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Monthly Archives: April 2020

Aza Records – Tin Man (Free compilation)

Aza Records is a collective of Greek independent bands that came together in order to promote their music.

Every now and then, they put out a free compilation and they felt it was about time for their 6th one.

It is titled “Tin Man” and  features: 78N , Aggelos Efthimiadis , Adam Siagas , David Alex Sisti , Aza Lazy Jester , Smokemachines , Tasos Ritos , Runes , Grigoris Lafaras , Mark Corrin, Teo Aevin , Θόδωρος Πετιρόπουλος , Fadin’ Blues , Six Steps Above The Earth , Vaso Zissou , Lazy Aftershow , Sakis Gallo , Vasilis Peikos , Akil Zarrar , Johnny Notte , The Answer? , Caldera , Anastasios Karapapazoglou & Ilias Kakanis!

Συμεών Λερίου did the artwork .

You can download it for free from HERE

To keep up with Aza Records

Website | Facebook | Bandcamp | YouTube | Twitter

 
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Posted by on April 30, 2020 in Compilations, Rock

 

Greek Scene Special

I decided to do a special show this week, about the bands of the Greek rock scene that use English lyrics.

I started with some bands that released material after 2008, thinking that 2 hours would be enough and then I had the idea of returning to the late 60s and the 70s in order to show where it all started.

But on the second hour of the show when the 80s came up, the bands were so many that maybe I need to do a few more shows to give a general picture of the scene.

I am sure you will find this episode interesting as the Greek rock scene is unfortunately a well kept secret…

01 Sleepin Pillow-Amplifier in my Heart
02 Electro Vampires – Sadistic Secret Love
03 Frequency On – Suck My Dictatorship
04 Radio Sect – State Of Emergency
05 Mechanimal – Easy Dead
06 RSN – Black Sky (Feat. Thaliah)
07 Marva Von Theo – What Is It About Me
08 Aphrodite’s Child – The Four Horsemen
09 Socrates – Starvation
10 Vavoura Band – Dead End
11 Pete & Royce – It’s so Unreal
12 Apocalypsis – My Death at a Rugby Game
13 Birth Ward 82 – The Greatest War
14 Deux Ex Machina– Execute
15 Anti Troppau Council – I Believe
16 Captain Nefos – Cadillac Dreams
17 Last Drive – Misirlou
18 Noise Promotion Company – I Wanna Be Nothing
19 The Noise Figures – Stay Forever Young
20 No Man’s Land – Down by the Riverside
21 Flowers of Romance – Autumn Kids
22 Villa 21 – Future Survivors
23 Forward Music Quintet – Make Sure
24 Psycho – Psycho Killer
25 Film Noir – Excuse
26 Yell-O-Yell– Ex
27 Sharp Ties – Get That Beat

 

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Versari – Sous La Peau (out April 24th, 2020 on T-Rec/Declared Goods & Unknown Pleasures Records)

Parisians, Versari debut their new single “Des images” from the upcoming album Sous La Peau – with a stark and beautiful video by Director Renaud de Foville. “Des Images” single is released on April 10th on T-Rec/Declared Goods & Unknown Pleasures Records (CD/Vinyl)

“Des images” opening statement is sharp and direct: We are here, and we know why.
I know where I am / I know where I feel good
 I know who I am / I know what helps me to stand
 I know what I am running from and what is holding me back.”
(Jean-charles Versari in “Des Images“)

Sous La Peau (“Under The Skin“), Versari’s third album, affirms, with strength and power, a new skin after shedding: an exorcism, a rebirth.

Incendiary lyrics: Jean-Charles Versari sings stories of purifying pyres: burning lies and false pretenses.

All these words that you wrote / All you wanted was to burn them
 All the words you wrote / You wanted to set them all aflame
(from “Tu Te Disais“)

“I want to burn on my skin every desire that you desire
I want to burn on my skin every letter of your alphabet”
(from “La peur au ventre“)

“Burn the days that have come before / Even if everything is consumed”
(from “Brûle”)

The guitars radiate and roam with intent with the support of an understated yet powerful rhythm section. Bass and drums are intensely precise, elegant and seductive. Their music is the heir of a dark and literary genre. Taking as much from the English and the French culture, they are freed from both.

Their music draws from “Chanson” (French songwriting) to Post-punk, from Noise to Post-hardcore, painting with pallet knives – thunderstorm landscapes, where a white sun breaks through.

It represents the end of a cycle. “There is nothing more to say/ There is nothing more to lose / There is nothing more to do” ( from “Nemesis”)

A lyrical, sweet and melancholic note concludes Sous La Peau
A draining experience to be thankful for.
A definite memory is erased and discards itself,
 finds itself so far away, wears out and celebrates,
 erases itself, and lets go.
 No more sadness.”

