Rock – Page 106 – 7th Level Music

Exhalants’ first single from upcoming album is a “Bang.”

Austin, TX trio Exhalants announce their forthcoming sophomore album Atonement today and share the lead single via Metal Injection. Hear and share “Bang” HERE. (Direct Bandcamp.)

Exhalants began in 2017, sprouting from their local DIY and club scenes with one goal in mind: be loud as f*ck. The three-piece quickly cut a demo, played some shows around town, and then set out to record their first full length not long after that. That first LP yielded a strong collection of songs that balanced the moody experimentation of indie heroes like Unwound and the harsh distortion and feedback-drenched noise rock of Unsane, coupled with raw emotion on display. The record received a great amount of acclaim, which helped Exhalants tour throughout the U.S. During this time they also recorded a split 7″ with fellow Texas trio Pinko (Hex Records) to have while both bands were out on tour together.

Immediately following the release of their self-titled debut album, Exhalants started working on new material. They spent most of 2019 writing and touring, fleshing out newer material on the road while still promoting their 2018 debut. While on their West Coast Tour, Hex Records spent a couple days getting to know the people in the band and offered to release their next record for them. After wrapping up both West and East Coast tours, Exhalants focused on finishing the rest of the record and decided to take Hex up on the offer. Plans began to emerge for what would become their second LP, Atonement.

The band began recording the album in the spring of 2020 in their practice space, with a pandemic looming on the horizon. While the pandemic caused some hiccups with getting things finished in the studio in a timeframe they had planned on, it eventually came together with a great deal of DIY know-how and taking some of the mixing duties into their own hands.

Exhalants hail from Austin, Texas. The members all have roots with playing in multiple bands around the area and have been employed by various venues in town, so they are no strangers to the community aspect and DIY nature of playing the sort of decidedly non-mainstream music they do. With a mountain of amps, precision pounding drums, eardrum-rattling feedback, and a healthy dose of experimentation Exhalants are easily one of the more exciting newer bands to gain attention within the punk/noise rock arena in recent memory. Atonement aims to push that sound further for anyone willing to listen.

Atonement will be available on LP, CD and download on September 11th, 2020 via Hex Records.(Pre-order HERE.)

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Dream Nails get fit and free with new single – “Jillian.”

London punks Dream Nails have been the subject of considerable excitement in the UK since they first emerged on the DIY scene. Releasing a stream of singles and an EP, they have earned high praise from places like VICE, DAZED, The Guardian, Clash, Nylon and i-D who called the band “the best all-girl punk queertet since Bikini Kill.” Noted for their strong emphasis on empowerment from a queer feminist perspective and their involvement in a host of political causes, the band’s budding reputation has seen them tour in the UK and Europe with Cherry Glazerr and Anti-Flag, and make three consecutive appearances at Glastonbury all before releasing their first LP. Today the band are announcing their debut self-titled full length, which will be released August 28th by Dine Alone (City & Colour, Alexisonfire, The Chats) in North America and UK indie Alcopop! (Art Brut, Kississippi, Tigercub) for Rest of World.

WATCH: Dream Nails – “Jillian” video on YouTube

The band have been compared to The Slits (VICE) and Elastica (The Guardian) in the past, and shades of both are present on their latest single “Jillian,” a song about queerness, body positivity and problematic TV fitness celebrity Jillian Michaels.

“This is a song about realizing you’re queer while you’re doing a workout DVD,” explains singer Janey Starling. “It’s a personal-power anthem about finding the strength to come out; that’s what the line ‘I feel the fear leaving my body’ is all about.

“Both [bassist] Mimi and I discovered strength training through Jillian Michaels’ ‘30 Day Shred’ home DVD, and the catch-phrases were too good to not make a song from! Since then, she’s said some uncool and unkind stuff to Lizzo, which we were really gutted to hear. This song is very much about finding your own strength, regardless of your body shape.”

Dream Nails self-titled LP is due out August 28th via Dine Alone and Alcopop! Pre-orders for ‘Dream Nails’ are live today and can be found HERE. Physical vinyl bundle includes a 40-page signed zine. In true punk DIY fashion, the zine is handmade by the band, featuring lyrics, articles and background to the songs on the album.

