Washington, D.C.-based band Beauty Pill today announced their new EP Instant Night out December 3, releasing on limited edition vinyl, CD and digitally via Northern Spy Records and available to preorder here. Alongside the announcement the band is sharing the official video for “You Need A Better Mind“. On the track, Beauty Pill’s Chad Clark says:
“The Roland TB-303 is an old Japanese synthesizer that was designed to convincingly mimic the sound of a bass guitar. It was introduced in 1981, it sounded like a toy and failed miserably, and it was ultimately discontinued in 1984. It makes freaky, wiggly, cartoony sounds. It sounds fuck-all like a bass guitar. Why am I telling you this? One ended up in my hands for a week. I did a lot of silly stuff with it. I did come up with this one worthwhile riff, which I built a song around. The song is called “You Need A Better Mind.”
“It was recorded with my band in a single take at the end of a recording session for another song. We were tired. None of us cared that much if we failed. The fun spirit you hear in this song is mostly exhaustion… that kind of punchy exhaustion you get late at night when you’ll laugh at anything. The lyrics were inspired by the spooky/funny 10-minute movie “Rachel”. “The song is about the scourge of American loneliness. It is by far the fastest, easiest song Beauty Pill has ever created. We hope you like it.”
The EP’s title track “Instant Night” was originally written by Beauty Pill bandleader Chad Clark in 2015 after he watched Ann Coulter, as a guest on Real Time with Bill Maher, predict that Donald Trump would win the 2016 US presidential election. The Washington, D.C. based artist recorded and surprise-released the single in October 2020 out of urgency to inspire people to vote in the presidential election. Because the song was being recorded during the pandemic, and because Clark has an artificial heart that puts him at high risk for COVID-19, it was recorded on a rooftop, with meticulously planned social distancing.
“Instant Night” is Beauty Pill’s first single without drums, and it is also the first Beauty Pill song to conspicuously highlight the band’s woodwind quartet. The single was released alongside a music video featuring time-lapse footage of Trump, Lindsey Graham, and Mitch McConnell being drawn and depicted as monsters. The video was created and directed by the artist [ex-Beauty Pill member] Ryan Nelson.
MOTÖRHEAD…a life force, an energy, an attitude and the loudest, meanest, dirtiest music to smash the 20th and 21st centuries. With a bastard sound comprising an unholy synergy of rock, punk and heavy metal, MOTÖRHEAD comes coated in relentless, ear-curdling power. They were life-changing for millions, carrying a spirit and approach to life and music which proudly said, “Honey, we’re hoooome and don’t bother cleaning because we’re here to enjoy ourselves!” The ‘off’ switch was never employed in the MOTÖRHEAD lust for life, and they became legends as a result.
Leading the charge for their entire 40 year career was the cultural icon Ian ‘Lemmy’ Kilmister, who swashbuckled around stages, streets and overseas like a glorious Mad Max pirate truthsayer, roaring for the good and screaming at the wankers. With his propulsive sound and lyrical might leading the charge, MOTÖRHEAD released 22 studio albums over those four decades, amassing chart topping records worldwide, a Grammy award and racking up around 20 million sales. Their hit song “Ace Of Spades” became MOTÖRHEAD’s anthem, perfectly capturing their attitude for millions, and punching giant holes in stereos worldwide to this day. Nothing was harder, nothing was faster, nothing packed more raw attitude and certainly nothing was louder, making MOTÖRHEAD a cultural elixir that was regularly imbibed across all genre lines. Don’t take our word for it, look around any heavy metal, punk or alternative gig, and you’ll see the indomitable warpig logo and MOTÖRHEAD gothic script on a t-shirt, a jacket, even an arm or leg or back (MOTÖRHEAD tattoos are everywhere), all sitting on the bodies of rockers, metalheads, punks, bikers, rebels, outcasts, freethinkers and even athletes all around the world. Yeah, that’s right, MOTÖRHEAD’s cultural reach remains virtually peerless to this very day (the one you’re living right now as you read this), and it continues to span fans young and old, igniting their adrenaline and giving them both entertainment and identity.
MOTÖRHEAD are proud to announce they are teaming up with MÖVEMBER for their annual fundraising campaign this year. Supporters are encouraged to ‘shave down’ on 31st October and grow a moustache – or in this case your very own ‘Lemmy Mo’, through the month of November, to raise funds and awareness. All funds go directly toward supporting men’s health projects across mental health and suicide prevention, prostate cancer, and testicular cancer.
