Coming in hot from Sydney, Australia, Half Cut‘s first EP for the HOMAGE label, Here in Full, is a great spin – seven tracks of house and electro dialed in and ready to make you cut a rug.
“Player” kicks it off with, appropriately, an electric kick drum, hi-hat, and snare and a heavy dose of 1980s early house music. That thick synth-bass is killer, and then comes in the sample of “This ain’t no game!” to remind you that creating funky house music can be serious business. “Floor Five,” the first single off the EP, moves us from the late 1980s into mid-1990s house music with its joyful synth-piano chords and gospel sound vocals.
Remember that thick synth-bass in “Player?” Well, it’s even thicker in “Free,” which practically jiggles your hips for you. “Noise” thumps and bumps with a slightly dangerous edge that I’m sure gets asses out of seats. The Crosby remix of “Noise” almost completely changes the tune, making it a sexy banger great for dance floors and bedrooms.
“Energy” is the workout song you didn’t know you needed on your cardio playlist until you hear it, and the way Half Cut samples a cut from “Pass the Dutchie” by Musical Youth will make your jaw drop.
L-R: Nao Demand (guitar), Will McAndrew (bass), Mac Kennedy (vox, guitar), Allen Chapman (drums) Photo By Kevin Gray
Poison Ruin’s highly anticipated album Harvest follows the release of their S/T debut which spread like wildfire throughout the punk and DIY community throughout the past two years. The Philadelphian band quickly amassed a following for their lo-fi, catchy metaphoric revolts that stab at the pulsing heart of what it means to live under the permanent midnight of contemporary life.
Harvest gazes at the world with a sense of grave seriousness, its stare softened only by the alluring seduction of a dream world’s open-ended possibility. Its songs move with a type of uncanny confidence, assembling an array of references to past styles and sensibilities that collapse in on one another, congealing into a truly unique sonic landscape.
Just ahead of its release, Poison Ruin share their melodic thrasher, “Torture Chamber” which questions the limits and conviction of one’s own beliefs: “What is a truth for which you’d die? And what are the words that could set you free?”
With Harvest, Poison Ruin aligns their sonic palette to their godless, medieval-inflected aesthetic symbolism, creating a record which strikes with an assured sense of blackened harmony.
“I’ve always found fantasy tropes to be incredibly evocative,” vocalist/guitarist Mac Kennedy notes, “that said, even though they are a set of symbols that seem to speak to most people of our generation, they are often either apolitical or co-opted for incredibly backwards politics.”
Harvest’s lyrics and imagery, Kennedy reworks fantasy imagery as a series of totems for the downtrodden, stripping it of its escapist tendencies and retooling it as a rich metaphor for the collective struggle over our shared reality: “Instead of knights in shining armor and dragons, it’s a peasant revolt,” he explains, “I’m all for protest songs, but with this band I’ve found that sometimes your message can reach a greater audience if you imbue it with a certain interactive, almost magical realist element.”
These are not superficial or self-aggrandizing political statements. Rather, Poison Ruin stares into the abyss of present-day life with a sober and empathetic outlook, portraying our cracked reality as a complex and difficult to parse miasma of competing desires.
Poison Ruin’s Relapse debut, Harvest was mastered by Arthur Rizk. It sees its release on April 14 alongside the reissue of their eponymous 2021 LP which has established the band as one of punk and the underground’s newest beloved treasures. Poison Ruin will tour extensively this year. Next up are two record release shows in NYC and their hometown, Philadelphia just before heading overseas for a full EU / UK run including a performance at Roadburn. See below for a full list of dates.
What lies in the Land of Sleeper, the new album by Pigs Pigs Pigs Pigs Pigs Pigs Pigs? One, heavy riffs. Two, the battle against existential dread and anger, judging by the lyrics. Lead singer Matt Baty has made no secret of how, on the band’s new album, he decided to give in to his urge to sing / scream about deep, dark subjects such as death, sloth, wrath, and how time can easily feel like it’s slipping away with each breath.
