Archive for the ‘CLASSIC ALBUMS’ Category

BDRMM – ” Bedroom “

Posted: August 14, 2020 in CLASSIC ALBUMS, MUSIC
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It’s devastating in more ways than one as bdrmm launch into their debut album ‘Bedroom’ at Hull venue, The Dive. Firstly, there’s the sound itself that knocks you for six; pulsing synths, emotive guitar lines and agony-steeped vocals, you’re instantly left longing to be in the same muggy room as the shoegazers.

Then there’s the reminder of the devastation felt by local venues across the country due to the Covid-19 pandemic. This showcase to raise funds comes on the same night as the We Make Events Campaign lights up venues across the country red, raising awareness for the situation facing the events industry. Hull has seen first hand the severity of this crisis, with pillar venues The Welly and The Polar Bear recently closing its doors for good.

An enthused presenter hosting the live stream announces that 2020 was to be this particular band’s year and it’s hard to disagree. After all, NME declared it a “modern shoegaze classic” as they earned the five-star treatment back in July. A quick interview before they commence details the weirdness of dropping a record four years in the making without any live shows to keep momentum flowing. “Of course we wanted to be playing shows,” says frontman Ryan Smith. “We had a tour sorted which fell through, all you’ve got to do is keep optimistic and keep pushing it back until we actually can do it.”

bdrmm on their meditative debut: “It’s a hybrid of relationships, mental health and growing up”

Tonight such worries are cast aside and we’re gifted the band’s first live performance since their album dropped in July, and it’s mesmerising stuff. Instrumental opener ‘Momo’ is a gripping introduction, deeply pensive whirling guitars set a tone much like that on the album itself – the band are animated and locked into the impactful whirring groove from the get-go. The haunting ‘Push / Pull’ follows with a brooding tone matching some of the stark themes on the record, which range from substance abuse through to unplanned pregnancies and mental health issues.

Ryan Smith brings to mind Nothing’s Dominic Palermo throughout with his painfully soft vocal lines – much like those noise-rockers, the fragile moments are pulled into heavier, scrappier territory here. Perhaps it’s due to the heatwave but the band themselves look stifled after a couple tracks, something in itself which is a reminder of the power of intimate gigs, crammed in with only the warm dregs of a pint for hydration. We’d take it right now.
The number of textures on the album are done justice throughout this seven-song set, and a quick peak at the array of pedals framing the stage demonstrate just how meticulously-crafted this sound is. ‘A Reason To Celebrate’ delivers their most towering and commercial punch, with a piercing chorus to dredge up all sorts of feelings.

This is a profound encapsulation of those intimate shows bdrmm would have been playing, and here they prove just how staggering those moments will be once they can return. A wholesome and brutally nostalgic live stream for an imperative cause, ultimately showing that bdrmm can summon all the power of their stunning debut in the live setting.

Band Members:
Ryan Smith,
Jordan Smith,
Joe Vickers,
Danny Hull,
Luke Irvin,

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The ASTEROID No. 4 – ” Northern Songs “

Posted: August 14, 2020 in CLASSIC ALBUMS, MUSIC
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Cardinal Fuzz and Little Cloud Records are delighted to bring to you ‘Northern Songs’. Hyperbole is never our thing but we need to shout it loud that this latest Asteroid No.4 LP is chock full of irresistible hooks and trippy shimmering jangles that will not be able to shake (and why would you want to) – Astereoid No.4 have created the perfect blend of neo-psych for strolling and losing yourself to in the late Summer Sun (anytime / season will work).

‘Northern Songs’ is the band’s tenth full length record, following up the ‘Collide’ LP in 2018. Here, the 12-string folk-rock jangle of the mid-60’s Byrds is overlaid with the washed-out vocal harmonies of Ride and topped off with psychedelic drones familiar to Spacemen 3. This is a hypnotic hybrid of several different genres filtered through the kaleidoscope of all things psychedelic.

On this new album, they did all writing, playing, recording, mixing and mastering in their own studio. This is the first time they’ve gone fully DIY since their fourth album ‘An Amazing Dream’ (2006), where the band finally found their own trademark sound. “This is a first for us as we’ve always had at least guest musicians or someone else mix or master. It was an experiment on what we could do ourselves and testing our new studio in San Rafael, CA for the first time. Our sound is primarily rooted in the British indie music from the 80s and 90s. This is the music we grew up on, we still listen to today, and what happens as a natural result of our songwriting,” says Scott Vitt.

