InsideOutMusic are set to release the self-titled debut album from Philadelphia- duo Rise Twain on September 6th, 2019. The union of Brett William Kull (producer, audio engineer, and member of Echolyn, Grey Eye Glances, and Francis Dunnery’s New Progressives) and J.D. Beck (The Scenic Route, Beck-Fields, author & playwright) bring their collective years of direct and varied experience in writing, performing and recording music together for their impressive debut.
Today they launch the 3rd single, and final preview track, titled ‘Oh This Life’ and you can listen to it now here:
The band comments: “Sometimes a complete song appears and is constructed as if it was always here; the songwriter just a conduit to allow its declaration into being.
“Oh This Life” is a song at our most immediate – available to intimate observation, confession, and creativity.”
The track-listing is as follows:
1. Everspring 2. Golden 3. The Range 4. Lit Up 5. Death of Summer 6. Oh This Life 7. Prayers 8. Falling Skies 9. Into A Dream 10. That Is Love
The album is also now available to pre-order on Limited CD Digipak, 180g Black Vinyl LP + CD & as digital album here: https://risetwain.lnk.to/RiseTwain
Talking of how the duo came together: “I produced an album for J.D.’s original band, The Scenic Route”, says Kull, describing his first meeting with Beck in 2007. “They were a rocky, progressive kind of band, like a Jeff Buckley kind of thing. I was immediately drawn to his vocals. He’s such a strong singer.” Kull says he and Beck immediately hit it off, what he describes as an “inevitable connection.”
Adds Beck, “I just knew I had to work with Brett on a higher level. When I came in to cut the vocals on the Scenic Route album, the way we worked together…some people you just gel with, and then some people you have a barrier with. Brett and I gelled.” They spoke of one day collaborating on their own project, which finally surfaces as Rise Twain.
Discussing the album’s musical direction, Beck notes, “There’s not a typical structural theme that we use over and over and over. ‘Organic’ is a word that comes to mind. Seeking openness through simplicity and allowing the complexity of music to exist without the necessity of overly packing it or overly processing it. With that we were able to achieve such a broad spectrum of sound, and a colossal sense of its existence, without having to have a billion guitars and a billion things put over top. There’s some colouring with strings and other embellishments, but it really is something very simple and stripped down, and it’s awesome.”
Kull adds, “There’s a lot of complexity in this, but it’s not overt in the least bit. But yet, when you get into it, there’s all this really rich harmonic and dynamic stuff going on.”
RISE TWAIN are: J.D. Beck: Piano, lead and backing vocals Brett William Kull: Guitars, bass, keys, percussion, lead and backing vocals
“65daysofstatic have always been a band unafraid to take on wildly ambitious projects” – The Independent
“A band more than well-versed in creating bold, beautiful music that often feels like the universe collapsing or a new day rising” – The Line Of Best Fit
“The music of 65daysofstatic has always sounded vast and out of this world” – NME Magazine
On September 27th, Sheffield-based experimental stalwarts 65daysofstaticrelease their anticipated, expansive new album replicr, 2019 via Superball Music. This immersive album highlights a continuation from previous releases and a constant evolution which has been evident since their formation.
Today they launch the video for the new single “trackerplatz“, the second track taken from ‘replicr, 2019’.
The band comments of the track: “Back in January, in a remote studio that would have been buried under snow had we not have collectively killed snow’s ability to thrive in the 21st century, the four of us were huddled around a warm mixing desk trying to stop Trackerplatz from falling apart. More than one song had already been unceremoniously left in the dirt whilst recording replicr, 2019. It’s always that way with us when trying to make records. We go into it expecting one thing but as soon as we manage to bring it to life it starts behaving oddly and there’s only so much we can do to keep it all hanging together. Trackerplatz we were all particularly fond of though. We really wanted it to survive.
At the last possible minute, on the cusp of us throwing the entire song into the memory hole, the song was saved by a 1998 Akai S2000 digital sampler. In the earliest days of 65, this sampler travelled with us in vans up and down the country and then around Europe. More recently it sat, lonely, in the corner of a rehearsal room, its circuits getting coated in dust and melancholy.
At 65’s darkest hour, the sampler chugged its way back to life and offered up a 16bit sine wave embued with a decade of sadness. We threw out the overwrought polyrhythmic piano tracks, replaced them with the sampler’s plaintive yearning for its lost younger years, and out of nowhere the song bloomed into the end piece of our new record.”
For a decade, 65daysofstatic could generally be found on the peripheries of any scene trying to claim them, headed in the opposite direction. From their immediately recognisable aesthetic of glitches and urgent guitars of 2004 debut ‘The Fall of Math’, the band’s sound evolved via techno, post-rock, drum’n’bass, math rock, IDM, drone, breakcore, film scores and their self-proclaimed “dustpunk”, clattering into the colossal, widescreen noise sculptures of 2013’s ‘Wild Light’. In 2016, they released their critically-acclaimed score for ‘No Man’s Sky’, the most anticipated game in the world at that time. Their generative, infinitely long, in-game score was experienced uniquely by each of the game’s millions of players.
