P.E. releases “Blue Nude (Reclined)” ahead of full album due March 25th.

Photo by Vince McClelland

Formed by the members of the beloved and now defunct New York post-punk band Pill and their NYC underground peers EatersP.E. have been trafficking in boundary-pushing, dystopian grooves since the release of their mesmerizing first single “Top Ticket” in 2019. Collaborating with artists like Parquet CourtsXiu Xiu and Liars, the band have developed a growing cult following that has continued expanding as they come to broader attention with the release of their first LP Person, in 2020 and last year’s The Reason For My Love EP, which have earned praise from outlets like StereogumBrooklynVeganBandcampThe Guardian (who had the EP’s title track on their 2021 Best Songs You Haven’t Heard list) and Pitchfork (who had the EP on their list of Great Records From 2021 You May Have Missed). Today, the band are returning to announce their most fully-realized artistic statement to date, an album called The Leather Lemon that will be released on the buzzing Brooklyn label Wharf Cat Records (Palberta, Water From Your Eyes, Lily Konigsberg) on March 25th, and sharing that album’s first single “Blue Nude (Reclined)” which is premiering today on FADER.  

LISTEN: 
to P.E. – “Blue Nude (Reclined)” on
YouTube // FADER

Writing about the band’s last single The Guardian said that P.E. channel “the fidgety, dark, and inescapably danceable sound of Mudd Club-era, underground bands like Bush Tetras, the Contortions and ESG,” and this latest single feels like a further refinement of that direction. Their sound is far from a retread however, as they process the sounds of the 70s and 80s Lower East Side through the filter of contemporary influences and recording techniques, using surprising building blocks to create something that is as effective as pop music as it is forward-looking. 

This was one of the first songs we wrote for the new record, shortly after settling ourselves mentally & physically around the country,” singer Veronica Torres says of the song. “With all of our tour plans scrapped in the initial wave of the pandemic, the five of us decided to put our energies into writing new material for the next record, trading files back and forth in order to shape our new sound.  “Blue Nude” quickly became an inspiration for the rest of The Leather Lemon – something that foregrounded both the song and the sound, as fun as it was abstract.”

——-

P.E.‘s sophomore album, The Leather Lemon (Wharf Cat Records, out March 25, 2022), ushers in a new era for the New York band. A wild ride through chewy bubblegum pop, sweeping synthetic orchestrations, and mutant club beats, the album slides ever closer to the fully-realized pop sensibility only winked at with their debut album Person (2020) and subsequent releases. 

Digging into mystery, romance, and sex appeal with The Leather Lemon, the group — composed of members of Pill (Mexican Summer/Dull Tools) and Eaters (Dull Tools/Driftless) — centers its sound within a Bermuda Triangle of dance music, electronic composition, and experimental rock. Members Jonathan Schenke, Bob Jones, and Jonny Campolo play within pop parameters, building upon free-form collaboration to create a fluorescent groove machine that harnesses the energy of their frenetic live shows. Singer Veronica Torres explores her softer side, expanding her vocal repertoire from spoken word and jagged growls to cherubic and sensuous psalms. Sax virtuoso Benjamin Jaffe’s chiseled experimental tone is heard in an extended solo of true romance in “Tears in the Rain,” a somber surrealist duet penned by Torres and Andrew Savage, singer/guitarist of Parquet Courts

Recorded primarily at Schenke’s Studio Windows in Brooklyn, NY, The Leather Lemon was cultivated from a fertile creative period between spring 2020 and summer 2021, which also yielded 2021’s acclaimed The Reason For My Love EP, of which Pitchfork writes: 

    The quintet refines their impulses on their 2020 debut Person and transforms them into a body-moving EP. The jittery electronics are still there, but the drum cuts feel sharper and lighter, bringing a sense of structure to what could easily be shapeless. Vocalist Veronica Torres abandons spoken-word and leans fully into singing about poetry, beauty, and the contours of the body. Her lovely vocal stretches fill up the space once occupied by industrial bass drops. Sensuality suits them well.

The Leather Lemon is a reckoning record for the times; an album of psychedelic resurfacing, real-time response to world events, and soft, sympathetic magic. This is a collection of songs shaped by five individuals who embrace music-making as a way to center themselves in times of uncertainty; it’s resilience and imagination given shape. The Leather Lemon is a true sweet-and-sour listening experience, an album as bright and clear as it is fractured and fun. Get turned UP and ON with the electrifying new lemon drop from P.E.! 
 

