Love Hustler’sAdam Rudolph and Matt Cashdollar announced the official release of their single “Sinderella” with San Francisco’s Jumpsuit Records.
“We feel very fortunate to be a part of the Jumpsuit Records family. The label has proven to be driven by such a positive nature, we jumped at the opportunity to add to the vibe.” said Adam Rudolph, one half of the electronic band Love Hustler.
FIRST INDEPENDENT LABEL RELEASE
After two self-releases, Love Hustler set out to procure distribution in markets previously untapped. Love Hustler, an emerging electronic music duo, recently entered into a contract with Jumpsuit Records for the release of their new single “Sinderella”, available for purchase/download Tuesday, June 5th on iTunes, Spotify, Amazon and more. The debut release of with Jumpsuit Records will ultimately introduce the band to the growing audience commanded by label founder David Sugalski (AKA The Polish Ambassador) as well as the diverse audiences of all Jumpsuit Records artists.
“We plan to grow with the label,” said Matt Cashdollar, of Love Hustler. “Jumpsuit is making waves in the industry on many levels.”
“SINDERELLA” AVAILABLE FOR DOWNLOAD 6/5/2018
Formed in 2009, Love Hustler’s Adam Rudolph and Matt Cashdollar have created a live dance music experience merging analog and digital instruments in a live format. From synth pop styles to downtempo funk, the LH brand of electronic music is one to keep your eyes and ears on.
Keep your mind open.
[Hustle on over to the subscription box and drop me your e-mail address.]
Levitation Francehas added a few more artists to their 2018 lineup. The Soft Moon, Flavien Berger, J.C. Satan, Rendez-vous, Sextile, the Blank Tapes, and Prettiest Eyes are all now on the bill. Tickets are still available for the festival and it should be lovely in Angers in mid-September. I’m happy to see the Soft Moon on the bill, as they always put on a good show, and Flavien Berger is a rather good DJ / electro artist indeed.
Keep your mind open.
[Levitate over to the subscription box and drop your e-mail address before you go.]
“A sound that blends free jazz and hip-hop, seeing no distance between them… Latin fuses with African fuses with European and on and on until there is no distinction. This uncompromising group of players delivers an unforgettable listening experience that listeners will doubtless be parsing for some time to come.” — PopMatters
Austin, TX iconoclasts The Young Mothers share the first track from their forthcoming sophomore album today via PopMatters. Hear and share “Attica Black” HERE. (Direct Soundcloud.)
The band just wrapped up a handful of Texas dates and will head over to Europe for a summer tour. See current dates below.
Self Sabotage Records proudly presents Morose, the anticipated follow up by The Young Mothers, a juggernaut of a collective formed in 2012 and featuring a super group of heavy-hitters who have helped steer the direction of creative music in New York, Chicago, Texas, and Scandinavia.
Norwegian bassist Ingebrigt Håker Flaten (The Thing; Free Fall; Atomic) moved to Austin, Texas in 2009. He’d experimented with stateside living for a few years in Chicago before that, but the city of barbecue, food trucks, and outlaw country music has become his home base. Texas has a deep creative music history, but most Texas improvisers found their notoriety elsewhere, seeking to escape segregation and poverty for a chance to ‘starve a little better’ on the coasts. However, the Texas of 2018 is not the Texas of 1958 and the groundwork for this potent convergence was laid around a decade ago in Houston when Ingebrigt met and linked up with trumpeter/rapper Jawwaad Taylor (Shape Of Broad Minds, MF Doom), and what became a transliteration of his Chicago Sextet into a scrappy Lone Star variant called The Young Mothers has formed a group identity all its own and now has a second album under the belt (their first, A Mothers’ Work Is Never Done was self-released in 2014). Instrumentally The Young Mothers has some similarity with its Windy City relative – in addition to sharing drummer Frank Rosaly and Flaten, the vibraphone chair is held down by percussionist & diabolical vocalist Stefan González (Yells At Eels, Akkolyte), and Jason Jackson (Alvin Fielder, Pauline Oliveros, William Parker) on tenor and barry is their saxophone firebrand. Furthermore, the group features guitarist Jonathan Horne (Plutonium Farmers, ex-White Denim) and prolific wordsmith and improviser JAWWAAD on trumpet, electronics, and rhymes, and it is here that structural similarities between the Young Mothers and Flaten’s other folksy-modal projects end.
