News – Page 10 – 7th Level Music

Katzin releases first single, “Anna,” from his upcoming debut album.

Born in Alexandria, Virginia, growing up in Raleigh, North Carolina, and coming of age in New York City, Zion Battle makes music as Katzin.

Drawn to music from a young age, beginning with the music he witnessed at church (his father is a theologian and priest), he was fascinated with the sound of good records. He wasn’t sure how to go about replicating these sounds, but started early figuring it out: At 13, he began writing and recording his own music, and at around 15, he became a part of a teenage music scene of bands playing New York City basements, rooftops, and wherever they could turn up the volume without (or with) the threat of being shut down.

He went on to study music at both CalArts and the New School, before electing to take a break from his studies when he signed to the Brooklyn independent label Mexican Summer (Jessica Pratt, Cate LeBon, Hayden Pedigo) earlier this year.

Today, Katzin is sharing “Anna,” first taste of his forthcoming, yet-to-be-announced debut album.

Battle wrote “Anna” during his freshman year at CalArts. As he settled into college, he was struck by how the people around him sometimes struggled to adjust to their new lives, and often mourned the adolescence they’d left behind. Weaving together guitar, banjo, and synths beneath Battle’ssearching vocals, “Anna” is a sensitive portrait of young people making room for new realities as their old attachments fall away.

Battle says of the track: “Anna is a song about distant lovers — growth in distance. To be ‘off and on’ can feel like endless torture. But there’s nothing more euphoric than to run back into the arms of something so familiar.”

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[Thanks to Tom at Terrorbird Media.]

Tombstones in Their Eyes are “Under a Dark Sky” with their new single.

LA-based psychedelic rock outfit Tombstones In Their Eyes presents their brooding single ‘Under Dark Skies’, previewing their ‘Under Dark Skies’ album, to be released via Little Cloud Records (for North America) and Shore Dive Records (for the UK and EU). Without wallowing in self-pity and emotional upheaval, this song leans hopefully toward a new beginning in the understanding that sometimes the bottom is the best place to start.

The video was created by Italian multi-arts visionary Francesca Bonci, known for her work with Federale (BJM’s Collin Hegna), British bard Philip Parfitt, The Dandy Warhols’ Peter G. Holmström a.k.a. Pete International Airport and Slowdive’s Rachel Goswell.

Tombstones In Their Eyes is made up of John Treanor (vocals & guitar), Stephen Striegel (drums), Courtney Davies (vocals), Phil Cobb (guitar), Paul Boutin (guitar), Nic Nifoussi (bass) and Clea Cullen (vocals). What began casually a decade ago has evolved into a powerhouse band known for their expansive psychedelic soundscapes. For Treanor, these sonic explorations are like a cosmic therapy session – an immersive subliminal journey, as well as a way to grapple with anxiety.

This record was created during a year of intense personal change, followed by a clearing of the decks and a move forward into a place light and gratitude. Recorded and engineered by Paul Roessler (Josie Cotton, Nina Hagen, Hayley and the Crushers, Gitane Demone) at Kitten Robot Studios, this album was co-produced by John Treanor and mastered by multi-platinum engineer Alex DeYoung at DeYoung Masters (Michael Jackson, BTS, Macy Gray, The Linda Lindas, TSOL).

“’Under Dark Skies’ is essentially a prayer sent for a path forward from the darkness of the spirit into the light. When the spirit is crushed, a rebirth is possible but the way forward is not always obvious. I feel fortunate to have a creative outlet like music to deal with the chaos in my head. Having said that, fighting the urges for self destruction by self-soothing in harmful ways is still not easy,” says John Treanor.

“We live in a tough and harsh world that is also filled with beauty and joy. Finding beauty and joy is the goal. I’m aware that I have many privileges and do not discount that, but mental health challenges do not seem to discriminate. Finding strength and hope is a daily practice that I must undertake and writing these songs is one of the many ways that I cope. By expressing and sharing these feelings, I let go of the poison and seek connection with others.”

This album arrives a year on from their latest ‘Asylum Harbour’ album (and standout audio-visual trips for ‘I Am Cold’, ‘By My Side’, ‘Gimme Some Pain’, ‘I Like to Feel Good’ and ‘Mirror’), released via Kitten Robot Records.

