Today, Screaming Females celebrate the release of their new album, All At Once. Apple Music and Spotify users can hear it in full down below.
Due out through Don Giovanni Records, the LP serves as the band’s seventh overall and follow-up to 2015’s acclaimed Rose Mountain. The 15-track effort is said to be the punk trio’s “most expansive and imaginative work to date,” and one whose arrangements are “meant to evoke the energy and spontaneity of their live shows.” (And their live shows are no joke.)
“When you’ve been a band for 12 or 13 years, the resources can dry up and you just go back to what feels comfortable,” drummer Jarrett Dougherty explains in a statement. “The other option is that you develop stuff that a younger band would not have been able to do.”
All At Once was recorded in London Bridge Studio and Red Room in Seattle alongside producer Matt Bayles (Mastodon, Russian Circles). Fugazi drummer Brendan Canty makes a cameo appearance, and for the first time, instruments such as synths, wurlitzers, and xylophones were woven into Screaming Females’ screeching punk rock tapestry.
All At Once Tracklist: 01. Glass House 02. Black Moon 03. I’ll Make You Sorry 04. Dirt 05. Agnes Martin 06. Deeply 07. Soft Domination 08. End Of My Bloodline 09. Chamber For Sleep Pt. I 10. Chamber For Sleep Pt. II 11. Bird In Space 12. Fantasy Lens 13. My Body 14. Drop By Drop 15. Step Outside
Origins, our reoccurring new music feature, finds an artist reflecting on the various influences for their latest single.
After relentless touring and releasing two noisy albums over the last eight years, Ed Schrader’s Music Beat were ready for a shake up. They’d seen plenty of accolades and success with the pattern they’d been following, but in any situation, repetition can lead to boredom, and the post-punk duo were looking for something new. So when it came time to record their third full-length, the upcoming Riddles, they tapped Dan Deacon to produce, arrange, and co-wrote, and set out in a fresh direction.
The record’s latest single, “Seagull”, reflects that desire for forward momentum in all its forms. Structurally, the track is all about building towards something greater, opening with slinking bass and the jazzy snaps of a musical street gang. As it inches onward, layers of taut percussion begin to beat in the background, pushing louder until the entire song tears the tension into a full charge of violent shakes.
“‘Seagull’ is about a person who fears all the trappings of complacency, and to whom the term ‘settling down’ is like kryptonite,” Ed Schrader himself tells Consequence of Sound. “It is about that irrepressible road warrior in all of us that needs to feel the flame and skinned knees of adventure! The young, idealistic artist who prizes content over currency! Within the song though we see the cost of that freedom: ‘Leaving is such a mess/ But I’m tired of just hanging round.’”
Take a listen:
Riddles arrives March 2nd via Carpark Records. For more insight into “Seagull”, Schrader has detailed some of the track’s Origins, from Han Solo to Sonic Youth.
The lust for the road, fame and the wild places it takes the character transforms them to a hardened journeyman who ultimately knows they must join the pack to infiltrate and reset it completely, like when Han Solo dresses like a Stormtrooper! I always emulated Han Solo growing up cause he’s a hustler and an outsider. I always felt like an outsider myself, and I still hustle to this day — between selling Cats On The Lake T Shirts, flipping burgers, doing a talk show, plus a cartoon, playing in a band and I have a pop-up called Pasta The Gathering… I’m always hustling .
Sonic Youth — Sister:
I wanted to do something that was like Sonic Youth’s Sister meets weird Sinatra! Sonic Youth were always this band that everyone else got but me, until my friends Bill and Andy made me listen to them. My friends Mike and Alan got me further into the Sonic Zone as well with the album Sister. I always loved the visceral sadness implied about a fellow sibling suffering through something via minimal expressionist prose and fuzzy jangled guitars. My brother has autism and I always feel like we see each other but there’s this wall. Sonic Youth depicts that well in their masterpiece.
David Bowie — “Little Wonder”:
There’s some “Little Wonder” in there for good measure. “So wiiiiiiide” — that was a song from Bowie’s Earthling album. “Little Wonder” to me feels like an older self talking to a younger self saying, “Hang in there and ya’ll ain’t gonna believe what’s next!” I feel a bit like that now. See, younger self — I told you it’d be cool someday!
Radiohead — Kid A:
I was also revisiting Radiohead’s Kid A at the time, which I guess you can hear a bit.