Versari are Jean-Charles Versari (guitar/vocals), Laureline Prod’Homme (bass), and Cyril Bilbeaud (drums) with Adrian Utley (founding member of Portishead): additional synths and guitars Jonathan D. Mayer (composer): sound design.

Click HERE for pre-orders

 
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Posted by on April 16, 2020 in Post Punk

 

Lazaris Pit – You Don’t Tag Me in Memes Anymore (24 April 2020, Full ‘Subtle’ EP out 22 May 2020)

Lazaris Pit presents ‘You Don’t Tag Me In Memes Anymore’, the first single from the new ‘Coniphers’ album

Raleigh-based rock outfit Lazaris Pit have announced they will release their new ‘Coniphers’ album. Ahead of that, they present the lead single ‘You Don’t Tag Me In Memes Anymore’, a modern-day break-up song, often detached from the moments that make life worth living and musing on the deeper workings of it all with the grim reality that someone important has moved on. They also present a video rendition of this single, live in Athens, Georgia.

The B-side ‘Cloudsculpting’ showcases another facet of this album, evoking the image of spending a dreamy tranquil day, gazing up at the clouds and imagining what it might be like to live peacefully high up in the fluff and blue sky.

Formed in June 2017, this self-named “pack of cosmic dogs” consists of Ely “Salted Sweet Cream” Yarbrough (guitar and lead vocals), Cameron “Sugarfoot” Preston (bass) and Jon “Dok Tok” Castro (drums and backing vocals).

‘Our album ‘Coniphers’ is named after a brother of ours lost along the way. Included are 8 tracks of the good stuff, heady grooves and sweet pop tunes, funk breakdowns to zero gravity ambience…. 42 minutes of rock n roll,” says Cameron Preston.

“Lead track ‘You Don’t Tag Me In Memes Anymore’ is a microcosm of the album as a whole, embodying our familiar Lazaris Pit sound. Is ‘Memes’ a pop song with a punk twist or is it a shoegaze song with some pep in its step? We aren’t quite sure what to call it, but we know it has been lighting up faces whenever mentioned and burning down dance floors when played live,” says Ely Yarbrough.

‘Coniphers’ was recorded live in studio from November 2019 to January 2020, showcasing a band playing like a pack of hungry dogs, sinking their teeth into a meaty T-bone for the first time in ages. Recorded and mixed by Artem Smirnov at Common Thread Studios in Raleigh with additional engineering and creative input from Michael Graziano and Matt Graham, this album was mastered by Alexander Kretov at Ummagma Studio.

Lazaris Pit freely improvises a dreamy blend of punk, funk, soul, psychedelia, reggae, jazz, noise, and ambience into a one-of-a-kind dance party. The result: a mind meld of musical tapestries that take the listener on an emotional journey through time and space, and ourselves in the process.

They’ve brought their unique brand of rock-n-roll far and wide, having played shows up and down the east coast and southeast from Philly to Atlanta and New York to New Orleans, their sound filling large festival fields, historic college campuses, and the most intimate of dive bars and clubs.

Noting music aesthetic and sound inspirations in the sense of a launch pad rather than as blueprints, Lazaris Pit’ counts Fugazi and Grateful Dead among their inspirations, as well as classic R&B, Phish, Curtis Mayfield, Cream, Pink Floyd, Ween, George Clinton and Parliament Funkadelic, Primus, Flaming Lips, Talking Heads, Sonic Youth and Yo La Tengo.

As of April 24, ‘You Don’t Tag Me In Memes Anymore’ will be available everywhere digitally, including Spotify and Apple Music. The full ‘Coniphers’ album will be released on May 22.

TRACK LIST
1. One Too Many Mornings
2. Conipher’s Song
3. You Don’t Tag Me In Memes Anymore  – (first single)
4. The First Schism of Porchlessnessism
5. Cloudsculpting
6. Landfall
7. Flow
8. Our Trip to NYC (Late Nights with Jim Donovan)

CREDITS
Recorded and mixed by Artem Smirnov at Common Thread Studios, Raleigh NC
Additional engineering and creative input from Michael Graziano and Matt Graham
Mastered by Alex Kretov at Ummagma Studio
Album artwork by Nicole “Henry Gozoozu” Boyle
All lyrics and music by Lazaris Pit (Yarbrough, Preston, Castro)

Keep up with Lazaris Pit
Website | Bandcamp | Facebook | Twitter | Instagram | YouTube | Spotify | Apple Music | Press contact

 
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Posted by on April 10, 2020 in Alternative

 

You can watch here the documentary “Italian Punk Hardcore 1980-1989: The movie”

Italian Punk Hardcore 1980-1989: The movie” is a 2015 documentary directed by Angelo Bitonto, Giorgio S. Senesi and Roberto Sivilia.

