Thom Yorke has released a new song, “5.17”, via XL Recordings.
An additional song, “That’s How Horses Are”, is scheduled to be released on April 3rd, which coincides with the series finale for Peaky Blinders. The song “5:17” was released today which is the same day that the final season of Peaky Blinders premieres.
Papercuts have shared a new single, “Lodger”, off their upcoming album “Past Life Regression” out April 1st via Slumberland.
The video for the song was done by Papercuts himself.
Jason Quever shared this about the song: “The song had a slight 60s pop inspiration, and I wanted to see if I could pull off a freakout in the middle that felt like an epiphany. Lyrically it’s inspired by a memory of feeling like a fling is just sort of passing through your life, and wondering if that’s all you are to them.“
He will be touring the EU/UK in support for Still Corners. No dates have yet been announced for the USofA (nor Tijuana).
Absent In Body have shared their third single, “Rise From Ruins”, off their album “Plague God” which will be released March 25th via Relapse Records.
TRACKLISTING:
1. Rise From Ruins
2. In Spirit In Spite
3. Sarin
4. The Acres/The Ache
5. The Half Rising Man
Mathieu Vandekerckhove shared this about the track: “The blueprints of most AIB songs were made when I was on tour with Amenra. Because of the long journeys, I had a lot of free time on the bus. Different landscapes every day. The emptiness of the mountains, the desolate empty cities at night…At one day, when recording the album, I had too much negative news and havoc on my socials shoved into my face. And the riff to this song was an instinctive reaction to that. I fought it off. This song is definitely a reflection of that moment, that day.”
ABSENT IN BODY formed in 2017, initially the brainchild of AMENRA guitarist Mathieu J. Vandekerckhove, and NEUROSIS vocalist/guitarist Scott Kelly. Immediately recognising their kinship, and with AMENRA frontman Colin H. Van Eeckhout brought in on vocals and bass, what emerged is a reflection of the intervening years of turbulence, extending it’s scope as it navigates across five stretches of unstable terrain. From the opening “Rise From Ruins” with ex-Sepultura drummer, Iggor Cavalera’s tribal beat emerging from foreboding, near-subsonic oscillations to explode in a tide of corrosive riffs and feral howls, through “Sarin’s” steadfast, procession-through-purgatory groove, to “The Half Rising Man’s” matrix of organic/mechanic evolution, it’s an album in constant dialogue between the animalistic, the human and the industrial, and a hunger to distill a truth, something unpolluted from the fray.
Placebo have released their 4th and final single, “Happy Birthday In The Sky”, in anticipation of their new album “Never Let Me Go” out March 25th via Rise Records.
TRACKLIST:
Forever Chemicals
Beautiful James
Hugz
Happy Birthday In The Sky
The Prodigal
Surrounded By Spies
Try Better Next Time
Sad White Reggae
Twin Demons
Chemtrails
This Is What You Wanted
Went Missing
Fix Yourself
Brian Molko shared this about the song: “Happy Birthday In The Sky’ for me, is one of the more heartbreaking moments on the album. Happy birthday In the sky is a phrase that I’ve been using for quite some time. When I say, happy birthday to people who aren’t with us anymore, it communicates the kind of heartbreak that we’re really, really good at communicating I think. You know that sense of loss, that sense of desperation. It’s as if a part of your body and your soul has been ripped from you unfairly. And you pine and you pine, and you wait. What I am thinking is that this is kind of so visceral and so intense emotionally that it’s really going to communicate something very powerful to the listener. And that’s basically all I’m interested in. At what cost? Who cares. As long as the song really, really moves people, then whatever sacrifices you have to make in order to get there are fine with me. It’s not such a bad thing to inhabit these emotions – you’re very, very much alive and in the moment while you’re doing so.”
Placebo will have an extensive world tour from September until the end of the year that will have them visiting almost every country in the world, except you know who.
Greg Puciato will release his new album, “Mirrorcell”, on June 17th via Federal Prisoner. He has shared the first single, “Lowered”.
TRACKLISTING:
01. In This Hell You Find Yourself
02 Reality Spiral
03. No More Lives to Go
04. Never Wanted That
05. Lowered
06. We
07. I, Eclipse
08. Rainbows Underground
09. All Waves to Nothing
The video for “Lowered” was directed by Jim Louvau and Tony Aguilera.
