Origins is a recurring new music feature in which a band explores the various inspirations behind their latest track.
Sons of an Illustrious Father are aware of how hard it is to maintain a sound definition of self in the modern age. If we aren’t being washed out in a sea of cyber connections, we’re being squashed under one sociopolitical trauma or another. In order to fight back the tide, the New York trio — Josh Aubin, Lilah Larson, and Ezra Miller (yes, the Ezra Miller you know as The Flash or Credence Barebone) — have embraced an undefinable sound they call “genre queer.” By not adhering to any particular rules of genre, they create free of self-categorization, a mode by which they can also navigate the more painful realities of present day.
Which brings them to their latest album, Deus Sex Machina; or, Moving Slowly Beyond Nikola Tesla. The record finds the trio embracing electronics for the first time, allowing “the machine” to do its work but enacting control over its mechanisms — in other words, adapting to the technological realities of 2018. The result is songs like “E.G.”, which comes in on a clattering of post-punk ambience before cutting in with sharp guitars and snappy drumming from Miller. Aubin’s voice stumbles through the faded memories of a past life, only to gain comforting defiance in the chorus: “Some have gold and high degrees/ Have palaces and lands/ I’ve but the roof that shelters me/ And the one who understands.”
Deus Sex Machina is out June 1st, and you can hear “E.G.” below.
For more insight on “E.G.”, the band has detailed the track’s Origins.
The main riff and melody to this song came to us after Josh was hit by a car. This guy came flying the wrong way down a road and swiped him in an intersection, luckily braking enough to leave him unharmed. He spent a good summer riding his bike round and letting the song simmer in his head before bringing it to Lilah and Ezra where it was mutated into it’s current form.
While writing this song, we were rehearsing in an unheated barn during the winter. One morning, Lilah was turning on one of the space heaters and was momentarily engulfed in flames. Luckily, no serious harm or damage was done besides the permanent loss of Lilah’s eyebrows.
A framed poem:
The lyrics to the chorus of the song actually come from a framed picture. It’s a poem credited to E.G., a person and quote about which we can find no more information. It was something that, in a moment of harsh anxiety and unwellness, helped us recognize the need to find peace with life rather than focusing on our shortcomings.
This is an image that often comes to mind when we play this song. It’s a woodcut that also has an anonymous creator, and it is often used as a metaphor for a transcendental experience. To us, it’s something that simultaneously represents the need to come to terms with reality while also recognizing the need to push against structures and barriers.
Fugazi is a band that has been a large influence on all of us musically. When Josh was younger, he mostly played guitar, and mostly played in hardcore punk bands. Picking up the guitar for this song was a new experience for us as a band, and also for Josh as a return to those roots.
Sons of an Illustrious Father will be on the road next month supporting Deus Sex Machina and you can find their schedule below.
Sons of an Illustrious Father 2018 Tour Dates: 06/11 – Washington, DC @ DC9 06/12 – Brooklyn, NY @ Elsewhere – Hall 06/13 – Philadelphia, PA @ Johnny Brendas 06/15 – Boston, MA @ Great Scott 06/18 – Chicago, IL @ Schubas 06/19 – Detroit, MI @ El Club 06/20 – Toronto, ON @ Horseshoe Tavern 06/22 – San Francisco, CA @ The Chapel 06/23 – Los Angeles, CA @ Echo
Thomas Banglater, one of half of Daft Punk, has penned a new song for Gaspar Noé’s controversial new horror film, Climax. It’s titled “Sangria” and appears alongside Bangalter’s previously released track “What To Do”. This marks the third time the French robot and Argentine director have collaborated for the big screen.
“I always like working with him [Bangalter] because he is extremely intelligent and he is a very good film director,” Noé told The Quietus back in 2010. Bangalter provided music for Noé’s 2002 film Irreversible, as well as his 2009 drama Enter the Void.
Climax is also set to feature music from Daft Punk (“Rollin’ and Scratchin’”), Aphex Twin (“Windowlicker”), and The Rolling Stones (“Angie”). Following a premiere at Cannes this past weekend, the film — which tells the story of a dance party gone horribly wrong — will open in theaters September 19th via A24.
Revisit a trailer below, followed by the film’s full soundtrack listing.
On September 14th, Orbital will return with their first album in six years. The long-awaited follow-up to Wonky, it’s called Monsters Exist and due out through ACP Recordings.
The legendary UK outfit’s first LP since reuniting live last year, it’s said to be a “more classically structured Orbital album” than its predecessor. It’s also said to draw “inspiration from the international political landscape all the way back from Paul and Phil’s pre-rave squat-punk roots right up to the volatile tensions and erratic rhetoric of today.”
