Tag: Third Man Records

Video by William Ruben Helms

New Video: Austin’s Die Spitz Shares a Bruising, Mosh Pit Friendly Ripper

Rising Austin-based outfit Die Spitz — Ava Schrobilgen, Chloe De St. Aubin, Ellie Livingston and Kate Halter — can trace some of their origins back to when Schrobilgen and Livingston met in preschool. They befriended Halter in middle school. And they brought De St. Aubin into their friend group when they started the band back in 2022.

Initially, the quartet was looking to find reasons to hang out more often, and decided they should start a band after a late-night viewing of the Mötley Crüe biopic The Dirt. They settled on the name Die Spitz over a “brown bag of Fireball,” opting for the feminine German definite article in place of the English. “It reminds me of the Grim Reaper spitting,” Livingstone jokes.

Their first live shows saw them pairing originals with covers from some of their early inspirations including Black Sabbath, Pixies, Mudhoney, PJ Harvey and Nirvana. Unsurprisingly, they express their ideas and themselves through a shameless blend of classic punk, hardcore metal, alt rock and more. They’ve also become known for riotous live show, where dueling cartwheels, members climbing rafters and solos while crowdsurfing could happen at just about any moment.

The Texan quartet’s highly-anticipated full-length debut, the Will Yip-produced Something to Consume is slated for a September 12, 2025 release through Third Man Records. The album reportedly sees the members of Die Spitz combining their passion, friendship, identity and artistry to fight against the seemingly inescapable decay and chaos that surrounds modern life. “There’s a political side to it, but addiction and love can also be all-consuming,” the band’s Ellie Livingston says.

As the band trades off instruments, swapping songwriting and vocal duties, and generating powerful songwriting on concussive bursts, they have managed to create their own little pocket of the world, where we can all stand on the edge together.

Something to Consume‘s 11 tracks reportedly contains multitudes and yet feels like a singular epicene, an expansive and expressive collection, unified in its camaraderie and freedom. “We depend on our freedom — freedom to do what we want, present the ideas we want, make the music we want,” Livingston says. “Whether it’s based in metal or something soft, no matter which of us wrote the song, we all contribute and work together. As a person, I don’t have a strong ego or voice, but within this band each one of us is capable of so much more.”

“Something to Consume is an album experience for everyone. Whether you’re craving a smack of lively metal or a melancholy wave of grungey violin, there’s a piece of all of us injected. Something to Consume is a call to the multitudes of ways we as humans allow consumption to enrapture our culture as well as ourselves.”

Though they’ve only been playing together for a few years, the album also shows a maturity and technical prowess wielded and wed to the service of their deep and abiding friendship — and a hope to inspire change. “Some people aren’t interested in being political activists via music, but it weighs on me heavily and I feel misaligned with my calling if I don’t,” Chloe De St. Aubin says. “The four of us are free spirits with multiple interests, and there’s no limit or power dynamic that can derail us.”

Something to Consume‘s first single, “Throw Yourself to the Sword” is a bruising, most pit friendly synthesis of Slayer and long-haired Metallica era thrash metal, The Sword-like stoner rock and punk anchored around some of the hardest and grimiest riffs I’ve heard in some time paired with punchily delivered verses and feral howls for the song’s hooks and choruses. Play loud and open up that fucking pit — right now!

“‘Throw Yourself to the Sword’ is a high-energy ode to what we want young people to feel. There’s a lot of existentialism and despair in other songs on the album that still sheath the same theme, but ‘Throw Yourself to the Sword’ is the raise of optimism. Despite living in a state of mundanity or hopelessness, you can still rise up and fight the unknown, as long as you’re willing to throw yourself to it,” Ellie Livingston explains.

Fittingly, the accompanying video directed by Emily Sanchez is set in and around a local laundromat, supermarket and farm with young women playing “Throw Yourself to the Sword,” as the band’s frontperson appears and inspires them to be mischievous and joyful as a form of resistance and when necessary to pick up the sword and fight.

Single Review by William Ruben Helms

New Audio: BORIS Set to Re-issue 2002’s “Heavy Rocks,” Share Glam Rock Headbanger “1970”

Formed back in 1992, Japanese, experimental heavy rock outfit Boris ((ボリス, Borisu) — currently core members Takeshi (vocals, bass, guitar), Wata (vocals, guitar, keys, accordion and echo) Atsuo (vocals, drums, percussion and electronics) with Mucho (drums) — settled on their current lineup in 1996. Since then, the members of Boris have tirelessly explored their own genre-defying take on heavy music.

The acclaimed Japanese heavy rock outfit released their landmark album Heavy Rocks back in 2002. Its original release only circulated domestically in Japan, leaving listeners globally eager for physical copies. As record pressings were in production, a fire broke out at the plant and the stamper was lost, rendering the album out-of-print for many years — and it quickly became a cult classic. 