The Young Mothers was named after a Houston community project for teen mothers (Project Row Houses) that Flaten’s then-partner had been a part of, and while it may strike one as an odd moniker for a group that melds free improvisation, Tejano-inspired horn lines, the long unfurling electricity of surf rock, tough word-science and crust metal vocals, but relocating to a then-unfamiliar locale and birthing/raising a melange of sonic approaches into a working ensemble is not insignificant, if not quite actual motherhood. (On a side note; another strong connection to the Project Row Houses is the Houstonian artist and legendary sculptor Jesse Lott who made the beautiful album art!) Anyways, while they may have exhibited a homespun ricketiness in the beginning, through touring nationwide and after several festival performances and tours in Europe they’ve honed their sound into something truly their own, and one that’s not insignificantly comparable to historical melds in Scandinavian-American-World Music – the work of Don Cherry, Maffy Falay’s Sevda, and more recent efforts from Two Bands and a Legend and The Cherry Thing successfully merge varied strains of contemporary music with creative improvisation. Flaten’s round, deep tone and precise attack certainly act as an anchor, a fulcrum for sculpted vibraphone resonance, the dry breaks and shimmering floes of Rosaly’s kit, all of which stoke Horne’s flinty guitar and the throaty exhortations of brass and verbal declaration. Check “Black Tar Caviar” for some of the most unruly combinations of threads on this disc; from dual cymbal and tuned gong tempi supporting Jackson’s Gato Barbieri-like burrs, the palette of accents gradually increases until feedback-laden scorch signals a second movement, raps and death howls in tandem against a Cherry-like folk theme and sludgy electric bass grooves/strangled flourishes. It’s a fine microcosm of ten of what The Young Mothers are up to.
And as Håker Flaten tells us; “a lot has changed since I initiated this band in 2012, it has grown into its own thing with a truly collective spirit. I created a monster and its time to let go” – luckily for all of us, this band has stretched its legs further than the Houston/Austin/Dallas triangle and we at Self Sabotage Records are ready to help them to hopefully reach out much further with an album we believe is remarkable! We hope you feel the same.
Morose will be available on LP, CD and download on June 22, 2018 out via Self Sabotage Records (Pre-order at Big Cartel-Self Sabotage).
FLASHER SHARE NEW SONG “WHO’S GOT TIME?”
OFF DEBUT ALBUM, ANNOUNCE TOUR DATES
CONSTANT IMAGE OUT JUNE 8TH VIA DOMINO RECORDING CO.
(photo by Jen Dessinger)
Today, Flasher share “Who’s Got Time?,” a new song off their forthcoming debut albumConstant Image, which will be released June 8th via Domino Recording Co. “’Who’s Got Time?’ is about the twilight of a relationship,” say the band. “When things have soured but you’re not quite ready to jump ship despite your better judgment. It’s a celebration of disappointment and failure.”
They’ve also announced a big tour in support of the new record.
All new dates are on sale now.
FLASHER TOUR DATES (new dates in bold): Wed. June 6 – Philadelphia, PA @ Everybody Hits w/ Dehd Fri. June 8 – Brooklyn, NY @ Elsewhere w/ Dehd, Public Practice Sat. June 9 – Providence, RI @ Columbus Theatre w/ Dehd Sun. June 10 – Allston, MA @ Great Scott w/ Dehd Mon. June 11 – Winooski, VT @ The Monkey House w/ Dehd Tue. June 12 – Montreal, QC @ Brasserie Beaubien w/ Dehd Wed. June 13 – Toronto, ON @ The Baby G w/ Dehd Thu. June 14 – Detroit, MI @ El Club w/ Dehd Fri. June 15 – Chicago, IL @ Schubas w/ Dehd Sat. June 16 – Minneapolis, MN @ 7th St. Entry w/ Dehd Mon. June 18 – Madison, WI @ High Noon Saloon w/ Dehd Tue. June 19 – Bloomington, IN @ The Bishop w/ Dehd Thu. June 21 – Atlanta, GA @ The Earl w/ Dehd Fri. June 22 – Durham, NC @ The Pinhook w/ Dehd Sat. June 23 – Washington, DC @ Black Cat w/ Dehd Thu. July 12 – Phoenix, AZ @ Valley Bar Mon. July 16 – Los Angeles, CA @ The Echo Tue. July 17 – San Francisco, CA @Rickshaw Stop Thu. July 19 – Portland, OR @ Bunk Bar Fri. July 20 – Seattle, WA @ Capitol Hill Block Party Sat. July 21 – Vancouver, BC @ Fox Cabaret Mon. July 23 – Boise, ID @ Neurolux Tue. July 24 – Salt Lake City, UT @ Kilby Court Wed. July 25 – Denver, CO @ Larimer Lounge Fri. Aug. 10 – Athens, GA @ Georgia Theatre (Athens Popfest)
PRAISE FOR FLASHER
“The Washington D.C. post-punk trio Flasher make music that is both chaotic and philosophical. Their songs overlay musings about love, the body, and desire on top of boisterous guitar solos, droning synths, and aggressive drums. Along with the feminist punk band Priests, they are part of an underground D.C. scene of bold,
politically-charged music.” – Pitchfork
“The album hinges on the idea of escape which, without explanation, could be interpreted as a way out. Flasher is not looking for a way out, but rather a way forward.”