“When you haven’t made an album in five years it just comes tumbling out,” one half of the brother duo, Paul Hartnoll, explains in a press statement. “Because of the global situation I was torn between writing a really aggressive Crass-type album that says ‘Fuck The Man!’ or going back to rave sensibilities. You know, let’s really rebel by stepping away and actually living that alternative lifestyle.”
Although it’s fun to guess just who these monsters are — **cough cough ** — Orbital aren’t naming names. “You don’t need to spell out who the monsters are,” adds Hartnoll. “We’re not pointing our fingers at Donald Trump or Kim Jong-un. It’s clear who the monsters are. I’ve never liked preaching to people. It’s much better to provoke a bit of thought.”
Brother Phil is taking an even more vague approach to the “monsters” concept. “It’s a reflection on modern day monsters,” he says. “That can mean anything from bankers and The Man or your own demons and fears. The monsters inside you.”
To tease the upcoming LP, Orbital have shared lead single “Tiny Foldable Cities” and its music video. Check out the hypnotic offering below.
Monsters Exist Artwork:
Monsters Exist Tracklist:
Standard CD/Deluxe Edition Disc 1: 01. Monsters Exist 02. Hoo Hoo Ha Ha 03. The Raid 04. P.H.U.K. 05. Tiny Foldable Cities 06. Buried Deep Within 07. Vision OnE 08. The End Is Nigh 09. There Will Come A Time (feat. Prof. Brian Cox)
Deluxe Edition Disc 2: 01. Kaiju 02. A Long Way From Home 03. Analogue Test Oct 16 04. Fun With The System 05. Dressing Up In Other People’s Clothes 06. To Dream Again 07. There Will Come A Time – Instrumental 08. Tiny Foldable Cities – Kareful Remix
The two-piece will soon hit the road for a series of tour dates, including multiple festival appearances in Europe.
Orbital 2018 Tour Dates: 05/25 – Belfast, UK @ BBC Biggest Weekend 06/11 – Moscow, RU @ Bosco Fresh Festival 06/15 – London, UK @ Kenwood House 06/29 – Brighton, UK @ Brighton Racecourse 06/30 – Hull, UK @ Innercity 07/13 – Lancashire, UK @ The Beat-Herder Festival 07/14 – Barcelona, ES @ CRUILLA Festival 07/28 – Margate, UK @ Dreamland 07/29 – Bournemouth, UK @ Camp Bestival 08/03 – Amsterdam, NL @ Dekmantel Festival 08/05 – Dublin, IE @ The BeatYard 08/11 – Gateshead, UK @ Sage Gateshead 09/01 – Bristol, UK @ The Downs 09/02 – Silsoe, UK @ Wrest Park 09/08 – Birmingham, UK @ Shiiine On 1 Day Festival 11/18 – Minehead, UK @ Shiiine On Weekender 12/15 – London, UK @ Eventim Apollo 12/18 – Sheffield, UK @ O2 Academy Sheffield 12/19 – Cambridge, UK @ Cambridge Corn Exchange 12/20 – Manchester, UK @ O2 Apollo Manchester
The song marks the polymath’s first Gambino release since his 2016 smash Awaken, My Love!, which produced the Grammy-winning “Redbone”. Glover said he’d be retiring the R&B/rap moniker last summer, but then came news of a record deal with RCA back in January. It’s of course still possible his first album with RCA will also be his last, but for now at least we have “This Is America”.
The track features backing vocals from Young Thug, 21 Savage, Quavo of Migos, Rae Sremmurd’s Slim Jxmmi, and BlocBoy JB. The accompanying video was helmed by Atlanta director Hiro Murai and includes a cameo from SZA. Check it out below.
Glover performed “This is America” and another new song called “Saturday” on SNL last night. He’ll almost certainly have both songs on the setlist for his upcoming fall tour as Childish Gambino, which will see him teaming up with Rae Sremmurd and Vince Staples. Find Childish Gambino’s complete itinerary here, and grab tickets here.
Track by Track is our new music feature that finds an artists going deep into the origins of each song on their new album.
Australian indie trio Middle Kids today deliver their debut full-length effort, Lost Kids. Stream the whole thing below via Apple Music and Spotify.
None of singer/guitarist Hannah Joy, bassist Tim Fitz, nor drummer Harry Day come from a background of rock music. Joy started out singing four-part harmonies in churches before exploring dance pop, Fitz grew up surrounded by the rhythms of the Papua New Guinea jungle, and Day studied jazz at the Sydney Conservative of Music. Instead of a disadvantage, however, this distance from guitar-based indie allows them to approach their songs without the burden of preconceived notions. Thus, Lost Kids is loaded with booming rockers that effortlessly bridge a gap between Americana and indie in a way that seems completely natural.
