Category: New Single

Led by its founding member and creative mastermind David Eugene Edwards, Wovenhand much like Edwards’ previous projects have a long-held reputation for intense and anthemic music that showcases Edwards’ Romantic and incredibly dramatic crooning — and for a relentless experimentation and reinvention. His previous project 16 Horsepower  was well-received for a sound based around antique Americana while Wovenhand’s earliest incarnations specialized in hushed ballads; however, with the newest and most current lineup, featuring Planes Mistaken For Stars‘ Chuck French (guitar) and Neil Keener (bass), Ordy Garrison (drums) and Crime and The City Solution‘s Matthew Smith (piano, synth) the band has written and recorded some of the heaviest and most forceful material to date on their latest effort Star Treatment slated for release on September 9, 2016 through Sargent House Records globally — with the exception of Europe.

As Edwards explains, the soon-to-be released album’s title isn’t a reference to our contemporary obsession with celebrity; rather it’s a reference to the concept of astrolatry — or humanity’s enduring interest in the stars of the night sky. “It’s ethereal in its concept,” Edwards says. “There are many layers, as always. I’ve been paying attention to the stars in the sky and in literature, and it’s a theme throughout the album.” He adds, “There’s more love song style on this in general, which is nice. The idea of what love is and how it’s expressed and all these different atmospheres.” Star Treatment‘s first single and opening track “Come Brave” finds the band pairing a propulsive, rumbling and rolling drum beat, enormous power chords, Edwards crooning vocals, a swooning and urgent Romanticism and rousing, arena rock friendly-like hooks with celestial hooks in a song that sounds as though it drew from Crocodiles and Heaven Up Here-era Echo and the Bunnymen, complete with a dark and mysterious fury.

The band will be embarking on a world tour to support the album. Check out tour dates below.

Tour Dates:
08/26   LAS VEGAS, NV @ Hard Rock Hotel & Casino – Psycho Las Vegas 
09/12   COLOGNE, DE @ Gebäude 9 *
09/13   FRANKFURT, DE @ Zoom *
09/15   BERN, CH @ ISC *
09/16   ZURICH, CH @ Bogen F *
09/17   VIENNA, AT @ Flex *
09/18   BUDAPEST, HU @ A38 *
09/20   SALZBURG, AT @ Rockhouse *
09/21   MUNICH, DE @ Ampere *
09/22   LEIPZIG, DE @ UT Connewitz *
09/23   BERLIN, DE @ Heimathafen *
09/24   HAMBURG, DE – Reeperbahn Festival
09/26   ARHUS, DK @ Train *
09/27   OSLO, NO @ John Dee *
09/29   HELSINKI, FI @ Tavastia
09/30   STOCKHOLM, SE @ Nalen *
10/01    LUND, SE @ Mejeriet *
10/02    COPENHAGEN, DK @ Vega Jr. *
10/04    EINDHOVEN, NL @ Effenaar *
10/05    AMSTERDAM, NL @ Melkweg *
10/06    LEUVEN, BE @ Het Depot *
10/07    GENT, BE @ Handelsbeurs *
10/08    CHARLEROI, BE @ L’Eden *
10/10    LILLE, FR @ L’Aéronef *
10/11    PARIS, FR @ La Maroquinerie *
10/13    ORLEANS, FR @ L’Astrolabe *
10/14    GRENOBLE, FR @ La Belle Electrique *
10/15    FEYZIN, FR @ L’Epicerie Moderne *
10/16    TOULOUSE, FR @ La Rex *
10/18    LONDON, UK @ The Dome *
* w/ Emma Ruth Rundle
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You might recall that earlier this month, I wrote about California-born, Austin, TX-based singer/songwriter and guitarist Elijah Ford. Ford has quite the musical pedigree as his father, Marc Ford is a former member of Black Crowes. Interestingly enough, the younger Ford toured with his father’s band Fuzz Machine when he was 17 and a few years later, Elijah’s own recording career started in earnest when he hooked up with Oscar and Grammy-winning artist Ryan Bingham, with whom Elijah Ford recorded and toured with for several years before going solo with the 2011 release of his full-length debut Upon Walking and its follow up, an EP Ashes in 2012.

