Touché Amoré and Birds In Row, two of the most unique and thought-provoking bands on Deathwish Inc.’s roster, will team up in May to go on a full-on European tour. The tour looks to be hitting some of the major cities in the continent.
Seahaven will be heading out on a full U.S. tour this May in support of their new album Reverie Lagoon: Music For Escapism Only, out March 25th on Run For Cover Records. The band will hit a few major U.S. cities and Adventures and Foxing will be a long as support. Do not miss out.
08 – St. Louis, MO – Firebird
09 – Minneapolis, MN – Ballentine Post 246 VFW
10 – Chicago, IL – Beat Kitchen
12 – Toronto, ON – Hard Luck
13 – Pittsburgh, PA – Smiling Moose (Upstairs)
14 – Philadelphia, PA – Barbary
15 – Boston, MA – Middle East Upstairs
16 – New York, NY – Studio @ Webster Hall
17 – Richmond, VA – Strange Matter
18 – Virginia Beach, VA – Shaka’s
20 – Wilmington, NC – Orton’s
21 – Atlanta, GA – Drunken Unicorn
22 – Jacksonville, FL – Underbelly
23 – Pembroke Pines, FL – The Talent Farm
24 – Orlando, FL – Backbooth
26 – Houston, TX – Fitzgerald’s (Downstairs)
27 – Dallas, TX – Three Links
28 – San Antonio, TX – Korova
30 – Mesa, AZ – 51 West
31 – Los Angeles, CA – Troubadour
01 – San Francisco, CA – Bottom of the Hill
08 – Lansing, MI – Common Ground Music Festival
Guilty Of Everything
Plenty has already been said about Philadelphia’s Nothing. The band has taken an already-existing and intricate genre of shoegaze and made it all their own. They’ve added a noisier approach while still maintaining a sensibility for pop sounds and guitar-heavy hooks. In a sea of bands doing this exact same thing nowadays, how are Nothing able to stand out from the rest? The answer is quite simple after listening to their new album Guilty Of Everything: heart and attitude.
Guilty Of Everything is all that any fan of this newgaze scene would want to hear: jangly guitars, dream-like whispered vocals, plodding drumming that echoes, and a sense of pop-oriented noise for even the most jaded of people. Opening tracks “Hymn to the Pillory” and “Dig” strictly adhere to all the equally trapping and liberating freedoms of newgaze. Listening to them, you get the familiarity of the band’s sound from the get-go. It’s the third song, “Bent Nail”, it all comes together and blazes out of the gate. The song has a faster pace than any 90’s shoegaze band should’ve been allowed, yet the noisy escapes and distorted vocals – while still hazily executed – bring a much-needed fresh approach to the tried and true genre. Right here is where Nothing shines through the most, but that is not to slight toward the rest of the record; there’s plenty more to get lost in.
“Endlessly”, and later on “Beat Around the Bush” and “B&E”, continue this onslaught of the senses and ambience, suffocating you in all the swirling guitars, languid rhythms, and – most importantly – the fragility of Dominic Palermo’s whispered and almost pained vocals. It’s in Palermo that listeners will find that the band clicks and connects. The man did enough angst-ridden yelling and screaming during his time in Horror Show; it’s now time for him to make an even deeper personal connection by bearing his soul with his words, and to create the dichotomy that is at the heart of Nothing: a plea for redemption that simultaneously wishes for everything to just end.
“Get Well” feels like it’s there just to mess with you. A punk-ish guitar song that is driven faster than the rest of the album while being held together by the still-whispered vocals. It’s a laziness in punk, and it works perfectly within the context of the album. The song is there to do away with any misconceptions you may have had about the album and the band.
The bottom line of Nothing’s Guilty Of Everything is that it’s an album written and performed with the mindset of seeking redemption and acceptance, all the while dragging in a wish to just say fuck everything and end it all. Physically, mentally, emotionally, and in terms of any other ideology you may subscribe to. It’s the musical embodiment of acceptance and forgiveness and the emotional tug-of-war of whether to give it all up. This is the soundtrack to that struggle. It just happens to be cemented in this whole newgaze, noise-pop, ambient, whatever-else-genre you want to stick to it sound. Deal with it. Get well.
