7th Level Music

Rewind Review: AAWKS – Heavy on the Cosmic (2022)

I don’t know if I can sum up AAWKS‘ 2022 album better than it’s title track – Heavy on the Cosmic. The album is full of big riffs, cosmic rock, mystical energy, some trippy substances, and other stuff your brain can’t quite define. Heck, the silver orb on the album cover reminds me of the Tall Man’s sphere from the Phantasm films, so there might even be horror movie elements in here.

“Beyond the Sun” begins with a sample of some square cat naming various psychedelic drugs ranging from mescaline to LSD before massive bass and squealing riffs blow off the back of your head. The song is about slipping through time portals to end up in places beyond comprehension…I think. “Sunshine Apparitions” mentions “Sunshine on your tongue.” Take that as you will (or don’t take it at all, if you prefer) and let the stoner metal riffs as powerful as a solar flare wash over you.

“The Woods” has a heavy undertone throughout it, reminding me a bit of some of Psychlona‘s stuff. The opening guitar riff on “All Is Fine” is like the opening of docks on a ship in deep space so an exploration vessel can emerge to check out a weird temple on an asteroid…and then (indicated by the simple, effective high-hat clicks) the temple opens to reveal something akin to what Dave Bowman saw inside the 2001: A Space Odyssey monolith.

“The Electric Traveler” charges forward with crunchy cosmic rock riffs that could power the Mars rover from a hidden bunker three miles below the Earth’s surface. The vocals and fuzz on “Space City” remind me of early Soundgarden tracks. It’s a heavy tune with a weird sense of dread but also wonder (“High above an inverted city…Hazed out of my mind as I watch the sun unwind.”). As heavy as that track is, “Star Collider” is (appropriately, given the title) heavier. The guitar riffs on it chug while the drum beats swing with a bit of a jazz touch, believe it or not. It flows right into the closing track, “Peeling Away,” which strips what few layers of brain matter you have left in your head to get down to the lizard brain portion so you can soak up the heat of AAWKS’ cosmic rays.

Heavy on the Cosmic, indeed. Get onboard AAWKS’ starship and enjoy the ride.

Keep your mind open.

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Review: Duality Tracks – Visions Vol. 2 PCRF charity compilation

Visions Vol. 2 from Belfast’s Duality Trax label is stunning collection of house and techno from UK DJ’s and producers that benefits the Palestine Children’s Relief Fund.

Starting with Glasgow’s Stevie Cox and “Sandalphon,” the album gets off to a smooth, trippy start with slight synthwave touches easily mixing with house beats. Kyoto, Japan’s Stones Taro‘s “Iron Door” is great for your workout playlist. It bumps and thumps at a great beat for aerobics, running, biking, and, of course, dancing in a dark club surrounded by sweaty people probably tripping balls at the time.

DAWS (Australia) brings in some old school house (complete with soulful disco vocal loops) on “Early Desire,” whereas Gallegos brings old school scratching and retro-electronic beats on “Once More One More.” It’s a track you don’t want to end because it gets better with each passing second.

emkay‘s “One Kiss Wonder” is a slick trance track that could slide right into a compilation you found in the mid-1990s on a merch table at a rave in an old high school gym. Body Clinic (Northern Ireland) finishes off the compilation with beautifully futuristic rave cut “159 Revolutions Per Minute” – which mixes synths with thumping electro-beats and sexy pleasure-bot sounds.

It’s all killer, no filler. Don’t miss this, and the money you spend on it goes to a good cause. What’s not to like?

Keep your mind open.

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[Thanks to Harbour Music Society.]

Rewind Review: Electric Wizard – Dopethrone (2006)

I think it’s a given that if you find an Electric Wizard album for five bucks, you put down five bucks. That’s what I did when I found their classic third album, Dopethrone, in a Columbus, Ohio record store a couple weeks ago.

The album’s back story is full of drugs, booze, H.P. Lovecraft and Robert E. Howard stories, and arguments over which direction the band would take on their newest record. Believe it or not, there were discussions among some band members about trying to sound more like Nirvana or Linkin Park (complete with record scratching – How much drugs were they doing?).