The Leather Lemon will be released on Wharf Cat Records on March 25th. It is available for preorder here.

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Roadkiller’s new single is “Slicker Than Oil,” and hotter than a refinery fire.

The Philly punk scene is a powerful thing. It should come as no surprise that this bastion of hard hitting punk rock would be a lodestone for some of the best metal punk talent in the world! Such was the case for vocalist/guitarist Phillipa Tank of California Motorhead tribute band Motorbabe, and now frontwoman of the hard hitting punk thrash band, Roadkiller. After an initial burst of shows, Roadkiller quickly recorded their self-titled debut EP, a record fated to make your ears bleed in all the right ways. Created with the goal of fusing punk, hard rock and crossover thrash whilst still remaining uniquely RoadkillerPhillipa is on a mission to write songs to get your blood pumping. With dreams of constant touring and a dedication to quality songwriting, Roadkiller is more than just another punk band. We are witnessing the birth of a well oiled machine, representing the magic of all the underground has been and will be.

Slicker than Oil” premiered today on Metal Injection. Watch here: https://metalinjection.net/video/roadkiller-streams-slicker-than-oil-featuring-municipal-wastes-drummer

Phillipa Tank shares “This is the second single off of my upcoming record Pick of the Litter, featuring the inimitable Dave Witte (Municipal Waste, Melt Banana, Discordance Axis) who nailed my song ‘Slicker than Oil’. We shot down at Graffiti Pier, directed and filmed by my awesome crust-lord, drone pilot friend, Botgrinder.”
Dave Witte adds “Phillipa Tank‘s ROADKILLER songs are rocking and full of energy. It was really fun to play the tune and film a cool video to boot! Also to be included among a really great group of drummers playing on the record is equally as exciting.
2022 will see the release of Roadkiller‘s first full length record “Pick of the Litter“, featuring stacked guest spots of iconic drummers across the heavy music spectrum.

About ROADKILLER:
Phillipa Tank is ROADKILLERPhillipa is the vocalist, singer and composer of the music and lyrics of all of the songs on the record. She is also the guitarist and founding member of all girl Motorhead tribute band, Motorbabe. Five guest
drummers participated in the recording of the upcoming ROADKILLER album, Pick of the LitterDave Witte (Municipal Waste), Jess Margera (CKY), Donald Tardy (Obituary), Tommy Akerholdt (Turbonegro) and Adrian Aguilar (Exmortus)Phillipa invited each drummer to record a song that best fit each drummer’s style of playing. Each session was filmed and a total of five videos will be produced.

ROADKILLER Social Media Links:
facebook.com/roadkillerhq
instagram @roadkillerofficial

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Trip Villain have “Won” with their new single.

Photo by Caroline Pigou

Trip Villain is a Brooklyn-based power duo that fuses synth-laden psychedelia with the prehistoric stomp of doom metal. Trip Villain is Josh Musto (Tragedy, ex-ShitKill, ex-Netherlands) and Damien Moffitt (Leach, ex-ShitKill, ex-Netherlands).
Today, Trip Villain released their new dance-punk single/title track Won.” This is the third single off their upcoming debut LP, Won, which drops February 22nd. Accompanying the single is a live in-studio performance of the song shot at Rad Hazard Studios. 

Watch “Won”HERE!

Guitarist Josh Musto and drummer Damien Moffitt share “The title track, ‘Won’ was the first jam we came up with as Trip Villain. The prompt we gave ourselves was ‘heavy, sexy, dancey,’ and once our friend, Trip-Pop artist, Leach recorded a guest vocal, it gelled beautifully. Lyrically, ‘Won’ is about breaking free from bad relationships and controlling your own destiny.

Preorder details: Digital album and 7” Flexi-Disc preorders open on Jan 21st. https://tripvillain.bandcamp.com/album/won

An instant digital download via Bandcamp of the three singles “Won”/ “The Villain”/”Is This Love?” comes with a preorder of either the digital album Won or the two-track 7″ flexi-disc of “The Villain” & “Ego Death.”

The 7” Flexi-Disc is two tracks (The VillainEgo Death) and comes with a full album download via Bandcamp. 7” Flexi-Discs will not ship until late-March.