By joining team MOTÖRHEAD and growing your own Lemmy Mo’ you’ll be raising much needed funds for MÖVEMBER and all the great work that they do. The biggest fundraisers will have a chance to win a selection of very special MOTÖRHEAD prizes!
Everything Louder Forever This collection is the definitive assembly of MOTÖRHEAD songs which have created this cultural phenomenon, and represents the first time all eras of the band’s recorded history have been represented in one place. And we feel that if in this mad, mad world we’re living in, some aliens decide to drop by your house for tea and demand an explanation as to, “what the fuck is this ‘MOTÖRHEAD’ is that we keep hearing and feeling bits of in our extra-terrestrial houses millions of miles away,” you could happily play Everything Louder Forever and know that the question will be thoroughly answered. Buy two copies though, because you know they won’t leave without taking one themselves! Or something like that anyway…
Georgia Harmer, Toronto-based singer-songwriter, and the newest signee to Arts & Cras, introduces herself to the world today with “Headrush.” Coming from a family of artists and poets, including aunt and labelmate Sarah Harmer, Georgia cut her teeth as a backing vocalist for Alessia Cara before beginning to focus on her own music. This debut single presents Georgia’s striking voice—a cross-hatching of Joni Mitchell’s birdsong, the emotional vulnerability of Adrianne Lenker and the seductive tones of Hope Sandoval. “Headrush” opens with cascading drums that fall into a deliberate stride, filling out with rich melodies accompanied confidently by electric guitar draped in distortion.
“Headrush” is a slow-burn with melodic release, alight with electricity, but tinged with the melancholy of late summer : “Hours go by / Let’s drink up the sky / And spend some time / Being little kids.” Georgia’s music is sweetness personified, but with a depth of emotion, style, and hunger that belies her twenty-two years. “I miss moments when I’m no longer in them,” Georgia says. “‘Headrush’ is about wanting to go back to a moment and be completely present. Back to that summer day I didn’t realize was heaven until it had passed, only grasping its potency in retrospect.”
Recorded live off the floor with friends crammed into the corner of a converted West Toronto garage, “Headrush” embodies that DIY essence, harnessing lightning in slow, measured doses. The accompanying video, directed by Jimmy Vi, captures this energy.
Watch Georgia Harmer’s Video for “Headrush”
Georgia Harmer Tour Dates Mon. Nov. 22 – Toronto, ON @ Danforth Music Hall ^
Tue. Nov. 23 – Kitchener, ON @ Centre in the Square ^
^ = w/ Dan Mangan
Keep your mind open.
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The curators of the popular Brown Acid compilation series of long-lost vintage 60s-70s proto-metal singles share a new track today via Decibel Magazine from the first edition of a new series titled Scrap Metal. Following chronologically where Brown Acid leaves off, Scrap Metal scours the world for long-lost, rare and unreleased Heavy Metal from the late-70s through late-80s. Hear/share The Beast‘s (featuring Scott Ruth, later of Dim Mak and Ripping Corpse) 1983 punk-metal hybrid “Enemy Ace” HERE. (Direct YouTube and Bandcamp.)
Album opener Rapid Tears‘ anthem “Headbang” premiered previously via Metal Injection HERE (And YouTube.) “69 in a 55”, a 1983 track from Bay Area band Air Raid launched via Ultimate Classic Rock HERE (and YouTube.)
Brown Acid & Scrap Metal series are created and compiled by L.A. based RidingEasy Records and Permanent Records.
By now you’re probably familiar with our wildly popular Brown Acid series of rare, lost and unreleased proto-metal and stoner rock singles from the 60s-70s. In the endless pursuit of those glorious gems, we often uncover equally brilliant rarities from the late-70s to late-80s Golden Age of Heavy Metal that also just must be heard, but they don’t fit the series’ aesthetic. Scrap Metal: Volume 1 collects some of the greatest unknown and lost Heavy Metal tracks, long buried beneath the avalanche of the era’s classic output.
We all know the old adage that history is told by the winners. But sometimes the losers tell the best stories. And while none of these bands found fame and fortune, this artifact and the volumes to come are testament to the enduring power of heavy music. You can hear the blood, sweat and beers that went into each of these singles. The recordings may be low budget, but the inspiration and talent is immutable. Not only are the amps turned up to 11, the boyish sexual innuendo is cranked to 69. You can hear the convergence of influences — NWOBHM, thrash, glam metal, doom, etc — colliding at once as the era birthed a wellspring of subgenres.
