Tag: Castle Face Records

 

With the release of “Apertures” through 1-2-3-4 Go! Records, a self-titled EP through Cut The Cord That . . . Records and the “Escapement” 7 inch, along with what’s been described as a “head-turning” live show, San Francisco, CA-based post-punk quartet Synthetic ID — comprised of Nic Lang, Jake Dudley, and siblings Will and Paul Lucich — have developed a rapidly growing local and national profile, which caught the attention of Jim Dwyer, frontman of Thee Oh Sees and label head of Castle Face Records, who invited the band to play at Castle Face Records’ SF Holiday benefit show a few years ago. And as the story goes, the members of the band managed to keep in touch with Dwyer after his relocation to Los Angeles.

The San Francisco, CA post-punk quartet’s full-length debut Impulses  is slated for an April 22 release through Castle Face. Produced by Phil Manley, best known for his work with Trans Am and Life Coach, the album was recorded during one day at EL Studio and as you’ll hear from the album’s first single “Ciphers,” the material possesses the tense, urgency of the desperate and obsessively neurotic. Sonically, the band pairs slashing and angular guitar chords, propulsive four-on-the-floor-like drumming and a and throbbing bass line with the song’s minimalist shouted lyrics. In some way, sonically speaking the song sounds as though it draws from The Stooges, Gang of Four, Wire and  A Frames and others — in particular, I think of Gang of Four’s “Not Great Men,” and “At Home He’s A Tourist,” Wire’s “Three Girl Rhumba” and “Dot Dash,” The Stooges’ “1969” and “I Wanna Be Your Dog”  A Frames “nobot” and others. And much like those songs sonically and lyrically speaking, “Ciphers”captures and evokes a deeply post-modern sensation — that feeling that you’re somehow absolutely incapable of changing a ridiculous and dangerous repetitive cycle of emotions, thoughts and actions that you can only dimly comprehend; worse yet that you inexplicably feel drawn to compulsive thinking and actions and repetitive thoughts — to the point of obsession. It gives the song an unbridled, unresolved and desperate frustration that’s palpable and lingering.

 

 

 

 

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Comprised of Daniel Lee (vocals), Lane Halley (guitar), April Ailermo (bass) and D. Alex  Meeks (drums), the Toronto, ON-based quartet Hooded Fang have developed both a national and Stateside profile for lush instrumentation and harmonies meant to evoke a swooning urgency; however, over the past couple of years, the band has gone through a radical change in songwriting approach and sonic direction with their material becoming much more abrasive and forceful “Impressions,” the latest single from the band’s forthcoming Venus on Edge has the band pairing Lee’s sultry crooning with jagged and scorching guitar chords, and a driving rhythm consisting of a throbbing bass line and spastic drumming to craft a song that feels anxious and uncomfortable within its own skin, and evokes the screeching of metal upon metal while sounding as though it was informed by the likes of Thee Oh Sees and the Castle Face Records roster. And in a similar fashion, “Impressions” is equally forceful and punishing.

Certainly, the palpable sense of discomfort within the song shouldn’t be very surprising. As the band told the folks at Consequence of Sound “You know, in E.T. how when he came down, everyone aside from a few got scared and paranoid, and basically ruined what could have been a beautiful mutual learning relationship? This song is about those types of encounters. When people come from a different place and get treated awfully out of fear, jeopardizing possibilities of positivity. This song is written about the visitors that get shunned, and what a loss that is for everybody. ” In our current political climate in which our fears, anger and discomfort are being openly exploited, such a message seems desperately needed.

 

 

 

 

 

Currently comprised of Brigid Dawson (vocals and tambourine), Petey Damnit (a.k.a. Petey Damnit!) Mike Shoun (drums) and led by the band’s founder member and creative mastermind, John Dwyer (vocals and guitar),  San Francisco-based quarter Thee Oh Sees have developed a reputation both regionally and nationally for being incredibly prolific, as they’ve released over a dozen albums since their official formation back in 2004 — and for being relentlessly experimental, as each album they’ve released has been decidedly different, while remaining true to their garage rock/psych rock origins. And naturally, as result of their prolificacy, their reputation for sweaty, raucous, and punishing live set and their ability to craft mind-melting power chord-based rock, the Bay Area-based outfit has become a JOVM mainstay and blogosphere darlings.

 

2015 has been a big year for Dwyer and associates as they released the critically acclaimed Mutilator Defeated At Last, arguably one of the heaviest and hardest hitting efforts the band has released in recent memory. And they’ll close out the year playing a number of live shows — including a two night benefit concert for L.A. Kitchen, a Los Angeles-based charity, whose mission is to provide healthy meals to the area’s homeless and help unemployed and unskilled men and women for jobs and more. But they also will close out the year with the announcement of the release of the “Fortress”/”Man In A Suitcase” 7 inch, slated for a February 12 release through Dwyer’s renowned Castle Face Records.

The material for the new 7 inch is culled from the Mutilator Defeated sessions and acts as an addendum of sorts to the album, as well as a teaser for a full-length slated for release sometime in 2016. A Side single “Fortress” is probably the most prog rock-leaning song Dwyer and associates have released in some time, as the song consists of propulsive and forceful, motorik-like groove, a throbbing bass line, breakneck, mind-melting guitar chords and falsetto vocals — all of which give the song an anxious, buzzing and nightmarish feel that evokes the sensation of restless tossing and turning.

 

 

 

 

 

 

 

 

 

 

 

 

 

Tour Dates 

Wednesday 12/16 Los Angeles, CA (L.A. Kitchen benefit) – Buy Tickets
Thursday 12/17 Los Angeles, CA (L.A. Kitchen benefit) – Buy Tickets
Thursday 12/31 Palm Springs CA, The Commune at Ace Hotel
Friday 1/8 Brisbane, Crow Bar
Saturday 1/9 Gold Coast, Shark Bar
Sunday 1/10 Byron Bay, The Northern
Wednesday 1/13 Newcastle, The Small Ballroom
Friday 1/15 Sydney, Newtown Social Club
Saturday 1/16 Wollongong, Wollongong Uni Bar
Tuesday 1/19 Geelong, Barwon Club
Wednesday 1/20 Melbourne, Howler
Saturday 1/23 Fremantle, Mojo’s Bar
Friday 2/12 Solana Beach, Belly Up Tavern
Wednesday 3/23 – Sunday 3/27 – Boise ID, Treefort Music Festival