Trip Villain explainsWon is the culmination of the two of us playing together in various bands since we were thirteen. We wanted to make an album that punches as hard as the riffy metal bands we grew up with, but with the emotional depth and synthy sparkle of the psychedelic music we’re influenced by as adults. Since most of these songs were born out of improvised jams, our seventeen years of musical chemistry is front and center. The sound we ended up with lands somewhere between the metallic grooves of Helmet and the tripped out ecstasy of The Flaming Lips, all with a deep reverence for the almighty RIFF.”

Two previously released singles from the upcoming album, Won, “Is This Love?” and “The Villain”are also currently streaming HERE on Spotify

Check out the animated video for “The Villain” by visual artist duo Gregory Stovetop & B.A. Mialehttps://www.youtube.com/watch?v=eyqE7TtfnI0 

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BODEGA toss us a new single, “Thrown,” from their upcoming album, “Broken Equipment.”

Photo by Pooneh Ghana

Brooklyn band BODEGA shares the new single, “Thrown,” from their anticipated second album, Broken Equipment, out March 11th on What’s Your Rupture?. Following lead single “Doers,” “Thrown” serves as a thesis statement for the record’s multi-faceted exploration of how ideology and identity are shaped, but never fixed. In the album’s opening moments, vocalist Nikki Belfiglio urges listeners to “watch the thrown.” She is joined by fellow founding member Ben Hozie, who details various ways his personality is constantly influenced, or “thrown”, by phenomena such as “big rock ads” or “the itch on my back.” The track is biting, with metallic bass and taut percussion.

‘Thrown’ was an attempt at a self-portrait track,” says Hozie. “The older I get the less I trust my own thoughts and perceptions of self  ——> I realize most of my values and judgments come from the records, films, books, and advertisements I have consumed my whole life. Recognizing this ‘thrown-ness,’ while slightly disturbing, has been a source of inspiration for my creative mind. If the mind can only output what has been presented —> provide it with the proper input. You can remake yourself entirely at the drop of a (top)hat. The inputs I selected for this lyric: James Joyce and Bob Dylan. The music, to me, is a synthesis of many of the stylistic motifs our group has developed over the past few years : syncopated bass over a slow-shifting sea of guitar harmonics, violent guitar spasms with machine influenced but human-played drums; plus male/female vox alternating between spoken text raps and melody.

The accompanying lyric video, directed by Belfiglio, is a combination of acrylic portraiture and the graphic design of advertising.

Watch BODEGA’s “Thrown” Lyric Video

The follow-up to the band’s acclaimed debut album, Endless Scroll (2018), and 2019’s Shiny New Model EPBroken Equipment was inspired by a book club. In the early months of 2020, the Brooklyn art-punk incendiaries gathered together with close friends to study the works of a wide range of philosophers. The resulting Broken Equipment is BODEGA’s attempt to interrogate the external factors that make them who they are, propelling existential quandaries with tongue-in-cheek humor, highly personal lyrics, and irresistible grooves.

The album’s 12 songs are set in present day New York City, packing in references to contemporary issues of algorithmic targeting, media gentrification, and the band itself.
Watch:
“Thrown” Lyric Video
“Doers” Video

Pre-order Broken Equipment

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Partner discuss metaphysics (sort of) on their new single, “Time Is a Car.”

Partner are back with a new single and video “Time Is A Car“. It is a new single for a new era as we enter 2022 and the youngest member of Partner (Josée Caron) enters her 30s. This single follows Partner’s Never Give Up (You’ve Changed Records) and their break out debut album, In Search of Lost Time
 

TIME IS A CAR
 

A Message from Partner: “This is a song that we wrote while reflecting on the years that have passed and the way that the passing of time offers fresh perspectives. Fittingly enough it’s ready just in time for us to present it to you on Josée’s 30th birthday. Time sure does fly!!

We had a distinct idea for the visual accompaniment to this track and we knew there was one person who could bring it to light; our beloved and frequent collaborator Lesley Marshall. However, when we were informed that the time to make a video was upon us, it seemed close to impossible that we would be able to make the trip to meet with her. While she is close to our hearts, we were separated by 4580km (2845 miles for our USA/UK friends). However, Lesley and the team at MAVN thankfully remained undaunted by such concerns. The result is one of our very favourite videos to date.”

