Wednesday, December 21, 2022

[WATCH] The Death Wheelers | Mondo Trasho


Some people say death is the only way out, but in this case, it’s the only way in. Hand-picked by The Death Wheelers as one of the chosen few to become a full-fledged member of their undead biker cult, a man is cursed during a drug-fueled orgy. The prospect’s initiation begins as the drugs kick in, but nothing in this mortal world could prepare him for what is about to happen. Dark visions of death, debauchery and depravity ensue.



All selections decomposed and deranged by The Death Wheelers
Recorded/mixed by David Lizotte in his basement lair in January MMXXII
Mastered by Topon Das at Apartment 2
(((Stereoid fidelity)))

It is highly recommended to operate a vehicle or heavy machinery while under the influence of this recording.

Artwork by Sick Slice


The Death Wheelers are:

Max ‘the axe’ Tremblay - Loud pipes
Hugo ‘red beard’ Bertacchi - Tire screeches
Jean-Michel 'la machette' Perrier - Battery acid
Ed ‘back from the dead’ Desaulniers – Fender bender


The Death Wheelers appear on From the Urn Records courtesy of Riding Easy Records 


Sunday, July 3, 2022



1. The Moral of the Story - Professor Electric
2. My Precious One - The Neptune Power Federation
3. All Hell Breaks Loose - Zeremony
4. Blast Off - Psychlona
5. Wild Woman -  Hemptress
6. Interstellar Solar Race - Cosmic Debris
7. Silent Violence - White Hills
8. Lude - Psychic Ills
9. Kick Me - Danny Elfman & Iggy Pop
10. Holy Roller - Deathchant
11. Conduit - Russian Circles
12. The Fall of Whitewood - Witchthroat Serpent
13. Escape from the Rift - Seedy Jezus featuring Isaiah Mitchell

Thursday, June 16, 2022

[LISTEN] ARKHON by Zola Jesus


There is a way a voice can cut through the fascia of reality, cleaving through habit into the raw nerve of experience. Nika Roza Danilova, the singer, songwriter, and producer who since 2009 has released music as Zola Jesus, wields a voice that does that. When you hear it, it is like you are being summoned -- not to somewhere new, but to a place that's already wrapped inside you, somewhere previously obscured from conscious experience. This place has been buried because it tends to hold pain, but it's also a gift, because once it's opened, once you're inside of it, it can show you the truth. 

Zola Jesus's new album, Arkhon, finds new ways of losing that submerged, stalled pain. Not long after she had started writing the songs that would comprise the record, Danilova found herself stuck in a creative barrens, a spell of writer's block more stifling than any she'd experienced before. "It got to the point where I couldn't even listen to music. Everything sounded the same," she says. 

On previous albums, Danilova had largely played the role of auteur, meticulously crafting every aspect of Zola Jesus's sound and look. This time, she realized that her habitual need for control was sealing her out of her art. When the frustration of being unable to create became intolerable, she took a leap of faith and reached out for help, something she had never done this early in an album’s lifetime. "At some point, I had to work with other people. I needed new blood. I needed somebody else."

Danilova sent her demos to producer Randall Dunn, known for his work with Sunn O))) and on Jóhann Jóhannsson’s score for the film Mandy. She also began collaborating with drummer and percussionist Matt Chamberlain, whose prior work appears on albums by Fiona Apple, Bob Dylan, and David Bowie. His daring, askance patterning would come to help define the sound of the record. Relinquishing a degree of control over her music and hearing others contribute to it began to thaw the creative block that had kept her from working. "I felt that I was able to finally hear my music in a context that was broader than what I could do on my own," Danilova says. "I'm letting people interpret my musical ideas and my songs in a way that is supporting everything, but also expanding it into a sound that I never would have been able to think of on my own. That was so rewarding to hear."

Arkhon runs the spectrum from songs whose weight lies in their bare simplicity, like "Desire," an elegiac piano composition about the end of a relationship that was recorded acoustically in a single take, to songs that pulse with dense, evolving structures, like "Sewn," a knotty and glittering electroacoustic composition written in total collaboration with Dunn and Chamberlain. Between those poles, "Dead & Gone" boasts a lush string arrangement by Danilova's friend and touring violist Louise Woodward; the overtones of her composition carve abundant, fertile space for optimism and healing to bloom in the midst of overwhelming grief. The towering, groove-oriented track "The Fall" routes Danilova's demo vocals through a lacerating vocoder effect as it seeks out the delights of shaking loose stagnant pain. Throughout “Lost,” tight, interlocking percussion and samples of a Slovenian folk choir propel narratives of collective despair and mutual comfort in kind. Through these turns, Arkhon reveals itself as an album whose power derives from abandon. Both its turmoils and its pleasures take root in the body, letting individual consciousness dissolve into the thick of the beat.

