Pharmakos announces album + shares single

 

Pharmakos is proud to announce the release of his new LP, Nude. He recently shared a stream of single, “Only Child”, off the album. Pharmakos is the solo project of Dallas’ musician Cole Garner Hill. The album explores the depths of personal anxiety and mental health through experimental rock. Nude will be available digitally and on a limited run of cassettes via Pour le corps records on April 15th. Check out a stream of the single and full album details below.

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Bart Davenport shares video for “Dust In The Circuits,” starring Nedelle Torrisi

 

“Likeable within five seconds of hitting your ears.” -  Pitchfork

“Bart Davenport has found his place as a pop artist well versed in ’80s classics.” - FILTER Magazine
California-based pop maestro Bart Davenport recently released his latest musical offering ‘Physical World‘ via Lovemonk (digital / vinyl) and Burger Records (cassette).

Today he releases the music video for “Dust In The Circuits.” Set at a dance party in the hills of Los Angeles, the video depicts the struggles of modern dating. Directed by Cassandra Lee Hamilton, the video stars LA-musician Nedelle Torrisi as Bart’s love interest. Watch the video on BULLETT.

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Introducing: White Reaper

 


From the increasingly fertile DIY scene of Louisville, KY, emerges White Reaper – an incandescent power trio who is ready and willing to blow out eardrums far and wide.


The band – formed by Tony Esposito (vocals/guitar) and twin brothers Nick (drums) and Sam Wilkerson (bass) — combines sparkling hooks and fluid, fluttering rhythms to create psychedelia-tinged garage punk that make heads bob without sacrificing an ounce of sonic bite.

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SoftSpot shares video for “Pickup Lines,” new album out now

 

This week marks the release of Brooklyn trio SoftSpot’s sophomore album MASS. The album is now available to purchase digitally on iTunes and on vinyl via Bandcamp.

Today the band shares the music video for “Pickup Lines.” The video was directed by and stars Softspot’s Sarah Kinlaw. Shot guerilla-style at a shopping mall, various department stores and parking lots, the video is a playful exploration of alienation in the mundane landscape of corporate America. Stream the video over at Noisey.
SoftSpot will play two shows in New York this month before embarking on a full US tour in May. Full tour dates listed below.

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Dais Records releases Thee Majesty (Genesis P-Orridge / Bryin Dall) Live LP

 

 

For the past 20 years, the elusive collaboration between Genesis Breyer P-Orridge (Throbbing Gristle / Psychic TV / COUM Transmissions) and Bryin Dall (Hirsute Pursuit / A Murder of Angels) has taken on various members and formations over the years, always keeping a steady focus on it’s balancing act of ambient sound and cryptic verse.  Considered by most to be P-Orridge’s “sound poetry” accompanied by Bryin Dall’s unusual instrumentation backdrops, recordings of this project has been selectively sparse with only a handful of rare performances to create evidence for its existence.  This unique live document captures Thee Majesty at its most flexible, changing up tone and structure at a moments notice and harmonizing the abstract poetry of P-Orridge’s obtuse wordplay and apocalyptic banter and Dall’s meditative and complex drones.  Recorded live in 1999 at the famed Pezner Theater in Villeurbanne, France.  Featuring a guest appearance by legendary instrumentalist Mark Cunningham of No-Wave pioneers Mars and John Gavanti.

Limited to 300 vinyl copies with reminiscent liners by Bryin Dall.


 

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Pharmakon covers “Bang Bang” for upcoming RSD 12″, stream it on NPR

 

 

 

Sacred Bones is pleased to present the fourth volume of our annual Record Store Day vinyl compilation,Todo Muere. This year’s edition features eight tracks from a wide variety of roster artists, each one new or previously unreleased on any physical format. The first track is “Lonely Richard” by Amen Dunes, a hazy cut from the band’s forthcoming LP, Love. That song is followed by a recording of Zola Jesus’ “Vessel” taken from the sessions for last year’s Versions, the string quartet album she made with the composer J.G. Thirlwell (Foetus). Side A is rounded out by “And Light Shines,” a David Lynch song from The Big Dream sessions that was previously unavailable outside of Japan, and Marissa Nadler’s spare, haunting take on the Nick Cave & the Bad Seeds track “The Kindness of Strangers.”