“In a time where a lot of division is growing, we want to be part of the conversation that unites people around certain ideals that are universal, like hope and love,” Joy says in a press release. “That’s so much a thread throughout this album: Even though things are tough, it’s worth believing in something good and in the idea that we can heal. And in some ways, I wanted the music to be beautiful and a respite from what’s going on.”
Take a listen:
For more on Lost Friends, Middle Kids sat down with Consequence of Sound to break down the album Track by Track.
“Bought It”: Hannah Joy:This song came together probably unlike a lot of the others on the album, because basically we bought a guitar pedal when we were in LA, and it’s called an M9, and it’s a mellotron pedal for your guitar and it can create all these different sounds. And I had it on like a cello sound, and I created this drone, which is the opening cello sound on “Bought It”. I just let it go for so long and built the whole song basically around this drone. So it was kind of cool because I think the sound inspired this song which is not a usual way for me to write songs, but I think what ended up happening was creating this atmosphere that kind of holds you for the whole song.
Tim Fitz: The thing I like about that song was the opening bit sounds nostalgic. It sounds like an old orchestra in a movie, and then there’s those weird bells, and you don’t really know what’s going on. And then it’s a song about seeing someone at a party, and it’s quite intimate and nostalgic and feels cool.
HJ: I think that it’s a good song lyrically for being the opener on the album, because it really sets a certain tone. I think that the strong message of the song is that constant thing we can do being like, “I’m fine,” and underneath it all we’re so not fine. A lot of the themes in this album are trying to work through the inner makings of a person, and their emotions and their framework and their belief system. “Bought It” is a cool way of starting off that premise of walking around trying to feel like we’re ok but actually we’re not sure if we are.
“Mistake”: TF: Hannah, you were watching a lot of old TV shows when you wrote “Mistake”.
HJ: Actually, I think I was watching Dawson’s Creek. I think a lot of the emotions can be that nostalgic, even teenage coming of age experiences. So that’s a throwback. It goes back musically, probably Fleetwood Mac-y, even that era was big for us in terms of what we listened to. I remember when I was writing the song I was wanting it to be quite nostalgic, because when I was 14, 15 listening to songs that really kind of hit you in the gut, and you’re starting to go, “What is this world spectrum of emotion that I’m feeling?” You start getting surprised by the highs and the lows that you feel as a young person and so music really can have the ability to accentuate that. I was kind of wanting to explore that in my songwriting for this song.
TF: Because it came from that nostalgic, maybe adolescent innocent place, things aren’t so nuanced and you’re not so cynical then I think. So it is actually quite unashamedly emotional and doesn’t protect itself. And I like the drums.
Harry Day: It’s probably one of the more roomy sounds on the record. Everything else is a little more close marked. On this one we were kind of harkening back to more of a ’90s drum sound in some ways. Also, I think this song is typical of the tendency of Hannah’s lyrics to be quite observational and relatable, because I think everybody’s had an experience like that. I think some songwriters can share their experiences in an alienating way, but I think Hannah does it in a very inviting way.
HJ: It is kind of like putting it all out there, so I think it was important to then keep the guitars quite distorted, and even referencing that Sonic Youth sound, same with the drums. Keep that a little bit more dirty and grungy to offset, so it’s not just like here are my emotions, like insipid pop. To have those really driving drums and kind of grungy guitars you can also go into that places where they’re kind of working together but also in tension with each other to create an energy as well.
“Edge of Town”: TF: I actually think that it is a really special song to us and we still love playing it and sometimes I wonder why do we still love playing this? But I just think there’s something special about it and every time I feel like we get to enter into the song when we play live as opposed to carrying the song.
HD: It’s also special because we recorded that song before we were even really a band. We were all doing different things. Then it was kind of there for awhile, even before we released it. It actually sort of set everything else in motion, the beginning of us finding our sound and of Hannah finding her writing voice for the band. Eventually it kind of lead to us being a band. I think it’s kind of special to play that. It is very much our origin.
TF: It’s so funny because in Australia we don’t have the country baggage. You guys have so much country music, like some really bad pop country stuff. We just don’t have that in Australia. So I think slide guitar is not as much of a cultural no-no or something, but at the same time, I’m not very good at slide guitar. So it’s a very simple part. So it had to be simple.