Many of these singles are self-released and were thus limited to a small run of copies. Those that remain are hoarded by collectors and sold for exorbitant amounts. We’ve collected the best of the best for you here. As with Brown Acid, all of these tracks are licensed legitimately and the artists all get paid. Because it’s the right thing to do.
Scrap Metal: Vol. 1 will be available everywhere on LP, CD and download on November 12th, 2021 via RidingEasy Records. Pre-orders are available for digital at Bandcamp, physical pre-orders at RidingEasy Records.
Today, Parquet Courts share a new single/video, “Black Widow Spider,” from their forthcoming album, Sympathy For Life, out October 22nd on Rough Trade Records. In conjunction, they announce extensive touring plans for 2022, starting with a run of North American shows in the spring. Following their highly-praised lead single “Walking at a Downtown Pace,” “Black Widow Spider” kicks off with scorching guitar. In A Savage’s words, “I told [producer] Rodaidh McDonald that I wanted to find a sound that was equal parts Can, Canned Heat and This Heat. He was really into that and probably took some glee in having such a bizarre challenge.” It’s one of the many songs on the new album that began with the band improvising onto tape, after which they started editing and cutting up, leading to the verse.
The accompanying video, directed and animated by Shayne Ehman, is simply great. “We were inspired by the claymation master Art Clokey,” says Ehmman. “I wanted the video to feel like it was shot in the 1950’s and so I used very old lenses. One was a brass projection lens from the 1860’s and another was radioactive.”
Alongside the release of their first single last month, the band also announced the Power of Eleven – eleven global happenings that will occur around the release of the album. The first of these took place in Manhattan with the Gay & Lesbian Big Apple Corp marching band debuting “Walking At A Downtown Pace”. The second of these is happening in Tokyo in conjunction with Big Love Records, with an extremely limited “Black Widow Spider” 7” and t-shirt. More info for this event and the others has been revealed on the band’s website. Sign up to their mailing list for updates.
Sympathy For Life was built largely from improvised jams and produced in league with Rodaidh McDonald (The xx, Hot Chip, David Byrne) and John Parish (PJ Harvey, Aldous Harding, Dry Cleaning). Unlike its globally adored predecessor, 2018’s Wide Awake!, the focus fell on grooves rather than rhythm.
“Most of the songs were created by taking long improvisations and moulding them through our own editing,” explains Austin Brown. “The biggest asset we have as artists is the band. After 10 years together, our greatest instrument is each other. The purest expression of Parquet Courts is when we are improvising.” In a very real sense, the band sampled themselves, molding and chopping their rhythmic and melodic jams to create these songs, to manifest something new.
On Sympathy For Life, Parquet Courts’ thought-provoking rock is dancing to a new tune. The album finds the Brooklyn band at both their most instinctive and electronic, spinning their bewitching, psychedelic storytelling into fresh territory, yet maintaining their unique identity.