I also once ordered seagull off a menu without realizing to Devlin [Rice]’s complete amusement — I’ll get him back one day! Tasted like chicken.
Origins is a recurring new music feature in which an artist charts the influence of their latest single.
April 2017 saw Death release “Cease Fire”, a single in which they lamented the rampant use of weapons of violence in American schools, movie theaters, and places of worship. The proto-punk veterans are back today with a similarly socially conscious offering titled “Give It Back”.
The track was originally penned and demoed by the band’s Bobby Hackney way back in 1979, but revived in just the last couple of months. According to a statement, Death chose to re-record and officially release “Give It Back” as a way to address the environmental and cultural challenges that our society currently faces. The track addresses “global climate changes, social and cultural stumbling blocks, world leaders in disarray, and the dissolution of dreams once hoped for that are proven lies or were lost,” a statement adds.
Death elaborate to Consequence of Sound, “David especially liked the theme of this song as he often predicted that the earth can take only so much of the pollution, garbage, wars, destruction, man’s inhumanity to mankind, and environmental interruption from mankind before it demands us to ‘Give It Back’.”
The song finds Death folding in rock influences from the ’60s, ’70s, and ’80s while critiquing humanity’s lack of accountability and responsibility:
“We can’t hide the fact that we’re on a one way track We’ve taken from this earth, now it’s time to give it back! Machines are talking, and mouths are shut. The appointed leaders are in a rut. This is not the land of make believe. As a child they told me that this would be.”
Take a listen:
“Give It Back” Single Artwork:
For this edition of Origins, Death break down “Give It Back” and tell us how the current events of the ’70s and Marvin Gaye helped inspire them in the studio. The song will be available as a 7-inch come February 21st; pre-order it here.
The current events of the ’70s:
The inspiration for “Give It Back” is what was happening during the time the song was written and has really come to fruition today. During the time this song was written, the world had just begun to address the concerns about climate-change, robotic and computer devices pushing their way into our everyday lives, the deceptions of government and corporate agendas, and the dissolutions of the expectations of the common man and woman in the so-called pursuits of happiness. The biggest inspiration for “Give It Back” happened on March 28, 1979, the date of the “Three Mile Island Nuclear Accident” It was as if in spite of all the warnings, protests, and crying out for truth, mankind’s relentless disregard for the earth had to bring about the inevitable. If it is true that history keeps repeating itself, where do we stand today?
Marvin Gaye — “What’s Going On”:
As predicted by so many musical artists, from Dylan, to Lennon, Marvin Gaye, Joan Baez, U2, Patti Smith, Stevie Wonder, and so many others: The world won’t beg and plead with us, it will just take it back, whenever, where ever, and how ever it will. If there is any song or album that help fuel inspiration for “Give It Back”, it would have to be Marvin Gaye’s “What’s Going On”.
Other music of past generations:
The music is up-beat with a melody that rings the tone of the vibe of the great sound of Rock-N-Roll throughout the grooving and surfing 60s, the conscious 70s, and the crossroad 80s. This song is a song for today, a song for right now.
Due out via Merge Records (the label founded by Superchunk’s own Mac McCaughan), it serves as the band’s 11th studio effort and follow-up to I Hate Music from 2013. Special guest collaborators such as Katie Crutchfield (Waxahatchee), Stephin Merritt (The Magnetic Fields), Sabrina Ellis (A Giant Dog), and David Bazan appear throughout the course of the album’s 11 tracks.
What a Time to Be Alive — not to be confused with Drake’s mixtape of the same name — was written almost entirely between November 2016 and February 2017, right around the same time of the now-infamous US election that put Donald Trump in power. The record is said to reflect on those politically turbulent months.
“It would be strange to be in a band, at least our band, and make a record that completely ignored the surrounding circumstances that we live in and that our kids are going to grow up in,” McCaughan notes in a press statement. He goes on to describe the album as “about a pretty dire and depressing situation but hopefully not a record that is dire and depressing to listen to.”
What a Time to Be Alive Tracklist: 01. What a Time to Be Alive 02. Lost My Brain 03. Break the Glass 04. Bad Choices 05. Dead Photographers 06. Erasure 07. I Got Cut 08. Reagan Youth 09. Cloud of Hate 10. All for You 11. Black Thread
Danish punk rockers Iceage have returned with their first new material since their excellent sophomore album, 2014’s Plowing Into the Field of Love. It comes in the form of a self-produced new song, “Catch It”, which was recorded to analog by Mattias Glavå at Sweden’s Kungsten Studios.
