Tag: Le Poisson Rouge

New Video: Psychedelic Porn Crumpets Share Animated, Horror Film-Inspired Visual for New Ripper “Acid Dent”

Throughout their history, the acclaimed Perth-based outfit Psychedelic Porn Crumpets — Jack McEwan (vocals, guitar), Luke Parish (guitar), Danny Caddy (drums), Wayon Bilondana (bass) and multi-instrumentalist Chris Young — have developed a reputation for being one of Australia’s preeminent purveyors of enormous riff-based psych rock.

The Perth psych rockers’ fifth album Night Gnomes officially dropped today through Marathon Artists/What Reality? Records. The follow-up to last year’s critically applauded SHYGA! The Sunlight Mound, Night Gnomes sees the acclaimed Aussie outfit throws the listener into a range of different sonic territories and emotional fields through the exploration of even more sonic influences and creative tangents than before while being firmly rooted in the sound and approach that has won them fans across the world.

Written in Perth during pandemic related lockdowns, and recorded at McEwan’s Perth home and Blackbird Studio with Dave Parkin, Night Gnomes is informed by the sense of isolation and the accompanying mania of being out of sync with the normalcy and patterns of the life that McEwan and the rest of the band had gotten accustomed to over the past few years.

Night Gnomes is a bit darker than the other four releases. I don’t know if that’s the bi-product (sic) of being locked inside Western Australia for the past two years but it’s definitely given us a lot of time to think,” McEwan says of the new album. “I reckon this record has a bit more of a KID A/Amnesiac vibe to it, it’s a bit weirder, a little left of the ‘psych/pop’ world we’ve been tagged under. I kinda like that though, forever expanding, variety is the spice of life! It starts moody, talks of break ups and new relationships; gets kinda chirpy in the middle and then ends really beautifully, a bit like Jurassic Park 3. I reckon Spielberg might actually rate it, he’s a mixture of a bag, ain’t he.

“All in all, I’m very proud of everyone’s efforts, it’s a step up which is a good direction to be stepping and it’s a good body of work that I’m happy to share with the world, our little patch of darkness. And if deeper isn’t your cup of moonshine, then at least you know the sixth album will be upbeat as F@!#.””

Because the album follows so closely to its immediate predecessor, in some ways the material on Night Gnomes feels a bit like a continuation of the same narrative ideas and story that McEwan initially dreamed up. Unsurprisingly, the album retains elements that will appeal to the band’s oldest fans while providing a peak of where the band is going next sonically. “I stepped up a few recording techniques and tried to hone in on the production side of things a little more, gave my mental train a fresh lick of paint and tried to make the album step up in quality from the previous four releases, while still holding onto that ‘Crumpet’ approach to songwriting,” McEwan says.

“There’s definitely a few moments in older albums where I’ve been lazy and tweaked things after we’ve finished recording but with Night Gnomes, I made sure to stick with Dave’s ethos and polish every track before it was sent to Jelly to mix. I’m much happier with how my vocals are sitting now, I left a lot of room in the tracks to bring them out rather than adding twenty million layers beforehand, it feels a lot cleaner, the idea for each song is present and accessible without too much ear straining. To me, it’s our best work. I feel like we’re moving forward while still learning and these albums are a checkpoint to where we’re at, and for now we’re happy with our little Night Gnome.”

Night Gnomes‘ latest single “Acid Dent” is a head banging ripper, centered around enormous, power chord-driven riffs, rumbling bass, driving rhythms paired with mosh pit friendly hooks and McEwan’s punchy shouts. But while thrashing with a relentless and seemingly carefree abandon, the song sees its narrator offering a bit of a concession to growing older and maybe slowing down a bit from some of the riotous decadence of youth — before its way too late.