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EMBR releases heavy new single – “Where I’ve Been” from upcoming album.

Birmingham, AL quartet EMBR share a video for a new track from their forthcoming debut album 1823 via The Obelisk. The album is the band’s first release signed to UK label New Heavy Sounds (Mammoth Weed Wizard Bastard, Vodun, Blacklab).

Watch and share “Where I’ve Been” HERE. (Direct YouTube and Bandcamp.)

Revolver Magazine previously launched the video for “Your Burden” HERE. (Direct YouTube.) CvltNation shared the single “Eyes Like Knives” HERE.

Four musical kindred spirits have delivered a crushing, yet beautiful debut album in 1823. At this point, it is worth stating that the title 1823 has special significance. It’s not just a numerical title, it has substance. Eric Bigelow (drummer) has been on the list for a kidney for around 4 years. Eric received a kidney transplant in May of 2019. This happened right in the middle of writing the album. The kidney was from a deceased donor and all Eric and Crystal Bigelow (singer and Eric’s wife) know about the donor is that it was a young woman between the ages of 18-23. The album is dedicated to the donor and the surgeons at Vanderbilt hospital in Nashville TN. And what a fine tribute it is. Musically, 1823 could be categorized as ‘Doom’. However, on this debut it’s obvious that EMBR have range, drive and a desire to add to the genre, to broaden it whilst staying true to its core fundamentals. Rest assured, the band have all the nuts and bolts in place. Mark Buchanan (guitar), Alan Light (bass) and Eric Bigelow (drums) keep everything tight and weighty. Massive drop-tuned guitars, chest rattling low end, pounding drums, fuzzy distortion, it’s all there. But they also add in synths, a bit of grunge and alt rock flavors.

The vocal talents of Crystal absolutely soar and strengthen the music. Her range, patterns and harmonies transport the band’s music skyward. Crystal adds soul and an air of melancholia to the musical creations. If a pointer were needed, think Mastodon meets Witch Mountain with epic sweeps and a shade of gothic drama. Tracks like ‘Prurient’ and ‘Where I’ve Been’ combine thick heavy riffs with Crystal weaving through, powerful and epic, yet soulful and intimate. Musically, the bands core vibe is keep it slow and low’ but EMBR aren’t afraid to mix it up a bit. ‘Stranger’ takes it down, allowing Crystal’s voice to float over the softer elements and riffs in an almost folk-like manner. ‘Powder’ channels throat ripping growls and soaring clean vocals in one loping relentless journey. ‘Eyes Like Knives’ , ‘Your Burden’ and ‘Vines’ are epic doom fests, drenched in gothic veils and dripping with thick distortion. The lyrics are deep and are usually written collectively by Crystal and Eric with one of them sometimes taking the reins on certain songs that they identify with. For instance, “Powder” is a song Eric wrote about past struggles and trying to power through them with relentless determination and positivity. “Prurient” was written by Crystal and initially was based on the 2016 movie The Boy but also was inspired by her past experiences with a haunting figure in her life. The songs on 1823 are loud, brutally beautiful, aggressive, abrasive and at times atmospheric, uplifting and emotional. Welcome to the next chapter of EMBR.
1823 will be available on LP, CD and digital on July 17th, 2020 via New Heavy Sounds. Pre-orders are available HERE.

On The Web:

embrrockband.com

newheavysounds.com

instagram.com/embr_band

facebook.com/embrband

twitter.com/embr_rock_band

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Review: Kestrels – Dream or Don’t Dream

The first thing you notice about Kestrels‘ new album, Dream or Don’t Dream, is the wall of guitar that smacks you in the face and then the soft vocals of guitarist / singer Chad Peck. It’s a powerful one-two combination, but in reverse – like a boxer whacking you with the cross and then fading out with the jab.

This is apparent in the opening track, “Vanishing Point,” which flows back and forth between roars and whispers. The equally heavy “Grey and Blue” includes some frantic drumming from Michael Catano and a guitar solo by none other than J. Mascis (who, of course, shreds it).

