Tag: Gibby Haynes

New Video: Netherlands Releases a Stark Visual Full of Existential Dread

Formed by its creative mastermind, Timo Ellis, a singer/songwriter and multi-instrumentalist who has collaborated with Yoko Ono, Cibo Matto, John Zorn, Melvins, Gibby Haynes, Ween, Joan As Police Woman, Spacehog, White Hills and others back in 2010, the New York-based act NETHERLANDS currently features Chealsea “Thee Chuq” Wierbonski, John Musto and Damien Moffitt. Now, if you’ve been frequenting this site over the past handful of years, you may recall that the New York-based band has developed a reputation for adhering to a sound and approach that actively rejects restraint for ambitious maximalism featuring pummeling drumming, dexterous guitar shredding, rapid fire tone, tempo and time signature changes — while being remarkably hook-driven in a way that sort of recalls Melvins, Torche, Mastodon and Jane’s Addiction.  

Building upon a growing profile, the members of NETHERLANDS have played with a number of renowned and acclaimed acts across a diverse and eclectic array of genres and styles including Napalm Death, Melt Banana, Mutoid Man, Yob, Black Flag, EYEHATEGOD, Candiria, Valient Thorr, Child Abuse, Mutilation Rites, Primitive Weapons, Freshkills, Vaz, Naam, Martin Rev, The Giraffes, The Death Set, BANGLADEAFY! DN’T, Unstoppable Death Machines, Mouth of the Architect, White Hills, Gull, Godmaker, Spacehog, The Austerity Program, No Way, Moon Tooth and Radkey.

Recalling an industrial-leaning take on King Gizzard and the Lizard Wizard’s Murder of the Universe, Netherlands’ latest single “Zombie Techno” retains the pummeling sound and sludgy power chords that has won them attention but while arguably being one of the most danceable — yes, really danceable — songs they’ve released to date.  “The theme of his song, as well as our entire new wave of material, is a comment on the illusion of community and civic participation that’s become the currency of all the new media platforms,” the band’s Timo Ellis explains. “Virtually everyone is constantly feeding overlapping algorithms that are sustained by a near-constant supply of curated narcissism, which while outwardly appearing to be ‘issue driven,’ much more often than not, don’t actually reflect any kind of real world action or real coalition-building or organization, whatsoever.”

Directed and designed by Kenny Curwood, the recently released video for “Zombie Techno” is centered around incredibly stark New Yorker cartoon-like animation, which shows human history and the human condition but through the lens of psychedelic, existential dread. Ultimately, the visual features an indifferent universe that sarcastically smirks and mocks humanity’s attempt to make meaning of their lives, as well as putting existence to a danceable rhythm.  

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Comprised of multi-instrumentalist and vocalist Timo Ellis, who has recorded and played with the likes of Yoko Ono, Cibo Matto, John Zorn, Melvins, Gibby Haynes, Ween, Joan As Police Woman, Spacehog, White Hills and others, and has released over 25 wildly varied solo albums as TE and other pseudonyms; Ava Farber (synthbass), Joel “Moon Daddy” Willis (drums) and Chealsea “Thee Chuq” Wierbonski (synthbass) the New York-based act NETHERLANDS since their formation back in 2008 have developed a firmly-held reputation for a maximalist approach that follows Ellis’ personal mission statement of making music that can be equally light-hearted, brutal and ecstatic centered around power chord led shredding, pummeling drumming, soaring vocals and madding hooks.

And while generally possessing a difficult to describe sound, the band which draws from heavy metal, arena rock, post-hardcore and math rock, the members of the New York-based act have played with a number of renowned acts across a variety of genres and styles including Napalm Death, Melt Banana, Mutoid Man, Yob, Black Flag, EYEHATEGOD, Candiria, Valient Thorr, Child Abuse, Mutilation Rites, Primitive Weapons, Freshkills, Vaz, Naam, Martin Rev, The Giraffes, The Death Set, BANGLADEAFY! DN’T, Unstoppable Death Machines, Mouth of the Architect, White Hills, Gull, Godmaker, Spacehog, The Austerity Program, No Way, Moon Tooth and Radkey.