The song is a duet between Puciato and Reba Meyers (Code Orange). This is what Greg Puciato shared about the collaboration: “When she came to the studio we had like…zero vocals for that song. I had been a little unusually stuck with that one lyrically and as far as vocal phrasings and melodies. Reba and I had such an explosion of musical and personal chemistry right away, and we ended up writing and recording all of the vocals in about six hours. It was one of the purest collaborations I’ve ever done, in terms of feeling, just really natural and explosive. She really blew me away overall. The combined energy was instant. That song turned into something really special because of that energy.”
Puciato once again recorded all guitars and bass for the collection, and continued his long-running relationship Producer Steve Evetts (The Dillinger Escape Plan, The Cure). Chris Hornbrook (Dhani Harrison, Big Black Delta) played drums on the nine-song album.
No tour dates have been announced yet for the USofA (nor Tijuana).
The Inflorescence have released a single, “Are You Sorry”, off their upcoming album “Remember What I Look Like” out June 10th via Kill Rock Stars.
TRACKLIST:
The video credit for “Are You Sorry” goes to Emma Thomas.
In 2019 singer/guitarist Tuesday Denekas (they/them), drummer Milla Merlini (she/her) and bassist Sasha A’Hearn (she/her) corralled guitarist/singer Charlee Berlin (who owned but didn’t know how to play her instrument at first) to resurrect Denekas’ songs of heartbreak and determination, starting out as the Fluorescents with 2020’s noteworthy ‘self-titled’ EP. Proudly christening themselves The Inflorescence, the band found the right home with Kill Rock Stars to unleash their debut LP Remember What I Look Like (due Summer of 2022). The group faces challenges like juggling high school and college classes, finding all-age venues in town to play and rejecting gender labels as they explain: “In a largely male-dominated industry, we see how undermined we are for being a no-man band, and we see how being on stage empowers alternative girls and non-binary people.”
Gavilán Rayna Russom has shared a new piece of music, it’s called “Trans Feminist Symphonic Music” and she shared it via Longform Editions.
TRACKLIST:
Movement I: Elegy
Movement II: Expansions
Movement III: Beauty
Movement IV: Truth
Gavilán Rayna Russom shared this about the piece: ” I was very excited to receive the proposal from Longform Editions because of the way in which both time and temporality have consistently formed a central theme in my work. The possibility to create something in the neighbourhood of an hour spoke to my interest in the cumulative and cyclical nature of time. The specific spark that opened the door for this work was a documentary I watched about electronic music. Although the documentary was uplifting in certain ways, upon finishing it I was left angry and depleted at its failure to deeply engage the relationship between synthesis and gender at a deep level, and its neglect of the connections between trans femininity and composition with electronic sounds. The opening movement of my work for Longform Editions is a kind of elegy for the trans women who have been relegated to the shadows, or similarly negated through forms of hypervisibility. This includes myself and the piece directly references many works I have been involved in that were credited to others. This initial elegy and meditation on trans invisibility opened the gates for the remaining three movements that delve more deeply into music’s power to dismantle conventional ideas about gender and categorisation in general and in particular to express a femininity that is not beholden to opposition to masculinity nor to binaries of any kind. Primary in all four movements is an extreme attention to detail in terms of harmonic and timbral relationships. Sounds are placed against each other in such a way that their relationships stimulate additional resonances not present in the source, what are often referred to as “difference tones”. The piece uses the difference tone as a model for internal experiences of gender that exceed the fixed categorisations male and female. These categorisations were introduced as a way to attempt to regiment society and create a rigid climate of harmony which negates the complexity of human experience of gender. The difference tone approach socially models the way that gender, in my experience is fluid and infinitely rich and polyvalent. Limiting it to a binary, especially an oppositional one is violent. The harmony the gender binary attempts to create is a false and unsustainable one. The difference tone expresses the beauty of complexity without the need to regiment it. The difference tone is everything that happens when authentic human experience dances with authentic human experience. This is the power of the trans feminine.”