Also featured on the compilation is Pop. 1280 with the newly recorded track “Kingdom Come.”Föllakzoid’s Domingo Garcia-Huidobro contributes a new minimal techno remix of his band’s “Pulsar” for the penultimate track on the collection, and “Illume” from Lust for Youth’s forthcoming LP shows the band moving completely out of coldwave into far warmer territory, even adding guitars to the mix.

Side B of Todo Muere, Vol. 4 kicks off with a bang though – two, in fact. Pharmakon’s cover of “Bang Bang,” the great song written by Sonny Bono for Cher and popularized by Nancy Sinatra, is a sharp cold-water shock that shows a side of Margaret Chardiet that may surprise fans of last year’s AbandonLP. You can stream it right now via NPR (find the link below). Like the three volumes that preceded it, Todo Muere Vol. 4’s track listing is as eclectic as the Sacred Bones roster itself, and for longtime followers and new fans alike, it serves as a snapshot of where the label is in 2014.

This 12″ will be a one-time pressing of 1,500 copies exclusively for Record Store Day 2014

 

PHARMAKON TOUR DATES

  • Apr 10, 2014: New York, NY, Irving Plaza (w/ Godflesh, Cut Hands)
  • Apr 11, 2014: Philadelphia, PA, Theatre of the Living Arts (w/ Godflesh, Cut Hands)
  • Apr 13, 2014: Boston, MA, Royale (w/ Godflesh, Cut Hands)
  • Apr 14, 2014: Providence, RI, Dungeon C (w/ Work/Death, Humanbeast, Cottaging, Brown Recluse Alpha)
  • May 13, 2014: Portland, OR, Mississippi Studios
  • May 14, 2014: San Francisco, CA, The Knockout
  • May 15, 2014: Los Angeles, CA, The Church on York (w/ The Haxan Cloak)

 

Dais Records presents Chris Brokaw (Codeine, Come) “Now, Forager” original score LP

Chris Brokaw’s resume over the past 25 years reads like a “who’s who” of indie rock alumni. Starting as the founding member of Codeine and followed up by fronting rock mainstay Come, Brokaw has established himself as a renaissance man of songwriting. Collaborating with Liz Phair, John McEntire (Tortoise), Rhys Chatham, Evan Dando, Glenn Jones, Thurston Moore and even a brief stint with GG Allin, it is sometimes easier to list who Chris Brokaw hasn’t played with rather than everyone who has crossed his path. After his time with Come, Brokaw lent his talents to bands such as Pullman, Consonant and The New Year…constantly evolving and changing his pace and rhythm. Nowadays, Brokaw stays booked by a constant tour schedule and his duties with Dirtmusic alongside Hugo Race (of Nick Cave & The Bad Seeds fame).

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Odonis Odonis share new track + video “Order In The Court,” announce tour dates

Toronto’s Odonis Odonis is not the sort of band that can be easily pigeonholed. Their forthcoming album ‘Hard Boiled Soft Boiled’ (out April 15 on Buzz Records) is split in two distinct halves – the first contains their unique brand of industrial noise rock, the second showcases their dreamier, more melodic side.

Their newest offering “Order In the Court” shows the band at their most abrasive.

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Lust For Youth announces “International” LP + new track, remixes EP feat. Silent Servant, Chelsea Wolfe + more

Sacred Bones Records is proud to present International, The third full length LP from Copenhagen’s Lust For Youth. To put it bluntly, International is unrecognizable as a Lust For Youth record on first listen. Hannes Norrvide’s previous solo albums under the Lust for Youth moniker have been described as “dark, cold, atonal, tormented, lonely, and lower than lo-fi.” The approach on International has shifted dramati- cally. Writing as a three-piece now, with longtime live collaborator Loke Rahbek and new band member Malthe Fisher, who produces and plays guitar, LFY have entered a completely new territory. The result is stunning. International is a buoyant synth masterpiece in the vein of early Depeche Mode, Pet Shop Boys and New Order. Norrvide’s work has always had pop sensibilities buried deep in the reverb, but the hooks are front and center on International, and there is nothing lo-fi about it.

