News – Page 35 – 7th Level Music

Regressive Left profess “Bad Faith” on their new single.

The much-tipped Regressive Left return today with news of their signing to new tastemaker label Bad Vibrations, born from the revered live promoters of the same name, and that their debut EP, On the Wrong Side of History, is set for release on July 15th.

PRE-ORDER HERE

The Luton trio also share their first new material of the year with the DFA-flavoured “Bad Faith”, featuring a vocal contribution from Manchester’s experimental-pop act Mandy, Indiana – quoting French psychoanalyst Octave Mannoni’s paradoxical mechanism: “Je sais bien, mais quand même.” In other words: “I know very well, but even so…” – and picking up the ascent exactly where earlier singles left off, placing wry social commentary and dancefloor ambition right at their front and center.

Front-man Simon Tyrie says the following about the themes behind the track:

“This song essentially focuses on the idea of deliberately assuming the worst of someone or something they’ve said or done. Social media has really amplified this trend: everyone has to have a take. So we read between the lines and make wild accusations on the faintest of evidence. It’s something of an art, but one that I think is ultimately detrimental to society.”

WATCH VIDEO TO “BAD FAITH” HERE

Already chalking up a strong live reputation, the band have toured in support of BODEGA and Folly Group in 2022 already, and today announce their first ever headlining dates.

Catch Regressive Left live at:

MAY

14 Brighton – The Great Escape – Revenge
14 Brighton – The Alt Escape – The Hope & Ruin
15 Leeds – Brudenell Social Club
21 York – The Crescent
27 London – Wide Awake

JUNE

11 Bristol – Strange Brew
18 The Hague – Grauzone (NL)

SEP

26 Birmingham – Hare & Hounds
28 Glasgow – Hug & Pint
30 Manchester – YES

OCT

2 Bedford – Esquires
4 Brighton – Prince Albert
6 Margate – Elsewhere

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[Thanks to James at Prescription PR.]

Psycho Las Vegas unveils its full 2022 lineup.

The annual Psycho Music Festival in Las Vegas, Nevada (August 18-21st, if you count the Psycho Swim pre-party on Thursday) has released its full lineup. It features death metal, rap, psychedelic rock, and even funk freak-outs.

Don’t miss The Black Angels, Boris (which will surely be one of the loudest sets of the weekend), Anika, The KVB, Death Valley Girls, Golden Dawn Arkestra, Witch Mountain, Year of No Light, Holy Wave, or The Night Beats. I’m also sure that Suicidal Tendencies‘ set will be bonkers.

Get to the pool early if you’re going to Psycho Swim. It, and every chair, cabana, and table will fill up quick that day. The pool will also be packed.

Tickets are available now!

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Saajtak announces debut album with first single – “Big Exit.”

Saajtak (pronounced: sahje-talk)—based in Detroit (Jonathan Barahal Taylor, Ben Willis, Simon Alexander-Adams) and Brooklyn (Alex Koi)—today announced their debut album, For the Makers, out June 3, 2022 via American Dreams.

On anthemic lead track “Big Exit,” Koi treats her words like playthings, stretching syllables past semantics, vocal lines in conversation with one another. Alexander-Adams’ electronics quiver, and Taylor’s clattering kit seems to deconstruct the rhythm it builds, before the song unspools into a lush, minimal coda just before the 4-minute mark. Watch the video for “Big Exit” here.

Saajtak makes futuristic music that synthesizes a wide range of genres—often in ways that seem to clash against each other, always in service to the song. The band has quietly made music in Detroit for the better part of a decade, collaborating with members of clipping. and sharing bills with Xiu Xiu, Ava Mendoza and Greg Fox. Koi sings and writes lyrics; Taylor plays drums, Willis bass; Alexander-Adams contributes keyboard and electronics. But to individuate their contributions does the music a disservice. Saajtak sounds, feels, like a living, breathing organism, for which recordings don’t present definitive documents as much as they reflect songs at given points in their lives. For the Makers, the band’s first album, brims with ideas, treating their shape-shifting compositions with a high depth of field.

Saajtak’s compositions are rooted in collective improvisation; their first release, spectral [ drips ], collects several free improvisations. The band was recording music live for a full-length debut when the onset of the COVID-19 pandemic pressed pause on their principal way of making music. In response, the band began working on new music remotely, in increments of eight days. Every two days, members would trade songs, gradually sculpting them into final iterations. Willis recalls putting on his headphones as he began recording bass: “The layers that Alex, Simon, and Jon had begun to craft engulfed me like a wave, filling me. I was suddenly surrounded by my friends.” Over time, the music organically cohered into an album, bringing together influences as wide-ranging as Richard Davis, Meredith Monk and Melvins. Koi’s lyrics balance narrative and enigma, incorporating several perspectives within a song in an approach she calls polyphonic narrative. “I like to imagine how personas might converse in worlds with varying levels of familiarity and skewness,” she explains. “What we receive are relationships that flow between splintery and harmonious, and that contain both ecstasy and affliction. There’s a big thrill in all this, when nothing can be apathetic.”