As We Were, Ford’s forthcoming full-length effort is slated for a September 16, 2016 and as you might remember, the album’s first single “The Way We Were” liberally draws from bluesy and boozy old school work, while possessing a finely crafted feel, thanks in part to a soaring and anthemic hook and a shimmying and shuffling sound reminiscent of The Black Crowes, Elvis Costello and others. As We Were’s latest single “Black and Red” will further cement Ford’s burgeoning reputation for finely crafted and rousingly anthemic songs that draw from 70s and early 80s rock; however, in this particular instance, “Black and Red” is sonically reminiscent of Damn The Torpedoes-era Tom Petty and the aforementioned Elvis Costello but with a novelist’s attention to psychological detail and how it impacts one’s character and in turn their relationships with others.

Earlier this week, I wrote about Chicago, IL-based quartet Radar Eyes and their 80s post-punk inspired single “Community” off their forthcoming effort Radiant Remains, an effort that sees the band moving from the fuzzy, garage rock that first caught attention towards an anthemic and moody 80s post-punk sound — and an effort meant to be a swan song for the band, in the aftermath of Anthony Cozzi’s (vocals, guitar) relocation to Los Angeles. Radiant Remains’ second and latest single “Midnight Drive” is a jangling and anthemic song consisting of a propulsive drumming and shimmering guitars and a earnest and rousingly anthemic hook that sounds as though it draws from the likes of The Alarm, U2,  CrocodilesHeaven Up Here and Ocean Rain-era Echo and the Bunnymen, and Starfish-era The Church as the song swoons and swaggers with a desperate urgency.

 

 

 

 

Last year was a rather productive and prolific year for critically applauded bassist and vocalist, Stephen “Thundercat” Bruner, as he made guest appearances on two of the the year’s most critically and commercially successful albums — Kendrick Lamar‘s Grammy Award-winning album, To Pimp A Butterfly and  Brainfeeder Records labelmate, Kamasi Washington’s The Epic. Bruner also released what was arguably one of the best albums of 2015 The Beyond/Where the Giants Roam, which further cemented his reputation as a dexterous and playful bassist and songwriter, with material that sonically channeled Stevie Wonder’s incredible 70s output — or in other words it possessed a retro-futuristic leaning that made it all sound as though it came from straight from a rusty spaceship that’s traveled several hundred lightyears across the universe. In fact, if you had been frequenting this site over the past year, you might remember that I wrote about the wobbling and propulsive bass and arpeggio synth-led single “Them Changes” and its incredibly symbolic and surreal video, which emphasized the devastating heartache at the core of the song.

“Bus In These Streets” is the first bit of new music from Thundercat since the release of The Beyond/Where the Giants Roam and the single, which is a comedic and playful ode to both our reliance and dependence on technology — and the track has Thundercat pairing his dexterous and sinuous bass lines and his ethereal crooning with Louis Cole (keys, drums and programming) playing shimmering and twinkling keys, propulsive drumming and drum programming and Flying Lotus contributing more programming and editing in a song that evokes a dreamy, distracted  self-absorption as the song’s narrator spends their time staring at their smartphone, not noticing the world pass him by — or the inherent danger he might be walking into as he stupidly stares into his phone. Certainly, it’s one of Thundercat’s most playful yet cinematic songs he’s released to date, and every time I’ve heard it, I’ve thought about how it would be perfect in a It’s a Mad, Mad, Mad, Mad World-like comic ensemble film.

 

 

You can catch Thundercat as he’s playing several tour dates including a set at this year’s Afropunk Festival. Check out the tour dates below.

