Opening with something that sounds like a song you’d hear on the tape deck of one of those Blade Runner flying cars, Flasher‘s debut full-length album, ConstantImage, is strongly self-assured post-punk. That opening track, “Go,” encourages you to “suck it up” and get ready for a fast ride.
“Pressure” builds with its namesake until the chorus, and even then it doesn’t let up too much. Daniel Saperstein‘s bass seems like it’s all over the place, but he grounds the tune like metal stakes into circus tent loops. I like how Saperstein’s vocals blend with those of Emma Baker (drums) and Taylor Mulitz (guitar) on “Sun Come and Golden.” The whole track has a brightness to it, but it doesn’t ignore the shadows caused. “Material” raises the attitude of the record, as Mulitz’s vocals border on snotty punk and throw down the right amount of tongue-in-cheek sass.
Mulitz’s guitar buzzes like a green hornet on “XYZ.” It’s one of the hottest cuts on the record as Flasher sing about self-introspection and the expectations of their generation and the ones before and after them. As good as it is, “Who’s Got Time?” is even better. Saperstein unloads on it. It has a rough urgency and is yet highly danceable. “Skim Milk” was their first single, and it’s easy to hear why they chose it. Mulitz’s guitar is precise and fuzzy when it needs to be, Baker keeps time and thrashes when she needs to, and Saperstein keeps up his serial killing of bass grooves. Their triple vocals weave together well and it’s pretty much everything you want in a post-punk song.
There’s a neat piano riff underlining “Harsh Light” while Mulitz sings, “Every corner that you turn, you never learn.” Good grief, can’t we all relate to that at times? “Punching Up” has a bit of a punch-drunk beat to it, with Baker providing co-lead vocals and a Pixies-like rhythm. The Pixies influence is thick on the entire track with its back-and-forth bouncing between soothing guitars and heavy distortion. “Business Unusual” would be a great name for a TV show or comic book, but it’s instead about a “man, now a boy in blue, this whole world’s got it out for you.” It also throws in some saxophone (a welcome addition to any post-punk record) with the quirky guitars and the repeated question from Flasher – “What’s the worst thing you’ve ever done?”
It’s the last lyric of the album. Are they asking us to reflect and perhaps realize it isn’t that bad? Are they asking us to forgive ourselves? The name of the album is, after all, Constant Image. We all constantly project different images of ourselves, and often to cover up what we think are horrible flaws but are usually things about which no one cares. Most of the things we worry about never happen. Flasher want us to know this, I think. We should thank them for the reminder. You can do it by buying this record.
UNKNOWN MORTAL ORCHESTRA SHARE VIDEO
FOR NEW SINGLE “HUNNYBEE”
Today, Unknown Mortal Orchestra share a new video for album track and single “Hunnybee.” From the day their new album Sex & Food was released, it was clear “Hunnybee” was really hitting a chord with fans in a special way. A live show favorite, the song draws lyrical inspiration from UMO mastermind Ruban Nielson‘s daughter, whose middle name gave the song its title. A beautifully understated song, it still moves with propulsion that gives fans reason to dance. The video remains stylistically in tune with previous videos for Sex & Food‘s previous singles “Everyone Acts Crazy Nowadays” and “American Guilt.” Watch it below.
