Wednesday, August 14, 2019

DARK WAVER DUO 'TEMPERS' RELEASE NEW VIDEO FOR "CAPITAL PAINS", NEW ALBUM IN OCTOBER


NYC-based electronica duo TEMPERS have announced their signing to Dais Records, marking the occasion with a new album titled Private Life. Fusing flecks of dark indie, electronica and synth pop, Tempers’ past three albums’ worth of output and new single “Capital Pains” run the gamut of electronic music’s infinite possibilities.



Friday, July 5, 2019

Minimal Wave Duo GRÜN WASSER Premier 'STRANGER'S MOUTH'


Arising at the forefront of contemporary underground pop, Chicago-based duo GRÜN WASSER shapes the course of minimal electronic music and blurs the boundaries of art, songwriting and performance on their latest full-length Not Ok with Things out October 4, 2019. Vocalist Keely Dowd and producer Essej Pollock artfully bend and reconfigure popular trends in dance music into unconventionally catchy songs and a powerful live show. Their unique mix of hardware, software and sampling coalesce into irresistible rhythms and driving sequences that fuse perfectly with Dowd’s distinctive alto voice, forming music that is as instantly appealing as it is fascinating. With lyrics inspired by personal struggles and social inequality, GRÜN WASSER raises the bar on innovation in modern pop as they arrive on the national stage with Not Ok with Things.



As longtime friends, Dowd and Pollock formed GRÜN WASSER in 2015 out of the rich cultural hub of Chicago. Both had backgrounds in punk and electronic music and together crafted a dynamic live act that fit within a variety of niche genres and scenes. Amidst the hype of GRÜN WASSER’s first album Nein/9 in 2016, Dowd’s alluring stage persona blossomed, while offstage her personal life began to unravel due to alcoholism and resulting depression. Nevertheless, the two began touring the country while writing new material and by late 2017, Dowd was able to get sober just ahead of their self-released follow-up album. On 2018’s Predator/Prey, Dowd candidly spoke out against hyper-masculinity and challenged misogynistic cultural norms. The lyrics of her songs became woven into the live performance, with Dowd often venturing into the crowd and confronting audience members with an intensely honest portrayal of feminine empowerment. Perfectly paired, Pollock’s thumping, experimental beats complement Dowd’s hypnotic vocals and gripping stage presence, making GRÜN WASSER a potent combination of pop and art.

On Not Ok with Things, Dowd deconstructs her alcoholism and protests the gross imbalance of gender roles. This complex mixture of emotions provides a palpable overcast to Pollock’s cold bass lines and brooding synth tones. The lyrics on songs like “Translator” and “Tried Spitting at The Sun” depict a turbulent mind bracing the ups and downs of relapse and recovery, while “Worm” and “Gray/Grey” grapple with the social casualties of addiction. The heavy subject matter is delivered within organic arrangements that often deviate from a typical verse-chorus format, representing the revolving tides of raw emotional expression. GRÜN WASSER’s use of textural samples gives an environmental context, enhancing the composition and revealing influences from hip-hop, house and industrial music. Pollock’s abstract percussion techniques incorporate real-world sounds with high-hat rolls and thick sub bass, adding a gritty undertone to their polished sound design. Swells of backing vocals add highlights of nuanced melody that swirl in and around Pollock’s dense synthwork and precise drum programming. Not Ok with Things is a bold exposition and an inspiring symbol of female resilience in the modern world, giving GRÜN WASSER’s work dimensions beyond the audible.

GRÜN WASSER fully realizes their singular talent on Not Ok with Things, crafting meaningful pop music with unmistakable passion and evocative style.

Wednesday, June 19, 2019

DRAB MAJESTY DROP SWIRLING, SMOLDERING MUSIC VIDEO FOR “OXYTOCIN”

Drab Majesty has crash landed from the astral plane to bring us a new transmission: This time, a video for “Oxytocin.” This news follows up the announcement of massive North American and European tours, featuring accompaniment from Xeno & Oaklander, SRSQ, Body of Light, and HIDE. A full tour itinerary can be found below.

Directed by Leigh Violet, the “Oxytocin” video is elegantly stylized and features Drab Majesty’s Deb Demure and Mona D and cameos from Kennedy Ashlyn (SRSQ), Jackie Dunn Smith, Dan Phillips (True Widow) and others.  The director comments: “We're invited subtly inward, beyond the persona into a vulnerable zone, calling to the surface subtle insights about the alternate environs Drab Majesty seem to inhabit. A mood piece eschewing narrative in favor of aesthetic intuition, the video captures a fleeting space between dimensions that disappears again just when we begin to latch hold.”