Thankfully, their stuck to their doom roots and created what is now considered a doom / stoner metal classic. The album opens with a sample of someone talking about being able to escape satanic cults only by death or residency in a mental institution before they unload “Vinum Sabbathi” – a sludgy song about drug addiction (“Now I’m a slave to the black drug, forced to serve this black god.”) that almost defies description. Tim Baghsaw‘s bass on it is so heavy it almost crushes you.

The switch to “Funeralopolis” makes you think they’re going to mellow out for a little while, but that thought is short-lived. Jus Oborn‘s guitars on it sound like a hundred buzz saws being operated by drunken orcs while he sings cheerful lyrics like “Millions are screaming, the dead are still living. This earth has died yet no one has seen.” and “Nuclear warheads ready to strike. This world is so fucked let’s end it tonight.” It’s not date night music…unless you’re dating an incubus or succubus, then by all means blast it.

“Weird Tales” is a three-part tale of creepy things and a tribute to Lovecraft and even Weird Tales magazine. Part one is “Electric Frost,” which name checks Yuggoth and Kadath from Lovecraft stories and pays tribute to them through powerful riffs that come at you like a tidal wave. Drummer Mark Greening has said in the past that he always felt the drums on Dopethrone and other Electric Wizard albums could’ve been bigger. That’s difficult to imagine, because his drums almost bludgeon you unconscious over the entire record. “Electric Frost” is a great example. The next two parts, “Golgotha” and “Altar of Melektaus,” are trippy instrumentals with smoky synths that slither like tentacles from shadowy places.

“Barbarian” is, appropriately, a song about Conan and pays great homage to him and his creator (Robert E. Howard) with its battle axe riffs and skull-smashing drums. “I, the Witchfinder” is as gritty and gruesome as its namesake, who delights in torturing maidens suspects of witchcraft. “We Hate You” is a tongue-in-cheek parody of Black Sabbath songs about loving one’s fellow man. The title track is a growling, snarling, savage thing all about…you guessed it, a throne made of weed upon which sit “three wizards crowned with weed.”

This album is about as heavy as a war hammer forged from lead. It’s a wild ride, at times spooky and other times groovy, but always, always heavy.

Keep your mind open.

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Rewind Review: Pelada – Movimiento Para Cambio (2019)

I discovered Pelada when they were a last-minute addition to the 2022 Levitation France music festival. They closed one of the stages with a powerful performance of dance-punk ragers that had everyone jumping. I didn’t know anything else about them at the time, so I started looking.

Fast forward a couple years later, and here I am finally getting around to reviewing their excellent 2019 album Movimiento Para Cambio (Movement for Change). The album’s title is pretty much the band’s mission statement – making people get off their asses to demand change in the world and make needed changes in ourselves.

“A Mí Me Juzgan Por Ser Mujer” (“I Am Judged Because I’m a Woman”) blends Tobias Rochman‘s house beats with Chris Vargas‘ lyrical kick in the crotch to “bro culture,” toxic masculinity, and the maddening expectations put on women across the world. “Ajetreo” (“Hustle”) will have you doing just that on the dance floor, as it sounds like Rochman and Vargas plucked it from a Barcelona rave club in 1993.

“Habla Tu Verdad” (“Speak Your Truth”) has Vargas encouraging victims of sexual harassment to tell their stories and push back against such treatment. Rochman’s house beats and synths on it are a great contrast to Vargas’ snarling rage. The beats turn into slightly industrial bloops, bleeps, and buzzes – mixed with killer synth-bass – on “Asegura” (“Secure”), which tackles the pervading menace of technology and surveillance.

