Tag: Felte Records

Over the past month or so I’ve written a bit about the Detroit, MI-based trio Ritual Howls, and as you may recall with the release of three full-length albums and a number of EPs, the act which is comprised of Paul Bancell (vocals, guitar), Chris Samuels (synths, samples, drum machine) and Ben Saginaw (bass) have developed a reputation for crafting a cinematic twangy and dance floor friendly industrial post-punk — although last year’s The Body EP found the trio employing the use of more expansive arrangements paired with a sculpted sound and production.

Rendered Armor, the Detroit-based industrial, post-punk trio’s latest effort was released last week through felte records, and from the VOWWS-like “Alone Together” and the twangy Violator-era Depeche Mode-like “Thought Talk,” the album finds the band sonically continuing in a similar vein as The Body EP — but while balancing an uneasy intimacy with a wide screen, cinematic quality. “Devoured Decency,” the album’s latest single is a murky, mid-tempo, post apocalyptic song centered around thumping beats, arpeggiated synths, a throbbing bass line and a soaring hook. As the band’s Paul Bancell explains “This song started as a synth melody. I believe Ben’s bass accidentally ended up holding the song together, with his bass line working over multiple riffs. My wife Dana sings backing vocals on the song. It’s another post apocalyptic song – in some ways a call to stop being polite and decent when everything is going to shit around us.”

Ritual Howls will be touring with The Faint to support their forthcoming full-length album, and it includes two NYC area dates — July 29, 2019 and July 30, 2019 at Bowery Ballroom. Check out the rest of the tour dates below.

Tour Dates
04.13 Los Angeles, CA @ Echoplex (Record Release)  
07.27 Allston, MA @ Brighton Music Hall *
07.29 New York, NY @ Bowery Ballroom *
07.30 New York, NY @ Bowery Ballroom *
08.02 Philadelphia, PA @ Theatre of Living Arts *
08.03 Washington, DC @ 9:30 Club *
08.04 Columbus, OH @ Newport Music Hall *
08.05 Pittsburgh, PA @ Get Hip Records
08.06 Cleveland, OH @ Grog Shop *
08.07 Detroit, MI @ El Club *
08.09  Chicago, IL @ House of Blues *
08.10 Milwaukee, WI @ The Rave II (Downstairs) *
08.12 Minneapolis, MN @ Fine Line Music Cafe *
08.13 Kansas City, KS @ Madrid Theatre *
08.15 Dallas, TX @ Gas Monkey Live *
08.16 Austin, TX @ Scoot Inn *
10.04 Tampa Bay, FL @ Absolution Festival
 
* w/ The Faint, Closeness

 

 

New Video: Detroit’s Ritual Howls Release Creepy and Unsettling Visuals for “Alone Together”

Over the course of three full-length albums and a number of EPs, the Detroit, MI-based trio Ritual Howls, comprised of Paul Bancell (vocals, guitar), Chris Samuels (synths, samples, drum machine) and Ben Saginaw (bass) have developed a reputation for crafting a cinematic twangy and dance floor friendly industrial post-punk — although last year’s The Body EP found the trio employing the use of more expansive arrangements paired with a sculpted sound and production.

Interestingly, the trio’s forth, full-length album Rendered Armor is slated for a March 22, 2019 release through felte records continues in a similar vein as The Body; in fact, the upcoming album’s latest single “Alone Together” is centered around twangy guitar, ominous atmospherics, shimmering synths and a dance floor friendly thump — and while sonically bearing a bit of a resemblance to acclaimed post-punk duo VOWWS, the song is the tale of a classic love song, set in a doomed world, much like our own. But at its core is a longing that verges on an increasingly perverse obsession. Created by Kirill Slavin, the recently released video for “Alone Together” features some incredibly creepy and unsettling footage from the short film Witch Zombies & The Lightbox Rave that helps to emphasize the obsession at the heart of the song. 

Over the course of three full-length albums and a number of EPs, the Detroit, MI-based trio Ritual Howls, comprised of Paul Bancell (vocals, guitar), Chris Samuels (synths, samples, drum machine) and Ben Saginaw (bass) have developed a reputation for crafting a cinematic twangy and dance floor friendly industrial post-punk — although last year’s The Body EP found the trio employing the use of more expansive arrangements paired with a sculpted sound and production.

Interestingly, the trio’s forth, full-length album Rendered Armor is slated for a March 22, 2019 release through felte records continues in a similar vein as The Body. Now, as you may recall, album single “Alone Together” was centered around twangy guitar, ominous atmospherics, shimmering synths and a dance floor friendly thump — and while bearing a sonic resemblance to acclaimed post-punk duo VOWWS, the song is the tale of a classic love song, complete with an aching longing that’s set in a doomed, near apocalyptic world, much like our own. Rendered Armor‘s latest single “Thought Talk,” is a twangy, Violator-era Depeche Mode take on their sound as reverb drenched guitar playing is paired with an industrial thump, laser-like hi hats, sharply arpeggiated and propulsive synths and Bancell’s icy delivery that further emphasizes the song’s plaintive melancholy. And much like its predecessor, the song finds the Detroit-based trio balancing an uneasy intimacy with a wide screen cinematic quality.