UMO TOUR DATES: June 10 – Hilvarenbeek, Netherlands @ Best Kept Secret Festival July 6 – Richmond, VA @ The National w/ Shamir July 7 – Asheville, NC @ The Orange Peel w/ Shamir July 8 – Atlanta, GA @ Variety Playhouse w/ Shamir July 9 – Athens, GA @ Georgia Theatre w/ Shamir July 11 – New Orleans, LA @ Republic w/ Shamir July 12 – Houston, TX @ White Oak Music Hall w/ Shamir July 13 – Austin, TX @ Stubbs BBQ w/ Shamir July 14 – Dallas, TX @ Granada Theater w/ Shamir July 16 – Englewood, CO @ Gothic Theatre w/ Shamir July 17 – Ogden, UT @ Ogden Amphitheatre w/ Sylvan Esso, Shamir July 18 – Las Vegas, NV @ Vinyl at Hard Rock w/ Shamir July 19 – Phoenix, AZ @ Crescent Ballroom w/ Shamir July 21 – Santa Ana, CA @ The Observatory July 23 – Missoula, MT @ The Top Hat July 24 – Billings, MT @ The Pub Station July 26 – Madison, WI @ Majestic Theatre July 27 – Chicago, IL @ House of Vans August 9 – Budapest, Hungary @ Sziget Festival August 10 – Basel, Switzerland @ Open Air Basel August 11 – Copenhagen, Denmark @ Haven August 16 – Hasselt, Belgium @ Pukkelpop Festival September 5 – Christchurch, New Zealand @ The Foundry Bar September 6 – Dunedin, New Zealand @ Glenroy Auditorium September 7 – Wellington, New Zealand @ Hunter Lounge September 8 – Auckland, New Zealand @ Auckland Town Hall September 12 – Melbourne, Australia @ Forum Theatre September 14 – Adelaide, Australia @ Fat Controller September 15 – South Brisbane, Australia @ Brisbane Festival September 16 – Newtown, Australia @ Enmore Theatre September 18 – Perth, Australia @ Badlands September 23 – Tokyo, Japan @ WWWX October 4 – Guadalajara, Mexico @ C3 Stage October 6 – Lomas Atlas, Mexico @ Festival Hipnosis @ Deportivo Lomas Atlas November 19 – Birmingham, UK @ O2 Institute November 21 – London, UK @ Royal Albert Hall November 22 – Brighton, UK @ Concorde 2 November 23 – Sheffield, UK @ The Leadmill November 25 – Dublin, Ireland @ The Academy November 26 – Glasgow, UK @ O2 ABC
The Beths Share New Single “Happy Unhappy” Watch The Video HereU.S. Tour Begins Next Week
Future Me Hates Me Out August 10th On Carpark Records
[Photo by Mason Fairey]
“a young band that knows exactly who they are flexing some impressive versatility” – Stereogum
The Beths are sharing the second single, “Happy Unhappy,” from Future Me Hates Me, their debut album coming out August 10th onCarpark Records. The accompanying video directed by Callum Devlin debuts today via Noisey. Front and center is lead singer and primary songwriter Elizabeth Stokes. Stokes commands a vocal range that spans from the brash confidence of Joan Jett to the disarming vulnerability of Jenny Lewis.The Beths occupy a warm, energetic sonic space between joyful hooks, sun-soaked harmonies, and acerbic lyrics. Future Me Hates Me delivers an astonishment of roadtrip-ready pleasures, each song hitting your ears with an exhilarating endorphin rush like the first time you heard Slanted and Enchanted or “Cannonball.”
All four members of The Beths studied jazz at university, resulting in a toolkit of deft instrumental chops and tricked-out arrangements that operate on a level rarely found in guitar-pop. The Beths’ guitarist and studio guru Jonathan Pearce (whose other acts as producer include recent Captured Tracks’ signing Wax Chattels) brings it all home with an approach that’s equal parts seasoned perfectionist and D.I.Y.
The Beths recently toured Europe and will begin a U.S. run next week at Alphaville in Brooklyn, NY. These early shows in support of Future Me Hates Me mark their first time ever playing outside of New Zealand and Australia. A full list of dates is below.
The Beths Tour Dates: June 11th – Brooklyn, NY – Alphaville * June 13th – Philadelphia, PA – Ortlieb’s June 14th – Washington, DC – Loves Me Not June 16th – Chicago, IL – Charm School June 20th – San Francisco, CA – The Battery June 22nd – Los Angeles, CA – Make Out Music
Let’s face it, not all punk rock ages well. This isn’t the case with the Damned, however (and most classic punk bands, actually.). Their newest album, Evil Spirits, is a fine return for them with tracks written by multiple members of the band.
Starting with the slightly creepy “Standing on the Edge of Tomorrow,” lead singer David Vanian (whose voice only seems to have improved with age) pleads with “this dystopian generation” to fix things for future generations before it’s too late for them. Guitarist Captain Sensible‘s riffs blend into the sound of passing fighter jets by the end of it. “Devil in Disguise” has a bass heavy groove and barely disguised lyrics (again, masterfully sung by Vanian) about current political leaders (i.e., “Don’t understate the state we’re in. Don’t misconstrue my sideways grin, ‘cos you’re the one that let me in.” / “As you build your walls and empires fall, it seems the truth doesn’t matter anymore.”). “We’re So Nice,” written by the Captain, is a punk anthem with a slick beat by Pinch and lyrics about being careful not to fall into complacency.