21 years after its original release, Third Man Records and Boris will be re-issuing Heavy Rocks (2002) on LP and digital formats for the first time ever, along with a CD re-press. The reissue, which will be out digitally on August 18, 2023 and physically on September 18, 2023 was restored from the original TD master. 

The re-issue of Heavy Rocks (2002) will also coincide with a recently announced Stateside tour with Melvins this summer aand fall. The bands have circled each other with reverence for many years; they first played a show together in 1999 during Melvins’ first time in Japan, and ever since they have deepened their friendship and enjoyed opportunities to play together whenever possible. 

For their first tour together, both bands will be playing a full set of material from their classic and beloved albums: Melvins will be playing material from 1991’s Bullhead and Boris will be playing material from Heavy Rocks 2022. 

 “Could anyone have predicted such an astonishing event, that Boris and Melvins would tour the entire USA together? Since the mid-1980’s, Melvins have had an enormous influence on artists of all genres not only limited to heavy music, and have brought forth a surge of faithful followers over the years,” Boris’ Takeshi says. “Needless to say, Boris is just one of these many bands influenced by the mighty Melvins, and we took our name from a song title off of the 1991 album, Bullhead.”

“40 years as the Melvins!!! What better way to celebrate that unlikely milestone than by setting off on the ‘Twins of Evil Tour’ with our friends Boris!!” Melvins’ Buzz Osbourne adds. “This will be a stone groove!” And as always, tour dates are below.

You can pre-order Heavy Rocks (2002) here. You can also check out a new line of Heavy Rocks merch here.

Last month, the acclaimed Japanese heavy outfit and Third Man Records shared the album’s opening track “Heavy Friends,” a sludgy and stormy dirge built around the sort of guitar solo work that would make Melvins and Soungarden very proud. The re-issue’s latest single “1970” is built around enormous power chords and a bluesy, glam metal-like groove paired with thunderous drumming and the acclaimed Japanese outfit’s unerring knack for a towering, arena rock sound. But unlike most of their other sounds, “1970” is playfully anachronistic with the song nodding at Metallica’s “Am I Evil.”

Play loudly and headbang, y’all.

Single Review by William Ruben Helms

New Audio: BORIS Set to Reissue 2002’s Classic Heavy Rocks, Share Sludgy “Heavy Friends”

Formed back in 1992, Japanese, experimental heavy rock outfit Boris ((ボリス, Borisu) — currently core members Takeshi (vocals, bass, guitar), Wata (vocals, guitar, keys, accordion and echo) Atsuo (vocals, drums, percussion and electronics) with Mucho (drums) — settled on their current lineup in 1996. Since then, the members of Boris have tirelessly explored their own genre-defying take on heavy music.

The acclaimed Japanese heavy rock outfit released their landmark album Heavy Rocks back in 2002. Its original release only circulated domestically in Japan, leaving listeners globally eager for physical copies. As record pressings were in production, a fire broke out at the plant and the stamper was lost, rendering the album out-of-print for many years — and it quickly became a cult classic.

21 years after its original release, Third Man Records and Boris will be re-issuing Heavy Rocks (2002) on LP and digital formats for the first time ever, along with a CD re-press. The reissue, which will be out digitally on August 18, 2023 and physically on September 18, 2023 was restored from the original TD master.

The re-issue of Heavy Rocks (2002) will also coincide with a recently announced Stateside tour with Melvins this summer aand fall. The bands have circled each other with reverence for many years; they first played a show together in 1999 during Melvins’ first time in Japan, and ever since they have deepened their friendship and enjoyed opportunities to play together whenever possible.

For their first tour together, both bands will be playing a full set of material from their classic and beloved albums: Melvins will be playing material from 1991’s Bullhead and Boris will be playing material from Heavy Rocks 2022.

 “Could anyone have predicted such an astonishing event, that Boris and Melvins would tour the entire USA together? Since the mid-1980’s, Melvins have had an enormous influence on artists of all genres not only limited to heavy music, and have brought forth a surge of faithful followers over the years,” Boris’ Takeshi says. “Needless to say, Boris is just one of these many bands influenced by the mighty Melvins, and we took our name from a song title off of the 1991 album, Bullhead.”

“40 years as the Melvins!!! What better way to celebrate that unlikely milestone than by setting off on the ‘Twins of Evil Tour’ with our friends Boris!!” Melvins’ Buzz Osbourne adds. “This will be a stone groove!”

Tickets for the Boris + Melvins Twins of Evil Tour will go on sale Friday, June 9, 2023 at 10:00am. Tour dates are below.

You can pre-order Heavy Rocks (2002) here. You can also check out a new line of Heavy Rocks merch here.

In the meantime Boris and Third Man Records share the re-issue’s album opening track “Heavy Friends,” a sludgy and stormy dirge, featuring some blazing guitar soloing that would make both Melvins and Soungarden very proud.

