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Botch

We Are The Romans

    Legendary Tacoma, Washington mathcore/hardcore/metal band Botch’s second and final full-length album We Are the Romans was originally released in 1999, eventually becoming one of the most ground-breaking records during a pivotal shift in heavy music. Now, the band’s seminal album is set to be re-issued and will include Botch’s first new song in over 20 years, “One Twenty Two”. There was never any intention for the band to release anything else, but when guitarist David Knudson went to write his debut solo LP, it made sense. He explains: “During Covid, I was writing my debut solo LP, and mentally, I was sick of everything in quarantine. Lots of frustration had set in at home, and I figured the best way to deal with it was to write something heavy. I had no intention of writing anything for Botch, but when I was thinking of a singer to collaborate with, I thought, “Hey, I know the best hardcore singer ever to do it,” so I hit up Dave V. He was super excited and so it just kind of snowballed from there. There was never any intent or conversation about getting back together or writing. It just happened so naturally and was a great release for all of us to make it happen without any of the traditional pressure an “active” band faces.” Bassist Brian Cook, guitarist David Knudson, drummer Tim Latona, and vocalist Dave Verellen formed Botch in 1993, eventually becoming one of the most significant bands of their time. Their final show was June 15, 2002, the same day as the release of their final EP, An Anthology of Dead Ends. The members would go on to play in These Arms Are Snakes, Minus the Bear, and Russian Circles, among others, with acclaim for the band coming mostly post-breakup. We Are the Romans went on to become one of the most influential albums ever for the genre garnering posthumous acclaim across the board.

    TRACK LISTING

    To Our Friends In The Great White North
    Mondrian Was A Liar
    Transitions From Persona To Object
    Swimming The Channel Vs. Driving The Chunnel
    C. Thomas Howell As The 'soul Man’
    Saint Matthew Returns To The Womb
    Frequency Ass Bandit
    I Wanna Be A Sex Symbol On My Own Terms
    Man The Ramparts
    One Twenty Two

    Helms Alee

    Keep This Be The Way

      Keep This Be the Way is Helms Alee’s sixth full-length and first new album in over 3 years. Across the span of their first five studio albums, Seattle trio Helms Alee have consistently refined their signature sound—a blend of lilting siren songs, crushing thunder and sludge, and heady guitar pop filled with lush guitars and elaborate three-part vocal harmonies that reach widely across various subgenres of the heavy music world. On their latest album, Keep This Be the Way, the band expanded their palette by delving into the production possibilities afforded by recording the album themselves, creating their most dynamic and technicoloured work to date.

      Guitarist/vocalist Ben Verellen, bassist/vocalist Dana James, and drummer/vocalist Hozoji Matheson-Margullis found refuge during the pandemic in their music and bunkered down in a makeshift studio in Verellen’s amplifier shop, recording songs with the assistance of Ron Harrell as they were writing them, composing the material with the added benefit of hearing them come together from the engineer’s chair. Keep This Be the Way still very much sounds like a Helms Alee record, but it’s their first album that diverts from the faithful recreation of their live sound and delves into a vibrant tapestry of surreal sounds and invented spaces.

      This new approach is immediately evident on first single “See Sights Smell Smells,” where reverse cymbal crashes, fragmented piano, layered drums, woozy drones, saxophone freak-outs, and trippy vocal treatments transport the listener to an altered state of exhilarated anticipation. The pendulum swings towards more adventurous and exploratory sounds on songs like “Tripping Up the Stairs”, it’s nightmarish synth glides pitted against distorted barrages steeped in classic Helms Alee timbre. And therein lies the power of the Keep Us Be the Way: it reflects a period of change, ambiguity and perseverance through its fearless curiosity, cathartic rumble, and sublime beauty.

      TRACK LISTING

      1. See Sights Smell Smells
      2. Keep This Be The Way
      3. How Party Do You Hard?
      4. Tripping Up The Stairs
      5. Big Louise
      6. Do Not Expose To The Burning Sun
      7. The Middle Half 8. Mouth Thinker
      9. Three Cheeks To The Wind
      10. Guts For Brains 

      Emma Ruth Rundle

      EG2: Dowsing Voice

        Follows 2021’s critically lauded album Engine of Hell, which saw acclaim from Pitchfork, NPR, The Guardian, Stereogum, Consequence and more. Emma Ruth Rundle’s second installment in her Electric Guitar series, EG2: Dowsing Voice, is almost like the soundtrack to a film that hasn’t been made. The mostly instrumental record follows her on a trip to the Welsh coast and down a magical well into the waters of nature, myth and the Old Golds - by way of her improvised music. The 40 plus minute album was sewn together from recordings channeled during her month-long solo journey in the early days of 2020 and completed before 2021’s critically lauded album Engine of Hell was even written.

        Unlike Electric Guitar One, EG2: Dowsing Voice features vocal improvisation, unconventional singing and extended vocal techniques free from lyrics - like the throat singing on “In the Cave…” which is meant to be the voices of crones gathering in a rhythmic and physical ritual. Rundle was led to these voices by unseen forces along with the immense impact of the Welsh water: ocean, rivers springs and wells that gave the album its extended title Dowsing Voice. While there is some focus on vocal and story here, her textural and even bombastic guitar improvisations are featured throughout the album. For Rundle, the Electric Guitar series will always be about inspired, unplanned moments like this at its core.

        TRACK LISTING

        1. Intro To The Underpool: The Path, The Gate, The Field, The Well
        2. Keening Into FfynnonLlanllawer
        3. In The Cave Of The Cailleach's Death-Birth
        4. Gathering Around Pair Dadeni
        5. Brigid Wakes To Find Her Voice Anew. The Little Flowers And Birds Show Themselves
        6. Imbolc Dawn Atop Ynys Wydryn. Ice Melts As The First Resplendent Rays Of Spring Pour Over The Horizon.
        7. The Tempest On Trefasser
        8. Don Danann Dana Danu Ana
        9. Standing Stones Singing / Cellphone Towers Ringing Up ToThe Darkening Sky
        10. In Sadness For Our Dying World (here Come The Christians) 

        Russian Circles

        Gnosis

          Across the span of their previous seven studio albums, Chicago-based instrumental trio Russian Circles traversed a diverse topography of sounds, moods, and approaches with their limited armory of drums, bass, and guitar. It’s difficult to chart an evolution in their sound when their records have always felt like well-curated playlists. It wasn’t uncommon to hear drone-heavy meditations, dazzling prog exercises, knuckle-dragging riff-fests, haunting folk ballads, and tension-baiting noise rock all within the span of one album. Still, it’s difficult to ignore the progression from the pensive and intricate melodies of Enter (2006) to the layered distorted dirges of Blood Year (2019). It’s been a gradual sonic shift owing to the band’s rigorous tour schedule and a predilection towards playing their more authoritative material on stage. But with their latest album, Gnosis, Russian Circles eschew the varied terrain of their past work and bulldoze a path through the most tumultuous and harrowing territory of their sound.