The single is now out everywhere, including Spotify, Apple Music and Bandcamp, where the ‘Asylum Harbour‘ album can also be found on CD and on snazzy red vinyl. On December 5, the full ‘Under Dark Skies’ album will be released via Little Cloud Records (US) and Shore Dive Records (UK and EU).

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[Thanks to Shauna at Shameless Promotion PR.]

Dry Cleaning announce new album due January 09, 2026 with lead single – “Hit My Head All Day.”

Dry Cleaning announce their new album, Secret Love, out January 9th on 4AD and release the lead single, “Hit My Head All Day.” Secret Love is the finest expression yet of the profound friendships between frontperson Florence Shaw, guitarist Tom Dowse, drummer Nick Buxton and bassist Lewis Maynard. Here, the south London four-piece take their place in rock’s avant-garde, catalyzing the Reaganite paranoia of early 80s US punk and hardcore with the dry strut of Keith Richards, stoner rock, dystopian degradation, playful no wave and pastoral fingerpicking, while Florence’s delivery, meticulously calibrated to her bandmates’ soundscapes, asserts her in a lineage of spoken-word artists stretching from Laurie Anderson to Life Without Buildings’ Sue Tompkins.

Watch the Visualizer for “Hit My Head All Day”

The follow-up to Stumpwork, one of 2023’s most beloved records, Secret Love started life in Peckham rehearsal spaces, all four members writing, playing and responding to each other in the room: in Dry Cleaning, music and lyrics form an inseparable, generative whole. Secret Love evolved through affirming sessions at Jeff Tweedy’s Chicago studio, The Loft, and explosive ones with Gilla Band’s Alan Duggan and Daniel Fox at Sonic Studios in Dublin, taking advantage of the sensory particulars of each space, and finally, with Cate Le Bon at Black Box in the Loire Valley. After interviewing various potential producers, they picked Cate—an esteemed solo artist who has also produced albums for Deerhunter, Devendra Banhart, Wilco and Horsegirl—for her unabashed positivity and openness. “Being in a room with them and hearing that vitality and life force that exists between them all, it’s such a unique expression,” Le Bon says.

Trust is Secret Love’s guiding theme, as signified by today’s compulsively catchy single and album opener, “Hit My Head All Day.” Powered by pistons of breathy synths and cresting arcs of guitar, Florence’s signature mix of absurdism and sensitivity shines through. “The song is about manipulation of the body and mind,” Florence explains. “The lyrics were initially inspired by the use of misinformation on social media by the far right. There are powerful people that seek to influence our behavior for their own gain; to buy certain things, to vote a certain way. I find it hard to read people’s intentions and decide who to trust, even in everyday life. It’s easy to fall under the influence of a sinister stranger who seems like a friend. We took a playful approach to the song. At one point it had harmonica on it instead of a vocal. At the demo stage we were inspired by There’s a Riot Goin’ On by Sly and the Family Stone.” The song arrives with an accompanying visualizer featuring movement by choreographer dance duo BULLYACHE.

Secret Love will be available digitally, on CD, cassette, black vinyl, limited edition Apricot vinyl (4AD store & indie retail) and Pearl/Arctic vinyl (Rough Trade exclusive). An exclusive run of white labels of Secret Love will be available to order for 48 hours only from today via the 4AD store, and a small quantity of JCD’s will be available exclusively on Bandcamp. A limited number of signed photo prints will also be available via 4AD and select indie stores.

Pre-Order Secret Love

Dry Cleaning Tour Dates
Thu. Oct. 23 – Madrid, ES @ Barceló Theatre
Fri. Oct. 24 – Valencia, ES @ Loco Club
Sat. Oct. 25 – Barcelona, ES @ Paral.lel 62
Fri. Nov. 7 – Brighton, UK @ Mutations Festival
Sat. Nov. 8 – Bristol, UK @ Simple Things Festival
Sat. Jan. 3 – Bognor Regis, UK @ Rockaway Beach Festival
Wed. Apr. 22 – London, UK @ O2 Academy Brixton

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[Thanks to Jacob at Pitch Perfect PR.]

Just Mustard’s release powerful new single – “Endless Deathless.”