The opening guitar riff on “Ultimate Hammer” alone will knock you to the floor and shake you out of any doldrums. They seem intent on awakening us from slumber, both self-induced and imposed upon us by unseen forces. “Life passes by in the blink of an eye,” Baty sings while his bandmates charge at you with guitars and drums that sound like hundreds of band saws. The title of “Terror’s Pillow” alone gives you an idea of the dread Baty feels as he drifts off into sleep, and drummer Ewan Mackenzie‘s cymbal crashes roll over you like an avalanche.
“Big Rig” is the aftershock of that avalanche with John-Michael Hedley‘s bass leading the charge. In it, Baty sings of the grit and grime (both literal and metaphorical) that covers their hometown of Newcastle Upon Tyne, but how an old tree inspires him to keep on keepin’ on (“At times it withers, but come spring, it soldiers on.”). “The Weatherman” is downright spooky with its chant-like opening vocals and creepy guitar work by Adam Ian Sykes. “There’s a storm coming!” Baty yells. If thisis the sound of an impending storm, then that storm is going to wipe towns off the map once it arrives.
“Mr. Medicine” is a song of love and hope amid the pressures of the modern world, believe it or not (“That song you sang to me made me feel strong and completely fearless.”), and “Pipe Down!” is a great example of how Sykes and producer / fellow guitarist Sam Grant often trade shredding duties back and forth in the same song.
“Atlas Stone” is a song about carrying the weight of the world on your shoulders, and the band amplifies this message with crushing, heavy riffs. The closer, “Ball Lightning,” takes them, and us, into psychedelic doom landscapes as dark wizards plot alliances with unholy things that live in deep trenches and a band of five warriors from Newcastle Upon Tyne decide to take up their axes, swords, crossbows, shields, and mystical scrolls to, again, do battle for the sake of all of us.
I urge you to follow them into, through, and out of the Land of Sleeper. You’ll come out of the journey with a newfound power.
In 2020 Hannah Georgas released her Aaron Dessner-produced LP All That Emotion. Though a longtime favorite in her native Canada with a devoted international audience, the album was the most critically-acclaimed release of her career to date, earning a wave of positive attention from outlets like The Guardian, Pitchfork, NPR, The New York Times, FADER, Stereogum, New York Magazine, Consequence of Sound and Paste among many others. In 2021 she released an EP of alternate versions of tracks from the album, featuring contributions from friends and collaborators like Bartees Strange, Owen Pallett, The National’s Matt Berninger and Kate Stables, but today Georgas is sharing her first new music in three years with new single, “This Too Shall Pass”. The single is being released to mark the announce of her signing to Lucy Rose’s Real Kind Records, and is being released alongside a Joe Connor directed video, shot in London.
Where Hannah’s last record, 2020’s All That Emotion, was produced alongside Aaron Dessner, her next body of work finds Georgas behind the glass. Joining her are partner Sean Sroka (of Ten Kills The Pack) in a co-production capacity, keenly aided by James McAlister on drums (one of Sufjan Steven’s regular confidantes), Graham Walsh (whose synth and bass regularly peppers records by the likes of Holy Fuck and Metz), and Gabe Wax (Soccer Mommy’s go-to collaborator, but has also worked with War on Drugs, Kurt Vile, and Spoon) whose studio know-how and multi-instrumentalist acumen was a welcome addition to the process.
Ultimately though, Georgas sought to take the reins herself, taking back control of her own destiny, and cutting out too much outside influence. Recorded in Toronto with a treasure trove of analogue equipment and a work ethic that left no idea unturned, “This Too Shall Pass” signals a line in the sand, and the beginning of a new chapter.
Hannah Georgas on “This Too Shall Pass”: “I have a lot of internal pep talks, as a way to quiet my own doubts and insecurities. This song is a reflection of that, and a reminder to go a little bit easier on myself.”
“This Too Shall Pass” is the first introduction to a larger body of work by Hannah Georgas. Further details are to be announced later this Spring.
