METZ have announced their upcoming album “Atlas Vending” due in October on Sub Pop.
With the announcement came the release of the video for the closing track “A Boat To Drown In”.
Through a press release Tony Wolski, the director of the video, said: “the song has a beautiful, crushing numbness to it that we wanted to mirror in the visual. So we chose to romanticise our main character’s descent into her delusions of love and togetherness. At a time when everyone’s simultaneously coping with some sort of isolation, a story about loneliness – and the mania that comes with it – seems appropriate to tell.”
This is their first release since “Strange Peace” came out in 2017. Last year they released their rarities compilation titled “Automat”.
The tracklist of ‘Atlas Vending’ is:
1. ‘Pulse’ 2. ‘Blind Youth Industrial Park’ 3. ‘The Mirror’ 4. ‘No Ceiling’ 5. ‘Hail Taxi’ 6. ‘Draw Us In’ 7. ‘Sugar Pill’ 8. ‘Framed by the Comet’s Tail’ 9. ‘Parasite’ 10. ‘A Boat to Drown In’
It goes without saying that this song is ripping, just like almost everything they’ve released so far. Every time we see them live we get the sense, or feel, that that’s what it must’ve felt like to have seen Nirvana live pre-Nevermind.
Death Eyes’ final EP, State of Fear, was released digitally through Three One G Records.
Death Eyes first came to be in January of 2014, a merging of members from San Diego bands Rats Eyes and Death Crisis (hence the name), made up of Alberto Jurado (vocals), Jimmy Armbrust (bass), Jason Blackmore (guitar), and John Cota (drums). More recently, Cole Mears took over as bassist, with plans of more extensive touring. Having played with bands such as The Weirdos, Agent Orange, M.D.C., Nails, and Big Business, it’s evident that what emerged was something brutal, potent, and relevant to hardcore punk.
Tragically, in the midst of working on what was to be their upcoming LP, the band suddenly lost vocalist Alberto Jurado in January 2020, just weeks before they were set to tour with Big Business. This EP is what was completed from these final sessions. The accompanying video for “Management Is Not Your Friend” serves as a mix of brutal, relevant found footage, as well as live performances that celebrate all of the life and swagger that Alberto had, always. “We Miss You, Alberto. Rock’n Roll!!!”
Guitarist Jason Blackmore: “We had been working on new material in 2019 for what would have been our new full length record. The plan was to do ten songs more in the vein of our “AmRep/Jesus Lizard” kinda rock song vibe. No short thirty second hyper hardcore songs. Hell, one of the songs was actually over six minutes long. Anyway, we recorded the music for five new songs in September of 2019 and Alberto started writing lyrics for those soon after. We were set to do a West Coast tour with Big Business in February. So Alberto had been putting the vocals down for the songs that we had already recorded and the plan was to record the music for the other five new songs directly after the Big Biz tour. And then go into the studio and record Alberto’s vocals for those tunes. Turn everything in by early June. Drop the new album by October and hit the road to spread the word. On January 20th Alberto died suddenly after being rushed to the hospital while experiencing chest and stomach pains. He had been super excited about writing, recording and touring. More so than he had been in a long time. It was almost like he knew that he was living on borrowed time. He never talked about his health situation. He never wanted to bore you with conversations about himself. He just wanted to be himself. Play music. Talk about music. Drink beer. Love and laugh. And he had an infectious laugh. And a genuine soul. He was a true one of a kind. We miss him dearly. Rock’n Roll!!!”
If you were lucky enough to have met and known Beto then chances are you have a sweet story to tell. He was a great performer and a good human being. He is missed.
Ultraista released the follow up to their self titled debut album on March 13th, 2020 our on Partisan Records.
For those that choose not to remember, Ultraísta are drummer extraordinaire Joey Waronker (Atoms For Peace, Beck, R.E.M.), the incomparable voice of Laura Bettinson and producer Nigel Godrich.
The first single/video released was the beat heavy and hypnotic “Tin King”.
It was followed by “Anybody”.
The last one released was “Harmony”.