TOUR DATES

Aug 27 Brooklyn, NY – Afropunk Fest

Sep 10 London, UK – OnBlackheath Festival

Sep 15 Oakland, CA – Brainfeeder at Fox Theatre*

Sep 16 Oakland, CA – Brainfeeder at Fox Theatre (sold out)*

Sep 17 Los Angeles, CA – Brainfeeder at Hollywood Bowl*

 

*with Flying Lotus, Funkadelic featuring George Clinton, Shabazz Palaces & The Gaslamp Killer

 

 

Since their formation back in 2005, San Diego, CA-based drone metal/doom metal band Goblin Cock, comprised of frontman and founding member Rob Crow (guitar, vocals) a.k.a. Lord Phallus, and a member of Pinback; Lara Benscher (vocals, guitar), a.k.a. Larben The Druid; Dave Drusky (guitar), a.k.a. Bane Ass-Pounder; Sam Mura (bass), a.k.a. King Sith; Anthony Fusaro (drums), a.k.a. Braindeath; Adam Ekorth (keys), a.k.a. Loki Sinjuggler; Mike Goldfarb (keytar, banjo), a.k.a. Phuck Tard, have developed a reputation for pairing metal power chords with rather unusual lyrical subjects –i.e., they once wrote material about Sesame Street‘s Snuffleupagus.

The band’s soon-to-be released album Necronomidonkeykongimicon is slated for a September 2, 2016 release through Joyful Noise Recordings and as the band notes, the album is a “crushingly brutal ‘Dear John’ letter to society.” And interestingly enough, the album’s latest single “Your Watch” was written for those who “heroically endure” the exhaustion that comes from being a parent — and they pair those lyrics with sludgy power chords, forceful drumming and anthemic, shout-along worthy hooks and melodic vocals. Sonically, the song sounds as though it could have been released in 1993 or 1994 but with a mischievously — and yet subtle — post-modern take on a familiar and beloved sound.

Goblin Cock will be embarking on a US tour throughout the fall to support the new album and it includes a September 25, 2016 stops at The Knitting Factory. Check out tour dates below.

Tour Dates:
9/14: Phoenix, AZ @ Valley Bar
9/15: El Paso, TX @ Bowie Feathers
9/16: Dallas, TX @ Gas Monkey Bar n Grill
9/17: Austin, TX @ The Mohawk
9/18: Houston, TX @ Rudyards
9/20: Atlanta, GA @ The Masquerade – Purgatory
9/21: Carrboro, NC @ Cat’s Cradle – Backroom
9/22: Richmond, VA @ Strange Matter
9/23: Washington, DC @ DC9
9/24: Philadelphia, PA @ Underground Arts – Black Box
9/25: Brooklyn, NY @ Knitting Factory
9/27: Providence, RI @ The Parlour
9/28: Allston, MA @ Great Scott
9/29: Syracuse, NY @ Funk N Waffles
9/30: Ann Arbor, MI @ Blind Pig
10/1: Indianapolis, IN @ The Hi-Fi
10/2: Chicago, IL @ Empty Bottle
10/3: Minneapolis, MN @ 7th Street Entry
10/6: Spokane, WA @ The Observatory
10/7: Seattle, WA @ El Corazon – Funhouse
10/8: Portland, OR @ Ash Street Saloon
10/10: San Francisco, CA @ Social Hall SF
10/11: Los Angeles, CA @ Echoplex
10/14: San Diego, CA @ Casbah

Over the last two years or so,  Detroit, MI-based duo Gosh Pith have become JOVM mainstays while gaining a rapidly growing national profile for a sound that seamlessly meshes elements of hip-hop, electro pop, stoner rock, indie rock, dub, trap music, drum ‘n’ bass and other related genres. And over that period of time, the prolific duo have been experimenting and expanding upon the sound that first caught my attention and that of the rest of the blogosphere. The duo’s latest single “In My Car” pairs the tweeter and woofer rocking beats and stuttering drum programming of trap with swirling and atmospheric electronics and synths and brief bursts of guitar. Lyrically, the song is both a sultry come-on to a potential fling/lover that simultaneously possesses a sense of adventure  and restlessness about driving around with no particular purpose, except seeing wherever and however the  night goes; maybe you fuck around, get something to eat, listen to music, smoke weed, look at the stars — and maybe you hook up at the end of the night. Interestingly, the song may arguably be the most seductive and sensual song the duo have released to date.