Featuring – 5° Braccio, Bedboys, Bloody Riot, Blue Vomit, Chain Reaction, Cheetah Chrome Motherfuckers, Chelsea Hotel, Contr-Azione, Crash Box, Declino, Dioxina, Espansione Urbana, Fall Out*, Hydra, I Refuse It!, Impact, Indigesti, Infezione, Irha, Kina, Kollettivo, Lager, Loggia P2, Nabat, Negazione, Peggio Punx, Putrid Fever, R.A.F. Punk, Rappresaglia, Raw Power, Reig, Rough , Stato Di Polizia, Stigma, Stigmathe, Stinky Rats, Tanx, Tiratura Limitata, Toxical, Traumatic, UDS , Uart Punk, Underage, Upset Noise, Wardogs, Warfare?, Wretched

Click CC for English Subtitles!

 
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Posted by on April 8, 2020 in Documentaries, punk rock

 

Cleopatra to release new Adoration Destroyed single

Adoration Destroyed exploded out of Austin, Texas with their critically acclaimed debut album “Ritual Damage” on Cleopatra Records in 2016.

AD’s “Ritual Deconstruction” EP followed in in 2017 as did extensive touring with the likes of Kanga, Ego Likeness and FIRES.

Now, Adoration Destroyed are releasing their long-awaited new single “You Should See Me in a Crown,” a surprising take on Billie Eilish‘s smash hit that also features a pair of new dark delights with “Blackout Again” and “Tonight.”

Cleopatra will release the single on April 23rd through all digital and streaming formats.

Adoration Destroyed is led by singing guitarist Erik Gustafson, who also writes, programs and produces, while moonlighting as a touring member of Grendel.

Adoration Destroyed performs live as a trio that features Ritchard F. Napierkowski on synths and percussionist Patrick Fears that has included a number of recent festival appearances including Mechanismus, Darkside of the Con and The Sanctuary Festival.

Available for pre-order HERE

 
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Posted by on April 8, 2020 in Electronic

 

You can watch here the documentary “Punk in Africa”

Today’s documentary is the story of the multiracial punk movement within the recent political and social upheavals experienced in three Southern African countries: South Africa, Mozambique and Zimbabwe.

Directed by Keith Jones (he directed in 2016 the documentary “Vinyl Generation”) and Deon Maas.

 
 

You can watch here the documentary about Klaus Nomi, “The Nomi Song”

I discovered today a link for “The Nomi Song” the only Klaus Nomi documentary available out there.

 

The documentary is directed by Andrew Horn.

Andrew Horn was born on September 16, 1952. He is known for his work on The Nomi Song (2004), Doomed Love (1984) and We Are Twisted Fucking Sister! (2014). He died on August 24, 2019 in Berlin, Germany.

Among the people that speak about Klaus Nomi is American singer, songwriter, musician, poet and artist Kristian Hoffman from NY, member of Mumps, The Swinging Madisons and Bleaker Street Incident bands that were active in late ’70s and through the ’80s.

Also Ann Magnuson, a performance artist and one-half of the founding members of the former psychedelic rock group Bongwater. The characters she has played before-the-camera include, David Bowie’s victim in the vampire film in “The Hunger” (1983), a cigarette girl in Susan Seidelman‘s independent film “Desperately Seeking Susan” (1985), Mel Gibson‘s greedy, money-driven ex-wife in “Tequila Sunrise”, a madam in “Tank Girl” and a real-estate agent in “Panic Room” (2002).