What does the album sound like? It sounds like a Nigel Godrich produced album. If you’re familiar with his work with Radiohead, Thom Yorke solo albums, Beck, Air and more, then you know what a song or album of his sounds like. It’s the sound of 21st century synthpop. Impeccable sounding and produced wall of sound synthpop.
The standout of the album is Laura Bettinson’s voice, as mesmerizing the work from Joey Waronker can be and Nigel’s bass lines are it’s Laura’s voice that makes the album and it makes it glow.
Here’s to hoping that the cancelled shows happen sometime in the not too distant future.
Every few years the feeling that the times they’re a changin lingers. This time around is palpable. This time around it rings true. This time around you can feel it surrounding you. And with every change art leads the way. Either in painting or film or graffiti or writing or music; the arts help us navigate the turbulent and fucked up times that unravel around us.
That being said Dead Cross have released a video for the song “Rise Above” a cover from Black Flag. The video was created by Displaced/Replaced.
Dead Cross recorded the cover “in solidarity with the Black Lives Matter movement and staunchly opposing police brutality and systemic racism,” they said in a joint statement. “As such, the track opens with a recording of a Los Angeles resident voicing his displeasure with the LAPD during a public comment period from a regularly scheduled LA police commission meeting; which he finishes by stating: Suck my dick and choke on it. I yield my time.
As always remember if it’s within your means support your local non-profit charities. Volunteer within your community. Help those in need. Stand in solidarity. Be fucking kind.
Psychic Graveyard released their new album “A Bluebird Vacation” on May 22nd on Fat Beat Records.
1 I Wanted Anything
2 Is There a Hotline?
3 Backyard Full of Laughter
4 I Know That Woman
6 A Bluebird Vacation
8 People Dislike Me
9 Animal I Can’t Avoid
10 Never Get Clean
Their single “Is There a Hotline” was accompanied by a video done by First Church Of The Void (Eric Livingstone).
The noiserock punk band released an album that sounds urgent. It screams to be heard. Once you start playing it you need to make sure to play it loud, as close to 11 as possible. Eric Paul’s lyrics/poetry is as open to interpretation as it is reflective of you. This is an album that feels that it was written with a crisis in mind. Charles Ovett drum work is nothing short of a masterclass in drum punishment. And Nathan Joyner & Paul Vieira work include very few guitars at all. The results work hand in hand with the lyrics addressing very personal experiences with mental illness, anti-depressants and benzodiazepines, and the difficulty of helping family going through their own challenges. These sounds don’t blindly spin into despair nor foolishly claim that overcoming just requires finding the right vocal melody. These songs are as messy as life itself, in all its stupid beauty.
Psychic Graveyard’s members previously played in the bands Arab on Radar, Some Girls, All Leather, Chinese Stars, Hot Nerds, Doomsday Student and more. This is their second album and was impeccably produced with Seth Manchester (Lingua Ignota, Lightning Bolt, Daughters).
King Buzzo, the iconic Melvins’ singer and guitar player, returns with his second solo album, Gift of Sacrifice, on May 15 via Ipecac Recordings. The nine-song release finds Buzz Osborne joined by longtime friend and Mr. Bungle bass player Trevor Dunn.
Gift of Sacrifice track list:
Housing, Luxury, Energy
I’m Glad I Could Help
Science in Modern America
The collection’s first single, “Science in Modern America” (http://smarturl.it/kingbuzzo) can be heard now. Album pre-orders, available as the same link, include CD, black vinyl, a limited edition hot pink variant available exclusively via the Ipecac webstore as well as a tour only, opaque tangerine vinyl version.
“Gift of Sacrifice was a stone groove to record and it will be a f**king blast to finally hit the road with my buddy Trevor Dunn,” says Osborne. “Once we take the stage, I guarantee we’ll kick the crap out of this album.” Dunn and Osborne have worked together several times in the past, both as members of Fantômas and with Dunn performing in the Melvins Lite iteration of the long-running, legendary band.