“Lyrically there’s reference to what is happening both socially and politically in the world around us. We wanted to make an album that brought an air of calm or even nostalgia, to remind people that there was a time, not all that long ago, when things seemed way more normal compared to what we’re experiencing today.”

Considered stalwarts of the modern ‘psych’ genre, they are known for their prolific discography of reverb-drenched recordings and liquid-projected live performances. With a sound all their own and neo-psychedelic / shoegaze learnings, they are often compared to acts like Spacemen 3 and Paisley Underground kingpins The Rain Parade.

A dynamic live act, The Asteroid No.4 integrate multi-textured guitars and reverb-drenched vocal harmonies over an unwavering rhythm section. Their prolific output has earned them a dedicated fan base within the flourishing underground psychedelic scene, with over a dozen compilation appearances, digital-only rarity releases, and multiple singles and EPs.

Named after Vesta, the brightest asteroid in our solar system, their moniker is an obvious nod to Spacemen 3, one of the band’s main influences. In fact, one of the group’s earliest recordings was a faithful cover of their ‘Losing Touch with My Mind’. Released via UK label Rocket Girl’s tribute compilation to the 80’s legends, Pete ‘Sonic Boom’ Kember himself named the song as a stand-out track in an interview with Magnet Magazine.

The Asteroid No.4’s new album “Northern Songs”. LP and full digital album available July 2020 from Little Cloud and Cardinal Fuzz Records.

SEA GIRLS – ” Closer “

Posted: August 14, 2020 in CLASSIC ALBUMS, MUSIC
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With their debut album a now imminent prospect, we’ve been blasting Sea Girls at every sunny opportunity. In particular, ‘Closer’ is a great track to add to your playlists for a brilliant dose of indie joy. With trilling guitars and an infectious chorus, the tune remains one of their best.

Well here we are! Our debut album ‘Open Up Your Head’ is finally out. We’ve played music together since we first started learning instruments (however badly) in our teens and its so humbling that it’s lead to this. This has been the craziest journey of our lives and whilst it hasn’t always been a smooth ride all of our experiences have led us to this moment and it’s an honour to share this album with you. This band has taken us to so many amazing places and given us the chance to pursue what has felt like a fevered pipe dream at times. Ultimately we’re just four guys who love music and it’s every one of you that makes this band what it is, thank you for being with us every step of the way. We’re privileged to have a community that supports us and each other and the connection we feel with you guys is truly special. So let’s turn the music up fucking loud and enter the Open Up Your Head era together. 

We’re so excited to announce we’re going to be hitting the road again in November for a run of special intimate record store shows! Pre-order ‘Open Up Your Head’ from these independent record stores for tickets. You’ll get an album, you’ll get a ticket and we get to see all your lovely faces again!.  Nottingham, Bristol and Marlborough tickets will be available from tomorrow.

Band Members
Henry Camamile, Rory Young, Andrew Dawson & Oli Khan

‘Open Up Your Head’ The debut album Polydor Records

DAVID CROSBY – ” If I Could Only Remember My Name ” The Documentary

Posted: August 14, 2020 in CLASSIC ALBUMS, MUSIC
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David Crosby has the distinction of being a founding member of both the Byrds and Crosby, Stills & Nash who has survived drug busts in Texas, a hit-and-run driving accident, possession of a concealed pistol and drug paraphernalia, an arrest for driving into a fence in Marin County, a transplanted liver, the ire of Graham Nash, and fathering two children by Melissa Etheridge. He is a bit of a lightning rod to be sure. Love him or hate him, Crosby, now 78 years old, has had a stellar career. A singer-songwriter and guitarist, he wrote or co-wrote classics like “Wooden Ships,” “Eight Miles High,’ “Deja Vu,” “Guinnevere,” and “Lady Friend,” among many others. In addition to performing on the Byrds first five albums (their best in my opinion), he also played on eight Crosby Stills & Nash albums including three with Neil Young), made six solo albums, and collaborated with Graham Nash on five long players.

The man is prolific. He has been inducted into the Rock and Roll Hall of Fame in the Byrds and Crosby, Stills & Nash

David Crosby: “Remember My Name” is a 2019 documentary about the musician David Crosby. It was directed by A.J. Eaton and produced by Cameron Crowe. The title is a play on the title of Crosby’s 1971 album If I Could Only Remember My Name. The film had its festival debut at the 2019 Sundance Film Festival. It is distributed by Sony Pictures Classics.

