Colorado-based artist Alien Gothicpresent their debut single‘In The Night’, a song that stretches cosmic goth music into a whole new realm, combining all the elements the duo has been striving to integrate into the project in the four years since their inception.
Conjuring up music that can be described as gloom from other worlds, they have been trying to find their way back to the original trajectory they were on previous to crash landing in Barnum, Colorado. With no time to put their lives on hold, they have cooked up a deal to release their ‘High and Dry’ album viaLatenight Weeknight Records.
With classic goth rock as its backbone, ‘In The Night’ also sees darkwave smoldering at the surface. A symphonic journey telling the tale of two unknown lifeforms, bringing their favorite sounds to a place they have never explored before, this music is inspired by the beauty of the world around them, while still being pulled into the darkness of the dead stars they came from.
The video tells the tale of their recent exploration as they look for a way out of this world, gravitating to the most iconic structures they find along the way. Mixing in elements of AI, traditional film and lost portraits of the two core members, the song blends reality and fiction, while introducing a vibe they hope to spread to all the other planetary systems around us.
Made up of Ryan Policky (A Shoreline Dream) and Andy Uhrmacher (Genessier), Alien Gothic creates deep gothic electronica, fused with spacial goth autoharp symphonies, deep mellotron overtures mixed with noises from unknown origins on the vast hour long debut. Themes and words recall events that the duo have had from the far reaches of the beyond. With deep beats, lush goth rock entwine with psych and shoegaze layers to create cosmic, pulsating melodies.
Recorded from 2020-2023, Alien Gothic take a journey out of a world gone mad, to spread a sound that is immersive and rich with varied instrumentation. Soundscaping goth is what these artists have become known for elsewhere along the milky way, their spectrums now hitting earth to bring forth a dreary alien orchestra, lost deep in a dark forest beyond the normal stretches of human imagination.
“It’s something we knew would destroy the seedy, cobweb filled danceclubs of the past, bringing forth a new era of goth… alien goth!” says Ryan Policky.
As of July 18, ‘In The Night’ will be available exclusively via Bandcamp. The full ‘High and Dry’ album will be released digitally on August 18 across all fine music platforms.
With little more under their belt than a relentless string of live performances, and a twice pressed (subsequently sold out) Self-Titled Demo, NYC based band Lathe of Heaven have proved themselves to be a potent and cohesive element amidst the torrent of hardcore punk and synth-driven pop revival currently proliferating throughout the U.S. underground. Today the band sign to Sacred Bones Records and announce their debut album ‘Bound By Naked Skies‘ is out September 1st. To coincide with the announce, the band are sharing the first single from the record, “Ekpyrosis” alongside a video directed by Lucas Cabu and Vitor Jabour.
Though the term Ekpyrosis has roots in Ancient Greek philosophy, the name has since been adopted and reformatted to signify a cosmological theory that describes the origins and destiny of space and time. The Ekpyrotic Model, commonly associated with The Cyclic Model, hypothesises that the universe undergoes periodic cycles of contraction and expansion, leading to the creation, destruction, and thus recreation of the universe.
Despite this theory’s contentious place in the field of cosmology, the band nevertheless finds its implications inherently compelling. There is something both horrifying and beautiful about the idea of our universe being in a constant state of death and rebirth, which Lathe of Heaven believes serves as a strong and apt portrayal of the various themes spanning across their upcoming debut record, Bound by Naked Skies.
The “Ekpyrosis” video aims to place its viewer in the uncanny space of present and past, thematically exploiting neo retro-futuristic depictions of New York City, it’s punk underground and its dystopian future – a future the universe may have unknowingly seen before. On the visuals, director Lucas Cabu said “This was a fun project. The band wanted to have space images playing behind them and have an 80’s look to it, so we used an analog mixer to do the chroma key in real time while the band was playing in my room! We kind of pre-edited it in real time then did the master in a beta-cam to give it an even more antiquated look.”
Formed in 2021, the band features members of noteworthy Brooklyn based projects such as People’s Temple, Porvenir Oscuro, Pawns, Android, Hustler and more.
Though this roster of past and alternate musical endeavors exposes a diverse range of genre and skill sets, Lathe of Heaven can only be understood as a departure from such influences, exploring a sound entirely of its own.