In case you were doubting the Damned have opinions on the current political landscape, look no further than “Look Left.” It’s almost a gothic ballad as Vanian sings, “Subterfuge and fantasy played only to ignite. While everybody’s looking left, what the hell is happening right?” Keyboardist Monty Oxymoron‘s work on the track is subtle but crucial. “Evil Spirits” is the kind of song Kaiser Chiefs want to write on that crushing rock album in the back of their heads. Capt. Sensible shreds on it and his lyrics convey a bit of “Meet the old boss, same as the new boss” aesthetic. Oxymoron also gets to go wonderfully bonkers by the end of it.
It’s easy to forget that the Damned started as a goth-punk band, but “Shadow Evocation” will remind you of their roots. Vanian sings about ghosts, lurking in the night, and the devil chasing him towards death. Capt. Sensible dives into the realm of conspiracy theory with “Sonar Deceit” as Vanian sings Sensible’s lyrics about sea fish swimming into fresh water rivers, whales dying on shores, dolphins going mad, and submarines doing nefarious things. “Procrastination” encourages all of us to achieve our dreams while we still have time (“I’d like to see the pyramids at this time of the year, but never quite get round to it and end up staying here.”).
“The Daily Liar” is a plea for truth in news and for someone, anyone to cut through the “smoke and mirrors” of the 24-hour news cycle. “I’m drowning in a raging sea of words,” Vanian sings. Aren’t we all? The closer, “I Don’t Care,” is a great companion to “The Daily Liar,” as Vanian admits all the white noise of mass media and political mudslinging has left him apathetic about all of it. It starts with sad piano by Oxymoron and almost fades out before the whole band rushes in to shake you awake.
It’s a good return from these legends, who are still fiery live as well. It’s a wake-up call, and a welcome one.
Keep your mind open.
[I’m on the edge of my seat waiting for you to subscribe.]
“An evolutionary step forward for their sound.” – Metal Hammer
“A woozy wall of Afrobeat inspired fuzzbox riff worship and pounding circular rhythmic power, Here Lies Man connect the stoner rock underground straight to downtown Lagos.” – The Quietus
“This is a band ahead of their time.” — The Obelisk
Los Angeles quintet Here Lies Man share a new single from their forthcoming highly anticipated sophomore album today via The Obelisk. Hear and share “Taking The Blame” HERE and at Bandcamp and YouTube. The album, You Will Know Nothing will be released June 15th via RidingEasy Records.
Earlier in the month, the band released “That Much Closer To Nothing” via YouTube. Back in March, the band dropped the first song, “Fighting” via YouTube.
Here Lies Man play the prestigious Primavera Sound festival in Barcelona, Spain tomorrow before hitting the road with Earthless in June. Later in Fall, the band hits the massive Desert Daze festival in Southern California. Please see current dates below.
Here Lies Man took the music world by storm in 2017 with their self-titled debut positing the intriguing hypothesis: What if Black Sabbath played Afrobeat?
Rough Trade named Here Lies Man in their prestigious Top 10 Albums of 2017. BBC 6 & Classic Rock Magazine deemed it among the year’s best, as well as countless other press outlets singing its praises.
This June, the L.A. band comprised of Antibalas members quickly follow their auspicious debut with the even more thoroughly realized album You Will Know Nothing. Its 11 tracks expand upon the band’s exploration of heavy riff-based rock and psych within the ancient rhythmic formula of the clave.
“We’re very conscious of how the rhythms service the riffs,” explains founder and vocalist/guitarist/multi-instrumentalist Marcos Garcia (who also plays guitar in Antibalas) of the band’s sound. “TonyIommi‘s (Black Sabbath) innovation was to make the riff the organizing principle of a song. We are taking that same approach but employing a different organizing principle: For Iommi it was the blues, for us it comes directly from Africa.”
Sonically, on You Will Know Nothing the dynamic range is thicker, crisper and more powerful. It glistens as much as it blasts. The songs are even catchier, more anthemic, and the production reflects that of a band truly come into its own. Lyrically, it’s an equally more conceptualized effort that reflects upon states of being and consciousness – a driving force that carries throughout the words and moods of all of the band’s releases, interconnected to their trancelike music. Here Lies Man have honed their sound and their focus, and soon, you will truly know Nothing.
“We wanted to go deeper with the sonic experience,” says Garcia. “Even though it sounds more hi-fi than the first record, it was important that it didn’t sound too polished.”