– i-D
“The thrill is in the call-and-response, heard on past songs, but here weaponized like an ecstatic hall of mirrors in the final minute of ‘Skim Milk.'” – NPR Music on “Skim Milk”
“’Pressure’ unfolds like an anxiety attack, with the band members’ vocals twisting around each other as they relate snapshots of discomfort and alienation in breathless stop-and-start fragments.” – Stereogum on “Pressure,” #1 Song of the Week
Head here to pre-order the deluxe edition LP available exclusively through the Domino Mart. The deluxe features the album on 150g starburst pink and yellow vinyl. Constant Image is also available as a standard LP, CD, and digitally.
Jon Hopkins Announces North American Tour In Support of Singularity, New Album Out Now On Domino
Special Guests Daniel Avery and Leon Vynehall Will Support
photo credit – Steve Gullick
“One of the most celebrated electronic musicians of his generation.” – New Yorker
“Pitched between heat-seeking acid house and ambient bliss, the techno auteur’s first album since 2013 is a beat-music odyssey that thrums with spiritual resonance.” – Pitchfork, Best New Music
“Singularity still tells a grand story—a synesthetic evocation of how it feels to be alive.” – The AV Club
“Singularity continues in the vein of Immunity, though its depth of feeling is greater,
and rhythmic power more potent.” – XLR8R
“Jon Hopkins knows how to fill a dance floor with techno that throbs insistently. But he’s also got a tremendous gift for the comedown; for warm, ambient baths of sound that slow the blood and settle the mind.” – NPR Music
“A spellbindingly impactful LP, Singularity blends ethereal choruses with nostalgic instrumentals, all constructed around industrious, reverb-heavy noise tunnels.” –INTERVIEW
Jon Hopkins released his new album, Singularity, earlier this month. Debuting at #3 on the Billboard US Dance/Electronic Chart, #9 in the UK overall, and #1 on the UK Dance and Independent Charts, it marks Hopkins first top 10 release in the UK. Following Moogfest, Festival of Disruption, and tomorrow night’s sold out performance at Elsewhere in Brooklyn, Hopkins will return for a proper North American tour this fall. Special guests Daniel Avery and Leon Vynehall will support. All dates are below and tickets are on sale this Thu. May 24th.
Where Hopkins’ last album, Immunity, charted the dark alternative reality of an epic night out, Singularity explores the dissonance between dystopian urbanity and the green forest. Shaped by his experiences with meditation and trance states, the album explores the connectivity of the mind, sonics and the natural world. It flows seamlessly from rugged techno to transcendent choral music, from solo acoustic piano to psychedelic ambient. Its epic musical palette is visceral and emotionally honest: with a destructive opener full of industrial electronics and sonic claustrophobia and a redemptive, pure end on solo piano.
For more insight into Singularity, head over to NPR Music for a Track By Track breakdown by Hopkins, and keep your ears peeled for a Song Exploder episode, out this Wednesday.
Jon Hopkins Singularity North American Tour Dates
Tue. May 22 – Elsewhere – Brooklyn, NY – SOLD OUT Wed. Sep. 12 – Chicago, IL @ Thalia Hall # Fri. Sep. 14 – Toronto, ON @ Danforth Music Hall # Sat. Sep. 15 – Montreal, QC @ Corona Theatre # Sun. Sep. 16 – Denver, CO @ Grandoozy – DJ set Tue. Sep. 18 – Los Angeles, CA @ The Fonda Theatre # Thu. Sep. 20 – San Francisco, CA @ Regency Ballroom # Sat. Sep. 22 – Seattle, WA @ Neumos ^ Sun. Sep. 23 – Vancouver, BC @ Imperial ^ Tue. Sep. 25 – Brooklyn, NY @ Brooklyn Steel ^ Wed. Sep. 26 – Cambridge, MA @ The Sinclair
Heralded as one of the greatest albums of all time, and certainly one of the greatest political statement records of all time, it’s amazing that I’ve never owned a copy of Sandinista! by the Clash or even heard it in its entirety until now. As the story goes, this triple album was released as even a protest against their label at the time (CBS) when they weren’t allowed to release London Calling as a double album but CBS released a double Bruce Springsteen record the same year. The Clash even took less royalties from Sandinista! so they could release it at an affordable price to fans. They decided to explore their love of reggae, dub, gospel, rap (which was still new at the time), and dancehall, and they pay full homage to those genres on Sandinista!.
