Posts Tagged ‘Video’

Christopher Nosnibor

The news just in is that ‘Electro-Industrial band MICROWAVED has just unleashed their new EP, Save Me’, and that ‘The EP contains 16 tracks, 14 of which will be available on streaming platforms June 12th. The Bandcamp release will contain two bonus tracks: a collaboration with LIEBCHEN on a cover of Pink Floyd’s “Comfortably Numb” and an additional remix from the talented and outstanding remix artist Steven Olaf.’

The last I was aware, EP stood for Extended Play, and LP for Long Play, and sixteen tracks is pretty bloody long (unless it’s grindcore, when 16 tracks would likely have a running time of about ten minutes). No matter: I’m being picky (for a change), and they’ve released the title track as a lead single, and it features Kimberley Kornmeier of electrogoth act Bow Ever Down.

‘Save Me’ is a brooding blur – the agitated, fast-paced percussion that pounds and stutters like a palpating heart contrasts with the deep, broad, sweeping synths and a gloomily wistful melody which leans heavily on The Cure’s ‘Pictures of You’. The contrasts work, despite being quite difficult to reconcile on the first listen or two. There’s also a subtle but definite harder industrial edge to it, and it makes for a bold yet sensitive song which reminds us that beneath exteriors, so many of us hold on to pain and suffering and loneliness, and that to feel lonely and to be alone are not the same thing.

It’s when it takes a step away from itself around the three-minute mark and there’s a brief segment that sounds more like Eminem that’s hardest to assimilate in the overall shape of the song. It may be incongruous, but at least you could never describe the song as being predictable, and ‘Save Me’ is pretty damn powerful on multiple levels.

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Following the release of their debut album ‘Dominion’ on APF Records last year,  Video Nasties are back with another slab of moral-panic inducing heaviness – the addiction inspired single ‘Draw The Shades’

With ‘Dominion’ selling out on vinyl, APF Records are repressing the album for release on 7th May. Limited to only 300 copies (150 Flaxen Lust / 150 Suspirium Pink), the reissue will include ‘Draw The Shades’ on a 70s retro style Flexi-disc. Bassist Rick Owen comments,

‘We’re extremely excited about Draw The Shades. It’s our first single since the release of Dominion and we feel it picks up right where They Rise left off so it makes a perfect companion piece for the repress of the album. We decided to go down the same path with recording it ourselves, to make sure we really nailed the early 90s sound that we felt we captured so well with Dominion. At its crux, the song is about addiction. Whether that is blood, drugs or love… There is a need that has to be sated. ‘

Listen to ‘Draw The Shades’:

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‘Love Poem’, the second video from Los Angeles-based instrumental outfit TEETHERS’ eponymous first EP; all the songs are from drummer Andrew Lessman’s book of compositions.​ Lessman is a drummer known in the L. A. underground for his chameleonic contributions to a roster of projects whose jazz, avant garde, and indie pop scenes don’t always intersect.

Watch the video here:

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Most of these pieces were written during Lessman’s days studying at the California Institute of the Arts under Wadada Leo Smith. This is also where Andrew met the irreverent psycho-talents who now 10 years later play on this first TEETHERS EP… sometimes it takes time to cultivate a group sound that does justice to the sound in one’s head. Joining Andrew in the studio on these recordings are: Graham Chapman on bass, guitarist Alexander Noise, Joe Sanata Maria and Ted Faforo on saxophones and Stefan Kac on tuba. Laced into this moody wordless music, like a delicious mushroom chocolate, is a humble nudge to look past the decaying fetters of our assumed boundaries and imagine new organizational forms.

Andrew grew up in a suburb of Chicago called Elgin with a single mom who worked as a dental hygienist. With no musicians in the immediate family, his musical awareness came from playing trombone in the middle school band and listening obsessively to Q101 (“Chicago’s Home for Alternative”).

At age eleven, after making fart noises on a rented trombone for a year, he received a $200 Hohner drum kit as a birthday reward, and promptly formed a Nirvana cover band with his buddy Jim. It was a good start, but at age thirteen everything changed. His mother had been fighting cancer for about six years and it spread out of control and took her life. It was decided that he and his sister would leave Illinois to go live with his jazz musician father in San Diego.

It was a painful loss, but dialectically embedded in this loss was opportunity for growth. On the first day of high school, he made fast friends with some punks on the quad who’d also just gotten some instruments, and they started a band called The Irrelevants. Through hardcore punk, they learned how to channel teen angst into volume and speed. They wore ugly homemade clothing, hated the government, smoked weed out of apples, and booked quite a bit of DIY shows.