That is not to say the record is without substance. There are still some deeply introspective moments as well, notably the instrumental passages “Ultras” and “Basorexia,” which evoke the morning-after loneliness that a lot of earlier Lust For Youth work has explored. According to Rahbek, “the record sort of happened by chance. Hannes and I had talked about recording some stuff together for the fun of it, and Malthe offered to help us record. Initially, we were just going to do a song or two, but within a few weeks it was obvious that it was a combination that worked. The period was strange, terrible things happened in everyone’s life outside of the studio, so as a result many hours were spent in the studio, like a safe zone.”

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Live Review: The Space Lady w/Angels of Aumsphere (Mar. 21, 2014, Complex, Glendale, CA)

I’m clinging to an unsympathetic cold stone wall as a frenzied barback coaxes a crowd of us from a hallway infested with revelers to concrete floor seating in a bath of electric blue light that less illuminates but more separates the super group taking the stage. Leg falling asleep on unforgiving concrete with a brimming crowd behind me – it’s as good a place for a religious experience as any. Angels of Aumsphere centers on a cryptic triptych choir of Mira Billotte (White Magic), Nora Keyes (Roco Jet, The Centimeters, Fancy Space People), and Diva Dompe (Black Black, Pocahaunted) backed by Don Bolles (Germs, Fancy Space People – let’s face it, it would take less space to list the bands he hasn’t been in), Jimi Cabeza de Vaca (Roco Jet, Red Cortez) and Ron Rege, Jr. (Lavender Diamond) so they’ve already got their fair share of zealots crowded in anticipation. Mounted glittering eyes with emerald pyramid irises scrutinize the audience from atop each of the siren’s heads as they take their places amidst a swirling of robes and relax into a nest of wires and synthesizers.

I can’t say for sure that it happened at 11:11 but give or take a minute from the time when wishes are cast with a little more confidence, Angels of Aumsphere penetrated that segregating blue light like automaton apostles sent to deliver a message too ornate for us to fully absorb, but instead fall swooning into its soothing beauty.  It’s as if a cloud of angels, ethereal and effervescing, has supernovaed on a different frequency and trace amounts of that energy are seeping into our dimension. While voices echo like lullabies from future times and warble with a majesty both natural and supernatural, beats forge onward minimally but insistently, synths careen in arpeggiations that must be the sounds of the machines of the gods, and bass lines are delivered with psychedelic sensibilities often admired but rarely demonstrated. Their gospel delves into cavernous depths, crystalline and aquatic, pearl harmonies softly fading into gleaming melody as silver structures collapse and find themselves reborn as the idols of their religion. Evergreen cords of gentle guitar accentuate the point in which lush green stalks push through permafrost in search of the evoking vocals of the seraphim before us. But like any true religious experience, Angels of Aumsphere aren’t here to give us answers but rather to invoke our faith. They appear and before we fully realize them they are gone and Catholic priests are pushing through the crowd, ready to confirm whether or not we just witnessed a true miracle, as if we need them to tell us.

We’re given a few minutes intermission before the Space Lady takes the stage, smiling warmly beneath her Hermes helmet with its blinking red guiding light. This is her first touring appearance in live venues but she takes the stage like a veteran, truly in her element and warmly nurturing the riveted crowd. Yet, there is that obvious space between us, that segregation embodied by that hazy electric blue light during Angels of Aumsphere’s performance, but this time it’s not the light – it’s the awed reverence and respect that create a brief gulf between us and the Space Lady.  It’s almost definitely that blinking red light, but as I watch her fluidly coast through gentle yet agile synth covers of The Electric Prunes’ “I Had Too Much to Dream Last Night”, Peter Schilling’s “Major Tom” and John Lennon’s “Imagine”, I feel like I’m in a mob of mystified and astonished spectators at the birth of aviation, watching an unfamiliar machine on the first successful flight in history, despite the metal and rivets. She is engaging and human, yet somewhere in those synth covers we find that same magic that made stop motion Christmas specials so warm and yet so alien. At the merch booth, her husband takes each opportunity (the few afforded when someone’s not actually queued to buy a record) to sing along, especially at the point where she covers one of his songs. There’s a smile on every face and the air is abuzz with admiration and excitement. And that electricity pulses on long after the Space Lady has returned to a star that may be ages away but looks close enough to touch.

-Seth Styles