Ireland’s Just Mustard release “ENDLESS DEATHLESS,” the third single/video from their new album, WE WERE JUST HERE, out October 24th via Partisan Records. “ENDLESS DEATHLESS” arrives on the heels of a sold out September tour and release of the album’s title track, “WE WERE JUST HERE,” which “takes Just Mustard’s minimalist noise rock into a dreamier, goth-like arena” (Consequence). One of the most explosive tracks on the album, “ENDLESS DEATHLESS” captures the band at their most urgent and cathartic. It’s immediate and visceral, built on a foundation of warped guitar textures, clattering percussion, and thudding sub-bass. Katie Ball’s vocals rise above the chaos; a break in the clouds cutting through the noise. It’s a high point of the record’s embrace of physicality and directness, designed to hit with the impact of a packed club running at full tilt. The song’s accompanying video was directed by band member David Noonan.

Watch the Video for “ENDLESS DEATHLESS”

Just Mustard is Katie Ball, David Noonan, Mete Kalyoncuoğlu, Rob Clarke, and Shane Maguire. WE WERE JUST HERE was recorded at Black Mountain studio just outside of the band’s hometown, produced by Noonan and the band, and mixed by David Wrench (Frank Ocean, FKA twigs). The strange and distinct universe the band creates on record is reinforced with haunting interludes of speech and noise, snippets of voice memos, and elements from various demos. While their approach to composition had previously been inspired by their love of electronic music, starting with instrumental loops and textures and later weaving vocal ideas around them, the band made a conscious decision to reverse engineer this process on WE WERE JUST HERE. This meant adopting a more traditional method, looking to the swirling rock and dynamic song structures of Nirvana and My Bloody Valentine and striving for big, bold, fully encompassing songs.

“The vocal structure was the most important thing,” Noonan comments. With choruses bursting with melody and brightness, Ball’s vocals rise higher in the mix throughout the album. Her lyrics can be ingested as a conflicted and toxic grasp at positivity, or a cathartic breakthrough into bliss. “I was trying to write more optimistically, and feeling like a fraud sometimes. I was trying to put myself in places of physical joy to try and get that euphoric feeling,” Ball explains.

WE WERE JUST HERE signals a pivotal moment for the band. Across their first two albums—2018’s Wednesday and their 2022 Partisan debut Heart Under—the band “rode a wave of noise to the front of the shoegaze pack, breaking from the distorted yearning of the genre’s softer acolytes” (Pitchfork). While Just Mustard’s signature elements are still intact on WE WERE JUST HERE, it’s all been channeled into a warmer and more anthemic path. For Heart Under, a core concept of the album was to make listeners feel like they were traveling through a tunnel. With WE WERE JUST HERE, they explode out into the blinding light.

Pre-order WE WERE JUST HERE

Watch the Video for “WE WERE JUST HERE”

Watch the Video for “POLLYANNA”

Just Mustard Tour Dates
Fri. Oct. 24 – London, UK @ Rough Trade East
Sun. Oct. 26 – Kingston Upon Thames, UK @ The Fighting Cocks
Mon. Oct. 27 – Bristol, UK @ Rough Trade Bristol
Tue. Oct. 28 – Brighton, UK @ Resident Music
Wed. Oct. 29 – Liverpool, UK @ Rough Trade Liverpool
Thu. Oct. 30 – Dublin, IE @ Spindizzy Records
Fri. May 1 – Dublin, IE @ Olympia Theatre
Fri. June 26 – Dublin, IE @ Marlay Park *
Sun. June 28 – Belfast, IE @ Belsonic ^
Sun. Aug. 23 – Edinburgh, SF @ Royal Highland Showgrounds, Edinburgh Summer Sessions #

* with The Cure & Stella and the Dreaming
^ with The Cure & The Twilight Sad
# with The Cure, Slowdive, & Mogwai

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[Thanks to Jaycee at Pitch Perfect PR.]

Runo Plum takes you “Halfway Up the Lawn” with her newest single.

In November, runo plum will release her debut LP on Winspear (Wishy, Slow Pulp, Teethe). Entitled patching, the album was produced with her new Winspear labelmate Lutalo, and was announced in late August with the single “sickness,” which arrived with a Rolling Stone featureand saw praise from outlets like Stereogum, Line of Best Fit and BrooklynVegan.

Today, runo is sharing another preview of her new album, a track called “Halfway Up The Lawn,” with a video shot by David Milan Kelly.

