With the release of their full-length debut, the indie rock duo Neaux, comprised of Versa Emerge’s Sierra Kay and Trash Talk’s Nick Fit received attention across the blogosphere for a sound that the duo says is influenced by the likes of Sebadoh, Mudhoney and Sonic Youth — while nodding at the likes of Slowdive and Swirlies. Building on a growing profile, the duo’s sophomore effort Chain Up The Sun was released earlier this year, and as you’ll hear on album single “LUV,” the duo further cements their reputation for crafting a sound that to my ears reminds me quite a bit of 120 Minutes-era MTV, complete with fuzzy power chords, rousingly anthemic hooks, driving rhythms and gorgeous pop belter vocals giving an otherwise aggressive bit of shoegaze it’s vulnerable and aching heart. And fittingly enough, the recently released visuals for the single also manage to nod heavily at 120 Minutes-era MTV, as it features the duo goofing off and lounging about while superimposed with psychedelic imagery.
Currently comprised of Taylor Chmura (guitar, vocals), Christian Deroeck (guitar), Michael Gonzalez (drums) and Brandon Page (guitar), the Athens, GA-based indie rock quartet Deep State consist of a bunch of friends who have met in a variety of ways — from local bands, college and local restaurant jobs, as it’s almost always done, and the band interestingly enough can trace its origins to when founding member Chmura wanted to form a punk band with incredibly catchy melodies and hooks. With a ton of ideas in his head, Chmura enlisted his friends Deroeck, Gonzalez and Page to assist him in fleshing out his ideas. And as it turned out, the quartet had an incredible simpatico with their earliest material seemingly finishing itself, including their critically acclaimed full-length debut Thought Garden.
“Time Unraveled” is the Athens, GA-based quartet’s first bit of new material since the release of Thought Garden and the single will further cement their growing reputation for crating incredibly catchy, hook-laden, power chord-based guitar pop-leaning punk that manages to nod at 90s grunge rock — Mudhoney, The Posies and others, anyone?
The band is currently on tour with a series of dates, check out tour dates below.
Sep 30 Simon Sez Mcallen, TX
Initially formed in 1989, the Seattle, WA-based grunge rock band Gruntruck featured Skin Yard’s Ben McMillan (vocals) and Norman Scott (drums), The Accused’s Tommy Niemeyer (guitar) and Final Warning’s Tim Paul (bass) can trace their origins to when founding members Ben McMillan and Norman Scott wrote a song while on tour with Skin Yard that they had was worthy of forming a new band around. Interestingly enough, around the same time Scott had a brief stint with Soundgarden and collaborated with Chris Cornell on a lesser-known project, the low frequency power trio Bass Truck. And with the new song and other material that McMillan and Scott started to write together, they decided to blend the sound that Norman developed in Bass Truck — in other words, a harder, more metal-leaning grunge rock sound.
1990’s Jack Endino and Gary King-produced debut Inside You was released through Seattle-based label Empty Records with a simultaneous release through German label Musical Tragedies. Along with the release of their debut, the band released a Henry Shepherd-produced video for album single “Not a Lot to Save,” which received airplay on MTV. (I should note that Henry Shepherd is the brother of Soundgarden’s Ben Shepherd.) Interestingly, the members of Gruntruck had opened for Pearl Jam throughout 1991 — and in particular, they opened for Pearl Jam on the night that renowned grunge rockers filmed the video for “Even Flow.” With the growing buzz on all things Seattle, the members of Gruntruck signed a multi-album deal with Roadrunner Records, who re-released Inside Yours later that year. 1992’s sophomore Endino and King-produced effort Push featured album track “Tribe,” which received regular rotation on MTV’s Headbanger’s Ball. Building upon a growing profile, Gruntruck opened for Alice in Chains during their 1992 US and Canadian tour, as well as in Europe during the winter of 1993 with Pantera. After the band returned to Seattle, they went through several lineup changes but they released a video for “Crazy Love,” which received airplay on MTV, including a reference on Beavis and Butthead, in which a stunned Butthead mused “I must be hallucinating now. I can’t believe they’re playing something cool. These guys rock!”
At the height of their popularity in 1996, the members of the band were struggling to make ends meet while fulfilling contractual obligations to Roadrunner Records. Polygram Records offered to buy out Gruntruck’s contract for $1 million, but the folks at Roadrunner Records refused. Based on the advice of their lawyer, the band filed for bankruptcy in an attempt to break free of their contract, which was promptly followed by their label suing to block their bankruptcy petition. The result was a precedent-setting case that’s been cited in subsequent cases, written up in legal journals and eventually inspired congressional legislation. Although the court eventually ruled in Gruntruck’s favor, their various legal issues exacted a financial and emotional toil on the band — despite the fact that they were attempting to recapture some of the momentum they had captured before.