          As was the case for so many artists in the age of COVID, the obstacles of geography and isolation forced Russian Circles to reevaluate their writing process. Rather than crafting songs out of fragmented ideas in the practice room, full songs were written and recorded independently before being shared with other members, so that their initial vision was retained. While these demos spanned the full breadth of the band’s varied styles, the more cinematic compositions were ultimately excised in favor of the physically cathartic pieces.

          Gnosis was engineered and mixed by Kurt Ballou. Drums and bass were tracked at Electrical Audio in Chicago to maximize the natural room sounds of the rhythm section. Guitar and synth overdubs were conducted at God City in Salem, MA to take advantage of Ballou’s vast inventory of amps and effects pedals. Despite the entirety of the album being written remotely, the songs were recorded with the full band playing together to retain the live feel of the material. Owing to the climate of the times and a new writing method, Russian Circles created their most fuming and focused work to date—an album that favors the exorcism of two years’ worth of tension over the melancholy and restraint that often colored their past endeavors.

          TRACK LISTING

          1. Tupilak
          2. Conduit
          3. Gnosis
          4. Vlastimil
          5. Ó Braonáin
          6. Betrayal
          7. Bloom

          The Armed

          Ultrapop: Live At The Masonic

            The Armed are set to release Ultrapop: Live at the Masonic Temple, an incredible live soundtrack from the band’s narrative-driven concert film of the same name. The album and film were captured in the opulent chapels, imposing asylum rooms, full-size indoor handball courts, halls (and more) of the mysterious Masonic Temple of Detroit; a 550,000 square foot fortress in the heart of the city. Ultrapop: Live at the Masonic features breathtaking, hyperactive performances of tracks off The Armed’s break-out album Ultrapop, selections from their second LP, Only Love, the Cyberpunk 2077 single “Night City Aliens” and culminates in the ultimate catharsis with the entire collective converging for the devastating closer ”On Jupiter.”

            The Armed’s latest album Ultrapop, released in April of 2021, received acclaim across the board, gaining the highly coveted Pitchfork Best New Music and praise from The New Yorker Magazine, Vulture, Stereogum, Revolver. AV Club, Fader, Bandcamp, Entertainment Weekly, Interview Magazine, and so much more. Reaching the same extremities of sonic expression as the furthest depths of metal, noise, and otherwise "heavy" counterculture music subgenres, it finds its foundation firmly in pop music and pop culture. A joyous, genderless, post-nihilist, anti-punk, razor-focused take on creating the most intense listening experience possible, and now with Ultrapop: Live At The Masonic, the most intense live experience possible.

            TRACK LISTING

            Off Jupiter (dan Greene's Theme)
            Ultrapop
            Twiin Ascension
            All Futures
            Masunaga Vapors
            An Iteration
            Average Death
            Mother (gold Jade's Dream)
            Night City Aliens
            Fortune’s Daughter
            Where Man Knows Want
            At The Moment Of Being Heard
            On Jupiter

            Russian Circles

            Memorial

              Perhaps the most immediately apparent characteristic of the fifth Russian Circles album, Memorial is its wide range of emotion. Vacillating from somber-yet-soaring melodies on one track to pummeling metal heft on the next, Memorial sounds like an album with split personalities. "We've always tried to balance our metal-influenced sounds with more nuanced, pretty, orchestral elements," Cook says. "But this time, it's far more polarized in that the heavy parts are much more blown out and exaggerated while the pretty moments are far more restrained, delicate, and atmospheric." In the two years since Russian Circles released their landmark fourth album Empros, the Chicago trio toured worldwide nearly incessantly, encountering many heavy acts whose music seemed needlessly complicated. "We set out to make a straightforward, intense, heavy record," Cook explains. "We subconsciously gravitated toward darker and more somber sounds. We wanted to get away from the overtly flashy." In search of such a streamlined sound, the trio focused on each individual song having its own emotional and musical characteristics. As such, Memorial almost feels like stages of grief. That notion might be aided by 1) the album's clever structuring, in which it ends in the same place as it starts, and 2) special guest vocalist Chelsea Wolfe lending her hauntingly somber vocals to the album closing title track. To a degree, the monolithic, juxtaposed moods on Memorial is the band's reaction to the proliferation of iPod culture affecting how bands write music. Today, most musicians are trying to mash together disparate elements with results sounding as unpalatable as cooking a meal blindfolded. Russian Circles wisely and deftly sidestep the trappings of genre amalgamation. "I want to hear a band with a broad palette," Cook says. "But it should find that weird balance with breadth and width. We wanted to make a record with more extreme peaks and valleys. I'm hoping that we can get away with making a schizophrenic record."

              TRACK LISTING

              1. Memoriam
              2. Deficit
              3. 1777
              4. Cheyenne
              5. Burial
              6. Ethel
              7. Lebaron
              8. Memorial (Featuring Chelsea Wolfe)

              Chelsea Wolfe

              Apokalypsis - 2022 Reissue

                Chelsea Wolfe's sound is best described with broad strokes: elemental, intense, radiant, ancient yet modern, intimate yet expansive, dark and sparkling. Hues of black metal and deep blues inform her ever-evolving electric folk—a warm force that wraps itself around the listener, encouraging uplift, seeking triumph. Her voice similarly haunts and soothes, with words that illuminate life's darker corners in order to reveal the unlikely truth and beauty hidden within. Originally hailing from Northern California, Wolfe's formative years were spent tinkering in her country musician father's home studio, however, she long lacked the confidence to share her work. Then, in 2009, an overseas excursion as part of a nomadic performance troupe ignited her passion for performing and initiated a renewed interest in writing and recording. After performing in cathedrals, basements and old nuclear plants to whoever would listen, she returned home with a new drive. She began toting around an 8-track and recording as the mood hit, eventually editing her findings into a breathtaking debut album, 2010's The Grime & the Glow. Marrying the gentle intimacy of folk, the atmospheric voodoo of death rock, and the bleak, sullen nihilism of black metal, Wolfe's sound effectively cast a genre all her own: a cavernous rumble, marked by stuttering drums, ethereal synths, and a wash of guitar, all very much in the service of one of the most hypnotic, celestial voices in modern music. Described as both healing and harrowing, enchanting and narcotic, the album established Wolfe as a force on the rise.