While You Will Know Nothing certainly maintains its gritty grooves, there’s an interesting conceptual mathematics to the entire proceedings. “There are interludes between each song that are 2/3 to 3/4 of the tempo of the previous song,” Garcia says. “The reason it breaks down to 2 over 3 or 3 over 4 is that everything in the music rhythmically corresponds to a set of mathematical algorithms known as the clave. The clave is an ancient organizing rhythmic principle developed in Africa.”
“We dove deep into the texture of the music, beyond the groove and the riff,” says HLM cofounder and drummer Geoff Mann (former Antibalas drummer and son of jazz musician Herbie Mann.) “Although something might sound like one instrument, there are subtle layers shifting through. It’s definitely a headphone album.”
Garcia and Mann recorded the album much like they did the debut, at their own L.A. studio on a Tascam 388 8-track tape machine. Congas were later recorded by percussionists Richard Panta and Reinaldo DeJesus. Then, Garcia went to NY to record interludes with former Antibalas keyboardist Victor Axelrod. Mixing took the most time in order to find the proper sonic space for each layer of musical detail, with first album engineer Jeremy Page mixing the drums and the band tackling the remainder while also juggling a hectic touring schedule.
Here Lies Man has already spent much of early 2018 on tour, with dates supporting Antibalas and Fu Manchu as well as a headlining trek through the EU & UK. Many summer festival dates and headline tours await later in the year as Here Lies Man continues its infectious charge onward.
You Will Know Nothing will be available on LP, CD and download on June 15th, 2018 via RidingEasy Records.
HERE LIES MAN LIVE 2018:
05/31 Barcelona, ES @ Primavera Sound Festival
06/02 Dudingen, CH @ Bad Bonn Kilbi
06/05 Asheville, NC @ Mothlight *
06/06 Atlanta, GA @ Masquerade *
06/07 Spartansburg, SC @ Ground Zero *
06/08 Orlando, FL @ Wills Pub *
06/09 Tallahassee, FL @ The Wilbury *
06/10 Baton Rouge, LA @ Spanish Moon *
06/12 Houston, TX @ White Oak Upstairs *
06/13 Austin, TX @ Barracuda *
06/14 Ft Worth, TX @ Ridgela Room *
06/15 Memphis, TN @ Growlers *
06/26 Seattle, WA @ Nectar Lounge
06/27 Bellingham, WA @ The Shakedown
06/28 Vancouver, BC @ Fox Cabaret
06/29 Portland, OR @ Star Theater
06/30 Grant’s Pass, OR @ The Haul
07/01 Chico, CA @ Naked Lounge
07/02 San Francisco, CA @ The Chapel
07/05 Los Angeles, CA @ Resident DTLA
08/24 Hudson Valley, NY @ Huichica Festival
08/31 Los Angeles, CA @ Levitt Pavillion (MacArthur Park)
10/12-14 Lake Perris, CA @ Desert Daze 2018
* w/ Earthless
Artist: Here Lies Man
Album: You Will Know Nothing
Label: RidingEasy Records
Release Date: June 15th, 2018
01. Animal Noises
02. Summon Fire
03. Blindness
04. That Much Closer
05. Hell (Wooly Tail)
06. Voices At The Window
Endless Scroll Out July 6th On What’s Your Rupture?
BODEGA have unveiled another new single, “Gyrate,” from their forthcoming debut album, Endless Scroll, coming out July 6th on What’s Your Rupture?.Nikki Belfiglio from the band said of the song, “When I was a little girl I used to masturbate in public (once at a JC Penny perfume counter). My parents, not wishing to shame me told me I shouldn’t ‘gyrate’ in front of other people. My song uses the language of Top 40 pop to celebrate self-sustainability and female pleasure.” Note the lyrics, “In the middle of a party. In the middle of the floor. You can get it all out right now. Wiggle your ass around. Feel the vibes coming up through your toes. Let it all go. You must have to gyrate it,” sings Nikki who also directed the accompanying video.
Limited physical copies of Endless Scroll will be available at BODEGA’s Sunnyvale show in Brooklyn this Friday, June 1st, and throughout their June U.S. dates while supplies last. Following another European run in July, BODEGA will tour North America throughout July and August. This summer marks the first time BODEGA will play many of these cities. A full list of dates is below.
