forward to the future.

Curse says, “Immoral Emporium was created under very remote, unusual, stressful conditions. This record is a dangerous listen. By the time it reaches the last song, I, as the protagonist, am essentially already dead. However, my last words are meant to give hope to the listener, my friends around the world…that you can live to fight another day, knowing you don’t have to give in to the fear, pain, and worry. These things will pass and you are not alone."

Clocking the William Burroughs reference in ‘Dead Fingers Talk’, interest in the album is piqued here at Aural Aggravation, and never more so than by the promo clip for ‘Lacerations’, released as a taster for the album, which you can watch here:

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Aural Aggravation is immensely proud to present an exclusive video in the form of ‘Lifted by Marionette Strings (For Kleist)’ by Dan McClennan.

Taken from the album Unfurling Redemption released by Cruel Nature Records on 2nd September, ‘Lifted by Marionette Strings (For Kleist)’ is an unusual hybrid of neoclassical and experimentalism, balancing ominous synths and graceful piano with elements of noise to create a multi-faceted journey brimming with drama and tension.

Known for his energetic furling beats with noise-rock experimentalists Warren Schoenbright and Why Patterns, this solo release sees Daniel McClennan draw on classical and avant-garde influences such as Giacinto Scelsi; Svarte Greiner; Valentin Silvestrov; William Basinski; along with sound-artists such as Jacob Kirkegaard and The Caretaker .

Unfurling Redemption is a collection of eight assemblages comprised of synthesised instruments and freely available/stock sound samples. These assemblages explore the widely observed and seemingly inherent desire for overcoming in humankind, a dangerous proclivity for dreaming the transcendent. Particularly, the tracks pull at the problem of what we can do when these efforts inevitably drop us short of paradise, miss the mark or leave us as pyrrhic victors. Taking the form of empathetic or imagined inward reflections, they are inspired by characters in both fiction and critical discourse and take the form of unpredictable, spectral or melancholy audio ruminations. What must be done when transcendence is forever thwarted? Where then, must we seek redemption?

Watch the video here:

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Tenchpress’ bio reads ‘6-string guitar, 12-string guitar, keys (for doors, not the instrument), keys (the instrument, not for doors), concertina, trumpet, a friend’s electric bass, sturm, und drang, 1x LA Galaxy-branded drum stick, free soft synths, A Very Old Snare Drum.’ Which ultimately translates as rather wonky weird shit, judging by their forthcoming album, Tombmagic, released through Cruel Nature in September 5th.

As a taster, they’ve released a video for the track ‘Quaternions’, which bears the distinctive emerging style of Jason Kester.

Check it here:

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KEN mode has released harrowing new single, ‘Unresponsive,’ from its upcoming eighth album, NULL, out on 23rd September.

A relentless dirge, ‘Unresponsive’ features frontman Jesse Matthewson unleashing a tormented soliloquy that hits like Henry Rollins at his most confessional. "Forgotten, erased, unresponsive, replaced, abandoned," he chants.

Matthewson recalls the origins of the song: "At this phase of the pandemic I had begun having dreams about my partner leaving me and my family dying, probably five nights a week, for several months. I sat there, writing the lyrics to this one while listening to a rolling storm come in, that never seemed to actually reach a crescendo. It all felt too apt for the way everything had been feeling for the last year at that point."

The track’s sparse, machine-like pulse, peppered by hints of cello and clanking percussion, points to early industrial and No Wave influences, beyond the metallic hardcore and noise-rock for which KEN mode is known. Matthewson credits the COVID-19 pandemic with pushing the band to take new chances and explore new ground: "We felt like there was really no reason to do anything at all unless we were trying to push this into something new," he states. Recorded and mixed by Andrew Schneider (Cave In, Unsane), NULL is the first KEN mode release to feature collaborator Kathryn Kerr (saxophone, synth, piano, percussion, backing vocals) as a full-fledged member of the band.

Check the video here:

Founded by Matthewson and his brother Shane, KEN mode has come to define intensity and dedication, via tours with Russian Circles, Torche, and Full of Hell, and releases produced by the likes of Steve Albini, Kurt Ballou, and Matt Bayles. Upcoming new album NULL sees this warhorse of a band emerge from the darkest of times with new energy, evolved and ready to carry on into its next chapter.

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The band embarks on a US tour in October, with support from Frail Body (Deathwish Inc).

Oct 20 – St Paul, MN @ Turf Club

Oct 21 – Davenport, IA @ Raccoon Motel

Oct 22 – Chicago, IL @ Beat Kitchen

Oct 23 – Indianapolis, IN @ Black Circle Brewing Co.