Unbridled sincerity isn’t anything new for runo plum, who’s been writing and quietly sharing bedroom dispatches of her intricate folk for a half-decade. During the pandemic years, she steadily caught the ears of a widening circle of listeners and soon began independently releasing a series of singles and EPs, all while cutting her teeth on the live side supporting Searows, Angel Olsen and Hovvdy.

In the midst of this wave of success came an unexpected heartbreak. It wasn’t until runo had written a mass of songs in a five-month burst of intense creativity following that chasm that she realized that not one, but two, records were forming. “I was writing like I never had before and everything felt more meaningful than ever,” she says.

On patching, the work of metamorphosis plays as large of a role as the studied process of mending and repair. Across its twelve tracks, runo paints her melodic arcs with a sharp sense of dynamics, crafting songs that capture both the hazy highs and the dark blue lows of all the natural cycles that make the world turn. At the heart of her writing lies a sort of ephemeral magic, one born from her ability to alchemize a deeply formative chapter of life into a vivid scrapbook of songs, capturing the contours of her experiences in shimmering detail.

“Halfway Up The Lawn” recounts the messy and deeply human desperation phase of a breakup, unraveling all of the yearning and mental hang-ups over persistent, near-hypnotic instrumentation. “I don’t wanna watch you turn green, but I will” she sings, toying with acceptance, but not entirely giving up the fight.

“This song is about when you get broken up with and you aren’t on speaking terms with that person anymore. It makes you feel so insane, you want to scream, you’re checking socials, waiting for a text, desperately waiting for literally any sign of life. I imagine myself pathetically sitting outside of their house waiting for them to get home, but–nothing. The line “I don’t wanna watch you turn green, but I will” is ultimately about accepting that they have moved on. We ended up using my demo guitar solo for this one, which is so funny because it’s sort of a mess but it ended up fitting perfectly with the chaos in the theme.”

In support of the record runo will be embarking on a UK/EU tour that includes appearances at Pitchfork London and Paris. Full details of those dates can be found below.

11/1 – Amsterdam, NL @ London Calling Festival
11/2 – Berlin, DE @ Neue Zukuft
11/3 – Hamburg, DE @ Aalhaus
11/5 – Ghent, BE @ Big Next (Trefpunt)
11/6 – Luxembourg, LU @ Rotondes
11/7 – Paris, FR @ Pitchfork Paris
11/8 – London, UK @ Pitchfork London
11/10 – Bristol, UK @ Thekla
11/11 – London, UK @ Moth Club
11/12 – Brighton, UK @ Dust
11/14 – Sheffield, UK @ Hallamshire Hotel
11/15 – Leeds, UK @ Live at Leeds

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[Thanks to Tom at Terrorbird Media.]

Sell Everything offer “Girls, Girls, Girls” for you.

Hailing from Dublin, SELL EVERYTHING is a five-piece collective fusing jazz guitar, off-kilter rhythms, and sharp lyrical wit into a sound entirely their own. Their genre-blurring approach — spanning indie rock, grunge, jazz, and hip hop — yields songs that feel equally at home in dimly lit clubs and on festival main stages. Frontman Tom Kelly’s wry, observational lyrics thread through lush arrangements with a balance of intimacy and detachment, creating an emotional pull that’s both immediate and enduring. With a DIY ethos and a reputation for unpredictable, compelling live shows, SELL EVERYTHING are rapidly emerging as one of Ireland’s most exciting and forward-thinking acts.

Today, the band are sharing their latest single, a track called “Girls, Girls, Girls,” which is out today on their label home Future Gods.

The band’s early singles have drawn praise from Stereogum, FLOOD, and Line of Best Fit, earning comparisons to artists like King Krule, Bar Italia and Mk.gee. While those comparisons might imply a downbeat vibe, “Girls, Girls, Girls” injects that vibe with a looseness and a sense of fun.

A jazz-leaning indie track built on warm guitar work inspired by Wes Montgomery and a rhythmic sway that nods to Anotr and early Underworld, the track is lyrically playful yet emotionally sharp, drifting between fleeting encounters, restless desire, and self-deprecating humor. It’s the band’s most immediate and infectious release yet, with a groove that lingers long after the track ends.