                Inspired, Wolfe then relocated to Los Angeles and recorded her second album, 2011's Apokalypsis, which found her in an actual studio with her live band. The songs captured therein maintained the strikingly visceral elements of her debut, further showcase Wolfe’s unique songwriting ability, while adding a serious heaviness of sound that balanced eloquently with her transcendent voice. Its release was subsequently met with critical adoration, and rightly landed on numerous best of 2011 lists.

                Emma Ruth Rundle

                Engine Of Hell

                  Emma Ruth Rundle’s Engine of Hell is stark, intimate, and unflinching. For anyone that’s endured trauma and grief, there’s a beautiful solace in hearing Rundle articulate and humanize that particular type of pain not only with her words, but with her particular mysterious language of melody and timbre. The album captures a moment where a masterful songwriter strips away all flourishes and embellishments in order to make every note and word hit with maximum impact, leaving little to hide behind. “I really wanted to capture imperfection and the vulnerability of my humanity,” Rundle says of the album’s sonic approach. “Here are some very personal songs; here are my memories; here is me teetering on the very edge of sanity dipping my toe into the outer reaches of space and I’m taking you with me and it’s very fucked up and imperfect.’”

                  Emma Ruth Rundle has always been a multifaceted musician, equally capable of dreamy abstraction (as heard on her album Electric Guitar: One), maximalist textural explorations (see her work in Marriages, Red Sparowes, Nocturnes or collaborations with Chelsea Wolfe and Thou), and the classic singer-songwriter tradition (exemplified by Some Heavy Ocean). But on Engine of Hell, Rundle has opted to forego the full-band arrangements of her previous albums in favor of the austerity of a lone piano or guitar and her voice, which creates a kind of intimacy, as if we’re sitting beside Rundle on a bench, or perhaps even playing the songs ourselves. It’s an extremely up-close and personal confessional with a focus on the rich subtleties and timbre of Rundle’s graceful performances.

                  “For me this album is the end of an era to the end of a decade of making records. Things DO have to change and have changed for me since I finished recording it.” In essence, Engine of Hell signifies a major turning point for Rundle as both an artist and as a person. The catharsis of this type of songwriting has effectively served its purpose, and to continue ruminating on the past going forward is less of a healing process and more like picking at a scab and refusing to let it heal. This may help explain why Rundle is less than enthusiastic about divulging the details about her muses, but it doesn’t alter the fact that these songs served a purpose in their creation, and that they may continue to bring comfort to others.

                  TRACK LISTING

                  1. Return
                  2. Blooms Of Oblivion
                  3. Body
                  4. The Company
                  5. Dancing Man
                  6. Razor's Edge
                  7. Citadel
                  8. In My Afterlife

                  Deafheaven

                  Infinite Granite

                    Over the course of their first ten years, Deafheaven’s music vacillated between tormented beauty and harmonic rage, a hybrid of black metal’s malice and shoegaze’s sublime wall-of-sound. On their fifth album, Infinite Granite, Deafheaven are no longer toying with the juxtaposition of pitting metallic abrasion against swirling grandeur. Quite the opposite: Infinite Granite is a bold and brave leap forward, a gorgeous and invigorating album brimming with style and splendor. In the context of their catalog, it takes on a whole other layer of defiant beauty.

                    Across Infinite Granite, vocalist George Clarke showcases a startling vocal range; falsettos, whispers, multi-part harmonies, and other adventurous vocal treatments, with his trademark black metal-inspired howls mostly absent. Guitarists Kerry McCoy and Shiv Mehra expand their sonic palette to include synth textures using them to enrich their astral guitar work rather than outright replace it. Drummer Daniel Tracy has always been a force to reckon with behind the kit, but where he used to floor audiences with his speed and stamina, he’s now free to broaden his approach and lay down authoritative drum patterns that together with bassist Christopher Johnson’s punchy bass lines anchor the band’s lofty arrangements.

                    The refinement of their sound was further encouraged by producer Justin Meldal-Johnsen (M83, Paramore, Wolf Alice, Metric), who lent a pop ear to the record. Jack Shirley, who helped produce every previous Deafheaven album, remained on board to engineer the album at his Atomic Garden East studio in Oakland, CA along with additional engineering and mixing from nine-time Grammy Award winner Darrell Thorp (Foo Fighters, Radiohead, Beck). Ultimately, Infinite Granite is Deafheaven’s most goosebump-inducing album to date.

                    TRACK LISTING

                    1. Shellstar
                    2. In Blur
                    3. Great Mass Of Color
                    4. Neptune Raining Diamonds
                    5. Lament For Wasps
                    6. Villain
                    7. The Gnashing
                    8. Other Language
                    9. Mombasa

                    Lingua Ignota

                    Sinner Get Ready

                      Kristen Hayter, the classically trained multi-instrumentalist, performance artist, and vocalist known as Lingua Ignota has announced her Sargent House debut, SINNER GET READY. A graduate of the School of the Art Institute of Chicago with an MFA in Literary Art from Brown University, much of Hayter’s work is centralized around abuse. A survivor of domestic abuse for much of her life, her music seeks to explore survivor hood of abuse through the vantage point of rage and despair in leu of common approaches she views as "enforced patriarchal models of civilized femininity". The follow up to her critically acclaimed break out CALIGULA, SINNER GET READY is an abrasive, unsettling portrait of devotion and betrayal, judgment and consequence, set in the derelict landscape of rural Pennsylvania, a neglected region deeply embedded with a particular god-fearing brand of Christianity, and where Hayter currently lives.