At the same time, his dad was a professional gigging musician and his home was a constant hangout for many of the great players in the San Diego scene. His dad’s record collection confronted him with the confusing sounds of Miles’ “Kind of Blue”, Ornette’s “Shape of Jazz to Come”, Coltrane’s “Giant Steps”, and Art Blakey’s “Freedom Rider”. These sounds were incredible, and his dad was there to help demystify it. Within a year of obsessively drumming along to those records on the same $200 Hohner kit, he started sitting in at his dad’s gigs, booking gigs of his own, and picking up lessons from local legends like Charles McPherson.

One of his dad’s friends, drummer and educator Duncan Moore, thought he would benefit from attending UCSD’s summer jazz camp, so he pulled a few strings to squeeze him in last minute. Since all lessons with the drum faculty were full, he was randomly given a lesson with Wadada Leo Smith, the iconoclast composer and trumpeter who in the 60s helped start the AACM (Association for the Advancement of Creative Musicians). From this very first meeting, he permanently broke Andrew’s brain and got him thinking about composition. His advice on thinking beyond rhythm, melody and harmony to make creative use of musical form was like jumping from 3D to 4D. Andrew spent the next year shedding for college audition tapes and he ended up following Wadada to the California Institute of the Arts in Los Angeles.

26th February 2021

It seems only fitting that lo-fi indie duo Videostore should return to the roots that inspired their vaguely nostalgic moniker and the theme for their debut album Vincent’s Picks for their latest lockdown single release with a song which Nathan says was inspired by ‘sitting around watching superhero movies.’

Certainly, inspiration for a lot of art has been coming from closer to home this last year, and most life has been lived vicariously for many of us. Movies provide a much-needed escape when the limits of your life are just four walls, and this punchy, guitar-driven single is exemplary of Videostore’s resourcefulness. Written and recorded just a week ago, accompanied by self-filed footage (mostly shot at home or in local parks in a single day) and assembled by Dave Meyer, it’s once again a strong sell for the DIY methodology that facilitates not only full artistic control but a greatly reduced time-lag between conception and release, ‘Superhero Movies’ celebrates its uncomplicated evolution – Nathan sitting on the sofa with one of his many guitars, parked in front of a laptop, the pair supping wine.

‘This is not my movie’ Lorna sings, increasingly frenzied, as she spirals and spins around, beshaded, in a park somewhere as the guitars fizz and the bass thumps against an insistent drum machine.

And while this is ostensibly an indie tune, the tumultuous distortion of the buzzsaw guitar and the overall production is actually reminiscent of Big Black – in particular their cover of Wire’s ‘Heartbeat’. It’s not entirely pretty, and it’s better for it: ‘Superhero Movies’ packs all the energy, and delivers it with a raw immediacy that really hits the spot.

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Divide and Dissolve members Takiaya Reed (saxophone, guitar, live effects/ (Black & Tsalagi [Cherokee]) and Sylvie Nehill (drums, live effects/ (Māori) are very excited to announce the signing to Invada Records.

Today they release their new single and video for “We Are Really Worried About You”, from their forthcoming album Gas Lit,  which is produced by Ruban Nielson of Unknown Mortal Orchestra and set for release in late January 2021.

Watch the video here:

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About the new single, Divide and Dissolve comment:

‘We Are really worried about you’ is a call to transformation and freedom. This song and video seek to undermine and destroy the white supremacist colonial framework. We are weaving together our fight for Indigenous Sovereignty, Black and Indigenous Liberation, Water, Earth, and Indigenous land given back. Decolonise now.

At the start of the song, Takiaya’s formidable saxophone sound resonates strikingly like a siren song, beautiful with an undertone of danger. This gives way to a sudden surge of crushing percussion courtesy of Sylvie, and heavy guitar riffs, revealing the magnitude of their exhilarating multidimensional sonic, and powerful expression of their message.

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Photo credit: Billy Eyers

Godsticks open 2020 with their new and most accomplished studio album, Inescapable. Their mix of heavy rock, progressive and alternative metal with a dynamic range of angular riffs and emotional depth will leave listeners reeling. The band’s sound has refined over their releases on Kscope, beginning with the technically astounding metal on Emergence to the more industrial and progressive-influenced Faced With Rage. Now, with Inescapable, the band have channelled their energy and technical ability into the melody, phrasing and vocal performance, allowing emotion to take centre stage.

