7th Level Music

The Anomalys drive you into a “Panic” with their ferocious new single.

For the twenty years, Slovenly Recordings has released brain dissolving garage punk n’roll noise from all pockets on Earth; The Anomalys have been in on the hell ride for seventeen of those years. They’re one of the first bands the Slovenly crew scooped up from Amsterdam and have backed the hard-hitting surf garage trio since releasing their furious n’ assertive “Black Hole Blues/Nat Approved” single in 2005, all the way to their latest offering in 2022 with Glitch.

Glitch is twelve years in the making, with the band pumping out a slew of singles leading up to this release since launching their no-frills raw n’ raucous Slovenly epoch S/T LP in 2010. In the time frame since then and Glitch, The Anomalys kept their style of high octane garage punk n’ roll in the mind of the masses through a slew of single releases coinciding with sporadic touring throughout Europe and into the United States and down to South America with festival appearances at SXSW, Burning Man, Gonerfest, We’re Loud!, Funtastic Dracula, Cosmic Trip, Hipsville, Psycho Carnival, Curitiba Rock, and many others.

In 2019, The Anomalys kicked it into high gear once again with their ringleader, Bone, recruiting his Aquitaine-based brothers-in-arms Looch Vibrato (Magnetix, Louder Than Death, Avenue Z) and Remi Pablo (Weird Omen, Escobar) to round out the new lineup and reconvene in Toulouse at Swampland Studios to begin the Glitch sessions with studio maestro Lo-Spider at the production helm. Three years later, and a different world since Glitch sees the light, this track rock n’roll propaganda machine debuts their frantic surf-groove single, “Panic,” to showcase the session’s sweat soaked effort.

Glitch will be available on all digital platforms February 18th and in black and highly limited transparent red vinyl (100 copies pressed) exclusively through the Slovenly Recordings mail order on March 25th.

With a tour throughout Spain just concluded this past weekend, The Anomalys are planning more dates in late Spring/Early Summer around Europe, including an appearance at Cosmic Trip Festival in Bourges, FR in late May.

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[Thanks to Matthew at Shattered Platter PR.]

Blackwater Holylight announce US and Canada tour dates.

Portland, OR band Blackwater Holylight announce Summer 2022 North American headlining tour dates today in support of their third album Silence / Motion on on RidingEasy Records. The tour kicks off on May 9th. Please see complete dates below. Tour assets HERE, ticket links HERE.

Quote from the band: “We’re gearing up for our first US headlining tour and couldn’t be more excited to be sharing the road with Bleakheart and Spirit Mother! We will have a ton of merch available and can’t wait to see you all out there.”

Watch/share “Silence/Motion” video on YouTube HERE.

Hear/share Silence/Motion full album via Bandcamp, YouTube, Apple Music and Spotify.

Empty surrounds all of me. It’s a poignant line from the third album by Blackwater Holylight that encapsulates the search for self when suddenly everything has changed. There’s a theme of processing vast personal trauma throughout Silence/Motion that eloquently — both lyrically and musically — and simultaneously embodies the crushing emptiness, sorrow, strength and rebuilding of recovering from personal devastation.

“There was so much grief both in the world and interpersonally during the process of creating Silence/Motion,” says vocalist/bassist Allison “Sunny” Faris. “The four of us gave one another more space to be ourselves, to experiment with each other’s ideas and to be gentle with one another more than we ever have before. So, we knew this tenderness would manifest in extremely honest arrangements, and I think that you can hear that throughout the record.”

Curiously, considering the dark times in which it was created, this is the band’s most melodic and catchy music so far. Blackwater Holylight, as the name suggests, is all about contrasts: It’s a fluid convergence of sound that’s heavy, psychedelic, melodic, terrifying and beautiful all at once. And, Silence/Motion finds the band honing those contrasts, letting ideas and moods fully develop from song to song, rather than filling every song with a full range of their capabilities. It allows the band to go fully prog-rock here, and simply stay hushed and intimate there. There’s a new confidence to the band in how seamlessly they wield their stylistic amalgam.