“I wanna be where you are. Could I find you there?” Peck asks on “It’s a Secret” – a rocking song about unrequited love that wouldn’t be out of place on a Matthew Sweet album. “Don’t Dream” crashes like surf waves and then bursts back into heavy guitar chords that remind me of Hum tracks. “A Way Out” has some of Catano’s snappiest drumming and I love how it’s on equal footing with Peck’s impressive guitar work throughout the track.

The raw fuzz of “Everything Is New” mimics the energy Peck probably felt while constructing the album after his original backing band split up in 2016. “Dalloway” has a cool, deep bass groove throughout it that mixes well with straight-up shoegaze guitars. “Keep it close from the start. Watch it all come apart,” Peck sings on “Keep It Close” – a song about how fast things can dissolve, and how to recover from such a thing. “Feels Like the End” has some neat chops from Catano that zig and zag around Peck’s shredding. “Lost in the thought again, feeling like it’s all going to end,” Peck sings on the closing track, “Say Less.” It builds to a crescendo and then pulls the rug out from under you to drop you into a psychedelic rabbit hole that leads to another tunnel of fuzzy distortion that takes you to Peck’s biggest and best solo on the record. It’s a hell of an ending.

Dream or Don’t Dream is a nice bit of shoegaze and dream pop that gets in your head with solid grooves and blistering guitar solos.

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Review: The Beths – Jump Rope Gazers

Most, if not all, of The Beths‘ new album, Jump Rope Gazers, was written while the New Zealand band (Tristan Deck – drums, Jonathan Pearce – guitar, Benjamin Sinclair – bass, Elizabeth Stokes – guitar and lead vocals) was touring North America and Europe. They were thrilled to be making a dream come true, but still missing everyone back home and across the world as they made new friends.

Opening track, “I’m Not Getting Excited,” has Stokes singing about the thrill of those dreams and the tenuous grasp she has on them (“I’m not getting excited, ’cause my fight and my flight are divided, and so I don’t enthuse, keep my grip on joy loose.”). Pearce’s guitar solo on it is a ripper, and the following track, “Dying to Believe,” has Stokes breathing easy after cutting the cord on a bad relationship (“There was a weight that you were weighing down on me. Six months ago I could hardly breathe, and now I’m lighter, finally.”). The beat on it is great. It will get you moving with a joy that sneaks up on you.

The title track has Stokes missing a love separated from her by time and distance (“I’ve never been the dramatic type, but if I don’t see your face tonight, I…well, I guess I’ll be fine.”). It’s a lovely track with bright guitar chords to keep it from being too melancholy. The power pop groove of “Acrid” is a great contrast to the song’s title. “Do You Want Me Now” has some of the boldest lyrics about missing someone while on tour – “Long distance is the wrong distance. There has never been a gulf quite as great as the one we wished into existence.” Damn. That is real.

Deck’s drum work on “Out of Sight” is excellent, knocking out wicked snare licks and rim taps so fast that he sounds like a typewriter (Remember those?) being operated by the Flash. “Don’t Go Away” is a song directed at a friend of the band who “flew north, left us in the south” and has the band unleashing heavy Weezer-like riffs made for blasting out of your dorm room windows.

“Mars, the God of War” is a great song of rage disguised in a power pop tune. Don’t believe me? Then you’ll probably believe Stokes’ lyrics of “I wish I could wish you well, instead I’m hitting my head and hitting backspace on ‘Can’t you just go to hell.’ Boom. “You Are a Beam of Light” is a beautiful acoustic track about seeking bright light and feelings in dark times. The closer, “Just Shy of Sure,” has Stokes tip-toeing back into the pool of love, but asking her lover to be patient. She’s been gone for a long while and has almost forgotten how to engage in the “real” world.

It’s another lovely record from The Beths. Stokes is a keen lyricist who gets better with each record.

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Review: King Gizzard and the Lizard Wizard – Chunky Shrapnel

The cover of King Gizzard and the Lizard Wizard‘s “first” live album (not counting the three live recordings they released earlier this year to benefit Australian wildlife charities), Chunky Shrapnel, features an image of a seven-headed hydra (the same number of guys in the band) surrounded by speakers hooked up to analog equipment to produce weird digital images signifying their already tremendous output of albums and songs, such as Infest the Rats’ Nest (bottom middle), “People Vultures” (bottom right), and even the cyborg Han-Tyumi from Murder of the Universe (second down from the top on the right).