By 1997, the band’s original lineup reunited and they had been working on new material together and some of the songs written wound up comprising the material on their self-titled third album, an effort that the band envisioned as a breakthrough effort. The album was recorded over a two year period in five different studios in and around Seattle with Jack Endino and Martin Feveyear, who has worked with Queens of the Stone Age, Mudhoney and Screaming Trees taking up production duties, and once it was finished the band went through a busy live schedule in Seattle, to build up buzz for the album; however by 2003, the band went on hiatus, as McMillan needed time to recover from health issues.
Sadly McMillan died from complications related to diabetes in 2008, and the third album languished in the vaults until last year, when Jack Endino mentioned its existence to Found Recordings head, Scott Blum, who pushed to get the album released. And over a decade since its initial recording, Gruntruck’s self-titled album is slated for an October 13, 2017 release, and the album’s first official single “Bar Fly,” features an ambitious arena rock sound consisting of enormous power chords, a shout worthy chorus and while clearly nodding at metal, the band’s sound manages to be reminiscent of Dirt-era Alice in Chains and Purple-era Stone Temple Pilots. Interestingly, the song will strike many as a remanent of a decidedly particular period — 1996-1998 or so — but underneath that, there’s a sad reminder of what could have been; after all, for the rare Alice in Chains, Stone Temple Pilots, Soundgardens, etc., there’s countless bands, who get close to making it and many more that never make it.
Filmed by Thomas Engisn and edited by Gary Lundgren, the recently released music video features grainy VHS footage from the band’s original lineup performing sweaty, ass-kicking shows — and it’ll remind you of watching similar videos on 120 Minutes and other video shows.
Currently comprised of founding members Chris Cornell (vocals, rhythm guitar) and Kim Thayil (lead guitar), along with Matt Cameron (drums), who joined in 1986 and Ben Shepherd (bass), who joined in 1990, the Seattle, WA-based grunge/alt-rock quartet Soundgarden can trace its origins back to the formation and eventual breakup of an early 80s Seattle-based band The Shemps, which featured Cornell on drums and vocals, along with original bassist Hiro Yamamoto. Strangely enough, over the years what seems to have been forgotten is that the members of Soundgarden had started their recording career with Sub Pop Records; in fact, the renowned alt rock/indie label released the band’s first two EPs 1987’s Screaming Life and 1988’s Fopp, two efforts, which the label re-issued a couple of years ago through both vinyl and digital formats, marking the first time in about 25 years that the EPs were pressed onto vinyl — and the first time they were released digitally. Interestingly enough, Sub Pop Records helped distributed Soundgarden’s 1988 full-length debut, Ultramega OK.
And although they had some creative differences with the album’s producer Drew Canulette and the band’s overall dissatisfaction with the final mixes, their full-length effort was a commercial success as it garnered both a 1990 Grammy nomination for Best Metal Performance and attention from larger labels — including A&M Records, who quickly signed the band. At the time, the band had intended to spend some time remixing the album for subsequent pressings of the album; but those plans wound up falling by the wayside, as the band went on to write and record their sophomore effort, and major-label debut, Louder Than Love.
Last year, the members of the band acquired the original multi-track tapes from the Ultramega OK sessions and they enlisted the assistance of renowned producer, engineer, long-time friend and frequent, old-time collaborator Jack Endino, who has famously worked with Nirvana, Mudhoney, Screaming Trees, Skin Yard, The Black Clouds and others to create a new mix of the album that would tie up what the band felt were persistent loose ends — while fixing the album’s overall sound. Interestingly, the band found six early version of album singles that eventually wound up on Ultramega OK and reportedly those early versions, which would eventually become staples of their live sets at the time, capture the band’s sound and songwriting in a much rawer, less polished form — and much closer to the sound on the Screaming Life EP.
Almost 30 years after Ultramega OK’s original release, Sub Pop Records will be releasing the remixed and expanded re-issue of the album, as a long-awaited “correction.” Naturally, for die-hard fans and completists, the re-mixed material will capture the band’s sound as they fully intended it, while the re-discovered early material will serve as a window into the development of the band’s songwriting approach and overall sound. Now, as you may remember, I wrote about the re-issue’s first single “Beyond The Wheel” and the re-mixed version possessed a crisper, cleaner sound, which helped to display Kim Thayill’s incredible guitar work and the interplay between Matt Cameron’s Bonham-like thundering drumming and Cornell’s Robert Plant-like wailing. The re-mixed and expanded Ultramega OK’s second single “Flower” much like its preceding single displays a cleaner, crisper sound, which gives the song the muscular insistence that the band became known for while interestingly enough, the song has moments that nod at Badmotorfinger and Superunknown.