“Writing this album was extraordinarily difficult emotionally, however it did come to fruition fairly quickly,” Faris says. “In the past, the theme of vulnerability has always been a big player and it definitely showed up full force while writing this album.”
Blackwater Holylight recorded the album as a four piece: Faris on vocals and guitar (on “Silence/Motion”, “MDIII”, “Around You” and “Every Corner”) and bass for the remainder, Sarah McKenna on synths, Mikayla Mayhew on guitar (and bass when Faris plays guitar) and drummer Eliese Dorsay. For Silence/Motion the band chose to work with a producer for the first time, bringing in A.L.N. (of Mizmor, Hell) to produce, along with recording engineer Dylan White — who also helmed their previous album Veils of Winter (2019) — at Odessa Recording Studio in Portland, OR. Guest vocals on album opener “Delusional” are by Bryan Funck (Thou.) Mike Paparo (Inter Arma) and A.LN. (Mizmor, Hell) lend guest vocals to album closer “Every Corner.”

“The analogy is that with our first record (Blackwater Holylight, 2018) we were getting into to the car and buckling up,” Faris says. “The second (Veils of Winter, 2019) we were turning the car on, and with this third we have kicked into drive toward our destination. Our destination is a bit mysterious and has the ability to change from day to day, but we’re on our way.”

Silence/Motion is available on LP, CD and download, released October 22nd, 2021 via RidingEasy Records.

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[Thanks to Dave at US / THEM Group.]

Metz and Adulkt Life announce split 7″ single.

Today, METZ and Adulkt Life announce a split 7”, out March 4th on What’s Your Rupture?, and share Metz’s “Demolition Row.” This split 7” is a dogged, startling response to today’s spoilt life. The two bands are paired perfectly: their shared, resolute
force carries an urgency that belongs to this era alone. Both are capable of goading listeners, both are capable of unearthly moments of alloyed beauty. And both bands are made for that unflinching space between the truths that can’t be absorbed and the truths that can’t be forgotten.

METZ are undisputable. Their warning, an unflinching assessment of the vastness and insignificance of this life, is precisely counterbalanced by their lesson, which models the resilience that this understanding demands. Today’s “Demolition Row” is persistent, concise, and alarmingly physical, its punch escorted by hypnotizing, unstrained vocals. “It’s quite singular,” says METZ’s guitarist/singer Alex Edkins. “We’ve never sounded this way before.”

LISTEN TO METZ’S “DEMOLITION ROW”

Adulkt Life’s debut LP, 2020’s Book of Curses, is a contorted, forceful declaration. The 7”’s “Book of Curses” was intended for the LP, but didn’t quite fit. Singer Chris Rowley describes it as a “belligerent satellite” for the end of time: “like in a few weeks.” It’s matched here with the blip of “Ants & Lions,” a near-joke that instead feels accusatory. Atop the carnival swells of the song, only that voice could make “yabba dabba doo time” burn like acid.

The impact of these two sides, taken together, reveals a shared, defiant intention. “When you’ve made yr small space attack ship mostly from sharp sticks and dashboards and recycled fuel stuffs METZ ship looks clean and tended for battles to come,” says Chris Rowley. “Very happy to be sharing crew n rink with them.” For METZ, this record lives within their legacy of complementary projects including splits with Mission of Burma and Clipping. and their collaboration with John Reis. “It’s because we are fans of the music,” explains Edkins. “METZ are mighty aren’t they?” replies Rowley.

PRE-ORDER METZ & ADULKT LIFE 7”

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[Thanks to Jacob at Pitch Perfect PR.]

Emily Jane White says “Show Me the War” on her new single.

Emily Jane White, the intriguing Northern California-based songwriter who Pitchfork noted for her ability to pair her “wispy and sweet” vocals with “world-weary” introspection and Brooklyn Vegan has championed for her “gothy, ethereal folk” releases Alluvion on March 25 via Talitres.

“’Show Me the War’ calls attention to the convergence of misogyny and racialized violence as a pervasive worldwide epidemic,” explains White. “During the summer of 2020 in Oakland, California, I wrote this song in response to the many political uprisings sparked by the murder of George Floyd. ‘Show Me the War’ also highlights more global examples of injustice like femicide in Juarez, Mexico and the near-total abortion ban in Poland. By grieving the many losses resulting from social and ecological injustice, we shed light on these unacceptable epidemics and those deeply affected by them, further enabling change.”