                      With SINNER GET READY, Hayter continues to build on the mythology she has created with CALIGULA and ALL BITCHES DIE but renegotiates and dismantles her own aesthetic language. She abandons any previous industrial grandeur and multi-genre approach, instead focusing on creating dissonance with traditional instruments of the Appalachian region, otherworldly vocals and congregational polyphony, subverting American primitive forms with avant-garde techniques and nods to modern composition. Lyrically, Hayter’s distinctive ability to weave the allegorical with personal trauma is further refined here, as intimate lamentations on abandonment and loneliness are carefully braided with references to Pennsylvanian Dutch lore, Mennonite treatises, calls to repent written on barns in Amish Country, and illuminated manuscripts from ascetic religious sects in Ephrata. SINNER GET READY was created with Hayter's primary collaborator, producer, and engineer Seth Manchester at Machines With Magnets in Rhode Island, with additional arrangements and performances from multi-instrumentalist and composer Ryan Seaton, and banjo-playing from J. Mamana. Otherwise, it is a solitary endeavor, where the listener is very much forced to contend with Hayter; raw, haggard, and alone.

                      TRACK LISTING

                      1. The Order Of Spiritual Virgins
                      2. I Who Bend The Tall Grasses
                      3. Many Hands
                      4. Pennsylvania Furnace
                      5. Repent Now Confess Now
                      6. The Sacred Linament Of Judgment
                      7. Perpetual Flame Of Centralia
                      8. Man Is Like A Spring Flower
                      9. The Solitary Brethren Of Ephrata

                      The Armed

                      ULTRAPOP

                        The Armed return with their first new album in over three years and Sargent House debut, ULTRAPOP. The album reaches the same extremities of sonic expression as the furthest depths of metal, noise, and otherwise "heavy" counterculture music subgenres but finds its foundation firmly in pop music and pop culture. As is always The Armed's mission, it seeks only to create the most intense experience possible, a magnification of all culture, beauty, and things. The band goes on to explain, "crafting vital art means presenting the audience with new and intriguing tensions sonically, visually, conceptually. Over time and through use, those tensions become less novel and effective and they become expectations. The concept of "subgenre" becomes almost the antithesis of vitality in art itself a fetishization of expectation. ULTRAPOP seeks, in earnest, to create a truly new listener experience. It is an open rebellion against the culture of expectation in "heavy" music. It is a joyous, genderless, post-nihilist, anti-punk, razor-focused take on creating the most intense listener experience possible. It's the harshest, most beautiful, most hideous thing we could make."

                        ULTRAPOP follows their recent contribution to the Cyberpunk 2077 soundtrack “Night City Aliens” and 2018’s critically acclaimed album Only Love, which landed on ‘Album of the Year’ lists from The Atlantic, Pitchfork, Rolling Stone, Vice, Stereogum, and many more. The album was co-produced by the band's own Dan Greene in collaboration with Ben Chisholm (Chelsea Wolfe) and features contributions from Mark Lanegan, Troy Van Leeuwen (Queens of the Stone Age, A Perfect Circle), Ben Koller (Converge, Killer Be Killed, Mutoid Man) and many more. Kurt Ballou (Converge, High on Fire, Russian Circles) remains at the helm as executive producer.

                        TRACK LISTING

                        1. Ultrapop
                        2. All Futures
                        3. Masunaga Vapors
                        4. A Life So Wonderful
                        5. An Iteration
                        6. Big Shell
                        7. Average Death
                        8. Faith In Medication
                        9. Where Man Knows Want
                        10. Real Folk Blues
                        11. Bad Selection
                        12. The Music Becomes A Skull

                        Deafheaven

                        10 Years Gone

                          It was recorded during COVID, so no live audience. For the past ten years, San Francisco rock / post-metal luminaries Deafheaven have built one of the most compelling discographies in metal, one that has challenged both the modus operandi and perceptions of the genre. Each critically acclaimed release widened the scope of their particular views of what rock and metal can be, capped by their most innovative album to date in 2018's Ordinary Corrupt Human Love. It all began though, with the 2010, four-song Demo released to Bandcamp by the bands founding members George Clarke and Kerry McCoy. Set to embark on a world tour earlier this year to celebrate their 10th anniversary as a band and the five albums released in that span, Deafheaven had to switch gears when COVID canceled all gatherings across the world, instead teaming with longtime producer Jack Shirley at Atomic Garden studios to bring the show they planned to perform in a studio sessions format. 10 Years Gone includes the first song they ever wrote in "Daedalus" from the first album Demo, which also serves as the first single released from this album, along with fan favorites like “Dream House” and “Vertigo” that have an added power in this setting. Deafheaven named ‘Artist of the Decade’ by Vice, along with albums featured in ‘Best of 2010s’ lists on Pitchfork, Rolling Stone, Metacritic, AV Club and many more. 

                          TRACK LISTING

                          1. From The Kettle Onto The Coil
                          2. Daedalus
                          3. Vertigo
                          4. Language Games
                          5. Glint
                          6. Baby Blue
                          7. The Pecan Tree
                          8. Dream House

                          Mrs. Piss

                          Self-Surgery

                            Mrs. Piss is a new collaboration between Chelsea Wolfe and Jess Gowrie . Drawing on their collective rock, metal, and industrial influences, the project began while the two were touring around together during Wolfe’s Hiss Spun album in 2017. The result is their debut album Self-Surgery, which was recorded at The Dock Studio in Sacramento, CA and in Wolfe’s home studio, The Canyon. These songs feel more urgent and visceral than anything either of them has created before: heaviness spurred on by punk spirit. Chelsea Wolfe (vocals, guitar) “Working on this project brought Jess and I so much closer as songwriters and production partners, after reuniting as friends and bandmates. It was freeing and fun to channel some wild energies that I don’t typically put into my own music.

                            We tried not to overthink the songs as we were writing them, but at the same time we did consciously put a lot into crafting them into our own weird sonic vision. This project was a chance for us to do things our own way, on our own terms, and we plan to invite more womxn musicians along for future Mrs. Piss recordings.” CW // Jess Gowrie (drums, guitar, bass, programming) “To me, Mrs. Piss represents a musical chemistry cut short long ago that now gets a second chance. Creating with Chelsea has always been very liberating for me, and we both push each other to try new things: anything and everything. Both of us have grown so much as writers and musicians since our first band together (Red Host), and with the journeys we had to take separately to get there, we both have so much more to say; so much more pain and anger to express. 

