Gainesville, FL’s folk-punk outfit Greenland Is Melting have been plugging along since 2007 creating their own unique hybrid of folk, bluegrass and punk. Theirs is a sound that truly defines the mashing up of punk attitudes and down-home folk bluegrass that has been spawned from the central area of Florida.
The band has seen a slew of releases and now they’re gearing up for their first new music is over three years. The Still Not Dead 7″ EP finds the band partnering up with Mind Over Matter Records for the release. True to the title of the EP, the four songs across the 7″ proves that the band is still as strong as ever in their songwriter and willing to hone their unique sound for today’s jaded punk crowd.
We are beyond thrilled to announce that Greenland Is Melting will be hopping aboard the Mind Over Matter train with their first new material in three years!
Still Not Dead, the title of the aforementioned new 7 inch EP from Gainesville, Florida’s hometown favorites Greenland Is Melting, is more than appropriately named considering that this is the first album the band has released since August 2011. In keeping with the sound they have become known for, these four tracks are jam-packed with folk, bluegrass and of course, a hint of that Gainesville sound. Greenland‘s Still Not Dead is the perfect soundtrack for enjoying front porch beers, in your favorite flannel and make even the most feminine of women wish they could grow a beard.
Still Not Dead will be housed in a french paper, hand-screened jacket and includes a 13×19 poster insert that takes you on a comic drama, outlining the harrowing adventures of the GIM boys as they take on beings from another world!!!
Still Not Dead is slated to be released around 3/16 but you do yourself a favor and pre-order it on Monday 3/1 over at Mind Over Matter Records.
Watch an exclusive premiere of Harm’s Way’s new video for “Amongst The Rust”. The track appears on the band’s new album, Rust, which will be available March 10th from Deathwish Inc. Recorded at Bricktop Recordings by Andy Nelson (Weekend Nachos, Dead In The Dirt), mixed at God City Studios by Kurt Ballou (Converge, High On Fire), and mastered by Brad Boatright at Audiosiege (Obituary, Nails), Rust is brutally and meticulously refined. The album brilliantly combines industrial repetition (think Godflesh), metal attack (think Sepultura, Helmet, Celtic Frost), and hardcore aggression, showing that Harm’s Way have emerged from the wreckage of past genres as the new high watermark of heavy in contemporary aggressive music.
Opener “Infestation” stomps with machine-like precision before plunging into a depressing sonic dirge. While songs like “Law Of The Land”, “Hope”, “Cancerous Ways”, and others introduce guitar and electronic driven atmospherics into the arsenal. These subtle dynamics bleed into other aspects of Rust as well. Mid-album beast “Left To Disintegrate” unfurls as an unforgettable anti-anthem ripe with infectious creeping metallic undertones, while “Amongst The Rust” and “Turn To Stone” introduce guest vocals from Colin Young (Twitching Tongues) and Emily Jancetic. Both of them adding haunting nuance to the brute force of the band. All of this leads to the epic closer “Ease My Mind”; a take-no-prisoners aural bludgeoning so heavy that it needs to be heard to be believed.
Simian post-heavy everything OLD MAN GLOOM have dumped a video for the song “The Lash” (from their recently-released album The Ape Of God)unto the world. Shot and directed by Andrew Cox, the video’s mysterious and open imagery of the desolate desert create a sharp contrast to the dissonant and constricting music. A perfect pairing.
Bring on the gloom!
Los Angeles’s Marriages have premiered another song from their new full-length album, Salome. Titled “Less Than”, this is the second track to surface from the forthcoming release.
Marriages began in 2011 as a collaborative effort between former Red Sparowes members Emma Ruth Rundle (guitar, vocals) and Greg Burns (bass, keyboards). Showcasing Rundle’s exceptional playing more vividly than the dense architecture of the Sparowes could allow, Marriages’ departure from purely instrumental rock, too, helped bring her to the forefront, revealing a voice equally fragile and ferocious. Enlisting Sparowes drummer Dave Clifford, they recorded Kitsune, released on Sargent House in 2012. Subsequent touring with Russian Circles, Deafheaven, Chelsea Wolfe and others honed their vision while introducing the band to a broad cross-section of heavy music fans. Full time drummer Andrew Clinco completed the equation in late 2012, the final component in Marriages’ frequently epic postpunk-by-way-of-stoner-rock sound. While the group busied themselves writing the songs that would become Salome, Rundle issued solo album Some Heavy Ocean in early 2014, earning praise from the likes of Pitchfork, NPR, etc. Promoting that record found her touring the US as direct support to King Buzzo of The Melvins, immediately after which Marriages set out on tour once more, this time with the legendary Boris.