08/01 Viveiro, Spain @ Resurrection Festival w/ Turbonegro, Down, Obituary, Gojira, and more
08/02 Albi, France @ Xtreme Fest w/ Obituary, Gojira, Suffocation, and more
08/03 Paris, France @ La Maroquinerie w/ Martyrdod, Okkultokrati
08/04 Manchester, UK @ Club Academy w/ Martyrdod, Okkultokrati
08/05 Glasgow, Scotland @ Classic Grand w/ Martyrdod, Okkultokrati
08/06 London, UK @ Scala w/ Martyrdod, Okkultokrati
08/07 Koln, Germany @ Underground w/ Martyrdod, Okkultokrati
08/08 Ieper, Belgium @ Ieper Fest w/ Jesu, Gorguts, Zero Boys, and more
08/09 Jaromer, Czech Republic @ Brutal Assault Festival w/ Jesu, Gorguts, Obituary, and more
08/10 Budapest, Hungary @ A38 w/ Martyrdod, Okkultokrati
08/11 Salzburg, Austria @ Rockhouse w/ Martyrdod, Okkultokrati
08/12 Maribor, Slovenia @ MC Pekarna w/ Martyrdod, Okkultokrati
08/13 Milan, Italy @ Magnolia Open Air w/ Martyrdod, Okkultokrati
08/14 Stuggart, Germany @ Universum w/ Martyrdod, Okkultokrati
08/15 Le Locle, Switzerland @ Rock Altitude Festival w/ Down, Red Fang, and more
08/16 Ubersee am Chiemsee, Germany @ Chiemsee Summer Festival w/ Blink 182, and more
08/17 Grossposna, Germany @ Highfield Festival w/ Placebo, Blink 182, and more
The Native Sound
When it comes to Kristina Esfandiari and her varied musical endeavors, it’d be pretty easy to just pigeonhole her into this category or that style or what have you. Surely, she cut her teeth in terms of vocal delivery with newgaze stalwarts Whirr, but she has grown by leaps and bounds since then and expanded beyond musical constrictions of the genre. King Woman was more of a personal project, showcasing her instrumental leanings, while Miserable showed a more rounded out musical style, becoming almost an amalgamation of all that she is about.
With Halloween Dream, Miserable present a mess of cacophonous sound and emotion. It’s a beautiful mess, all in all, as it echoes the very best that someone deeply-entrenched in noise, shoegaze, ambient, and in between can bring forth and put on the table. Throughout the EP, there’s not only a crucial and permeating melancholy but also a feeling of languid haziness that allows you to just give up and drown in the sound. This is the soundtrack to loneliness, and a portrait of someone who is so emotionally-charged that they’re primed to explode; this is never more evident than in the bombastic bridge of “Spinning”. The slow build-up of the track yields to an explosion of sound halfway through, only to come back down into a slow crawl. It embodies the feel and ethos of the band.
Miserable are simply presenting an ethereal and long-lost sound in their music. It’s not only enveloping and mood-altering, it’s the sound of an inherent sadness within us all. If crying and tears and longing had a soundtrack, it’d be fitting to have Miserable write the score - that’s never a bad thing. Being down and out at points in our lives is what keeps us in check, letting us be more appreciative of the good things. Miserable happen to have brought the musical embodiment of that sadness with the Halloween Dream, and that is something that we can all relate to at one point or another.
Ontario’s very own Single Mothers, who have signed with Dine Alone, have made their Wild Party EP available now as a 7″ The EP, the band’s first release, was only available digitally. The 7″ is limited to 400 copies worldwide and ready for pre-order now. Click here to snag it.
Remind yourself on the EP and listen below.
Brooklyn’s post-punk duo NØMADS released their new single “Free My Animal” a few weeks ago and now they have premiered the video for the track. NØMADS describe the video as “incredibly disturbing…terrifying…dark…disorienting and chilling” and bassist/vocalist Nathan Lithgow says, “it’s about the urban interplay of hunter versus hunted, of nature versus the city; about fighting to release a predatory instinct. Above all, this is about the nightmare/fantasy of being pursued.”
