Los Angeles, CA-based producer and artist Ringgo Ancheta, best known as MNDSGN has had one of the more unusual backgrounds of any contemporary producer. Ancheta’s parents were once members of the Philippine arm of Aum Shrinriyko, a controversial cult that reportedly believed in the imminence of armageddon — and believed that the US would start the process with the attacking Japan to begin World War 3. As a child, Ancheta was raised in the forests — until the group’s increasing ventures into terrorist activities,  forced his family to flee the group in the late 1980s. The Anchetas were granted political asylum and eventually settled in rural New Jersey, where the young Ancheta was raised on the outskirts of a commune without electricity, while his father worked as a researcher at Princeton Neuroscience Institute.

As the story goes, one of Ringgo Ancheta’s earliest excursions into the “modern: world was a trip in which he hitchhiked to Philadelphia — and as he has publicly described it, the first guy he encountered, introduced an impressionable young Ancheta to beat making and production. Within a day, Ancheta was making his own beats on his newfound friend’s sampler. And as his trips, to Philadelphia became more frequent, he began using the name Mndsgn (pronounced as “mind design), largely inspired by the Nas lyrics, “my mind is seeing through your design like blind fury,” and a nod to his father’s work in neuroscience.

Much like a large number of J. Dilla-inspired instrumental producers and beat makers, Ancheta eventually headed west to Los Angeles, where he was eventually signed by renowned indie hip-hop label Stones Throw Records, who released his full-length debut Yawn Zen, an effort that seemed deeply inspired by the peaceful bliss of meditation and paired it with a thoughtful soulfulness.

The renowned producer, who recently played at Northside is putting the finishing touches on an album that is slated to be released by the end of this year, and the yet unnamed album’s first single “Ya Own Way” a shimmering, slinky and soulful bit of synth funk that channels Dam-Funk, complete with vocals fed through vocoder and other effects to give the entire song a retro-futuristic and cosmic sheen.

 

Comprised of Thomas Jäger, Esben Willems, and Mika Häkki, Gothenburg, Sweden-based doom metal trio Monolord can trace its origins to 2013 when both Jäger and Willems started the band as a side project and opportunity to play dark and heavy material away from their primary gig as members of boogie rock band Marulk.  Häkki, who was best known for his work in The Don Darlings and Rotten Sound was recruited to flesh out the band’s sound and complete their lineup. And as the story goes, while working on material that would wind up comprising their debut effort, Empress Riding the trio realized that they had a special creative simpatico  — although interestingly enough Jäger took up vocal duties for the first time in his recording career.

Having met RidingEasy Records‘ head Daniel Hall through Instagram, the band immediately sent the finished album to Hall, and after hearing it, Hall immediately signed them and then released their back in 2014. Their long-awaited and critically applauded sophomore effort Vænir was released last year and building upon the buzz they’ve received both nationally and internationally, the doom metal trio will be releasing a 10″ EP on August 12, which they’ll be supporting with a lengthy headlining throughout August and September with Beastmaker and Sweat Lodge — and it’ll include an August 27, 2016 stop at Greenpoint metal den St. Vitus. And just as they announced tour dates, the members of Monolord released the latest single off their 10″ EP, “Die in Haze,” a sludgy power chord-heavy dirge with thundering drumming and Jäger’s vocals ethereally floating over the murky mix; however, interestingly enough if you pay close enough attention there’s a shoegazer-like quality as their sound manages to be equally enveloping — with a subtly contemplative beauty just underneath the surface.

Check out tour dates below.

 

MONOLORD LIVE:
08/05 Seattle, WA @ Barbosa at Neumos *
08/06 Bellingham, WA @ The Shakedown *
08/08 San Francisco, CA @ The Chapel *
08/09 Los Angeles, CA @ Viper Room *
08/11 San Diego, CA @ Soda Bar *
0812  Phoenix, AZ @ Rogue *
08/13 Albuquerque, NM @ Launch Pad *
08/15 Dallas, TX @ Rail Club *
08/16 Austin, TX @ Sidewinder *
08/17 Houston, TX @ White Oak Music Hall *
08/18 San Antonio, TX @ Korova *
08/19 New Orleans, LA @ Siberia *
08/20 Tampa, FL @ The Orpheum *
08/21 Ft Lauderdale, FL @ Kreepy Tiki *
08/22 Orlando, FL @ Will’s Pub *
08/23 Atlanta, GA @ Masquerade *
08/24 Richmond, VA @ The Broadberry *
08/26 Baltimore, MD @ Windup Space *
08/27 Brooklyn, NY @ Saint Vitus *
08/28 Philadelphia, PA @ Voltage *
08/30 Boston, MA @ Great Scott *
08/31 Montreal, QC @ Turbo Haus *
09/01 Toronto, ON @ Coalition *
09/02 Cleveland, OH @ Grog Shop *
09/03 Chicago, IL @ Empty Bottle Festival *
09/04 Minneapolis, MN @ The Cabooze *
09/05 Omaha, NE @ Lookout Lounge *
09/06 Denver, CO @ Lost Lake *
09/07 Salt Lake City, UT @ Metro Bar *
09/08 Sacramento, CA @ Starlite Lounge *
09/09 Portland, OR @ Ash St. Saloon (no Beastmaker)
09/10 Vancouver, BC @ Astoria  (no Beastmaker)
* w/ Beastmaker, Sweat Lodge