Today, The Beths present their new single, “Watching The Credits,” and unveil their incredible Tiny Desk Concert, proving once again that they are “one of the greatest indie-rock bands of their time” (Rolling Stone). “Watching The Credits” is a terrific power pop anthem recorded during the sessions of Expert In A Dying Field, the New Zealand quartet’s acclaimed 2022 album. Born out of songwriter Elizabeth Stokes’ habit of learning everything about movies without actually watching them, “Watching The Credits” is Stokes’ imaginary view from the director’s seat. Their accompanying NPR Tiny Desk performance downsizes their beloved live performance while maintaining their signature thrilling energy.
The Beths also announce more US dates around their Bonnaroo and Newport Folk Festival appearances, bringing their incredible set (and beloved inflatable fish) to many cities for the first time. The Beths’ summer and fall dates include two nights at Denver’s Mission Ballroom, three nights at Los Angeles’ Lodge Room (surrounding their sold out show at the Hollywood Bowl supporting Death Cab for Cutie and The Postal Service), plus three nights at New York’s Music Hall of Williamsburg. Full dates are listed below and general on-sale for new dates begins Friday, March 31st at 10am local time.
Expert In A Dying Field, the third studio album from The Beths, was released to a wealth of critical praise, and was named one of 2022’s best releases by the likes of Pitchfork, The Ringer, and Stereogum, who praised it as “another collection of tunes that cements their status as one of the great guitar-pop bands of this present moment.” Surrounding its release, The Beths were profiled by Rolling Stone, Document Journal, The Big Takeover and more, and made their US television debut on CBS Saturday Morning. With a full, almost entirely sold out North American tour already under their belt, and supporting slots for The National, Death Cab for Cutie and The Postal Service on the horizon, The Beths are undeniably one of the most exciting indie rock bands to emerge in recent memory.
The Beths Tour Dates (New Dates In Bold) Wed. May 24 – Bristol, UK @ SWX Thu. May 25 – London, UK @ Electric Brixton Fri. May 26 – Walton-on-Trent, UK @ Bearded Theory Festival Sat. May 27 – Leeds, UK @ Live at Leeds in the Park Sun. May 28 – Manchester, UK @ New Century Tue. May 30 – Glasgow, UK @ The Garage Wed. May 31 – Dublin, IE @ Whelan’s Fri. June 2 – Barcelona, ES @ Primavera Sound Festival Sat. June 3 – Ellerdorf, DE @ Wilwarin Festival Sun. June 4 – Berlin, DE @ Frannz Club Mon. June 5 – Hamburg, DE @ Uebel & Gefählrich Tue. June 6 – Cologne, DE @ Gebäude 9 Thu. June 8 – Porto, PT @ Primavera Sound Festival Fri. June 9 – Madrid, ES @ Primavera Sound Festival Sat. June 10 – Dijon, FR @ VYV Festival Mon. June 12 – Nantes, FR @ Stereolux Tue. June 13 – Paris, FR @ Petit Bain Wed. June 14 – Lille, FR @ Aéronef Fri. June 16 – Kansas City, MO @ Boulevardia Festival Sat. June 17 – Manchester, TN @ Bonnaroo Music & Arts Festival Sun. June 18 – Birmingham, AL @ Saturn Tue. June 20 – Orlando, FL @ The Beacham Wed. June 21 – Tampa, FL @ Crowbar Thu. June 22 – Gainesville, FL @ High Dive Fri. July 14 – Utrecht, NL @ Ekko Sat. July 15 – Rotterdam, NL @ Rotown Sun. July 16 – Nijmegen, NL @ Valkhof Festival Tue. July 18 – Liverpool, UK @ Hangar 