Posts Tagged ‘Anti Records’

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Philadelphia has churned out a great many indie rock and indie punk bands over the last few years, Swearin’, Hop Along and Cayetana among them. Another of those Philly-based groups is Mothers, who’ll release the follow-up to their 2016 debut, When You Walk A Long Distance You Are Tired, this month. On the second single, “PINK,” frontwoman Kristine Leschper, originally from Athens, Ga., melds indie folk singsong with focused punk to create a winding, nearly seven-minute thrasher. The band describes their sophomore LP as “an assemblage of personal vignettes and imagine scenarios that examines consent, escape of the body, power & powerlessness, and the act of making.” “PINK” is the new single off our upcoming record out September 7th on Anti Records.

“PINK” by Mothers from the album ‘Render Another Ugly Method,’ available September 7th

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Saintseneca’s Zac Little has been thinking a lot about memory. Not necessarily his memories, though they creep in often, too. Rather, he mulls over the idea of memory itself: its resilience, its haziness, how it slips away as we try to hang on, the way it resurfaces despite our best efforts to forget. Memory is the common thread running throughout the Columbus, Ohio folk-punk band’s fourth album, Pillar of Na, arriving via Anti- Records. Following 2015’s critically lauded Such Things, the new album’s name is rooted in remembrance, referencing the Genesis story of Lot’s wife who looks back at a burning Sodom after God instructs her not to.

She looks back, and God turns her into a pillar of salt. “Na,” meanwhile, is the chemical symbol for sodium. “Nah” is a passive refusal and the universal song word. It means nothing and stands for nothing. It is “as it is.” Musically, Pillar of Na is Saintseneca’s most ambitious album to date, with Little aiming to incorporate genre elements he’d rarely heard in folk. “I wanted to use the idiom of folk-rock, or whatever you want to call it, and to try to do something that had never been done before,” Little explains. I told producer Mike Mogis I wanted Violent Femmes meets the new Blade Runner soundtrack. I’m looking for the intersection between Kendrick Lamar and The Fairport Convention.”

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Released August 31st, 2018

Zac Little: vocals, guitar, 12 string, baritone,
mandola, bouzouki, synth, bells
Jon Meador: synths, vocals, piano, mellotron,
various keyboards, guitar
Matthew O’Conke: drums, aux percussion,
vocals
Steve Ciolek: guitar, vocals, 8 string bass,
hammered dulcimer, marxophone
Caeleigh Featherstone: bass, vocals,
hammered dulcimer
Mike Mogis: synth, guitar
Maryn Jones: vocals
Susanna Gilmore: violin
Elizabeth Furuta: violin
Brian Sherwood: viola
Paul Ledwon: cello
Megan Siebe: cello, violin
Carlyn Hendler: flute, piccolo flute
Miwi La Lupa: bass trumpet
Leticia Wiggins: flute

Listen to Deafheaven’s new album ‘Ordinary Corrupt Human Love’

For a black metal band, Deafheaven’s sounds often feel light and effortless. The San Francisco rockers’ impressive blend of post-hardcore, screamo, and heavy metal achieves a surprisingly transcendent, almost revelatory quality, fueled by tight and aggressive rhythms and frontman George Clarke’s raw, guttural shrieks. Ordinary Corrupt Human Love, which follows 2015’s New Bermuda and 2013’s crossover hit Sunbather, is out July 13th via Anti-Records. Check out the track “Canary Yellow”  which clocks in at over 12 minutes long. Opening with an airy and melodic vibe, the track soon explodes into perfectly controlled hard rock chaos.

Previewed by furious singles ‘Honeycomb’ and ‘Canary Yellow’, the record follows 2015’s ‘New Bermuda’ and comes ahead of a series of UK headline shows later in the year.

“Honeycomb” by Deafheaven from the album ‘Ordinary Corrupt Human Love,’ available July 13th

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Mothers are to release their second album titled “Render Another Ugly Method”, their first for new home ANTI-Records. On top of that great news, the Athens band, now based out of Philadelphia, have also shared the first taste of that record, in the shape of new track, Blame Kit.