​The New York-based act’s Black Gaia is slated for release this Friday through Records and Tapes Records, and from the album’s latest single “Army!,” the album will further cement the band’s reputation for crafting pummeling and furious material centered around equally enormous power chords and arena rock friendly hooks, distorted synthbass and Ellis’s shouting politically charged lyrics, lambasting rampant commercialism and greed — all while drawing from math rock, psych rock and thrash metal in a way that reminds me of Cinemechanica. Arguably, this song may be one for the most explosive and forceful rippers I’ve heard all year, and it’s so fucking necessary.

NETHERLANDS will be touring with Mastodon and Dinosaur Jr. throughout September. Check out the tour dates below.

Mastodon, Dinosaur Jr, Netherlands – 2018 tour:
Sep 1 – Edmonton, AB @ Northern Alberta Jubilee Auditorium
Sep 2 – Calgary, AB @ Grey Eagle Resort & Casino
Sep 4 – Saskatoon, SK @ O’Brian’s Event Centre
Sep 6 – Winnipeg, MB @ Burton Cummings Theatre
Sep 7 – Duluth, MN @ Duluth Heritage Center
Sep 8 – Sioux City, IA @ Anthem @ Hard Rock Hotel & Casino
Sep 11 – Milwaukee, WI @ Eagles Ballroom
Sep 12 – Cleveland, OH @ Agora Theatre
Sep 14 – Fort Wayne, IN @ Clyde Theatre
Sep 15 – Grand Rapids, MI @ 20 Monroe Live
Sep 16 – London, ON @ London Concert Theatre
Sep 17 – Kitchener, ON @ Elements
Sep 19 – Hamilton, ON @ FirstOntario Concert Hall
Sep 20 – Port Chester, NY @ Capitol Theatre
Sep 21 – Silver Spring, MD @ The Fillmore

Initially started as a one-off vehicle to release a record for a friend, Portland, OR-based indie label Fluff and Gravy Records has established themselves as arguably one of the most unique and difficult to pigeonhole labels in the country as they’ve released  albums that have run the gamut from Americana, indie folk, punk rock, indie rock, garage punk, alt country and even British folk from a diverse and eclectic set of artists including JOVM mainstay Drunken Prayer, Hillstomp, Jeffrey Martin, Fernando Viciconte, The Evangenitals, Anna Tivel and several others. To celebrate their fifth anniversary, the Portland-based label is releasing the Five Years of Gravy compilation — and according to the folks at the label, the compilation isn’t a mere retrospective; in fact, it’s a compilation of new and unreleased tracks from 17 of the label’s artists that they feel offers a glimpse of where the label and its artists have been and where they all are going. But the label and its artists also see the compilation as a way of giving back as the proceeds from sales of the album will benefit The Jeremy Wilson Foundation, a musicians’ nonprofit health and services organization that assists individual musicians and their families throughout the Pacific Northwest during medical emergencies — and is supported by fans, musicians and friends. Certainly, the work of charitable organizations such as The Jeremy Wilson Foundation will see even greater importance in light of President-elect Donald Trump’s threatened plans to cut Obamacare and with most musicians being independent contractors, access to affordable healthcare for musicians and their families will be critical.

Now, earlier this year you may recall that I had written about the Argentina-born, Portland, OR-based singer/songwriter Fernando Viciconte, who performs under the mononym Fernando. Viciconte first came to attention as the frontman oft he Los Angeles-based rock band Monkey Paw, and when the band broke up, Viciconte relocated to Portland where he began to focus on a solo career that began in earnest with the 2006 release full-length debut Enter to Exit, an effort which was critically praised by a number of major media outlets including BillboardMagnet (which named Fernando, one of the best, new artists of 2006), PasteThe OregonianNo Depression and MSNBC.com, among a lengthy list of others. Just as Viciconte’s profile and career were  set to explode into the national scene, the Argentina-born, Portland-based singer/songwriter suffered through several major health issues, which nearly resulted in the permanent loss of his voce — and as you can imagine, his health issues prevented him from touring. Fortunately for Viciconte and for us, after going through a number of doctors, it was revealed that his illness was misdiagnosed and the root cause of his issues, a hiatal hernia that caused heartburn and acid reflux, which bathed his vocal vocal chords in his stomach acid, was fixed surgically.

