Posts Tagged ‘Sargent House Records’

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The cover to Emma Ruth Rundle’s fourth solo record, “On Dark Horses”, bears a blurry photo of the songwriter obscuring her face with a large toy horse with broken legs. The photo suggests something candid but also hidden, graceful but also fractured—a fitting portrait for an artist who has established a career by vacillating between shrouding herself in mystery and exposing her wounds to the world.

Previous album Marry Us mirrors On Dark Horses’ Light Song, with the union of Rundle’s siren vocals and Patterson’s poised baritone conjuring a dizzying and feverish update on the duets of Johnny Cash and June Carter. The eight tracks of On Dark Horses capture the evolution of Rundle as an artist, with vestigial traces of the savvy guitar work of Electric Guitar: One, the siren song beauty of Some Heavy Ocean, and the amplified urgency of Marked For Death all factoring into the album’s rich tapestry. Rundle arrives at the end of the album with an ode to a traumatized and heartbroken friend on the grand and triumphant You Don’t Have To Cry.

Emma Ruth Rundle has released a new single ‘Staying Power’, recorded during the sessions for her last album, “On Dark Horses”.

“There is very little mystery as to what this song is about. The lyrics are not metaphorical. It’s about being a touring musician and trying to survive, to conjure the self discipline to go on without sacrificing sensitivity. How we can become hardened as a result of constantly selling our feelings, how I didn’t want that to happen to me but could feel the callousness building. It’s also about the financial feast or famine and whether a little immediate monetary gain is worth the expenditure of youth. It’s about wondering how long I might be allowed to do this and the fear that it could end at any moment – with covid the song has some renewed relevance in that regard. It talks about what it means to endure and what the rewards and consequences of such persistence might be.”

Emma Ruth Rundle “Staying Power” available now on Sargent House, Recorded during the sessions for “On Dark Horses”

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Nick Reinhart has made a name for himself over the years as the unpredictable singer-guitarist in math rock act Tera Melos, one fourth of music geek supergroup Big Walnuts Yonder, and a frequent collaborator of Death Grips, including his own side-project with Zach Hill dubbed Bygones.

Now, Reinhart has hit pause on his wild and technical style of playing to create a new band called Disheveled Cuss — and he’s going full-blown ’90s alt-rock on new single “She Don’t Want”,

“She Don’t Want” comes from Disheveled Cuss’ debut self-titled album, out June 12th via Sargent House Records. Technically, this isn’t the first track we’ve heard from Disheveled Cuss. They’ve released two singles prior, “Wanna Be My Friend” and “Nu Complication”, both of which see Reinhart toying with giddy melodies and stringy guitar lines. But neither of those songs sound as infectious as “She Don’t Want”, an alt-rock hit that sounds like a crossover of Teenage Fanclub and Blue Album-era Weezer.

From the upcoming self-titled debut album Disheveled Cuss, available June 12th on Sargent House Records.

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A message about the song/video from Emma Ruth Rundle and Blake Armstrong. “I wrote this song for my dear friend, artist Blake Armstrong, out of love and in the hope it would console and encourage strength after he expressed to me his fears about living as an openly gay male in a country that’s led by an unabashedly hateful figure – and the effects said figure might have on the the country, its laws and its citizens. I hope that the message of the song and video can comfort and empower those who feels marginalized or mistreated or unsafe. I’m happy we finally had a chance to realize our idea for this video. It means so much to us both.”

ERR Blake Armstrong says: “The main feeling I’ve felt has been the level of uncertainty that has made its ugly head known as of recent. Fear is how I feel. Growing up in Texas, I was used to closing myself off or being aware of how I expressed myself for fear of violence. Leaving the south and moving to other parts of the country and even to Canada, I finally felt safe to share myself and personality because I was around like-minded individuals. It felt free. But as of late in this country, that fear has returned wearing a red hat that has made me want to quiet myself and the freedom of who I am. What’s worse is not only feeling this not just personally but also nationally. I feel hated. I think with ‘You Don’t Have To Cry’ and this video, it’s a reassurance to be who you are now more than ever. That there are people who will embrace you but that regardless, nothing is more important than embracing yourself. You were always meant to be the person you are and that there isn’t any amount of hate or bigotry holding you back from living your truest life.” Blake Armstrong

From the album “On Dark Horses”, available now on Sargent House

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Genre-bending singer/songwriter Chelsea Wolfe has been giving audiences an alternate vantage point since her career got off the ground at the start of this decade. Wolfe has always had a way of dignifying moods that we might otherwise refer to (with a touch of condescension) as “brooding.” But with her sixth album “Birth of Violence”, she makes her most convincing statement to date, reminding us once again that angst is not the exclusive province of young adults. Where so much of the so-called darkness in music falls into the realm of stylized affectation, Wolfe’s presentation doesn’t allow for one-dimensional readings and doesn’t fall prey to self-parody. She has always shown keen awareness in her portrayals of emotional states like apprehension and grief. On Birth of Violence, though, woundedness becomes a launching pad for regeneration just as Wolfe’s musical vocabulary seems to be gelling more than ever before. Because of Wolfe’s newfound ability to communicate so much more with less, you could call Birth of Violence a tour de force—only Wolfe has mastered the art of eschewing force altogether.

From the upcoming album “Birth of Violence”, available September 13th on Sargent House Records

Chelsea Wolfe announced her new album “Birth of Violence”, which will be released September 13th via Sargent House Records. You can hear the first song “The Mother Road

I offer these songs like flowers in violent bloom, and I look forward to sharing more with you this summer.

This fall, I’ll head out on an acoustic tour of North America. I’m very excited to have Ioanna Gika as support on all the dates.

An excerpt of “The Mother Road” from the forthcoming album “Birth of Violence,” out September 13th, 2019 on Sargent House.


On August 31st, my band and I will be playing the Pasadena Daydream Festival, curated by Robert Smith, alongside The Cure, Emma Ruth Rundle, Deftones, The Pixies,and many more great bands.

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As if she doesn’t have enough to be proud of from her work with post-rock outfit Red Sparowes, psych-metal band Marriages, and slowcore collective Nocturne, Emma Ruth Rundle also put out a delectably moody eight-song goth-folk collection this year. Heavy on reverb-drenched atmospherics, Rundle’s latest finds her accompanying her own hypnotically fluttering vocal confessionals with glistening clean-toned SGs, jangly Jazzmasters, and doomy 6-string washes that float atop a backdrop of drums that alternate between loudly and subtly thundering.

From the new album “On Dark Horses”, released September 14th, 2018 on Sargent House.

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Chelsea Wolfe’s steady descent into goth-metal territory has produced some of the most wicked iconography in music video history. Her latest, “The Culling,” is an eerie barrage of gothic symbols: a sea of candles, white roses, red cloaks, a dead pig’s head, and Chelsea caked in face powder and smoky eye shadow, choking up black entrails. It’s all shot in a serene, collage style that’s both calming and overwhelming all at once. Overall, it’s some oppressive stuff.

Chelsea Wolfe’s “The Culling” from the album “Hiss Spun,” released September 22nd, 2017 on Sargent House Records.

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For years, it has been clear that Chelsea Wolfe is a mega-talent with major musical ambitions. You can hear it in the progression of her full-length albums. On 2010’s The Grime and the Glow, she created a particularly dark strain of folk music in glorious lo-fi. The next year, she upped both the drama and the production value on Apokalypsis. And then, for 2013’s Pain Is Beauty and 2015’s Abyss, she began introducing more electronic and noise elements. On Hiss Spun, Chelsea Wolfe’s songs are as heavy and melodic and weird and magical as ever

The word ‘artist’ is used with witless abandon in music, but with Californian songwriter Chelsea Wolfe it feels wholly appropriate. Wolfe is an originator and creator, over five albums she has constructed an intricate, dark body of work, one capable of crossing vast spaces, from gothic folk to black metal, while still feeling part of the same awe-inspiring aesthetic.