Every generation has their means of escapism and for some reason here in Perth, or at least when we were in our heyday you could purchase mushrooms and acid from any decent supermarket,” McEwan explains. “So it’s inevitable we’re gonna be munching jumpers and chatting to fences in a few decades, but as for now, well… we’ve seemed to somehow milk a career out of it. Who’d have thought. But yeah, it’s probably not going to end well, hence my newly appointed position on drug safety. Then again, someone also once told me, “Hell hath no fury like a man who’s pressed pause on his drug abuse”, so now I’m slightly more perplexed as to where I stand. Anyway, good luck to everyone, enjoy yourselves but remember nobody wants to pick up your marbles after.”

“When we were younger, we were carefree and living tall, “McEwan says. “You get home with a handful of stuff in your pocket from whatever festival and just munch all of it, until you wake up in the morning so scattered. If we kept carrying on this way, we’d wind up in mental institutions by 35. So this is a nice little story about slowing down a bit.

Directed by frequent visual collaborator Ollie Jones, the video for “Acid Dent” continues a run of claymation-based animated videos. This time, we follow a mustachioed maintenance man working at PPC Chemicals, who has a terrible accident at work: He falls into a glowing vat of toxic sludge.

After being treated at a local hospital, he returns home to discover that as a result of his accident, everything he touches melts before his eyes. The video ends with some hilarious yet horrifying, horror movie-inspired hijinx. “I’ve always been a fan of the horror sub genre ‘ MELT MOVIES ‘ — films like Street Trash, The Blob and Body Melt,” Ollie Jones explains. “So when I was given the title of the track, I knew what I wanted to do right away. A simple story of a guy who after a freak accident is granted the powers to melt everything he touches and how it escalates in a comedy of errors throughout the video. Think the Skittles advert only more gruesome.” 

London-based dream pop act and JOVM mainstays Still Corners — vocalist and keyboardist Tessa Murray and multi-instrumentalist, producer and songwriter Greg Hughes — have managed to bounce between chilly and atmospheric pop and shimmering guitar-driven, desert noir through the release of five albums: 2012’s Creatures of an Hour, 2013’s Strange Pleasures, 2016’s Dead Blue, 2018’s Slow Air and 2020’s The Last Exit

The critically applauded The Last Exit continued where its immediate predecessor left off with 11 songs centered around shimmering and carefully crafted arrangements featuring organic instrumentation paired with Tessa Murray’s smoky crooning. Thematically, the album took the listener through a hypnotic and mesmerizing journey filled with dilapidated and long-abandoned towns, mysterious shapes appearing on the horizon and long trips that blur the lines between what’s there and not there. 

The album’s material was brought into further focus as a result of pandemic-related lockdowns and quarantines. “There’s always something at the end of the road and for us it was this album. Our plans were put on hold – an album set for release, tours, video shoots, travel,” Tessa Murray explained in press notes for the album. “We’d been touring nonstop for years, but we were forced to pause everything. We thought the album was finished but with the crisis found new inspiration and started writing again.” Three of the album’s songs — “Crying,” “Static,” and “‘Till We Meet Again” were written during this period and they reflect upon the profound impact of isolation and the human need for social contact and intimacy. 

Late last year, the JOVM mainstays released “Heavy Days,” a propulsive and uptempo bop featuring twinkling synth arpeggios, a chugging motorik groove, shimmering and reverb drenched guitars and a soaring hook paired with Murray’s smoky vocals. The end result twas a song that saw the duo retaining the beloved elements of their overall sound — but while seemingly drawing from 80s pop.

Despite the literal weight of it’s title “Heavy Days” may be the most optimistic and sunny song of the JOVM mainstays’ growing catalog. “Sometimes it all feels like too much, there’s a lot to take in reading the news all the time,” Still Corners’ Tessa Murray says in press notes. “We wanted to write a reminder to put the phone down now and again and get out there and live life to the fullest while you can.”

The JOVM mainstays start off the year with the expansive “Far Rider,” a track that sounds as though it could have been on both or either Slow Air or The Last Exit as its centered around shimmering, reverb-drenched guitars and a steady rhythm paired with Murray’s smoky crooning, which at one point are chopped up and distorted.