News of the Alluvion’s forthcoming arrival is paired with today’s release of “Show Me The War” and its accompanying, Bobby Cochran-directed video (https://youtu.be/ENrsd0YjjBs). The black and white clip filmed in Oakland features local teen dancers Satya Zamudio, Olivia Wenzler, Dinah Cobb, Kalia Morales, and Lina Santos, displays bold Gen Z women powerfully claiming public spaces with their art form, touching the sacredness of nature, while also contending with current social justice issues and the climate crisis.

Rooted in a moment of catastrophe, Alluvion is an album about personal and collective grief resulting from the loss of human life and the continued loss of our natural world. We live in a moment of merging traumas, of converging environmental, social, and political crises. These crises are exacerbated by our lack of cultural practices for individual and also shared, public grieving–which is not without consequence. Emily’s album offers a space to consider where grieving is absent in our world, and where it is deeply necessary. Grief moves in waves and cycles, and through its flood we can build anew. Alluvion: the gradual addition to the land by the wash of water against a shore.

Alluvion was produced by and arranged by multi-instrumentalist Anton Patzner (Foxtails Brigade, Bright Eyes) and mixed by Alex DeGroot (Zola Jesus).

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[Thanks to Monica at Speakeasy PR.]

Dream, Ivory get “Blue” on their new single.

Southern California’s Dream, Ivory – a duo composed of brothers Christian and Louie Baello – shares the new video for the single, “Blue,” from their self-titled debut album on AWAL. Dream, Ivory is the product of long hours spent in their Lake Elsinore bedroom, Christian helming the production and Louie growing into lead vocalist. Only 11 months apart, the Baellos shared everything – clothes, toys, and music. “We played rock-paper-scissors to choose who got to keep a Gorillaz album; Louie won and I cried the entire way home,” says Christian. “He ended up giving it to me because he felt bad.”

Raised in a Filipino household, Christian and Louie’s parents wanted them to be stars. “Ever since we were kids, our Dad would always tell us that our star is shining, and will forever shine on,” say the brothers. Their parents enrolled them in piano lessons, which they both hated at the time. “We would dread going to class, because we wanted to go and play like the other kids. Now, we are so grateful that we had the opportunity.” Their earliest musical experiments included reenacting guitar solos from performance videos they watched online and sharing their own cover songs on YouTube, which would be the impetus to creating their own art.

“When we first started Dream, Ivory I was still in high school and it was a way of self-expression,” says Louie. Dream, Ivory’s hazy and melancholic atmosphere was inspired by bands such as Beach Fossils, Slow Dive, and Beach House. “Blue” is an enthralling glimpse into their collaborative energy. “It’s a typical ‘heartbreak song,” adds Louie. The accompanying video was produced by Hungry Ghosts, and is the first in a series of new videos the band will be sharing ahead of more new music in 2022.

Watch Dream, Ivory’s “Blue” Video

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[Thanks to Patrick at Pitch Perfect PR.]

Rewind Review: Buck Owens – Live from Austin TX (2017)

Recorded live at the famous Austin City Limits on October 23, 1988, this half-hour session from the legendary Buck Owens is like stomping the gas pedal of a moonshiner’s truck to the floor while crying over lost love.

Opening, of course, with his mega-hit “Act Naturally,” Owens gets everyone dancing right away. Terry Christofferson‘s steel guitar on “Together Again” is the song of weeping after a missing lover has returned after a long absence. “Love’s Gonna Live Here” is a toe-tapping, booty-shaking swinger.

Owens’ “Crying Time” is another classic and one that everyone can relate to at some time in their life. He knows the loneliness we’ve all known. Just when you’re feeling blue, he unleashes “Tiger By the Tail” to shake you out of it (and Jim Shaw‘s lively piano helps, too). “A-11” is a clever track that has Owens pleading with a stranger not to play a song on the jukebox that will remind him of the woman who left him.