Single Review by William Ruben Helms

New Audio: Two Rippers from Rising London Outfit Island of Love

Rising London-based outfit Island of Love — Karim Newble (guitar/vocals), Linus Munch (guitars/vocals) and Daniel Giraldo (bass) — can trace their origins to meeting through London’s hardcore punk scene, while playing in other hands, including Newbie’s Powerplant. They’ve all shared bills with bands like Chubby and the Gang and High Vis. And with their various previous projects, the London-based trio proudly adhered to a DIY ethos: they booked their own shows, printed their own merch, designed their own very distinct artwork, and self-released material recorded at Fuzzbrain, an East London studio dedicated to fostering the underground music community by making high-quality studio and rehearsal space accessible to artists under 25 years-old at all price points.

The trio released their debut collection of demos, 2020’s Promo Tape. By the time they had written and recorded last year’s Songs of Love EP, the London-based outfit had gotten much tighter. “Promo Tape was us trying to learn to write songs individually but Songs of Love was us trying to learn to write songs as a band,” Island of Love’s Karim Newbie says.

Back in September 2021, Island of Love were invited to perform at the opening of Third Man Records’ The Blue Basement. It’s a good thing that the band showed up to the gig at all, given that they didn’t even think the email invitation they received to play was real. The very real and definitely not spam offer led to their on-the-spot signing to the label, opening slots for Jack White — and their self-titled full-length debut.

Slated for a May 12, 2023 release, the London trio’s Ben Spence-produced, self-titled full-length debut reportedly sees the band crafting material that pinballs back and forth between tones and styles while rooted in crunchy guitars and the intrinsically melodic sensibility that brings Hüsker Dü and Dinosaur Jr. to mind while featuring the shared vocal and songwriting duties of Newbie and Munch. At the core of the material is a great deal of restraint and consideration, the sort that belies their relative youth as musicians — and as a band. While the material is loud and noisy, but it built around push-pull dynamics that results in moments of tenderness and quiet that then elevates the crunch and power of the rousingly anthemic, noisier parts. The album shows the balance of it being written in bedrooms but being honed in live shows,” says Munch. “It captures a contrast.”

Sonically and even thematically. the album explores duality, balance and contrast. Sure there’s crunchy power chords exploding out of the gate and into your eardrums one moment, but there’s also melodic, sugary pop hooks paired with introspective, considered songwriting. “This album exceeded our expectations,” says Newble. “I’m really proud of it.” What we’ve done on this album is much more of an accurate representation of us and where we’re at,” Island of Love’s Daniel Giraldo adds. “The EP sounds good but the difference on the album is huge.”

When the band set about making the album, they wanted to carry over as much of that DIY spirit as possible. They continued their relationship with Ben Spence and Fuzzbrain, who helped the band record their early demos. For the band, Spence, Fuzzbrain and the community both have fostered have proven invaluable to the band. “Growing up I couldn’t afford equipment,” Newble says. “But Fuzzbrain was this space where you could go to practice and use insane equipment. We never had to bring guitars, pedals or leads. You could just show up and plug in. We would have struggled to be a band without that place.” According to Giraldo , ““It’s very much [Spence’s] record as much as it is ours.”

The London trio recently shared the first taste of the album with the double A-side single “Grow”/”Blues 2000.” “Grow” is a 120 Minutes-era MTV-like bit of alt rock centered around crunchy power chords, thunderous drumming and the sort of enormous, melodic-driven hooks that immediately brings Dinosaur Jr. and others to mind. “Grow”is the first song the trio ever wrote together, and has been pulled and reimagined from their demo release, Promo Tape. “Blues 2000” continues the 90s alt rock vibes but is rooted in dueling guitar riffage and thunderous drumming.

Both songs are fan favorite staples of their live show and are always played back-to-back.

Single Review by William Ruben Helms

New Audio: ADULT. Return with Techno-influenced Banger “I Am Nothing”

Throughout their 25 year history, acclaimed Detroit-based multimedia and electronic music production and artist duo ADULT. — the husband and wife team of Adam Lee Miller and Nicola Kuperus — have a sprawling catalog of material released through  Mute Records, Ghostly International, Thrill Jockey, Third Man Records and a list of other labels that has seen the duo obscure and blur lines between genres and styles in a cohesive fashion within the album format. 

“but for this we wanted something that’s falling apart.” Becoming Undone, ADULT.’s ninth album reportedly sees the duo explicitly aiming for that goal, while simultaneously rejecting and reflecting the planetary discord that inspired and informed it. Written between November 2020 and April 2021, Miller and Kuperus kickstarted the creative process through additions to the rig: a vocal loop pedal for Kuperus and Roland percussion pads for Miller. They also reconnected with some of their earliest influences including Test Department and Throbbing Gristle’s 20 Jazz Funk Greats, which helped spark a series of fruitful and frenetic sessions, centered on themes of impermanence and dissonance. “We weren’t interested in melody or harmony since we didn’t see the world having that,” ADULT.’s Miller bluntly reasons. 