As the movie opens, Crosby is telling a story from back in the day when they were playing a gig in Chicago. Let’s just say, it involves drugs (of course!). Along the way we learn that he is now 76 (when this was filmed in 2017), and that he regrets having wasted so much time “smashed on drugs” (Crosby’s words). He is getting ready for another tour (as a solo artist). “I love singing but I hate leaving (home)”, Crosby confesses. “Me no music? Never. I NEED to tour.” At this point we are less than 10 min. into the movie.

Couple of comments: even though the film is technically directed by a certain A.J. Eaton, Cameron Crowe’s fingers are all over this, including as producer and also having interviewed Crosby back in 1974, when he was all of 17 (that interview comes up in this documentary). The basic premise of the film is as simple as it is revealing: let the man talk, and add archive clips where there are available (easier said than done). Crosby turns out to be a master story teller, and he does not mince words, including about himself. “I have been selfish and I’ve hurt a lot of people”, Crosby admits. Byrds band mate Roger McGuinn puts it this way: “Insufferable”, wow. Along the way, we get treated to an outstanding amount of audio and video clips of his music. Quite a collection when you line it up like that. I enjoyed this documentary overall, and feel it is a nice companion to the “Echo in the Canyon” documentary from earlier this year.

“David Crosby: Remember My Name” premiered to immediate acclaim at this year’s Sundance film festival.  If you are a fan of David Crosby or interested in rock music history, I’d readily suggest you check this out, be it in the theater, on VOD, or eventually on DVD/Blu-ray, and draw your own conclusion.

Meet David Crosby in this portrait of a man with everything but an easy retirement on his mind.

DAVID CROSBY – ” Sky Trails “

Posted: August 14, 2020 in CLASSIC ALBUMS, MUSIC
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one of the most indelible musical icons of the past 50 years, David Crosby casts a presence that’s seemingly inescapable. In the ‘60s, it was his image of a beaming young man in a cape and fur hat with a mischievous look in his eyes and a kind of beatific attitude that first drew attention on the cover of the early Byrds albums. After parting ways with the band as they grew tired of his controversial comments, he grew his hair into a lion’s mane, doning a fringed buckskin jacket to pose on a coach besides his brothers in harmony for the cover of the first Crosby, Stills & Nash album. Later he shifted personas again, taking on the role of a defiant, paranoid druggie who railed against authorities with absolute indignation.
However, as years went by, all essence of amusement drained from his persona. He was the emaciated-looking man, ruined by the ravages of drugs, who made a plea for redemption from the pages of People magazine. Later, as a stone-faced, glassy-eyed mannequin he became little more than a token prop as he attempted to hold himself together onstage with Crosby and Nash.
Then there was the shock of seeing the newly shorn ex-con managing a smile on his release from the pen following his conviction for illegal possession of a handgun. More recently, he’s had the look of a benevolent, snowy-haired granddad happy to be immersed in harmony. A steely-eyed elder statesman, he readily shares his knowing smile.

It’s the latter persona that he projects on the phone, an eager, energetic enthusiast filled with exuberance and exhilaration because he’s still allowed to do the thing he loves, singing songs that satisfy him in a spiritual sense. Projecting that irrepressible optimism, he dutifully answers a reporter’s inquiring questions while speaking from his home in Santa Barbara. In fact, he comes across as earnest, affable and animated as an old pal you’re reconnecting with after far too many years. He’s so damn friendly and down-to-earth in fact, that two minutes into the conversation you abandon any obligation to call him Mr. Crosby and settle instead for just plain Dave.
That excitement was especially obvious when the subject turned to his new album, Sky Trails, the third in a series of recent releases following Lighthouse and 2014’s Croz.

We practically have a columns devoted to David Crosby’s incredible, inexhaustible, and curmudgeonly Twitter presence, but we rarely take an opportunity to highlight the man’s music, even though he’s making it at a regular, even-prolific pace. The Byrds and Crosby, Stills, and Nash alum’s solo oeuvre is a mixed bag, especially dependent on how much you categorically get into music definitely recorded at orgies. But his song “Sell Me a Diamond,” is a deathly-smooth, meditative miniature, and fully worth your time if you’re a devotee of ’70s Joni and Steely Dan. (We know from both rock’n’roll historyand Crosby’s tweet-storms that he is, too.)