HJ: Also because Tim didn’t really grow up in country music it means that he’s used the instrument to the way his ear wants to hear it for the songs. He likes the sound, and we like the sound, then he’s adding it to a song that already exists. So that’s why I think it’s really cool because it’s not necessarily used in such a traditional way, but you’re kind of weaving around a song in a way that feels natural to you.
HD: Yeah, because if you’re entrenched in a tradition you can sometimes be limited by that. But you come to it from a different place there’s like a freedom.
“Maryland”: HJ: When I was 17, I ended up moving with a family who was living there and I finished high school in Maryland. The song was actually more about where is home after I was living in Maryland. I was due to go back to Sydney and I felt like I had this really formative experience in Maryland. I felt a little bit like I didn’t know where I belonged at home in Sydney, that’s partly why I left. So then it was this feeling of not knowing where to go next, or what was home. Sydney was kind of home but I think I had this experience where I felt like Maryland felt more like home than I had in Sydney. It was trying to capture that where do I belong kind of thing.
It’s the people, I think. Often you feel at home depending on where you are in your relationships with people. If you feel a sense of understanding and belonging with a group of people, almost regardless of where you are, it can feel like home.
TF: That song was fun to record as well because it was a little bit different in pace, it’s a less intense song so you can relax into it a little bit more. We made these drumsticks that were like brushes but they were made out of a broom. We bought a broom, bunched together the straw, so the drums in the verses you can hear a rusty, straw sound on the drums which I think is kind of cool.
HJ: There’s another cool percussion thing in the second verse. Tim literally put a microphone on the table and got a guitar pick, and was just going tap tap tap. And in the second verse it kind of lifted a bit.
TF: Yeah, there is [a lot of that stuff in the album]. It’s kind of depressing how subtle a lot of it is, because there’s cool stuff.
“On My Knees”: TF: There’s one line that has a certain effect on it, it’s called a micro shift. It’s kind of like a chorus. It’s on a few lines, we multilayered it. So all those out of phase frequencies could sound like a bell. But then there’s another guitar sound in the big choruses. It’s actually a clean sound that has a big reverb on it and a distortion pedal, so that’s why it doesn’t sound like a guitar, it sounds maybe more like a synth because by the time that it hits the distortion it’s just like a reverb echo and then the distortion adds this, it just fuzzed out to the max.
HJ: [So what you’re hearing is somewhere between that bass and that guitar] and all the sounds in between. It’s a very cathartic song. Just putting it all out there. It’s a very physical song to play, to sing. And then, of course, the big hits, all of us are going gung gung gung. It’s fun doing that altogether. It’s rare when you have moments where the rhythm sections and the guitars and just everyone is on the same rhythm.
TF: It was stolen from Broken Social Scene, kind of that grand guitar line.
HJ: It’s an image of when life can bring you to your knees or when you feel like your legs have been chopped out underneath you. The overarching thing is the experience of trying to submit your life to something that’s bigger than your individuality, and that can mean so many different things when you’re part of a group or a cause or whatever. When you bring what you have and pool it with what other people have, you create something that’s beautiful and bigger. It’s not just you anymore, it’s something. I think we’re all trying to figure out what we can be apart of and what we can get behind.
“Don’t Be Hiding”: HJ: So much of the feeling of this song is probably from our marriage. We’ve been married two years. When you start sharing all of your stuff, you start seeing the gold but you also start seeing the garbage, the ugliness in each other, and it’s quite confronting. Moreso, the ugliness that you see in yourself that a person so close can bring out in you, to a point where you can’t actually hide it anymore. That was confronting for me, having that experience where Tim was like, “I still love you and I still choose you,” and then me for him, is like pretty incredible.
You can go out from that. The first verse is very clearly body image, and feeling like that’s a really big thing for young women, even men, wanting to speak into that, for all of us to find freedom beyond and acceptance in who we are in our beautiful bodies, regardless of things that we are still working on. The other verse is money; we’re in the West, and it’s always on our minds and it’s always this measuring thing of how we feel we fit in the picking order. Even if we try not to be like that, the society we live in is so like that.
HD: There’s a very strong impulse to hide when there’s something you don’t like about yourself, or are embarrassed or ashamed of, and as soon as you bring that into a safe place with someone or some people that you trust, it often disarms that thing and helps you overcome it, or just accept it. I feel like this is one of the songs that speaks about a wider n issue, more than a personal one, which is cool because it’s hard to do that in song form sometimes.
“Hole”: HJ: I wrote it and we just recorded it in a large room, [on] my childhood piano I grew up playing.
TF: Yeah, in our house. It’s old, it’s dark.