While there are still plenty of the dance floor bangers the duo is known for, Becoming Undone is also informed by deep, personal loss: Kuperus’ father died during the height of the pandemic, just before the duo were about to start working on the album. As his hospice caretakers, she and Miller faced the banality of finality, surrounded by objects drained of meaning — “the joy of having a body, but also the drudgery of having one,” they say. 

The end result is an album that crackles with revulsion and dissent, and it seemingly equal parts exorcism and denunciation, centered around a breadth of vocal effects: Kuperus at times sounds alternately indignant and possessed, decrying the crimes, fears, and failings of a deluded, broken world. “Humans have always been pretty terrible,” Kuperus explains. “But every year the compromises of culture just accelerate.”

Late last year, I wrote about Becoming Undone single “Fools (We Are . . .)“, a glitchy and uneasy banger centered around stuttering beats, dense layers of arpeggiated synths paired with an unhinged and desperate vocal performance by Kuperus, who sings lyrics describing the sensation of being hopelessly stuck in a seemingly endless and foolish loop of the same ol’ banal, things while everything else around them collapses.

“I Am Nothing,” Becoming Undone‘s second and latest single is an abrasive yet accessible industrial techno banger, centered around arpeggiated synths, tweeter and woofer rattling thump, metallic clang and clatter paired with Kuperus’ desperate howls inspired by Detroit techno between 1992-1995, Suicide‘s Alan Vega, Swans‘ Micheal Gira and Malaria!‘s Gudrun Gut.

“The meaning of ‘nothing’ in the context of this song is not in regards to worthlessness, but of being lodged into something we can not understand and yet somehow accept it / or not accept it,” the acclaimed Detroit-based duo explain. “We are collectively living in liminality. And personally, we are more content currently to be in a state of nothingness.”

Single Review by William Ruben Helms

There’s an apocryphal tale of the The Stooges’ final show at the Goose Lake Festival that’s been told countless times in the 50 years since it happened: Dave  Alexander (bass), due to nerves or overindulgence in drugs or who knows, spaces out in front of 20,000 concertgoers. He doesn’t play a single note. Iggy Pop fires Alexander immediately after the show, and this particular moment, purportedly began the end of the legendary band. Although fans and critics have referenced the Goose Lake Festival set, there was no evidence of what actually happened — that is until recently, when a 1/4″ stereo two-track tape of the Goose Lake Festival set was found buried in the basement of  Michigan farmhouse among other analog artifacts of the era.
Recorded directly from the soundboard, the August 8, 1970 show is the only known soundboard recording of the band’s legendary founding lineup — and it was recorded just before the official release of their beloved 1970 album Fun House.  Restored by Vance Powell and mastered by Bill Skibbe, Third Man Records will be releasing this previously unheard and unreleased live recording on August 7, 2020 — almost 50 years to the day. The live album is revelatory because it sets the record straight on some things, essentially rewriting some of the band’s history: Alexander actually played his instrument throughout, and it captures the band, just before the release of Fun House.
Earlier this year, I wrote about the album’s furious and sweaty live version of “T.V. Eye,” and continuing on that same theme, the album’s second and latest single is an explosive and unhinged rendition of album title track “Fun House.” Play it loud, y’all.
Single Review by William Ruben Helms

There’s an apocryphal tale of the The Stooges final show at the Goose Lake Festival that’s been told countless times in the 50 years since it happened: Dave  Alexander (bass), due to nerves or overindulgence in drugs or who knows, spaces out in front of 20,000 concertgoers. He doesn’t play a single note. Iggy Pop fires Alexander immediately after the show, and this particular moment, purportedly began the end of the legendary band. Although fans and critics have referenced the Goose Lake Festival set, there was no evidence of what actually happened — that is until recently, when a 1/4″ stereo two-track tape of the Goose Lake Festival set was found buried in the basement of  Michigan farmhouse among other analog artifacts of the era.
Recorded directly from the soundboard, the August 8, 1970 show is the only known soundboard recording of the band’s legendary founding lineup — and it was recorded just before the official release of their beloved 1970 album Fun House.  Restored by Vance Powell and mastered by Bill Skibbe, Third Man Records will be releasing this previously unheard and unreleased live recording on August 7, 2020 — almost 50 years to the day. The live album is revelatory because it sets the record straight on some things, essentially rewriting some of the band’s history: Alexander actually played his instrument throughout, and it captures the band, just before the release of Fun House. The live album’s first single is a sweaty and furious version of “T.V. Eye.”
Single Review by William Ruben Helms

With the release of their debut seven inch through Third Man Records, the Los Angeles-based indie supergroup Oozelles (pronounced oo-ZELZ) — Dante White Aliano (vocals, guitar), David Orlando (drums), Jada Wagensomer (bass), Samuel Banuelos (guitar, keys, percussion), Gregory Marino (sax, flute, electronic wind instrument) and Philip Minning — exploded into the local and national scenes, receiving attention for a sound that the band describes as “a stickier sub-tropical Birthday Party, Contortions or CAN ghost writing for The Gun Club or The Flesh Eaters.”