The next step for Mothers, and their chief songwriter Kristine Leschper, was, for anyone who’s seen their live show, always going to be an intriguing leap. While WYWALDYAT was a sprawling, emotional, sometimes muted affair, live Mothers became a sprawling, angular, maths-rock power-house. Even expecting something different though, Blame Kit still feels like a fresh new direction; the vocal production of the sprightly intro initially had us wondering if this was even the same band, it was only in the bass-heavy break-down one minute in as, Kristine sings, “not the first time I’ve seen it, I watched her body expand a hundred times its size to contain it”, that the hair-raising vocal tone meant this could be no other band.

Lyrically the track aims to explore the idea of the titular Blame Kit, “a social mechanism that aims to shift or imply guilt onto a particular person, group, or idea”, the track was inspired by a case study Kristine read on children with Autism and Schizophrenia, as she explains, “‘his body will at one moment expand to contain things and events that are outside of it, and at the next shrink to near-nothingness…Uncertain of the boundaries of his body, things on the outside become terribly important.’ I couldn’t stop thinking about that.” The return of one of the most important, intriguing bands in the world, embrace this progress, this brave new musical world.

“Blame Kit” by Mothers from the album ‘Render Another Ugly Method,‘ available September 7th via ANTI- Records.

Daily Dose: Deafheaven, "Canary Yellow"

Deafheaven’s sound often feel light and effortless. The San Francisco rockers’ impressive blend of post-hardcore, screamo, and heavy metal achieves a surprisingly transcendent, almost revelatory quality, fueled by tight and aggressive rhythms and frontman George Clarke’s raw, guttural shrieks.

Ordinary Corrupt Human Love, which follows 2015’s New Bermuda and 2013’s crossover hit Sunbather, is out July 13th via Anti-Records. Check out the song “Canary Yellow” below, which clocks in at over 12 minutes long. Opening with an airy and melodic vibe, the track soon explodes into perfectly controlled hard rock chaos.

“Canary Yellow” by Deafheaven from the album ‘Ordinary Corrupt Human Love,’ available July 13th

The Milk Carton Kids released a new single “Younger Years” in anticipation of their forthcoming album, All The Things That I Did And All The Things That I Didn’t Do,due June 29th via Anti- Records.

The record will be the band’s fourth album release.

Likened to folk greats such as The Everly Brothers and Simon & Garfunkel, the duo is comprised of folk guitarists/vocalists Kenneth Pattengale and Joey Ryan. The singles “Younger Years,” “Big Time” and “One More For The Road” are available as will the new album be upon its release.

The group plans to support the new project with a North American headlining tour starting in June.

Neko Case, photo by Emily Shur

Neko Case returns with her new solo album, Hell-On. The Producer / singer / songwriter Neko Case has won a large and loyal audience for her smoky, sophisticated vocals and the downcast beauty of her music. Now more than 23 years into her musical calling, Case is the consummate career artist – fearless and versatile, with a fierce work ethic and a constant drive to search deeper within herself for creative growth. Anti-Records release Neko Case’s Hell On, an indelible collection of colourful, enigmatic storytelling that features some of her most daring, through-composed arrangements to date.

Produced by Neko with help from Bjorn Yttling (Peter Bjorn and John), Hell On is simultaneously the most accessible and most challenging album in a rich and varied career that’s offered plenty of both. Rife with withering self-critique, muted reflection, anthemic affirmation, and her unique poetic sensibility, the 12 tracks of Hell On – which features collaborations such as Joey Burns, Beth Ditto, Kelly Hogan, KD Lang, AC Newman, Paul Rigby, Laura Veirs, and more.  The singer-songwriter also received contributions from the likes of her New Pornographers bandmate AC Newman, Gossip’s Beth Ditto, Doug Gillard, lang, Veirs, and Eric Bachmann (Crooked Fingers/Archers of Loaf). She and Screaming Trees frontman Mark Lanegan duet on “Curse of the I-5 Corridor”.

During recording sessions abroad in Stockholm, her home in the US burned down in a raging fire. The tragic incident is touched on throughout the album, especially on the single “Bad Luck”, but she’s since somewhat come to terms with what happened. Per a statement:

Case is now stoic about the fire. “If somebody burned your house down on purpose, you’d feel so violated. But when nature burns your house down, you can’t take it personally.” The month before the blaze, Hurricane Harvey had slammed into Texas and flooded Houston. Her home burned just as Puerto Rico was plunged into a nightmare by Hurricane Maria and wildfires incinerated California. “In the big picture, my house burning was so unimportant,” she says. “So many people lost so much more: lives and lives and lives.”