HJ: We were kind of tossing up even for a while whether we should put it on or not, but I think that it helped tie — well a lot of the songs help tie each other in. I think that that one helps “So Long, Farewell, I’m Gone”.
TF: It’s a depressing song, in lots of ways, but when I heard Hannah playing it, I was like, this is an absolutely beautiful song. It’s like a canyon, but you’re following the emotion or that idea of loneliness and loss to the endpoint, and that’s what that song feels like. That’s alluded to on lots of the songs on the album, but this is just that emotion, for one and a half minutes.
“Please”: HJ: Yeah, it’s about death.
TF: Oh yeah?
HD: So weird, because I thought it was like “Hole”, that you can’t fill it up with another soul, like you can’t fill your heart up with another person. That’s one of the cool things about music is that meaning of its own for everyone who listens to it.
HJ: A lot of psychologists say that at the bottom of every fear is the fear that we’re going to die, so all of the anxieties that we have, it’s all wrapped up in our lives, and existing. It’s such a big song because it’s such a big thing, death. And I think that in many ways the album is a real fight for life over death, and even though we always have the presence of death, kind of nipping at our heels, it’s like how do we find life even though there’s that threat all the time?
HD: And you know, it almost feels like a dirge, because it’s just so stated, everything is on the beat, and it’s really, it’s almost like sluggish, almost like this funeral march. It’s like a slog, fighting against the fear, and it’s hard.
“Lost Friends”: TF: I think the “Lost” is about angst and the pain on the album, and the “Friends” is about the relational aspect of the album. It wasn’t like, “This is the song that’s the distillation of the entire album,” because it’s kind of a weird song, but the theme of the song kind of felt like it fit the whole album.
HD: Yeah, it was actually really delicate to put this one together. A lot of the other songs came together naturally, like this is the logical groove. But there were parts of this where we were like, how do we play this?
TF: It’s funny, Hannah recorded the bass for this song but she was kind of behind the beat, because she plays upside down, because she’s left handed, and she also plucks it in a really big movement. It’s like clumsy slap bass, but that’s what sounds good on the track, so I had to copy her playing and then I was overdubbing the parts.. I thought it was really cool. I like the chorus because it’s got this rawness to some of the guitars that come in and that’s a really cool sound in the instrumental after the chorus. It starts as a folk song, but then morphs into something kind of weirder and cool.
HJ: And it’s got the ¾ feel, so it’s quite different.
“Never Start”: TF: It’s kind of embarrassing to say, but I was trying to think about The Strokes in the chorus of it, like “I need to think about The Strokes and it won’t sound like The Strokes but it’ll land somewhere between this folky thing and The Strokes.” There was a thing where it was important for the drums to be really straight, but the guitars to be swung, so straight indie rock drums and more of a waltz-y swing-y thing with the guitar so they clash in together. It was just guitars and snare drum when [Hannah] gave it to me, and it was like I need to make this chorus super energetic, otherwise it will just lose steam in how it all fits together.
HD: It’s just there’s a lot of different influences, and there sometimes be different influences and not sound like a complete song, but I think it’s all how they fit together. When I was playing that drum part, I was thinking sort of an up-tempo, really fuzzy hi-hat, which is very different to the energy of the verse, which when Hannah was playing that snare drum on the demo, she was playing with her hands.
HJ: With my fingers.
HD: It was really quiet, like a cat running on a snare drum.
HJ: It was at a time where I just started writing on the guitar when I hadn’t before, and we have this old nylon at our house and I just wrote it on that. I remember I was making the song, feeling like, “Oh I’m doing a little folk number”, but you could already feel the energy from the melody and the chords along with the strumming pattern
TF: A lot of the bands that we love, they’re all American bands, and all American rock bands are influenced by country music, so that’s kind of just how it comes out. I think it’s more unconscious. I feel like we wish it was less unconscious sometimes, so I guess it’s just going to sound how it’s going to sound.
“Tell Me Something”: HJ: There’s so much I love about this song. The dynamic range is awesome, there’s more space which is so cool. I love Harry’s drumming so much because the way it builds alone on the drums is so exciting to me. I think it’s very emotional for me to sing too because of the theme, it feels good to sing. I think it’s because there’s less going on it does feel a little bit vulnerable, because you know, when there’s so much going on when you’re playing through these big jams, it’s all out there, everything’s exposed, so there’s a little bit of, I don’t know what the word is… feels like a risk or something.