The track features haunting vocals by Elias Bender Rønnenfelt and builds toward a thrashing breakdown of guitars and crashing percussion during the latter half of the song. “Time moves forward quickly,” he sings. “Moves in twenty-four-hour segments/ Racing for the soul to grab chokehold.”
“Catch It” arrives with an accompanying Adam Hashemi-directed video mostly shot on 8mm film in Los Angeles. Watch it below.
Iceage have also announced a two-month long tour with Mary Lattimore in support, during which they promise to preview more fresh material. It kicks off on May 10th in Seattle after a handful of remaining European dates and runs through June 28th in New York. Along the way, the quartet will play cities including Nashville, New Orleans, Los Angeles, and more. Check out the complete itinerary below.
Iceage 2018 Tour Dates: 05/02 – Copenhagen, DE @ Hotel Cecil 05/04 – Berlin, DE @ Private Club 05/05 – Amsterdam, NE @ Bitterzoet 05/06 – Brussels, BE @ La Nuit De Botanique 05/07 – Paris, FR @ Petit Bain 05/08 – London, UK @ Scala 05/10 – Seattle, WA @ Nordic Museum 05/16 – New York, NY @ Bowery Ballroom 05/17 – Philadelphia, PA @ First Unitarian Church 05/18 – Washington, DC @ Union Stage 05/19 – Richmond, VA @ The Camel 05/20 – Carrboro, NC @ Cat’s Cradle 05/21 – Nashville, TN @ Mercy Lounge 05/22 – Atlanta, GA @ The Earl 05/23 – Birmingham, AL @ Saturn 05/24 – New Orleans, LA @ Santos 05/25 – Houston, TX @ Rockefeller’s 05/26 – Dallas, TX @ Club Dada 05/27 – Austin, TX @ Barracuda 06/05 – San Diego, CA @ The Casbah * 06/06 – Los Angeles, CA @ The Regent Theater * 06/07 – Felton, CA @ Don Quixote’s International Music Hall * 06/08 – San Francisco, CA @ Great American Music Hall * 06/09 – Sonoma, CA @ Huichica Music Festival * 06/11 – Portland, OR @ Mississippi Studios * 06/12 – Vancouver, BC @ The Astoria * 06/14 – Spokane, WA @ The Bartlett * 06/15 – Bozeman, MT @ The Rialto * 06/16 – Salt Lake City, UT @ Kilby Court * 06/17 – Denver, CO @ Bluebird Theater * 06/18 – Omaha, NE @ Waiting Room * 06/19 – Minneapolis, MN @ 7th St Entry * 06/20 – Milwaukee, WI @ Cactus Club * 06/22 – Detroit, MI @ El Club * 06/23 – Toronto, ON @ Lee’s Palace * 06/24 – Ottawa, ON @ The 27 Club * 06/25 – Montreal, QC @ La Sala Rossa * 06/26 – Portsmouth, NH @ 3S Artspace * 06/27 – Boston, MA @ The Sinclair * 06/28 – New York, NY @ Market Hotel *
Band: The Royal They Album: Foreign Being Label: King Pizza Records Release date: Out Now Sounds like: Be Your Own Pet cutting you open with their guitar strings.
The stark contrast between the explosive snarl of album opener C.N.T. and the closing pop-punk blast of Weekender is one of the many, many great things about Foreign Being, the second album by New York trio, The Royal They. In fact, this album twists and turns itself inside out, reshaping constantly, but it is anchored by one common goal – to hit you hard and make you take notice. At first, it felt solely driven by anger – sure, there’s rage in this – boy, is their rage. The guitars howl and fizzle with acidic intent; but there’s also a hell of a lot of heart in this and that heart is pumping raw, bloody emotion from every ventricle.
Take C.N.T. for example (what’s missing? Just “U”) a rabid, powerful, brackish snap of furious noise; a rallying cry for those who have ever felt alone or lost in light of certain events in the entertainment industry. It points fingers and calls out all those with their “perverted breach” and talks of their “sick deceit” and is capped off with the huge “I know you’ll try to fuck the world/But you will not fuck me” scream from vocalist/guitarist Michelle Hutt. Powerful, emotional, burning rage spat with such passion and such vitriol and one of the best album openers I’ve heard in a long while.