Throughout, the album mixes the organic and synthetic. Even as motifs, images and lyrics recur, the music thrums with energy, opening into new worlds. This, perhaps, is part of the point: to illustrate an escape, to be one. To Alexander-Adams, For the Makers was “as much a healing practice as it was a means to create”; to Willis, it “feels like a year-improvisation, for which the music never stopped the whole time.” Says Taylor, “it represents our collective voice in the deepest sense: an amalgamation of our individual vulnerabilities, imaginations, ambitions, and love for each other.” The album is testament to the restless creativity powering Saajtak’s engine, and the importance of cultivating creativity, trust and community.

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[Thanks to Cody at Clandestine PR.]

Randy Holden set to release “Population III” – the follow-up to his 1970 classic “Population II.”

Los Angeles based unsung guitar hero Randy Holden announces the sequel to his legendary 1970 album Population II, set to arrive 52 years later, titled Population III via RidingEasy Records. The ex-Blue Cheer guitarist’s new album was recorded as a trio with members of Cactus and Black Sabbath. Hear and share the first single “Swamp Stomp” via Brooklyn Vegan HERE. (And direct via Bandcamp and YouTube.)
How do you follow up one of the most legendary, yet rarest albums said to signal the birth of doom metal?

If you’re Randy Holden, you give everyone about 50 years to catch up, then casually drop a tastefully modernized reinterpretation of that sound. Population III picks up where Holden’s 1969 solo debut left off, updated with several decades worth of technological advances and personal hindsight.

Following his tenure in proto-metal pioneers Blue Cheer in 1969, the guitarist aimed for more control over his next project. Thus, Randy Holden – Population II was born, the duo naming itself after the astronomical term for a particular star cluster with heavy metals present. Along with drummer/keyboardist Chris Lockheed, Holden created what many say is one of the earliest forms of doom metal.

“Godzilla just walked into the room. People just stood there with their eyes and mouths wide open,” Holden says of the audience’s reaction to their live debut performing with a teeth-rattling phalanx of 16 (sixteen!) 200 watt Sunn amps.
Likewise, their 6-song debut album Population II delves into leaden sludge, lumbering doom and epic soaring riffs that sound free from all constraints of the era. It’s incredibly heavy, but infused with a melodic, albeit mechanistic sensibility. However, troubles with the album’s original 1970 release bankrupted Holden, who subsequently left music for over two decades. For good reason, it’s widely hailed as a masterpiece, and until finally getting a proper formal release in 2020 on RidingEasy Records, was a longtime Holy Grail for record collectors.

Flash forward 40 years to 2010, we find the guitarist/vocalist quietly coaxed into recording a followup album by Holden superfan and Cactus member Randy Pratt. Joined by drummer Bobby Rondinelli (who has played with Black Sabbath, Blue Öyster Cult, Rainbow), the trio cut the 6-song collection of leaden future blues, Population III. “Randy Pratt had written the basic song structures, he understood my music and where I come from quite well,” Holden says. “He nailed it.”

But the recording was ultimately shelved for over a decade. “A year ago, in 2021 I listened to the songs and was delightfully surprised,” Holden says. “I think it’s the best album I’ve ever done.”

Throughout Population III, Holden effortlessly dishes out squealing, soaring leads and skull-thwacking riffs with his signature low end grit and penchant for Middle Eastern scales. Coupled with Pratt’s pocket-locked bass, the slight flanging effect on Rondinelli’s drums and his pugilistic beats, the album occasionally brings to mind Presence-era Led Zeppelin, particularly on the 22-minute epic “Land of The Sun.” Elsewhere, “Swamp Stomp” echoes more the troglodyte blues of Holden’s older work, with his evermore searing solos showing hints of early Clapton/Hendrix era guitar prowess to drive home the stomp of the song’s namesake. At times, Holden sounds reminiscent of Neil Young leading Crazy Horse’s ruptured grunge as his lilting falsetto vocals push and pull his guitar’s siren’s call. Taken as a whole, there’s a very distinct difference between the way these veterans of hard rock’s formative years carry the songs compared to the more lugubrious riffing of today’s young doom purveyors. Population III is the real deal — a powerful continuation of a sound forged 50 years ago, that almost didn’t happen. Somehow, Randy Holden’s music always finds a way to stand the tests of time.

Population III will be available on LP, CD and download on July 1st, 2022 via RidingEasy Records. Pre-orders are available at ridingeasyrecs.com

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[Thanks to Dave at US / THEM Group.]

Anika releases Psychic TV cover and North American tour dates.

Anika shares new music for the first time since the release of her new album, Change (out now on Sacred Bones), ahead of her North American headline tour next month with live musicians Sally Wanda Whitton (bass, vox), Eilis Kiera Frawley (drums), and Zooey Rosa Agro (keys, vox). Tickets are on sale now here. The cover of Psychic TV’s “Godstar” appears on Sacred Bones’ Todo Muere SBXVcompilation out May 27th, and was recorded in tribute to the late Genesis Breyer P-Orridge, one of Anika’s biggest inspirations.

“Psychic TV, specifically the album Orchids, has been a huge influence on my music and human psyche over this musical life,” says Anika. “[Genesis] is a big inspiration, the humor and investigation element in their work. I remember going to a talk in NYC where G recommended that no-one finish art school. I like this concept. Perhaps it leaves things unfinished and room for the individual to grow shoots, continue on their own journey. Perhaps this is like music school or any creative school. I think G specifically thought the place was bull and that they could do it better on their own terms, which turned out great. They also told a story about an art school work, which involved a used tampon in the shell of a clock. It was called Period Piece. I like the humor in this piece and the deconstruction of social boundaries. They are for sure an inspiration, in how to do things your own way, carve out your own path and don’t worry too much about what other people are doing.”
Listen to Anika’s “Godstar” (Psychic TV Cover)

Anika Tour Dates
Sat. May 14 – Austin, TX @ Oblivion Access Festival
Sun. May 15 – San Diego, CA @ Casbah
Mon. May 16 – Los Angeles, CA @ Lodge Room
Tue. May 17 – San Francisco, CA @ Rickshaw Stop
Wed. May 19 – Portland, OR @ Mississippi Studios
Thu. May 20 – Seattle, WA @ Vera Project
Fri. May 21 – Vancouver, BC @ The Fox Cabaret
Mon. Mon. May 23 – Chicago, IL @ Empty Bottle
Wed. May 25 – Toronto, ON @ The Garrison
Thu. May 26 – Montreal, QC @ Fairmount Theatre
Sat. May 28 – New York, NY @ Knockdown Center
Sun. May 29 – Philadelphia, PA @ Johnny Brenda’s
Mon. May 30 – Washington, DC @ Union Stage
Tue. May 31 – Knoxville, TN @ Pilot Light
Wed. June 1 – Nashville, TN @ Third Man Records
Thu. June 2 – Memphis, TN @ Crosstown Arts
Fri. June 3 – Dallas, TX @ Cheap Steaks

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[Thanks to Jaycee and Patrick at Pitch Perfect PR.]

Grace Ives cuts “Loose” on her new single.

Brooklyn-based musician Grace Ives presents “Loose,” her debut release on her new label True Panther/Harvest. This is her first new piece of music and video since 2019’s 2nd, an immediate pop record that found critical acclaim (and won over the likes of Grimes and Khalid). Ives wrote and did initial production of “Loose” at her home in Brooklyn and then teamed up with co-producer Justin Raisen (Yves Tumor, Charli XCX). Despite the song’s somewhat self-effacing lyrics – “Oh what a loser sound // I let out when I hit the ground // I never squeal like that // I need some respite, please” – “Loose” oozes confidence. The song is grounded in familiar sonics, but “Loose” is an elevated Ives. “Living in a bed bug infested apartment, withdrawing from SSRIs, not sleeping,” says Ives about where she was mentally and physically when she wrote the song. “There’s nowhere to go but up.”
WATCH “LOOSE” VIDEO

Music has always followed Grace Ives – she was raised in New York City by creative parents (her dad is a cinematographer and her mother worked in music), and when she was younger, she was inspired by the sounds of Brittany Spears and Rihanna. A brief stint at MICA in Baltimore and a three year study at SUNY Purchase led to Grace starting to perform, slowly winning over a crowd that has only grown more insatiable. Most recently, Ives opened for Remi Wolf, bringing her infectious songs to a new audience. “Loose” is the first taste of much more to come.

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[Thanks to Jacob at Pitch Perfect PR.]

October and the Eyes returns with “Spiral.”

Following the release of her debut EP Dogs and Gods in 2020, New Zealand-born, London-based singer & songwriter October and the Eyes is back with a new single “Spiral“, which is out now via KRO Records.

Speaking about the new single, October said “‘Spiral’ is about a problematic friendship where you never quite know where you stand at any given time – a constant pendulum between being pulled in and then spat out again, going round and round in circles until you’re left dizzied and jaded by the whole thing. The song is pretty scathing and somewhat of a waving fist.

I wanted the song to sound in constant flux, with reverberating percussion and vocals that feel like they could spiral out of control at any moment.”

Listen to “Spiral” here on Soundcloud: https://soundcloud.com/octoberandtheeyes-music/spiral

Listen via other streaming services here:https://orcd.co/octoberspiral

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[Thanks to Frankie at Stereo Sanctity.]

The Black Angels announce western U.S. west tour for this June with Dion Lunadon and Primus.

The Black Angels have announced a cool tour through the western United States starting June 02nd in Denver and wrapping up twenty-three days later in Las Vegas. Bass fuzz maestro Dion Lunadon is opening for them, and eight of those shows (including the finale in Las Vegas) has The Black Angels and Mr. Lunadon opening for Primus, no less. Tickets are already on sale for these dates, so don’t miss out on them.

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[Thanks to The Black Angels.]

Mosswood Meltdown announces a killer lineup for their July festival.

After two years of delays, Mosswood Meltdown is finally making its debut at Oakland’s Mosswood Park on Saturday, July 2nd and Sunday, July 3rd, 2022! Today, they announce their stacked lineup, featuring Bikini Kill, Kim Gordon, The Dirtbombs, Bleached, Hunx and His Punx, Shannon Shaw, The Linda Lindas, and more. Of course, you can’t have a Meltdown without our punktastic leader, John Waters, who will be hosting the festivities.

All tickets purchased for the 2020 concert will be honored at this year’s event. A full lineup can be found below and tickets for the festival are on sale now.

Attendees will need to be fully vaccinated or have a negative COVID test within 48 hours prior to the start date of the event (July 2, 2022). Proper Covid vaccination card or negative Covid test will be required upon entry for all attendees, including negative Covid tests for children. These policies are subject to change based on state and city guidelines this June and July, 2022.
WATCH LINEUP ANNOUNCEMENT TEASER VIDEO
MOSSWOOD MELTDOWN 2022 LINEUP

Day 1
Kim Gordon
The Dirtbombs
Shannon Shaw
Bleached
Flipper
Twompsax
Carbonas
SNõõPER
Rubinoos

Day 2
Bikini Kill
Hunx and His Punx
Pansy Division
The Linda Lindas
The Fevers
Podium
Brontez Purnell
Fatty Cakes and the Puff Pastries

DJ’s
BABY DONUT – Allison Wolf (Bratmobile)
Jonathan Toubin – NY Nightrain
Omar Perez – Pop Scene
PURCHASE TICKETS HERE

Ticket Prices
Day 1 GA – $99
Day 2 GA – $99
GA Weekend Pass – $149
VIP Weekend Pass – $249
VIP Day 1 – $149
VIP Day 2 – $149

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Pitchfork 2022 Music Festival lineup is set and tickets are on sale now.

The beloved Pitchfork Music Festival will return to Chicago’s Union Park this summer, Friday, July 15 through Sunday, July 17. Today, the Festival announces the full 2022 lineup, including headliners The National, Mitski, and The Roots.

The Festival kicks off on Friday with The National, who played Pitchfork Music Festival’s first year in 2006, Spiritualized, Parquet Courts, Tierra Whack, Amber Mark, Dawn Richard, Tkay Maidza, Indigo De Souza, SPIRIT OF THE BEEHIVE, SPELLLING, Camp Cope, Wiki, Ethel Cain, and CupcakKe.

The festivities continue on Saturday with Mitski, Japanese Breakfast, Lucy Dacus, Low, Magdalena Bay, Dry Cleaning, Karate, Iceage, yeule, Arooj Aftab, The Armed, Chubby & the Gang, Hyd, and Jeff Parker & the New Breed.

The Festival closes on Sunday with The Roots, Toro y Moi, Earl Sweatshirt, Noname, BADBADNOTGOOD, Cate Le Bon, Tirzah, Xenia Rubinos, Erika de Casier, Injury Reserve, KAINA, L’Rain, Sofia Kourtesis, and Pink Siifu.

“This year’s lineup is a celebration of the rising indie class, and those who continue to pave the way for innovation,” said Puja Patel, editor in chief of Pitchfork. “Our goal was to highlight a diverse group of artists who are taking their musical genres to new heights, and I’m proud of how it’s come together.”

Since 2006, the Pitchfork Music Festival has consistently proven to be one of the most welcoming, accessible, and rewarding festivals around. Hosting 60,000 attendees of all ages from all 50 states and dozens of countries, the Pitchfork Music Festival showcases the best up-and-coming music from around the world, as well as special performances from touring stalwarts and legends alike. Featuring diverse vendors, including specialty record and craft fairs, the Festival works to support local businesses while promoting the Chicago arts and food communities as a whole.

Currently, three-day passes are $200 and single-day passes are $99. The Pitchfork PLUS upgrade, including a range of exclusive amenities, is $399 for a three-day pass and $199 for a single-day pass. Payment plans are available for all ticket types. More details are available here.

For more information, including lineups, event news, and the latest updates, please visit PitchforkMusicFestival.com, facebook.com/pitchforkmusicfestival and follow Pitchfork Music Festival on Instagram and Twitter.

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