Thematically, the band which features former and current members of Warpaint, Starlite Desperation, Dante vs. Zombies, Sex Stains, Detroit Cobras and others, focuses on the dark and murky — and touches upon or makes references to human trafficking, secret doors at weddings, war criminals in mental hospitals, hippie arson, premature burial, vampire sugar parents, pathetic, blood soaked manifestos and pit-bulls attacking pizza deliver drivers.

Building upon a growing profile, the rising Los Angeles-based act’s Dante White Aliano-produced, self-titled debut is slated for a May 1, 2020 release through ORG Music. The album’s first single is the Phosphene Dream-era Black Angels-like “Refill The Swamp.” Centered around propulsive, tribal-like drumming, reverb-drenched guitars, shimmering organ arpeggios, Aliano’s expressive howls and an enormous hook, the song manages to be evoke a creeping and shadowy late night dread — but with the sort of campiness that reminds me of Roger Corman‘s adaptations of Edgar Allan Poe starring Vincent Price and Troma Films.

 

 

 

 

 

 

 

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Video by William Ruben Helms

New Video: Watch Detroit’s ADULT. Smash a Room in Frustration in New Visual for Tense and Claustrophobic “Total Total Damage”

Detroit-based multimedia and electronic music production and artist duo ADULT. — the husband and wife team of Adam Lee Miller and Nicola Kuperus — have developed a sprawling catalog of material that obscures and blurs defined genres and styles, while drawing from industrial electronic, house music, punk rock and visual art with releases through Mute Records, Ghostly International, Thrill Jockey, Third Man Records and a list of other labels throughout their two plus decades together. 

Slated for an April 10, 2020 release through Dais Records, the acclaimed Detroit-based electronic duo’s forthcoming album Perception is/as/of Deception was conceived, written and recorded in a temporary black hole they created: the duo painted their windowless basement entirely black, with the sole intention of sensory deprivation so that they could question their perceptions and witness the resulting ramifications. And as result, the album’s material may be the most introspective and punk-leaning they’ve written to date: the frustration and apprehension that has long been at the center of their work are heightened — but interestingly enough, the material was written with a much more head-on approach, making it forceful and strident.

Last month, I wrote about Perception is/as/of Deception‘s second single, the club banging “Have I Stated at the End.” Centered around a classic electronic body music production featuring industrial clang and clatter, tweeter and woofer rocking beats, shimmering synth arpeggios, an enormous hook and a repetitive mantra that questions the fragility and temporality of life “Total Total Damage,” the album’s third and latest single is a tense and claustrophobia-inducing track centered around industrial clang and clatter, layers of synth arpeggios and Kuperus’ howled vocals. Thematically, the song is a dystopian anthem that focuses on the slow and painful collapse of our society and systems and the growing uncertainty and uneasiness we all feel but while expressing the desperate cabin fever. 

While in social isolation, the members of ADULT. decided to build a room-like set indie their house for the Miller and Kuperus-filmed and edited visual for “Total Total Damage,” which features the duo losing their minds and destroying their room with a sledgehammer.  “We’re hoping that the video speaks to a lot of people, because everyone’s feeling cabin fever and wanting to get out, get back to ‘normal’ life,” the Detroit-based duo say in press notes. 

Single Review by William Ruben Helms

New Audio: Acclaimed Detroit Duo Adult. Releases an Anxious and Uneasy Club Banger

Over the course of their 23 year history together, Detroit-based multimedia and electronic music production and artist duo ADULT. — the husband and wife team of Adam Lee Miller and Nicola Kuperus — have developed a sprawling catalog of material that obscures and blurs defined genres and styles, while drawing from industrial electronic, house music, punk rock and visual art with releases through Mute Records, Ghostly International, Thrill Jockey, Third Man Records and a list of other labels. 

Slated for an April 10, 2020 release through Dais Records, the acclaimed Detroit-based electronic duo’s forthcoming album Perception is/as/of Deception was conceived, written and recorded in a temporary black hole they created: the duo painted their windowless basement entirely black, with the sole intention of sensory deprivation so that they could question their perceptions and witness the resulting ramifications. And as result, the album’s material may be the most introspective and punk-leaning they’ve written to date: the frustration and apprehension that has long been at the center of their work are heightened — but interestingly enough, the material was written with a much more head-on approach, making it forceful and strident. 