There are bands, whose sound and aesthetic make such a forceful and immediate impression that you can instantly recall the first time you had come across them; in fact the first time I had ever heard Soundgarden, I was watching MTV‘s Headbanger’s Ball. And what I can still remember more than 25 years later was how the show’s host at the time, Rikki Rachtman told viewers that they needed to be on the lookout for Soundgarden — mainly because of Chris Cornell, who Rachtman had described as being a little guy with an enormous voice. They promptly followed that with the music video for “Outshined” off Badmotorfinger — and I can remember being blown away.
Strangely, as the years have passed what’s been forgotten is that the members of Soundgarden had initially started their career with Sub Pop Records; in fact, the now long-renowned grunge label had released the Seattle-based band’s first two EP’s Screaming Life and Fopp, which Sub Pop re-issued a few years ago, marking the first time that both of those early efforts would be availably digitally, as well as through vinyl. But interestingly enough, the renowned Seattle-based label also help distribute Soundgarden’s full-length debut, Ultramega OK.
On March 10, 2017, Sub Pop Records will be releasing a remixed and expanded reissue of Soundgarden’s full-lengtht debut, as a long-planned “correction” of their debut. Ultramega OK was originally recorded and released through SST Records in 1988 — and while the members of the band enjoyed working with the album’s original producer, Drew Canulette, they were dissatisfied with the album’s final mix. And as the story goes, the band had intended to remix the album for subsequent pressings; however, the band quickly had major label success and were signed to A&M Records and the band went into the studio to work on their major-label debut effort, Louder Than Love. And as a result, the Ultramega OK remix had fallen off to the wayside.
Last year, the members of the band finally acquitted the original multi-track tapes from the Ultramega OK sessions and they all decided to set some time aside to work on the remix. Naturally, the band enlisted the assistance of renowned producer and engineer Jack Endino, a long-time friend and former collaborator, who has worked with Nirvana, Mudhoney, Screaming Trees, Skin Yard, The Black Clouds and others to create a new mix of the album that would tie up some persistent loose ends and fixes the album’s overall sound. Interestingly, the members of the band also found six early versions of songs that eventually wound up on the full-length album, which they initially recorded in 1987 with Jack Endino and Chris Hanszek at Reciprocal Recording — and mixed by Endino last year. Reportedly, those early versions of songs, which were later staples of the band’s live sets, capture the band in a much rawer form — and much closer to the Screaming Life EP. Naturally for die-hard fans and completists, the rediscovered material will serve as a window into the development of the band’s songwriting approach and sound. The forthcoming re-issue’s first single is a crisper, tighter and much more forceful version of “Beyond The Wheel” which better displays Kim Thayill’s guitar work and its interplay between Matt Cameron’s Bonham-like drumming and Cornell’s vocals. And compared to the original, the re-mixed alternate version almost sounds like a completely different song.
Comprised of Dan Matthews (vocals, guitar), Neil Hayes (guitar, vocals), Gary Moses (bass, vocals) and Cory King (drums, vocals), the Asbury Park, NJ-based indie rock quartet The Black Clouds have developed a reputation for a DIY approach to an increasingly busy touring schedule, for self-recording and self-producing their first two albums, and attention-grabbing collaborations with Jack Endino, who has produced, mixed and recorded some of Seattle‘s most beloved and renowned bands and Mudhoney‘s Mark Arm. And over the past 18 months or so, the New Jersey-based quartet have added themselves to this site’s growing list of mainstay artists — thanks to when I caught them open for Mudhoney at the Bell House some time ago and the release of “Photograph” and “Vice” the first two singles off the band’s third album, After All.
Just in time for the album’s official release today, the members of The Black Clouds released After All‘s third and latest single “Self Control,” will further cement the band’s reputation for crating 120 Minutes-era MTV/90s-inspired indie rock, complete with enormous, arena-rock friendly hooks and a radio-friendly vibe; but thanks to an uncanny sense of melody within the song, After All‘s latest single may arguably be the most Foo Fighters-leaning song on the album.
If you had stumbled upon this site last week, you may have come across a post on the Asbury Park, NJ-based indie rock quartet The Black Clouds. Comprised of Dan Matthews (vocals, guitar), Neil Hayes (guitar, vocals), Gary Moses (bass, vocals) and Cory King (drums, vocals), the New Jersey-based quartet have developed a reputation for a DIY approach to recording and producing their albums, for a busy touring schedule and a continuing collaboration with renowned producer, engineer and musician Jack Endino, who has worked with an incredibly impressive list of artists and who has mixed and mastered The Black Clouds’ first two albums. And building upon a growing national profile, the band has not only played at everal of the country’s largest festivals including Bamboozle and SXSW, they’ve also toured with the likes of Mudhoney among others.
