Rock – Page 90 – 7th Level Music

black midi take it “Slow” (sort of) with their new single.

Today, black midi present a new single/video, “Slow,” from their forthcoming album, Cavalcade, out May 28th on Rough Trade. In conjunction, they announce a fall North American tour, plus a new KEXP interview and performance. A full circle moment for black midi, their first KEXP performance (live from Iceland Airwaves in 2019) is how many first experienced the band. Following lead single “John L,” “a zoomed-out optical illusion, making you question what you’re witnessing at every turn,” (Pitchfork, “Best New Track”) “Slow” is one of two Cavalcade songs fronted by bassist Cameron Picton. The music for “Slow” was written just before black midi’s February 2020 UK tour with the lyrics finalised when demos were recorded in June 2020. They tell the story of a young and idealistic revolutionary dreaming of a better world who ends up being shot in the national stadium after a coup d’état.

“The ‘Slow’ video was made to fit the oscillating dynamics of the song. Going from calm to chaos over and over again,” says director and animator Gustaf Holtenäs. “The video tells the story of a character who creates AI-generated worlds. To emphasize this, I let real AI’s generate a lot of the backgrounds in these worlds. So they are partly AI-generated, but It isn’t long before an AI could create the whole deal and create endless iterations of fantasy worlds. It can already create a random beautiful landscape painting in 1 second.”

Watch black midi’s Video for “Slow”

Cavalcade is a dynamic, hellacious, and inventive follow-up to black midi’s debut, Schlagenheim, one of 2019’s most widely-praised albums. Cavalcade scales beautiful new heights, pulling widely from a plethora of genres and influences, reaching ever upwards from an already lofty base of early achievements. black midi — Geordie Greep (guitar, primary vocals), Cameron Picton (bass, vocals), and Morgan Simpson (drums) — picture Cavalcade as a line of larger than life figures, from a cult leader fallen on hard times and an ancient corpse found in a diamond mine to legendary cabaret singer Marlene Dietrich, strolling seductively past them.
Watch New KEXP Session

Watch “John L” Video

Pre-order Cavalcade

Purchase “John L”/“Despair” 12”

black midi Tour Dates:
Mon. Oct. 4 – San Francisco, CA @ Great American Music Hall
Thu. Oct. 7 – Los Angeles, CA @ The Fonda Theatre
Fri. Oct. 8 – San Diego, CA @ The Casbah
Sat. Oct. 9 – Pioneertown, CA @ Pappy and Harriet’s
Mon. Oct. 11 – Minneapolis, MN @ Fine Line Music Cafe
Tue. Oct. 12 – Milwaukee, WI @ Turner Hall
Thu. Oct. 14 – Lakewood, OH @ Mahall’s
Fri. Oct. 15 – Pittsburgh, PA @ Spirit
Sat. Oct. 15 – Kingston, NY @ Tubby’s
Mon. Oct. 18 – Cambridge, MA @ The Sinclair
Tue. Oct. 19 – New York, NY @ Webster Hall
Thu. Oct. 21 – Baltimore, MD @ Union Brewery
Sat. Oct. 23 – Asheville, NC @ The Grey Eagle Tavern
Tue. Oct. 26 – Birmingham, AL @ Saturn
Wed. Oct. 27 – New Orleans, LA @ Republic
Fri. Oct. 29 – Austin, TX @ ??????????
Sat. Oct. 30 – Houston, TX @ The Secret Group

Keep your mind open.

[Take a stroll over to the subscription box while you’re here.]

[Thanks to Sam at Pitch Perfect PR.]

Jess Cornelius releases haunting Peach Fuzz version of “Body Memory.”

Today, Los Angeles-based musician Jess Cornelius presents “Body Memory” (Peach Fuzz Version), with an accompanying video. It’s an alternative version of the original that appeared on Distance, her album released last year on Loantaka Records (which will see its UK release on May 14, 2021), and follows her recent cover of the Eagles’ “I Can’t Tell You Why.” While the original track is driven by a catchy electro-rhythm, the Peach Fuzz version is gorgeously stripped down. Cornelius’ voice is poignant over reverberating electric guitar, as she sings of the lasting emotions that stem from a miscarriage. Peels of guitar and muted percussion gently filter in as the song continues.