The band found themselves wanting a definitive theme running through Inescapable, without turning it into a concept album, of being more open, more personal and ultimately one that shines an inquisitive light on Charles’s struggle with inner demons which gave the songs a new level of intimacy. “Lyrically, I’ve always shared personal thoughts, feelings and experiences but in a very ambiguous way. For Inescapable – in a conscious effort not to repeat ourselves – I thought I’d be a little more self-reflective and perhaps examine some of my inner demons. I have a strange relationship with music, and especially playing guitar. I would struggle to survive without either, but equally they have made my life mentally torturous because my own self-worth is completely wrapped up in them. I used to be very much a perfectionist in my early years, and whilst some people may wear that as a badge of honour, I eventually viewed it as huge heavy weight dragging down. It was a long time before I arrived at the realisation that perfection was impossible to achieve.” elaborates Darran Charles.

As a taster, they’ve released a video single for ‘Denigrate’. Watch it here:

Godsticks are supporting the new material beginning in April with a UK tour followed by summer festivals

2/4/2020 – Cardiff – Fuel Rock Club

3/4/2020 – London – Black Heart

4/4/2020 – Manchester – Gullivers

5/4/2020 – Edinburgh – Opium

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In recent years, French atmospheric rockers Klone have built their name on making music that’s as deeply introspective as it is sonically powerful. Le Grand Voyage, the band’s first release for UK post-progressive specialists Kscope on 20th September, is an album brimming with that sense of searching and self-discovery, its 10 tracks living up to its name in unabashed no-stone-unturned existential exploration.

“Our music allows the listener to travel and ask, ‘What is the spirit? What is the matter?’ and those kinds of questions,” says guitarist Guillaume Bernard. “The title refers to the wandering of the mind. It all came our singer [Yann Ligner] who came up with something in English like ‘The Great Journey’. We all liked the meaning but weren’t sure how it sounded. Eventually we realised it would be easy enough for people to translate and understand in our native tongue.”

Much of the inspiration on forthcoming singles ‘Breach’, ‘Keystone’, and ‘Hidden Passenger’ came from pondering the great philosophies of life, those eternal unanswered questions like who we are, where we are going and, ultimately, what happens next. It was the uncertainty and confusion surrounding mortality, the notion that something or nothing awaits us, which felt like an unlimited creative playground for the French art-rockers.

You can watch the video here:

Ahead of the release of their latest album offering, Revenant (Burning Witches Records, 20th February 2019), Manchester / Leeds duo worriedaboutsatan offer up ‘Making Your Masks’  as a flavour of what’s to come. And it’s seriously tasty….

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There’s also a short tour to promote the release.

The dates are:
5th: Servant Jazz Quarters, London (w/ Lowering) [sold out!]
6th: Cafe Kino, Bristol (w/ LTO) [tickets]
7th: The Castle, Manchester (w/ She The Throne) [tickets]
8th: Wharf Chambers, Leeds (w/ Dean McPhee + Steve Hadfield) [tickets]

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Evi Vine previews ‘My Only Son’ single ahead of the Black Light White Dark album. The new LP features The Cure’s Simon Gallup, Fields of The Nephilim’s Peter Yates and Martyn Barker (Shriekback, Goldfrapp).

Evi formed this band while living in LA, quickly getting a support show opening for Slash at the Whiskey-agogo. She has collaborated with Graham Revell (SPK, The Crow Soundtrack), The Eden House, Tony Pettit (Fields of the Nephilim), and Peter Yates (Fields of the Nephilim).  In 2016, Evi sang on Phillip Clemo’s DreamMaps album, together with Talk Talk’s Simon Edwards and Martin Ditcham, subsequently making appearances on BBC6, BBC3 Late Junction and Jazz FM.

In recent years, Evi Vine has toured with The Mission, Chameleons Vox, Wayne Hussey, And Also The Trees, Phillip Boa and The Voodoo Club, and Her Name is Calla. After hearing Evi Vine’s debut album and including it among his top five albums, Wayne Hussey invited them to tour with him in 2016 and subsequently with The Mission in 2017. Invited on stage to sing three songs by The Mission, the seed was sown and Vine joined The Mission as featured vocalist for their 30th Anniversary Tour.

Watch ‘My Only Son’ here:

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Psychedelic, occult rockers Jess and The Ancient Ones have shared the second track from their brand new album The Horse and Other Weird Tales  which is released on 1st December via Svart Records. You can take a listen to ‘Return to Hallucinate’ here:

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