HD: This song is a good example of how the songwriting process happens, because you’ve got the raw initial parts and the bones of some of the song, and Tim started fleshing it out, producing it, and then came up with a lot of the initial drum parts. Then I would listen to the demo and expand on them a bit. Sometimes when we get in the studio things can be pretty ready to go but this one, in particular the drum part, we spent a while, we tried a lot of things because there were some things we thought were detracting, taking a lot of land. That was a really fun thing to record because it’s not really a lot of things in the chorus, it’s a little more technical and took a lot of takes.
TF: I’ve got two obscure things in there that no one will notice. One of them is a keyboard that we had in the ‘90s, there’s a little drum thing that goes underneath the real drums, and you won’t even hear it but I’m just going to mention it. Then there’s also a guitar line, and in the session you have like Guitar 1, Guitar 2 — this one was called “Smash Mouth Guitar”. It was kind of like the Smash Mouth DJ scratches.
“So Long, Farewell, I’m Gone”: HJ: It’s a bit more like punk rock-y with a big rock ending, more big jam-out. It’s a little journey within the song, and I think that it’s really reflective in some ways which is also cool for being the end of the album. It’s realizing that I’ve been on the run from certain things, but then you realize that if you’ve been running you just have to keep running, which is not always a very practical way to live, or it doesn’t yield great fruit in your life necessarily. So I think at the end, it’s actually like it’s letting go of that fear and saying I’m not going to run any more.
TF: You know those movie scenes where there’s a character who has to fly his plane into a bomb? I feel that’s what the song is about because they’re like, “Let me tell you my life story before I’m long gone.” It’s like “So Long, Farewell”, and you’re like shooting off into the sunset, it’s kind of like a metaphorical image. It’s like, I was a kid once, everyone who does something brave was a kid once and now I’m doing something brave.
HJ: That’s so cool too, because we feel like we’re not cool people, because we’re not brave, but brave people are just people who are afraid but still choose to stand up against it and be courageous. It’s not the absence of fear, it’s saying, “I’m still going to do this thing.”
Last September, Protomartyr dropped their fourth studio album, Relatives in Descent. Now, less than a year later, the Detroit-bred post-punk outfit back with a new EP of songs. Dubbed Consolation, it’s due out June 15th through Domino and features Kelley Deal of The Breeders.
The upcoming EP spans four tracks: “Wait”, “Same Face in a Difference Mirror”, “Wheel of Fortune”, and “You Win Again”. Deal guests on the latter two cuts. The entire project was recorded by Deal’s R.Ring bandmate Mike Montgomery.
“For Mike and I, working on this EP with Protomartyr was a re-kindling of the tender spark that was struck upon our first encounter with them years ago in Texas,” Deal noted in a press statement. “They were graciously tolerant and receptive to my production ideas on the songs and the project quickly grew beyond our private orb.”
As a first taste of Consolation, Protomartyr have shared the ominous “Wheel of Fortune” and its accompanying music video, directed by past collaborator Yoonha Park. Check it out below.
Read full statements from Protomartyr’s Joe Casey and Deal:
Early 2017 proved to be a productive time for the band. We were writing songs right up to recording Relatives In Descent and wanted to keep that momentum going right after. Making 2015’s split single “A Half Of Seven” with R. Ring was one of our favorite recording experiences, so the decision to head down to Dayton, Kentucky and spend a weekend in May recording the four songs that became the “Consolation E.P.” was an easy one. – Joe Casey
For Mike and I, working on this EP with Protomartyr was a re-kindling of the tender spark that was struck upon our first encounter with them years ago in Texas. They were graciously tolerant and receptive to my production ideas on the songs and the project quickly grew beyond our private orb. We have cello from Lori Goldston, viola from Jocelyn Hach and even bass clarinet from Evan Ziporyn, and I do some singing with Joe. There’s a lot of trust involved when an artist places their songs in your hands, and we were very mindful of that while intentionally trying to take the songs in new directions. Candyland in Dayton, KY is home-base for R.Ring recording, and it’s close enough that the Proto-men could make it down to lay the tracks down. This is the second project like this we’ve done with them, so we’re ready to flip the tables and have them produce and record some of our songs! – Kelley Deal
Consolation EP Artwork:
Consolation EP Tracklist: 01. Wait 02. Same Face In A Different Mirror 03. Wheel Of Fortune (feat. Kelley Deal) 04. You Win Again (feat. Kelley Deal)
Track by Track is our recurring new music feature giving an artist the opportunity to dig into the details of every song on their latest offering.
There are plenty of scenes thriving in the streets of Chicago. Those looking for lyrical hip-hop or psychedelic indie rock alike can find gratification any night of the week in the city’s various venues. Anyone seeking out a sweaty, riff-heavy party vibe in the 773 has likely come across PEEL, the area’s latest rising punk act. The quartet first revealed themselves with 2016’s Marlboro Country, but really came into their own with last year’s Goes Bananas. Now, PEEL are back with a new EP that builds on their undeniably hooky blend of classic rock sounds and poppy punk thrills.