“I’d started playing the song for myself in a totally different way – on echoey guitar instead of keys, with a dreamy, melancholic mood, and wanted to record it as a sort of ‘part two’. It’s like a new cover of my own song, I guess. When I started recording the demo I ended up capturing all these distant sounds that got all distorted in the process: a nail gun, a baby, police sirens, which I kept in for the final recording. I added harpsichord, synth and drums, and Jarvis Taveniere added bass during the mixing. The rolling toms and shaker in the outro added this new little groove and moved the mood again. To me this almost feels like a new song; ‘I was my own woman once’ is now less defiant and more reflective, maybe even yearning.”

Cornelius and her partner filmed the video in the Sequoia National Forest in Northern California. “I had the idea for the visual for a while – this hyper-artificial neon outfit against a lush forest backdrop. I made the dress the night before the shoot, using some high-visibility fabric I’d been given years ago. But when we got out to the forest, about half of the trees were dead – killed off by drought and bark beetles exacerbated by rising temperatures. The video inadvertently became a sort of environmental lament – about a different kind of loss and love.”
Watch Jess Cornelius’ Video for “Body Memory” (Peach Fuzz Version)

Watch/Listen/Share:
Purchase Distance
Watch the “No Difference” Video
Watch the “Kitchen Floor” Video
Watch the “Body Memory” Video
Listen to “I Can’t Tell You Why” (Eagles’ Cover)

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[Thanks to Jaycee at Pitch Perfect PR.]

Alastor dare you to examine “Dead Things in Jars” from their upcoming album.

Swedish rock band Alastor share the first single from their forthcoming album Onwards and Downwards today via Heavy Blog Is Heavy. Hear and share “Dead Things In Jars” HERE. (Direct YouTube and Bandcamp.)

Metal Injection recently hosted the first single, the driving rocker “Death Cult” HERE. (YouTube.)

Excelsior! It’s the hail of yore that one should go ever onward and upward. And so, fittingly Onwards and Downwards is the occultist Swedish band Alastor’s clever call to arms… and also a reflection of our collective dark state of mind these days.

“If our last album Slave to the Grave were about death, this record is more about madness,” says guitarist Hampus Sandell. “You can look at the whole record as one person’s gradual slip into insanity. An ongoing nightmare without end. It also sums up the state of the world around us as this year has clearly shown.”

Alastor is heavy doom rock for the wicked and depraved. Drenched in heavy, distorted darkness and steeped in occult horror that will make your skin crawl and ears cry sweet tears of blood, the band is revitalized in 2021 with meticulously crafted songs and new drummer Jim Nordström bringing a hard-hitting and precise energy.

“It’s a more focused record but at the same time it’s more personal and naked. More raw emotion and pain,” Hampus says. The band recorded the album with the help of Joona Hassinen of Studio Underjord, who has helped with mixing since their ”Blood on Satan’s Claw” EP in 2017. Christoffer Karlsson of The Dahmers also assisted with overdubs and encouraged the band to demo the material early on, aiding in the album’s more deliberate and tighter feel.

From the first note of opener “The Killer In My Skull” the guitars are far thicker and out front than ever, and Nordström pummels the snare and kick like a young Dave Grohl. Bassist/vocalist Robin Arnryd’s chorus-drenched voice soars above it all like a one-man choir, at times harmonizing beautifully with shimmering Hammond organ notes. Nary a moment is wasted on the droning navel-gazing of lesser bands. Particularly, the driving anthem “Death Cult” which sounds like it would fit comfortably on QOTSA’s Songs For The Deaf, though there’s considerably more heft here. The title track pays its due to the Devil’s tritone in a marvelously woven framework of intertwining melodies befitting the album’s theme of descent into madness.

The quartet released its epic 3-song debut album Black Magic in early 2017 via Twin Earth Records, followed by the 2-track “Blood On Satan’s Claw” EP on Halloween the same year. Joining forces with RidingEasy Records in 2018, Alastor summoned the 7-track hateful gospel Slave To The Grave, which was packed with dynamic twists and turns, and funereal girth. It was met with considerable praise, setting the stage for the band’s greatest step onward (and upward… or downward, depending on your preferences.)

Onwards and Downwards will be available on LP, CD and download on May 28th, 2021 via RidingEasy Records.

Keep your mind open.

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[Thanks to Dave at US / THEM Group.]

Madi Diaz is “Nervous” on her new single.