Ritual Howls will be touring with The Faint to support their forthcoming full-length album, and it includes two NYC area dates — July 29, 2019 and July 30, 2019 at Bowery Ballroom. Check out the rest of the tour dates below.

Tour Dates
04.13 Los Angeles, CA @ Echoplex (Record Release)  
07.27 Allston, MA @ Brighton Music Hall *
07.29 New York, NY @ Bowery Ballroom *
07.30 New York, NY @ Bowery Ballroom *
08.02 Philadelphia, PA @ Theatre of Living Arts *
08.03 Washington, DC @ 9:30 Club *
08.04 Columbus, OH @ Newport Music Hall *
08.05 Pittsburgh, PA @ Get Hip Records
08.06 Cleveland, OH @ Grog Shop *
08.07 Detroit, MI @ El Club *
08.09  Chicago, IL @ House of Blues *
08.10 Milwaukee, WI @ The Rave II (Downstairs) *
08.12 Minneapolis, MN @ Fine Line Music Cafe *
08.13 Kansas City, KS @ Madrid Theatre *
08.15 Dallas, TX @ Gas Monkey Live *
08.16 Austin, TX @ Scoot Inn *
10.04 Tampa Bay, FL @ Absolution Festival
 
* w/ The Faint, Closeness

 

Over the course of three full-length albums and a number of EPs, the Detroit, MI-based trio Ritual Howls, comprised of Paul Bancell (vocals, guitar), Chris Samuels (synths, samples, drum machine) and Ben Saginaw (bass) have developed a reputation for crafting a cinematic twangy and dance floor friendly industrial post-punk — although last year’s The Body EP found the trio employing the use of more expansive arrangements paired with a sculpted sound and production.

Interestingly, the trio’s forth, full-length album Rendered Armor is slated for a March 22, 2019 release through felte records continues in a similar vein as The Body; in fact, the upcoming album’s latest single “Alone Together” is centered around twangy guitar, ominous atmospherics, shimmering synths and a dance floor friendly thump — and while sonically bearing a bit of a resemblance to acclaimed post-punk duo VOWWS, the song is the tale of a classic love song, complete with an aching longing that’s set in a doomed, near apocalyptic world, much like our own. As a result, the song balances an uneasy intimacy with a wide screen cinematic quality.

 

New Video: Melbourne Australia-based JOVM Mainstays Gold Class Return with an Anthemic Post Punk Ode to Resistance

Over the past couple of years, I’ve written a handful of posts about JOVM’s newest mainstay act, Melbourne, Australia-based post-punk band Gold Class, an act comprised of  collection of work friends, drinking buddies and classmates in a creative writing course featuring  Evan James Purdey (guitar), Jon Shub (bass), Adam Curley (vocals), and Logan Gibson (drums). The Australian quartet formed back in 2014 and they quickly developed a reputation for lean and explosive live sets, which eventually culminated in their debut effort, It’s You — and with It’s You, the members of Gold Class wrote and recorded an album that paired angular and wiry post-punk with material that lyrically focused on issues of personal politics, sexuality and identity, with an unflinching frankness. Critically, the album was a massive success in Australia, with the Aussie quartet being shortlisted for the Australian Music Prize and receiving an Age Award nomination. 
With a rapidly growing national and international profile, the members of Gold Class found themselves playing a series of sold out shows across their homeland, and London, as well as sets at some of the world’s biggest festivals, including Golden Plains, Splendour in the Grass, London Calling, and Primavera Sound. Building upon that growing profile, Drum, the highly-anticipated follow up to It’s You is slated for release next Friday through Felte Records, and as the band’s Adam Curley explains in an artist statement about the new album,“The week we started to write Drum, my relationship ended and I was left alone in a draughty [sic] old house, which belonged to a friend of a friend. In the house, I sat around with my notebook, the quiet hours cut with news from friends and the TV; the suicides of musicians and writers I’d known and queer kids I hadn’t; the systematic abuse of vulnerable people, the constant mockery of anyone on the outs. 

I knew what the purpose of the album would be when I wrote the repeated line in ‘Get Yours:’ ‘There’s none left here and all I need.’ I wanted it to be a record of defiance, a resistance to the idea of scrambling for a place at a table that wasn’t set for you. A sort of a love letter to anyone who not only can’t meet the standard but doesn’t want to. I wanted it to be a record of rage and ecstasy and endless nights and sex and dumb fun and ventures in solidarity. Not just an album of urgency and longing, but one of abandon and a reclaiming of a self beyond boundaries.

But I couldn’t avoid what was immediately happening in my life, either, that the end of my relationship had uncovered a lot of the feelings of isolation I experienced growing up. And so it turned out that the album is also personal, and I think is in conversation with queer histories of silence and evasion and transgression, which I was revisiting through the writing of James Baldwin and Cocteau. Childhood imagery kept creeping into the lyrics. Maybe I was trying to come to some peace with the past and to stand up and find some agency in the present. I suppose it was the most defiant thing I could think to do: not to write as some act of catharsis but in an attempt simply to document and claim my existence; that I am here.”