Time Is A Car is a meta music video. A music video in a music video. It’s what would have happened if Thelma and Louise escaped with all the money and drove happily ever after off into the sunset and had wonderful prosperous lives. Fueled by music video epics, pulp films, and ripe with sarcasm, Time Is A Car, has the parody quality of Beastie Boys’ Sabotage and the vibrancy of Megan Thee Stalion’s Thot Sh*t.”
– 
Director Lesley Marshall

During a brief period in 2020 when it was safe to travel, the band headed to Gabriola Island on BC’s West Coast where they quarantined themselves for 14 days in a cabin writing and rehearsing, and then headed into the studio for 7 days at The Noise Floor Recording Studio. “Time Is A Car” is the first song from this session. More to come later in 2022.

Lucy and Josée formed Partner in the spring of 2014. They were looking to experiment with genre, discuss being gay, and share some jokes and ideas. Their objective has remained the same over the past seven years, although in that time their sound has shifted considerably.

Partner’s debut album In Search of Lost Time (2017) made an impact with its big guitars and polished sound. The record, mixed by Chris Shaw (Ween, Bob Dylan, Cheap Trick), landed a spot on NPR’s All Songs Considered, along with Stereogum, Noisey, Exclaim, CBC MusicIndie 88 and many more best of 2017 lists. The album was shortlisted for the Polaris Prize, and Partner were the recipients of the SOCAN songwriting prize for their song “Play the Field”.

Partner’s follow-up EP Saturday the 14th found the duo embarking on bolder and more playful compositional excursions. Throughout this highly experimental period, ideas for the next album began to coalesce. In the summer of 2019 Lucy and Josée joined all-star drummer Simone TB (US Girls, Highest Order, Darlene Shrugg) in the studio to create their second full-length album, titled Never Give Up. With Never Give Up, Partner returned to their classic rock roots and awakened their truest gifts to deliver their most exciting, riff-laden effort yet. 

Partner Links
Time Is A Car – https://listen.lt/PartnerTimeIsACar
Website: http://www.partnerband.com
Facebook: https://www.facebook.com/partner.music.band/
Bandcamp: https://partnerband.bandcamp.com/
Instagram: https://www.instagram.com/partner_band/
Twitter: http://twitter.com/partner_band
YouTube: https://www.youtube.com/partnerband
TikTok: https://www.tiktok.com/@partnerband/

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A Place to Bury Strangers share “I’m Hurt” from their upcoming album.

Photo by Ebru Yildiz

A Place To Bury Strangers share “I’m Hurt,” the newest single from their anticipated sixth studio album, See Through You, out February 4th (digital) and March 11th (vinyl) on Dedstrange. Following previous singles “Let’s See Each Other” and “Hold On Tight,” the post-punk legends dive headfirst into suffering on today’s dark and explosive “I’m Hurt.” The accompanying video, directed by Chad Crawford Kinkle (Dementer, Jug Face), is the first in a series of See Through You videos from horror movie directors hand-selected by A Place To Bury Strangers. Under Kinkle’s frantic and hallucinatory direction, Oliver Ackermann’s expression of relentless liminal terror is transubstantiated into a brutal backwater blood feast. While the flickering, kinetic visuals will be familiar to anyone who has seen the band live, the psychological horror at the heart of “I’m Hurt” is raw. Together, Kinkle and APTBS scramble our collective unconsciousness with scenes of grotesque public freakouts from the outskirts of the subliminal that are tied to a scorned woman’s black magic ritual which conjures up teenage demons on the hunt for revenge.

Watch “I’m Hurt” Video

‘I’m Hurt’ is the sound of friendship dying. At the time of writing this song, I was going out of my mind dwelling on conflict in my head and beating myself down while trying to rebuild my faith in humanity which is reflected in the actual structure of the song. The drums build with this frustration and a desire to scream with no voice. Listen closely to the vocal phrasing of ‘I’m Hurt’ in the chorus and you can hear the self-doubt and failure I was experiencing at the time,” says Ackermann.

A Place To Bury Strangers always bring surprises. Outpacing even their own firmly blazed path of audio annihilation, See Through You repeatedly delivers the massive walls of chaos and noise that every A Place To Bury Strangers fan craves. See Through You is an explosive journey which explores the listener’s limits of mind-bending madness while simultaneously offering the catchiest batch of songs in the band’s discography. It’s a nod of the cap to the art school ethos of the band’s origins, while forging a new and clear direction forward. Simply put, See Through You promises to be an epic, instant classic.