The band say of the song:

“‘Girls Girls Girls’ is written with irony at its core. On the surface, it feels upbeat and soulful — almost celebratory — but the heart of the song is about that nagging feeling of missing out, when really it’s just in your head. The video reflects that through the pirate character: he’s dressed as an outsider, but it’s his own perception that keeps him apart. The verses carry a bright, major feel, while the chorus shifts into something more melancholic and reflective — a push and pull between joy and self-doubt. In the end, it’s less about wanting what you think you lack, and more about realizing that you’ve put yourself on the outside.”

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[Thanks to Tom at Terrorbird Media.]

Circle Jerks set to release a deluxe reissue of 1983’s “Golden Shower of Hits.”

Circle Jerks ~1983 | Photo By Glen E. Friedman

Golden Shower of Hits is a vicious, snotty and vibrant collection of tracks that highlight Circle Jerks’ insane punk chops, and their penchant for anti-authorianism, nihilism and a good ol ‘time. They’ve teamed up again with renowned archival label Trust Records for its re-release – marking the first time that its original tapes have been touched in 40 years.

The announcement of Golden Shower of Hits’ deluxe reissue comes just in time – today marks frontman / punk icon Keith Morris’ 70th birthday! Fans will have the chance to celebrate alongside the Circle Jerks with their return to the Hollywood Palladium tomorrow night, Friday, September 19, in Los Angeles. The show promises to be an unforgettable night honoring his legacy and the enduring power of punk. Joining them on this special night are Ceremony, Rocket From the Crypt, and Negative Approach — a lineup as ferocious as the occasion demands. Attending fans will also have access to two special exclusives available only at the Palladium show: A limited-edition 7-inch single of “When the Sh*t Hits the Fan”, (limited to 300 copies) and a limited-edition birthday poster, (500 copies) designed and signed collaboratively by Morris and Shepard Fairey (Obey Giant). Tickets and more info are here.

The audio for Golden Shower of Hit’s deluxe reissue was remastered from the original analog tapes by Pete Lyman at Infrasonic Sound in Nashville and restored and digitized by Dan Johnson at Audio Archiving Services. In addition to the vastly improved sound, this version also features a few different variants and updated artwork which has been given a modern touch by Bryan Ray Turcotte from Kill Your Idols Studio and features unseen photos by legendary photographer Glen E. Friedman.

By 1983, Circle Jerks had already established themselves as one of the most crucial hardcore punk bands– not only in their native Los Angeles, but worldwide. Their seminal debut Group Sex (1980) and the massive follow-up Wild in the Streets(1982) had been unleashed on the public along with extensive touring. The remaining original lineup of Keith Morris (Black Flag, later of OFF!), Greg Hetson (Redd Kross, later of Bad Religion), and Roger Rogerson would soon create another landmark hardcore punk release with their follow up, the masterful Golden Shower of Hits.

Golden Shower of Hits was initially released on July 21,1983 via LAX Records, a label owned by producer Jerry Goldstein best known as manager for Sly Stone and The Plugz, as well as the producer for WAR and The Strangeloves. Clocking in under 28 minutes, the album featured eleven new tracks and the infamous title track, a medley that, like the Paul Revere & the Raiders and Jackie Shannon covers found on the previous LP, completely reinvented the originals into a twisted take on AM radio pop favorites. A pair of tracks, “Coup d’État” and a version of “When the Sh*t Hits the Fan” made their way onto the soundtrack for the midnight movie Repo Man, and is forever cemented into that oddball slab of cinematic genius. “‘Golden Shower of Hits’ was recorded after Lucky Lehrer decided he was going to go to law school, so John Ingram filled in after being recruited by Roger Rogerson,” recalls Morris. “We pretty much recorded live on the sound stage. And the really fun part of that scenario was that our engineer had worked with the Grateful Dead– which at the time was odd.”

LISTEN / SHARE “WHEN THE SH*T HITS THE FAN” REMASTERED AUDIO

Upon release, Golden Shower of Hits became just as its moniker inferred– a modern classic that added to Circle Jerks’ already formidable legacy. And more than 42 years later, that legacy’s already long tail stretches further and wider with the release of this meticulously crafted reissue– cementing the LP’s importance in not only punk history, but the cultural zeitgeist as well. “I’d say that this is a cornerstone in the Circle Jerks discography,” says Morris. “When it comes to our setlist, we’re playing at least seven of these songs live. I think that’s a statement in itself. The title track is probably one of the most ridiculous things that we ever recorded.”