 

With the release of two critically applauded EPs, We Are Sound and Everything You Imagine Is Real, the New York-based electro pop duo Corbu received praise from the likes of NYLONStereogumThe GuardianNME and others for a sound that’s heavily influenced by the Warp Records roster, sci-fi imagery,  psychedelia and their own dreams. Now, if you’ve been frequenting this site over the past couple of weeks you may recall that I wrote about the cinematic “Battles,” one of the first singles off the duo’s highly-anticipated, soon-to-be released, full-length debut effort Crayon Soul; a track that has the band pairing a soaring and anthemic hook with a shimmering and breezy melody and plaintive vocals in a way that’s reminiscent to Moonbabies and M83.

Crayon Soul‘s latest single “Better Better Off” is a lush and shimmering psych pop, psych rock track that has the duo pairing angular guitar chords fed through gentle reverb and delay pedals, layers upon layers of gorgeous harmonies, shimmering synth cascades,  a soaring and anthemic hook, and a propulsive rhythm section in a song that sounds indebted to trippy 60s psych rock as much as it does to the likes of In Ghost Colours-era Cut Copy and the dream pop of the aforementioned Moonbabies, Summer Heart – but with a palpable bittersweet wistfulness under the song’s breezy surface.

 

 

 

If you’ve been frequenting this site over the past couple of months, you might recall that a couple of months ago, I wrote about the Bath, UK-based indie pop quintet Bad Sounds. With the December 2015 release of their debut single “I Feel,” the British quintet quickly emerged into the British scene as the single received praise from the likes of The Line of Best Fit and Vice Noisey, and received airplay from BBC Radio personalities Zane LowePhil TaggertAnnie Mac and Huw Stephens. The Bath, UK-based quintet’s second single “Avalanche,” which I wrote about a couple of months ago, had the band pairing fuzzy guitar chords, angular bass chords, electronic bleeps and bloops, a motorik-like groove, and a rousingly infectious hook in a song that sounds as though it was indebted to Damon Albarn‘s work with Blur and Gorillaz, complete with a similar wry, self-effacing irony.

Recently, British electronic music artist and producer ThisisDA recently released a wildly inventive rework of Bad Sounds’ “Avalanche” that retains only a small but recognizable portion the song’s hook through the use of a subtly chopped up vocal sample paired with enormous, tweeter and woofer rattling boom bap beats, swirling electronics, shimmering synth cascades, a sinuous bass line and a couple of emcees spitting fire over a swaggering, funky and trippy production that manages to sound equally inspired by the aforementioned Gorillaz and others.

 

Beginning his music career as a part-time musician in various underground bands in and around the San Francisco Bay Area, the insanely prolific multi-instrumentalist Ty Segall started his solo career back in 2008 with the release of the Horn The Unicorn through Wizard Mountain — and was later re-released by HBSP-2X on vinyl. After befriending Thee Oh Sees frontman and creative mastermind, and co-founder of Castle Face Records, John Dwyer, Segall signed to the renowned, garage rock label, which released his self-titled debut, also in 2008. Since then, Segall has released albums through Memphis, TN-based label Goner Records, frequent collaborations with renowned indie artist Mikal Cronin and for being a member of a number of bands including Fuzz, Broken Bat and GØGGS, and as a former member of The Traditional Fools, Epsilons, Party Fowl, Sic Alps, and The Perverts.

Now, as I mentioned in a post earlier today, as a native New Yorker, who has been covering music for over a decade, I’ve seen countless venues come and go — and soon as a well-regarded or beloved venue closes, another one pops up a few months later in another part of town; however, as both a passionate music fan and journalist, there are a handful of venues that hold a special part of your heart. And for me, Death By Audio held a very special place in my heart. Unlike most venues I’ve seen and covered shows in, there was always a  palpable sense of anything going and happening and in fact, I saw some of the most memorable shows I’ve ever seen; shows that transformed how I saw and wore about live music. Much like Metz, Segall has a connection to Death by Audio as he got his NYC area start at the now defunct DIY venue.