It’s a neat image because it not only tells you what’s in store for you on this great live album, but also a nod to the blending of music and modern technology. The band released a Chunky Shrapnel concert film in a limited stream earlier this year. A full-blown theatrical / wide streaming release is in the works, but this album is a great taste of what to expect from it – and any live KGATLW show (which never disappoint).

The album is sprinkled with studio instrumentals (“Evil Star,” “Quarantine,” “Anamesis”) and the rest is stuffed with live tracks recorded in Luxembourg, Madrid, Manchester, Utrecht, London, Brussels, Milan, Berlin, and Barcelona) over the course of their 2019 world tour. The first live track is a wonderful, jazzy version of “The River.” It’s a neat choice to open your live album with a mellow track (that blooms into an epic jam around the three-minute mark) to get the listener grooving. “Wah Wah” gets the Madrid crowd chanting and jumping. “Road Train” is a nice, crazy follow-up, and the trippy “Murder of the Universe” lets them jam at will as Han-Tyumi’s vocals echo around them from some unseen machine.

The version of “Planet B” unleashed on the London crowd is downright dangerous, somehow sounding twice heavier and faster than the album version (which is already damn heavy and fast). “Parking” is a fuzzy two-minute drum solo that leads into the blazing “Venusian 2” and “Hell” that threaten to incinerate and / or flatten the Milan venue.

The bluesy, swaggering “Let Me Mend the Past” gets the Madrid crowd whooping and hollering. “Inner Cell” brings back a bit of menace. “Loyalty” and “Horology” both flow well together and ease us back down before nineteen minutes of “A Brief History of the Planet Earth” pieced together from four different shows. The song ebbs and flows, being manic one moment and euphoric the next. It’s full of noodling jams and more fuzz than a koala bear. There’s even a moment when they pass a beer through the crowd to their sound man accompanied by frenzied riffs.

It’s another great, stunning album from KGATLW – who by now are obviously unstoppable.

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Review: King Gizzard and the Lizard Wizard – Live in Brussels ’19

One of three live albums released by King Gizzard and the Lizard Wizard for Australian wildlife charities, Live in Brussels ’19 is a wild, heavy set drawing on a lot of material from Murder of the Universe, Nonagon Infinity, Infest the Rats’ Nest (their newest album at the time of this tour – October 2019), and Fishing for Fishies.

Opener “Evil Star” is a fuzzy instrumental appetizer to the meaty, heavy “Venusian 2.” The crowd is in full battle mode when they arrive at the sludgy “Superbug.” Lead singer Stu Mackenzie‘s vocals sound shouted to the moon and I’d be remiss if I didn’t mention Lucas Harwood‘s bass rooting the tune in a solid stoner metal groove. “The Lord of Lightning” begins as a neat psychedelic jam that gets the crowd clapping and grows into the powerful story of a wizard fighting a monster.

“Altered Beast IV” has some of Michael Cavanaugh and Eric Moore‘s best double drumming. The crowd goes wild for “People Vultures” – and rightly so, since it seems to be played at double the normal speed of the album cut. The groove of “This Thing” is undeniable, and Ambrose Kenny-Smith‘s harmonica work on it is always top-notch.

“Sense” slows things down to a happy vibe. “The Wheel” might be the trippiest song on the album. Kenny-Smith’s vocals are warped, and Mackenzie, Cook Craig, and Joey Walker‘s guitars move around each other like cats high on catnip. “The Bird Song” is always a delight – live or otherwise. The band always sounds happy while playing it, and you can’t help but partake in their joy.

“Down the Sink” has a fun new wave vibe to it. “Work This Time” floats the audience about five feet off the hall floor with its hazy, meditative feel. Plus, the guitar solo on it is great. The band then gets the crowd roaring again with “Robot Stop.” The opening chords alone make the audience frantic before it explodes into chill-inducing mania. “Big Fig Wasp” continues the chaos with its microtonal riffs. “Gamma Knife” comes at you like a whole swarm of the aforementioned wasps.