PRE-ORDER / PRE-SAVE GOLDEN SHOWER OF HITS

Circle Jerks Live Dates:
Oct 02: Portland, OR – Roseland Theater
Oct 03: Tacoma, WA – Temple Theatre
Oct 05: Bend, OR – Volcanic Theatre Pub
Oct 06: Boise, ID – Knitting Factory
Oct 08: Salt Lake City, UT – The Depot
Oct 10: Grand Junction, CO – Mesa Theater
Oct 11: Boulder, CO – Boulder Theatre
Oct 13: Kansas City, MO – Madrid Theater
Oct 14: Oklahoma City, OK – Tower Theater
Oct 15: Little Rock, AR – The Hall
Oct 17: Dallas, TX – House of Blues
Oct 18: San Antonio, TX – Paper Tiger

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[Thanks to Bailey at Another Side.]

Paz Lenchantin releases “Novela” from her upcoming solo debut.

Paz Lenchantin debuts her new single and album opener “Novela” today. “The track is a melodramatic story that resolves with excepting that you are the way you are ‘Sos como sos,'” says Paz. “Novela” draws on the emotional architecture of Spanish balladry, using it as the bedrock for her raw, restless compositions. The video was created by longtime friend and filmmaker Maximilla Lukacs – watch below.

After almost three decades as bassist, vocalist, and co-writer for legendary bands like Pixies (2014–2024), A Perfect Circle, Zwan, The Entrance Band, Paz now steps forward with her debut solo album Triste, out October 17 on her own label, Hideous Human Records.

Triste is a 12-track album that blends both Latin folk textures with American rock structures that features Paz on piano, adding her signature string arrangements around the rock band roots she came from. Paz performed all of the instruments before enlisting some of her favorite musicians, including former A Perfect Circle bandmates Josh Freese (drums), Troy Van Leeuwen (guitar) and more, all of whom helped Paz create a dynamic musical world that feels both unearthed and carefully constructed. Each song is shaped with an editor’s precision and guided by a mystic’s intuition, producing music that sounds both timely and timeless.

Listen / Share / Playlist “Novela” | Official Music Video Here

Triste began forming in Petatlán, Mexico, where Paz spent most of 2024 on her own writing songs about faith, doubt, and self-discovery, mirroring her own experiences post Pixies. Mixed by Chris Coady (Beach House, Yeah Yeah Yeahs), Tristedelivers a fiercely personal and expansive statement that stamps the first chapter in her solo career.

“I had to make this record on my own—not to prove anything, but just to have faith that music can nurture me back. And it did.” – Paz Lenchantin

Pre-Order / Pre-Save Triste

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Paris Music Corp. uses technology to push back against itself on “No Soy A.I.”

Texas-based electronic and ambient composer Paris Music Corp. a.k.a. John Andrew Paris presents ‘No Soy A.I.’, the first taste of his latest electronic odyssey ‘Ecotone’. Slated for release on October 24, this album promises to be a futuristic trip, and “No Soy A.I.” is the perfect, human-first introduction.

In a world increasingly dominated by the cold, calculated logic of artificial intelligence, Paris Music Corp. throws down a human gauntlet with this dark slab of swirling electro, which features the searing Spanish vocals of fellow Texan musician, writer and actor Ray Perez. A potent opening statement, this is a sonic challenge to the algorithmic chill of our times and the only track on this album with vocals.

Originally from Austin and now calling Brownsville, TX his seaside home, John Andrew Paris spent decades creating music and collaborating with artists, including Arthur Brown (The Crazy World of Arthur Brown, perhaps best known for his hit single ‘Fire’), as well as DJ Rev Kathy Russell, DJ Lucas Ray, Catastrophe Ballet, Le Reve, Life’s Eyes, Beast of Eden, OBOYO and Don Wigwam.

In 2022, Paris Music Corp. released his self-titled album, after taking hiatus for half a decade following the release of his debut album ‘Rewind’ in 2017. Fast forward to autumn 2025 – now Paris is ready to release the next collection of his electronic adventures, having written, recorded, mixed and mastered this full album at Tarantula Studios throughout 2024 and 2025.