And as I mentioned in a post earlier today, as the venue was closing up shop back in 2014, its owners and bookers curated what turned out to be an epic final month featuring a number of currently renowned acts, who had gotten their start or had some kind of connection to the South Williamsburg, Brooklyn venue including A Place to Bury Strangers, Thee Oh Sees, Protomartyr, Ty Segall, Future Islands, Lightning Bolt, Metz and many others. What people most likely didn’t know was that the venue recorded the last month of shows at the venue and the end result is the compilation Start Your Own Fucking Show Space, which features highlights of the past month in chronological order, slated for release next week through Famous Class Records — and the compilation is meant not as bittersweet nostalgia but as a forceful call to go out and do something fucking awesome, like start a show space and have your friends and others play there.

The second and latest single off the compilation features Ty Segall and his backing band playing a somewhat bittersweet yet forceful and sludgy live version of “Wave Goodbye,” a song that structurally and sonically sounds as though it owes a debt to 90s alt rock as it consists of alternating, rousing and thunderous, power chord-based hooks and a quiet second around the verse. And as soon as you hear it, it should make you want to raise your beers up high and shout along — or mosh the fuck out.

 

New Video: The Disco and Synth Pop Inspired Visuals and Sounds of Chrissy and Hawley’s Feminist Anthem “I Got A Life to Lead”

Now as you may also know, as the story goes both Chrissy and Shoffner are originally from Kansas, which the duo immediately bonded over and they began working on material that effortlessly meshes both of their unique styles into something rather seamless. Their self-titled debut’s latest single “I Got A Life to Lead” has the duo pairing Shoffner’s bitterly and frankly incisive lyrics telling off a selfish, needlessly combative, soon-to-be former lover, with a sleek and sensual production that would make the legendary Giorgio Moroder proud — as tambourine, shimmering and undulating synths, a propulsive motorik groove, stuttering drum programming, a sinuous bass line, a subtle yet noticeable string sample and an anthemic hook to craft a song that’s not only a certified disco-influenced club banger and a great tell off to any asshole soon-to-be former lover, who you’ve gotten sick and tired of and a decidedly feminist anthem in the veins of Gloria Gaynor’s “I Will Survive” — but while openly saying “I’ve moved on from the foolish bullshit.”

The recently released video borrows liberally from 80s tropes and follows Shoffner singing and swaying along to the song as though she were in a karaoke bar — but shot in a seductive and hazy hues of purple, green and red, complete with views from several different TVs and a brief appearance by Chrissy pressing buttons. And in some small way, the video should remind folks of how deeply influenced the Chicago-based duo are by late period disco and 80s synth pop but while putting a subtle modern feel on it.

 

With the 2014 release of their self-titled debut and the 2015 release of their sophomore effort IIToronto, ON-based trio Metz have received attention across Canada, the States and elsewhere for sludgy, face-melting power chord-based sound reminiscent of Bleach and In Utereo-era Nirvana, A Place to Bury StrangersJapandroids and others — and over that time the Canadian trio have quickly become a JOVM mainstay.

Now, as a native New Yorker, who has been covering music for over a decade, I’ve seen countless venues come and go — and soon as a well-regarded or beloved venue closes, another one pops up a few months later in another part of town; however, as both a passionate music fan and journalist, there are a handful of venues that hold a special part of your heart. I’ve publicly mentioned what the Bowery Ballroom has meant to me on several occasions but one of the other venues that has held a special place in my heart was the sadly, now-defunct DIY Death By Audio. Unlike most venues I’ve seen and covered shows in, there was a palpable sense of anything goes and in fact, I saw some of the most memorable shows I’ve ever seen; shows that transformed how I saw and wore about live music.

As the venue was closing up shop back in 2014, its owners and bookers curated what turned out to be an epic final month featuring a number of currently renowned acts, who had gotten their start or had some kind of connection to the South Williamsburg, Brooklyn venue including A Place to Bury Strangers, Thee Oh Sees, Protomartyr, Ty Segall, Future Islands, Lightning Bolt, Metz and many others. What people most likely didn’t know was that the venue recorded the last month of shows at the venue and the end result is the compilation Start Your Own Fucking Show Space, which features highlights of the past month in chronological order, slated for release next week through Famous Class Records — and the compilation is meant not as bittersweet nostalgia but as a forceful call to go out and do something fucking awesome, like start a show space and have your friends and others play there.

The first single off the compilation features Metz playing a blistering and frenetic version of “Get Off” and it should remind all of those, who are unfamiliar with the band and those who are familiar with the band that they are one of the most forceful, furious and noisy bands around. And they play some of the most mosh pit-friendly music around.