“This song is about leaving, lost love and finding yourself somewhere on the journey, really it’s about redemption,” Still Corners Tessa Murray explains. I recently drove 6000 miles across the southwest to feel the sun on my face and think.  We used the dreamlike nature of the song to capture the landscape and a hypnotic feel to conjure up the long and lonely travel days.”

Still Corners will be embarking on a lengthy tour throughout 2022 that includes a June 16, 2022 stop at Le Poisson Rouge. Check out the rest of the tour dates below.

European Tour Dates

2nd April – Athens, Greece @ Gagarin 205 Tickets

4th April – Lille, France @ L’Aeronef Tickets

5th April – Paris, France @ La Maroquinerie Tickets

6th April – Sint-Niklaas, Belgium @ De Casino Tickets

7th April – Amsterdam, Netherlands @ Q-Factory Tickets

8th April – Groningen, Netherlands @ Vera Tickets

10th April – Copenhagen, Denmark @ Hotel Cecil Tickets

11th April – Hamburg, Germany @ Grünspan Tickets

12th April – Köln, Germany @ Gebäude9 Tickets

13th April – Berlin, Germany @ Heimathafen Tickets

14th April – Leipzig, Germany @ UT Connwitz Tickets

15th April – Prague, Czech Republic @ Meetfactory Tickets

16th April – Vienna, Austria @ Flex Café Tickets

18th April – Zagreb, Croatia @ Boogaloo Tickets

19th April – Ljubljana, Slovenia @ Kino Šiška Tickets

20th April – Milan, Italy @ Magnolia Tickets

21st April – Bern, Switzerland @ Dachstock/Reitschule Tickets

22nd April – Metz, France @ La Chapelle des Trinitaires Tickets

25th April – Dublin, Ireland @ Pepper Canister Church Tickets

26th April – Glasgow, United Kingdom @ Stereo Tickets

27th April – Leeds, United Kingdom @ The Brudenell Social Club Tickets 

28th April –Manchester, United Kingdom @ YES Tickets

​29th April – London, United Kingdom @ EartH Theatre Tickets

US Tour Dates

18th May – Philadelphia, Pennsylvania @ Underground Arts Tickets

​19th May – Vienna, Virginia @ Jammin Java Tickets

​20th May – Durham, North Carolina @ Motorco Tickets

​21st May – Atlanta, Georgia @ Aisle 5 Tickets

​22nd May – Tampa, Florida @ Crowbar Tickets

​26th May – Dallas, Texas @ Deep Ellum Arts Co Tickets

​27th May – Austin, Texas @ The Parish Tickets

​30th May – Phoenix, Arizona @ Rebel Lounge Tickets

​31st May – San Diego, California @ Soda Bar Tickets

​1st June – Santa Ana, California @ The Observatory Tickets

​2nd June – Los Angeles, California @ Echoplex Tickets

​3rd June – San Francisco, California @ Great Northern Tickets

​5th June – Portland, Oregon @ Mississippi Studios Tickets

​6th June – Seattle, Washington @ The Crocodile Tickets

​8th June – Boise, Idaho @ Neurolux Tickets

​9th June – Salt Lake City, Utah @ Urban Lounge Tickets

​10th June – Fort Collins, Colorado @ The Coast Tickets

​11th June – Denver, Colorado @ Globe Hall Tickets

​14th June – Chicago, Illinois @ Lincoln Hall Tickets

​16th June – New York, New York @ LPR Tickets

​17th June – Hamden, Connecticut @ Space Ballroom Tickets

​18th June – Allston, Massachusetts @ Brighton Music Hall Tickets

​18th June – Allston, Massachusetts @ Brighton Music Hall Tickets

New Audio: Gothenburg’s Firebreather Shares Scorching “Sorrow”

With the release of 2019’s sophomore album Under a Blood Moon, the Gothenburg, Sweden-based doom metal trio Firebreather — currently, Mattias Nööjd (vocals, guitar), Axel Wittbeck (drums) and the band’s newest member Nicklas Hellqvist (bass) — found the band quickly establishing a raw, in-your-face and incendiary sound.