                            TRACK LISTING

                            1. To Crawl Inside
                            2. Downer Surrounded By Uppers
                            3. Knelt
                            4. Nobody Wants To Party With Us
                            5. M.B.O.T.W.O.
                            6. You Took Everything
                            7. Self-Surgery
                            8. Mrs. Piss

                            Jaye Jayle

                            Prisyn

                              Prisyn features guest appearance by Emma Ruth Rundle. Evan Patterson has always been a wanderer and an explorer. It’s evident in the constant evolution of his music since his earliest days as a guitarist in left-of-center bands, but it’s best exemplified by the constant creative shifts within the fever-dream blues of Jaye Jayle. On the newest Jaye Jayle album, “Prisyn” Patterson takes his boldest leap into unknown territories, capturing immediate moments in his ever-shifting surroundings with the most basic tool at his disposal: the GarageBand app on an iPhone. Instead of his usual backing band, he paired up with Ben Chisholm (White Horse, Revelator, Chelsea Wolfe) as collaborator and producer to create an electronic album completely unlike anything else from Jaye Jayle and an ambitious step from 2018’s remarkable No Trail and Other Unholy Paths LP.

                              The LP began with a request from couture designer Ashley Rose, when she proposed that Evan Patterson team up with Sargent House label mates Chelsea Wolfe and Ben Chisholm to create a soundtrack for one of her upcoming fashion shows. Patterson was in the early stages of a massive eleven-week stretch of touring and used his downtime in the van to flesh out ideas on his phone. “I sent a track to Ben and he sent it back the next day with additional instrumentation, sounds, and effects,” Patterson recalls. “It was wild. He suggested we make a whole record that way.” By the end of tour, Patterson and Chisholm had an LP’s worth of songs waiting for vocal treatments. “I printed out all these poems, stories, and journal entries I’d made on my phone over the course of the year and went into the studio with my friend Warren (Christopher Gray). We’d find things that rhythmically worked, and that’s how all the lyrics and singing happened. It was all gut instinct, improvisational,” Patterson recalls.

                              “The vocal approach isn’t meant to be full of hooks and melody. The music is framed almost as a film score for my life. Instead of David Attenborough or William S. Burroughs as a narrator, I used this opportunity to narrate visuals from my reality,” he continues. The record's title “Prisyn” is a play on the idea of a synthetic prison, and alludes to Patterson’s desire for artistic freedom and the album’s conflicted use of addictive technologies. But in the time of the pandemic, he also views it as an example of overcoming adversity in desperate times; this is a record that could have been made under the jail-like confines of quarantine, with Patterson and Chisholm having never been in the same room at the same time. Patterson comments, “These songs have a totally different energy, and that’s the exciting thing about making art. Things have to progress. I don’t want to draw the same picture for the rest of my life. Maybe that keeps you from being a master at it, but being a master isn’t the key to art. It’s having that constant expression, the constant outlet, the constant change." 

                              TRACK LISTING

                              1. A Cold Wind
                              2. Don’t Blame The Rain
                              3. Synthetic Prison
                              4. The River Spree
                              5. Making Friends
                              6. Guntime
                              7. Blueberries
                              8. I Need You
                              9. The Last Drive
                              10. From Louisville

                              Russian Circles

                              Blood Year

                                There are few things one can be sure of these days, though one truism that remains is that Russian Circles will continue to reign as one of instrumental music’s supreme champions. These masters of sonic tension and release plan to deliver their seventh studio album August 2nd on Sargent House. Dubbed Blood Year, the LP is less a musical exploration and more a statement of authority, lest there be any doubt that Russian Circles remain a force to be reckoned with on the stage and in the studio. The Chicago trio have always explored the dynamics of volume and timbre, with their albums often vacillating between caustic attacks and blissful respites.

                                Russian Circles returned to the studio with Kurt Ballou to record Blood Year, but this time they tracked it in Chicago at Steve Albini’s world-famous Electrical Audio. From guitarist Mike Sullivan’s riff-fueled assaults, to Dave Turncrantz’s war machine rack and floor toms and Brian Cook’s meat grinding bass lines, the sound of Blood Year is that of a band unafraid to flaunt their hard-earned prowess. Sullivan, Turncrantz, and Cook made a conscious effort to approach the songs on Blood Year with the same organic feel of a live show. In an age where rock records are often built on a computerized grid, Russian Circles chose to track the foundations of the songs together in one room as complete takes without click tracks. The human pulse and unmetered energy is woven throughout Blood Year, a presence that can be felt with each bone-rattling minute

                                STAFF COMMENTS

                                Barry says: I love a bit of Russian Circles, and remember listening to 'Station' obsessively over ten years ago. Their sound has considerably evolved since then, not too stylistically different but a lot richer and more texturally diverse. Blood Year is undoubtedly their greatest outing yet and is the perfect tonic for anyone who wants a modern take on post-metal, brilliantly structured and unsurprisingly, brilliantly played.

                                TRACK LISTING

                                1. Hunter Moon
                                2. Arluck
                                3. Milano
                                4. Kohokia
                                5. Ghost On High
                                6. Sinaia
                                7. Quartered

                                Earth

                                Full Upon Her Burning Lips

                                  Commemorating thirty trips around the sun as one of metal’s most monolithic bands, Earth release their ninth studio album, Full Upon Her Burning Lips. A purge of the embellishment and panache from previous releases, Full Upon Her Burning Lips intimates Earth’s commitment to the minimalism of their primordial days.

                                  Deconstructing the tried-and-true dynamic consisting of Dylan Carlson on guitar and bass and Adrienne Davies on drums and percussion, Full Upon Her Burning Lips taps into the Platonic ideal of Earth—an incarnation of the long running band bolstered by the authority of purpose, where every note and every strike on the drum kit carries the weight of the world. In addition to scaling back the flourishes of their hulking, drone-driven opuses, Full Upon Her Burning Lips was composed sans narrative, relying instead on their collective subconscious to hone in on the overarching muse as the songs developed.

                                  The record was engineered, mixed, and mastered by long time associate Mell Dettmer at Studio Soli. Showcasing Carlson’s sepia-toned Bakersfield Sound guitars and Davies’ death knell drums, Full Upon Her Burning Lips mines for the expressive, nuanced, and tonally rich components of Earth’s arsenal of sound. And indeed, anyone that’s followed Earth on their journey will bask in the unadulterated hums, throbs, and reverberations conjured by Carlson and Davies.