“Have I Started at the End,” Perception is/as/of Deception’s second and latest single is a club banger, centered around a classic electronic body music production featuring industrial clang and clatter, tweeter and woofer rocking beats, layers of shimmering synth arpeggios, an enormous hook and a repetitive mantra that questions the fragility and temporality  of life while expressing frustration and unease. Unsurprisingly, the song evokes the unease and uncertainty of our time. 

Single Review by William Ruben Helms

 

Currently featuring founding members Cynthia Sley (vocals), Pat Place (guitar) and Dee Pop (drums) along with newest recruit Val Opielski, the New York-based act Bush Tetras can trace their origins back to when Sley, Place, Pop and Laura Kennedy (bass) formed the band back in 1979.  Interestingly, their full-length debut Too Many Creeps was considered one of their scene’s defining moments as it accurately captured the vibe, feel and ethos of that scene’s particular moment.

Building upon a growing profile, the members of Bush Tetras were an opening act during The Clash’s legendary, spring 1981 17 show run at Bond International Casino. After the release of their Topper Headon-produced Rituals EP, which featured the chart-placing “Can’t Be Funky,” Laura Kennedy and Dee Pop left the band and were replaced by Bob Albertson (bass) and Don Christensen (drums); however, the band broke up.

For the better part of the next three decades, the members of the band were fairly elusive, although interestingly enough, the band’s original lineup reunited on a couple of occasions — in 1995, which resulted in 1997’s Beauty Lies and recording sessions the following year, which resulted in a Don Fleming-produced album that was shelved when Mercury Records was sold. That album was finally released in 2012.

In 2005, Julia Murphy replaced Kennedy and they resumed playing and touring across New York. The band toured across Europe the following year. Sadly, Laura Kennedy died in 2011 after a long battle with liver disease. In 2013, Cindy Rickmond, a former member of Cheap Perfume, Grayson Hugh, Church of Betty and Unknown Gender briefly replaced Murphy. And in 2016, Val Opielski, a former member of Krakatoa, Walking Hellos, PSXO and 1000 Yard Stare joined the band.

Last year saw the release of Take The Fall EP through Wharf Cat Records, the first batch of new music from the band in over 10 years. Over the winter, Third Man Records cleared their Cass Corridor showroom floor, invited the band down to Detroit — and enlisted the help of Third Man Mastering’s Bill Skibbe and Warren Defever to record their recently released “There is a Hum”/”Seven Years” 7 inch. A side single “There is a Hum” is a slashing bit of post punk, reminiscent of Entertainment-era Gang of Four and Sonic Youth — but seething with a neurotic anxiousness. B side single “Seven Years” manages to be a mischievously anachronistic track that sounds as though it could have been released at any point within the past 30 years. The glitchy and spastic track features some blistering and energetic guitar work centered around cowbell-led percussion and a sinuous bass line. Both tracks find the legendary post punk/No Wave act boldly reminding the listener that although it’s been a while, they play with a fury, passion and purpose that many younger acts lack.

 

 

 

 

 

 

Video by William Ruben Helms

Live Footage: The Raconteurs Perform “Help Me Stranger” on “Late Show with Stephen Colbert”

Comprised of founding duo Jack White (vocals, guitar) and Brendan Benson (vocals, guitar) along with Jack Lawerence (bass) and Patrick Keeler (drums), the Nashville, TN-based supergroup The Raconteurs can trace their origins to when White and Benson, who have been longtime friends were hanging out together and wrote “Steady, As She Goes,” and after they wrote it, it inspired them to start the band, with the band’s founding members recruiting Lawrence and Keeler, who were once members of The Greenhornes to complete the band’s lineup. The band came together in Detroit during 2005 and wrote and recorded material when time allowed.  White and Lawrence went on to form The Dead Weather with The Kills Alison Mosshart.

The Raconteurs long-awaited third, full-length album HELP US STRANGER was released last month through Third Man Records — and the album, which also marks the first batch of new material from the band in a decade, finds the band further pushing their sound in new directions, meshing enormous power chord-based riffs with blues, psych rock, Detroit funk and Nashville soul. Now, as you may recall, album single “Bored and Razed” was a sleazy power chord-based 12 bar blues with an anthemic hook, delivered with a swaggering AC/DC-like air. “Help Me Stranger” finds the band playing a swaggering and dusty old-school blues filtered through modern rock, complete with anthemic hook.  While in town for a nubmer of promotional activities for the new album, the band had a two-night run on Late Show with Stephen Colbert.