2015’s Abyss saw the Sargent House-signed songwriter develop a cavernous dynamic presence through gigantic, dystopian riffs, all contrasted with a tortured Cocteau Twins vocal. Now she has returned with Hiss Spun – a record that bathes in the bleakness of the current global outlook and delves ever deeper into musical extremes.

It was only a matter of time before Chelsea Wolfe up and recorded a metal album. “Hiss Spun” is, more or less, that album. Produced by Kurt Ballou of Converge and featuring guests such as Sumac’s Aaron Turner and Queens of the Stone Age’s Troy Van Leeuwen, it’s a set of loud, blistering, powerful dirges and rippers that end up being some of the most immediate tracks in Wolfe’s repertoire. Wolfe exorcises some hard-rocking demons in “Vex” and “Hiss Spun,” while retaining some industrial darkwave eeriness in “Offering,” though it’s an album short on songs that aren’t standouts. It’s a weird irony that her most explicitly metal album to date is also her catchiest, but why question synchronicity when it comes out sounding this great.


Hello! My new album Hiss Spun is out today!

In a way, Hiss Spun is an album many years in the making. It’s a culmination of important people in my life, and a culmination of my musical influences and memories. It represents a certain kind of self-acceptance I’ve long strived for as an introverted, anxiety-riddled person. This album is about opening up and accepting the mess of yourself. There can be a strength in embracing your feral side, and it was fun to write some songs that were a lot more in-your-face and confrontational than I’ve done before.

The catalyst for this album was the reunion of my friend and drummer Jess Gowrie and I two and a half years ago. We had a rock band together back in Sacramento 10 years ago, and she taught me how to be a good front-person of a band and introduced me to a lot of the music that became very influential on me over the years. When I left that band to pursue my own project, it was difficult and we didn’t speak for 7 years, but when we reunited, it was clear that our musical chemistry was still there, strong as ever, so just as quickly as we became friends again, we started writing songs together again and her presence became an integral part of this new music and new era.

At my side for many years has been Ben Chisholm – multi-instrumentalist, composer, and another friend who has lent me much musical inspiration and given me strength when I wanted to shy away from the spotlight. Ben has worked with me as a co-writer and co-producer since Apokalypsis era, always recognizing that at the end of the day I follow my vision uncompromisingly.

Adding Troy Van Leeuwen’s singular guitar style to the twisted emotions of these songs was a welcome finishing touch, along with the ominous playing of Bryan Tulao.

Honesty in music has always been of grave importance to me, and this album is brutally honest. At times I’ve felt that my music is quite genderless, but many songs on Hiss Spun are very much from the perspective of a woman, confronting the chaos of the world with her own internal storm. There are stories of addiction, withdrawal, family history, lost love, instincts, cycles, and rage. Musically, I pushed my voice as far as I could, I sought out guitar tones that sounded like motorcycle engines, and specifically recorded with Kurt Ballou to capture the deep bass and pounding, energetic drums in the way he does so well.

There are repeated words throughout this album.. small words with big meanings: flux, hiss, welt, groan. Flux represents movement and flow, hiss is the positive life force, welt is the brutality of life, and groan represents sensuality and death. I’ve long had an affinity for white noise and there are moments on Hiss Spun dedicated to it, using sampled sounds from my own life as well as from history. Carl Sagan said that 1% of TV and radio static is relic sound from the Big Bang, and I find that strange connection to the origin both compelling and comforting.

Though this record can get dark, it can also be freeing. I hope you enjoy Hiss Spun. Thank you so much for your support and love.. I can feel it. And if you’ve gotten this far, thank you for reading!


Chelsea Wolfe’s “16 Psyche” from the album “Hiss Spun”, out September 22nd, 2017 on Sargent House Records. Featuring: Troy Van Leeuwen on lead guitar.