Back in Los Angeles, Marriages spent the end of 2014 completing Salome, a timeless 9-song monolith of a debut LP. Propulsive, frequently iridescent, the compositions on Salome are confident and evocative, the sound of a band focusing their strengths to great effect. Nowhere is this focus more evident than on opening track, “The Liar”. Frontwoman Rundle wastes no time settling into a haunting earworm of a riff, before unleashing a moody tangle of slides and reverb. Her breathy voice, veiled in subtle effects, elicits irresistible curiosity; though it may not always be clear what she’s saying, there’s undeniably something to the way she’s saying it. Bubbling just under the surface is the overdriven bass of fellow Sparowes alum Greg Burns, who conjures a menacing rumble from his instrument in glorious contrast to the glassy needles of Rundle’s wailing guitar. New addition Clinco, whose formidable presence appears largely responsible for the kinetic reconfiguration of the band’s sound, functions as both an anchor and a jostling wave, holding it all together with precision while he rattles his cage. Second track, “Skin”, is perhaps even more infectious, to the point where becoming engulfed in the emotional tide of the song is simply unavoidable. Its indelible chorus is one of the album’s most iconic passages. Here, especially, Marriages wear their influences on their sleeves, a convincing amalgamation of mid-eighties post-punk (Cocteau Twins, The Cure, etc.) and what ought to be called poststonermetal. Their shoegaze aesthetic combined with Rundle’s crushing riffs make Marriages unique among their contemporaries. The tumbling urgency of “Southern Eye” could fit comfortably on Echo and the Bunnymen’s Heaven Up Here yet somehow sits squarely within the realm of Sargent House labelmates Russian Circles. Elsewhere, Marriages toy with a pop approach before invariably releasing a torrent of cascading noise, though never enough to bury the hook they’ve so cleverly constructed. Title track “Salome” is the album’s centerpiece. An ominous, otherworldly swell of emotional waxing and waning, it finds Rundle at her most vulnerable, strokes of Kate Bush and Sinead O’Connor writ large over a canvas of brooding, fuzz-pedal density. Comparatively subdued, though by no means anemic, “Contender” closes the album on a tentative note, its unresolved final chord a sobering wake-up suddenly casting doubt on the probability of the previous 43 minutes. Throwing open the curtains on not only their sound but on their songwriting as well, Rundle, Burns, and now Clinco seem perfectly at ease scaling anthemic peaks and heartbreaking valleys, often in a single composition. Salome finds Marriages fully embracing their skill at crafting timeless songs with chillingly epic results.
Salome is out on April 7th via Sargent House.
Louisville hardcore punk Coliseum have announced the release of their new album Anxiety’s Kiss to be out on May 5th via Deathwish Inc. The band teamed up with J. Robbins to record the new music which finds Coliseum treading some more experimental fare this time around. To get a taste, the band has premiered a video for the song “We Are The Water” as shot and directed by Max Moore. Listen and watch and be blown away.
Midwestern post-punk luminaries Coliseum are slated to drop their highly anticipated new album Anxiety’s Kiss on May 5th via the venerable Deathwish Inc. (Deafheaven, Touche Amore, Converge, etc.). Anxiety’s Kiss is arguably the trio’s most experimental album to date, an energized amalgamation of cathartic post-punk, frenetic underground rock, post-gothic ambience, and punk ethos that is easily the most realized representation of the bands’ melodic ebb and flow to date. The stylistic diversity of the album falls together harmoniously under the powerful production of esteemed engineer and collaborator J. Robbins (Jawbox, Burning Airlines), presenting a cohesive musical and lyrical rumination on humanity, love and lust spread across ten captivating songs.