“Hot Dog” epitomizes country swing. “Put a Quarter in the Jukebox” is both fun and sad at the same time, as many classic country songs are. “Memphis” is the first Chuck Berry cover in the performance, and it’s a dandy. As if one country legend tearing up the ACL stage wasn’t enough, Owens brings out Dwight Yoakam to perform “Under Your Spell Again” with him, and their vocal styles pair up perfectly with each other. “Johnny B. Goode” is the second Chuck Berry cover that closes out the show to a raucous crowd.

It’s a great recording, and it’s clear that Owens was having a great time throughout it.

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Lucy Dacus makes everyone swoon with “Kissing Lessons.”

Lucy Dacus released Home Video via Matador last year, solidifying her place as one of music’s best storytellers, with a remarkable showing on year-end lists. After a series of flyers appeared in several US cities last week with tear-off tabs for a “Kissing Lessons” hotline, a stream of callers to the number then reported being able to hear a new song by Dacus. No longer requiring a phone, “Kissing Lessons” is now available as a single for all to hear. It is accompanied by a video directed by Mara Palena. Complete with hand-drawn hearts and Polaroids, “Kissing Lessons” is another gem mined from Dacus’ childhood in Richmond, Virginia. It was recorded and mixed during the Home Video sessions, and stood out with its sweet and relatable reflection of childhood infatuation as Dacus sings atop infectious guitars, “We’d take turns being seduced // Imagining the day it would come into use // Imagining the day we’d start breaking hearts // And taking names.”

“Kissing Lessons” and “Thumbs Again” will be released as a 7” on June 3rd. The 7” is available for pre-order now.

Next week, Dacus kicks off a US tour where she will play many cities not yet visited in support of Home Video, and a few rescheduled shows from the fall. Additionally, after selling out three Brooklyn Steels last year, Dacus announces a headline performance at New York City’s SummerStage in Central Park on Thursday, July 21st. Tickets go on sale this Friday, February 4th at 12pm Eastern.
Watch Lucy Dacus’ Video for “Kissing Lessons”

Pre-order “Kissing Lessons”/“Thumbs Again” 7”

Watch/Listen/Share
Stream/Purchase Home Video
Watch “Hot & Heavy” Video
Watch Tiny Desk (Home) Concert
Watch “VBS” Video
Listen to “Thumbs Again”
Watch “Brando” Video
Watch The Tonight Show Starring Jimmy Fallon Performance