Today, Nashville-based songwriter Madi Diaz releases “Nervous,” a new single about recognizing unhealthy coping mechanisms. “Nervous,” her third single for ANTI-, follows the evocative “New Person, Old Place” and “Man In Me,” and further presents Diaz’s ability to write direct and introspective music, a craft she’s spent years refining. The song’s frank lyrics are bellied by infectious guitar and Diaz’s buoyant voice: “I know why I lie to myself // I’m not really looking to get healthy // I have so many perspectives I’m losing perspective I make me nervous.” The accompanying video was shot in Nashville and directed by Jordan Bellamy. It was inspired by and includes an homage to the final scene of Andrei Tarkovsky’s film The Stalker, a film that has always resonated with Diaz through its otherworldly nature, as well as its thoughtful and often anxiety inducing pace.

“You know when you hold a mirror up to a mirror and you get an infinite amount of reflections from every angle? That’s what ‘Nervous’ is about,” says Diaz. “It’s when you’re in a loop of looking at yourself from every vantage point until you’re caught up in your own tangled web of bullshit. It’s about catching yourself acting out your crazy and you’re finally self aware enough to see it, but you’re still out of your body enough and curious enough to watch yourself do it.”
Watch Madi Diaz’s “Nervous” Video

Watch the “New Person, Old Place” Video

Watch the “Man In Me” Video

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[Thanks to Jessica and Jaycee at Pitch Perfect PR.]

Motörhead’s classic “No Sleep ‘Til Hammersmith” 40th anniversary edition is as massive as it sounds.

Deluxe CD Box-Set and Special 40^th Anniversary Editions of No Sleep‘ Til Hammersmith to be Released on June 25th 2021 Watch a New Video for a Previously Unreleased, Live Version of “The Hammer” Plus Preorders & Exclusive March Bundles Here – https://motorhead.lnk.to/nosleep40PR

Back in the Summer of 1981, MOTÖRHEAD got louder, dirtier and more universal, and you’re getting an invitation to relive this most glorious of achievements once again…

Following on from 2020’s year-long celebration of MOTÖRHEAD’s iconic Ace Of Spades album comes the live album to end all live albums, the undisputed definitive live record of all time: No Sleep ‘Til Hammersmith. To celebrate the 40th anniversary of this number one album, it is being presented in new deluxe editions. There will be hardback book-packs in two CD and triple LP formats, featuring a new venue demolishing remaster of the original album, bonus tracks and the previously unreleased – in its entirety – concert from Newcastle City Hall, March 30, 1981, the story of the album and many previously unseen photos. Also, the album will be released as a four CD box set of all three concerts recorded for the album released here in their entirety for the very first time and primed to gleefully shatter what’s left of your grateful eardrums.

Upon that original June 27^th ’81 release, Lemmy is quoted as saying of No Sleep ‘Til Hammersmith after it crashed into number one in the UK charts, “I knew it’d be the live one that went best, because we’re really a live band. You can’t listen to a record and find out what we’re about. You’ve got to see us.”No Sleep ‘Til Hammersmith was MOTÖRHEAD’s first and only number one record in the UK and is still the most necessary live album of all time.

The No Sleep ‘Til Hammersmith CD box set contains:

The No Sleep ‘Til Hammersmith album, remastered from the original master tapes, featuring extra bonus tracks and newly unearthed, previously unreleased sound check recordings.
The three full recordings of the concerts that made up No Sleep, never before released in their entirety.
The story of No Sleep ‘Til Hammersmith told through previously unpublished and new interviews with the people that were on the road at the time.
Never before seen photos and rare memorabilia.
Double sided, A3 concert posters from 1981.
Reproduction USA ’81 tour pass.
MOTÖRHEAD ‘England’ plectrum.
1981 European tour badge.
Reproduction Newcastle City Hall ticket.
Port Vale gig flyer post card.

MOTÖRHEAD in 1981 was a band of extremes; a flammable mix of non-stop celebration over their rising success and punishing graft, underscored by an inter-band powder-keg dynamic. After recording Ace Of Spades, it had shot to number four in the UK; the killer breakthrough after Overkill and Bomber had done essential groundwork, late 1980s Ace Up Your Sleeve UK tour was a triumphant lap of honour that spilled into the recording of No Sleep ‘Til Hammersmith. The album took its title from an inscription painted on one of the trucks, referencing the 32 gigs they were playing with only two days off. The track listing ended up featuring three tracks from Ace Of Spades, five from Overkill, Bomber’s title track and two from their self-titled debut.

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[Thanks to Maria at Adrenaline PR.]