Going on 12 years as contemporary underground rock influencers, Coliseum have creatively adapted throughout the years driven by the artistic vision of founder and bandleader Ryan Patterson, here again flanked by bassist Kayhan Vaziri and drummer Carter Wilson, who both now share songwriting duties in the band. Aside from broadening the band’s stylistic palette, the album also introduces some novelties for the group; “Comedown” is the first track to not feature Patterson on guitar, “Sunlight in a Snowstorm” is the most bracingly melodic the band have ever sounded, meanwhile the album’s lead single “We Are The Water”, the video for which makes its debut today, kicks off with a buzzing keyboard melody before Coliseum’s patent barnstorming charge kicks in.
Hailing from Spain, Mourn are a very youthful band that is pushing the envelope when it comes to playing their unique style of noise pop. Think of a more fast-paced shoegaze inflected with some jangly punk and you get close to what they sound like.
Their self-titled debut LP from Captured Tracks is getting constant rotation for sure. It’s hard to not have the music crawl into your mind and take up residence. It’s the mark of a great band and their music when they won’t let go long after you’ve put down the record.
Professionally and expertly shot by the fine folks of hate5six, this is the full performance of Converge at last year’s This Is Hardcore Fest. Mixed by Converge’s own guitarist Kurt Ballou at Godcity Studio in Salem, MA, this is THE only live video of Converge that will satisfy your hankering for these behemoths of aggressive music.
Just watch and have your own one-person mosh in your living room.
If you’re familiar with (and a fan of) all things Hardcore scene of yesteryear and today, you’ll be extremely impressed and pleased with ON BODIES. The band boasts a ridiculous pedigree of HxC of notable bands: ex-Culture, As Friends Rust, Terror, Still Crossed, Suffocate Faster, and plenty more. All of the insane eclectic styles of Hardcore are brought together in ON BODIES. The band’s sound is vocally typical Moyal but with a bigger sense of urgency while musically riding a faster-paced hardcore akin to the likes of Mouthpiece, Battery, and Better Than A Thousand. But all SFLxHC through and through.
The band has a few releases already under their belt and they’re now preparing for a new one, Unremarkably Mortal EP. A new song and video has been premiered to prepare us for the EP. “Down And Doubt” showcases ON BODIES on a more frenetic and breakneck speed from their usual approach to hardcore. It’s urgent-sounding and completely pissed off. Peppered throughout the song there are glimpses and nuances of the sounds from each members’ previous bands. Call it an homage of sorts, maybe? But in the end, it’s the same hard and heavy style of ON BODIES.
Tiny Engines is excited to welcome Brooklyn, NY indie rock band, Haybaby to the TE roster. The label will be releasing the band’s debut LP, Sleepy Kids, in the Summer of 2015. More details coming soon!
Somewhere between the art punk of Blonde Redhead and Sonic Youth, the classic indie rock of The Pixies and The Breeders and the attitude of Yeah Yeah Yeahs, Haybaby impatiently reside. The band also sprinkles a little bit of sludge and noise pop into the mix and balances their raw energy with deceptive and captivating melodies. There are brilliant structures at play here as Haybaby deftly allows these songs to create their own personalities. The band can be in your face with lyrical realness one moment while the next finds them casually sneaking a beautiful line right past you. But, regardless the approach, direct or indirect, Haybaby are thoughtful and creative with every musical step they take. These songs simply draw you in. They tell you stories. They kick your ass. They make you feel something. Sleepy Kids is the sound of a band probing to find that sweet spot and we’re just happy to listen to the process.
You can listen to the band’s 2013 Superpresent EP
From the already-mentioned forthcoming Howl EP, MTHR have released an acoustic version of the title track. As if its original form wasn’t haunting enough, the acoustic rendition of “Howl” amps up the melancholy and dreariness conducive to the current cold climate we’re experiencing. Rick Contes’ slow and steady guitar strumming paired with Ally Hoffman’s sweet and dream-like vocals that seems to echo, create a hollow and empty space to get lost in. It’s the sound of doom and gloom at its finest. And that is indeed a fine thing.