Addiction and loss pepper the buzz-saw raw rock of Sludgefucker (excellent song title alert) as talk of twitching eyes, misunderstood anger and referencing moments of pure bliss (but being unsure why) are punched into your ears, whilst the dual guitars scrape and contort through a muddy slide of clawing turmoil. It’s also excellent and a brilliantly constructed rapid-fire piece of fiery riot-punk. This is met with the sledgehammer drums and booming riffs of Pandemic, which belch and hack a hoarse rasp of detuned, Torche-lite noise, held together with shuddering and bruising intent. Absolute credit to the guitars on this track, which chime with trepidation and stalwart misery and expand The Royal They’s discordant and blemish-erupting sound even wider.
The pedal isn’t always slammed firmly to the floor though – there are moments of reflection, especially on the cool-sounding indie-jam of Veritas, which builds into a crunching hard rock number, with an ever-so Smashing Pumpkins-vibe to proceedings and showcases the delicate beauty of Michelle’s vocals as opposed to her earlier snarls of cutting rage. Needler follows a similar path, as though you’re being stalked by the taunt guitar lines, the “I want you to know…” vocal croons and the churning, discordant riffs which lurch, belch and batter the airwaves, only to suddenly revert back to that eerie, menacing tone. Don’t be fooled by the sing-song voice Michelle has on the scything Say Less – while it might all sound all rainbows and smiles in the delivery, the noisy, ramshackle Be Your Own Pet-riffs and teeth-rattling percussion are devilishly corrupting.
It’s when we reach the end of the album everything starts to crackle with three chords and permanent joy. I cannot get out of my head how much Weekender sounds like a 90’s TV show theme. There’s something so “sunshine happy good times!” about the melody on this. “Yeah, I’m where I wanna be right now/Yeah, there’s nothing else to figure out” states Michelle, her lyrics bouncing brilliantly on this pogo-tastic pop-rock banger of an album closer, which absolutely shreds with infectious and confident zest and ultimate enthusiasm – superb.
More people need to hear this band. The frothing rage and high-five fun times in The Royal Theyis utterly captivating right from the word go. Foreign Being is a jagged, snarling, heckling, vitriolic blast of cathartic, boiling and positive punk. Join their racket now, you need this in your life and your ears.
Grab a slice of Foreign Being by The Royal They from King Pizza Records here or download directly from their bandcamp. Treat yourself.
Top tracks: Sludgefucker, Needler, Gullethead, Weekender
Sleater-Kinney have begun recording the follow-up to their 2015 reunion album, No Cities to Love. In an interview with Stereogum, guitarist and vocalist Carrie Brownstein revealed that the trio recently returned to the studio and stated that if all goes to plan, their next full-length should arrive early next year.
“We went back in the studio at the end of 2017 up in Portland and we recorded five songs and we are going to continue in that way for a while,” Brownstein stated. She also explained the band’s new process is a major departure from the “classic band dynamics of getting together in a basement and writing” as a result of their busy schedules.
“We’ll write separately and then send each other ideas over email, and then we work on the songs kind of remotely and then we come together in the studio,” Brownstein elaborated. “I think changing the process has been really interesting, and challenging for us in a good way. Because it disallows any falling back on the usual ideas or settling into something that we feel like we’ve done before.”
Brownstein said the band plans to “carve out some time in February/March” as the next step, and if they “continue going as is that an album should be around early next year.”
In November, Paramore unveiled the music video for “Fake Happy”, which showed New York City residents feigning their sense of joy. In the band’s follow-up clip, this time for “Rose-Colored Boy”, a similar theme permeates: Sometimes things aren’t always as they seem.
Directed by Warren Fu (The Weeknd, HAIM), Paramore portray a ’70s TV news team that seems to be perpetually cheery. Of course, as is usually the case, there’s quite a bit of darkness and rage simmering just beneath the surface. Watch Hayley Williams and the rest of the crew of Wake Up! Roseville in the fun clip up above.
In less than a month, Titus Andronicus will release its fifth studio album, A Productive Cough. The seven-track effort follows 2015’s expansive The Most Lamentable Tragedyand is said to showcase new territory for the New Jersey outfit. Rather than relying on their signature raucous punk anthems, Patrick Stickles & co. delve into more balladry.