The closer, “Float Along – Fill Your Lungs,” is jaw-dropping. It’s a stunning piece of psychedelia that floats along for over twelve minutes and probably left the Belgian audience euphoric.

It’s another great slice of the King Gizzard and the Lizard Wizard pie and does what any good live album should do – make you want to see them live as soon as possible.

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Fenne Lilly’s new album, “BREACH,” is due this September, but the lead single, “Alapathy,” is available now.

Bristol-based musician Fenne Lily announces BREACH, her second album and first for Dead Oceans, out September 18th. It presents a newly upbeat and urgent streak to her songwriting, immediately evident with lead single “Alapathy,” and its accompanying video directed by Benjamin Brook. BREACH is an expansive, diaristic, frequently sardonic record that deals with the mess and the catharsis of entering your 20s and finding peace while being alone. It’s the follow-up to 2018’s On Hold, a tender collection of open-hearted songs written during her teenage years which deemed Fenne “a new and extraordinary voice capable of wringing profound and resonant moments out of loss” (The Line of Best Fit).

Fenne wrote BREACH during a period of self-enforced isolation pre-COVID, after a disjointed experience of touring Europe, followed by a month alone in Berlin. The album deals largely with “loneliness, and trying to work out the difference between being alone and being lonely.” Although its subject matter is solitude, it sounds bigger and more intricate than anything Fenne previously released. She recorded with producer Brian Deck at Chicago’s Narwhal Studios, with further work at Electrical Audio with Steve Albini who helped flesh out her sound with vast, rich guitars.

The insistent percussion of the album’s first single, “Alapathy,” mimics the anxious racing thoughts Fenne deals with as an overthinker and chronicles how she “started smoking weed to switch off [her] brain.” The title is a made-up word that merges “apathy” and “allopathic” (as in Westernized medicine). “Western medicine generally treats the symptoms of an illness rather than the cause,” explains Fenne. For Fenne, taking medication to improve her mental health didn’t solve her problems — she felt like she was only treating the effects of her discomfort, not the reason for it. Its stylized accompanying video features Fenne enjoying solitude in various ways.

It’s that journey to find peace inside herself that underpins the whole of Fenne’s second album. Its title, BREACH, occurred to Fenne after deep conversations with her mum about her birth, during which she was breech, or upside down in the womb. The slippery double-sidedness of the word – which, spelled with an “A”, means to “break through” – drew her in. “That feels like what I was doing in this record; I was breaking through a wall that I built for myself, keeping myself safe, and dealing with the downside of feeling lonely and alone. I realized that I am comfortable in myself, and I don’t need to fixate on relationships to make myself feel like I have something to talk about. I felt like I broke through a mental barrier in that respect.” Even though it also carries implications of awkwardness, rebellion, and breakage, it’s a wide-reaching word, representing new beginnings and birth.
Watch Fenne Lily’s Video for “Alapathy”

Listen to “To Be A Woman Pt. 2”

Listen to “Hypochondriac”

Pre-order BREACH

BREACH Tracklist
1. To Be a Woman Pt. 1
2. Alapathy
3. Berlin
4. Elliott
5. I, Nietzsche
6. Birthday
7. Blood Moon
8. Solipsism
9. I Used To Hate My Body But Now I Just Hate You
10. ’98
11. Someone Else’s Trees
12. Laundry And Jet Lag

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[Thanks to Jessica at Pitch Perfect PR.]

Jess Cornelius’ “Body Memory” is a lovely ode to heartbreak.