A Place To Bury Strangers’ previously announced North American tour in January and February will be rescheduled for May and June due to the ongoing COVID-19 crisis. New dates are forthcoming. Please stay tuned.
Pre-order See Through You

A Place To Bury Strangers 2022 Tour Dates
Wed. March 9 – Hamburg, DE @ Hafenklang &
Thu. March 10 – Dresden, DE @ Beatpol &Fri. March 11 – Warsaw, PL @ Klub Poglos &
Sat. March 12 – Prague, CZ @ Futurum &
Sun. March 13 – Bratislava, SK @ Randal Club &
Mon. March 14 – Budapest, HU @ Durer Kert &
Wed. March 16 – Bucharest, RO @ Control Club ^
Thu. March 17 – Sofia, BG @ Mixtape5 ^
Fri. March 18 – Thessaloniki, GR @ Eightball ^
Sat. March 19 – Athens, GR @ Temple ^
Mon. March 21 – Skopje, MK @ 25th of May Hall ^
Tue. March 22 – Belgrade, RS @ Club Drugstore ^
Thu. March 24 –  Zagreb, HR @ Mochvara ^
Fri. March 25 – Bologna, IT @ Freakout Club ^
Sat. March 26 – Rome, IT @ Largo ^
Sun. March 27 – Milan, IT @ Legend Club ^
Tue. March 29 – Zurich, CH @ Bogen F ^Wed. March 30 – Munich, DE @ Backstage ^
Thu. March 31 – Martigny, CH @ Caves Du Memoir
Fri. April 1 – Paris, FR @ La Trabendo *
Sat. April 2 – London, UK @ Lafayette *
Mon. April 4 – Antwerp, BE @ Kavka *
Tue. April 5 – Munster, DE @ Gleis 22 *
Wed. April 6 – Amsterdam, NL @ Melkweg *
Thu. April 7 – Groningen, NL @ Vera *
Sat. April 9 – Stockholm, SE @ Hus 7 *
Sun. April 10 – Oslo, NO @ John Dee *
Mon. April 11 – Copenhagen, DK @ Pumpehuset *
Tue. April 12 – Berlin, DE @ Hole 44 *
Wed. April 13 – Cologne, DE @ MTC * & with Jealous
^ with Plattenbau
* with Lunacy

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CHAI release new single, “Whole,” and new tour dates.

Today, CHAI present a new single, “WHOLE,” released via Sub Pop. In addition, “WHOLE” is confirmed as the theme song for Japan’s public broadcaster NHK’s new romantic-comedy-drama series, Koi-senu Futari. Tapping their San Diego-based Wink Together collaborator, Scoobert Doobertto produce, “WHOLE” is a nostalgic and romantic J-POP track, charged with harmonies and melodies that draw influences from 90’s Japanese TV drama songs. The lyrics, inspired by Koi-senu Futari’s storyline featuring an aromantic/asexual couple, touch on the theme of universal and unconditional love. “WHOLE” speaks on the desire to accept one another’s differences, to love one another as a “whole,” and the wish to “turn this anger into something beautiful”—a message that reverts back to CHAI’s philosophy as artists.  

Yuuki, who penned the lyrics, says the song: “Sometimes, no one empathizes with you. But is that really a bad thing? I don’t want to make my thing, or someone else’s thing, something to be ashamed of. Because our ‘differences’ may not be our enemies. I wish we could love each other’s little differences and little similarities entirely– that’s the hope behind this song.”

Listen to “WHOLE”

Next month, CHAI will begin their WINK TOGETHER tour before embarking on a string of sold-out dates supporting Mitski. Full tour dates are below. 