Thu. Oct. 28 – Saxapahaw, NC @ Haw River Ballroom ^ Fri. Oct. 29 – Richmond, VA @ The National ^ Sat. Oct. 30 – Baltimore, MD @ Ottobar ^ Sun. Oct. 31 – Lancaster, PA @ Tellus360 ^ Wed. Nov. 03 – Burlington, VT @ Higher Ground ! Thu. Nov. 04 – Portland, ME @ State Theatre ! Fri. Nov. 05 – Holyoke, MA @ Gateway City Arts ! Sat. Nov. 06 – Asbury Park, NJ @ The Stone Pony ! Mon. Nov. 15 – Dallas, TX @ Studio at the Factory Wed. Nov. 17 – Houston, TX @ White Oak Music Hall Fri. Nov. 19 – Austin, TX @ Stubb’s Waller Creek Amphitheatre Sun. Nov. 21 – Mexico City, MX @ Corona Capital Music Festival Sun. Feb. 27 – Asheville, NC @ The Orange Peel * Mon. Feb. 28 – Athens, GA @ Georgia Theatre * Wed. March 2 – Atlanta, GA @ Variety Playhouse * Thu. March 3 – Birmingham, AL @ Saturn * Fri. March 4 – Nashville, TN @ Cannery Ballroom * Sat. March 5 – St. Louis, MO @ The Pageant * Mon. March 7 – Lawrence, KS @ Liberty Hall * Tue. March 8 – Omaha, NE @ The Waiting Room * Thu. March 10 – Minneapolis, MN @ First Avenue * Fri. March 11 – Milwaukee, WI @ Turner Hall * Sat. March 12 – Chicago, IL @ The Riviera Theatre * Sun. March 13 – Detroit, MI @ MOCAD * Tue. Mar. 15, 2022 – Millvale, PA @ Mr. Smalls Theatre * Wed. Mar. 16, 2022 – Cleveland, OH @ Agora Theatre * Thu. March 17 – Toronto, ON @ Queen Elizabeth Theatre * Fri. March 18 – Montreal, QC @ Corona Theatre * Thu. March 31 – Boston, MA @ Royale # Fri. April 1 – Brooklyn, NY @ Brooklyn Steel $ Sat. April 2 – Brooklyn, NY @ Brooklyn Steel # Mon. April 4 – Washington, DC @ 9:30 Club # Tue. April 5 – Philadelphia, PA @ The Fillmore % Fri. April 22 – Seattle, WA @ Showbox at the Market Sat. April 23 – Vancouver, BC @ The Imperial Mon. April 25 – Portland, OR @ Crystal Ballroom Wed. April 27 – Oakland, CA @ Fox Theater Thu. April 28 – Los Angeles, CA @ The Wiltern Theatre Fri. April 29 – Pomona, CA @ The Glass House Sat. April 30 – San Diego, CA @ The Observatory North Park Sat. May 21 – Paris, FR @ La Trianon Sun. May 22 – Antwerp, BE @ Trix Tue. May 24 – Cologne, DE @ Stollwerck Wed. May 25 – Berlin, DE @ Heimathafen Neukölln Fri. May 27 – Hamburg, DE @ Uebel & Gefährlich Sat. May 28 – Nijmegen, NL @ Doornroosje Mon. May 30 – Amsterdam, NL @ Paradiso Tue. May 31 – Lille, FR @ Le Grand Mix Wed. June 1 – Lyon, FR @ Epicerie Moderne Fri. June 3 – Barcelona, ES @ Primavera Sound Wed. June 8 – Brighton, UK @ Chalk Thu. June 9 – London, UK @ Brixton O2 Academy Sat. June 11 – Dublin, IE @ Helix Sun. June 12 – Manchester, UK @ Albert Hall Mon. June 13 – Leeds, UK @ Stylus Wed. June 15 – Glasgow, UK @ The Barrowland Ballroom Thu. June 16 – Birmingham, UK @ O2 Institute
& supporting Portugal. The Man ^ w/ P.E. ! w/ Public Practice * w/ Mdou Moctar # w/ Hailu Mergia % w/ Sun Ra Arkestra$ w/ Yu Su
Keep your mind open.
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Today, Los Angeles-based artist Hana Vu releases “Keeper,” the newest single from her upcoming album Public Storage, out November 5th on Ghostly International, following “Maker” and “Everybody’s Birthday.” “Keeper” is a pulsating new wave cut, replete with soaring dreamy synths and a cool-voiced narrator. The accompanying video, directed by Meagen Houang and choreographed by Jas Lin, sees Vu honing in on her artistic craft, both sonically and physically. It was shot in a single take on 16mm film by cinematographer Andrew Yuyi Truong and it’s a compelling exploration of feeling unnoticed. “Shooting ‘Keeper’ was really an intense experience,” says Vu. “We had a few choreography rehearsals leading in, and then on shoot day we rehearsed for about 9 hours and only shot in the last hour.”
“When I listened to ‘Keeper,’ I thought about how we’re all trapped by different societal expectations — whether it’s from work, family, friends or the devil inside ourselves,” says Houang. “I wanted to make a video that expressed the feeling of not being seen when all you really want to do is explode. By shooting the video in a single take we never let the audience off the hook. Just like Hana, we’re trapped in a cycle of being constantly ignored. I set the film in a family environment because as viewers we usually associate families with a sense of security and safety. The family environment created a contrast to Hana’s bursting performance and underscored the pain of not being visible, even sometimes by your own relatives.”