Dipping into a throatier, conversational Donald Fagen cadence instead of sticking to his soaring CSN tenor, Croz sings about trying to negotiate the perfect, “conflict-free” diamond sale, and then gifting it to worthy, pure “souls.” Later, there’s a bit about the merits of turning off the grim news and “listen[ing] to children laughing” instead. As NPR notes, Crosby co-wrote the enigmatic song with his son, and the two are definitely working with some oblique metaphors. But over the shimmering ride-cymbal backbeat and steel guitar, it doesn’t really matter what it all means. It just sounds good as hell.

With an unexpected vigour, David Crosby’s late-career renaissance continues as he delivers Sky Trails, his third solo effort in four years. Arriving hot on the heels of 2016’s Michael League-produced Lighthouse, Sky Trails splits the difference between its predecessor’s spare acoustic ruminations and the singer/songwriter’s fascination with jazz. Produced by his multi-instrumentalist son, James Raymond, much of this set brandishes a full band as Crosby and his collaborators explore Steely Dan-style grooves on the funky opener, “She’s Got to Be Somewhere,” or politicized jazz-folk on the harmony-stacked “Capitol.”

On the gentler, more introspective side, piano ballads like “Before Tomorrow Falls on Love” and the excellent “Home Free” distinctively recall the mid-’70s experimental heyday of long time friend and peer Joni Mitchell, whose gorgeous “Amelia” Crosby faithfully covers here. Tonally and instrumentally, quite a bit of Sky Trails shares a kinship with Mitchell masterpieces like Hejira and The Hissing of Summer Lawns, utilizing fretless bass, jazz piano, soprano sax, and unconventional chord structures. On the folkier side, another highlight is the lovely acoustic title cut, co-written and co-sung by North Carolina singer/songwriter Becca Stevens. As a whole, Crosby touches on a number of pleasing themes and sounds on Sky Trails, lending his sweet tenor and trademark harmonies to material of surprisingly high quality given his recent prolificacy.

The CRIBS – ” Night Network “

Posted: August 14, 2020 in CLASSIC ALBUMS, MUSIC
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The Wakefield indie favourites return with their first album in over three years.

The Cribs are back and on blistering form, brandishing their brand new eighth album, “Night Network”. The self-produced 12-track album was recorded at the Foo Fighters Studio 606 in Los Angeles in the spring / summer of 2019.Night Network is as fresh, cathartic and vital as anything they’ve ever put out. There’s no weariness, no bitterness, just a clear desire to get back to doing what they do best – that unique blend of bittersweet melody, brutal lyrical honesty and riffs for days.

It’s wall-to-wall Cribs bangers, the fruit of that special, symbiotic relationship between the song writing, singing brothers, drawing on the boiled-down influences they felt had always been there: The Motown stomp of Never Thought I’d Feel Again and Under The Bus Station Clock, red and blue album-era Beatles (Running Into You and In The Neon Night, respectively), melodic 70’s style pop on Deep Infatuation, and even early work by their own band.

The Cribs feat. Lee Ranaldo “Be Safe” lockdown live session June 8th 2020

The Cribs are romantics and they’re realists, and the balance, for a hot minute, nearly tipped in the favour of the latter. But now they return empowered, beholden to no one, on the greatest form and still screaming in suburbia. Following a slew of legal battles, The Cribs nearly called it quits in the time between their last album in 2017. They found an unlikely friend in Dave Grohl who encouraged them to continue as a band and invited them to record the album at his LA studio. Sonic Youth’s Lee Ranaldo makes it two appearances on a Cribs album with a slew of distorted riffs on the track ‘I Don’t Know Who I Am’.

The Cribs have been out of the game for some time  – no fault of their own as they were bogged down in legal battles. What it does mean is that they’ve had time to refresh and to write a whole batch of new songs. They’ve recorded them at Foo Fighters studio and with Lee Ranaldo of Sonic Youth guesting on a few tracks. A welcome return for this much loved band.

KING GIZZARD & The LIZARD WIZARD – ” Some of Us “

Posted: August 13, 2020 in CLASSIC ALBUMS, MUSIC
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After releasing the acoustic, micro-tonal infused track “Honey” back in July, Australian psych-rockers King Gizzard & The Lizard Wizard have shared another new song, “Some of Us,” along with an accompanying music video. The song was written by guitarist Cook Craig and features vocals from Stu Mackenzie. The video, like most of King Gizzard’s filmed content, was made by John Angus Stewart, who also directed the band’s recent concert film, “Chunky Shrapnel”.