Storyline taken from IMDB – Written by George Darley

Having failed to break into professional opera in his native Germany (where, as an usher in West Berlin’s Deutsche Opera, he would serenade the staff after the ‘real’ performances were over) the diminutive Klaus Nomi headed for NYC in 1972. The vibrant New Wave/avant-garde gestalt of the mid/late ’70’s East Village proved to be fertile ground for the development of his unique talents. Working by day as a high-end pastry chef, Nomi began to stage his outlandish performances, first launching himself upon an unsuspecting public at the New Wave Vaudeville in 1978. The hip and cynical young audience was stunned by this weird combination of falsetto arias, booming classical orchestration, Kraftwerk-style electronica, futuristic costumes and outer space imagery. An odd assortment of artists, choreographers, designers, songwriters and musicians jumped on to the Nomi bandwagon and the phenomenon began to take off – first attracting thousands to South Manhattan events (including performances at the legendary Max’s Kansas City) and culminating in a recording contract with the French division of RCA. With the release ‘Klaus Nomi’ in 1981 and ‘Simple Man’ in 1982, it looked as if Nomi was on the verge of superstardom. Having established himself in Europe, he made a triumphant return to New York City. But Nomi’s moment of glory proved to be his swansong. Within only a few months Nomi had succumbed to the ravages of AIDS. One of the first celebrities to be killed by this mysterious new disease, Nomi died a lonely death, largely abandoned by those who had seen him as a passport to their own success. Today, the otherworldliness of ‘The Cold Song’ and ‘Dido’s Lament’ is like an ethereal voice calling from beyond the grave.

Enjoy the documentary here

 

Victor DeLorenzo – Tranceaphone EP (bFrecording, 19 March 2020)

Founding member of folk/punk icons Violent Femmes and artist extraordinaire Victor DeLorenzo presents his new Tranceaphone’ EP, a five-track offering full of intriguing fusion and fun. This is the first recording under his name Victor DeLorenzo since 2013 and his sixth release overall.

Best-known as drummer for Violent Femmes throughout the 1980s, DeLorenzo came into his own in the mid-’90s with a solo career. In the course of his career, DeLorenzo has also had the pleasure of being an actor, writer, audio engineer and producer. His acting career got an incredible launch when he replaced Willem Dafoe in the Milwaukee-based theater company Theatre X, when Willem left for stage and film brilliance in NYC and beyond.

DeLorenzo is also one-half of the chamber rock duo Nineteen Thirteen with cellist Janet Schiff, and was previously the drummer in Moe Tucker‘s band, which also included former Velvet Underground bandmate Sterling Morrison in the mid to late 90s.

“I wanted to write a collection of music that suggests a story, but doesn’t really lay anything out in a concrete way. A mystery of omission featuring a folk/art instrument as a good luck charm. Whatever happens to the maybe woman and man in this story is anybody’s guess, but the cadence of the lyrics against the musical thought intrigues me. It’s like listening to a film noir feature if pictures could sing,” says Victor DeLorenzo.

“The ‘Tranceaphone’ EP is lovingly based on the idea of multiple layers of drum choirs that sing out not only in time, but with joyfully implied melodies that bob and weave. After recording different drum systems, I then wrote music that could breathe within the improvised drum set structures. The bass parts are very important to the drum sounds on this Ep in the way the bass and drum parts help to create a sonic mystery of sorts for the vocals to hide in.”

DeLorenzo’s signature sound is a result of his minimalist drum set. He often uses nothing more than a snare drum, a tranceaphone and steel brushes. The tranceaphone consists of a metal bushel basket inverted over a tom. He favors this style of drum set because in their early days, The Femmes often played on the streets.

Originally from Racine, Wisconsin, DeLorenzo moved to Milwaukee after high school. An actor from the age of five and drummer from 16, he paired up with bassist Brian Ritchie in 1980 as a rhythm section they called ‘Violent Femmes’ and were eventually joined by singer, guitarist and songwriter Gordon Gano in 1981. DeLorenzo’s father loaned the band $10,000 to record their eponymous debut album in 1982, an album that was delayed until 1983 upon signing to Slash Records.

DeLorenzo continued to record and tour with the Femmes until 1993, when he left to devote more time to acting and to recording his own music. In 2000, he teamed up with Ritchie to put together a Femmes compilation, and subsequently rejoined the band until disbanding again in 2009. In March 2013, Gano, Ritchie and DeLorenzo reformed Violent Femmes once more and played a homecoming show at the Summerfest music festival in their native Milwaukee.

‘Tranceaphone’ was released on March 19 and is available digitally across key online stores and online streaming platforms, including Spotify and Apple Music.

CREDITS
Produced by Victor DeLorenzo
Recorded and Mixed by Victor DeLorenzo at The Past Office
Mastered by Justin Perkins at Mystery Room Mastering
Victor/Tranceaphone drawing by Carri Skoczek
Back Cover Photo by Michael Hoffmann
This is a bFrecording
c&p 2020 defendimusics bmi
‘Tranceaphone’ : Victor – Tranceaphone, Gretsch snare drum, Cymbal, Bass, Vocal; Mike Hoffmann – Electric Guitars, Vocal; Janet Schiff – Synth Strings
‘Lullaby’ : Victor – Vocal, Keyboards, Drumsets, Percussion; Janet – Cello, Keyboards, Bass; Mike – Electric Guitar
‘Invisible Shadows’ : Victor – Vocals, Bass, Keyboards, Drumsets, Percussion; Janet – Keyboards
‘Then Don’t Say A Word’ : Victor – Drumsets, Vocals, Keyboards; Janet – Bass, Synth Vocals, Keyboards
‘When She’s There’ : Victor – Vocals, Drumsets, Percussion, Keyboards; Monia – Vocal; Matt Meixner – Keyboards; Janet – Bass