NØMADS is maximum sound two-piece bass & drum collaboration featuring Nathan Lithgow (bassist for My Brightest Diamond, Inlets, and Gabriel & the Hounds), and drummer Garth Macaleavey (former Inlets touring percussionist, and sound engineer for the Philip Glass Ensemble). The band previously released their first single “In The Mend” followed by “Free My Animal”, the title track to their album that will see a release on April 8 via Mecca Lecca.
NØMADS leans towards the razor-efficient songwriting forms of 90’s bands like Nirvana, Fugazi, and Girls Against Boys, while updating the style and stripping the approach to its essential foundations of lyricism and sonic intensity. The band has honed their own primal sound that capitalizes on conspicuous juxtapositions- minimal instrumentation against maximum sound; aggression against beauty; soft melody versus an aggression of expression.
Off their upcoming The Shallows 7″, Allston, MA’s Orca Orca have released a second track. The song titled “(A) Part” finds the group taking a more mellow approach to their usual indie shoegaze-inflected pop.
The Shallows 7″ is slated for a March 25th release via Disposable America. You can pre-order it now here.
Originally begun as a duo between childhood friends, Mannequin Pussy expanded to a three-piece for their debut album, Gypsy Pervert. The beefed up sound is evident from the beginning as the band shifts seamlessly from grungey punk rock blasts to more textured shoegazey pop. Clocking in at less than 20 minutes, Gypsy Pervert sways urgently back and forth. Raw and confrontational yet still melodic and inviting, Mannequin Pussy show off a diverse palette on their debut album.
Mannequin Pussy have premiered a video for the song “Clue Juice” off the LP. The video, graciously hosted by Impose Magazine, was “Created from a compilation of Mannequin Pussy live shows…and gives you an idea of what the Brooklyn three-piece can do on stage (and in your living room).”
Emerging UK based dark alternative pop band Battle Lines has partnered with No Sleep Records to release a new 7” vinyl/digital record, Colonies, on April 15th.
Colonies is the latest 7″ from UK quartet Battle Lines. Haunting and fraught with inner conflict, the title track fuses intense, atmospheric guitars, surging rhythm and fragile lyrics that disarm the soul, while tearing down emotional walls with pensive accounts of love, loss and purgatory.
Formed in the spring of 2012, in Leeds (UK), founding members Carly Humphries, Matthew Bradley, Ralph Sayers and Luke Barnfather spent early months writing and recording with producers James Kenosha (Dry the River / Pulled Apart By Horses), Lee Smith and Jamie Lockheart (The Cribs / Forward Russia). Battle Lines came to national attention with their self-released limited edition Hearts 7”, in March of 2013, helping introduce them to fans across the UK. The band followed this up with debut performances at Reading and Leeds Festivals, Beacons Festival and sold out shows across the UK.
Following the success of Hearts, Battle Lines returned to the studio and recorded their next single “Colonies.” The blistered lullaby is replete with wistful paradoxes of emotional and sexual indifference; echoing distaste with the hypnotizing line, “You mean nothing to me.” The limited 7″ features the title track as well as a new song entitled “Push.” Additionally, Colonies’ artwork was created by Nick Steinhardt of Touché Amore, who also designed the cover of Deafheaven’s recent album Sunbather.
Leading up to the release, the band will make their way stateside for their first appearance in the U.S. at SXSW in Austin, TX.
Battle Lines Tour Dates:
Mar 13 – Austin, TX – SXSW (British Music Embassy @ Latitude 30 – 3:00PM)
Mar 15 – Austin, TX – SXSW (Esther’s Follies – 9:00PM)
Apr 17 – Brighton, UK – Green Door Store †
Apr 18 – London, UK – Birthdays †
Apr 19 – Bristol, UK – Hit The Deck Festival †
Apr 20 – Nottingham, UK – Hit The Deck Festival †
Apr 22 – Glasgow, UK – 13th Note †
Apr 23 – Manchester, UK – The Star & Garter †
Apr 24 – Birmingham, UK – The Flapper †
Apr 25 – Leeds, UK – Cockpit 3 †
Apr 26 – Southampton, UK – Unit †
† w/Seahaven, Nai Harvest