It can’t be a coincidence that “Granadilla” (“Passion Fruit”) is the sexiest song on the album. The beats are made for making out, and Vargas’ voice curls like honey being poured into hot tea. “Caderona” (“Big Hips”) adds some slight robot-like distortion to some of Vargas’ vocals in a song about staring right back at the male gaze as the dude gets more and more uncomfortable. “Desatado” (“Untied”) will make you race to the dance floor, free of attachments, expectations, and limitations – which is the point Pelada has been making for the entire album. Rochman’s synths on ‘”Perra” (“Bitch”) become sharp and jagged while Vargas’ vocals soften in presentation, but not in fury. A message in the liner notes of the album is “Open your eyes. The beast feeds on exploitation.” This is especially noted on “Aquí,” which is about the rising power of global corporations.

Pelada’s name translates as “Peeling” – another call to strip away labels, expectations, and hindrances put upon us. This whole album does that and makes you dance at the same time. Dance-punk isn’t easy to make, and many times it comes off as either trite or trying too hard to make a point. Movimiento Para Cambio hits the sweet spot on every track.

Keep your mind open.

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Wrecka Stow: Rattleback Records – Chicago, IL

Located at 5405 North Clark Street in Chicago, Illinois, Rattleback Records is a fun store in a hip neighborhood. The place is full of interesting stuff, outsider art, cheap CDs, and more. Walk in and look to the right, and you’ll see this…

Classic country, plenty of David Bowie vinyl reissues, framed posters, and more. Look to the left when you walk in and you’re greeted by all of this…

CDs, cassettes, and plenty more speciality vinyl is all available here. They also have some fun quirky stuff like this…

They also sell some cool audio gear there, in case you need something to play all the stuff you’re going to buy from them.

There’s all kinds of quirky stuff here, and plenty for collectors. Case in point…

Or how about…

In case you’re wondering what I bought while I was there, I found a couple killer bargains in their used CD bins.

$2.99 for that Fluke compilation album is a steal, and 25% off a Lightnin’ Hopkins album I hadn’t heard in its entirety (just a few cuts from it on various compilations)? Sold!

Be sure to stop by there if you’re in the area. It’s a fun place.

Keep your mind open.

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Woodsist Festival releases 2024 lineup.

The beloved Woodsist Festival returns to Arrowood Farms in Accord, New York, on September 21-22, 2024. Performers this year include headliners Yo La Tengo, Real Estate, and Jessica Pratt, along with Woods, Hailu Mergia, Bonnie “Prince” Billy, Jeff Parker, Etran de L’Aïr, The Messthetics, 75 Dollar Bill Big Band, Rosali, Mystic 100s, Florry, and Sylvie. Arrowood Farms, a sustainably-minded farm, brewery and distillery located in New York’s scenic Hudson Valley, will host the performers on two alternating stages throughout the weekend and feature food from local Hudson Valley-based vendors and craft beer brewed directly on site. Tickets go on sale Friday, April 26th at 10:00AM ET and are available via www.woodsistfestival.com.

As in previous years, Jeremy Earl of Woods has curated the festival’s lineup. Formed in 2004, Woods have matured into a true independent institution, above and below the root, reliably emerging every few years with new music that grows towards the latest sky. On top of a new EP release, the band has embarked on a full year of touring, including shows with Waxahatchee, Avey Tare, and Natural Information Society.

The inaugural Woodsist Festival took place in Brooklyn in 2009 with Thee Oh Sees headlining alongside a number of acts including Beach Fossils, Real Estate, and Kurt Vile. Since then, the festival has been presented in various locations including Big Sur, Point Reyes National Seashore, and Pioneertown, CA. The festival found its home at Arrowood Farms in 2019, presented in partnership with Ground Control Touring and premiere Hudson Valley concert promoters Impact Concerts, and has returned annually since 2021.

We hope to see you on the farm, With Light and With Love.

Watch the Woodsist Festival 2023 Recap Video

For more information, including lineups, event news, and the latest updates, please visit www.woodsistfestival.com.

Keep your mind open.

[Don’t forget to subscribe before you go.]

[Thanks to Patrick at Pitch Perfect PR.]