CHAI TOUR DATES
Fri. Feb. 4 – Chicago, IL @ Lincoln Hall
Sat. Feb. 5 – Milwaukee, WI @ Cactus Club
Sun. Feb. 6 – Minneapolis, MN @ 7th Street Entry
Wed. Feb. 9 – Toronto, ON @ Lee’s Palace
Fri. Feb. 11 – Cambridge, MA @ The Sinclair
Sat. Feb. 12 – Philadelphia, PA @ The Foundry
Sun. Feb. 13 – Washington, DC @ Union Stage
Tue. Feb. 15 – Brooklyn NY @ Elsewhere
Thu. Feb. 17 – Asheville, NC @ The Orange Peel *  – SOLD OUT
Fri. Feb. 18 – Raleigh, NC @ The Ritz * – SOLD OUT
Sat. Feb. 19 – Atlanta, GA @ The Eastern * – SOLD OUT
Mon. Feb. 21 – Birmingham, AL @ Iron City * – SOLD OUT
Tue. Feb. 22 – New Orleans, LA @ Civic Theatre * – SOLD OUT
Thu. Feb. 24 – Houston, TX @ White Oak Music Hall (Outside Lawn) * – SOLD OUT
Fri. Feb. 25 – Dallas, TX @ The Bomb Factory * – SOLD OUT
Sat. Feb. 26 – Austin, TX @ Austin City Limits Live at the Moody Theater * – SOLD OUT
Mon. Feb. 28 – Phoenix, AZ @ The Van Buren * – SOLD OUT
Wed. March 2 – Los Angeles, CA @ Shrine Expo Hall * – SOLD OUT
Thu. March 3 – Los Angeles, CA @ Shrine Expo Hall * – SOLD OUT
Fri. March 4 – Oakland, CA @ Fox Theater * – SOLD OUT
Sat. March 5 – Oakland, CA @ Fox Theater * – SOLD OUT
Mon. March 7 – Portland, OR @ Arlene Schnitzer Concert Hall * – SOLD OUT
Wed. March 9 – Seattle, WA @ Moore Theatre * – SOLD OUT
Thu. March 10 – Seattle, WA @ Moore Theatre * – SOLD OUT
Sat. March 12 – Seattle, WA @ The Crocodile
Sun. March 13 – Portland, OR @ Doug Fir Lounge
Tue. March 15 – San Francisco, CA @ Bimbo’s 365 Club
Thu. March 17 – Los Angeles, CA @ Teragram Ballroom
*= supporting Mitski

CHAI Online:
https://chai-band.com/en/
http://pitchperfectpr.com/chai/
https://twitter.com/CHAIofficialJPN
https://www.instagram.com/chaiofficialjpn/
https://www.facebook.com/CHAIofficialJPN/

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Firebreather return with “Creed” – the new single from their upcoming album “Dwell in the Fog.”

Swedish trio Firebreather share a new track today from their forthcoming album Dwell In The Fog via Metal Injection. Hear and share “Creed” HERE. (Direct YouTube and Bandcamp.)

Revolver Magazine previously shared the first single “Kiss Of Your Blade” HERE. (Direct YouTube.)

Gothenburg, Sweden trio Firebreather’s 2019 RidingEasy Records debut album Under a Blood Moon was a powerhouse that most certainly established the band’s incendiary potential. But none of us would be prepared for the suffocating onslaught that is Dwell in the Fog. While that album was in-your-face and raw, Dwell in the Fog rumbles and rages with a fury the band had only hinted at previously. 
Firebreather has a streamlined focus on driving, symphonic riffs in the vein of High on FireInter Arma and their tour- and label-mates Monolord. The guitar and bass tones are, quite simply, entrancing. Paired with vocalist/guitarist Mattias Nööjd’s guttural yet melodic howls and drummer Axel Wittbeck’s groove based rhythms, their entire sound flows like thick, viscous lava. 

“The album is a cathartic journey inwards and a musical continuation from Under A Blood Moon, but with more emphasis on groove and feel,” Nööjd says. From the first notes of album opener “Kiss Of Your Blade” you’ll know exactly what he means. 
Like their preceding two albums, Dwell in the Fog was also recorded and mixed by engineer Oskar Karlsson at Elementstudion in Gothenburg. The band is joined by new bassist Nicklas Hellqvist on this album, who seems to have increased the thunder rumble tenfold. 

From the aforementioned album opener “Kiss Of Your Blade”, with its droning opening chords over a rollicking tom pattern, the band quickly shifts gears into a head bobbing, serpentine riff with a transcendent melodic hook. Elsewhere, as on the title track and “Weather The Storm” rapid-fire hummable riffs come and go in an ever-shifting mass of devastating swirling churn. It’s like the band has such an endless supply of great hooks that to, ahem, dwell for too long on any one would undo their constantly building momentum. That they somehow give each song, and the album as a whole, a streamlined and cohesive, monolithic groove is testament to their skill. And, proof that the album must be absorbed in its entirety to experience the overwhelming swaying and lunging low end growl that drives the band’s most captivating work to date. 

Dwell in the Fog will be available on LP, CD and download on February 25th, 2022 via RidingEasy Records

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Review: Motörhead – Everything Louder Forever

How do you even attempt to create a collection of Motörhead‘s forty-year career? If you’re BMG Records, you put together Everything Louder Forever, which they describe as “the definitive assembly of Motörhead songs that have created [a] cultural phenomenon, and represents the first time all the eras of the band’s recorded history have been represented in one place.”