Drab Majesty's Mona D commented on "Oxytocin," saying: "The music was written on a demo rig by Deb while in the backstage of a Warsaw venue waiting to soundcheck. We were on tour with Kaelan Mikla and they were soundchecking while Deb offered this 2-chord repetitive idea that he later expounded upon to create to music for the song. Lyrically the track points to the salad days of a relationship and it’s fleeting energy - The games that are played to maintain the magic. Oxytocin is this fleeting energy of the initial love bond - that seminal semi-permanent spark of enlightenment and obsession only to expire over the course of time and experience."



On their new album Modern Mirror, Drab Majesty continue to dig their heels into modern paranoia, hypnotic melodies, and mystical lyricism. Inspired by their travels to Athens, Greece, Drab Majesty blow the dust off the antiquarian myth of Ovid’s “Narcissus” and craft a modern retelling anchored by meandering guitar, dreamscaping vocals, and glimmering synth. Each song tells a piece of the story, in which the listener’s own self-identity has become warped and dissociated through rapidly expanding technology, losing touch with the origins of their own personalities.

A journey of self-reflection, nostalgia, love, beauty, and heartbreak told across eight addictive and emotional synth pop anthems, Modern Mirror reinvents classic musical tropes one post-modern tale at a time. Each song tells a piece of the story, in which the listener’s own self-identity has become warped and dissociated through rapidly expanding technology, losing touch with the origins of their own personalities.

Pooling efforts from a top-tier gang of collaborators, Modern Mirror was produced by Josh Eustis (Telefon Tel Aviv) and mastered by Dave Cooley, with appearances by Jasamine White-Gluz (No Joy) and Justin Meldal-Johnson (NIN, Beck, M83, Air). The record will be released on July 12 via Dais Records and is available for pre-order here.

Tuesday, June 18, 2019

NIGHT CLUB RELEASE NEW VIDEO FOR "YOUR ADDICTION"



New album "Scary World" available now!

CHELSEA WOLFE ANNOUNCES THE NEW ALBUM, 'BIRTH OF VIOLENCE'


Chelsea Wolfe has always been a conduit for a powerful energy, and while she has demonstrated a capacity to channel that somber beauty into a variety of forms, her gift as a songwriter is never more apparent than when she strips her songs down to a few key elements. As a result, her solemn majesty and ominous elegance are more potent than ever on her forthcoming album, Birth of Violence to be released on Sargent House September 13th.

Today she's unveiled the album's opener and lead single, "The Mother Road," a harrowing ode to Route 66 that immediately addresses Wolfe's metaphoric white line fever. It defines the nature of the record-the impact of countless miles and perpetual exhaustion-and the desire to find the road back home, back to one's roots.

Birth of Violence touches upon tradition, but it also exists in the present, addressing modern tragedies such as school shootings and the poisoning of the planet.  But the record is at its most poignant when Wolfe withdraws into her own world of enigmatic and elusive autobiography. The songs describe an internal awakening of feminine energy, a connection to the maternal spirit of the Earth, and a defiant stance against the destructive and controlling forces of a greedy and hostile patriarchy. Though the lyrical minutiae remain secret, the overall power of the language and delivery is bound to haunt the listener with both its grace and tension. In keeping with the general approach of the album, it thrives by culling from the familiar language of American country and folk music while setting it within longtime musical collaborator Ben Chisholm's scenic soundscapes.



Birth of Violence is a return to the reclusive nature of her earlier recordings, written and recorded in the solitude of her remote home in Northern California. "I've been in a state of constant motion for the past eight years or so; touring, moving, playing new stages, exploring new places and meeting new people-an incredible time of learning and growing as a musician and performer," Wolfe says of the era leading up to Birth of Violence. "But after a while, I was beginning to lose a part of myself. I needed to take some time away from the road to get my head straight, to learn to take better care of myself, and to write and record as much as I can while I have 'Mercury in my hands,' as a wise friend put it." Birth of Violence is the result of this step out of the limelight. The songs stem from humble beginnings-little more than Wolfe's voice and her Taylor acoustic guitar. Chisholm recorded the songs in the home studio and helped fill them out with his modern production treatments and the occasional auxiliary flourish from ongoing contributors Jess Gowrie (drums) and Ezra Buchla (viola). While it's tempting to draw a comparison to Wolfe's acoustic collection Unknown Rooms, Birth of Violence is a far cry from the unplugged nature of that album. Instead, it feels like an exploration of one of Wolfe's strongest facets-her ties to the American singer-songwriter tradition.

Every Chelsea Wolfe album introduces new unorthodox textures and approaches, and the trajectory of her creative arc has generally aimed for larger and more imposing sounds, but Birth of Violence deliberately alters that course in favour of a more intimate atmosphere. The result of that humble approach yields Wolfe's most devastating work to date. [Pre-order here]