BODEGA Tour Dates (new dates in bold): Fri. June 1 – Brooklyn, NY @ Sunnyvale Sat. June 16 – Toronto, ON @ The Rivoli
Sun. June 17 – Cleveland, OH @ Beachland Tavern Mon. June 18 – Detroit, MI @ Marble Bar Tue. June 19 – Chicago, IL @ Empty Bottle Thu. June 21 – Nashville, TN @ The High Watt Fri. June 22 – Bloomington, IN @ The Bishop Sat. June 23 – Lawrence, KS @ Jackpot Sun. June 24 – Iowa City, IA @ The Mill Mon. June 25 – St. Paul, MN @ Turf Club TUe. June 26 – Milwaukee, WI @ The Cactus Club
Wed. June 27 – Columbus, OH @ Used Kids Records Thu. June 28 – Athens, OH @ The Union Fri. June 29 – Washington, DC @ DC9 Sat. June 30 – Philadelphia, PA @ Everybody Hits Tue. July 10 – Manchester, UK @ Soup Kitchen (tickets) Wed. July 11 – Birmingham, UK @ The Sunflower Lounge (tickets) Fri. July 13 – Beccles, UK @ Latitude Festival (tickets) Mon. July 16 – Nijmegen, NL @ Valkhof Festival (tickets) Thu. July 19 – Port Grimaud, FR @ Plage de Rock w/ Parquet Courts Sat. July 21 – Benicassim, ES @ Benicassim Festival (tickets)
Sun. July 29 – Richmond, VA @ Strange Matter Mon. July 30 – Durham, NC @ Pinhook Tue. July 31 – Atlanta, GA @ The Earl Wed. Aug. 1 – New Orleans, LA @ Gasa Gasa Fri. Aug. 3 – Fort Worth, TX @ MASS Sat. Aug. 4 – Austin, TX @ Austin Tue. Aug. 7 – Phoenix, AZ @ Valley Bar Wed. Aug. 8 – Los Angeles, CA @ Moroccan Lounge Fri. Aug. 10 – San Francisco, CA @ Hemlock Tavern Sun. Aug. 12 – Portland, OR @ Bunk Bar Mon. Aug. 13 – Seattle, WA @ Barboza Tue. Aug. 14 – Vancouver, BC @ Fox Cabaret
FLASHER SHARE NEW SONG “WHO’S GOT TIME?”
OFF DEBUT ALBUM, ANNOUNCE TOUR DATES
CONSTANT IMAGE OUT JUNE 8TH VIA DOMINO RECORDING CO.
(photo by Jen Dessinger)
Today, Flasher share “Who’s Got Time?,” a new song off their forthcoming debut albumConstant Image, which will be released June 8th via Domino Recording Co. “’Who’s Got Time?’ is about the twilight of a relationship,” say the band. “When things have soured but you’re not quite ready to jump ship despite your better judgment. It’s a celebration of disappointment and failure.”
They’ve also announced a big tour in support of the new record.
All new dates are on sale now.
FLASHER TOUR DATES (new dates in bold): Wed. June 6 – Philadelphia, PA @ Everybody Hits w/ Dehd Fri. June 8 – Brooklyn, NY @ Elsewhere w/ Dehd, Public Practice Sat. June 9 – Providence, RI @ Columbus Theatre w/ Dehd Sun. June 10 – Allston, MA @ Great Scott w/ Dehd Mon. June 11 – Winooski, VT @ The Monkey House w/ Dehd Tue. June 12 – Montreal, QC @ Brasserie Beaubien w/ Dehd Wed. June 13 – Toronto, ON @ The Baby G w/ Dehd Thu. June 14 – Detroit, MI @ El Club w/ Dehd Fri. June 15 – Chicago, IL @ Schubas w/ Dehd Sat. June 16 – Minneapolis, MN @ 7th St. Entry w/ Dehd Mon. June 18 – Madison, WI @ High Noon Saloon w/ Dehd Tue. June 19 – Bloomington, IN @ The Bishop w/ Dehd Thu. June 21 – Atlanta, GA @ The Earl w/ Dehd Fri. June 22 – Durham, NC @ The Pinhook w/ Dehd Sat. June 23 – Washington, DC @ Black Cat w/ Dehd Thu. July 12 – Phoenix, AZ @ Valley Bar Mon. July 16 – Los Angeles, CA @ The Echo Tue. July 17 – San Francisco, CA @Rickshaw Stop Thu. July 19 – Portland, OR @ Bunk Bar Fri. July 20 – Seattle, WA @ Capitol Hill Block Party Sat. July 21 – Vancouver, BC @ Fox Cabaret Mon. July 23 – Boise, ID @ Neurolux Tue. July 24 – Salt Lake City, UT @ Kilby Court Wed. July 25 – Denver, CO @ Larimer Lounge Fri. Aug. 10 – Athens, GA @ Georgia Theatre (Athens Popfest)
PRAISE FOR FLASHER
“The Washington D.C. post-punk trio Flasher make music that is both chaotic and philosophical. Their songs overlay musings about love, the body, and desire on top of boisterous guitar solos, droning synths, and aggressive drums. Along with the feminist punk band Priests, they are part of an underground D.C. scene of bold,
politically-charged music.” – Pitchfork
“The album hinges on the idea of escape which, without explanation, could be interpreted as a way out. Flasher is not looking for a way out, but rather a way forward.”
