Rock – Page 83 – 7th Level Music

Trip Villain have “Won” with their new single.

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 Villain, Ego Death) and comes with a full album download via Bandcamp. 7” Flexi-Discs will not ship until late-March.

Trip Villain explains“Won 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. Miale: https://www.youtube.com/watch?v=eyqE7TtfnI0

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[Thanks to Maria at Adrenaline PR.]

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

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 EP, Broken 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 Music, Indie 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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[Thanks to Mar at Mar on Music.]

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

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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[Thanks to Patrick at Pitch Perfect PR.]

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 Doobert, to 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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[Thanks to Jim at Pitch Perfect PR.]

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 Fire, Inter 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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[Thanks to Dave at US / THEM Group.]

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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[Thanks to Maria at Adrenaline PR.]

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.

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Yard Act releases “Rich” ahead of full album due January 21st.

The buzzing Leeds band Yard Act are preparing to release their highly anticipate debut The Overload later this month (Jan 21st) via Island Records and their own imprint Zen F.C., and today they are sharing their final single from the album, a track called “Rich.” The album arrives following a banner year for the band, and the excitement around them has continued to heat up at the start of 2022. Following a late 2021 appearance on Later…w/ Jools Holland, Elton John called Yard Act one of his favorite new bands in an NME feature (he described their sound as “a different ball game“), the band were named an NPR Slingshot artists for 2022 with NPR proclaiming that “Yard Act will be 2022’s breakthrough English post-punk act“, saw features in Rolling Stone and The Guardian, and their album has received some glowing early reviews including 5* reviews from Rolling Stone UK and DIY Magazine, 4.5* stars from Uncut, 4* and the coveted album of the month award from MOJO.

WATCH: Yard Act’s “Rich” video HERE

Speaking about the new track, which follows the November single “Payday“, frontman James Smith explains: “‘Rich’ is the natural successor to ‘Payday’. That’s the end of the story right? Success! Status! Security! Except, there’s always more money to be made, and you’re deemed a failure if your life starts to head back in the direction it came from. It’s about being so lost you’re sure you know exactly where you are and how you got there. I also wrote it because I thought it would be quite funny if Yard Act made a shit ton of money after I’d written an anti-capitalist concept album. It’ll be funny if I’m singing this song on stage when I’ve made my mint.”

He elaborates: “At worst it makes no sense, at best it comes off as pretentious, but that’s the point I’m trying to make when I write anything really. Things only really make sense if you exclude the bits that don’t back up the point you’re trying to make. I’m a hypocrite just like everyone else. I don’t have the answers and I’m just trying to do the best I can. It’ll never be good enough though. Enjoy the ride, life is short and you never know what’s round the corner.”

The accompanying video is the band’s fourth collaboration with director James Slater and his production team, following ‘The Overload’, ‘Land Of The Blind’, and ‘Payday’ and further develops the world Yard Act have created and the characters that exist within it.

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King Gizzard and the Lizard Wizard team up with DJ Shadow for a remix of “Black Hot Soup.”

Today, King Gizzard & The Lizard Wizard release a new single/video, “Black Hot Soup (DJ Shadow “My Own Reality” Re-Write),” from their forthcoming remix album, Butterfly 3001, out January 21st on KGLW. Following last month’s “Neu Butterfly (Peaches Remix)” and “Shanghai (Dub By The Scientist),” King Gizzard continue their remix streak with “Black Hot Soup (DJ Shadow “My Own Reality” Re-Write)” and expand on it with an accompanying video directed by John Angus Stewart, starring iconic Australian author, satirist, radio presenter and documentary maker John Safran, and featuring appearances from Alkiviadis Grapsas and John Dimoulas.

Watch the Video for “Black Hot Soup” (DJ Shadow “My Own Reality” Re-Write)

“’Black Hot Soup’ is an almost perfect way to describe the world as we know it in the present. A bubbling, thick, sticky, confusing angry place that seems to be made for generations long past. Therefore I wanted to portray a character somehow revelling in the chaos, dancing on the ashes of society. There is an inherent freedom watching someone hitting bottom so hard with a smile. To me it’s a non cynical representation of expression through music! As DJ Shadow fully reworked ‘Black Hot Soup’ I cast John Safran to fully re-work the song again within a performance. Calling it a dance is a stretch, I’d call it more of a full body dry heave.” – John Angus Stewart
King Gizzard’s Joey Walker elaborates: “We’ve put off doing a remix album for a long time. Maybe it was conscious, maybe it wasn’t. But it’s happening now. That’s not to say that Butterfly 3000 makes the most sense to remix. It might seem like the obvious one, but it’s not. Yes it’s electronic. But so is a fridge. Have you tried to dance to Butterfly? It’s hard. It ties your shoelaces together. It’s duplicitous in its simplicity. But Butterfly 3001 expands on this. It also deviates and obliterates. We’re honoured to have such esteemed people go to work on these songs. We hope you love this album as much as we do. See you in DA CLUB!!!”

Listen to “Neu Butterfly” (Peaches Remix)

Listen to “Shanghai” (Dub by The Scientist)

Pre-Order Butterfly 3001

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[Thanks to Jacob at Pitch Perfect PR.]