                                  “I feel like this is the fullest expression and purest distillation of what Earth does since I re-started the band,” Carlson says in reflection of Full Upon Her Burning Lips. And indeed, anyone that’s followed Earth on their journey will bask in the unadulterated hums, throbs, and reverberations conjured by Carlson and Davies.

                                  TRACK LISTING

                                  1. Datura's Crimson Veils
                                  2. Exaltation Of Larks
                                  3. Cats On The Briar
                                  4. The Colour Of Poison
                                  5. Descending Belladonna
                                  6. She Rides An Air Of Malevolence
                                  7. Maidens Catafalque
                                  8. An Unnatural Carousel
                                  9. The Mandrake's Hymn
                                  10. A Wretched Country Of Dusk

                                  Ioanna Gika

                                  Thalassa

                                    The debut solo album from Ioanna Gika, Thalassa, takes its name from the primeval spirit of the sea, a nod to the singer's Greek heritage and a thematic touchstone for the self-produced 10 song set. Written in Greece during a period of familial grief and romantic dissolution, Thalassa documents an unanchored soul facing nature at its most unforgiving. Gika's unique voice is laid bare, a beacon above the black water of dense, looming production that lies beneath. Her elegiac lyrics chart a path through her own mourning, while luring the ear like a siren’s call.

                                    From expansive opener “Roseate” to the stark loneliness of closer “Drifting”, she channels the helplessness of being plunged into the depths of Thalassa's great waves, along with the adrenaline of not knowing if she will come up for air. A member of the band Io Echo, Ioanna Gika toured extensively in support of the album Ministry of Love including performances at Coachella, Lollapalooza, and Moma Ps1 Warmup. The band also opened for Nine Inch Nails, Haim and Jon Hopkins. She co-wrote the score for a Louis Vuitton Ready to Wear collection and has also collaborated on two songs with producer and best friend TokiMonsta. Gika has also contributed original music to a number of noteworthy films, including Harmony Korine’s Rebel, Universal Pictures Dracula, and was shortlisted by the academy for her original song ‘Gone’ in Snow White and The Huntsman. Thalassa is the debut album from Ioanna Gika, formerly known as IO Echo. UK publicity handled by Kate Price at Stereo Sanctity. 

                                    TRACK LISTING

                                    1 Roseate
                                    2 Out Of Focus
                                    3. Thalassa
                                    4. Messenger
                                    5. Swan
                                    6. Weathervane
                                    7. New Geometry
                                    8. No Matter What
                                    9. Ammonite
                                    10. Drifting

                                    Helms Alee

                                    Noctiluca

                                      After more than a decade of existence, five studio albums, and a slew of EPs, it’s easy to imagine Helms Alee continuing on in perpetuity as one of those tightly-guarded artists with an extensive catalog of treasures just waiting for the uninitiated to discover the depths of their riches. But things are going to change with the release of their fifth album, Noctiluca; the album continues Helms Alee’s tradition of blending girthy sludge riffs, deceptively clever compositions, lush instrumentation, and transcendental melodies into a potent standalone sound and proves why the band has rightfully stuck around all these years.

                                      Starting with album opener “Interachnid,” Helms Alee displays their multifaceted approach with Hozoji Matheson-Margullis's eight-armed drum patterns underpinning thunderous walls of fuzz distortion provided by bassist Dana James and guitarist Ben Verellen, with Verellen’s barrel-chested roar serving as a counterpoint to the siren song vocals provided by Mathenson-Margullis and James. The balance between knuckle-dragging force and transcendent beauty fluctuates throughout the record, with songs like “Beat Up” operating on single-minded aggression, while songs like “Pandemic” completely eschew the heavy-handed approach in favor of blissed out dream pop. “Spider Jar” still sounds like the more subdued side of Helms Alee in many ways—jangling Jazzmaster guitars and tom-heavy drum patterns set against soaring vocals—but never before has the band sounded so authoritative with such straightforward arrangements.

                                      Inspired by the bioluminescent marine algae of the same name, Noctiluca pays tribute to the oceanic themes that has pervaded Helms Alee's music. The marine reference is perhaps the closest approximation to their sound: mysterious, magical, and providing light in the darkness. Helms Alee have always been able to jump between the sublime and the savage, but with the aid of producer/engineer Sam Bell (Minus the Bear, R.E.M., The Cars), the band pushes their various methods to new extremes on Noctiluca. 

                                      TRACK LISTING

                                      1 Interachnid
                                      2 Beat Up
                                      3 Play Dead
                                      4 Be Rad Tomorrow
                                      5 Lay Waste, Child
                                      6 Illegal Guardian
                                      7 Spider Jar
                                      8 Pleasure Torture
                                      9 Pandemic
                                      10 Word Problem

                                      Emma Ruth Rundle

                                      On Dark Horses

                                        The cover to Emma Ruth Rundle’s fourth solo record, On Dark Horses, bears a blurry photo of the songwriter obscuring her face with a large toy horse with broken legs. The photo suggests something candid but also hidden, graceful but also fractured—a fitting portrait for an artist who has established a career by vacillating between shrouding herself in mystery and exposing her wounds to the world. The first peek behind the curtain came with her Sargent House debut Some Heavy Ocean, where layers of distortion were excised in favor of acoustic guitar and Rundle’s beguiling vocals. There was a distinct difference by the time Rundle released Marked For Death, a stark and deeply personal meditation on mortality and self-destructive behavior.

                                        Her entire musical trajectory—from the cinematic instrumentals of Red Sparowes to the lush haze of Marriages and onward through her solo career—seems like a gradual disclosure of intimate secrets. With On Dark Horses, Rundle doesn’t shy away from uncomfortable realities or retreat into a private world, but it does capture an artist who has survived their personal nadir and come out stronger on the other side. Taking the full arrangements of Marked For Death on the road demanded a backing band, which Rundle pieced together from tour companions—first Dylan Nadon from Wovenhand and Git Some and later Evan Patterson and Todd Cook from Jaye Jayle. Rundle’s budding romance with Patterson prompted a move to Louisville, Kentucky, which not only amplified the equestrian themes of the record but also yielded a new writing process. 