Home Video Tour
(new dates in bold)
Wed. Feb. 09 – Pitts, PA @ Stage AE *
Thu. Feb. 10 – Detroit, MI @ Majestic *
Fri. Feb. 11 – Newport, KY @ Ovation *
Sat. Feb. 12 – Indy, IN @ Egyptian Room *
Mon. Feb. 14 – Milwaukee, WI @ Turner Ballroom Valentine’s Day *
Tue. Feb. 15 – Chicago, IL @ Thalia Hall (Rescheduled Date) * – SOLD OUT
Thu. Feb. 17 – Minneapolis, MN @ First Ave (Rescheduled Date) * – SOLD OUT
Fri. Feb. 18 – Iowa City, IA @ Englert Theatre (Rescheduled Date) * – SOLD OUT
Sat. Feb. 19 – Lawrence, KS @ Liberty *
Sun. Feb. 20 – OK City, OK @ Tower Theatre *
Wed. Feb. 23 – Athens, GA @ Georgia Theatre *
Thu. Feb. 24 – Asheville, NC @ Orange Peel *
Fri. Feb. 25 – C-Ville, VA @ Jefferson * – SOLD OUT
Sat. Feb. 26 – Asbury Park, NJ @ Stone Pony * – SOLD OUT
Mon. Feb. 28 – Ithaca, NY @ Hangar Theatre
Tue. Mar. 01 – Holyoke, MA @ Gateway City Arts
Thu. Mar. 03 – Providence, RI @ The Strand
Sat. Mar. 05 – Baltimore, MD @ Ram’s Head
Fri. Mar. 18, 2022 – Leeds, UK @ Brudenell Social Club ^ – SOLD OUT
Sat. Mar. 19, 2022 – Leeds, UK @ Brudenell Social Club ^ – SOLD OUT
Sun. Mar. 20, 2022 – Glasgow, UK @ St. Lukes ^ – SOLD OUT
Mon. Mar. 21, 2022 – Dublin, IE @ Olympia Theatre ^
Wed. Mar. 23, 2022 – Manchester, UK @ Gorilla – SOLD OUT
Thu. Mar. 24, 2022 – Bristol, UK @ Marble Factory ^
Fri. Mar. 25, 2022 – London, UK @ Kentish Town Forum
Sat. Mar. 26 – London, UK @ Rough Trade – In-Store Performance
Sun. Mar. 27 – Brighton, UK @ Concorde 2 ^
Tue. Mar. 29, 2022 – Brussels, BL @ Rotonde ^ – SOLD OUT
Wed. Mar. 30, 2022 – Amsterdam, NL @ Paradiso Noord ^
Thu. Mar. 31, 2022 – Cologne, DE @ Artheater ^
Sat. Apr. 02, 2022 – Hamburg, DE @ Molotow ^
Sun. Apr. 03, 2022 – Copenhagen, DK @ Loppen ^ – SOLD OUT
Mon. April 04, 2022 – Aarhus, DK @ Atlas ^
Wed. Apr. 06, 2022 – Oslo, NO @ Parkteatret ^
Thu. Apr. 07, 2022 – Stockholm, SE @ Nalen Klubb ^
Sat. Apr. 09, 2022 – Berlin, DE @ Lido ^
Sun. Apr. 10, 2022 – Jena, DE @ Trafo ^
Tue. Apr. 12, 2022 – Vienna, AT @ Chelsea ^
Wed. Apr. 13, 2022 – Munich, DE @ Milla ^
Thu. Apr. 14, 2022 – Zürich, SU @ Bogen F ^
Fri. Apr. 15 – Paris, FR @ La Maroquinerie ^
Thu. Jul. 21 – New York, NY @ SummerStage in Central Park #
Sun. Aug. 7 – St. Charles, IA @ Hinterland Festival
Fri. Aug. 26 – London, UK @ All Points East Festival
Sat. Aug. 27 – Sun. Aug. 28 – Darmstadt, DE @ Golden Leaves Festival
Thu. Sep. 1 – Sun. Sep. 4 – Salisbury, UK @ End of the Road Festival

* = with Indigo De Souza
^ = with Fenne Lily
# = with Hop Along

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[Thanks to Jessica at Pitch Perfect PR.]

Rewind Review: Ibibio Sound Machine – Doko Mien (2019)

When I type “afrobeat” into my post here, my computer’s autocorrect feature changes it to “acrobat.” It makes a bit of sense, actually, because Ibibio Sound Machine combining Nigerian afrobeat with house music so well that they are like acrobats moving all around you with astounding skill on their 2019 album Doko Mien.

Opening track “I Need You to Be Sweet Like Sugar (Nnge Nte Suka)” sounds like a Curtis Mayfield track mixed with 64-bit video game blips. Eno Williams‘ soulful, powerful vocals grab you by the ears and don’t let go and Derrick McIntyre‘s bass roots down the whole thing. You think that’s funky? Wait until you hear “Wanna Come Down,” a track that mixes Max Grunhard‘s synths with his saxophone and Tony Hayden‘s trombone and Scott Baylis‘ trumpet so well that you’re not sure where one of the them ends and the other begins.

The title track (also known as “Tell Me”) could be an LCD Soundsystem cut if LCDSS were even funkier. “I Know That You’re Thinking About Me” brings in more soul smoothness to seduce you. “I Will Run” is a synthwave love song that makes you want to make out on the dance floor. “Just Go Forward (Ka I So)” is a call to action (“Just go forward, don’t look back!”) that everyone needs to hear – and follow.

“She Work Very Hard” has some of Alfred “Kari” Bannerman‘s most interesting guitar work on the record, sounding at times like he’s in a funk band, other times in a krautrock band, and other times like he’s in a shoegaze band. “Nyak Mien” is pure afrobeat joy. “Kuka” is even a bit psychedelic.

“Guess We Found a Way” is a trippy slow jam that, if you play it in the presence of a potential lover, you had better be prepared for something to happen. The album ends with “Basquiat” – a fittingly funky tribute to the funky artist who left us far too soon.

Acrobatic afrobeat, indeed.

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Levitation France announces first wave of 2022 lineup.