Initial single “Number One (In New York)” highlighted this newfound approach. The second offering, “Above The Bodega (Local Business)”, follows suit as it plays out as a mellow ’70s rocker a la The Rolling Stones. Check out “Above the Bodega” below via its official music video. Shot live during their album sessions at Marcata Recording studio in New Paltz, New York, it was helmed by “Number One” video director Ray Concepcion.
In a statement, Stickles explained the track’s connection to consumerism:
“All the songs on [A Productive Cough] deal with the realities of life, as I understand them, in my adopted hometown of New York City,” explains Stickles, “and one quality that does much to define New York City life is the access to 24-hour consumption. The first floor of the apartment building in which I live is occupied by a deli-grocery, to which I give my patronage several times a day. As a result, I have developed a particular understanding with the staff there which I have not so far heard articulated in song. Thusly, I took it upon myself to write the ‘ultimate’ song explicating the bodega clerk-patron relationship.
More and more, we are defined by the things which we consume, and those who facilitate that consumption may glimpse a more truthful view of ourselves than the carefully curated image we share with our loved ones. No one knows the depths of my vice better than they who oversee the transactions which make it possible — in this way, the deli clerk knows me better than my own mother.”
A Productive Cough arrives March 2nd via Merge. In support, Stickles will embark on an intimate, two-person tour beginning later that month.
Band: Happy Accidents Album: Everything But The Here and Now Label: Alcopop! Release date: 16 February Sounds like: indie-dream-punk-sunshine
The joyful and raucous noise of Happy Accidents is the kind of adrenaline shot we all need at the moment in these testing times. Hailing from the big smoke, this London trio comprised of Rich (guitar & vocals), Neil (bass) and Phoebe (drums & vocals) have crafted an album that will pique the interest of those involved in the dizzying fracture of the DIY punk rock scene.
The double A-side single, Wait It Out and A Better Plan both have “absolute stone-cold bangers” scrawled all over them in jagged, splattered spray paint. The former, a punchy uppercut of hook-drenched, dual-vocal punk rock, drips with wistful charm and crunching, rolling riffs. Meanwhile, the latter, in the form of A Better Plan, is a scuzzy, indie-rock number that has traces of the huge, fuzzing choruses of The Thermals (circa The Body, The Blood, The Machine, so you know it’s fucking great) and it’s a fist-pump of elated, fizzling, comforting energy, coupled with co-vocalist Phoebe’s soothing, dream-like vocal delivery. Bloody hell, this makes me want to stick on Returning To The Foldright now.
Is it possible to fall in love with a chorus? Yeah I reckon so. Take Act Naturally, a song that ends far too quickly just as it gets going (that means you slam it on again, right?) As the vocals slowly build and overlap in the song’s growing and evolving final chorus, you kind of wish it would go on longer, the teases. The weaving vocal interplay between guitarist Rich and drummer Phoebe complement each other superbly, whilst Neil’s steadfast bass keeps this upbeat and pulsating blast of Johnny Foreigner-esque pop-rock rumbling forward. This kind of brilliant vocal-back-and-forth is present on the bouncing-pop of the smiling Free Time, which grows into this blazing wall of sound, before abruptly cutting off before the feedback begins to shred the airwaves to bits. Happy Accidents know the score, there’s no messing around here – Everything But The Here And Now channels a direct, no-bullshit rush of tunes that never outstay their welcome and warm the heart.
Unwind is the best post-Weezer-turning-shit-song that Weezer never fucking wrote. It’s completely sublime, huge, fuzzy guitars, gorgeous backing vocal crooning, rumbling drum patterns and that slow-burn hum of completely lightness and elation of a warm summer’s day. Crack open a beer and drain it dry, this is the kind of fist-in-the-air anthem of slacker-rock that deserves your undivided attention immediately.
The soft melody of the atmospheric Text Me When Your Home exudes the dream-pop vibe of this three piece perfectly, from the noisy burst of maudlin guitars and crashing drums to Pheobe’s lead vocals talking of “walking home with headphones blaring…” it ends with another heady blast of distorted noise, book-ending the almost spoken word tale within. Even the guitars on the wistful Maybe Tomorrow sound nostalgic – how is that even possible? The wanting to stay together, the looking back at a friendship, it feels so equally melancholic but bursts with ardent love.
Constructing something with as much heart as the songs on Everything But The Here and Now is no easy task. Happy Accidents have crafted a delightful collection of positive and life-affirming songs that shimmer and equally, roar with gusto and crackle with life – superb.
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.