In her creative process, Danilova instead began forging a relationship with the unknown. Rather than try to hold Arkhon in its entirety at every moment of its creation, she began focusing on the direct experience of making work with others, allowing for spontaneous moments of unselfconscious play. After over a decade of classical voice training, she found that this shift enabled her to ease into her singing voice in new ways, leading her to greater flexibility and agility. "I had gone through a deeply transformational process of inner growth. That annihilated a lot of tension in my voice, because my whole attachment to things changed," she says. 

That process bears out across the record in the way the voice takes off from itself, splits from its core, tendrils out into currents of partial language and electronically mediated noise. In the rush, Arkhon unearths buried tools for bearing grief, loss, and disappointment. The album's title means "power" or "ruler" in ancient Greek, but it also has a specific valence within Gnosticism. "Arkons are a Gnostic idea of power wielded through a flawed god," says Danilova. "They taint and tarnish humanity, keeping them corrupted instead of letting them find their harmonious selves. I do feel like we are living in an arkhonic time; these negative influences are weighing extremely heavy on all of us. We're in a time of arkhons. There's power in naming that." 

Despite the darkness curled inside reality, there is power, too, in surrendering to what can't be pinned down, to the wild unfurling of the world in all its unforeseeable motion. That letting go is the crux of Arkhon, which marks a new way of moving and making for Zola Jesus. "There is a moment where you stop fighting with yourself. That's when things can really happen," Danilova says. "I was disarmed in a way where I just let the process make the record. I could enjoy being in the moment, putting that into the music and letting it unravel or evolve in its own way. To let it have its own story that I only had a part in telling." 

Releases June 24, 2022

Friday, May 13, 2022

[LISTEN] Sober Karaoke: Act 1 by Hether Fortune


the first batch of songs & visuals from what will be an ongoing multimedia performance project called SOBER KARAOKE // 
glamorous songs about unglamorous shit. fluorescent overheads shit. sitting on the curb smoking your last cigarette shit. bad angles at 6 AM shit. yesterday’s clothes. body odor. sticky skin. eye contact. nothing to hide behind. you will see the lines in my face. and i will see yours. 


released April 26, 2022 

written, performed & produced by Hether Fortune 
co-produced, mixed & mastered by Keith Horn



My follow up to my self published book of writing & prose - Wounds Vol.1, Wounds Vol.2 featuring original artwork by Heather Gabel and a special foreword by Mark Lanegan is now officially available for PRE-ORDER!


Original writing, musings and prose by Renee Ruin 
Cover features original artwork by Heather Gabel 
Foreword by Mark Lanegan

Includes special Note from the Author.

Specs: A5 Portrait Self-Cover - Saddle Stitched, 150gsm GLOSS Artpaper, Full Colour, 40pp pages.



"It feels like an exorcism much of the time, an ecdysis , a rebirth. Renee Ruin writes not because she wants to, but perhaps because she has to, to make sense of a world of quarantines, lockdowns, deadly viruses, protests, riots and mass deaths. To make sense of a world where love is in short supply and where the people with the biggest hearts are often most alone. For those who connect to these poems, like myself, there is much to relate to here, as well as many lessons to be learned" - Mark Lanegan


Saturday, April 2, 2022

[LISTEN] Diamanda Galás announces remastered release of 1996 classic album ‘The Divine Punishment’


Out on June 10th is the remastered 1986 classic album “The Divine Punishment” by Diamanda Galás. Released via Galás’s own label Intravenal Sound Operations it will be available on CD and digitally, with the vinyl version to be released later in 2022. 

[WATCH] King Dude + Der Blutharsch and the infinite church of the leading hand // Black Rider On The Storm


Black Rider On The Storm · King Dude · Der Blutharsch Black Rider On The Storm ℗ 2022 Not Just Religious Music Released on: 2022-03-25 Composer, Writer: Thomas Cowgill