“With ‘No Soy A.I.’, I wanted to address the coldness of some of AI’s tendencies, such as people already having AI girlfriends and boyfriends. Ironically, this track ultimately turned out to be a love song of sorts, which is okay by me,” says John Andrew Paris.

“Sonically, this piece has a very futuristic sound to it. The words delivered in Spanish alongside make it even more relevant as something new and a little out there”.

Influenced by the likes of Mick Karn, Pink Floyd, Gary Numan, Tim Hecker, Casino Versus Japan and Miles Davis, John Andrew Paris has also scored 2 independent films – the documentary ‘Andy Paris: Bubble Gum King’, also released as an album, and the short horror film ‘Spectral Wind’. He has also created a clever electronic rework of ‘Lord of the Dance’ for the Austin Christmas Collection Album.

“After relocating Paris Music Corp. to Brownsville, TX, it became apparent that wildlife and nature in general were at the forefront with living on the border of Mexico next to the sea. The ‘Ecotone’ album made sense to me because you have a transitional zone, where two different ecological communities or ecosystems meet and intermingle, often resulting in high biodiversity,” says John Andrew Paris.

Cinematic and ethereal, Paris Music Corp. music is ambient and spacey electronica. Often with elements of 80’s darkwave and ambient soundscapes, his trademark sound includes heavily processed guitar and bass instruments locked into layered loops and further manipulated using software. Also employing live hand percussion, these dense soundscapes take the listener on a sonic journey to otherworldly places.

As of September 19, ‘No Soy A.I.! is available from digital platforms, including Apple Music ,Spotify and Bandcamp. The ‘Ecotone’ album will be released on October 24.

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[Thanks to Shauna at Shameless Promotion PR.]

The Mendozaz release fun new single – “Late Stage 12 Gauge.”

Toronto’s pop punk rock powerhouse The Mendozaz are back with “Late Stage 12 Gauge,” the first advance single from their upcoming eight-song concept EP The Completely Fictional History of This Great Nation of Canada, out November 3 on Cartridge Heart. Like the rest of the record, the track takes aim at an entirely fabricated chapter of Canadian lore, in this case a web of imagined affairs, a dozen restraining orders, and one very ill-advised bromance cover-up.

A high-voltage burst of 90s-style pop-punk filtered through the band’s signature mix of humour and bite, “Late Stage 12 Gauge” blends galloping rhythms, snotty harmonies, and a chorus that lands like an inside joke you are instantly in on. Beneath the grin-inducing hooks, the lyrics spin a tale of paranoia, jealousy, and shotgun standoffs that feels just plausible enough to make you wonder if it really happened. “As any single guy will tell you, having platonic female friends is a bit of a minefield,” the band says. “Even the most well-meaning of us are going to have to deal with jealous significant others from time to time. The last thing you want is to set off the heat-packing husbands (and weapon-wielding wives) of the world. There’s a whole population of people who think ‘Netflix and Chill’ actually means ‘Netflix and Chill’ and they have no idea the toes they’re stepping on.”

Formed in 2017, The Mendozaz consist of Jonny (vocals/guitar), Michael (vocals/bass) and Dic (drums). They have carved out a reputation for relentless live shows and obnoxiously catchy songwriting. Their three previous albums (Two Days to Retirement, Up and At Them and Loafers) earned critical praise and steady campus radio play, while sharing stages with Dayglo Abortions, Chuck Coles and The Anti-Queens and making festival stops at Pouzza, NXNE and KW Long Weekend Band Crawl.

Described as “the sound of a Fat Wreck comp smashing violently into a copy of Big Shiny Tunes,” The Mendozaz channel the spirit of early Green Day and late 90s Fat Wreck alumni while avoiding the syrupy pitfalls that plagued pop-punk’s commercial boom. It is an approach that has drawn comparisons to The Weakerthans, PUP and The Dead Milkmen, bands that can make you laugh, think, and shout along in the same three minutes.

With The Completely Fictional History of This Great Nation of Canada, The Mendozaz lean into their love of Canadian storytelling by making the stories up entirely, from murderous werewolves in London, Ontario to the sea captain who may have seduced Death herself. “Late Stage 12 Gauge” is just the first taste, a wink, a wallop, and a reminder that in punk rock, history is always written by the loudest.

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[Thanks to Chad at No Rules PR.]