Video by William Ruben Helms

Live Footage: The Raconteurs Perform “Bored and Razed” on “Late Show with Stephen Colbert”

Comprised of founding duo Jack White (vocals, guitar) and Brendan Benson (vocals, guitar) along with Jack Lawerence (bass) and Patrick Keeler (drums), the Nashville, TN-based supergroup The Raconteurs can trace their origins to when White and Benson, who have been longtime friends were hanging out together and wrote “Steady, As She Goes,” and after they wrote it, it inspired them to start the band, with the band’s founding members recruiting Lawrence and Keeler, who were once members of The Greenhornes to complete the band’s lineup. The band came together in Detroit during 2005 and wrote and recorded material when time allowed.  White and Lawrence went on to form The Dead Weather with The KillsAlison Mosshart. 

HELP US STRANGER, The Raconteurs long-awaited, third full-length album officially dropped yesterday through Third Man Records — and the album, which also marks the first batch of new material from the band in a decade, finds the band further pushing their sound in new directions, meshing enormous power chord-based riffs with blues, psych rock, Detroit funk and Nashville soul. HELP US STRANGER‘s latest single “Bored and Razed” finds the members of The Raconteurs playing sleazy power chord rock, centered around a boozy, 12 bar blues arrangement, a rousingly anthemic hook, delivered with a swaggering AC/DC-like air.

The members of the Raconteurs have been busy doing promotional activities for their new album that included a two-night run on Late Show with Stephen Colbert in which they performed “Help Me Stranger” and “Bored and Razed” and in-store appearance and performance at Rough Trade. Check out the live performance of one my favorite songs off the album “Bored and Razed,” which they played last night. 

Single Review by William Ruben Helms

Comprised of found duo Jack White (vocals, guitar) and Brendan Benson (vocals, guitar) along with Jack Lawerence (bass) and Patrick Keeler (drums), the Nashville, TN-based supergroup The Raconteurs can trace their origins to when White and Benson, who have been longtime friends were hanging out together and wrote “Steady, As She Goes,” and after they wrote it, it inspired them to start the band, with the band’s founding members recruiting Lawrence and Keeler, who were once members of The Greenhornes to complete the band’s lineup. The band came together in Detroit during 2005 and wrote and recorded material when time allowed.  White and Lawrence went on to form The Dead Weather with The Kills Alison Mosshart. 

HELP US STRANGER, The Raconteurs long-awaited, third full-length album is slated for a June 21, 2019 release through Third Man Records — and the album, which also marks the first batch of new material from the band in a decade, finds the band further pushing their sound in new directions, meshing enormous power chord-based riffs with blues, psych rock, Detroit funk and Nashville soul. HELP US STRANGER‘s latest single “Bored and Razed” finds the members of The Raconteurs playing sleazy power chord rock, centered around a boozy, 12 bar blues arrangement, a rousingly anthemic hook, delivered with a swaggering AC/DC-like air.

White, Benson, Lawerence and Keeler will be embarking on a lengthy North American tour, which will include a three nights stop in New York — September 5, 2019-September 6, 2019 at Hammerstein Ballroom and September 7, 2019 at Kings Theatre. The September 6, 2019 show at Hammerstein Ballroom and the September 7, 2019 show at Kings Theatre are sold out. Every online ticket purchased for the upcoming North American headlining shows will include a physical copy the album on CD — except for the Aspen, CO shows. Fans will also have the option to upgrade their CD to the standard, black vinyl LP. Check out the tour dates below.