– i-D
“The thrill is in the call-and-response, heard on past songs, but here weaponized like an ecstatic hall of mirrors in the final minute of ‘Skim Milk.'” – NPR Music on “Skim Milk”
“’Pressure’ unfolds like an anxiety attack, with the band members’ vocals twisting around each other as they relate snapshots of discomfort and alienation in breathless stop-and-start fragments.” – Stereogum on “Pressure,” #1 Song of the Week
Head here to pre-order the deluxe edition LP available exclusively through the Domino Mart. The deluxe features the album on 150g starburst pink and yellow vinyl. Constant Image is also available as a standard LP, CD, and digitally.
Heralded as one of the greatest albums of all time, and certainly one of the greatest political statement records of all time, it’s amazing that I’ve never owned a copy of Sandinista! by the Clash or even heard it in its entirety until now. As the story goes, this triple album was released as even a protest against their label at the time (CBS) when they weren’t allowed to release London Calling as a double album but CBS released a double Bruce Springsteen record the same year. The Clash even took less royalties from Sandinista! so they could release it at an affordable price to fans. They decided to explore their love of reggae, dub, gospel, rap (which was still new at the time), and dancehall, and they pay full homage to those genres on Sandinista!.
Opening with the (as Joe Strummer puts it) “fucking long” hit “The Magnificent Seven” (which is fewer than six minutes), the Clash let everyone know right away that Sandinista! wasn’t a typical Clash record. The opening track is a rap about being a working stiff (“Working for a rise, better my station, take my baby to sophistication. She’s seen the ads, she thinks it’s nice. Better work hard, I’ve seen the price.”) with hip hop and dub beats. “Hitsville U.K.” slaps down the U.K. music industry and Clash fans’ expectations with a pop beat and Mick Jones‘ girlfriend at the time, Ellen Foley, sharing lead vocals with him. “Junco Partner” is a dub cover of a classic James Waynes blues cut.
“Ivan Meets G.I. Joe,” a song about the U.S.-Soviet conflicts of the time, brings in a bit of disco (along with what sounds like vintage video game sound bytes) and lead vocals by drummer Topper Headon. “The Leader” takes a swing at the cult of personality and appeasement of the masses (“The people must have something good to read on a Sunday.”). “Something About England” has weird jazz piano licks as Mick Jones and Joe Strummer takedown people who remember the past through rose-colored glasses. “Rebel Waltz” follows a similar theme and “Look Here” is jazz written by the legendary Mose Allison no less. Bassist Paul Simonon sings lead on “The Crooked Beat,” and it’s no surprise is has heavy dub undertones. Simonon learned a lot of his bass licks by listening to dub and reggae records. “Somebody Got Murdered” is about Mick Jones learning of a murder that resulted from a robbery not far from where he lived. “One More Time” has Jones sharing vocals with another legend – reggae / dub musician and producer Mikey Dred. The song’s about the struggles As if it weren’t dub enough, the following instrumental track is “One More Dub.”
“Lightning Strikes (Not Once but Twice)” is a reprise of “The Magnificent Seven,” but with different lyrics, a fat bass by Simonon, and even better rapping by Strummer. “Up in Heaven (Not Only Here)” is Jones’ smackdown on the proliferation of cheaply constructed, crime-ridden towers of London flats (“Fear is just another commodity here. They sell us peeping holes to peek when we hear a bang on the door resoundingly clear. Who would really want to move in here?”). “Corner Soul” blends gospel and reggae, while “Let’s Go Crazy” blends calypso and reggae (and sounds like the beginnings of Jones’ future band Big Audio Dynamite). “If Music Could Talk” splits the vocals between left and right channels while mixing lounge jazz with reggae beats. It’s weird, and it works. They bring back the gospel on “The Sound of Sinners,” with Strummer singing, “After all this time to believe in Jesus, after all those drugs I thought I was him. After all my lying and a-crying and my suffering, I ain’t good enough, I ain’t clean enough to be him.” at one point.