Squid release “Pamphlets” ahead of new album due May 7th.

Next Friday, May 7th, Squid will release their debut album, Bright Green Field, via Warp Records. Ahead of its release, they present a new single, “Pamphlets,” and announce their first-ever US tour. Squid have long been praised for their kinetic live shows, recently being named one of the best bands at SXSW 2021 by The New York Times and Paste. New single “Pamphlets” further previews this energy. It “concludes [Bright Green Field] with eight minutes of Can-ish skyward populsion – the delirious release which justifies all the foregoing tension” (MOJO). Squid drummer and lyricist Ollie Judge elaborates: “It’s about all the rubbish right-wing propaganda you get through your front door. It imagines a person with that as their only source of news being taken over by these pamphlets.”

Listen to Squid’s “Pamphlets”

Each single – “Pamphlets,” “Paddling,” and “Narrator” – shows that Bright Green Field is a debut of towering scope and ambition. Produced by Dan Carey, Bright Green Field is deeply considered, paced and intricately constructed. The five band members – Louis Borlase (guitars/vocals), Oliver Judge (drums/vocals), Arthur Leadbetter (keyboards/strings/ percussion), Laurie Nankivell (bass/brass) and Anton Pearson (guitars/vocals) – worked as a unit, playing an equal and vital role in its creation.

Squid’s music has often been a reflection of the tumultuous world we live in. As an album title, Bright Green Field conjures an almost tangible imagery of pastoral England. However, it’s something of a decoy that captures the band’s fondness for paradox and juxtaposition. Although the geography of Bright Green Field is an imaginary cityscape built from monolithic concrete buildings and dystopian visions, it’s also a joyous and emphatic record that marries the uncertainties of the world with a curious sense of exploration.

Watch the “Narrator” feat. Martha Skye Murphy Video

Listen to “Paddling”

Pre-order Bright Green Field

Squid Tour Dates
Tue. Sept. 7 – Brighton, UK @ Concorde 2
Thu. Sept. 9 – Bristol, UK @ Marble Factory
Fri. Sept. 10 – Manchester, UK @ Albert Hall
Thu. Sept. 23 – London, UK @ Printworks
Fri. Sept. 24 – Birmingham, UK @ The Crossing
Sat. Sept. 25 – Nottingham, UK @ Rock City
Mon. Sept. 27 – Newcastle, UK @ NUSU
Tue. Sept. 28 – Glasgow, UK @ SW3
Wed. Sept. 29 – Belfast, UK @ Empire
Thu. Sept. 30 – Dublin, IE @ Button Factory
Sun. Oct. 3 – Cardiff, UK @ Tramshed
Mon. Oct. 4 – Southampton, UK @ 1865
Tue. Oct. 5 – Exeter, UK @ The Phoenix
Thu. Oct. 7 – Amsterdam, NL @ Paradiso
Fri. Oct. 8 – Brussels, BE @ Botanique
Sat. Oct. 9 – Paris, FR @ Trabendo
Mon. Oct. 11 – Cologne, DE @ Bumann & Sohn
Tue. Oct. 12 – Hamburg, DE @ Molotow Skybar
Fri. Oct. 15 – Malmo, SE @ Plan B
Sat. Oct. 16 – Stockholm, SE @ Melodybox
Mon. Oct. 18 – Berlin, DE @ Berghain Kantine
Tue. Oct. 19 – Prague, CZ @ Underdogs’
Thu. Oct. 21 – Munich, DE @ Heppel & Ettlich
Sat. Oct. 23 – Zurich, CH @ Bogen F
Sun. Oct. 24 – Düdingen, CH @ Bad Bonn
Mon. Oct. 25 – Milan, IT @ Magnolia
Tue. Oct. 25 – Bologna, IT @ Locomotiv
Thu. Oct. 28 – Barcelona, ES @ Upload
Fri. Oct. 29 – Madrid, ES @ Independence
Sat. Oct. 30 – Vigo, ES @ Masterclub
Tue. Nov. 9 – Philadelphia, PA @ Johnny Brenda’s
Wed. Nov. 10 – New York, NY @ Mercury Lounge
Fri. Nov. 12 – Cleveland, OH @ Beachland Tavern
Sat. Nov. 13 – Chicago, IL @ Empty Bottle
Wed. Nov. 17 – Los Angeles, CA @ Moroccan Lounge
Fri. Nov. 19 – Santa Ana, CA @ Constellation Room
Sat. Nov. 20 – San Francisco, CA @ Rickshaw Stop
Mon. Nov. 22 – Portland, OR @ Doug Fir
Tue. Nov. 23 – Seattle, WA @ Crocodile

Keep your mind open.