Entitled Never Not Dead, the five-track effort was recorded by Dave Vettraino at Chicago’s Jamdek Studios before heading to Brooklyn for mixing and mastering by Bobby Lord. Opener “Wet Work” is the perfect intro for fans new and old, its pounding drums and fiery guitar licks driving a heavy ’70s thrust underneath the gang screams of, “Fuck yeah!” Pete Mueller takes lead on the song, as he does on the punk-pop follow-up, “Give Up Your Ghost”, and the lamenting “Broken Down” . His fellow guitarist Kyle Hickey, meanwhile, delivers his crackling rock-a-billy vocals on tracks like the barn-burning “Teenage Rock & Roll Sinner” and the dark doo-wop of closer “High Til I Die”.
Never Not Dead will be self-released this Friday, April 27th. Ahead of the street date, you can stream the entire thing below.
For more insight into the EP, Mueller and Hickey have broken down the whole thing Track by Track.
“Wet Work”: Pete Mueller: This is like a Gun Club song that got put through the Peeler. It grew out of a random riff we were jamming at our space. Love songs that don’t suck are hard to write, and they’re boring, so I usually write the opposite — just to keep myself interested long enough to finish writing it. Hence, a song about a hitman going around blowing people away. It keeps with the tradition of horrifying PEEL lyrical content.
“Give Up Your Ghost”: PM: This song is about the afterlife. Take from it what you will.
“Teenage Rock & Roll Sinner”: Kyle Hickey: Around 1930 Robert Leroy Johnson went to a rural Mississippi country crossroads at midnight to make a pact with the devil. In exchange for his soul the devil tuned Johnson’s guitar played a little and handed it back. Johnson went on to father the blues. In 1951 Rock n roll was just a euphemism for the horizontal shuffle until Ohio Disc Jockey Moondog Alan Freed branded his eclectic gathering of rhythm and blues music featuring elements of sex, danger, deviance, quick kicks and cheap thrills exciting teenagers and outcasts everywhere. New York in 1974 bore the birth of what would become punk rock desperately reviving music from near paralysis. Last month I wrote this song on a napkin during lunch and we recorded it a week later.
“Broken Down”: PM: This might be the most honest song I’ve ever written. I have no idea what it’s about. Relationships? Did I write a song about relationships? Shit. Maybe I did. This is considered a “ballad” for us. So take out your hankies and throw up your lighters when we play it. There’s at least one minor chord in it.
“High Til I Die”: KH: It’s a candy-coated doo-wop song about depression and addiction. We live in Chicago, it’s cold and grey. You go bowling or you stay in bed and get high. The end!
Wavves are celebrating the 10th anniversary of their self-titled debut with a special vinyl reissue. Due out tomorrow for Record Store Day (April 21st), it will be available in a unique black-and-white splatter colorway and come packaged with all-new artwork.
To coincide with this release, the Nathan Williams-led punk outfit has unearthed a demo left over from the recording sessions for the 2008 full-length. The song is called “All Star Goth” and exudes the kind of raw and noisy adrenaline associated with that first album.
Check it out below, followed by the 10th anniversary LP artwork.
Wavves’ last full-length came in 2017 with You’re Welcome. They recently put out “The Lung” as part of Adult Swim’s Singles Program back in September.
Sweet Valley, the electronic project also featuring Williams, dropped a new album today titled Eternal Champ II.
April 20th may not exactly be the day for boozing, but that’s exactly what FIDLAR plan on doing for the next couple of hours — at least according to their new single. Titled “Alcohol”, it’s a thrashing punk rock ode to partying hard and drinking harder (think their classic “Cheap Beer”).
“I wanna lose my mind and lose track of time/ Won’t somebody please just give me some alcohol?” they rage around the chorus. “Aaaaaaalcohol!” Check it out below, followed by a fun little promo for the single.
“Alcohol” is FIDLAR’s first release since covering Nirvana’s “Frances Farmer Will Have Her Revenge on Seattle” back in January. Their last album came with 2015’s Too.
The album, the 27th studio effort from the Washington sludge rockers, follows last year’s double album A Walk with Love and Death, andis the first to feature two bass players in OFF!’s Steven McDonald Butthole Surfers’ Jeff Pinkus. “We’ve never had two bass players,” Buzz Osborne said of the decision. “We’ve had two drummers and two guitar players so it makes total sense to now have two bass players.”