34 Wed. July 19 – Newcastle Upon Tyne, UK @ Boiler Shop Fri. July 21 – Southwold, UK @ Latitude Festival Sat. July 22 – Steventon, UK @ Truck Festival Sun. July 23 – Sheffield, UK @ Tramlines Festival Fri. July 28 – Newport, RI @ Newport Folk Festival Sat. July 29 – Omaha, NE @ Maha Festival Tue. Aug. 1 – Philadelphia, PA @ The Met Philadelphia * [SOLD OUT] Wed. Aug. 2 – Philadelphia, PA @ The Met Philadelphia * Thu. Aug. 3 – New Haven, CT @ Westville Music Bowl * Fri. Aug. 4 – Pittsburgh, PA @ Mr Smalls Theatre Sat. Aug. 5 – Cleveland, OH @ Beachland Ballroom & Tavern Mon. Aug. 7 – Detroit, MI @ The Fillmore * Tue. Aug. 8 – Madison, WI @ The Sylvee * Wed. Aug. 9 – Minneapolis, MN @ The Armory * Fri. Aug. 11 – Denver, CO @ Mission Ballroom * [SOLD OUT] Sat. Aug. 12 – Denver, CO @ Mission Ballroom * Tue. Aug. 15 – Nashville, TN @ Ascend Amphitheater * Wed. Aug. 16 – Atlanta, GA @ Cadence Bank Amphitheatre at Chastain Park Thu. Aug. 17 – Carrboro, NC @ Cat’s Cradle Fri. Aug. 18 – Baltimore, MD @ Baltimore Soundstage Sat. Aug. 19 – Quincy, MA @ In Between Days Festival Mon. Aug. 21 – Cincinnati, OH @ Woodward Theater Tue. Aug. 22 – Kalamazoo, MI @ Bell’s Eccentric Cafe Sun. Aug. 27 – Seattle, WA @ THING Sat. Sep. 30 – Austin, TX @ Germania Insurance Amphitheater ^ Sun. Oct. 1 – Grand Prairie, TX @ Texas Trust CU Theatre ^ Tue. Oct. 3 – Phoenix, AZ @ Arizona Financial Theatre ^ [SOLD OUT] Wed. Oct. 4 – Las Vegas, NV @ The Theater at Virgin Hotels Las Vegas ^ [SOLD OUT] Fri. Oct. 6 – Seattle, WA @ Climate Pledge Arena ^ [SOLD OUT] Sat. Oct. 7 – Seattle, WA @ Climate Pledge Arena ^ [SOLD OUT] Mon. Oct. 9 – Berkeley, CA @ Greek Theatre ^ [SOLD OUT] Tue. Oct. 10 – Berkeley, CA @ Greek Theatre ^ [SOLD OUT] Wed. Oct. 11 – Berkeley, CA @ Greek Theatre ^ [SOLD OUT] Thu. Oct. 12 – Los Angeles, CA @ Lodge Room Fri. Oct. 13 – Los Angeles, CA @ Hollywood Bowl ^ [SOLD OUT] Sat. Oct. 13 – Los Angeles, CA @ Lodge Room Sun. Oct. 15 – Los Angeles, CA @ Lodge Room Tue. Oct. 17 – Brooklyn, NY @ Music Hall of Williamsburg Wed. Oct. 18 – Brooklyn, NY @ Music Hall of Williamsburg Thu. Oct. 19 – Brooklyn, NY @ Music Hall of Williamsburg
* w/ The National ^ w/ Death Cab For Cutie & The Postal Service
You often hear of a lot of music collections being described as “essential.” The term gets used to the point of near-meaninglessness, but in the case of Don’t Move, the collection of three years’ worth of material from both incarnations of Indiana synth and new wave legends The Last Four Digits, it’s true. In another universe, The Last Four (4, or 5) Digits are as well known as The B-52s or The Ramones, but in thisreality, their limited output only makes their legend better.
The first eight tracks of this compilation are songs from the first version of the band, The Last Four (4) Digits with Steve Grigdesby (rhythm guitar and vocals), John Koss drums and vocals), Mike Sheets (bass and vocals), and Richard Worth (lead guitar and vocals) – with synthesizers and mixing with Dave “A.Xax” Fulton. They’re all jittery, crunchy punk cuts that remind you of those scary kids you’d see hanging out of the mall in the early 1980s (I was one of them, by the way.). Heck, “Leave Me Alone” is practically a theme song for Generation X. The weird angles of Worth’s guitar and vocals on “Fast Friends” reminds you of Joy Division tracks.