Opening with the (as Joe Strummer puts it) “fucking long” hit “The Magnificent Seven” (which is fewer than six minutes), the Clash let everyone know right away that Sandinista! wasn’t a typical Clash record. The opening track is a rap about being a working stiff (“Working for a rise, better my station, take my baby to sophistication. She’s seen the ads, she thinks it’s nice. Better work hard, I’ve seen the price.”) with hip hop and dub beats. “Hitsville U.K.” slaps down the U.K. music industry and Clash fans’ expectations with a pop beat and Mick Jones‘ girlfriend at the time, Ellen Foley, sharing lead vocals with him. “Junco Partner” is a dub cover of a classic James Waynes blues cut.
“Ivan Meets G.I. Joe,” a song about the U.S.-Soviet conflicts of the time, brings in a bit of disco (along with what sounds like vintage video game sound bytes) and lead vocals by drummer Topper Headon. “The Leader” takes a swing at the cult of personality and appeasement of the masses (“The people must have something good to read on a Sunday.”). “Something About England” has weird jazz piano licks as Mick Jones and Joe Strummer takedown people who remember the past through rose-colored glasses. “Rebel Waltz” follows a similar theme and “Look Here” is jazz written by the legendary Mose Allison no less. Bassist Paul Simonon sings lead on “The Crooked Beat,” and it’s no surprise is has heavy dub undertones. Simonon learned a lot of his bass licks by listening to dub and reggae records. “Somebody Got Murdered” is about Mick Jones learning of a murder that resulted from a robbery not far from where he lived. “One More Time” has Jones sharing vocals with another legend – reggae / dub musician and producer Mikey Dred. The song’s about the struggles As if it weren’t dub enough, the following instrumental track is “One More Dub.”
“Lightning Strikes (Not Once but Twice)” is a reprise of “The Magnificent Seven,” but with different lyrics, a fat bass by Simonon, and even better rapping by Strummer. “Up in Heaven (Not Only Here)” is Jones’ smackdown on the proliferation of cheaply constructed, crime-ridden towers of London flats (“Fear is just another commodity here. They sell us peeping holes to peek when we hear a bang on the door resoundingly clear. Who would really want to move in here?”). “Corner Soul” blends gospel and reggae, while “Let’s Go Crazy” blends calypso and reggae (and sounds like the beginnings of Jones’ future band Big Audio Dynamite). “If Music Could Talk” splits the vocals between left and right channels while mixing lounge jazz with reggae beats. It’s weird, and it works. They bring back the gospel on “The Sound of Sinners,” with Strummer singing, “After all this time to believe in Jesus, after all those drugs I thought I was him. After all my lying and a-crying and my suffering, I ain’t good enough, I ain’t clean enough to be him.” at one point.
Their cover of the Equals‘ “Police on My Back” reminds you that, despite all the dub, reggae, and gospel that’s come before it, the Clash were still a punk rock band. “Midnight Log” is about temptation and the Devil (both literal and metaphorical), and “The Equaliser” is a trippy bit of dub calling for economic equality. The draft wasn’t around in 1980, but Selective Service was just initiated and that might’ve been the inspiration for “The Call Up” – a strong denouncement of both. The wicked “Washington Bullets” (one of the Clash’s greatest songs) exposes American and British-funded combat missions in China, Afghanistan, and Chile. “Broadway” blends dub with smoky dive bar music.
“Lose This Skin,” with vocals and violin by Tymon Dogg (who would later go on to join Joe Strummer’s Mescaleros), seems to be about racial disparity. “Charlie Don’t Surf” sums up the band’s belief that the U.S. military loves to turn other countries into little Americas at the expense of their native cultures. After the instrumental “Mensforth Hill,” we get to the trippy track “Junkie Slip.” Strummer’s vocals are hardly discernible. The beats take precedence instead. “Kingston Advice” blends heavy dub (Strummer’s vocals echo all over the place) and punk guitars. It blends well into “The Street Parade.” They almost feel like one long track.