Now nearly two years later, LoH are finally prepared to unleash their debut Full Length Bound by Naked Skies. With careful consideration, this eleven track LP blends elements of British New-Wave and Finnish Post-Punk into a nuanced juxtaposition of 80s sonic mania. Incorporating themes of classic and contemporary Science-Fiction, Bound by Naked Skies indebts itself as much to its literary influences as it does to the music that informs its unique and deliberate sound. Paying powerful homage to the uncanny worlds of authors Arthur C. Clarke, Octavia Butler, Ken Liu and of course Ursula Le Guin (whose novel the band is named after), themes of cosmology (Ekpyrosis), simulation (Heralds of the Circuit-Born), mental illness (Moon-Driven Sea), and ontology (Entropy, The Spider.), weave implicitly throughout the arch of the record, providing a sense of insight into the minds of those plagued by the ambiguous nature of humankind’s terrifying and not-so-distant future.
Lathe of Heaven tour dates: 4th Aug – TV Eye (w/ Home Front and Deluxxe), Brooklyn, NY (Tickets) 18th Aug – Union Pool (w/ Temple of Angels), Brooklyn,, NY (Tickets) 7th Sept – TV Eye (w/ Witness and Eyedrops), Brooklyn, NY (Tickets) 13th Sept – The Dirty Bird (w/ The Poisoning and The Exile), Santa Ana, CA 14th Sept – Knucklehead ( w/ The Exile and Shrouds), Los Angeles, CA 15th Sept – Zebulon (w/ Protocultura), Los Angeles, CA 16th Sept – Stork Club (w/ Vulture Feather and Vague Lanes), Oakland, CA 17th Sept – Enzyme, San Francisco, CA 18th Sept – Naked Lounge (w/ Vulture Feather and Exposure Therapy), Chico, CA 19th Sept – Coffin Club, Portland, OR 21st Sept – 23rd Sept – Varning Festival, Montreal, MTL (Tickets)
I first heard of Mort Garson on an Amoeba Music “What’s in My Bag?” YouTube video featuring members of The New Pornographers. In it, bassist John Collins mentioned how bandmate Neko Case introduced him to Garson – a fellow Canadian who made weird electro music for television, films, and plants. Collins describes him as “a real studio cat.”
That studio cat’s albums are being reissued by Sacred Bones, and one of them is Journey to the Moon and Beyond – a collection of TV ad themes, film themes, and, yes, music he made to be broadcast during the 1970 moon landing. It’s a wild collection of electro oddities and fascinations.
“Zoos of the World” starts us off with an immediate drop into a world of 1970s electronic wonder. It sounds and feels like something you’d hear on a Disneyworld ride that’s long since closed and been turned into an overpriced restaurant. “The Big Game Hunters (See the Cheetah)” mixes Esquivel-like jazz (and sexy feminine vocals) with psychedelic synths and slick beats. “Western Dragon” comes in three parts: One a brief outro (part 3), one with a wild guitar solo (part 2), and one a cool meditative track (part 1).
The album’s centerpiece is “Moon Journey,” which simulates the sounds of space capsules closing, rockets launching, heroes being heroic, navigational systems bleeping and chirping, retro-rockets firing, and the strangeness of being in low gravity. There are three tracks titled “Music for Advertising” (numbers 6 through 8). Number 6 has a little bit of a bossa nova feel to it, number 7 is luxurious and thrilling, and number 8 is bold, adventurous, and robotic.
The inclusion of the main theme and end credits to the 1974 blaxploitation film Black Eye is pure gold, as is “Captain DJ (Disco UFO Part II)” – a groovy, sparkling disco dance track with Saturday morning cartoon lyrics and vocals (“Disco U-F-Oh-Oh-Oh! The faster you spin, the further you go!”). “Three TV IDs” is a collage of three TV jingles for cool stations you saw as a kid and then never again because they were bought out by some corporate monstrosity.
“Love Is a Garden” could be a follow-up to his entire Plantasia album (an electro record made for playing to your plants), as it’s soothing and almost an 8-bit version of floating down a jungle stream. “The D-Bee’s Cat Boogie” is a wonky, wild trip, and the album closes with the Black Eye end credits and its sexy, smoky vocals atop Garson’s slick arrangements (check out that 1970s jazz flute!).
This is a super cool record, and one of the best reissues I’ve heard in a long while, let alone one of the most fun electro records I’ve heard in a couple years. God bless Sacred Bones for putting Garson’s stuff back out there for people like me to discover.
Keep your mind open.
[Journey to the subscription box while you’re here.]
Located on one of the main streets in London’s Greenwich district, Music & Video Exchange is another place you can get lost in for hours, but go on a cool day. It was a hot day in London when I was there, and this store has no air conditioning (like most places in London, really).
Don’t let that keep you from visiting this place, though, as they have a ton of cool stuff there. I mean, look at this.
I love how they have a section of vinyl called “NOISE NOISE NOISE.”
Check out that “Mod Revival” section
They had a lot of cool, collectible vinyl there, and this wall of rare 45s was neat to see.
The Motörhead and Au Pairs discs alone are worth a look.
As if all this weren’t enough, there’s an entire basement full of CDs.
You can also see shelves of DVDs in that photo. There was a lot I wanted to dig through there, but the basement was so humid that I couldn’t stay long. I did find a cool score upstairs, however.
Ten pounds for ten Tangerine Dream albums? Uh, yeah. That’s a steal.
I’ll be sure to go back here if I’m ever in Greenwich again. I have a lot of bins to search there.
Today, Austin, Texas outfit Holy Wave continue to push their historically psychedelic sound with intricate, heady single “Nothing in the Dark”, premiering on post-trash. It’s accompanied by a beautifully-shot, atmospheric visual, directed by Vanessa Pla. The track follows airy “Bog Song,” and psych-tinged single “Happier” featuring Mint Field’s Estrella del Sol.
Both songs taken from their upcoming new album Five of Cups, out August 4, 2023 on Suicide Squeeze Records.
The band have also announced further US + UK/EU fall tour dates.
On the track, band member, Cook offers: “Nothing in the Dark is about how easy it is to let fear take over and control what you do and don’t do, how distractions can keep you from the things you want or disguise themselves as what you want. But when the light disappears from your life, like shadows, the distractions fade away, and you’re left with just yourself and the darkness. So I guess the song is about moving past the fear of the shadows; you can see in the light so that you don’t end up sitting alone in the dark.”
On the video, band member, Fuson offers: “We all acted in the video, but we also did the set design and all the props. Since it was a super small budget, we had to wear a bunch of hats to afford to pay the people who were good at their jobs, haha. The director Vanessa Pla also made some mean carnitas for the crew. They were fire.”
Tour dates Live Dates Aug 8 – Andy’s – Denton, TX Aug 9 – Opolis – Norman, OK Aug 11 – Back Alley Ballyhoo – Indianapolis, IN Aug 12 – JJs Bohemia – Chattanooga, TN Aug 13 – Upstairs at Avondale – Birmingham, AL Aug 15 – Alabama Music Box – Mobile, AL Aug 16 – Continental Club – Houston, TX Aug 17 – Paper Tiger – San Antonio, TX Oct 12 – Constellation Room – Santa Ana, CA Oct 14 – Sister – Albuquerque, NM Oct 15 – Hi-Dive – Denver, CO Oct 17 – Sleeping Village – Chicago, IL Oct 18 – Lager House – Detroit, MI Oct 20 – No Fun – Troy, NY Oct 21 – Mercury Lounge – NYC, NY Oct 22 – Baby’s All Right – Brooklyn, NY Oct 23 – Metro Baltimore – Baltimore, MD Oct 25 – Gasa Gasa – New Orleans, LA Oct 26 – Levitation – Austin, TX Oct 29 – Love Buzz – El Paso, TX Oct 30 – The Rebel Lounge – Phoenix, AZ Oct 31 – Casbah – San Diego, CA Nov 1 – Lodge Room – Highland Park, CA 11/7 – Lille, FR – L’Aéronef 11/8 – Groningen, NL – Vera 11/9 – Copenhagen, DK – Stengade 11/10 – Berlin, DE – Kesselhaus 11/11 – Halle, DE – Huhnermanhattan 11/12 – Prague, CZ – Cafe V Lese 11/13 – Munich, DE – Milla 11/16- Bucharest, RO – Control Club 11/17 – Belgrade, SE – Dom Onladine 11/19 – Zagreb, HR – Vintage Industrial 11/21 – Lyon, FR – Le Sonic 11/22 – Barcelona, ES – Sala Upload 11/23 – San Sebastian, ES – Dabadaba 11/24 – Madrid, ES – Wurlitzer Ballroom 11/28 – Vigo, ES – Kominski 11/30 – Bordeaux, FR – Allez Les Filles 12/1 – Paris, FR – Point Ephemere 12/2 – Brussels, BE – Botanique 12/3 – The Hague, NL – Hink Festival 12/4 – Amsterdam, NL – Paradiso 12/6 – Brighton, UK – The Hope & Ruin 12/7 – Bristol, UK – Crofters Rights 12/8 – Manchester, UK – YES 12/9 – Glasgow, UK – Stereo 12/10 Newcastle, UK – Cluny 2 12/11 – Leeds, UK – Brudenell Social Club 12/12 – London, UK – Moth Club
Keep your mind open.
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DFL aka Dead F*cking Last, the iconic ‘90s hardcore band that featured first wave punker Monty Messex, Adam Horovitz aka Ad-Rock of the Beastie Boys, and skater “Crazy Tom” Davis, will reissue their influential debut album, My Crazy Life. Originally released on the Beastie Boys’ own Grand Royal Records in 1994, the record turned heads as it was fueled by the savage power of first wave hardcore during a time when punk rock was heading in a poppier, radio-friendly direction. The reissue is the first time the album has ever been on 12-inch vinyl and is also the first printing of the album in 29 years.
The band brought in original producer Mario Caldato Jr. (Beastie Boys, Moby, Freddie Gibbs) to remaster the entire release. Further, the reissue contains expanded art, unreleased pictures, as well as a 10,000 word oral history of the band, as taken from interviews with the band members themselves, Grand Royal Records executives, and other contributors from the scene. As an additional bonus, the first run of the reissue will come with a complete, previously unreleased, live show titled Live at G-Son Studios. The live album was professionally recorded by Caldato at the Beastie Boys’ G-Son Studio during a party the day after DFL recorded the tracks from My Crazy Life and features eleven, savage live recordings.
My Crazy Life will be released via Trust Records on August 11, 2023 in stores and across all digital retailers. Trust is an archival record label whose mission is to preserve and present classic punk records as an iconic and important part of America’s cultural history, much in the same way as jazz, folk, and the blues have been celebrated. In order to pay tribute to the iconic records that it releases, each Trust pressing is presented as a deluxe release with premium vinyl, expanded and heavy-duty liner notes and jacket, as well other bonuses. Trust Records previously released deluxe reissues of Circle Jerks’ Group Sex and 7 Seconds’ The Crew, both which received massive critical acclaim.
More about DFL: Originally arriving in 1994, My Crazy Life faced a somewhat “polished” punk rock landscape. Due to the massive surge in popularity of bands like Green Day or The Offspring, punk had become poppier, more accessible, and more melodic. Meanwhile, each of DFL’s original members came from the earliest, most crazed days of first wave hardcore: Messex formed hardcore punk band the Atoms, which included Izzy Stradlin (pre-Guns n Roses) in 1981; Horovitz started in the early NYC hardcore scene with the Young and the Useless before joining the Beastie Boys during their initial run as a hardcore band; Crazy Tom was a seasoned skateboarder hailing from the Marina Del Rey skatepark.
Messex recalls, “In 1993, I was obsessively listening to Bad Religion’s ‘How Could Hell Be Any Worse’. I had this beat up cassette that I’d listen to over and over and over and over again on my Walkman. That record brought me back to the early 80s hardcore scene I grew up on- that included Circle Jerks, the Germs, The Adolescents. I wanted to make a record that called back to the initial rush I got from the early hardcore scene.”
Without much planning, Messex linked up with Adam Horovitz of the Beastie Boys, who, at the time, were recording the seminal Check Your Head album. Messex threw the idea of starting a hardcore punk band past Horovitz and DFL was born. Messex says, “I literally remember the moment when we started DFL. Adam dropped by my place in Echo Park and kinda half jokingly asked him if he wanted to start a hardcore band. To my surprise he was like, ‘uh… yeah!’ I had a few songs and we went over to G-Son. I played them for Adam and the band was born right there and then.”
Shortly thereafter, Messex and Horovitz drafted “Crazy” Tom Davis into the group. Hailing the SoCal skate scene, Davis was added as much for his explosive singing style and unpredictability. Along with drummer Tony Converse, the band recorded the volatile My Crazy Life album in the time it takes to listen to it: 20 minutes. Unlike the more polished records of the day, My Crazy Life was 15 tracks of raw and ragged hardcore punk that, while fueled by the same energy as first wave of California hardcore, was pushed into the present, addressing issues like mental health, ‘90s Hollywood, and the fact that pizza is tasty.
The record not only stood as a landmark release because it featured one of the Beastie Boys playing back-to-basics hardcore punk, but also because the record was composed of sub 60 second songs built off Messex’s smashing riffs and Davis’ deranged howl. While most records were getting bigger and more polished, DFL was one of the few that made their music shorter, faster, and rawer. Since the album’s release, My Crazy Life has remained a cult record, prized by the hardcore scene due to its ferocious sound and askew lyrics… and also because it is really, really, really good.