The Swedish doom metal trio’s third album Dwell in the Fog is slated for a February 25, 2022 release through RidingEasy Records. Much like their preceding two albums, Dwell in the Fog was recorded and mixed by engineer Oskar Karlsson at Gothenburg-based Elementstudion. The album’s material features a streamlined focus on driving, symphonic riffs in the vein of acts like High On Fire, Inter Arma and labelmates Monolord among others, while rumbling and raging with a fury that the band has only hinted at on their previously released material.

“The album is a cathartic journey inwards and a musical continuation from Under A Blood Moon, but with more emphasis on groove and feel,” the band’s Matthias Nööjd says in press notes.

Dwell in the Fog‘s third and latest single “Sorrow” is a furious and sludgy dirge centered around thunderous drumming, scorching riffs and tweeter and woofer rattling low-end paired with Nöörd’s guttural yet melodic howling. While arguably being among the hardest and most forceful songs I’ve written about so far this year, “Sorrow” evokes the frustration, heartache and despair of sorrow — and in turn, loss — with a simmering yet visceral fury.

Comprised of Marshall, MN-born, Minneapolis, MN-based singer/songwriter, electronic music producer and electronic music artist Sean Tillmann, best known for his solo recording project Har Mar Superstar and A Giant Dog‘s and Sweet Spirit‘s Houston, TX-born, Austin, TX-based frontperson Sabrina Ellis, Heart Bones is a new, collaborative project that can trace its origins to when Ellis and Tillmann meeting and becoming friends while touring back in 2016. They recognized a shared love of over-the-top showmanship, which made their collaboration seem inevitable.

Throughout last year, the members of Heart Bones have made alternating trips back and forth between Minneapolis and Austin to write original material. Interestingly, Ellis and Tillmann are inspired by many of the classic duos of the 60s including Nancy Sinatra and Lee Hazelwood, Serge Gainsbourg and Jane Brikin, Sonny and Cher, Sam and Dave and others — and s a result. the project draws from doo wop, electronic dance music, electro pop and pop. Their currently working on the finishing touches of their debut EP; but in the meantime, From Here to Eternity . . . And Back-era Giorgio Moroder-like “Little Dancer” is centered around layers of arpeggiated synths, tweeter and woofer rocking beats paired with Ellis and Tillmann’s ethereal boy-girl harmonizing. And while the song is club friendly, it possesses an achingly sad air.

Tillmann and Ellis will be embarking on a tour through June and July with Good Fuck. The tour includes a July 14, 2019 stop at Le Poisson Rouge. Check out, the rest of the tour dates below.

Tour Dates: 
Sat, June 29 – Minneapolis MN @ Rock the Garden
Wed, July 3 – Madison WI @ High Noon Saloon *
Thu, July 4 – Maquoketa IA @ Codfish Hollow Barn *
Fri, July 5 – Omaha NE @ The Sydney *
Sat, July 6 – Denver CO @ Oriental Theater *
Sun, July 7 – Fort Collins, CO @ Surfside 7 *
Tue, July 9 – Kansas City MO @ Riot Room *
Wed, July 10 – Chicago IL @ Lincoln Hall *
Thu, July 11 – Cleveland OH @ Beachland Tavern *
Fri, July 12 – Philadelphia PA @ World Café Live *
Sat, July 13 – Washington DC @ Rock & Roll Hotel *
Sun, July 14 – New York NY @ Le Poisson Rouge “In the Round” *
Mon, July 15 – Cambridge, MA @ The Middle East (Upstairs) *
Tues, July 16 – Buffalo, NY @ 9th Ward At Babeville
Wed, July 17 Grand Rapids, MI @ Pyramid Scheme

* w/ Good Fuck