“Version City” brings back disco bass and jazz piano and adds blues harmonica as Strummer and Jones sing about their love of classic blues (“Is that the train that you speak of, the one I heard in my younger days? All the great bluesmen have rode her. I’m jumping up, gonna ride that train.”). The album just gets weirder from here. “Living in Fame” is psychedelic dub, “Silicone on Sapphire” is a dub remix / re-edit / reboot of “Washington Bullets,” “Version Pardner” is a dub remix of “Version Partner,” “Career Opportunities” is a version of the Clash’s classic hit sung by children, and “Shepherds Delight” is an instrumental mind trip.
Sandinista! isn’t a typical Clash record, but that was the point. They were already atypical and became even more so after this release. They had drawn lines in the political sand before, but on Sandinista! they draw those lines with a bulldozer instead of a bayonet.
A Place To Bury Strangers Share “Too Tough To Kill” Video Watch Here
North American Headline Tour Begins This Week
Pinned Out Now On Dead Oceans
[still from “Too Tough To Kill” video]
A Place To Bury Strangers are sharing a video for new single “Too Tough To Kill” from their recently released album, Pinned. The director Colin Marchon says, “The project is a kind of America-sploitation video in response to the frustratingly stagnant state of the country. The song felt like the perfect context to speak to that. Technically speaking I don’t really consider myself an animator. It just feels really fun and cathartic to cut up images that speak to me or make me laugh and play with them in front of a camera. The editing is a little more complicated but as a full time commercial filmmaker the medium is just a very easy outlet to let out my subconscious after work.”
For well over a decade now, A Place to Bury Strangers— Oliver Ackermann, Dion Lunadon, and, officially, drummer Lia Simone Braswell—have become well known for their unwavering commitment to unpredictable, often bewildering live shows, and total, some might say dangerous volume. They don’t write set ists. They frequently write new songs mid-set. They deliberately provoke and sabotage sound people in a variety of cruel yet innovative ways. They can and will always surprise you.
Pinned, the band’s fifth full-length, finds A Place To Bury Strangers converting difficult moments into some of their most urgent work to date. It’s their first since the 2016 election, and their first since the 2014 closing of Death By Audio, the beloved Brooklyn DIY space where Ackerman lived, worked, and created with complete freedom. It’s a clear and honest statement of intent, not just for everything that follows, but for this band as a whole.
A Place To Bury Strangers will tour in support of Pinned beginning this week. A full list of dates is below.
A Place To Bury Strangers Tour Dates: 5/24/18 Washington, DC – DC9 w/ Prettiest Eyes & Buck Gooter (tickets) 5/25/18 Baltimore, MD – Metro Gallery w/ Prettiest Eyes & Thrushes (tickets) 5/26/18 Raleigh, NC – Kings Barcade w/ Prettiest Eyes & Lacy Jags (tickets) 5/27/18 Asheville, NC – The Mothlight w/ Prettiest Eyes & Lacy Jags (tickets) 5/28/18 Atlanta, GA – The Earl w/ Prettiest Eyes & Nest Egg (tickets) 5/30/18 New Orleans, LA – Gasa Gasa w/ Prettiest Eyes & Trashlight (tickets) 5/31/18 Houston, TX – The Secret Group w/ Prettiest Eyes & Narcons (tickets) 6/01/18 Austin, TX – Barracuda w/ Prettiest Eyes & Xetas (tickets) 6/02/18 Dallas, TX – Club Dada w/ Prettiest Eyes & Dendrons (tickets)
6/03/18 San Antonio, TX – Paper Tiger w/ Prettiest Eyes & My Education (tickets) 6/05/18 Santa Fe, NM – Meow Wolf w/ Prettiest Eyes & Heather Trost (tickets) 6/06/18 Phoenix, AZ – Valley Bar w/ Sextile & Strange Lot (tickets) 6/07/18 San Diego, CA – The Casbah w/ Sextile & Keepers (tickets) 6/09/18 Los Angeles, CA – The Regent w/ Sextile & Prettiest Eyes (tickets) 6/10/18 San Francisco, CA – Great American Music Hall w/ Sextile & Prettiest Eyes (tickets) 6/12/18 Portland, OR – Mississippi Studios w/ Sextile & Tender Age (tickets) 6/13/18 Vancouver, BC – Fox Cabaret w/ Sextile & Dopey’s Robe (tickets) 6/14/18 Seattle, WA – The Crocodile w/ Sextile & Haunted Horses (tickets)
10/12/18-10/14/18 – Joshua Tree, CA @ Desert Daze (tickets)
Norwegian producer Bjørn Torske marks the 20-year anniversary of his solo career with Byen, his fifth solo album and first in 8 years, out July 6th via Smalltown Supersound. Recorded over the past year at Torske’s home and studio in Bergen, Byen finds the veteran musician fusing two distinct sides of his catalog—clubby, inviting house music, and side-long pastoral ambience. It continues to show his flair for fusing indelible melody with propulsive rhythms. Upward scaling lead single “Clean Air,” is a mountain-traversing track with piping synths and crisp backbeats laid over a warm, inviting bassline. Listen to it here.