“The ‘My Crazy Life’ era was a real moment in time for me and I feel like the record captures that,” Messex tells. “There was so much shit going on. The Beasties and Grand Royal were blowing up. There were all these crazy parties with celebs and skaters and all sorts of people hanging out. It’s almost 30 years later, but that moment has never left me.”
Ahead of its release, DFL has shared a preview of “Pizza Man” and “America’s Most Hardcore” remastered studio versions; check them out below.
The Beths — “one of the greatest indie-rock bands of their time” (Rolling Stone) — announce Expert In A Dying Field (Deluxe), out September 15th on Carpark Records, and present the new single, “I Told You That I Was Afraid (Acoustic).” Expert In A Dying Field (Deluxe) expands upon the brilliance of The Beths’ acclaimed 2022 album, “another collection of tunes that cements their status as one of the great guitar-pop bands of this present moment” (Stereogum), with three demos, two acoustic renditions, and the inclusion of previously shared standalone singles “A Real Thing” and “Watching The Credits.” The latter has already been deemed one of 2023’s best songs by Rolling Stone and Paste, who praised “Watching The Credits” as “a terrific, heat-seeking missile of glittering guitars and steadfast percussion work” that “speaks to how they endure as one of the most exciting rock bands in the world right now.”
Later this week, The Beths (and their beloved inflatable fish) will take to the U.K.for a string of select festivals and headline dates. Shortly after, they will return to North America for a full, almost entirely sold out tour including dates supporting The National, Death Cab for Cutie and The Postal Service. The Beths will also headline three nights at Los Angeles’ Lodge Room (surrounding their sold out show at the Hollywood Bowl supporting Death Cab for Cutie and The Postal Service), plus three nights at New York’s Music Hall of Williamsburg. Full dates are listed below and tickets are on sale now.
Expert In A Dying Field, the third studio album from The Beths, was released to a wealth of critical praise, and was named one of 2022’s best releases by the likes of Pitchfork, The Ringer, Stereogum and more. Surrounding its release, The Beths were profiled by Rolling Stone, Document Journal, The Big Takeoverand more, and made their U.S. television debuton CBS Saturday Morning. The Beths are undeniably one of the most exciting indie rock bands to emerge in recent memory.
Recorded during their “Kiss of Death” tour in 2007, Motörhead‘s previously unreleased Live at Montreux Jazz Festival ’07 is another powerful live recording of Phil Campbell (guitar and backing vocals), Mikkey Dee (drums), and Lemmy Kilmister (bass and lead vocals) firing on all cylinders.
The set list include lots of bangers and some cuts you didn’t hear often during some other sets. Opening with “Snaggletooth” for example, is a nice touch. It wasn’t a common opener for them, and they unload it with the subtlety of a flamethrower. “Stay Clean” doesn’t give you time to breathe, as you’re too busy holding onto your face to keep it from being blasted onto the wall behind you. “Be My Baby” is thick with sludge and reveals how much Motörhead influenced early Nirvana records.
“That was kind of jazzy, wasn’t it?” Kilmister jokes after “Killers.” “One Night Stand” swings and shreds. Speaking of shredding, Campbell does a lot of it on “I Got Mine” with a solo that might sear your ears. Kilmister dedicates “Sword of Glory” to soldiers “fighting in Iraq for no good reason.”
“Who likes Thin Lizzy?” Kilmister asks, and then talks about how Phil Lynott was one of his heroes, before they rip in to a cover of Thin Lizzy‘s “Rosalie.” He gives a warning before the epic version of “Sacrifice”: “If you dance to this, you won’t have children later in life.” It is brutal and unforgiving. The mosh pit during this version must’ve been like the Battle of Helm’s Gate, only stopped by everyone’s jaws hitting the floor during Dee’s drum solo. It’s hard to tell what’s moving faster, his hands on the snares, cymbals, and toms, or his feet on the double kick drums. “Just ‘Cos You Got the Power” isslower, “So Phil can show off his new guitar,” Kilmister says. He does. Quite well.
“Going to Brazil” blasts by you in a heartbeat, followed by the always-sinister, always-heavy “Killed By Death.” “Iron Fist,” appropriately, pummels you. Kilmister’s bass on it is as relentless as a belt-fed machine gun. The acoustic “Whorehouse Blues” is a refreshing bit of fun after it, and a moment to inhale, exhale, and then go nuts when they finally get to “Ace of Spades.” The closer, “Overkill,” is over eight minutes of raw power. Dee’s double-bass kick-drumming alone will make your jaw drop.
It’s another fine live album in an already impressive catalog. Don’t miss it.