Oct 24 – Columbus, OH @ Big Room Bar

Oct 25 – Nashville, TN @ DRKMTTR

Oct 26 – Little Rock, AR @ Vino’s

Oct 27 – Oklahoma City, OK @ 89th Street

Oct 28 – Austin, TX @ The Lost Well

Oct 29 – Houston, TX @ Black Magic

Oct 30 – Denton, TX @ No Coast Fest

Oct 31 – New Orleans, LA @ Gasa Gasa

Nov 2 – Atlanta, GA @ The Earl

Nov 3 – Charlotte, NC @ Snug Harbor

Nov 4 – Philadelphia, PA @ Silk City

Nov 5 – Brooklyn, NY @ Saint Vitus

Nov 6 – Cambridge, MA @ Middle East

Nov 7 – Montreal, QC @ Turbo Haus

Nov 8 – Toronto, ON @ The Baby G

Nov 9 – Detroit, MI @ Sanctuary

Nov 10 – Milwaukee, WI @ Cactus Club

Nov 12 – Fargo, ND @ The Aquarium

Tacoma, Washington mathcore/metalcore greats Botch have released a new song and video, ‘One Twenty Two,’ their first song in twenty years.

The track will be included on the re-issue of their wildly influential second album, We Are the Romans, which was also announced today, available as a 2xLP and CD on November 4th via Sargent House.

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There was never any intention for the band to release anything else, but when guitarist David Knudson went to write his debut solo album, it made sense. He explains:

“During Covid, I was writing my debut solo LP, and mentally, I was sick of everything in quarantine. Lots of frustration had set in at home, and I figured the best way to deal with it was to write something heavy. I had no intention of writing anything for Botch, but when I was thinking of a singer to collaborate with, I thought, “Hey, I know the best hardcore singer ever to do it,” so I hit up Dave V. He was super excited and so it just kind of snowballed from there. There was never any intent or conversation about getting back together or writing. It just happened so naturally and was a great release for all of us to make it happen without any of the traditional pressure an “active” band faces.”

Bassist Brian Cook, guitarist David Knudson, drummer Tim Latona, and vocalist Dave Verellen formed Botch in 1993, becoming one of the most ground-breaking and influential bands during a pivotal shift in heavy music. Their final show was June 15, 2002, the same day as the release of their final EP, An Anthology of Dead Ends. The members would go on to play in These Arms Are Snakes, Minus the Bear, and Russian Circles, among others, with acclaim for the band coming mostly post-breakup. We Are the Romans went on to become one of the most influential albums for the genre garnering posthumous acclaim across the board.

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Dead Cross, the SoCal band featuring Michael Crain, Dave Lombardo, Mike Patton and Justin Pearson, share a second single from their forthcoming album II (Oct. 28, Ipecac Recordings) with the release of ‘Heart Reformer’ and its accompanying video.

“’Heart Reformer’ was as much fun to write as it is to listen to,” says Crain of the song. “It’s a classic Dead Cross song. It’s a pit stirrer and a fist pumper!”

The short-film like clip, which takes the track’s title literally, was directed and edited by Dark Details (a.k.a. Chris J. Cunningham). Watch it here:

The band broke the news of II’s impending arrival with the release of ‘Reign of Error.’ The one-minute and forty-five second wake-up call of a song is matched with a Displaced/Replaced-crafted clip that offers a scathing critique of the U.S. Supreme Court.

II, while both a raucous hardcore collection, and at times, a politically-charged opus, has its roots in friendship, with the band rallying together after Crain received a surprise cancer diagnosis. "Words can’t even begin to describe how much this album means to me. It’s birthed of pain and uncertainty,” adds Crain. “The slow, excruciatingly painful, and nauseating recovery from cancer treatments were the catalyst for every riff and note on this album. However, my will to live and be with my brothers Justin, Dave, Mike, and co-producer Ross Robinson, got me out of bed and running into the studio every day to get it all on tape.”

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Dead Cross II cover by Eric Livingston

Lonely Robot, the project masterminded by vocalist, guitarist & producer John Mitchell, are set to release their fifth studio album A Model Life on the 26th August 2022. With just a few days till release, a video for the album’s third single ‘Digital God Machine’ has been launched. Watch it now here:

John comments: “It’s the internet age people! And with every computer connected to it comes a free opinion. For some reason, the world of progressive rock fandom bears down on the timid musician struggling to make his way with the weight of said opinion. Said fandom LIKES and values it’s own opinion with much aplomb and shares it with alarming regularity from the bravery of great distance and safety. Thus is born the ‘Digital God Machine’.”

An album that brims with frustration at the state of things, while tugging remorselessly at the heart strings, A Model Life is plainly the most honest and vulnerable Lonely Robot record to date. From opener ‘Recalibrating’, which muses on the aftermath of a broken relationship, and ‘Digital God Machine’ – a sardonic tribute to keyboard warriors everywhere, to the boys-don’t-cry pathos of ‘Rain Kings’ and the absurdly moving, adoption-themed ‘Duty Of Care’, these new songs provide a scattershot but profoundly emotional soundtrack to a restless and uncertain world.

John comments: “Making A Model Life was very much a lifeline and indeed wake up call at the end of a particularly personally challenging couple of years. Creating it made me realise that ultimately, life is impermanent and the one true thing that gives me a focus and anchor is and has always been music. Long may that be the case.”

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