Since the release of his last solo album, 2010’s elegant Kokning, Torske has kept busy with a steady drip of single and EP releases as well as reissues of his first two albums, 1998’s Nedi Myra and 2001’s Trøbbel, and last year’s collaboration with Prins Thomas, Square One. “Apart from having made this album entirely by myself, this was also more planned,” Torske states regarding the differences between Byen and Square One. “My collaboration with Thomas was pretty ad-hoc and messy in its conception, but this album is cleaner and more straightforward—more primed for the dance floor.” Whereas much of Torske’s previous work (including 2007’s Feil Knapp) featured tracks that had been in gestation for years, Byen‘s songs were recorded entirely within the confines of 2017.
“My original idea was to keep things simple and more driven by melodies than has been my wont with the earlier releases,” he states regarding his thematic intentions behind Byen. “Still, I am always considering myself to produce music for DJs, so there is hopefully some material that will find its way to select dance floors.”
Maryland rockers CLUTCH have announced Book of Bad Decisionsas the title of their new studio album.
Book of Bad Decisions, CLUTCH’s 12th studio album is scheduled for a worldwide release on September 7th, 2018 via their own Weathermaker Music label.
The album was recorded at Sputnik Sound in Nashville, TN by producer Vance Powell (Jack White, Chris Stapleton, The Raconteurs, The Dead Weather) and consists of 15 new tracks.
“With Vance Powell as producer we were able to make a very different kind of an album. The songs feel as if they could jump out of the speakers!” says drummer Jean-Paul Gaster. Bassist Dan Maines seconds that when he says “Recording in Nashville with Vance Powell gave us a new and fresh approach towards making an album that truly captures the live energy of Clutch in a way I don’t think we’ve done before.” Guitarist Tim Sult adds “Laying down guitar tracks with Vance was fun and inspiring. Going through and trying out his and his engineer, Mike Fahey’s collection of vintage amps was one of my favorite recording studio experiences. I think the outro solo of “Emily Dickinson” turned out particularly great.”
The album cover was designed by renowned photographer Dan Winters.
The song is about the band’s first tour back in 1991, a time where they began to cut their teeth in the live music business, dealt with show cancellations and incidents on the road. One particular show in a shed surrounded by cornfields in Lawrence, Kansas ultimately turned ugly over a missing microphone and accusations brought by drunk and gun-toting security people at the end of a long day. “Gimme the keys they can keep the guarantee | Gimme the keys and get the hell out of dodge” is a reflection of the mood of that night.
Pre-ordering the new album Book of Bad Decisions starts today, May 18th at www.pro-rock.com.
This single is the first of four to be released over the next couple of months as an instant gratification track when pre-ordering the album at:
All album formats (CD, 24-page book with CD, 2xLP Standard Black, Limited Colored 2xLP, and 2xLP Picture Disc) will have the same 15 tracks. In addition Weathermaker Music will release two very limited 7” Picture Discs.
“I’ve never been one for nostalgia,” says Neil Fallon, “I’ve always shied away from it. But after 27 years of this, I realize that there is a wealth of stories to look back upon as lyrical fodder. As the saying goes, ‘You don’t know where you’re going until you know where you’ve been.’ Not all the songs reference our collective experience as a band, but ‘Book of Bad Decisions’ seemed like an apt name for these various chapters, whether factual, fictitious, or somewhere in-between.”
CLUTCH:
Neil Fallon – Vocals/Guitar
Tim Sult – Guitar
Dan Maines – Bass
Jean-Paul Gaster – Drums/Percussion
For more information, check out the band’s website:
