August 2023 – 7th Level Music

Parquet Courts’ A. Savage announces new album, tour, and single – “Elvis in the Army.”

Today, A. Savage, of the rock band Parquet Courts, announces his second solo album, Several Songs About Fire, out October 6th on Rough Trade Records. He also presents its lead single/video, “Elvis in the Army,” and expands his forthcoming tour. Produced by John Parish in Bristol, Several Songs About Fire is bolstered by the support of Jack Cooper (Modern Nature, Ultimate Painting) and Cate Le Bon, as well as members of Kamikaze Palm Tree & caroline. The end result is tantamount to psychic odyssey, with lead single “Elvis in the Army” placing us in asubterranean venue where the livid, ratifying cymbal raises the room’s blood pressure. “Elvis in the Army” follows the previously-shared “Thanksgiving Prayer” — “an intimate and intricate composition” (Consequence) — and is accompanied by a rousing music video shot in Paris and directed by Emile Moutaud.

Of the track, Savage adds: “We often describe ourselves in geographic terms. American, New Yorker — two terms that I’ve used to identify myself that have to do with being from or of a certain place. So ‘Elvis in the Army’ is a bit of an inventory of those labels. They have less to do with geography than we realize. Really we’re just talking about ourselves, then framing certain characteristics geographically. No matter where I live I’ll have an American psyche until the day I die, for better or for worse. I’ll always be of America. And I can’t imagine a time where New York doesn’t feel like home. But despite that, I’d rather not be associated with a place, at least for now.”

This fall, Savage will embark on a US tour, bringing his acclaimed live performance to a slew of cities, including Chicago, New York, Washington, DC and more, followed by a newly announced run of 2024 UK/EU dates, plus a string of West Coast dates next spring. A full list of dates is below, and tickets for newly announced dates are on sale Friday, August 25 @ 10am local time.

WATCH A. SAVAGE’S “ELVIS IN THE ARMY” VIDEO

Novelist Kathleen Alcott on Several Songs About Fire
~ ~

“I imagine myself playing these songs in a small club that is slowly burning,” Savage says of his new record. After more than a decade in New York, Savage left the city and the United States, marking his exit with a masterpiece of maturity and a worthy corollary to his first solo venture, 2017’s Thawing Dawn. “Fire is something you have to escape from, and in a way this album is about escaping from something. This album is a burning building, and these songs are things I’d leave behind to save myself.”

In its recording, too, Several Songs about Fire became as urgent and intuitive as a response to disaster. Produced by Parish on a 1” 16-track, the album was partially sculpted in the bucolic, nocturnal hush of rural England, where Savage and Cooper worked deep into the night, trying not to wake Cooper’s sleeping daughter. The intimacy of these tracks are refracted by the presence of some of Savage’s closest friends — among them Cate Le Bon — who listened to Savage work on what would become the album during a US tour in 2022. Featuring additional contributions from saxophonist Euan Hinshelwood (Cate Le Bon’s band), drummer Dylan Hadley (Kamikaze Palm Tree, White Fence), and violinist Magdalena McLean (caroline), Several Songs about Fire is a devotional study in tradition — and something all Savage’s own. “It was really special to see them come into existence and to then be in the studio working on them with him,” explains Le Bon of working toward Savage’s vision, rather than within a band. “The beautiful friction of shoulder to shoulder was replaced by something else.”

The record’s singular irreverence is stitched together by Savage’s outsize gifts as a lyricist and observer, a quality Parish calls “anemotional openness guarded by a laconic wit.” Worrying questions of wealth and poverty, self and other, Savage displays the poet’s gift of knowing when to narrate and when to vanish, leaving the listener to their own emotional privacy rather than instructing them how to feel through vertiginous inversions of instrumentation and lyrics. Influenced by the disparate vantage points of Sybille Baier and Townes Van Zandt, Savage joins a canon of songwriters whose project is a constantly dilating aperture and perspective.

In rendering the signage of laundromats and threats of debt collectors as glistering and totemic as the scope of mountains, rivers, seas, and skies, Savage finds hopes and curses in equal measure — inviting thelistener to consider a life in which attention is a religion, and thebody is the divine text. Like the survivor of exodus, Savage says: “I don’t really remember the process of writing. I just see the evidence of it when I reopen a notebook.” Several Songs About Fire stands as an act of nearly libidinal rebellion against a moment when so much of life is the blue light of screens. This is an album whose topic is no less than the sublime: the moments in which a sensory experience becomes aholiness or possession of its own, and the self floats above it.

PRE-ORDER SEVERAL SONGS ABOUT FIRE

WATCH THE “THANKSGIVING PRAYER” VIDEO

SEVERAL SONGS ABOUT FIRE TRACKLIST
1. Hurtin’ or Healed
2. Elvis in the Army
3. Le Grande Balloon
4. My my, My Dear
5. Riding Cobbles
6. Mountain Time
7. David’s Dead
8. Thanksgiving Prayer
9. My New Green Coat
10. Out Of Focus

A. SAVAGE TOUR DATES (NEW DATES IN BOLD)
Sat. Sep. 30 – Newport, Essex, UK @ Murmuration Festival
Fri. Oct. 20 – Portland, ME @ SPACE ^
Sat. Oct. 21 – Boston, MA @ Crystal Ballroom ^
Sun. Oct. 22 – Portsmouth, NH @ Press Room ^
Tue. Oct. 24 – Toronto, ON @ Velvet Underground ^
Wed. Oct. 25 – Kalamazoo, MI @ Eccentric Cafe ^
Fri. Oct. 27 – Chicago, IL @ Empty Bottle ^
Sat. Oct. 28 – St. Paul, MN @ Turf Club *
Sun. Oct. 29 – Milwaukee, WI @ Colectivo #
Mon. Oct. 30 – St. Louis, MO @ Off Broadway %
Wed. Nov. 1 – Columbus, OH @ Ace of Cups %
Thu. Nov. 2 – Louisville, KY @ Whirling Tiger %
Fri. Nov. 3 – Nashville, TN @ Third Man %
Sat. Nov. 4 – Atlanta, GA @ The Earl %
Sun. Nov. 5 – Asheville, NC @ Grey Eagle
Tue. Nov. 7 – Carrboro, NC @ Cat’s Cradle %
Thu. Nov. 9 – Washington, DC @ Black Cat %
Fri. Nov. 10 – Philadelphia, PA @ First Unitarian %
Sat. Nov. 11 – New York, NY @ Bowery Ballroom %
Thu. Feb 08, 2024 – Manchester, UK @ Pink Room
Fri. Feb 09, 2024 – Dublin, Ireland @ Workmans Club
Sun. Feb 11, 2024 – Glasgow, UK @ Broadcast
Mon. Feb 12, 2024 – Bristol, UK @ Thekla
Wed. Feb 14, 2024 – London, UK @ The Garage
Thu. Feb 15, 2024 – Paris, France @ La Maroquinerie
Fri. Feb 16, 2024 – Brussels, Belgium @ Botanique Rotonde
Sun. Feb 18, 2024 – Amsterdam, Netherlands @ Paradiso Upstairs
Mon. Feb 19, 2024 – Cologne, Germany @ MTC Club
Wed. Feb 21, 2024 – Copenhagen, Denmark @ Ideal Bar – Vega
Thu. Feb 22, 2024 – Berlin, Germany @ Privat Club
Fri. Apr 05, 2024 – Austin, TX @ The Far Out
Sun. Apr 07, 2024 – Santa Fe, NM @ Meow Wolf
Tue. Apr 09, 2024 – Tucson, AZ @ Club Congress
Wed. Apr 10, 2024 – Pioneertown, CA @ Pappy & Harriet’s
Thu. Apr 11, 2024 – Santa Ana, CA @ Constellation Room
Fri. Apr 12, 2024 – Los Angeles, CA @ The Teragram Ballroom
Sat. Apr 13, 2024 – San Francisco, CA @ Rickshaw Stop
Mon. Apr 15, 2024 – Portland, OR @ Mississippi Studios
Tue. Apr 16, 2024 – Seattle, WA @ Tractor Tavern

^ w/ Annie Hart
* w/ Cha Cha
# w/ Diet Lite
% w/ Sluice

Keep your mind open.

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[Thanks to Jacob at Pitch Perfect PR.]

Live: The Beths and Disq – Bell’s Eccentric Café – Kalamazoo, MI – August 22, 2023

I had been trying to see The Beths for a couple years, but either I was always working when they were playing or their tour dates were nowhere near where I live, but lo and behold, they scheduled a date in Kalamazoo, Michigan, a mere one-and-half-hour drive from my house, at Bell’s Eccentric Café.

It turned out not only to be my first time seeing The Beths, but also the first show I saw at Bell’s beer garden stage. I’d been to multiple shows at Bell’s, but had never been in the garden and had no idea it was so spacious. I also didn’t realize that the town’s Metro train tracks ran behind the stage area, and neither did the band and a lot of other people, until two trains went past during The Beths’ set.

Not only was the size of the garden a delightful surprise, but so was the age range of the crowd. It was an all-ages show, and I saw people ranging from a boy who was barely thirteen to a man in his seventies there. A lot of people were sporting Beths t-shirts from previous tours, and the crowd clearly loved them and were happy they’d come all the way from New Zealand.

First up, however were Disq from Madison, Wisconsin. They played an energetic mix of noise rock, post punk, and no-wave and were having a great time. I didn’t get to see their whole set, thanks to road construction delaying me a bit, but what I saw and heard was loud and frantic.

The Beths came out in the dark, complete with a giant inflatable fish, and opened with the title track of their debut album Future Me Hates Me, and the crowd was instantly happy. The Beths are a fun band. Their love of playing, and their camaraderie, is immediately apparent, and that energy races through the audience.

They played a fun set, including fun hits like “Whatever” and “Dying to Believe,” secretly sad songs like “Expert in a Dying Field” and “Best Left,” and lovely love songs like “Your Side” and “When You Know You Know.”

“We love you!” was a common shout from the crowd, and The Beths returned the love for the whole set, and did a lot of shredding. It’s easy to focus on Elizabeth Stokes‘ lyrics and miss how well the whole band plays. They could easily cut a shoegaze album if they wanted – and I hope they do.

It was a fun night with nice late summer weather and good vibes all around thanks to The Beths bringing the love.

Keep your mind open.

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[Thanks to Jaycee at Pitch Perfect PR.]

The Serfs invite us to “Club Deuce” on their new single.

Cincinnati punks The Serfs, Trouble in Mind’s newest signing, announce their third album, Half Eaten By Dogs, out October 27th. It’s their best album yet, putting a decidedly Midwestern spin on the modernist twitch of future-forward bands like Total Control or Cold Beat, as well as the post-industrialist dance floor grime of Skinny Puppy, Dark Day, This Heat, and Factrix. Anyone paying attention can see that Cincinnati is a very real hotbed of musical creativity at the moment, and The Serfs – Dylan McCartney (vocals, percussion, guitar, bass, electronics), Dakota Carlyle (electronics, bass, guitar, vocals) and Andie Luman (vocals, synths) – are undeniably near the center of the city’s neu-underground scene. They are a deliberately nebulous and incidentally industrialist gang of dance-floor hymners – tranced-out troubadours whose sound and musical ideology seems to be a causal manifestation of their immediate environments.

Half Eaten By Dogs is a wide-eyed look through a scope into a heathenish vision, where ice-encrusted synth harmonies command oozing chemical rhythms and drilled-out elemental rock formations. There’s a psychedelic melancholy to it, in both the abstract lyrical sense, with doomed proclamations of natural and supernatural disasters, and the more tangible musical sense. It veers all over the map of tenebrous drum and synthesizers and stygian guitar, at times with a cautious paranoia and at times with tuneful defiance (and in some moments harmonica, saxophone or flute).

Today’s “Club Deuce” is a flat-out sexy floor filler. Its low-end sizzle is designed to make you move, and slither like a lurker at the threshold of the dance floor. “I thought of the idea for this song at first like a movie in my mind,” says Luman. “It was the story of a fated man and a modern day Venus with complete and unrelenting control. The set was a quiet corner in a thunderstruck city with endless commotion in the distance. The whole thing glowing like a neon sign. ‘Club Deuce’ churns unhurried until it billows all around you and you’re caught like a fly in the jaws of a venus fly trap.”

Listen to The Serfs’ “Club Deuce”

The Serfs, emerging like a missile from some surreptitious silo, were formed while McCartney and Carlyle were scraping the bottom of the barrel, tilling the soil for the baron (a.k.a. working the fryers at a pub) and generally wallowing in the puddles of despair. The two decided to express their grim outlook through self-hypnosis by way of drums and synthesizers. After a couple of bungled attempts to play live, Luman joined the band and the classic trio lineup was formed. Like their Ohio predecessors, The Serfs seem askew from the art that surrounds them, and they’re proud of it. Half Eaten By Dogs may be a step further down into the catacombs for the band, but if the principle of correspondence is correct, then they could be on their way to somewhere higher.

Pre-order Half Eaten By Dogs

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[Thanks to Jaycee at Pitch Perfect PR.]

Zooey Celeste has “Restless Thoughts” on his new single.

Today, Southern California-bred musician Zooey Celeste signs to ATO Records, announces his debut album, Restless Thoughts, out November 3rd, and presents the lead single/title track. Produced and recorded by acclaimed artist Nick Hakim at his Brooklyn studio, Restless Thoughts centers on Zooey’s hypnotic baritone vocals, often set against a strangely potent backdrop of sparse drum-machine beats and droney guitar tones. The result is a fully-realized soundscape, a darkly ethereal palette which Zooey classifies as astral-pop.

Restless Thoughts takes its title from a song inspired by a particularly dramatic scene in Zooey’s novel, a metaphysical thriller narrated by the character of Zooey Celeste. “It’s a scene where the father of the protagonist has destroyed his marriage and left his daughter behind, and he’s going to meet his mistress and driving in a very suicidal headspace,” he explains. “He gets into a car accident, and two-thirds of the way into the song he’s floating above his body and watching as they’re trying to resuscitate him.”

Like many of the album’s songs, the gorgeously chilling track took shape in the throes of the novel-writing process. “I’d write a chapter and pick up my guitar and start writing songs based off the scenes I’d just finished,” says Zooey. “It’s funny because it’s the first time I’ve ever allowed myself to write from the perspective of a character, but it’s also the most authentic thing I’ve ever made in my life.”

Restless Thoughts is the real-life manifestation of its creator’s alter ego — an astral shaman responsible for leading the newly departed into the great beyond. After dreaming up the character of Zooey Celeste in a feverishly written novel he refers to as “somewhere between Quentin Tarantino and the Bhagavad Gita,” Zooey began working with longtime friend Nick Hakim (whose production credits also include Lil Yachty and Lianne La Havas) to create this ideal soundtrack for nocturnal driving, an immediate conduit for lasting transcendence. Alongside Hakim, Zooey enlisted a wide array of guest musicians to flesh out the sound of Restless Thoughts, including Unknown Mortal Orchestra bassist Jake Portrait, drummer Abe Rounds (Andrew Bird, Blake Mills, Devandra Banhart), and Columbian-Canadian singer/songwriter Tei Shi. Mastered by Heba Kadry (Ryuichi Sakamoto, Björk, Julianna Barwick), Restless Thoughts endlessly drifts between avant-punk and chamber-pop and lo-fi psychedelia, quickly drawing the listener into a sustained dream state.

Naming J.D. Salinger, Iggy Pop, and Tyler, the Creator among his inspirations, Zooey started writing songs at the age of eight after hearing The Beatles for the first time. Along with studying poetry and creative writing, he later took up guitar, piano, and harmonium and played in a series of indie-rock-leaning musical projects that ultimately proved unfulfilling. “We’d finish a show and it would be the best show we’d ever played, and I’d feel physically sick afterward,” he says. “People liking it made me feel bad, which is probably because I knew I wasn’t being my most authentic self.” After a seven-year stint in New York (where he first connected with Hakim), Zooey spent several years in Hawaii and devoted much of his time to surfing—an essential part of his life since early childhood. “I got addicted to surfing bigger waves at Sunset Beach on the North Shore and had a near-death experience where I went through a coral reef, and it changed my life in a lot of ways,” he says. “It took the air out of the wanderlust I’d felt for a long time, and brought me closer to the things I’d been running away from. Because of that, music went from being an escape to a base of reflection where I’m able to really sit with my emotions and process them and be totally honest with myself about what I want from life.”

With the release of Restless Thoughts, Zooey hopes to instill the audience with a similarly expanded sense of possibility. “Making this record showed me that if I’m not going beyond what the world has handed me as options, then I’m not being creative,” he says. “I went as far as I could with the process of self-exploration, and I felt fully supported in that—almost like everything was a little bit fated, or we were tapping into something in the ether. I’d love it if that inspired other people to go off and do whatever they feel compelled to do, and let themselves be completely entranced by it.”

Keep your mind open.

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[Thanks to Patrick at Pitch Perfect PR.]

Don’t pass over Art Feynman’s new single – “Passed Over.”

Art Feynman — the eccentric alter ego of accomplished visual artist and producer Luke Temple — presents the new single, “Passed Over,” from his forthcoming album, Be Good The Crazy Boys, out November 10th on Western Vinyl. “Passed Over” explores struggling with FOMO — “I’m ok to be passed over // Let them have it // I don’t care” — a narrative that would be relatable if the song didn’t sound so completely unhinged. Across a vast psychedelic palette, “Passed Over” features a robotic instrumental breakdown and an out-of-this-world saxophone performance from Nicole McCabe. Following the “synth-pop jam” (FLOOD) “All I Can Do” and the “breezy” (Brooklyn Vegan) “Desperately Free” — “Passed Over” is another thrilling glimpse at the tropical contours of Be Good The Crazy Boys. “It can be refreshing to decide to eat last, it’s stressful if you’re always needing to be at the front of the line,” explains Feynman.

Until now, Art Feynman has strictly been a solo act, a way for Temple to explore surprising sonic landscapes without the burdens of identity. Slightly twisted takes on Kosmische musik, worldbeat, and art pop can all be found scattered across the Art Feynman discography, but with Be Good The Crazy Boys, Feynman fully immerses himself into pools of collective madness. Unlike the first two Art Feynman albums, Be Good The Crazy Boys was recorded live in-studio with a full band. The result captures a spirit of restless anxiety, and recalls the most frenetic work by Talking Heads, or Oingo Boingo at their darkest.

“To me,” Temple explains, “there was a lot of energy that needed to be released as the result of living in isolation for 6 years. It also seems to speak to a general anxiety we’re all holding, but it’s expressed in a cathartic way.” It’s this acknowledgement of general anxiety that separates Feynman from the other fictional personas that have been cropping up in the music world lately. Feynman doesn’t sound suave, confident, or even heartbroken in these songs; it sounds like he’s on the verge of a panic attack.

With Be Good The Crazy Boys, Art Feynman proves to be more than just a character. He represents the part of the modern, collective consciousness that’s struggling to maintain balance in a toxic, chaotic world. In less skilled hands, that concept could result in a very somber listen. Fortunately, when Art Feynman gets his hands on the chaos of the modern age, it simply makes you want to dance.

Watch the “Desperately Free” Visualizer

Listen to “All I Can Do”

Pre-order Be Good The Crazy Boys

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[Thanks to Patrick at Pitch Perfect PR.]

Review: Lindstrøm – Everyone Else Is a Stranger

The New Yorker once dubbed Norwegian DJ and producer Lindstrøm as “the king of space disco.” That’s as good a description for him as any I could dream up, and it’s epitomized in his latest record, Everyone Else Is a Stranger, which is full of neat rhythms, pulsing synths, and a vibration to it that seems to defy gravity.

The first few seconds of “Syreen” alone are designed to fill dance floors with the synthwave beats and inspiring electric piano notes. “Nightswim” is perfect for just such an activity at your lake house or a Las Vegas rooftop pool. It instantly makes you feel cool and sexy, but not so much that you turn into a “trying too hard to be cool” d-bag. He finds that sweet spot of “Let’s have fun and be sexy and cool with each other. No bad vibes here, just love.” The whole record is like that, really.

I can’t help but think Lindstrøm was influenced by Giorgio Moroder (and who isn’t, really?) when I hear the opening synths of “The Rind” – a neat synthwave track that prepares you for dancing, sparring, or shagging with an android (possibly all three). The ending title track is like a ten-minute cool-down meditation after the dance fest that’s been happening for the previous three songs. Lindstrøm has always excelled at evoking dreamy imagery in his music, and the title track is a fine example of that craftsmanship.

I also like the title of Everyone Else Is a Stranger. Except whom? Well, you, of course. You know who you are. You’re whomever is touched and moved by this record in anyway. He made it for you. Don’t refuse the gift.

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[Thanks to Jessica at Pitch Perfect PR.]

Venera projects “Hologram” – their new single from their upcoming album.

Venera, a newly formed experimental electronic outfit featuring James Shaffer (Korn) and Atlanta-based composer/filmmaker, Chris Hunt, release their self-titled, debut album on Oct. 13 via Ipecac Recordings.

Venera enigmatically launched their debut song “Swarm” (https://venera.lnk.to/swarm) late last month. No information, no pre-sale, simply the three-minute single released in tandem with a mysterious screed and a pulsating black-and-white video directed by EFFIXX.

Today, the pair step out from the shadows, revealing who and what Venera is, as well as releasing their first single, and video, for the track “Hologram” (https://venera.lnk.to/hologram). A song that features guest vocals/piano from Rizz of VOWWS.

In a joint statement from Shaffer and Hunt, they explain: “’Hologram’ emerged quickly from our first session together. A nearly unchanging drum machine pattern nested in warbling guitars. We don’t interact much with holograms but they seem to offer an image of an alluring emptiness and light, which resonates well with the universe we are driven to explore.”

Several guests join Hunt and Shaffer on Venera. Drummer Deantoni Parks (Mars Volta, John Cale) plays on “Erosion” and “Disintegration,” HEALTH’s Jacob Duzsik contributes vocals on “Ochre” and Alain Johannes lends his voice to “Triangle.” The album was self-produced.

Album pre-orders (https://venera.lnk.to/venera) are available now, with Venera available digitally, as well as physically on CD, and an assortment of vinyl, including limited-edition red, snowy white and skull gold variants.

Keep your mind open.

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[Thanks to Monica at Speakeasy PR.]

Melody Fields sings “Hallelujah” on their new single.

Swedish psychedelic band Melody Fields returned with their latest single ‘Hallelujah,’ on 18th August 2023. Additionally, they have announced two albums 1901 and 1991 that are both set to arrive later this year via Coop Records and Nudie Records.

Merging velvety synths, bouncy house piano, pounding bass lines, and funky bongo drum beats, ‘Hallelujah’ stands out as an infectious neo-psychedelic dance anthem. The band’s hazy, hypnotic vocals adds a shoegaze touch, creating a refreshing twist to the psychedelic genre.

Melody Fields said of the single, “Drawing inspiration from iconic bands like Primal Scream and Happy Mondays, the track transports you to the glory days of early 90s dance-oriented rock. ‘Hallelujah’ is a tantalizing preview from the upcoming album 1991, set for release on Coop Records (EU) and Nudie Records (US). Get ready to surrender to the irresistible allure of Melody Fields’ sonic ecstasy and let ‘Hallelujah’ ignite your dancing spirit.”

Melody Fields’ forthcoming albums 1901 and 1991 are a testament to their exploration of the neo-psychedelic realm. 1901 will arrive on 13th October 2023, with 1991 dropping on 10th November 2023. Building upon their signature sound, they will delve deeper into the realms of sonic experimentation, incorporating elements of electronic psychedelia and atmospheric soundscapes. The result is a mesmerizing fusion of vintage and contemporary influences, where retro-inspired melodies collide with innovative production techniques.

Hailing from the vibrant musical enclave of Gothenburg, Sweden, Melody Fields is a band that seamlessly weaves elements of modern psychedelia, indie rock, and shoegaze into their captivating sonic tapestry. With a sound that pays homage to the pioneers of the psychedelic rock movement while forging a distinct path of their own, they have become a force to be reckoned with within the psychedelic music scene. Drawing inspiration from influential bands such as Spiritualized, Moon Duo, and La Düsseldorf, Melody Fields create a sonic landscape that balances vintage psychedelic nostalgia with a fresh and modern approach. Their enchanting harmonies, swirling guitars, and ethereal textures immerse listeners in a kaleidoscopic world of sound, where the boundaries between reality and dreams blur.

As Melody Fields carve their path within the global psychedelic scene, Melody Fields has garnered attention and acclaim for their innovative sound and captivating live performances. Melody Fields’ newest single will be released on 18th August 2023, and their two upcoming albums 1901 and 1991 will be delivered later this year.

Keep your mind open.

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[Thanks to Thomas Windholm.]

Plattenbau check into the “Best Western” on their new single.

Following the band’s second studio Album Shape / Shifting [Dedstrange Records 2022] comes their unforgiving 3rd album Net Prophet, releasing on Dedstrange September 8th 2023.

“Neural transmissions of crisis on the eve of WEB 3.0”

The band states, “Best Western stumbles into the saloon we call ‘late capitalism’ and points its drunken finger at the ‘virtues’ of progress. Imagine line-dancing to the gun club at McDonalds with a thin deranged guitar creeping into your conscience.”

Net Prophet finds the band moving deeper into the vaporous territory of 21st-century excess, where power casually corrupts even more absolutely and the mental netscape is more deranged in the membrane than we ever knew possible. A world on the edge, where imminent ecocide and violent social upheaval lurk beneath every minute mental distraction. The doomscroll gets longer and the attention span shorter as a disconnected global internet life takes over with its scepters of promise and looming evasiveness.

The sound is rich in variety from the darkwave pulsing synths of “Lichtenberg Monologue” reminiscent of Shape / Shifting’s “Tomahawk” to the growling, slow-driving bass of “A New Dawn” which harks back to the band’s S/T 1st record, albeit with a synth instead of guitar. Even with the stark contrasts of murder-punk “AR-15” and jangle-pop “Purgatory Mall” the record never strays from the prime colors of the band: Vox, Drums, Bass, Guitar, Synth.

Recorded live in the Berlin studio Monoton, the record demonstrates the band in its prime – tightened up and influenced by their extensive touring, who have honed their sound from simple elements into a rich wall of noise.

Net Prophet will be released on September 8th, 2023 through Dedstrange Records.

“We didn’t have to go far to find the garish and incessant symbols of late capitalism, towering above our Berlin doorstep: The near-complete Amazon Tower, the East Side Mall, the luxury lofts lining the Spree. To complete the puzzle we cast the perfect urban cowboy: Loz, the frontman and mastermind of Dedstrange band The Pleasure Majenta. He performs a day in the life, waking up at sunset and sliding down the grimey alleys of Berlin, confined to the walls of this rising city skyline. Meanwhile Plattenbau perform the song on TV, broadcast from The East Side Mall. Who is well-adjusted? What is deranged? In the context, the Krishnamurti quote repeated throughout the song rings more true than ever: “It is no measure of health to be well adjusted to a profoundly sick society”.

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[Thanks to Alex at Terrorbird Media.]

Duvet bring fun back to post-punk with their new single “Girlcow.”

Today we’re excited to introduce you to new Manchester-based band Duvet who are set to release a split 7″ ‘Girlcow / Sweaty Dog’ on October 6th via Fear of Missing Out Records. Today the band are sharing the first single “Girlcow“. Duvet’s jagged post-punk tales conjure sleazy cowboys, bone-dry badlands, and grotty indie discos in northern England.

Speaking about new single, the band said ‘“‘Girlcow’ is a song that includes a bit of fictional story telling about a confident cowboy pursuing a play girl bunny type character. The lyrics are a bit scattered, stream of conscious and all over the place, with the verse and chorus switching from the two perspectives. Given that, it only felt natural to write something that’s quite erratic to go with the words. It’s a very up and down song and that was kind of our intent, to put together something that’s slightly nauseating but still catchy.”

Listen to “Girlcow” on YouTube here: https://youtu.be/ldAhKIXTVlY?si=69HoDn4N2HJTzEnO
Listen via other streaming services here:https://lnk.to/duvet

Self-released earlier this year, previously single “Rodeo” takes these markers and gallops full steam ahead, kicking up a dust storm of dissonance and teflon-tough drumming fortified by howls from lead singer Grace Walkden. The song lays into armchair activists who “jump on the rodeo” and “complain about topics they never actually act on”, according to the band.

First forming in 2022, Duvet dipped their toes in dream-pop and riot grrrl before landing on the driving basslines of post-punk. The band’s debut offering “Clown Clown Clown” cuts a hard-hitting figure of scabrous riot grrrl energy in thrall to the 1990s. Duvet assembled their current lineup of vocalist Grace Walkden, guitarists Tasmin Stephens and Seth Lloyd, bassist Jimmi Brown and drummer Victoria Melling and settled on a post-punk sound indebted to the genre’s new wave of artists like Shame, Warmduchser, and Viagra Boys.

Released as a split 7” with “Sweaty Dog,” new single “Girlcow” is flecked with specks of noisy grunge and was written from the perspective of “a pervy cowboy”. The haunting track showcases the band’s knack for crafting stories, as they flip the script and hand over the narrative reins to a female protagonist. “We all mutually find cowboys quite funny,” offers Tasmin Stephens. “I think we all live through cowboys – somehow.”

On the flipside, “Sweaty Dog” channels the band’s cider-drenched commitment to having a good time. The propulsive track is “basically just about being really sweaty and dancing”, according to Walkden. Meanwhile, guitarist Seth Lloyd has designs on transforming “Sweaty Dog” into a dance. “There are sweaty dogs inside all of us,” he jokes.

It’s this uninhibited sense of humour that shines through the band’s songwriting and at their riotous live shows with which they have been building their reputation over the past few years. “The reason we tend to write songs more of the fun side of life is because myself and Grace had many conversations at the start about how people only expect us to only talk/sing about harsh topics that affect a lot of women,” explains Stephens. “We tried it, but it didn’t work for us. Maybe in the future it will, but we came to the conclusion that we are here to have fun with the band and escape that side of life.”

“You come to the practice room with a smile on your face because this is meant to be fun, and that’s why we hopefully write songs that we think are fun,” says Lloyd. “We are here to distract from the shit things in life.”

Keep your mind open.

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[Thanks to Frankie at Stereo Sanctity.]