[No pamphlets here, just music news and reviews when you subscribe.]

[Thanks to Jessica at Pitch Perfect PR.]

Wings of Desire are “Better Late Than Never” with their new single.

Releasing debut EP End Of An Age back in February this year, the arcane Wings Of Desire have held a mirror up to the intensity of modern life, questioned our well-worn paths of existence, and asked the important questions on subjects of conformity and living in the present.

Drawing inspiration from visual arts and 20th century counterculture, Wings Of Desire confront themes of ignorance and identity to create shape-shifting soundscapes that cut deep, flitting between the dazed and euphoric, to the propulsive and emotional, through previous singles ‘001’, ‘Runnin’, ‘Be Here Now’, and ‘Chance Of A Lifetime’.

Today the two-piece share boundless new track ‘Better Late Than Never’ alongside a video. The visual was inspired by the early cinematic technique of Polyvision and the Mike Figgis film Timecode. The idea was to portray a multitude of days lived, and to reflect the various edges of our individual personalities through the mundane. It was shot on 8mm film and is meant to give the viewer a Rear Window insight into the human experience.

In the west, we are ingrained to think getting older is a bad thing.

In the east ageing is championed and seen as an opportunity to gain great insight and wisdom.

The song is about letting go and allowing time to take you on a grand journey of self discovery, and finding empowerment in all the life experience one has gained.

We need to find the transcendent in a world rooted in constant change and destruction. Otherwise we risk being washed ashore.

Watch the video for ‘Better Late Than Never’ HERE.

Keep your mind open.

[Better to subscribe late rather than never.]

[Thanks to Amy at Prescription PR.]

Anika returns with first new music in eight years.

Anika – the project of Berlin-based musician Annika Henderson who is also a founding member of Exploded View – announces signing to Sacred Bones and returns with a new single/video, “Finger Pies.” Released in collaboration with Invada Records, this is Anika’s first new piece of music in 8 years, following her 2010 cult-favorite Anika, and the 2013 Anika EP. “Finger Pies” presents Anika’s alluring voice, which switches between singing and speaking over bass, waning brass, drums, and blares of synth. The accompanying video was co-directed by Anika with Sven Gutjahr (who has worked with Versace and Holly Herndon). The two had lived in the same apartment building in Neuköln, Berlin, during 2017 yet never met. Fate, and a bunch of people around a table 3,965 miles away brought them together for the video. It shows Anika effortlessly contemplating her adopted city with a cinematic coolness.

Anika elaborates: “A song that never had a name, like an artist that never had a face. Caught between roles, a jack of all trades, she slips between your fingers like a moment that never was, or was it? So many faces tailored to a myriad of occasions. Walls built between ourselves and the outside world. For protection. Passes grant access to another level. So where are you at? Those with all the keys, please remember, access comes with responsibility. Yet responsibility has been lost, like tissue paper in the rain, a battle without rules, to save face, exploit weakness, to save getting slayed, by the faceless generation. Welcome to the world of ‘Finger Pies.’”

When asked to describe the circumstances that influenced her beautifully fraught new work, Anika quickly articulates a set of feelings and unpredictable circumstances that are familiar to anyone who tried to make art—or simply tried to live through—the recent global pandemic. “It’s a moment caught in time,” she says.

“Finger Pies” is the first of more new music from Anika this year.

Watch “Finger Pies” Video

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[Thanks to Patrick at Pitch Perfect PR.]

Evolfo release “Give Me Time” ahead of full album due June 18th.

Brooklyn, NY psych rock septet Evolfo today shared their new single “Give Me Time” from their sophomore full-length, Site Out Of Mind, releasing June 18 via Royal Potato Family. The track arrives alongside an El Oms-directed music video which premiered today via FLOOD Magazine.

Expanding on the usual psych rock cocktail of phasers, fuzz, and echo, Evolfo blends in an array of less typical tones and textures such as soaring synths, mandolins, and ominous horns. “When I received the song I immediately liked it”, says the video director & animator Omar “El Oms” Juarez. “I love the way the guitar sounds so melodic. It’s like it’s telling you that summer is around the corner. I love the epic ending and how heavy it sounds. Around the same time I heard the song, I was rewatching the 1952 Mexican movie Los Olvidados. It’s a story about young kids facing everyday struggles with life. The verse that stood out to me was ‘no ones come to rescue me.’ I immediately thought of Los Olvidados and came up with the video concept. I presented it to Evolfo and we started to brainstorm on how we wanted the audience to go on this psychedelic and emotional ride.”