In a recent interview with Revolver, Osbourne adds, “These guys are world-class players. They’re as good as anybody out there. They’re better, because they have better sensibilities. All the stuff that I can get from Jeff’s involvement in the Butthole Surfers and Steven’s involvement in Redd Kross, I want that in my band. I want all that weirdness and all that sickness and all that insanity.”
We’ve already heard the pair’s impact in singles like “Stop Moving to Florida”, a mashup medley of Butthole Surfers’ “Moving to Florida” and James Gang’s “Stop”. There’s also “Embrace the Rub”, a “Steven McDonald penned, punker tune throwback to his days as a young Hawthorne, CA punk hanging out with Black Flag,” according to the band’s Dale Crover.
Pinkus Abortion Technician Artwork:
Pinkus Abortion Technician Tracklist: 01. Stop Moving To Florida 02. Embrace The Rub 03. Don’t Forget To Breathe 04. Flamboyant Duck 05. Break Bread 06. I Want To Hold Your Hand 07. Prenup Butter 08. Graveyard
In support of the album’s release, the Melvins will embark on a US tour starting later this month.
Melvins 2018 Tour Dates: 04/26 – San Diego, CA @ Casbah 04/29 – Dallas, TX @ Tree’s 04/30 – Austin, TX @ Mohawk 05/01 – Houston, TX @ White Oak Music Hall 05/03 – Baton Rouge, LA @ Spanish Moon 05/04 – Birmingham, AL @ Zydeco 05/06 – Charlotte, NC @ Visulite Theater 05/07 – Carrboro, NC @ Cat’s Cradle 05/09 – Baltimore, MD @ Ottobar 05/10 – Philadelphia, PA @ Underground Arts 05/11 – Brooklyn, NY @ Warsaw 05/12 – Hamden, CT @ Space Ballroom 05/13 – Boston, MA @ Paradise Rock Club 05/14 – Montreal, QC @ Corona Theatre 05/18 – Cleveland, OH @ Grog Shop 05/19 – Pittsburgh, PA @ Rex Theater 05/20 – Louisville, KY @ Headliner’s Music Hall 05/22 – Nashville, TN @ 3rd and Linsley 05/23 – Memphis, TN @ Hi-Tone 05/24 – St. Louis, MO @ Ready Room 05/25 – Kansas City, MO @ Record Bar 05/31 – Phoenix, AZ @ Crescent Ballroom 07/12 – Santa Ana, CA @ The Observatory 07/13 – Los Angeles, CA @ Troubadour 07/14 – Fresno, CA @ Strummer’s 07/16 – San Francisco, CA @ Great American Music Hall 07/17 – Sacramento, CA @ Holy Diver 07/19 – Seattle, WA @ Neumo’s 07/20 – Portland, OR @ Wonder Ballroom 07/21 – Vancouver, BC @ Venue Nightclub 07/24 – Edmonton, AB @ Union Hall 07/25 – Calgary, AB @ Marquee Room 07/27 – Winnipeg, MB @ Pyramid Cabaret 07/28 – Fargo, ND @ The Aquarium 07/29 – Minneapolis, MN @ First Avenue 07/30 – Madison, WI @ High Noon Saloon 07/31 – Chicago, IL @ Park West 08/02 – Grand Rapids, MI @ The Pyramid Scheme 08/03 – Detroit, MI @ El Club 08/04 – Columbus, OH @ A&R Music Bar 08/05 – Indianapolis, IN @ The Vogue Theatre 08/06 – Rock Island, IL @ Rock Island Brewing Company 08/07 – Des Moines, IA @ Wooly’s 08/08 – Omaha, NE @ The Waiting Room 08/10 – Englewood, CO @ Gothic Theatre 08/11 – Ft. Collins, CO @ Aggie Theatre 08/13 – Salt Lake City, UT @ Urban Lounge 08/14 – Las Vegas, NV @ The Bunkhouse Saloon 08/16 – Los Angeles, CA @ The Echo
21st Century PUNX Deconstructors, Trouble Making Agitators, DIY noise insurgents & Manufacturers of Dissident Political Wear.
PUNX.UK was formed by a Manchester anarcho punk collective in 2013 as a webzine sharing info on local gigs and bands.
Originally focusing on creating a DIY gig guide for our city we then expanded to cover the whole of the UK scene in 2014.
Since then we've faithfully tried to promote all the events, blogs, websites and sounds of resistance throughout the country and beyond.
In 2016 we partnered with Sabcat Workers Cooperative to produce dissident political wear providing financial support to the activist causes, benefits, unions, bands, and community groups that we work with.