 

 

 

Featuring three high-school friends, Reddmond Perone, Joseph Gara, and Garrett Shafer, the Metuchen, NJ-based trio The Ivory Orchids formed the band with the purpose of creating unique music that touches upon the aspects of a variety of emotions. Interestingly, “It’s Alright,” the first single off the trio’s recently released EP manages to sound as though it channels The Bends-era Radiohead — in particular, “Fake Plastic Trees”  as the song possess a similar quiet introspection with a bitterly ironic sensibility just underneath the surface.

 

Featuring Anthony Cozzi (vocals, guitar), Russell Calderwood (guitar), Nithin Kalvakota (drums) and Lucas Sikorski (bass), Chicago, IL-based quartet Radar Eyes initially received attention for a fuzzy, garage rock sound, and with Cozzi’s relocation to Los Angeles, the quartet’s forthcoming effort Radiant Remains was in some way meant to be a swan song for the band — while being a sonic change in direction as the band’s material took on a decidedly 80s post-punk rock sound that channeled the likes of CrocodilesHeaven Up Here and Ocean Rain-era Echo and the Bunnymen, Starfish-era The Church and others as you’ll hear on the album’s moody and shimmering first single “Community.” And much like the material that influenced it, “Community” reveals that the band has the ability to write material that possess an incredibly anthemic and rousing hook.

New Audio: Seattle Supergroup Temple Of The Dog Release Bluesy, Unreleased Demo In Advance of 25th Anniversary of Debut Effort

This year marks the 25th anniversary of the release of their full-length album and to celebrate the occasion, the album will be re-released on September 30, 2016 in a deluxe package that will feature previously unreleased demos, live material, alternate takes and concert video. And although the members of the Seattle alt rock supergroup have played a handful of legendary shows back in the early 90s and a couple of reunion appearances over the years, this year will also mark the first time that the act has gone out on a headlining tour.

“Black Cat,” was a previously unreleased demo that finally sees the light of day, and as you’ll hear it’s a propulsive and percussive, bluesy dirge that pairs Cornell’s signature wails with grimy blues power chords in a song that manages to channel Led Zeppelin and Soundgarden’s “Spoonman.”

Known as a co-founder of renowned hip-hop Ultramagnetic MCs and for a lengthy and uncompromisingly weird solo career in which he has taken up a number of aliases and personas while collaborating with an incredible array of emcees and producers, Kool Keith is arguably one of hip-hop’s strangest and most unique artists as he’s continually perfected and expanded upon an inimitable flow full of surreal, fantastic tangents, grimly violent and nightmarish imagery, pop cultural references — while frequently and effortlessly switching perspective, moods and points of view within the same song. Future Magnetic, the prolific Bronx-based emcee’s forthcoming effort is slated for a September 16, 2016 release through Mello Music Group and the album features Kool Keith collaborating with Ras Kass, Atmosphere’s Slug, MF Doom and Dirt Nasty.

Now if you had been frequenting this site last month, you may recall that I wrote about “World Wide Lamper,” a single consisted of a menacingly sparse and hypnotic production featuring winkling synths and subtle yet propulsive drum programming paired with Kool Keith, B.A.R.S. Murre and Dirt Nasty trading braggadocio-filled bars full of insane punchlines that make references to pop culture, the profane, the grisly violent and the surreal. “Super Hero,” the album’s latest single has the renowned and prolific emcee spitting incredibly visual  bars full of his signature pop cultural and comic book references over a Madlib production consisting of wobbling and undulating synths, stuttering drum programming and looped chimes around the song’s infectious hook. Much like “World Wide Lamper,” Future Magnetic‘s latest single should serve as a reminder to the listener that Kool Keith is arguably one of the most mischievously inventive and challenging artists in hip-hop — and that sadly you won’t hear this kind of gloriously weird music on your multinational, conglomerate hip-hop radio station.

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