If the Brooklyn-based psych rockers felt pressured to repeat the successes of their 2017 album Last of the Acid Cowboys they certainly didn’t show it. One might think a band that racked up 6 million plus streams on their debut record would try to recreate this by doing more of the same. But Evolfo step confidently forward into fresh sounds and more vivid conceptual subject matter. They have flipped the world of their 2017 debut Last of the Acid Cowboys on its head, departing the earth bound adventures in melting landscapes, rat cities, and desert sojourns for metaphysical territory and the mountains of the mind. “We’re always going to be in a state of flux,” says Gibbs, who formed the group a decade ago, “I consider this to be an exciting, positive thing. We have to embrace our own change.” On their brand new album Site Out of Mind, Evolfo reaches far beyond the confines of genre to create a colorful echo drenched psych rock dream all their own. Adorned with a mind bending cover by visual artist Robert Beatty, the result is a collection of songs that are unexpected, absorbing, and blissfully tripped out.

Partially inspired by concepts pulled from sci-fiction and one group psychedelic drug trip, Site Out of Mind is a thrilling spiral into the depths of the spiritual mind and the afterlife. Lyrically, Gibbs says, it could be interpreted as a continuation of the loose concept that Evolfo’s previous album hinted at. “If the protagonist of that album died at the end of Last of the Acid Cowboys,” says Gibbs, “then this was the protagonist’s internal journey, flipping the landscape, and going through the mountain of their mind in that moment of mortality; perhaps a blurring of brain activity between dying and death, between life and the afterlife.”

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[Thanks to Cody at Clandestine PR.]

Review: Mötorhead – Louder Than Noise…Live in Berlin

Recorded on December 05, 2012 in front of an audience of about 12,000 fans, Mötorhead‘s Louder Than Noise…Live in Berlin is a good record of the band’s power and ferocity. The trio of Phil Campbell (guitar), Mikkey Dee (drums), and Ian “Lemmy” Kilmister (bass and vocals) was the longest-running Mötorhead lineup, and their locked-in energy is palpable throughout the show.

The show begins with Kilmister yelling, “Guten abend! How you doin’? All right? We are Mötorhead…Phillip, if you would be so kind?” in his signature bourbon-and-cigarettes-laced voice before they rip into the snarky “I Know How to Die.” “Damage Case” swings with a bluesy groove that is made dangerous by Kilmister’s growls and Campbell’s rock riffs. It rolls right into “Stay Clean” thanks to Dee’s relentless yet effortless drum fills.

They give the crowd and the listener a brief break before rolling out “Metropolis,” which starts like a stoner metal track and then two sharp snare cracks from Dee turn it into a fuzzy rocker. Kilmister dedicates “Over the Top” to Campbell, probably because Campbell shreds for almost three minutes straight on it. “Doctor Rock” is just as fun and fast and furious as you hope it will be. Campbell plays a nice two-minute solo (“String Theory”) and then his bandmates join him in the classic “The Chase Is Better Than the Catch.”

“Rock It” comes after the band takes a quick drink of…something, and then it rolls into the wicked, dark blues cut “You Better Run,” which I’m sure had the mosh pit amped up even more than it was at the start of the show. “The One to Sing the Blues” has some of Dee’s most ferocious drumming, including a tremendous solo. The whole track sounds like Mötorhead are daring any challengers to their throne of skulls.

“Now, then, this is a rock and roll song,” Kilmister says before they launch into the swinging, blazing “Going to Brazil” (as if all the other songs aren’t). “Killed by Death” brings plenty of fuzz and power to warm you up (if you’re not already sweating) for, of course, “Ace of Spades” to close the main set. “Remember? We’re deaf!” Kilmister yells to the audience after the song ends. I’m sure the whole audience was, too. “Overkill” is the crazy, wild finale, with Dee going for broke and Campbell and Kilmister doing their best to blow the back of the joint.

It’s a fun recording, and I wish I could’ve seen them live before Kilmister left for the giant after-party in the sky. This is a good substitute, however.

Keep your mind open.

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[Thanks to Maria at Adrenaline PR.]