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In support of Hell-On, Case will soon kick off a sprawling North American tour, followed by a European stint that lasts well into November.

Hell-On marks Case’s first solo record in five years. The 12-track collection is the follow-up to 2013’s The Worse Things Get, the Harder I Fight, the Harder I Fight, the More I Love You; it also comes after her 2016 collaboration with k.d. lang and Laura Veirs and her 2017 album with The New Pornographers, Whiteout Conditions.

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Neko Case  is releasing her first solo album since her 2013 record The Worse Things Get, the Harder I Fight, the Harder I Fight, the More I Love You. Her new album is titled, “Hell-On”, due out on June 1st, it is a 12-song, self-produced LP. Case has given listeners a taste of the new record with tracks “Bad Luck” and “Hell-On,” and now with “Curse Of The I-5 Corridor,” Case has left a final bread crumb before the release of the full-length.

The seven-minute song winds like the long interstate it references: I-5 runs along the West Coast of the U.S., from the Mexican to Canadian border. A duet with Mark Lanegan, who is known for his solo work in addition to collaborations and his work with Queens of the Stone Age, “Curse Of The I-5 Corridor” is a haunting combination of lyrics and sound. The song reflects on the past, and uncovers an unsureness of the future and what it could have brought. Lines like “in the current of your life I was an eyelash in the shipping lanes” and “I fear I smell extinction in the folds of this novocaine age coming on” reveal these aspects. Lanegan’s voice at times becomes an eerie echo to Case’s, lurking in the background, and adds to the tension the song’s instrumental breaks carry.

“Curse of the I-5 Corridor” by Neko Case from the album ‘Hell-On’ available June 1st Anti Records.

Using guitars, vocals and sparse electronic elements, Prism Tats pulls from various visual and musical inspirations to create waking dream sub-realities that devastate and elate. Prism Tats is the musical moniker of Garett van der Spek, who’s originally from South Africa but now based in LA. He released his self-titled debut album in 2016, followed by last year’s 11:11 EP, and he’s notably opened shows for such indie vets as Guided by Voices and Nada Surf. He’s now set to release a new full-length, Mamba, on March 2 via ANTI-Records, which was produced by Chris Woodhouse, who’s worked with Thee Oh Sees, Ty Segall, The Intelligence, and others.

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Like the other bands Woodhouse works with, Prism Tats channels classic garage rock with a knack for pop hooks and a bit of psychedelia. You can hear that for yourself on Mamba‘s lead single “Daggers,”

The new album ‘Mamba’ comes out 03.02.18 via ANTI- Records.

Five years after reuniting to play live, The Dream Syndicate plans to release its first new album in 29 years, a collection that bandleader Steve Wynn has revealed will feature a guest vocal by founding bassist Kendra Smith  who has sat out the ongoing reunion, but agreed to appear on a song Wynn calls “the perfect coda to the record.”

Wynn announced on his website late last summer that he’d completed work on The Dream Syndicate’s fifth album, the very belated follow-up to 1988’s Ghost Stories. He wrote, “It’s mind-blowingly good and we can’t wait to get it out there,” and said he was looking for the right label to put it out.

The album’s title has not yet been announced, nor a release date confirmed. But Wynn has prepared a new band bio for booking agency Billions that discusses the album recorded by the current lineup of Wynn, original drummer Dennis Duck, bassist Mark Walton (who joined after 1984’s Medicine Show) and guitarist Jason Victor, who plays in Wynn’s band, The Miracle 3.

“Oh, and there was one last surprise, one more perfect link to our past and completing of the circle. One of the more intriguing of the songs we recorded was a hypnotic trance and mantra called ‘Recurring.’ I had a pretty decent lyric and sang a good vocal, but somehow it just didn’t work. The song and the riff were cool, the band’s recording was evocative and beautiful. But I began to realize I wasn’t the right singer for the song. And I knew immediately that the perfect singer would be the only other person to sing lead on a Dream Syndicate song, our original bass player Kendra Smith. I was amazed and delighted that my old friend and band mate agreed to do it and then wrote some astounding lyrics and sang a vocal that at once as true to the spirit of the song and also turned the whole thing upside down. The song, now called ‘Kendra’s Dream,’ is the perfect coda to the record, tying up loose ends from the past and then opening them up again to the future.”