*This was one of the shows (tour) that we were really looking forward to and now the future is uncertain if these will take place.
tētēma, the bi-continental outfit featuring Mike Patton (Faith No More, Mr. Bungle) and the Melbourne based, electro-acoustic artist Anthony Pateras, return with their sophomore album, the mind-bendingNecroscape(April 3, Ipecac Recordings).
An early preview of the Spring release can be heard now, with “Haunted On The Uptake,” a track Pateras describes as sounding “like The Melvins’ tour van broke down in the Balkans and instead of going home, they decide to open a mountain laboratory dedicated to possible hybrids of Rembetika and hardcore,” streaming now:https://smarturl.it/necroscape
Necroscapeis sculpted around isolation in the surveillance age; and although lofty/high-concept sounding, it is still an intensely fun and heavy listen.Necroscapesynthesizes a lot of territory: odd-time rock, musique concrète, otherworld grooves, soul, industrial noise, microtonal psychoacoustics… seemingly strange bedfellows on paper, yet they seamlessly coalesce into 13 songs which playfully challenge our notions of sonic logic and make you move at the same time. In a nutshell, listening toNecroscapecreates the weird sensation of exclaiming “of course!” and “wtf?” simultaneously.
Wait Till Mornin’
Haunted on the Uptake
All Signs Uncensored
Milked Out Million
We’ll Talk Inside A Dream
Funerale Di Un Contadino
Pateras and Patton “created an intelligent but ferocious mixture of avant-garde experimentalism, world music accents, and heavy metal velocity” (All Music) within the confines of their 11-track, 2014 debut,Geocidal.NMEdescribed the collection as “Roni Size getting spiked with GHB and fed through a woodchipper” whileAlternative Presssaid, “once you are acclimated, it will leave you tingling.” The pair, joined by Will Guthrie (percussion) and Erkka Veltheim (violin), both of whom appear onNecroscapeas well, made their live debut, fittingly at the Tasmania Mona music and art festival.The Guardiansaid of the outing: “tētēma didn’t enrapture with anthems or token festival rock gestures, they enraptured with mood, with surprises, and with evocations rarely felt by audiences…”
On Friday January 10th, 2020 Tool began the 2nd leg of their “Fear Inoculum” tour in San Diego, CA.
This time they brought support from local one man doom band Author & Punisher, who is still promoting his most recent album “Beastland” out on Relapse Records.
Author & Punisher was the perfect opener act to support this tour, A&P showed off as an opener, with a mind blowing set filled with the unique sound of his custom made drone machines.
Author & Punisher setlist:
PharmacideOde to BedlamCrude SectioningThe BargeNihil StrengthNazareneDisparateTerrorbird
Tool continued being Tool. That means that they brought an audiovisual spectacle for all. That means that every aspect of the show is coordinated so all your senses can react to what they’re witnessing.
The setlist for the 1st show of the tour focused on their last 4 albums, or basically ignored Undertow and the Opiate EP.
This is what they had to say about the process in creating and achieving the vision for this video:
“Our first and last goal was to serve the feelings of the song and the record. Thom shared a list of visions with us, disconnected images from his dreams, and we expanded on it with visions from everyone who joined the video team, over a dozen of us. At its core, our intention was to communicate the experience of feeling completely on your own, surrounded by people you see yourself in but don’t understand, who have lost their minds to the city and can’t see that you need their help.
“The process for making this animation was extremely iterative and cyclical, and started from every direction at once. We experimented with clay sculpture and one-cent 3D horses, crowd simulations and charcoal dust, linear storytelling and abstract expression. We made the entire video and threw it away, made it again, threw it away, dozens of times. This of course was stressful but also beautiful.
“Our goal is to create work that is surprising to ourselves, that we don’t understand how it happened. A lot of that has to do with trusting in the collaborative process- finding a wavelength where everyone feels free to go crazy in their own way, and push for what they most believe in. Our values are constantly being tested and rewritten in pursuit of creating a community where people really do feel loose and free and safe. When it works the best, you end up with work that speaks in everyone’s voices and one voice.”