Starting with the classic, frantic “Overkill,” Everything Louder Forever packs so much power into two CDs / four LPs that it’s bursting at the seams. Lemmy Kilmister‘s heavy bass comes to the forefront on “We Are Motörhead” and never leaves for the rest of the collection. “Fast” Eddie Clarke‘s guitar solo on “Snaggletooth” (a song named after the band’s logo) is stunning. Brian “Robbo” Robertson‘s piano pounding adds a fun touch to “Rock It.”

The fuzz of “Orgasmatron” never gets old. Mikkey Dee‘s drums on “Sacrifice” are bonkers and make you stop in your tracks and pay attention. “Killed by Death” is still one of Motörhead’s wittiest tracks, as is “Smiling Like a Killer,” in which Kilmister takes on the persona of a happy man with a dark, deadly secret. “Keys to the Kingdom” is a good example of how well Motörhead could groove.

The double kick drum on “Burner” is perfect for the afterburner energy of it. “Just ‘Cos You Got the Power” has Kilmister at some of his angriest on the vocals and some of Micheal “Würzel” Burston‘s best guitar work. “R.A.M.O.N.E.S.” is a fun tribute to fellow rockers. “I Ain’t No Nice Guy” features Ozzy Osbourne on guest vocals and Slash on guitar. The compilation ends, appropriately, with “Motörhead.”

It’s full of great tracks, too many to list and review here. It works as both an introduction to the band and a fine addition to an established collection.

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Review: Yard Act – The Overload

Coming out of the 2022 gate with strong chops and wit, Yard Act‘s The Overload has already set the bar high for post-punk albums (and ones in other genres, for that matter) to come.

The title track opens the record with a breakneck dance bass riff from Ryan Needham while lead singer James Smith sings about “The overload of discontent…The constant burden of making sense. It won’t relent.” Good grief, is he right. “Dead Horse” is a punch at Brexit and racism in England (“England, my heart bleeds. Why’d you abandon me? Yeah, I abandoned you, too, but we both know I wasn’t the one lied to, and I’m not scared of people who don’t look like me, unlike you.”)

“Payday” and “Rich” are a nice double-punch, both with crunchy guitar by Sam Shjipstone. “Payday” is all about getting rich on the efforts of others and getting away with it. “Rich” is a witty track about how wealth often brings misery and / or desire to become richer despite having everything you need.

“The Incident” seems to have Smith, Needham, Shjipstone, and drummer Jay Russell almost each playing their own song, but it somehow works and produces a funny tune about the different set of rules for CEOs and VIPs, even though their reputation and worth is built on illusions (“We’ve created rules that you can’t find in the book, a different type of prison for a different type of crook. Ever since the incident, my complete incompetence has been exposed to everyone and rendered me irrelevant.”)

“Witness (Can I Get a?)” is a fun punk riff on trying to get people to agree with whatever you’re yelling about at the time. “Land of the Blind” is a song about graft played with beats great for walking your dog, strutting to the ring, or working the catwalk. “Quarantine the Sticks” takes on both bad police and corporate practices. It reminds me of some of Sleaford Mods‘ stuff in its delivery and message.

“Tall Poppies” might have the hardest-hitting lyrics on the entire record as Smith spins a tale of a good joe who has a decent life and dies in his nice home, knowing he had a good run. It’s an allegory for everyone trying to make do with the hand they’ve been dealt and make the world a bit better in their own way (“We cry because children are dying across the sea, and there is nothing we can do about it. Whilst we benefit from the bombs they dropped, which we had no part in building. We are sorry, truly we are sorry. We are just trying to get by, too.”)

“Pour Another” has some of Russell’s coolest beats while Smith sings about pals kicking back with a few pints while the world burns around them. “100% Endurance” has Smith telling all of us to tell everyone we love that we love them and all of us have the means within to be happy (“Everything has already happened. Time is an illusion. It’s hippie bullshit, but it’s true.”)

A neat thing about The Overload is that it doesn’t overload you. It delivers all the goods, yes, and plenty of bite and beats, but it doesn’t hammer you over the head or try so hard that Yard Act become self-parodies or annoying. In other words, they crafted a damn fine album.

Keep your mind open.

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[Thanks to Tom at Hive Mind PR.]