The Hope Conspiracy release punk rager – “The West Is Dead.”

he Hope Conspiracy will release their long-awaited new full-length album, Tools of Oppression / Rule by Deception on May 31st. Today, the group has shared the record’s dystopian, hook-laden second single, “The West Is Dead.” Vocalist Kevin Baker states, “Politicians in the west, whether they are on the left or right, all eat from the same pig trough. Corporations own every single one of them. The working people were sold down the river decades ago. The professional liars are not concerned with fair wages, human rights, affordable healthcare or the poison in our air, water and food. Both sides play on everyone’s sensitivities to keep us hating one another while they take lucrative donations and marching orders from rent seeking billionaires. The tent cities and rampant homelessness would go away tomorrow if they really wanted it to be so. The system is designed to crush the common people. If you don’t feel it now you will. If you don’t see it now you will. It’s the approaching storm on the horizon and there is no escaping it. The west is dead and our end is near.”

Watch / share “The West Is Dead” on YouTube.

True sonic violence aimed at political division, economic manipulation, war profiteering, media propaganda and other vile forms of global oppression, Tools of Oppression / Rule by Deception is an ominous soundtrack to the steady decline of our modern age. There is no question, The Hope Conspiracy is back to make a cold hard statement about existence in the end times.

Tools of Oppression / Rule by Deception was engineered by Kurt Ballou and Zach Weeks at God City Studios, and artwork for the release was created by acclaimed artist Alexander Heir (Death/Traitors). The album is available for pre-order here and The Hope Conspiracy will be playing select shows this summer and fall.

The Hope Conspiracy, on tour:
June 7 Cambridge, MA @ Sonia
June 8 Brooklyn, NY @ The Meadows
June 9 Philadelphia, PA @ First Unitarian Church
July 20 Chicago, IL @ Cobra Lounge – The Rumble
September 6 Los Angeles, CA @ 1720
September 7 Berkeley, CA @ 924 Gilman
September 8 Anaheim, CA @ Chain Reaction
September 9 Giant Rock, CA @ Ask A Punk
September 12 San Diego, CA @ Soda Bar
September 13 Seattle, WA @ The Vera Project
September 14 Portland, OR @ Dante’s
September 15 Tacoma, WA @ Real Art

Keep your mind open.

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[Thanks to Stephanie at Another Side.]

Rewind Review: King Gizzard and the Lizard Wizard – Live at Levitation ’14 (2021)

Praise be to the Reverberation Appreciation Society for releasing this early live gem from Australian psych-rock giants King Gizzard and the Lizard Wizard. Live at Levitation ’14 is, I think, a recording of their first live performance in the United States. It was at that year’s Austin Psych Fest in Austin, Texas…and my late wife and I were there.

We didn’t know much about KGATLW then. Heck, no one in the U.S. did. They played an afternoon slot on the main stage, and there were maybe 125 people there for the set. I’d only heard a couple tracks that I’d found on obscure YouTube channels. Those tracks were intriguing enough for me to add them to my wish list of bands to see that year. I thought it would be an interesting set at least.

It certainly was. My thought about halfway through the set was, “Wow…These guys came to play.” Starting with “I’m in Your Mind,” the band launches off the stage right away with fun energy that would come to define their sets. They flow right into, of course, “I’m Not in Your Mind,” showing early signs of the linked “Gizzverse” stuff that would span across multiple albums.

They’re going nuts by the time they get to “Cellophane,” and stunning the crowd by this point. They then loop back to “I’m in Your Mind Fuzz,” and had attracted the other half of their set’s crowd by now because the amount of sound and energy they were putting out was immense. They didn’t stop for a breath until this track ends. “The Wholly Ghost” has a fun metal stomp to it and threatens to fry your brain altogether.

“We’re going to Dallas tomorrow. What’s that like?” Stu Mackenzie asks before the lovely, trippy “Sleepwalker.” “Bloody hot,” someone replies. The whole set is as hot as Texas heat. “Am I in Heaven” has the band starting mellow and then kicking in doors and knocking down tables on a stage in a western town. Call the festival attendees, there were madmen around that afternoon – judging from the chaotic energy KGATLW were broadcasting.