                                        TRACK LISTING

                                        1 Fever Dreams
                                        2 Control
                                        3 Darkhorse
                                        4 Races
                                        5 Dead Set Eyes
                                        6 Light Song
                                        7 Apathy On The Indiana Border
                                        8 You Don’t Have To Cry 

                                        Blis

                                        No One Loves You

                                          Atlanta, GA’s Blis. debut LP, No One Loves You, avoids the trope: it’s an album of a band that’s lived a lot of life, exploring sonic realms that on the surface, should not go together, but manage to find cohesion. The record mosaics their influences—the intricate rock riffs of American Football, Pedro the Lion’s midtempo balladry gone awry with crucial aggression, indie rock sensibility that has mainstream press publications referencing Modest Mouse and Silversun Pickups. It was their 2015 Starting Fires in My Parents House EP that inspired Sargent House Records to sign them. The band officially started recording under the Blis. name a few years ago, but frontman/primary songwriter Aaron Gossett has been pursuing the project for much longer. “It’s pretty much the first musical endeavor I did after high school,” he recounts.

                                          The quartet—drummer Jimi Ingman, bassist Luke Jones, guitarist Josiah Smith and Gossett—have found a system that works, though the process was arduous. In the two years since their last EP, they’re at home with their lineup, they’ve spent an impossible amount of time on the road (including a two month U.S. tour with now label mates And So I Watch You From Afar). No One Loves You is a record of complex musicianship and even more complicated emotional development—despondent songs that criticize the negative forces in Gossett’s life while never feeling particularly hopeless. Almost every track mentions God or religion. He explains. “If you get to the core of a lot of religions, they’re kind of awful: really disgusting homophobic, misogynistic shit.” It’s harsh, but near the heart of Blis. There’s loving sentiment beneath the percussion, beneath the moments of riotous riffing and explosive texture. Even the title of the record itself reflects the duality of Gossett’s interpretation. “Lost Boy” is a love letter to his partner and a criticism of blind belief. 

                                          TRACK LISTING

                                          1 Dumb
                                          2 Stale Smoke
                                          3 Take Me Home
                                          4 Servant
                                          5 Old Man
                                          6 Lost Boy
                                          7 Ugly
                                          8 Home
                                          9 Christian Girls
                                          10 Pathetic
                                          11 Broken
                                          12 Instant Lover

                                          Tera Melos

                                          Trash Generator

                                            It’s been a while since we’ve heard from Tera Melos. 4 years to be exact. And, oh my, are they back with a vengeance. Trash Generator, the trio’s third full length, is an astonishing blast of confidence and rejuvenation. It sounds as if the downtime has recharged the band with an entirely new sense of purpose.

                                            The performances are brilliant and sharp, the songs concise yet intricately detailed, and the album production deftly captures the band’s strength as a live unit. Their dalliances with mellower psychedelic phrases on their previous two albums, X’ed Out (2013) and Patagonian Rats (2010) are significantly trimmed and instead utilized as colorations within a swirling maelstrom of righteous aggro punk-jazz abandon. Tera Melos — guitarist/vocalist Nick Reinhart, bassist Nathan Latona and drummer John Clardy — have learned to stop worrying and just be Tera Melos.

                                            Regardless of the group’s own potentially esoteric goals, if you’re not reaching for the “next level” at every turn, you’re supposedly not doing it right. “ “We made Trash Generator because we just wanted to get together, have some fun, and make something that we think is cool.” The trio decamped to San Diego in late 2016 to record at Singing Serpent Studios with Ben Moore (Hot Snakes, Pinback). “We stayed in a spare place at Rob Crow’s house which had a barracks kind of feel to it,” Clardy explains. “We’d come home exhausted each day and fall asleep within an hour. It was very spartan when away from the studio.” That mindset clearly informs the direct, in-your-face energy of Trash Generator. 

                                            TRACK LISTING

                                            1 System Preferences
                                            2 Your Friends
                                            3 Trash Generator
                                            4 Warpless Run
                                            5 Dyer Ln
                                            6 GR30A11
                                            7 Men's Shirt
                                            8 Don't Say I Know
                                            9 A Universal Gonk
                                            10 Like A Dewclaw
                                            11 Drawing
                                            12 Super Fx 

                                            Big Walnuts Yonder

                                            Big Walnuts Yonder

                                              Big Walnuts Yonder is bassist/vocalist Mike Watt (Minutemen, The Stooges), guitarist Nels Cline (Wilco, Nels Cline Singers), drummer Greg Saunier (Deerhoof) and guitarist/vocalist Nick Reinhart (Tera Melos). It is not a supergroup. "It's worlds colliding," says Mike Watt. Four exceptional musicians whose work spans multiple genres and generations, Big Walnuts Yonder is a monumental endeavor that's more than the sum of its parts. The results are a truly epic album defying categorization, where one might hear elements of proto-punk, free jazz, power pop, experimental music, psych-rock and your first teenage acid trip all in one. The impetus for Big Walnuts Yonder came about way back in 2008 from a conversation between Watt and Reinhart while their bands toured together in Japan.

                                              The two discussed recording together and who they might bring in to the sessions. "Nick gets ahold of my first opera," Watt explains. "Made in 1997 with Nels Cline. He said 'what's it like playing with Nels?'" "So Watt says, 'if you want to know the man, play with the man,'" Cline elaborates. Cline agreed to join if Reinhart picked the drummer. Reinhart quickly mentioned Saunier, unaware that Cline had previously brought Watt to see him perform at a Deerhoof show years before. The lineup solidified in its mutual appreciation and they began making plans to write and record - while circumnavigating the schedules of 4 extremely busy musicians. "We had planned it for so long," Saunier says. "Then several years passed in which nothing occurred due to everyone's schedules. It was 2-3 years of warm, leisurely prep time, then suddenly made in a panic with time and money on the line."

                                              The album was recorded in just 3 days in summer 2014 in Brooklyn, NY with producer and former Pere Ubu bassist Tony Maimone engineering at his Studio G. "It was this concentrated sort of freakout," Saunier says. "We basically had to invent a new band on the spot. And, people might have a stereotype of what each person does, but we all showed up to do what we're prevented from doing in other groups." The album's 10 tracks were recorded primarily live with very few overdubs. Although Big Walnuts Yonder was created under somewhat spontaneous circumstances, the group endeavored to ensure the album wouldn't sound like a jam session. "It was very clear among us," Saunier notes: "Let's not overindulge and make it a 'musician's recording'." Asked how he might describe Big Walnuts Yonder, Cline succinctly nails it on the head: "It's sick. It has an extreme quality and kicks ass." 

