Saturday, March 30, 2019

Friday, March 29, 2019

[WATCH] Kollaps // 'Fleshflower'













Australian post-industrialists KOLLAPS are a three piece creating a unique brand of primitive noise "intended for degenerates and outsiders". The bands' distinctive primordial tones are created using appropriated waste materials like scrap metal, raw plastics and steel plates combined with blistering percussion, bass and vocals. This is no empty "industrial" gesture, for the band this process of creation facilitates the literal use of postmodern society against itself.| 




Mechanical Christ, the bands' sophomore release, is a conceptual continuation of its predecessor Sibling Lovers. This release sees Kollaps further their exploration of the inherent societal sickness of our times, one that manifests itself in the debasement of individual morality. Themes of exploitation, vengeance, drug addiction, paranoia and slave labour are part of a dissonant, inverted morality play. Testament to the bands' evolving conceptual depth are the overarching themes of love, life and death that offer a sense of shared experience in the discomfort of the universal human experience. Known for their violent and nihilistic stage performances, this recording encapsulates with harsher clarity the visceral confrontation that is Kollaps' live act. 
Mechanical Christ was recorded and mixed over a two-month period at Aviary Studios by Mike Deslandes, and mastered by James Plotkin/Plotkinworks. A journey into the desperation and lack of resolve that is both the crux of modern social ills and at the very heart of the human condition.




Saturday, March 23, 2019

[WATCH] Shanghai Beach // Plathskull





Shanghai Beach official music video for Plathskull. 
Directed by Aimee Kuge and Steven Salazar 

Plathskull is off the EP Contamination available via AnalogueTrash Records on streaming services and cassette.

Wednesday, March 20, 2019

[PREMIERE] DUNE MESSIAH // Black Seaweed



On the new single “Black Seaweed” Westergaard recites a poem in lyrical form; the memory of romantic a stroll down to the harbour. 

It contains a dark poetic spoken word form, on top of haunting ominous drums that resounds the longing of the past. A horror theme that 

is finally redeemed in the chorus, where uplifting violins take the song riveting heights.






From the LP "Moments of Bliss" to be released via Third Coming Records (FR) and Aufnahme + Wiedergabe (DE) on March 29th 2019. 

Preorders : https://bit.ly/2WvuKLQ Video by Lisa Jespersen and Magnus Westergaard. Mix: Kristian Alexander Pedersen.


IG : @dune__messiah

IG : @thirdcomingrecords


Tuesday, March 19, 2019

Marissa Nadler & Stephen Brodsky // Droneflower



Droneflower is in bloom. The new collaboration between Marissa Nadler and Stephen Brodsky (Cave In, Mutoid Man), is a sprawling and expansive exercise in contrasts. It is the sound of the war between the brutal and the ethereal, the dark and the light, the past and the present, and the real and imagined.  

Brodsky met Nadler for the first time in 2014 at Brooklyn’s Saint Vitus Bar when he came to see her play on her July tour, and they quickly became friends. Both of them had been wanting to explore songwriting that didn’t fit into their existing projects, and they soon became energized by the prospect of working together. One of the first ideas they discussed was a horror movie soundtrack, and while Droneflower isn’t that, it is a richly cinematic album. It’s easy to imagine much of the record set to images, though it wasn’t composed that way. 


The first song that came together was “Dead West,” based around a beautiful acoustic guitar piece Brodsky wrote while living on Spy Pond, just outside of Nadler’s home base in Boston. By the time they started working on the song earnest, Brodsky had moved to Brooklyn. Nadler added lyrics and vocal melodies remotely, and even from a distance it was obvious there was real kismet in the collaboration. 



All the songs on Droneflower were recorded in home studios, and they throb with the frisson of that intimate environment. For much of the recording process, Brodsky would stop by the ramshackle studio that Nadler set up in Boston whenever he was in town visiting family. Songs like “For the Sun” were written on the spot there, lyrics and all. The lush ambient pieces “Space Ghost I” and “Space Ghost II” began as Brodsky piano compositions and were later fleshed out by additional instrumentation and Nadler’s inimitable vocals. 




Nadler and Brodsky also recorded two cover songs for the album — the epic Guns n’ Roses power ballad “Estranged” and Morphine’s beguiling “In Spite of Me.” Since childhood, Nadler had been transfixed by the “Estranged” video where Axl Rose swam with dolphins, and she and Brodsky breathe new life into the song here. Their take on “In Spite of Me” is invigorated by a guest appearance from Morphine saxophonist Dana Colley, who ironically didn’t play on the original recording but is indispensable on Nadler and Brodsky’s version.  


credits

Releases April 26, 2019