Levitation France has announced the first group of bands scheduled to play the 2022 festival in the cool town of Angers. This is also the first year the festival will be a three-day event. Tickets are on sale now.

The lineup is already looking good. The Brian Jonestown Massacre will surely bring in a large crowd, and it will be cool to see Kim Gordon perform. Death Valley Girls and Frankie and the Witch Fingers always put on good performances, and I won’t miss Automatic‘s set.

I’m hoping to see Earthless, King Gizzard and the Lizard Wizard, Shame, and Dry Cleaning on the bill. Don’t miss out on it if you can get there.

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Review: A Place to Bury Strangers – See Through You

A Place to Bury Strangers has a new rhythm section (the husband and wife team of John and Sandra Fedowitz on bass and drums, respectively) and with it Oliver Ackermann‘s most personal album to date – See Through You. The album is full of nods towards the band’s past sounds, continuing explorations of familiar themes (i.e., the insidious way technology continues to separate us), and movements to the future and new ways of pushing the sonic envelope.

The references to Ackermann’s past bandmates are inescapable, and he’s made it no secret that the lineup change, the pandemic, and the world lockdown changed his perspective on pretty much everything. The album’s opener (with its cool, robotic bass lick from John Fedowitz), “Nice of You to Be There for Me,” might be a sarcastic jab or it might be a genuine acknowledgment. It’s up to us to decide, as much of APTBS’ music is always open to multiple interpretations. Ackermann’s guitar work on it is somehow disjointed and jazzy at the same time.

“I’m Hurt,” however, pretty much tells you how Ackermann’s feeling. Sandra Fedowitz’s beats in it are pure industrial, perfectly backing up the dark, heavy feel of Ackermann’s mind. The song belongs in a modern giallo film. “Let’s See Each Other” might be the friskiest song Ackermann’s ever written. “Open your heart to me. Explore the fantasy, we’ve got the chance to be together. Let’s meet up late tonight, indulge in pure delight…” I mean…come on! Then again, knowing Ackermann, the song is probably about online fantasies and how they never pan out to be what you think they will.

“I never thought you’d get so low,” Ackermann sings on the fuzzy “So Low.” One interesting thing about See Through You is how the album has some of Ackermann’s clearest vocals yet it doesn’t slouch on the raw, loud power of APTBS’ catalogue. “So Low” is a good example of this. You can make out pretty much every word, but it’s still as loud as a saw mill. Just to surprise you, however, “Dragged in a Hole” is almost the opposite on the vocals, as they’re almost melded with the monster growls of Ackermann’s guitar and John Fedowitz’s bass.

“There’s no way to make it right. It wasn’t even done on purpose. You should know it’s not your fault, and I know no one deserves this.” Those are the opening lyrics of “Ringing Bells,” a track in which Ackermann apologizes to someone (Past bandmates? A former lover? Deceased relatives?) and Sandra Fedowitz goes completely nuts on her drum kit, being the yang rage to Ackermann’s yin grief. “I Disappear (When You’re Near)” has a cool, warped darkwave vibe to it that makes it a standout.

“Anyone but You” is surprisingly peppy with happy dance rhythms provided by Mr. and Mrs. Fedowitz. I can’t help but wonder if “My Head Is Bleeding” is a sort of sequel to “To Fix the Gash in Your Head,” one of APTBS‘ earliest tracks. “My back’s against the wall,” Ackermann sings on “Broken” – a track with frenetic energy to reflect his state of mind. John Fedowitz cranks up his bass on “Hold on Tight,” which you need to do throughout the entire track because it might knock you flat.

Synths and guitars meld well together on “I Don’t Know How You Do It,” almost to the point where you’re not sure where one ends and the other begins. It’s a strong shoegaze track, and a tip of the hat to The Jesus and Mary Chain with its sound. This sound continues on the uplifting closer, “Love Reaches Out,” with Ackermann singing, “I’ll always have the warmest thoughts of you.”

See Through You is one of APTBS’ most interesting releases as of late, even improving on the Hologram EP released not long ago that started exploring these themes of loss and hope. Ackermann is always exploring and innovating, and this record sets his bar even higher for the next.

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[Thanks to Patrick at Pitch Perfect PR.]