Their cover of the Equals‘ “Police on My Back” reminds you that, despite all the dub, reggae, and gospel that’s come before it, the Clash were still a punk rock band. “Midnight Log” is about temptation and the Devil (both literal and metaphorical), and “The Equaliser” is a trippy bit of dub calling for economic equality. The draft wasn’t around in 1980, but Selective Service was just initiated and that might’ve been the inspiration for “The Call Up” – a strong denouncement of both. The wicked “Washington Bullets” (one of the Clash’s greatest songs) exposes American and British-funded combat missions in China, Afghanistan, and Chile. “Broadway” blends dub with smoky dive bar music.
“Lose This Skin,” with vocals and violin by Tymon Dogg (who would later go on to join Joe Strummer’s Mescaleros), seems to be about racial disparity. “Charlie Don’t Surf” sums up the band’s belief that the U.S. military loves to turn other countries into little Americas at the expense of their native cultures. After the instrumental “Mensforth Hill,” we get to the trippy track “Junkie Slip.” Strummer’s vocals are hardly discernible. The beats take precedence instead. “Kingston Advice” blends heavy dub (Strummer’s vocals echo all over the place) and punk guitars. It blends well into “The Street Parade.” They almost feel like one long track.
“Version City” brings back disco bass and jazz piano and adds blues harmonica as Strummer and Jones sing about their love of classic blues (“Is that the train that you speak of, the one I heard in my younger days? All the great bluesmen have rode her. I’m jumping up, gonna ride that train.”). The album just gets weirder from here. “Living in Fame” is psychedelic dub, “Silicone on Sapphire” is a dub remix / re-edit / reboot of “Washington Bullets,” “Version Pardner” is a dub remix of “Version Partner,” “Career Opportunities” is a version of the Clash’s classic hit sung by children, and “Shepherds Delight” is an instrumental mind trip.
Sandinista! isn’t a typical Clash record, but that was the point. They were already atypical and became even more so after this release. They had drawn lines in the political sand before, but on Sandinista! they draw those lines with a bulldozer instead of a bayonet.
A Place To Bury Strangers Share “Too Tough To Kill” Video Watch Here
North American Headline Tour Begins This Week
Pinned Out Now On Dead Oceans
[still from “Too Tough To Kill” video]
A Place To Bury Strangers are sharing a video for new single “Too Tough To Kill” from their recently released album, Pinned. The director Colin Marchon says, “The project is a kind of America-sploitation video in response to the frustratingly stagnant state of the country. The song felt like the perfect context to speak to that. Technically speaking I don’t really consider myself an animator. It just feels really fun and cathartic to cut up images that speak to me or make me laugh and play with them in front of a camera. The editing is a little more complicated but as a full time commercial filmmaker the medium is just a very easy outlet to let out my subconscious after work.”
For well over a decade now, A Place to Bury Strangers— Oliver Ackermann, Dion Lunadon, and, officially, drummer Lia Simone Braswell—have become well known for their unwavering commitment to unpredictable, often bewildering live shows, and total, some might say dangerous volume. They don’t write set ists. They frequently write new songs mid-set. They deliberately provoke and sabotage sound people in a variety of cruel yet innovative ways. They can and will always surprise you.
Pinned, the band’s fifth full-length, finds A Place To Bury Strangers converting difficult moments into some of their most urgent work to date. It’s their first since the 2016 election, and their first since the 2014 closing of Death By Audio, the beloved Brooklyn DIY space where Ackerman lived, worked, and created with complete freedom. It’s a clear and honest statement of intent, not just for everything that follows, but for this band as a whole.
A Place To Bury Strangers will tour in support of Pinned beginning this week. A full list of dates is below.