Their version of Bo Diddley‘s / Captain Beefheart‘s “Diddy Wah Diddy” swaps out most of the raunchy guitars for weird synths…and it still works. “Another Sex Crime” has plenty of swagger, and “City Streets” is grungy synth-punk that would make early Devo proud. You’ll want “(I Want to Be an) Undertaker” on all of your Halloween playlists after hearing it, and you might as well add “Coughing Up Blood” while to your “birthday songs” playlists while you’re at it. “(I Sold My Soul to) Fotomat” is perhaps the beginning of what would become one of the main themes of the second version of the band.
The Last Four (5) Digits had Sheets switch from bass to guitar, kept Joss on drums, and brought Fulton out from behind the mixing board, and added Brad “Mr. Science” Garton on keyboards and vocals and Julie Huffaker on bass and vocals. As the liner notes of Don’t Move will tell you, they embraced “Abstract Commercialism” and began including TV themes, commercial jingles, and advertising concepts in their songs and live shows. “Don’t Move” takes on a darker tone that some of their other tracks, which I love.
“Liquids” is a great example of their love of commercial culture, sampling early 1980s ads and singing about drinking colored liquids, eating colored foodstuffs, and taking lots of drugs. “Act Like Nothing’s Wrong” is a fun song about trying to figure out what’s wrong with a lover while also trying not to piss off that same lover while doing it. “Babaloo No More” is a tale of Lucy Ricardo killing Ricky after he has an affair and Fred and Ethel threatening to boot her out of their apartment if she can’t make the rent. It’s funny, weird, and gives a hard kick in the junk to re-run TV. Their cover of “Mack the Knife” is equally strange, and “I Have Rental Car” is the sound of entitled people yelling about crap that doesn’t really matter.
The last eleven tracks on Don’t Move are a recording of their performance at CBGB‘s on Valentine’s Day 1982. They open with the simple announcement of “Hi. We’re The Last Four Digits,” and then go straight in to “Liquids.” Huffaker’s bass is so heavy on the live version of “Leave Me Alone” that it almost levels the room. They turn the grisly “Coughing Up Blood” into a pogo-inducing rocker, but change the lyric “Coughing up blood on your birthday!” to “Coughing up blood on your Valentine!” in honor of that night.
They cover of “Return to Sender” and then throw down a thudding version of “Act Like Nothing’s Wrong,” followed by a nearly panicked version of “Babaloo No More.” Up next come covers of “Mack the Knife” and the theme to the wild sci-fi film The Green Slime. The live version of “I Have Rental Car” is even more frenetic and unhinged than the studio version.
It’s a crucial collection if you’re into vintage no wave / new wave stuff, and the addition of the live tracks is a boon for collectors and enthusiasts. Don’t skip it if you can find it. I scored it for 99 cents at Reckless Records in Chicago earlier this year – a massive steal.
Music from a Sparkling Planet is a wonderfully titled compilation of Esquivel‘s space-age bachelor pad music consisting of Esquivel’s arrangements of other contemporaries’ music and his own compositions.
“Cachita” instantly plunges you into the groovy swimming pool of his music with his trademark blend of “latin-esque” sounds, beats, and grooves. “Cherokee” is idyllic to the point of mild hypnosis. “Third Man Theme” is more upbeat than anything you’d see in the Orson Welles movie. It belongs in a goofy European sex comedy from the 1960s about a guy who’s always bumped from hooking up with a lady because he’s the third wheel.
The electric piano on “La Bikina” is delightful. “La Paloma” and “Cachito” (the brother to “Cachita”) keep you in the lounging mood. The mellow accordion on “Cachito” is a neat touch. On “Granada,” he throws in those vocal “Zu zu zu” sounds that only he could make work in a tune, and combines them with Ennio Morricone-like trumpet.
“Question Mark (What Can You Do)” is one of his fully original compositions and arrangements, and it’s bold and bouncy and all-around fun (like the entire collection). “My Blue Heaven” is a quick, jumpy number that hops straight into his excellent version of “All of Me,” which practically throws you into a time machine and dumps you on the Las Vegas Strip circa 1965.
“Poinciana” is great example of Esquivel’s work. It has all the elements you want: Bold brass sections, jazzy piano, sultry vocal sounds, exotic percussion, and slightly psychedelic guitar work. “Flower Girl of Bordeaux” is perfect for rushing through the streets of a foreign land with someone beautiful in a quest of sexy adventure. “Boulevard of Broken Dreams” sends us out on a “cha-cha-cha.”