“We’re gonna play one more,” Mackenzie says. That one is the epic “Head On / Pill,” which is over sixteen minutes of psychedelia that will make your mind feel like the album’s cover image. It was a stunning end to a stunning set that left people elated and dumbfounded. They weren’t sure what they’d just seen and heard, but knew they’d been part of something special.

It was a great set, and still sounds great ten years later. It’s essential if you’re a King Gizz fan.

Keep your mind open.

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Chanel Beads releases new single, “Unifying Thought,” and album, “Your Day Will Come.”

Today, Chanel Beads — the project of New York-based musician Shane Lavers — unveils the new single / video “Unifying Thought” from his anticipated debut album, Your Day Will Come, out today via Jagjaguwar.

Your Day Will Come marks Lavers’ arrival as a new force in experimental music. Throughout the album, Lavers captures the many contradictions of modern existence and the strange infiniteness of the digital world. Though he incorporates the scrappy sonics of post-punk, the gripping sentimentality of pop tunes, and the spectral artifice of electronic music, he blurs lines through unconventional song structures that build into transcendental climaxes. Throughout, Lavers weaves in contributions from singer-songwriter Maya McGrory and multi-instrumentalist Zachary Paul, who offer their own layers of feeling that add to the huge emotionality of the album.

Today’s single, “Unifying Thought,” showcases Chanel Beads singular use of clunky acoustic guitar, cinematic strings, and vocal harmonies as Laver sings “Focus on the love in your heart / I had a unifying thought / But I missed / Like the seasons that we lost.” The accompanying video, directed by Harleigh Shaw, showcases a day in the life of a young boy as he bikes his way through New York City.

Watch the Video for “Unifying Thought”

Following their sold out record release show in New York City, Chanel Beads will open for Mount Kimbie on their May North American tour. Named one of Rolling Stone’s Best of SXSW, Chanel Beads’ live show is not to be missed — a full list of dates is below and tickets are on sale now.

Listen/Purchase Your Day Will Come

Listen to “Embarrassed Dog”

Watch “Police Scanner” Video

Listen to “Idea June”

Chanel Beads Tour Dates

Wed. May 1 – Queens, NY @ TV Eye – Record Release Show [SOLD OUT]

Fri. May 17 – San Francisco, CA @ Great American Music Hall *

Sat. May 18 – Los Angeles, CA @ The Fonda Theatre *

Tue. May 21 – Denver, CO @ Perplexiplex *

Thu. May 23 – Austin, TX @ Parish *

Sat. May 25 – Chicago, IL @ Lincoln Hall *

Tue. May 28 – Toronto, ON @ Axis *

Wed. May 29 – New York, NY @ Webster Hall *

* = supporting Mount Kimbie

Keep your mind open.

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[Thanks to Patrick at Pitch Perfect PR.]

Blushing drop another killer single – “Slyce” – from their upcoming album.

Blushing — the Austin, TX-based band consisting of the double husband and wife pairs of Christina and Noe Carmona and Michelle and Jacob Soto — present a new single/video, “Slyce,” from their forthcoming album, Sugarcoat, out May 3rd via Kanine. Following singles “Tamagotchi” and “Seafoam,” “Slyce” shows Blushing at their most sonically experimental. The verses splash around elements of psych and shoegaze that rise towards an anthemic chorus. Lyrically, the song uses imagery of cuts and breaks to convey the damage that can be caused by engaging in toxic relationships, even when you just can’t help yourself.

The last song to be recorded during the Sugarcoat sessions, the band’s only option for recording was to utilize the Austin Community College recording studio where their producer and engineer Elliott Frazier happened to be a teacher. The recording sessions would occur during Frazier’s classroom time, so that meant the band performed and recorded in front of a classroom of kids and adults, all while Frazier explained to the class what he was doing at the console, incorporating it into his lessons. The track also features Christina’s dad Carlos Fernandez, a classical pianist who lends his piano playing talents over the song’s bridge.