Storage units hold possessions on pause from the outside world, objects capable of reconnecting us to a time or place. Vu grew up with her family making regular use of public storage spaces in Los Angeles, moving every few years, leaving a mix of the sacred and the mundane to sit inside concrete and steel. The 21-year-old musician sees the art of making and releasing songs in a similar sense: “these public expressions of thoughts, feelings, baggage, experiences that accumulate every year and fill little units such as ‘albums.’”
Public Storage builds on the sound of Vu’s early work, underscoring her strengths as a songwriter with a deeper sense of luster, sophistication, and urgency. She calls it “very invasive and intense sounding music,” refreshingly out of step with contemporary trends; this is music to engage with rather than lean back to. For the first time, she welcomes a co-producer, Jackson Phillips (Day Wave), who helps Vu create a vast, grainy, multifaceted world to stretch into vocally, her distinct contralto drifting freely between evocative low-lit ruminations and soulful, skyward bursts.
Toronto-based composer and multi-instrumentalist Robin Hatch has released the new single “Mockingbird” today, a sublime peace floating on spacious synths featuring Nick Thorburn of indie rock staple Islands and The Unicorn on synth and drum machines. The track comes from the upcoming album T.O.N.T.O., out October 29th on Robin Records, which was written and recorded during a 4-day residency on the behemoth synth that the album takes its title from.
Robin describes the equipment used to make the recording, working with Thorburn, and where the track’s title comes from.
“Mockingbird features the Maestro drum machine built into the TONTO synthesizer. I improvised this song on the second day of my residency. The bass line is a study in triggering the envelope filter of its Moog Modular 3 system as the arpeggiator runs to create a wah-pedal type sound reminiscent of Jan Hammer Group or Penguin Cafe Orchestra. The outro has the Yamaha CS80 and features Randy Bachman’s Space Echo pedal. I threw in a VST of a CMI Fairlight to give it an Enya touch in the chorus.”
Besides his prodigal output as an indie frontman, Nick is also a real deal composer and he helped me flesh out this song with an Atari chiptune synth, Roland Jupiter 4, Korg M1, and Compurhythm drum machine.
The title is a tongue-in-cheek reference to the duet by James Taylor and Carly Simon.”
Keep your mind open.
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Today, LA-based post-punk quartet Cuffed Up are sharing their driving and propulsive new single “Bonnie,” as well as well as announcing their new EP Asymmetry, out on October 22nd via Royal Mountain Records (Alvvays, Wild Pink, METZ). “Bonnie” sees vocalists & guitarists Ralph Torrefranca and Sapphire Jewell trading vocals amidst a relentless onslaught of soaring guitars and crashing drums and bass via Joe Liptock and Victor Ordonez.
The band explains that ““Bonnie” is an anti-love anthem about the grief and pitfalls of a serious relationship crumbling due to lies and deceit. This is explored through the eyes of Bonnie (of Bonnie & Clyde fame), in an alternative universe where Clyde selfishly leaves Bonnie for dead. Bonnie is arrested and she decides to give Clyde up to the cops out of pure spite. Not because he left her in a dangerous situation — purely because of the end of their romantic, albeit toxic relationship.” With a video directed by Torrefranca (an award-winning filmmaker outside of Cuffed Up), it stars himself and Jewell in a role-reversal swapping Bonnie and Clyde.
Already seeing support for the EP from outlets like SPIN, Beats Per Minute, Buzz Bands LA, KEXP, KCRW in Los Angeles and Double J in Australia, Cuffed Up are heading out on a full US tour as main support for The Joy Formidable. Beginning in Seattle on 11/26, it will make stops in Portland, San Francisco, Los Angeles, Chicago, Boston, New York, Philadelphia along the way, ending in Burlington on 12/18. Full routing below. —– For Asymmetry, Cuffed Up paired up with producer Brad Wood (Touché Amoré, Smashing Pumpkins, Liz Phair) spending a week honing the songs through experimentation with sounds and ideas and the result is a collaborative effort that tackles one’s own mortality, abandonment in relationships and reckoning with shame. It expands on their refreshing self-titled debut that saw love from the likes of KEXP, NME, DIY, Bandcamp, and The Line Of Best Fit, as well as Steve Lamacq (BBC Radio 6), Daniel P Carter (BBC Radio 1) and John Kennedy (Radio X) and a supporting run with Silversun Pickups.