Now, while the album is fueled by the personal experiences, thoughts and emotions of the band’s primary lyricist, the album, which was co-produced by  
The Drones‘ Garther Liddiard reportedly finds the band expanding upon both their sound, attempting to capture distinctly different moods and tones from its predecessor; in fact on album single “Twist In The Dark,” the band manages to evoke a complicated and somewhat contradictory array of emotions — desperate and fervent longing, the uncertainty of a relationship in which you can’t tell what your motivations are for the relationship nor can you figure out what that other person truly feels or their motivations. And the result is a tense push and pull between desire and repugnance that’s at the heart of the most dysfunctional and confusing relationships. But underneath, there’s a wistfulness towards the ridiculous, burning passions and desires of one’s youth when things seemed more simplistic and much more black and white, yes and no. 

“Get Yours,” Drum’s latest single will further cement the Aussie post-punk quartet’s reputation for crafting tense and wiry post-punk based around its lyricists personal experiences and his own messy, complicated, very adult life and while the band plays with a passionate and fiery self-assuredness, the material is rooted within an urgent and uncompromising desire to live in accordance to one’s own dictates, desires and pleasures and to resist, simply by saying “I’m here and you may hate me, but I ain’t going anywhere. My life fucking matters.” 

Directed by Defero Productions, the recently released video for “Get Yours” consists of slickly edited live footage of  the band performing a sweaty and furious set in a dark little club as it always should be, and the video captures the explosion of lights, the fervent passion of the band playing their songs in front of people, who truly get their music. 

New Video: Melbourne, Australia’s Gold Class Pairs Tense Sounds with Equally Tense Visuals for “Twist In The Dark”

Comprised of a collection of work friends, bar buddies and students in a creative writing course, the Melbourne, Australia-based post-punk band Gold Class, featuring Evan James Purdey (guitar), Jon Shub (bass), Adam Curley (vocals), and Logan Gibson (drums), formed in 2014. And shortly after their formation, the quartet quickly developed a reputation for lean and explosive live sets, which eventually culminated in their debut effort It’s You, an effort that paired angular and wiry post punk with material that thematically focused on personal politics, sexuality and identity. As a result of its unflinching frankness, the Australian quartet was shortlisted for the Australian Music Prize and was nominated for an Age Award — and with a growing national and international profile, the members of Gold Class played a series of sold out shows across their homeland and London, as well as sets at some of the world’s biggest festivals, including Golden Plains, Splendour in the Grass, London Calling, and Primavera Sound.
 
 
Building upon their rapidly growing international profile, the band’s follow up to It’s You, Drum is slated for an August 18, 2017 release through Felte Records and as the band’s Adam Curley explains in an artist statement “The week we started to write Drum, my relationship ended and I was left alone in a draughty [sic] old house, which belonged to a friend of a friend. In the house, I sat around with my notebook, the quiet hours cut with new from friends and the TV; the suicides of musicians and writers I’d known and queer kids I hadn’t; the systematic abuse of vulnerable people, the constant mockery of anyone on the outs. 

I knew what the purpose of the album would be when I wrote the repeated line in “Get Yours:” “There’s none left here and all I need.” I wanted it to be a record of defiance, a resistance to the idea of scrambling for a place at a table that wasn’t set for you. A sort of a love letter to anyone who not only can’t meet the standard but doesn’t want to. I wanted it to be a record of rage and ecstasy and endless nights and sex and dumb fun and ventures in solidarity. Not just an album of urgency and longing, but one of abandon and a reclaiming of a self beyond boundaries.

But I couldn’t avoid what was immediately happening in my life, either, that the end of my relationship had uncovered a lot of the feelings of isolation I experienced growing up. And so it turned out that the album is also personal, and I think is in conversation with queer histories of silence and evasion and transgression, which I was revisiting through the writing of James Baldwin and Cocteau. Childhood imagery kept creeping into the lyrics. Maybe I was trying to come to some peace with the past and to stand up and find some agency in the present. I suppose it was the most defiant thing I could think to do: not to write as some act of catharsis but in an attempt simply to document and claim my existence; that I am here. 
 
Not only is the material much more personal and much more forceful, the album. which was co-produced by The Drones’ Garther Liddiard finds the band expanding upon both their sound, attempting to capture distinctly different moods and tones from its predecessor,  and as you’ll hear on the album’s latest single “Twist In The Dark,” the band evoking a complicated array of emotions — desperate and fervent longing, the uncertainty of a relationship in which you can’t tell what your motivations are nor can you figure out what that other person truly feels; but underneath, there’s a wistfulness towards the burning passions and desires of one’s youth, when things were seemingly much more black and white. And what caught my attention was the fact that the Melbourne-based quartet smartly pairs tense, angular post-punk with incredibly smart lyrics, rooted on the experiences, thoughts and feelings of someone, who’s led a fully and messy life.
 
The recently released visuals for the song employs a relatively simple concept as it features the members of the band performing the song in an empty performance space but pay close attention as there are sudden jump cuts and even quicker changes in lighting — all of which further emphasize the song’s tense, anxious vibe.