Los Angeles-based musician Jess Cornelius releases a new single/video, “Body Memory,” from her debut album, Distance, out July 24th on Loantaka Records. It follows the Roy Orbison tinged rave-up, “Kitchen Floor.” On “Body Memory,” the last song she wrote for the record, Cornelius intones over a calming electro-rhythm “When we met I used to make you laugh/then we lost the baby and it broke my heart,” adding later: “My body has a memory and it won’t forget.” Its accompanying video, the second she’s made since the start of the pandemic lockdown, was created by Cornelius and her partner and filmed on an iPhone at Lake Isabella, California. Cornelius elaborates on the video:

“Originally I had a much more elaborate, narrative-based concept, where I was this woman running away from a cult, (hence the tracksuit and Nikes), to be filmed in Oildale and Posey where my partner, Joe, is fixing up an old cabin. At the last minute, we decided to drive to Lake Isabella because of supposed good visuals there. I was grumbling all the way there about how the location wouldn’t fit with my shot list, but when we got there and I started dancing on rocks, we just threw away the shot list and made it up as we went along. The editing was fun because I’m teaching myself Premiere Pro (thanks YouTube tutorials) and I got to throw every hilarious video effect at it. We were also heavily influenced by Laraaji’s videos, obviously.”
Watch Jess Cornelius’ Video for “Body Memory”

Cornelius first began writing the songs that would comprise Distance after moving from Melbourne, Australia to Los Angeles. At the time, she was excited to start fresh after several years as the primary songwriter in the band Teeth and Tongue. But the distance she addresses over the album is hardly a geographical one. The journey over Distance is a celebration of newness. New beginnings and new perspectives on endings. From the chaos of a vagabond lifestyle to expecting a child just weeks before the albums’ release and researching how to tour as a mother in the coming years.

While the sonic tones and textures on the album evoke certain classic staples of Americana, soul and rock and roll, Cornelius’ lyrics anchor the songs to a deeply personal place. She sings of a miscarriage, a messy romantic affair, and the frustrations that come with having a partner. Distance finds a deft songwriter analyzing the space between society’s expectations for her and her own dreams, the illusion of love and the reality of disappointment, and a past she is ready to let go of and a future she could have hardly imagined.

Watch Jess Cornelius’ “Kitchen Floor” Video

Watch “No Difference” Video

Pre-order Distance

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Rewind Review: Oh Sees – Floating Coffin (2013)

Part-psychedelia, part-punk, part-garage rock, Oh Sees’ excellent 2013 album Floating Coffin is a wild race and a heavy trip. I mean, just check out that cover.

The album gets off to a great start with the instant mosh pit-inducing “I Come from the Mountain.” I’ve lost track of how many bodies I’ve collided with in pits during this song at their live shows. Frontman John Dwyer sings about the frustrations of relationships (“No one likes heartache or the kind, everyone’s a problem sometimes.”) while throwing down fierce guitar riffs. “Toe Cutter – Thumb Buster” makes you want to pogo no matter where you are, so be careful if you’re listening to it while driving or operating heavy machinery.

The title track has a manic energy to it that is difficult to describe but instantly recognizable if you’ve heard any other Oh Sees records. I’m pretty sure it’s a song about death (Go figure.) as Dwyer sings about lying down, drinking up the sky, and seeing God. “No Spell” brings in some psychedelic jamming (and wild drumming) for Dwyer and his crew to stretch their muscles.

The driving force of “Strawberries 1 + 2” is damn near unstoppable, with only heavy cymbal crashes and floor tom beats to break up the relentless wall of guitar in it. Songs like “Maze Fancier,” with lyrics like “A grave inside a cave, a maze inside a maze,” make me want to run a Dungeons and Dragons game for John Dwyer. The song has a great bass groove throughout it to boot.

Weird, wobbly synths start “Night Crawler” before orc army drumming comes in to shake us up and Dwyer’s echoing vocals contribute further to the haze drifting around our heads. “Sweets Helicopter” sounds like the name of a lost 1970’s live-action Saturday morning kids TV show, but it another song about death…with soaring solos from Dwyer that almost sound like bagpipes. “Tunnel Time” seems to be about a serial killer stuffing bodies under his house or a caretaker of some kind of tomb (“Can’t remember the faces or even the names. I’ve been cleaning up bodies. They all look the same…to me.”). The mixture of guitar and synths is great in this track. The closer, “Minotaur,” is about being stuck in the corporate rat race maze (“I get sick at my work everyday. There is no cure but to stay. Stay away without pay and the horns on my header are getting thicker with each day.”).

It’s a fun, loud, bold record perfect for getting your blood pumping and your head spinning. If you need something to rev you up while you’re stuck in self-isolation and cleaning your house, here you go.

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