This Cookie penned, Stu sung song came together early this year as the world was slowly descending into madness, but before it was truly on fire,” wrote the band in an Instagram post about the song. The also hinted at the release of more new music on the horizon: “We’ve made heaps of tunes lately. Currently putting some sparkles on em. Can’t wait to show y’all before we go down in flames. King Gizzard were set to play two of their biggest shows to date this summer, headlining two nights at Red Rocks. Unfortunately, those were postponed due to coronavirus.

“ Filmed on a Thermal Imaging Camera designed to capture and read heat temperatures. These cameras are currently in use by the military and science community to assist with monitoring of COVID-19.
There is something about seeing heat in its raw form that is deeply disturbing. I think it’s got something to do with seeing the body broken down to it’s most mechanical function. It’s a not so gentle reminder that we are just meat, bone and blood. ”

Amby: Harmonica Cavs: Drums Cookie: Piano, Bass, Percussion, Guitar, Keyboards, Synthesiser, Clarinet, Flute Stu: Vocals, Guitar, Clavinet, Xylophone, Bass Recorded by Cook Craig and Stu Mackenzie

CREEPER – ‘Sex, Death & the Infinite Void’

Posted: August 13, 2020 in CLASSIC ALBUMS, MUSIC
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Southampton born emo revivalists Creeper scared the life out of fans when they hinted that their sold-out show at Koko in 2018 might be their last. In fact, it was just the end of the past as they usher in a new era with the arrival of second album ‘Sex, Death & the Infinite Void’.

“The infinite void was literally where we were drifting for some time while making this album. I didn’t know if Creeper was going to come back, I didn’t know if we were over. I was floating through California with the shards of a broken relationship and a band that I’d just broken up on stage that had been my life’s work.” – Will Gould

Creeper will be hitting the road during March next year, heading out on a huge tour to promote the new material with support coming from Holding Absence, Wargasm and Static Dress

‘Sex, Death & the Infinite Void’ is out now available on CD, Purple Vinyl and a Bundle of both!

Band Members
Dan Bratton – Drums.
Oliver Burdett – Guitar.
Ian Miles – Guitar.
Will Gould – Vocals.
Sean Scott – Bass.
Hannah Greenwood – Keys.

BOB MOULD – ” Distortion: 1989-1995 “

Posted: August 13, 2020 in CLASSIC ALBUMS, MUSIC
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Distortion: 1989-1995

Demon Records presents “Distortion: 1989-1995” , the first in a series of four expansive vinyl box sets chronicling the solo career of legendary American musician Bob Mould.
Bob Mould is releasing this massive, career-spanning box set chronicling 30 years of his solo music, as well as his work in the band Sugar. Distortion: 1989-2019 arrives October 2nd (via Demon Music Group). The anthology includes 18 studio albums, four live albums, and two albums of rarities and collaborations, spanning the 24 CD set Distortion: 1989-2019 and the 8xLP collection Distortion: 1989-1995. Find images of the full set below, and scroll down to watch a 2005 live video of Mould performing Hüsker Dü’s “Could You Be the One?”; also, check out the trailer for Distortion.

Bob Mould’s career began in 1979 with the iconic underground punk group Hüsker Dü before forming the beloved alternative rock band Sugar and releasing numerous critically acclaimed solo albums. Volume one in this new series covers 1989 to 1995, beginning with Mould’s first post Hüsker Dü album workbook and continuing through to Sugar’s final studio album file under: Easy Listening.

“It’s called Distortion because it describes the music and it fits the world we live in,” Mould said of the box set in a press release. “In this new age, everybody shares their life in real time. But I’m not done yet. If I didn’t have a constantly active career, this anthology might feel like the proverbial dirt landing on top of my coffin—though somehow I seem to be able to crawl my way out of the dirt every time!” Of his 2005 performance of “Could You Be the One?” Mould said:

For years, I didn’t play any Hüsker Dü material with my subsequent touring bands. This was the first time my long time friend and colleague Jason Narducy (bass) played in my touring band. Rich Morel (keys) was my work partner for 11 years in BLOWOFF, and the 9:30 Club was home for our monthly dance party. Brendan Canty (drums) nudged me out of my self-imposed “rock retirement” after the 1998 Last Dog and Pony Show tour (which is also chronicled in the box set). Brendan’s company Trixie Productions filmed and edited the show.