A Place To Bury Strangers Tour Dates: 5/24/18 Washington, DC – DC9 w/ Prettiest Eyes & Buck Gooter (tickets) 5/25/18 Baltimore, MD – Metro Gallery w/ Prettiest Eyes & Thrushes (tickets) 5/26/18 Raleigh, NC – Kings Barcade w/ Prettiest Eyes & Lacy Jags (tickets) 5/27/18 Asheville, NC – The Mothlight w/ Prettiest Eyes & Lacy Jags (tickets) 5/28/18 Atlanta, GA – The Earl w/ Prettiest Eyes & Nest Egg (tickets) 5/30/18 New Orleans, LA – Gasa Gasa w/ Prettiest Eyes & Trashlight (tickets) 5/31/18 Houston, TX – The Secret Group w/ Prettiest Eyes & Narcons (tickets) 6/01/18 Austin, TX – Barracuda w/ Prettiest Eyes & Xetas (tickets) 6/02/18 Dallas, TX – Club Dada w/ Prettiest Eyes & Dendrons (tickets)
6/03/18 San Antonio, TX – Paper Tiger w/ Prettiest Eyes & My Education (tickets) 6/05/18 Santa Fe, NM – Meow Wolf w/ Prettiest Eyes & Heather Trost (tickets) 6/06/18 Phoenix, AZ – Valley Bar w/ Sextile & Strange Lot (tickets) 6/07/18 San Diego, CA – The Casbah w/ Sextile & Keepers (tickets) 6/09/18 Los Angeles, CA – The Regent w/ Sextile & Prettiest Eyes (tickets) 6/10/18 San Francisco, CA – Great American Music Hall w/ Sextile & Prettiest Eyes (tickets) 6/12/18 Portland, OR – Mississippi Studios w/ Sextile & Tender Age (tickets) 6/13/18 Vancouver, BC – Fox Cabaret w/ Sextile & Dopey’s Robe (tickets) 6/14/18 Seattle, WA – The Crocodile w/ Sextile & Haunted Horses (tickets)
10/12/18-10/14/18 – Joshua Tree, CA @ Desert Daze (tickets)
Maryland rockers CLUTCH have announced Book of Bad Decisionsas the title of their new studio album.
Book of Bad Decisions, CLUTCH’s 12th studio album is scheduled for a worldwide release on September 7th, 2018 via their own Weathermaker Music label.
The album was recorded at Sputnik Sound in Nashville, TN by producer Vance Powell (Jack White, Chris Stapleton, The Raconteurs, The Dead Weather) and consists of 15 new tracks.
“With Vance Powell as producer we were able to make a very different kind of an album. The songs feel as if they could jump out of the speakers!” says drummer Jean-Paul Gaster. Bassist Dan Maines seconds that when he says “Recording in Nashville with Vance Powell gave us a new and fresh approach towards making an album that truly captures the live energy of Clutch in a way I don’t think we’ve done before.” Guitarist Tim Sult adds “Laying down guitar tracks with Vance was fun and inspiring. Going through and trying out his and his engineer, Mike Fahey’s collection of vintage amps was one of my favorite recording studio experiences. I think the outro solo of “Emily Dickinson” turned out particularly great.”
The album cover was designed by renowned photographer Dan Winters.
The song is about the band’s first tour back in 1991, a time where they began to cut their teeth in the live music business, dealt with show cancellations and incidents on the road. One particular show in a shed surrounded by cornfields in Lawrence, Kansas ultimately turned ugly over a missing microphone and accusations brought by drunk and gun-toting security people at the end of a long day. “Gimme the keys they can keep the guarantee | Gimme the keys and get the hell out of dodge” is a reflection of the mood of that night.
Pre-ordering the new album Book of Bad Decisions starts today, May 18th at www.pro-rock.com.
This single is the first of four to be released over the next couple of months as an instant gratification track when pre-ordering the album at:
All album formats (CD, 24-page book with CD, 2xLP Standard Black, Limited Colored 2xLP, and 2xLP Picture Disc) will have the same 15 tracks. In addition Weathermaker Music will release two very limited 7” Picture Discs.
“I’ve never been one for nostalgia,” says Neil Fallon, “I’ve always shied away from it. But after 27 years of this, I realize that there is a wealth of stories to look back upon as lyrical fodder. As the saying goes, ‘You don’t know where you’re going until you know where you’ve been.’ Not all the songs reference our collective experience as a band, but ‘Book of Bad Decisions’ seemed like an apt name for these various chapters, whether factual, fictitious, or somewhere in-between.”
CLUTCH:
Neil Fallon – Vocals/Guitar
Tim Sult – Guitar
Dan Maines – Bass
Jean-Paul Gaster – Drums/Percussion
For more information, check out the band’s website:
Opening with something that sounds like a song you’d hear on the tape deck of one of those Blade Runner flying cars, Flasher‘s debut full-length album, Constant Image, is strongly self-assured post-punk. That opening track, “Go,” encourages you to “suck it up” and get ready for a fast ride.
