Tag: Nirvana

Niko Antonucci is a Prague, Czech Republic-born, Los Angeles, CA-based multi-instrumentliast, singer/songwriter, producer and electronic music artist, who can trace the origins of her music career to when she received piano lessons when she was 6. As teenager, the Prague-born, Los Angeles-based artist began stealing her father’s guitar as a teen — and when she turned 15, she had cut her first demo and began singing and playing in a number of local bands for a number of years. But at a young age, Antonucci recognized that in order to get the exact sound she wanted, she would need to do it herself and she began producing herself.

With her solo, downtempo/industrial electronica project Resin, Antonucci’s sound is inspired by many of the influences that have been a part of her creative life including Nirvana, Portishead, Nine Inch Nails , The Cure, Chelsea Wolfe, as well as ambient electronica and classic music, while thematically focusing on spirituality, dark magic, being an outsider. and so on. And with “Hoarse,” the first single off her self-produced full-length effort Fidget, Antonucci pairs swirling electronics, tweeter and woofer rocking beats, stuttering drum programming and a soaring hook with her sultry yet achingly vulnerable vocals — and while clearly nodding at Nine Inch Nails and Portishead, the single also manages to remind me of Version 2.0-era Garbage.

 

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Live Footage: JOVM Mainstays NØMADS Returns with a Tense and Paranoid New Single

Comprised of Nathan Lithow  (vocals, synths, bass) and Garth Macaleavey (drums), the JOVM mainstay act NØMADS have a rather accomplished history both separately and together, and with the release of 2014’s full-length debut, the duo received attention across the blogosphere for a sound that drew and/or nodded at Nirvana, Fugazi and Girls Against Boys while also nodding at Zack de la Rocha’s post-Rage Against the Machine project, One Day As A Lion  and Japandroids.

After a year-long hiatus from touring and writing, the Brooklyn-based duo spent 2016 writing and recording the material that would eventually comprise their sophomore album PHØBIAC, a concept album in which each song focuses on a different phobia, approached in an abstract, almost clinical fashion. The result is that the material captures the innermost thoughts and anxieties of someone in the grips of crippling fear; but at its core, is a cautionary message for our heightened and uncertain times — that whenever we succumb to the irrationality of our fears, chaos and self-destruction will be the result.  And throughout the course of the year, the duo have released material off PHØBIAC every month but recently, the duo have announced that they’ll be splitting the album into two separate albums — the organic instrumentation-driven PHØBIAC Part 1 and the synth-driven PHØBIAC part 2. 

This month’s latest single “Phasmophøbia” focuses on the fear of the paranormal and of ghosts — both literal and figurative. Recorded live in Pittsburgh in the murky shadows of an abandoned Catholic school’s furnace room in one full take with no edits, “Phasmophøbia”  consists of a fast and loose, improvised jam-like arrangement featuring swirling and twisting synth chords paired with boom-bap hip-hop-inspired drumming which evoke a sweaty, nauseating paranoia, which shouldn’t be surprising as the song focuses on an ex-lover, who perpetually haunts the street of the paranoid narrator’s daily world; and in fact, the song’s narrator recognizes that his past is sickeningly inescapable. 

New Audio: METZ Returns with an Urgent and Forceful Call to Stand Up for What You Believe In

Now, if you’ve been frequenting this site over the past couple of years, you’d recall that the  Toronto, ON-based JOVM mainstay act METZ exploded into the blogosphere with 2014’s self titled debut and 2015’s sophomore effort II, thanks in part to a sludgy,  face-melting, power-chord based sound reminiscent of Bleach and In Utereo-era Nirvana, A Place to Bury Strangers, Japandroids and others. The trio’s highly-anticipated third, full-length album is slated for a September 22, 2017 release through Sub Pop Records, and the the album, which the trio recorded with the legendary Steve Albini at Chicago’s Electrical Audio Studio live to tape and features home recordings and additional instrumentation added by their longtime collaborator, engineer and mixer Graham Walsh back in Toronto. 

Reportedly, the new album finds the band pushing their sound and songwriting in a new direction while retaining the furious and intense energy of their live shows — in fact, thematically, the material may arguably be the most politically-charged yet personal material written to date, presumably inspired by life in the age of Donald Trump and a sociopolitical climate in which everything seems to be spiraling out of control. “The songs on Strange Peace are about uncertainty. They’re about recognizing that we’re not always in control of our own fate, and about admitting our mistakes and fears,” the band’s Alex Eakins explained in press notes. “They’re about finding some semblance of peace within the chaos.”