                                              TRACK LISTING

                                              01. All Against All
                                              02. Sponge Bath
                                              03. Flare Star Phantom
                                              04. I Got Marty Feldman Eyes
                                              05. Raise The Drawbridges?
                                              06. Ready To Pop!
                                              07. Forgot To Brush
                                              08. Rapid Driver Moon Inhaler
                                              09. Pud
                                              10. Heat Melter

                                              Helms Alee's music is exactly the sort of mutant, fantastic hybrid that used to only occasionally erupt out of small, isolated scenes, uninformed by trends of the day — instead inspired by the band’s own collective contributions. The Seattle trio’s unique amalgam of metal, art rock, pop and punk is charmingly reminiscent of the fertile creativity that groups once had before the Internet seemed to instruct bands to only copy one another. Helms Alee’s third album, Sleepwalking Sailors sounds like many styles combined into one, and none of it concerned with any notion other than creating vital, urgent and uniquely characteristic music.

                                              Bassist/vocalist Dana James, drummer/vocalist Hozoji Matheson-Margullis and guitarist/vocalist Ben Verellen combine a vast array of ideas within a single song, while still sounding entirely cohesive. Their songs are undeniably heavy, but also freely roaming through icy post-punk and warm melodic haze at any given moment. Any given song can be pummeling one moment and then subtly shift into triply harmonies without the listener even realizing what has happened. Sleepwalking Sailors was recorded with engineer Chris Common (These Arms Are Snakes, Pelican, Chelsea Wolfe) in Seattle, and marks the band’s first release for new home Sargent House. "We spent 3-1/2 years writing the songs for this album, so it's thematically all over the place” Verellen says. “We ended up with something that sounds really big, but also a bit more aggressive."

                                              TRACK LISTING

                                              01. Pleasure Center
                                              02. Tumescence
                                              03. Pinniped
                                              04. Dangling Modifiers
                                              05. Heavy Worm Burden
                                              06. Crystal Gale
                                              07. New West
                                              08. Fetus. Carcass.
                                              09. Slow Beef
                                              10. Animatronic Bionic
                                              11. Dodge The Lightning

                                              Chelsea Wolfe

                                              Pain Is Beauty

                                                Pain is Beauty is the third studio album from the Los Angeles-based artist and is a self-described love letter to nature. Many of the album's 12 tracks veer in a decidedly more electronic direction than previous recordings, while at the same time capitalizing on Wolfe's trademark penchant for the morose and otherworldly.

                                                As Wolfe explains: "[The album] becomes an exploration of ancestry, how the mythology, landscapes and traditions of our ancestors affect our personalities today. Honesty is what initially drew me to music, and I've been more honest and open with myself than ever through these songs. There is peace in truth. There is clarity in solitude. And there is power within simplicity and focus. Love is not always easy. Tormented love is something I understand more than society's skewed idea of what love should be. Love is indelible, severe, earnest, merciful. To push forward against the odds is to make history".

                                                Chelsea Wolfe makes records that transcend time, avoid pigeonholing, and most importantly, allow a glimpse into the soul of a true visionary. Her work is free of the contrivances of lesser artists, the trivial "concepts" and pandering for attention at any cost. Hers is a dignified way of doing things, proven without any doubt by the sheer quality of her work. Pain is Beauty presents not so much an auditory experience as it does an encompassing atmosphere with which the listener can surround themselves, a soul-stirring link with infinity.

                                                "Zorch demonstrate how good 'weird' can be." SPIN.

                                                The debut full length by Austin duo Zorch is the end result of nearly 5-years worth of material similarly collected, then shredded, condensed and completely remolded into a solid whole. It sounds like two hyperactively creative minds finding ways to cleverly merge together effervescent synth blips, blue-eyed soul vocals, gang-chant backups, blurting EDM bass lines, frenetic drums, hazy psych-drone and even the proverbial kitchen sink taking leads here and there. Each song sounds like it could've been crafted out of samples from several different decades of pop culture history, though it's entirely the work of two exceptional musicians.

                                                If Zzoorrcchh sounds like a photomosaic looks, it's because there is similarly a meticulously organized logic to it all. When Zac Traeger (keyboards, omnichord, vocals) and Shmu (drums, omnichord, vocals) first started playing together in 2008 while studying music in college in Boston, the pair would improvise and record many hours worth of ideas. Some of these songs are direct descendants of those jams; the duo picking out pieces of those recordings, re-organizing and reworking them multiple times and in various studio settings while also adding on and creating new ideas. Demo versions of some of the songs on this album were previously released, only to again be redone a couple of times over for the album. And, Zorch even previously offered up all of the basic audio tracks from early EPs for fans to remix their own versions.

                                                The band are just as intensive about its live shows, often playing upwards of 20 shows during the 4 days of SXSW. Zzoorrcchh kicks off fittingly by easing listeners into their world with a slow fade-in to whirling synths, a stately piano loop and countless layers of sounds comprising "My Joy is Explosion." The minute-long tune immediately segues into the blissfully hyper celebration of life, "We All Die Young." Here, Shmu's rollicking drum pattern that might make Neil Peart's head spin drives Zac's frantic synth arpeggios while several layers of voices sing, "what a day, let's celebrate it/ I want to feel elated." Elsewhere, on "This Is The Way It Goes" neo-rave staccato chords sounding like computer error tones, marimbas and pounding toms meet cheerful vocals singing the song title's seeming lament. "Inopportune Sailing" starts off like a repetitive, perky chiptune from an imaginary 80s video game that morphs into a full-fledged living pop-soul jam. It sounds like Zorch actually beat Daft Punk to the punch at making their own organic recordings sound like vintage song samples. "Zut Alors", a longtime fan live favorite lyrically pokes fun at conspiracy theories of reptilian overlords with the refrain, "giant surprise/ We are lizards disguised/ And we're controlling your lives/ With trilateral spies."

                                                The album is a wild auditory amusement park that gets more and more exciting with each visit. Early support/features confirmed with Pitchfork, Spin, Magnet, Alarm, Consequence of Sound, MSN and much more.

                                                TRACK LISTING

                                                1. My Joy Is Explosion
                                                2. We All Die Young
                                                3. Its Kind Of A Deal Where…
                                                4. This Is The Way It Goes
                                                5. Mutwa
                                                6. Zut Alors
                                                7. Inopportune Sailing
                                                8. Cosmic Gloss
                                                9. Oceans Dawn


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