Cohesive yet expansive, soaring yet direct, Asymmetry draws lines across the globe to the burgeoning post-punk scene in the UK, while also leaning into ‘90s indie rock and grunge, a loud and rhythmic rainbow of post-punk that is fluid and versatile. Whether it’s the aforementioned “Bonnie”, Torrefranca’s brutal reckoning with his own health struggles on “Terminal”, the inventive freeform of Jewell’s guitars in “Canaries” or Ordonez and Liptock’s fidgeting and dexterous rhythms in “One By One”, Asymmetry is a line in the sand for Cuffed Up, a declaration of intent from the young band who are poised to breakout from their West Coast home.
“Bonnie” is out now on Royal Mountain Records. It is available here. Asymmetry is out on October 22nd through Royal Mountain Records. You can pre-order it here.
Keep your mind open.
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JacquesGreene announces ANTH01, a collection of tracks and out-of-print 12”’s spanning the earliest years of his career. Arriving ten years after his groundbreaking single, “Another Girl,” ANTH01 features classics that introduced Greene to the world, such as “The Look,” and also includes collaborations with Koreless and How To Dress Well, plus tracks from Greene’s releases on 3024, NightSlugs and his own Vase imprint. In conjunction with today’s announcement, Greene shares “I Won’t,” a certified live favorite and highly requested unreleased gem; one of two exclusive, previously unreleased tracks to appear on ANTH01.
Greene has been making music “about the club” for over a decade. Over the course of multiple EPs, singles, and two full-length albums – 2017’s FeelInfinite and 2019’s DawnChorus – his sound has developed into an emotional haze. Outside of his own releases, Greene has explored his relationship with the club in a variety of contexts, from remixing Radiohead to producing for KatyB, Tinashe and touring with Thexx.
“Time became quite slippery in the past year and a half,” says Greene. “As the years go it’s strange how some things feel like just yesterday while others are seemingly lifetimes away. It was equal parts challenging and fun to revisit some of this material that laid the foundation for this Jacques Greene project. ‘ANTH01’ is a form of anthology: a collection of songs meant to tell the first few chapters of that story. From bedroom studios in the Mile End in Montreal at the start of the 2010s to now. Thank you for listening.”
ANTH01 Tracklist: 01. I Won’t 02. (Baby I Don’t Know) What you Want 03. The Look 04. Tell Me 05. These Days 06. Arrow (feat. Koreless) 07. Ready 08. Faded 09. On Your Side (feat. How To Dress Well) 10. Faithful 11. Quicksand 12. Another Girl
Like the Cicadas of the previous Summer, the troupe of romping rock deviants, Godcaster, has reemerged from beneath the dirt to fill the atmosphere with unbridled cacophony. Saltergasp is a brief reintroduction to the shining sextet of David Mcfaul (keys), Von Kolk (flute, vox), Bruce Ebersole (guitar, bass), Sam Pickard (drums), Judson Kolk (vox, guitar), and their newest member, Jan Fontana (bass). It also acts as an unflinching demonstration of an ensemble doing away with frivolity—Godcaster is coming straight for your still-beating heart.
Today the new single “Hecky Skelters“ is streaming for your listening pleasure. Right out the gate, Godcaster blasts off with a tidal wave of cocophany. Mcfaul and Von Kolk’s dual vocals are both sinister and enchanting, satiating your skelters from start to finish. It’s a perfect return to form for the New York band, capturing the rambunctious energy of their live shows, which were sorely missed during the last year and a half of lockdown.
Saltergasp is a glimpse of something rarely captured—each track has been regularly performed and mastered during Godcaster’s ritualistic live-sets. In this manner, Saltergasp is both an extension of Godcaster’s first, immense collection, Long Haired Locusts, and a celebration of their euphoric public ceremonies that were impossible for far too long. The crisp drums and springy guitars on “Hecky Skelters” showcase the band’s innate talent for deliberate bombast. On the title track, the group conjures an instrumental suite that rips and toils between moments of anticipation and rapturous fury. “Tippy Hightailed It” is an equally funky and anxious tune that thrusts listeners into the center of growing auditory tension. Then “Tiger Surrogates Hunts the Praying Mantis” closes the EP with a lively, off-kilter incantation.
From start to finish, Saltergasp shines an otherworldly light on Godcaster’s Dionysian guitar frenzies. In just under ten minutes, the band reestablishes themselves as the leaders of an unstoppable sonic movement and begins to pen the next chapter in their dichotomous musical tale of shimmer and rot. Formidable and magnificent, Godcaster remains the masters of ferocity in our world and any other.