You can’t go wrong with stuff like this. It puts you in a better mood and transports you to faraway places that might be on Earth or in outer space.
Pierre Kwenders, the “arresting Congolese Canadian musician whose scramble of genres, languages, and worlds sounds like the future” (The New Yorker), last year released his deeply personal and innovative album José Louis And The Paradox Of Loveon Arts & Crafts, going on to win the coveted 2022Polaris Music Prize awarded to the Best Canadian Album. Fresh off two stints of touring North America in support of the album, including a stop at KEXP, Kwenders today announces a deluxe edition of José Louis And The Paradox of Love, out June 30th on Arts & Crafts, and presents its lead single, “SMT.” José Louis And The Paradox of Love Deluxe features three brand new songs—“SMT,” “Niata,” and “Good”— along with “Vibraçao,” a reworked version of original album standout, “Heartbeat,” this time featuring Sarah Kalume. In conjunction with today’s announcement, Kwenders also announces a run of festivaldates in North America and Europe. A full list of dates are below.
Lifted from the recording sessions of José Louis, “SMT” is an infectious dancefloor track that is both a love letter to and an intervention with social media. An acronym for Social Media Therapy, “SMT” sees Kwenders calling out the magic and the pitfalls of total connectivity. Kenders sings in his signature blend of English, French, and Lingala over a minimal soca-inflected beat with melodious flourishes courtesy of the international production trio of PEDRO (Portugal), ESQO (Chile), and CarloMarco (Chile).
“‘SMT’ calls for a reflection on our use of social media networks and rather good or bad we must question its effects,” says Kwenders. “At this moment in time, social media has taken an important place in our day-to-day lives. As beneficial as it may be, we can find ourselves trapped – what happens online also affects us in real life. Nonetheless, it has become a problem solver, an outlet for joy, pain & communication. It makes us laugh, cry, support, look down upon, and apologize endlessly. After all that we do it all again. The online wailing wall or maybe the Goliath of our generation. Social media therapy is what we need. Social media therapy is a necessity.”
Born in Kinshasa, capital of the Democratic Republic of Congo, Kwenders borrows his stage name from his late grandfather, a widely respected businessman and community figure. Following his mother’s footsteps, in 2001 Kwenders immigrated from Congo to Montreal. José Louis and the Paradox of Love is a culmination of personal growth and the musical dexterity Kwenders has honed over the years, converging his strong songwriting capabilities with the bravado he possesses as a DJ. The album explores an ongoing search to grasp the universal complexities of romance, sometimes through the lens of Kwenders’ own intimate experiences. The songs were written and recorded over the span of four years, and the album is symbolically titled after his birth name, José Louis Modabi. Through different moments of tension and release, romantic narratives of beauty and disaster are packed into powerful poetic musical vignettes.
I almost didn’t come to this show. The venue, Sleeping Village, was over two hours’ driving time from my house. It was on a Tuesday night, and it started late – 9pm Central time, which is 10pm in the Eastern time zone where I live. I worked an eight-hour shift that day and had to work another the following morning. I guessed I wouldn’t get home until 2:30am if I was lucky.
Then I learned that this would not only be the first time Pigs Pigs Pigs Pigs Pigs Pigs Pigs would be in Chicago, but it was their first U.S. tour ever. That’s when I knew I had to be at this show, and they’d already announced tickets were running low. I snagged one of the few remaining tickets and got in a disco nap before making the drive.
This was also the first show I’d seen at Sleeping Village, which is a nice, small venue. The stage and viewing area are in a space smaller than some convenience stores. As soon as I walked in and saw the size of the space, and knew how powerful a Pigs x 7 show could be, I thought, “They’re going to destroy this place.”
First to start the demolition were local noise-psych rockers The Tomblands. They brought a wall of guitars, two drummers, and a ton of energy to the stage. They also encouraged all the locals to get out and vote in the upcoming Chicago mayoral election.