Bob Mould’s next studio album “Blue Hearts” arrives September 25 via Merge Records.

• each album is presented with brand new artwork designed by illustrator Simon Marchner and pressed on 140g clear vinyl with unique splatter effects .

• includes a 28 page companion booklet featuring: liner notes by journalist Keith Cameron; a foreword by writer and actor Fred Armisen ; a tribute from Richard Thompson; lyrics and memorabilia. • mastered by Jeff Lipton and Maria Rice at peerless mastering in Boston.

• featuring an array of bonus tracks including Sugar’s 1995 collection of b sides and non album tracks besides , along with Distortion plus: 1989-1995 a new and exclusive collection of rarities and collaborations (pressed on clear vinyl).

• this indies exclusive edition is strictly limited to 750 copies worldwide and includes a 12”x12” screen print of the new Copper Blue album cover, hand signed by illustrator Simon Marchner and Bob Mould himself.

    1. lp 1: bob mould workbook side a 1. sunspots 2. wishing well 3. heartbreak a stranger 4. see a little light 5. poison years 6. sinners and their repentances side b 1. brasilia crossed with trenton 2. compositions for the young and old 3. lonely afternoon 4. dreaming, i am 5. whichever way the wind blows
    2. lp 2: bob mould black sheets of rain side a 1. black sheets of rain 2. stand guard 3. it’s too late 4. one good reason 5. stop your crying side b 1. hanging tree 2. the last night 3. hear me calling 4. out of your life 5. disappointed 6. sacrifice / let there be peace
    3. lp 3: sugar copper blue side a 1. the act we act 2. a good idea 3. changes 4. helpless 5. hoover dam side b 1. the slim 2. if i can’t change your mind 3. fortune teller 4. slick 5. man on the moon
    4. lp 4: sugar beaster side a 1. come around 2. tilted 3. judas cradle side b 1. jc auto 2. feeling better 3. walking away
    5. lp 5: sugar file under: easy listening side a 1. gift 2. company book 3. your favorite thing 4. what you want it to be 5. gee angel side b 1. panama city motel 2. can’t help you anymore 3. granny cool 4. believe what you’re saying 5. explode and make up
    6. lp 6 & 7: sugar besides side a 1. needle hits e 2. if i can’t change your mind (solo mix) 3. try again 4. where diamonds are halos (live) 5. armenia city in the sky (live) side b 1. clownmaster 2. anyone (live) 3. jc auto (live) 4. believe what you’re saying (campfire mix) 5. mind is an island side c 1. frustration 2. going home 3. in the eyes of my friends 4. and you tell me side d (bbc radio 1. if i can’t change your mind 2. hoover dam 3. the slim 4. where diamonds are halos
    7. lp 8: distortion plus: 1989 1995 side a 1. all those people know bob mould 2. no water in hell bob mould 3. dying from the inside out the golden palominos side b 1. dio throwing muses 2. hickory wind bob mould & vic chesnutt 3. can’t fight it bob mould 4. turning of the tide bob mouldBob Mould box set

The BLACK HEART DEATH CULT – ” She’s a Believer “

Posted: August 13, 2020 in CLASSIC ALBUMS, MUSIC
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Killer psych rock that sizzles!, BHDC is a stellar band with great vocals, a tight sound and expert musicianship. With its Wall of Psychedelic Sound, Setting Sun is one of my favourite songs of the year. This outstanding band is for real.

Sparkly magic mountain-drops fall from the outer cosmic reaches in the re-imagined mind-forest of The Flower Captain. Gloom/doom singer/songwriter Sasha L Smith envisions a brave new dark age of droney bliss in the sonic bazaar. Domenic Evans fret wizard, Deon Slaviero bass dealer, Andy Nunns time machine & Gabbie Potocnik Italian keys are on the magic bus we call “The Black Heart Death Cult”. Recorded over a sprawling 2 years (Sing Sing & Newmarket Studios) from early 2015 & produced by Ricky Maymi from The Brian Jonestown Massace, their self titled debut LP was released Jan 2019 through Oak Island Records (Kozmik Artifactz).

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Debut single “She’s a Believer” & the “Black Rainbow” EP downloadable from theblackheartdeathcult.bandcamp.com

Debut single on limited sweet 7” vinyl format for your listening pleasure from Death Cult Records or download here right now for instant gratification.
Released October 28th, 2016
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