“Cellophane,” Strange Peace‘s first single found the Canadian punk trio retaining the sledgehammer forcefulness, sludgy power chords and rousing hooks that first caught the attention of the blogosphere and this site, but there’s an underlying, hard-fought maturity — the sort that come as a result of living in an increasingly fearful, uncertain, fucked up world, that feels as though it’s spinning faster and faster towards disaster. And interestingly enough, “Cellophane” seems to say to the listener, “hey man we’re scared out of our fucking minds, too; but we have each other and somehow we’ve gotta stick together and figure it out.”

“Drained Lake,” Strange Peace‘s second single, was a jagged and propulsive post-post-punk track with layers of blistering and scuzzy guitars, punchily delivered lyrics and thunderous drumming with the use of a lurching synth line for what I think may be the first time in the band’s history; but while being a revealing look into a band that’s begun to restlessly experiment and expand upon their sound, it also finds the band at their most strident and searching, while being a sneering anthemic “fuck off” to those who don’t — and perhaps can never — see you for who you are. As the band’s Eadkins explained in press notes, the song reflects, “the constant struggle to know yourself and make sense of your life and surroundings. What is my purpose? Holding on to who you are while finding off pressure to bend to what other people want and expect from you.”

“Mess of Wires,” Strange Peace’s third and latest single finds the trio at their most furious  and most punishing, as the song features pummeling drums, scorching guitar lines and punchily delivered, shout worthy lyrics and hooks. And while being a face melting, mosh pit worthy track, the song is underpinned by a visceral honesty and self-examination while being an earnest, urgent and forceful shout to the listener that now is the time to stand up for the things you believe in before they’re smashed to bits — or worse, before they’re taken away from you. As the band’s Edkins explains in press notes “‘Mess of Wires’ is a reminder to myself to speak out and say what I believe. To be honest with myself. It is common to feel that your thoughts are inconsequential, a drop in the echo-chamber, but silence can be worse. Speak out about what you believe in, loud and often.” 

New Audio: JOVM Mainstays METZ Return with a Jagged and Anthemic Post-Post Punk Ode to Being Yourself at All Costs

With 2014’s self-titled debut and 2015’s sophomore effort II,  the Toronto, ON-based trio METZ received attention across their native Canada and elsewhere for a sludgy, face-melting, power-chord based sound reminiscent of Bleach and In Utereo-era Nirvana, A Place to Bury Strangers, Japandroids and others, and unsurprisingly, the Toronto-based punk trio quickly became mainstays on this site. Now, as you may know their third, full-length album Strange Peace is slated for a September 22, 2017 release through Sub Pop Records, and the album, which the trio recorded with Steve Albini at Chicago’s Electrical Audio Studio live to tape, with home recordings and instrumentation added by their longtime collaborator, engineer and mixer Graham Walsh back in Toronto. And the new album reportedly finds the band pushing their sound and songwriting into a new direction while retaining the furious and intense energy of their live shows; in fact, the material thematically speaking may be among the most political yet personal material they’ve written to date, capturing the thoughts and emotions of young people in the age of Trump. “The songs on Strange Peace are about uncertainty. They’re about recognizing that we’re not always in control of our own fate, and about admitting our mistakes and fears,” the band’s Alex Eakins explained in press notes. “They’re about finding some semblance of peace within the chaos.” 

“Cellophane,” Strange Peace’s first single found the Canadian punk trio retaining the sledgehammer forcefulness, sludgy power chords and rousing hooks that first caught the attention of the blogosphere and this site, but there’s an underlying, hard-fought maturity — the sort that come as a result of living in an increasingly fearful, uncertain, fucked up world, that feels as though it’s spinning faster and faster towards disaster. And interestingly enough, “Cellophane” seems to say to the listener, “hey man we’re scared out of our fucking minds, too; but we have each other and somehow we’ve gotta stick together and figure it out.” 

“Drained Lake,” Strange Peace’s second and latest single, is a jagged and propulsive post-post-punk track with layers of blistering and scuzzy guitars, punchily delivered lyrics and thunderous drumming with the use of a lurching synth line for what I think may be the first time in the band’s history; but while being a revealing look into a band that’s begun to restlessly experiment and expand upon their sound, it also finds the band at their most strident and searching, while being a sneering anthemic “fuck off” to those who don’t — and perhaps can never — see you for who you are. As the band’s Eadkins explained in press notes, the song reflects, “the constant struggle to know yourself and make sense of your life and surroundings. What is my purpose? Holding on to who you are while finding off pressure to bend to what other people want and expect from you,” 

The members of the Toronto-based punk rock act will be embarking on a North American tour to build up buzz and then support their new effort and it includes two NYC area dates — October 4, 2017 at Music Hall of WIlliamsburg and October 5, 2017 at the Bowery Ballroom. 