Viciconte’s eighth full-length effort Leave the Radio On was released last year through Fluff and Gravy Records and although the album took three years to complete, the album has the Portland-based singer/songwriter backed by an all-star cast featuring R.E.M.’s Peter Buck, who has been an early champion of Viciconte’s work; Scott McCaughey as well as members of M.Ward and Elliott Smith‘s backing bands, Richmond Fontaine and The Delines. Of course, if you had been frequenting this site, you may recall act I wrote about Leave the Radio On‘s first single “Save Me,” a bitter and aching lament of a song that evoked the lingering ghosts of one’s life — the failed relationships, the misguided decisions and poor judgements and the crushing doubts that seem inescapable and yet, finding a way to move forward with your dignity, sanity and sense of self intact. His contribution to the compilation “No Regrets” continues in a similar vein to “Save Me” as it’s a mournful lament from a narrator, who looks back on his life with an uncommon clarity and honesty, with the song’s narrator sadly admitting that he may be at fault for the mistakes and poor decisions of his life. Sonically, Viciconte’s aching vocals are accompanied with a country-leaning arrangement of steel pedal guitar, acoustic guitar, gently padded drums and twinkling keyboards — and in some way pairing the song’s sentiment with its arrangement makes the song sound as though it could be the soundtrack of lonely men lost in thought and drinking their sorrows away. And much like “Save Me,” “No Regrets” evokes life’s lingering ghosts — but in this case with a weary sense of acceptance.

 

Of course, if you’ve been frequenting this site, you’re probably well acquainted with Drunken Prayer, the recording project of Morgan Christopher Geer, who currently splits time between Portland, ORAsheville, NC and Louisville, KY — and is a touring member of renowned act Freakwater.  Into the Missionfield, Geer’s Drunken Prayer debut was released in 2012 to critical praise both locally and nationally — Portland’s Willamette Week describing Geer as a “barking ringleader with chops between Tom Waits and The Butthole Surfers‘ Gibby Haynes” and the Portland Mercury describing Geer as Warren Zevon’s medium, showing him the world from the great beyond.” Since then Geer has been rather prolific realizing several lyrically and sonically ambitious albums that have been praised for his signature sound — a sound that meshes elements of the blues, country, folk music, 60s psych and soul music and New Orleans-styled funeral dirges paired with lyrics that explore our existence through the prism of the tragicomic. In fact, Geer’s material suggests something that most of us loathe to admit — that life is often bitterly cruel and ironic. And in those moments, the only option you have is to do as the old song says “Laugh and never let the world know that deep down, you’re crying.”

 

2016 has been a very busy year as Geer released The Devil and the Blues. Featuring Lance Willie (drums) and David Wayne Gay (bass), his former bandmates in The Unholy Trio and former members of The Reigning Sound, as well as guest spots from The Sadies‘ Dallas Good (guitar), Aaron Price (organ, piano and engineering), Anna Trivel (fiddle) and a small horn and section, Geer’s latest effort was Geer’s “party album” — and by party, the material thematically covers and explores sadness, rebellion and redemption in Geer’s signature rowdy, riotous, loutish, proud and somewhat ridiculous fashion. His contribution to the compilation “I Feel Into The Sun,” is an atypical Geer song, as it’s a swooning and infectiously sweet love song with a wicked sense of humor. Yes, underneath all that loutishness and joke cracking is a sweet, aching heart desiring love and its redemption.