The Tomblands
The lads from Newcastle Upon Tyne came out at 10pm (Central) sharp and kicked things off with the raucous “Mr. Medicine” off their new album, Land of Sleeper. The power they unleashed felt like someone threw open the door of a blast furnace.
(L-R: Adam Ian Sykes, John-Micheal Joseph Hedley, Matthew Baty, Sam Grant)
They tore through “Rubbernecker” and “Halloween Bolson,” with lead singer Baty bouncing, stomping, and prowling around the stage like a kabuki performer, bassist Hedley played like his guitar he was holding an electric eel, and Sykes and Grant kept trading shredding solos.
Some of us finally got a mosh pit started by the time they got to “Ultimate Hammer” and continued to floor the audience with their combination of metal, doom, and punk. “Big Rig” was especially wild, and “GNT” and closer “A66” were downright fierce.
Ewan Mackenzie back there on drums.
I got to shake hands and chat a bit with the porcine quintet after the show and asked Baty how the tour had been so far, especially after it was so long coming after 2020 shut it down the first time.
“It’s been…fucking amazing,” Baty said. “We thought we’d be playing shows to, like, fifty people, and they’ve all been like this. It’s incredible.”
It was.
Keep your mind open.
Thanks to the nice young lady who let me snap this photo of the set list she scored.
[Don’t forget to subscribe before you split.]
[Thanks to Pigs Pigs Pigs Pigs Pigs Pigs Pigs for the show, autographs, and chats!]
Decorated with wind chimes and childhood nostalgia, Dorthia Cottrell’s new single “Harvester” longs for nature. She explains, “Where I’m from, and probably most rural places in the U.S., there is a strong Christian religious presence, whether you identify as being religious or not, and it was always my feeling that that has a lot to do with being surrounded and immersed in nature and every part of your life being at the mercy of it – even when it is merciless and brutal. When you’re surrounded by something so vast and beautiful, the presence of ‘god’ and whatever that might mean to anyone, is blatant and undeniable. To me, ‘god’ is nature and God is Mother Earth, so also to me, when I’m back home or anywhere like that I feel deeply the presence of my own idea of spirituality, the wonders of it and the feeling of being something small in the face of something totally out of your control.
That’s what ‘Harvester’ is about. Bad or good, in the patterns of nature you can see the patterns of all life, maybe even the patterns of the universe too, and that symmetry to me is god, and I’m grateful for it.”
Across both her solo work and as the vocalist of renowned doom band Windhand, Cottrell envisions her music as both a document of love and a reconciliation with death. On her new album, Death Folk Country, Cottrell wards off death through creation – the most distilled form of love. The spirit of love passed on through her words will be the ultimate reward for earthly suffering. Cottrell’s enigmatic presence guides listeners down a path of introspection – Death Folk Country‘s massive scope touches upon tales of love, loss, and so much more.
Cottrell was raised in rural King George, Virginia, a town with less than 5,000 inhabitants. Forests and tall-grass fields stretched before her. Beauty and boredom soared. That vague melancholy and memory of the American South is smudged all over Cottrell’s music. Cottrell grew up a goth, an outcast in a small town – a time and place she revisits throughout Death Folk Country.
“This album to me is about painting a picture of a place where my heart lives,” Cottrell explains. The title ‘Death Folk Country’ is partly me describing a genre that fits the sound – but it’s also meant to be taken as a Naming, a coronation of the world inside me. ‘Death Folk Country’ is the music and also the land where the music takes place, and the two have always been inextricable from each other.”
Cottrell’s voice, a soaring alto, fills the emptiest of canyons. Singing in echoing harmony with itself, her voice is a kind of prophecy, bringing home to the present thoughts and realizations from the future, even as Cottrell buries herself in remembrance of the past. Death Folk Country takes these nostalgic ideas of “home” and confronts them with their own imperfections and darkness.
The album sees its release April 21 via Relapse Records, her first for the label and follow up to her highly acclaimed, 2015 S/T solo debut. All songs on Death Folk Country were written / played by Dorthia Cottrell and recorded / produced by Jon K. and Cottrell at SANS Studios in Richmond, Virginia.