The Ashbury Park, NJ-based quartet’s third full-length effort After All is slated for a January 6 release and the album, which was recorded at Studio 606 will further continue the band’s collaboration with Jack Endino, who only only recorded, mixed and mastered the album but also produced the album and contributed some guitar on aa few songs. The album’s first single “Photograph” was a 90s grunge rock, barn-burner of song with growled vocals, aggressive power chords an anthemic hook reminiscent of Foo Fighters, Nirvana and of 120 Minutes-era MTV.
Interestingly, After All‘s second and latest single “Vice” continues the band’s ongoing collaboration with Mudhoney’s imitable frontman Mark Arm while furthering the band’s burgeoning reputation for crafting 90s grunge inspired rock — all power chords, howled vocals, enormous hooks and thundering drumming but in this case paired with Mark Arm howling lyrics about debaucherous behavior and in a similar fashion to Jim Carroll Band‘s “People Who Died,” “Vice” manages to offer a sobering warning — some of that behavior will fuck you up and then kill you.
Comprised of Dan Matthews (vocals, guitar), Neil Hayes (guitar, vocals), Gary Moses (bass, vocals) and Cory King (drums, vocals), the Asbury Park, NJ-based indie rock quartet The Black Clouds have developed a reputation for a DIY approach to recording and producing their material and for touring — and for a continuing collaboration with the legendary Jack Endino, who has mixed and mastered each of the band’s first two albums. Building on a growing national profile, the band has played at several of the country’s largest festivals including Bamboozle and SXSW, and have opened for the likes of the legendary Mudhoney; in fact, I caught the New Jersey-based band open for Mudhoney when the legendary grunge rock forefathers stopped at The Bell House last year.
The members of the New Jersey-based quartet will be releasing their third full-length effort After All on January 6 and the album, which was recorded at Studio 606 will further continue the band’s collaboration with Jack Endino, who only only recorded, mixed and mastered the album but also produced the album and contributed some guitar on aa few songs. Additionally, Mudhoney’s Mark Arm contributes his imitable vocals to a couple of songs, furthering yet another collaboration with a Seattle grunge rock legend. After All‘s first single “Photograph” is a 1990s-inspired, explosive barn-burner of a song, complete with aggressive power chords, growled vocals and an anthemic hook reminiscent of Foo Fighters, Nirvana and others — all while being rather radio-friendly.
Al Tompkins, the creative mastermind behind goth/industrial act Dark Matter Noise (DMN) is a grizzled, Seattle music scene veteran and quietly kept mainstay. As the story goes, Tompkins went to high school with Chris Cornell and college with Matt Cameron — before Cornell and Cameron met and formed Soundgarden. Tompkins’ first band Ebb and Flow received a great deal of airplay for a goth soundtrack tune that the renowned producer and audio engineer Jack Endino recorded as part of a test to get a job at Reciprocal Recording, where Nirvana eventually recorded Bleach. Tompkins next band, Strange Bulge recorded an album which had guest appearances by Ten Minute Warning and Mother Love Bone‘s Greg Gilmore and the aforementioned Jack Endino and Matt Cameron. Tompkins fourth band Yeast recorded split singles with Nirvana, Helios Creed and Coffin Break among others and opened for the likes of Mudhoney, Soundgarden, and The Fluid. Tompkins then pursued an interest in metal with a stint with Resonator, who opened for the likes of The Gits, Napalm Death, The Pleasure Elite and others.
Tompkins latest project Dark Matter Noise (DMN) was created out of his desire to fully experiment with an electronic sound — and to change up his songwriting approach, after spending years within the indie rock scene. The project’s second and forthcoming album Blackwing is slated for a March 18 release, and the the album has Tompkins producing the album, as well as performing most of the instrumentation on the effort, except for contributions from Electric Hellfire Club‘s Eric Peterson, Vladimir Potrosky contributed songwriting on “End of Line,” and Charlie Drown contributed vocals on “Open Wide” and “Hell’s Frozen.” Sonically speaking, the album’s first single and title track “Darkwing” sounds as though it draws from Ministry, Depeche Mode and early Nine Inch Nails as layers of buzzing guitars, industrial clang and clatter, propulsive and forceful drum programming and drumming and swirling electronics are paired with guttural yet crooned vocals. And although the song and the material on the album is reportedly inspired by a number of very dark things –the dissolution of a marriage, the lost of years of recordings and demos and so on — there’s a sense of resilience just underneath the murky surface.