She continued: “For as long as I can remember I’ve been fascinated by the listening experience. Throughout times of deep emotional distress I’ve returned to focussed listening as a healing practice. For some time, maybe 30 years, I’ve made little distinction between listening to the world around me and listening to music, and have attempted to develop a deeper and deeper relationship to the audible as a way of being present for my own life and the web of relationships that define it. Attention is what creates the specificity of an experience, and specificity is what awakens time for the surging and powerful living entity that it is. Dancing is listening, listening is dancing. The relationship between the audible and the body is undeniable. I’ve found the depths of what is transmitted in sound, be it musical, conversational or natural are actually unfathomable. There’s always more to hear, more to understand, more to absorb. The ideal for me is when I can climb inside some sound and also let it climb inside me. Extended time frames help with that, it gives space for the first waves of resistance to pass on through. For me it’s often about permission, letting go of the idea that I need to be productive and that attention is not a productive or worthwhile pursuit. Which is really just fear. It’s one of the reasons I love clubs and DJs and raves so much, there’s not that pressure of a concert or a lecture to perform attentiveness, and within that I’ve found a much more nurturing drift as I allow myself to listen in ways that make sense to my body rather than ways that are dictated by some standard of what it means to pay attention. Like, for me, school was an exhausting mess and I couldn’t focus on anything, but the walks my friends and I would take through downtown Providence on our way home from school were uplifting, rich and genuinely educational. More and more for me everything is about relationships, and that extends to my relationship to what I listen to. What are the qualities of that relationship? What are we exchanging? Is there space for me to stretch out and expand in my relationship to what I listen to? Does it nurture me, awaken me, excite me? As a composer, even the act of listening is a form of composing, assembling the elements in my environment in such a way that they are meaningful and of service. And composing is also a form of listening, so I’m really interested in these relationships and what can come of them when they are given time and space. Also, oddly, I have found that listening to something which takes up a great deal of clock or even calendar time actually troubles the hegemony of the Eurocentric linear timeframe. Listening at length and depth opens up the ways in which time is all happening at the same time and the past, present and future are simultaneous in the experience of even a single moment.”
Buñuel will release their new album, “Killers Like Us”, on February 18th via Profound Lore Records and La Tempesta.
TRACKLIST:
In advance for the album the band released a couple of singles. The most recent one is for the song “Crack Shot”.
The first one they released was for the song “When God Used A Rope”. The video was directed by Jacopo Rondinelli.
Buñuel is the sound of a difficult situation made worse by an unwillingness and an inability to play nice. If slotting it in a genre makes it easier for you to understand, just so you have something to file it under, mark it down as Heavy. With a capital H. But not heavy that’s in any way predictable, BUNUEL’S amalgam of angular rhythms, drum salvos, blitzkrieging guitars and vocals that sound more like threats than promises is post-punk, proto heavy and arty up the ass. Arty as in avant-garde noise. “Killers Like Us” is a worthy addition to the canon of good music for bad people.
Buñuel is fronted by revered musical anarchist Eugene S. Robinson of legendary experimental rock band OXBOW who is joined by a frantic blitzkrieg of rhythm by notable Italian musicians Xabier Iriondo (guitar), Andrea Lombardini (bass) and Francesco Valente (drums).
No tour dates for the USofA (nor Tijuana) have been announced yet.
MOTHERMARY have released their new album, “I Am Your God”, via Italians Do It Better.
TRACKLIST:
1. Catch Fire
2. Wearing Me Thin
3. Give It Up
4. Resurrection
5. Like A Prayer
6. Burn With Desire
7. Know The Truth
8. Pray
9. Devils
10. Coming For You
11. Angels
12. I Am Your God
They’ve also shared a video for the the closing track, and album’s title, “I Am Your God”, which was directed by them.
MOTHERMARY shared this about their album: “This album isn’t a god complex, it’s an invitation to think about what you worship. It’s about women reclaiming their holiness & inviting you to acknowledge your own. Their debut album baptizes you into the cult of MOTHERMARY. It is a mirror to religion. Reflecting the bad & salvaging the good in what has been called an engrossing sacrilegious spectacle.”
MOTHERMARY makes retro-futuristic Art Pop. Named after the mother of Christ, the ultimate symbol of religious hypocrisy & the insane expectations placed on woman, the bicoastal project is the brainchild of identical twins Elyse & Larena, who grew up in a Mormon family in Missoula, Montana, the youngest of nearly a dozen children. “It was our world… our paradigm,” Larena says about those days. “We were brainwashed.” In a world full of clones…Join us in communion with the sisters of mercy tonight.
i think i better follow you around 