Watch the Video for “Slyce”

Sugarcoat is the follow-up to two EPs, 2017’s Tether and 2018’s Weak, their self-titled debut, and 2022’s Possessions. They didn’t want to create an album where each song was made to fit into the same mold. Instead, they decided to run with each idea no matter which direction it was facing, resulting in an album that is somewhat of a sampler of the group’s collective influences. While there are certainly tracks immediately recognizable as “Blushing” songs, this album is where the band get to explore their love for expanding genres, from post-punk, psych-gaze, grunge-pop, indie-pop, slowcore, and beyond. Lyrically the album asks many questions, reaching out for someone to provide answers or for the answers to come from within. There is a lot of uncertainty in the world as well as personally. Getting older, questioning past decisions, and the constant unknown of the future.

On Sugarcoat, Blushing’s dynamism is on full display, flitting effortlessly from spacey psychedelia to twee pop jangle with finesse and panache. Having enlisted Elliot Frazier (Ringo Deathstarr) and Mark Gardener (Ride) for engineering, mixing, and mastering duties, Sugarcoat is a dense, reverb-laden exploration of alt-rock’s 40 year history that conjures up concord from chaos.

This summer, they’ll support Slater and Airiel across North America, along with headline dates in Chicago, Seattle, Los Angeles, Phoenix, and more. Tickets are on sale now and a full list can be found below.

Watch Blushing’s Video for “Tamagotchi”

Watch Blushing’s Video for “Seafoam”

Pre-order Sugarcoat

Blushing Tour Dates
Thu. May 2 – Austin, TX @ Hotel Vegas (album release show)
Wed. May 15 – San Antonio, TX @ Vibes Underground *
Thu. May 16 – Dallas, TX @ Club Dada *
Sat. May 18 – Houston, TX @ White Oak Music Hall *
Sun. May 19 – McAllen, TX @ The Gremlin *
Fri. June 14 – Oklahoma City, OK @ Resonant Head
Sat. June 15 – Fayetteville, AR @ George’s Majestic Lounge
Sun. June 16 – Nashville, TN @ 5 spot
Tue. June 18 – Washington, DC @ Pie Shop %
Wed. June 19 – Philadelphia, PA @ Johnny Brenda’s %
Thu. June 20 – Brooklyn, NY @ Baby’s All Right %
Fri. June 21 – Boston, MA @ Deep Cuts %
Sat. June 22 – Burlington, VT @ Higher Ground %
Sun. June 23 – Montreal, QC @ Bar Le Ritz %
Mon. June 24 – Toronto, ON @ The Garrison %
Wed. June 26 – Pittsburgh, PA @ Mr Smalls Funhouse %
Thu. June 27 – Detroit, MI @ Small’s %
Fri. June 28 – Cleveland, OH @ Beachland
Sat. June 29 – Chicago, IL @ Schubas
Mon. July 1 – Denver, CO @ Skylark Lounge
Wed. July 3 – Seattle, WA @ Chop Suey
Thu. July 4 – Portland, OR @ The Six
Fri. July 5 – San Francisco, CA @ Kilowatt
Sat. July 6 – Los Angeles, CA @ Moroccan Lounge
Sun. July 7 – Phoenix, AZ @ Rebel Lounge
Mon. July 8 – El Paso, TX @ Rosewood
Sun. Sept. 1 – Cambridge, UK @ Portland Arms ^
Mon. Sept. 2 – Leeds, UK @ Old Woollen ^
Tue. Sept. 3 – Glasgow, UK @ Room 2 ^
Wed. Sept. 4 – Stockton-on-Trees, UK @ Georgian Theatre ^
Thu. Sept. 5 – Manchester, UK @ The Deaf Institute ^
Fri. Sept. 6 – London, UK @ O2 Academy Islington ^
Sat. Sept. 7 – Brighton, UK @ Dust ^

* = w/ Slater
%= w/ Airiel
^= w/ Ringo Deathstarr

Keep your mind open.

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[Thanks to Jaycee at Pitch Perfect PR.]