Tour Dates
July 4: Belly Up Tavern – Aspen, CO
July 5: Belly Up Tavern – Aspen, CO
July 12: Masonic Temple Theatre – Detroit, MI (SOLD OUT) @
July 13: Masonic Temple Theatre – Detroit, MI $
July 14: Eagles Ballroom – Milwaukee, WI #
July 15: Armory – Minneapolis, MN #
July 18: WaMu Theater at CenturyLink Field Events Center – Seattle, WA #
July 19: Queen Elizabeth Theatre – Vancouver, BC (SOLD OUT) #
July 20: Queen Elizabeth Theatre – Vancouver, BC #
July 21: Edgefield – Troutdale, OR (SOLD OUT) #
July 23: Fox Theater – Oakland, CA (SOLD OUT) #
July 24: Fox Theater – Oakland, CA
July 26: Greek Theatre – Los Angeles, CA #
July 27: Santa Barbara Bowl – Santa Barbara, CA
July 28: Cal Coast Credit Union Open Air Theatre – San Diego, CA
August 10: Railbird Festival – Lexington, KY *
August 11: Knoxville Civic Auditorium – Knoxville, TN
August 12: Egyptian Room at Old National Centre – Indianapolis, IN (SOLD OUT)
August 13: Stage AE (Indoors) – Pittsburgh, PA
August 15: Agora Theatre – Cleveland, OH (SOLD OUT)
August 17: The Anthem – Washington, DC
August 18: The Fillmore Charlotte – Charlotte, NC (SOLD OUT)
August 20: Township Auditorium – Columbia, SC
August 21: Tabernacle – Atlanta, GA
August 22: Tabernacle – Atlanta, GA
August 29: Ryman Auditorium – Nashville, TN (SOLD OUT) %
August 30: Ryman Auditorium – Nashville, TN (SOLD OUT) %
August 31: Ryman Auditorium – Nashville, TN (SOLD OUT) %
September 3: Red Hat Amphitheater – Raleigh, NC %
September 5: Hammerstein Ballroom – New York, NY %
September 6: Hammerstein Ballroom – New York, NY (SOLD OUT) %
September 7: Kings Theatre – Brooklyn, NY (SOLD OUT) %
September 9: House of Blues – Boston, MA (SOLD OUT) %
September 10: House of Blues – Boston, MA %
September 12: Sony Centre for the Performing Arts – Toronto, ON (SOLD OUT) %
September 13: Express Live! Indoor Pavilion – Columbus, OH %
September 13-15: Riot Fest – Chicago, IL *
October 4-6: Austin City Limits Music Festival – Austin, TX *
October 9: Denver, CO – The Mission Ballroom (SOLD OUT)
October 11-13: Austin City Limits Music Festival – Austin, TX *
October 12: The Criterion – Oklahoma City, OK ^
October 13: Cain’s Ballroom – Tulsa, OK (SOLD OUT) ^
October 14: Cain’s Ballroom – Tulsa, OK (SOLD OUT) ^
October 16: Cain’s Ballroom – Tulsa, OK ^
October 17: Arvest Bank Theatre at The Midland – Kansas City, MO (SOLD OUT) ^
October 18: The Pageant – St. Louis, MO (SOLD OUT) ^
November 13: Teatro Colisea – Santiago, Chile
November 15: Popload Festival – São Paulo, Brazil *
November 16-17: Corona Capital – Mexico City, Mexico *
@ WITH THE PURE HEART TRAVELERS & NIKKI D AND SISTERS OF THUNDER
$ WITH THE HENTCHMEN & THE STOOLS
# WITH LILLIE MAE
% WITH OLIVIA JEAN
^ WITH THE CASUALITIES OF JAZZ
* FESTIVAL PERFORMANCE

 

Single Review by William Ruben Helms

Renowned, iconoclastic and deeply influential filmmaker Jim Jarmusch is best known for his independent films 1984’s Stranger Than Paradise, 1986’s Down by Law, 1989’s Mystery Train, 1995’s Dead Man, 1999’s Ghost Dog: The Way of the Samurai, 2003’s Coffee and Cigarettes, which featured cameos from Bill Murray, The RZA and The GZA and others, 2005’s Broken Flowers, 2013’s Only Lovers Left Alive and 2016’s critically applauded Patterson. And as a musician and composer, Jarmusch has composed music for several films and released two albums with Jozef van Wissem, a Dutch-born, Brooklyn-based minimalist composer and late player. But along with that Jarmusch is the leader of a locally-based stoner rock trio SQÜRL, which features his colleagues/collaborators and friends Carter Logan and sound engineer Shane Stoneback. Interestingly, the members of the trio can trace its origins back to 2009 when Jarmusch, Logan and Stoneback teamed up to write and record the original score for the film The Limits of Control. Echoing the varied Spanish landscapes captured within the film, the three wound up writing and recording a slow-burning set of psych rock, initially released under the band name Bad Rabbit. Following those session and a name change to SQÜRL, the trio wrote and recorded 3 EPS of originals that explored the boundaries of country, noise and psych rock.

In 2013, the members of SQÜRL collaborated with Dutch-born, Brooklyn-based minimalist composer and lutenist Jozef Van Wissem to compose, write and record the critically applauded score for Jarmusch’s Only Lovers Left Alive; in fact, the score earned that year’s Cannes Soundtrack Award from a consortium of film and music critics, and as a result the quartet performed the material off the film at a number of festivals including that year’s inaugural All Tomorrow’s Parties Iceland, Primavera Sound, Big Ears Festival, as well as a set at Jack White‘s Third Man Records, which was recorded and released as a live album.

 

Jarmusch and Logan followed their work on Only Lovers with performing improvised live scores of four silent films by American Dada and Surrealist artist and filmmaker Man Ray that employed the use of looping machines, synthesizers and pedal effected guitars — and the material drifted heavily towards experimental, ambient and drone-like soundscapes. The trio officially recovered to compose and record the ambient electronic music-based score for Patterson; however, with their forthcoming EP #260 slated for release through July 14th release, the trio reveal a return to form. And as you’ll hear on the EP’s first single “The Dark Rift,” the song features a droning and buzzing power chord-based riff paired with a simple yet propulsive rhythm section, which slowly twists, turns and morphs throughout the tracks four and a half minutes — and interestingly enough, the track manages to sound as though the band had been listening to the Melvins.