If you’ve been frequenting this site over the past few years, you’ve come across a number of posts featuring the Toronto, ON-based trio Metz, comprised of Alex Edkins (guitar, vocals), Hayden Menzies (drums) and Chris Slorach (bass), and as you may recall with the 2014 release of their self-titled debut and 2015’s sophomore effort II, the Toronto-based punk rock trio have received attention across their native Canada and internationally for a sludgy, face-melting, power chord-based sound reminiscent of Bleach and In Utereo-era Nirvana, A Place to Bury StrangersJapandroids and others.

The band’s third full-length effort Strange Peace is slated for a September 22, 2017 through Sub Pop Records and the album, which the trio recored at Chicago‘s Electrical Audio Studio with Steve Albini live to tape, with additional home recordings and instrumentation recorded with their longtime collaborator, engineer and mixer Graham Walsh in Toronto, reportedly finds the band pushing their sound and songwriting into a completely different territory — while capturing the intense energy of their live set. As the band’s Alex Eadkins explains in press notes “The songs on Strange Peace are about uncertainty. They’re about recognizing that we’re not always in control of our own fate, and about admitting our mistakes an fears. They’re about finding some semblance of peace within the chaos.”

Interestingly, as you’ll hear on “Cellophane,” Strange Peace‘s first single, the band retains its sledgehammer-like forcefulness, sludgy power chords and rousing hooks but there’s a hard-fought maturity — the sort that comes from living in an increasingly fearful, uncertain, fucked up world that feels as though it’s spinning faster and faster towards disaster. And in some way, the band and the song seem to say “hey man, we’re scared out of our fucking minds and we have no idea what to do, but we have each other and somehow, someway we’ll figure it out.” Perhaps, if we were to consider the strangeness of our own world and our own politics, we should take comfort in each other and hold on as tight as possible.

 

 

 

 

Skyler Cocco is a Floral Park, NY-born, New York-based singer/songwriter, multi-instrumetanlist, producer and model, who began writing songs as a child, and by the time Cocco was 11, she learned to operate the eight track recorder in her late father’s studio, how to program drums and then taught herself bass, guitar and piano to accompany her songs. Her career started in earnest as a a pop artist, writing hooks and collaborating with rappers as a cowriter, usually by writing hooks or producing beats but while studying studio composition at SUNY Purchase’s Music Conservatory, she further fleshed out her sound, eventually transitioning to a hard rock-leaning pop sound that’s largely influenced by Nirvana, Grimes, Soundgarden and others.

Cocco’s full-length debut Reverie was co-produced by Zach Miller and is slated for release sometime this year and from the album’s latest single “Some Nerve,” the up-and-coming, Floral Park, NY-born, New York-based singer/songwriter, multi-instrumentalist, producer and model specializes in the sort of anthemic and radio friendly hard rock — er, hard pop? — that’s reminiscent of Paramore, if they had decided to cover A Perfect Circle/Tool; and in fact similar to the work of Holy Wars, Cocco’s latest single, as well as the rest of the material on the album focuses on learning to live in the face of profound grief and heartache.

 

Certainly, if you’ve been frequenting this site over the past year of its seven year history, you’ve come across a nubmer of posts featuring Brooklyn-based post-punk duo and JOVM mainstays NØMADS. Comprised of Nathan Lithow  (vocals, bass) and Garth Macaleavey (drums), the duo have a rather accomplished history both separately and together, and with the release of their 2014 full-length debut, the duo received attention across the blogosphere for a sound that drew and/or nodded at Nirvana, Fugazi and Girls Against Boys while also nodding at Zack de la Rocha’s post-Rage Against the Machine project, One Day As A Lion  and Japandroids.

After a year-long hiatus from touring and writing, the Brooklyn-based duo spent the better part of 2016 writing and recording the material that would eventually comprise their sophomore album PHØBIAC, a concept album in which each song focuses on a different phobia, approached in an abstract, almost clinical fashion, while capturing the innermost thoughts, anxieties and fears of someone in the grips of their own deepest fear; but at the core, is a cautionary message for our heightened and uncertain times — that whenever we succumb to the irrationality of our fears, chaos and self-destruction will be the end result. Throughout the course of the year, the duo have released a new single off the album every month with the complete, full album being slated for a 2018 release.