Keep up with Victor DeLorenzo
Website | Twitter | Soundcloud | Instagram | Spotify | Apple Music | Booking | Press contact

 
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Posted by on April 5, 2020 in Rock

 

The Mystery Plan – Zsa Zsa (Ten Millimeter Omega Recordings 3 April 2020)

The Mystery Plan has released their single ‘Ballad of JC Quinn’ with accompanying video filmed by Jason Herring and edited by Jay Thomas. This beautifully foreshadows their fifth album ‘Zsa Zsa’, which will be released in early April via boutique label Ten Millimeter Omega Recordings.

Ahead of this, they presented the lead single following up their recently-released infectious Massive Attack-esque single Al Gore Rhythms’.

Produced by the legendary John Fryer and Jason Herring, this record also features such notable guests as Micah Gaugh (The Veldt / Apollo Heights), Ian Masters, That Guy Smitty and Snap Nation. This is not the first time The Mystery Plan has worked with Fryer, having previously collaborated on their fourth full-length release ‘Queensland Ballroom’, released in late 2017, and the ‘Electric Love’ single.

Based in Charlotte, NC, the band is comprised of Jason Herring, Amy Herring, Jeff Chester, Otis Hughes and Patty McLaughlin. Since forming in 2010, they’ve managed to release 10 EPs and LPs combined.

JC Quinn was an actor from NYC with many film and television credits, including “Barfly”, “the Abyss”, “Visionquest” and countless others. He moved to Charlotte in the late 1990s to be closer to his grandchildren. We met at a downtown watering hole called Cafe 521, owned and operated by his good friend from New York, Peter Herrero. That’s where I met JC, along with many other actors, such as Leonardo DiCaprio, Bernadette Peters, etc.. They would always stop at the café when in town to visit their good friend Peter,” says Jason Herring.

“JC and I struck up a nice friendship. He was a fan of ours and would come to shows and stand right up front so we could see him. A very lovely man indeed. Sadly, JC died in Mexico while shooting a film a few years ago. I’ve always wanted to pay tribute to him, and we have finally done so with this song. The lyrics are a blend of what we would do with him now if he were still here, and iconic lines from some of his films.”

‘Zsa Zsa’ was recorded at Catalyst Recording and various local studios over a 2+ year stretch following a number of Southeast U.S. tours in promotion of the band’s ‘Queensland Ballroom’ album. This new record touches of several different styles – everything from deep mellow shoegaze and folky ambient to upbeat dancable trip-hop and electronica.

‘Zsa Zsa’ finds the quintet moving further afield of its earlier psych-folk leaning to land on something more akin to the down-tempo approach of Portishead and Zero 7, mixed with early 4AD action. That later is in no small part due to the return of band collaborator, producer John Fryer (too many A-list credits to list here), and new Mystery Plan friend Ian    Masters, former bassist-vocalist of influential British shoegazers Pale Saints.

As of March 6, ‘Ballad of JC Quinn’ is available digitally across streaming platforms, including Spotify. The full ‘Zsa Za’ album will be released on April 3, both on CD and digitally. It can be ordered directly from the band via Bandcamp.

SINGLE CREDITS
Written by Jason Herring and Amy Herring
Produced and mixed by Jason Herring and Rob Tavaglione at Catalyst Recording, Charlotte.
Vocals by Amy Herring and Patty McLaughlin
Bass by Otis Hughes
Drums/percussion by Jefferson Chester
Guitars/keyboards/programming by Jason Herring
Lap-steel guitars by Peter McCranie
Cover art by Clear Design
Band photography by Daniel Coston

TRACK LIST
1.  Those Stars
2.  We All Get Down
3.  Al Gore Rhythms
4.  Ballad of JC Quinn
5.  Lolaphone
6.  Bonny
7.  Long Way To Heaven
8.  Sweet Tart
9.  Electric Love
10 We All Get Down (Rob Tavaglione mix)
11 Distant Sirens

Keep up with The Mystery Plan
Facebook | Label FB | Twitter | Soundcloud | Spotify | YouTube | Reverbnation | Press contact

 
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Posted by on April 2, 2020 in Alternative