Last month’s single “Chronometrophøbia” was a slow-burning and moody instrumental composition focused on the fear of clocks, watches and passing time in which buzzing and distorted bass chords evoked the grinding mechanisms of gears inside of a clock and the metronomic-like drumming evoked the clicking of watch hands moving around the clock’s face as it moves second by second, minute by minute, hour by hour. And throughout the composition there’s a creeping and unsettled anxiety of being aware of time’s relentless march forward — and being constantly reminded of the fact that time marches forward with or without you. As the band’s Nathan Lithow explained in press notes “The fear of clocks is a very compelling to me as a soundscape metaphor. As a physical object, a clock not only “tells” time, but also represents the passing of time, and the concrete idea of the present tense. Chronometrophobia is tangentially connected to Chronophobia, the fear of time or of time’s passing, but as a compositional theme I think the clicks/ticks/tocks/beeps and bells provide a bit of a textual context to the song as a whole.”
PHØBIAC‘s latest single “Dementophøbia” focuses on the most common fear any one of us would have — the fear that your your tenuous grip on reality and sanity may slowly be slipping. And when there are so many things both big and small in our daily lives that have seemingly gone insane, it would be far more likelier to start asking yourself “is it me — or is it everyone around me?'” And as a result, the song may be the most tense and anxious track they’ve released to date, as the song’s narrator seems to recognize that at some point there’s only so much anyone can take before they crack; the problem is that we don’t know what will cause it.

Now, if you’ve been frequenting this site over the course of the past year, you’ve come across a small handful of posts featuring the Brooklyn-based post punk duo and JOVM mainstays NØMADS . Comprised of Nathan Lithow  (vocals, bass), who has been a touring and recording bassist for My Brightest DiamondInlets, and Gabriel and the Hounds; and Garth Macaleavey (drums), a former Inlets touring percussionist and head sound engineer at National Sawdust, the duo have received an increasing amount of attention across the blogosphere for a sound that draws from Nirvana, Fugazi and Girls Against Boys while also nodding at Zack de la Rocha’s post-Rage Against the Machine project, One Day As A Lion  and Japandroids.

After a year hiatus from touring to support their 2014 full-length debut Free My Animal and from writing, the Brooklyn-based duo spent the better part of 2016 writing and recording the material that would eventually comprise their sophomore album, PHOBIAC, a concept album in which each song focuses on a different phobia, approached in an abstract, almost clinical fashion, while capturing the innermost thoughts, anxieties and fears of someone in the grips of their own deepest fear; but at the core, is a cautionary message for our heightened and uncertain times — that whenever we succumb to the irrationality of our fears, chaos and self-destruction will be the end result.

Adding to the conceptual nature of the album, each song off the album will be released every month over the course of 2017 with the full-length album being slated for a 2018 release. Now, if you’ve been frequenting this site over the past few months, it shouldn’t be surprising that I’ve written about a handful of singles PHØBIAC — “Achluphobia” focused on a fear of darkness, and throughout you can feel the narrator’s palpable and overwhelmingly primal dread and fear as darkness begins to envelope everything around him  — and it’s further emphasized by angular and forceful bass chords, thundering and propulsive drumming and Lithgow’s growled vocals. The following single “Acrophobia,” focused on a fear of heights and is a explosive instrumental composition that features a rapidly shifting meter paired with a propulsive bass line meant to evoke the sensation of peering over a high ledge of a bridge or some other surface, with the instinctual recognition that solid ground and mortal peril is just below you. And it was followed by “Axatophobia,” which focused on a fear of disorder and chaos. Featuring Lithgow playing an angular and distorted yet melodic bass line, Macaleavey’s forceful and dramatic drumming  and paired with Lithgow’s urgent and pleading vocals, the song had the air of someone who’s life is thrown in disarray in an unexpected way.

PHØBIAC‘s latest single “Chronometrophobia”  is a slow-burning and moody instrumental track, focusing on a fear of clocks, watches and time. Mixed by Michael Abuiso at Behind The Curtains Studio, the composition features buzzing and distorted bass chords, meant to evoke the grinding mechanisms of gears while the metronomic-like drumming manage to evoke the clicking of watch hands moving second by second, minute by minute, hour by hour. But just under the surface is creeping anxiety of time passing; of time’s relentless march forward, whether you’re here or not and being continually reminded of it everywhere you go.

As the band’s frontman explains in press notes “The fear of clocks is a very compelling to me as a soundscape metaphor. As a physical object, a clock not only “tells” time, but also represents the passing of time, and the concrete idea of the present tense. Chronometrophobia is tangentially connected to Chronophobia, the fear of time or of time’s passing, but as a compositional theme I think the clicks/ticks/tocks/beeps and bells provide a bit of a textual context to the song as a whole.”

The band is embarking on a series of dates, most of them local and it includes their ongoing Tuesday night residency at Piano’s. Check out tour dates.

Tour Dates

5/16 – New York, NY – Pianos
5/23 – New York, NY – Pianos
5/25 – Erie, PA – Bobby’s Place
5/30 – New York, NY – Pianos
6/02 – Brooklyn, NY – Three’s Brewing
6/05 – Indianapolis, IN – State Street Pub
6/22 – New York, NY – Berlin
8/03 – Brooklyn, NY – Cape House (PopGun show w/ CLOAK)