This crash course in algorithmic music led to the band building their own procedural musical systems and generative soundscapes, crafting custom synths, live coding and writing software to make music for (and against) them. This new way of working they called “Decomposition Theory” — decomposing from the infinite possibilities their systems churned out instead of composing from the ground up, a dialectic between the band and their machines.
From the eventual smouldering wreckage of their broken software systems and entropic algorithms, the band realised their next record needed to be the opposite. An album born from the debris, but stripped down to its most focussed, intentional form.
replicr, 2019 is the album carved from the wreckage. Forty two minutes of dread. A record that stares head on into the abyssal futures of late capitalism and refuses to blink. A melancholic, tireless soundtrack of acceleration. A feeling of frayed-nerved, time-smudged, light-speed drifting through cities built upon cities. Neon seen through rain-riddled windowpanes. replicr, 2019 is a stark, angular, stripped back slab of focussed noise. It wastes no time because there is no time left to waste.
Opener pretext immediately lays out 65’s intent, a collage of apprehension assembled from a palimpsest of worn out tape hiss, the downsampled entropy of rusted hulks in a forgotten harbour, the pulse of a perpetual machine in decline.
Out of this unease explodes stillstellung’s furious heartbeat. Presumably this places us somewhere between Walter Benjamin’s ‘The Work of Art in the Age of Mechanical Reproduction’, emphasised by the music’s repetition, and his ‘On the Concept of History’ in which the stillstellung describes a frozen moment, a slice of time in which all understanding of what has gone before can manifest. A kind of historical materialist music then, a title that speaks to the politics weaved throughout this record, never explicit but made clear through its relentless re-cataloguing of multiple musical histories, its interrogations of failed futures.
Despite its title, bad age reveals the utopian impulse that drives 65 to push through their bleak strategies in the hope of getting somewhere better, as obscure time signatures, micro-tuned synths and bastardized guitars become immediately accessible, even hummable. A reminder that 65daysofstatic never knowingly wear their obscurity with pride but rather strive for music that is inclusive, human, inviting and yet always pushing towards the new.
If bad age is the search for better futures then sister is locked in the grim now, with dusk coming on. Having “2019” in the album title is a deliberate choice by the band. As drummer Rob Jones explains: “This was supposed to be the future, but that future got cancelled. History is moving but it’s got nowhere to go. It’s piling up all around us. That’s what this record is about. This atemporality is an illusion, it’s the cultural logic of late capitalism, consuming everything faster and faster, each artefact a more diluted replica of the last. Even the idea that ‘pop will eat itself’ is eating itself. We need to find a way out.”
The year in the title pins the record down, a marker in history, a lighthouse in an exponential typhoon of blind progress.
Album closer trackerplatz begins with a plaintive 16bit sine wave, a blunt distress signal cutting through the fog. A swarm of distortion rises but gone is the bombast of previous 65 outings. As the song’s spare, angular form lifts into noise and its last careful message gets lost in the storm of static, it never quite tips over into oblivion. It suggests that maybe 65daysofstatic haven’t reached the end yet.
Maybe there’s a future to be found after all.
Tracklist: 1. pretext 2. stillstellung 3. d|| tl | | | 4. bad age 5. 05|| | 1| 6. sister 7. grv—_s 8. popular beats 9. five waves 10. interference_1 11. lid 12. z03 13. u| || | th | r| d 14. trackerplatz
German instrumental-rock group LONG DISTANCE CALLING are pleased to announce their first ever live album ‘STUMMFILM – Live from Hamburg (A Seats & Sounds Show)’, scheduled for release on November 1st, 2019 through InsideOutMusic. Filmed during a special run of dates in early 2019, it saw the band performing seated shows in some very special locations for a stunning experience.
The band comments: “We are happy to unveil our first ever live album ‘STUMMFILM – Live From Hamburg’ which we recorded on the ‘Seats & Sounds’ tour earlier this year. After more than ten years on the road, we felt it’s more than about time to do a proper live album. We are very satisfied with the result, a lot of atmosphere, energy as well as some nice surprises have been captured at Kulturkirche Altona in Hamburg. We can’t wait to share this beautiful experience with you! Love LDC”
To celebrate the announcement, the band have launched a live clip of the track ‘Black Paper Planes’, and you can watch that here:
‘STUMMFILM – Live from Hamburg (A Seats & Sounds Show)’ will be available as a limited edition Blu-Ray + 2CD, Gatefold 3LP Vinyl & as digital audio download.
The full track-listing is as follows:
1. Into The Black Wide Open 2. The Very Last Day 3. In The Clouds 4. Like A River 5. On The Verge 6. Interlude 7. Out There 8. Apparitions 9. Black Paper Planes 10. 359° 11. I Know You, Stanley Milgram! 12. Sundown Highway 13. Flux 14. Metulsky Curse Revisited
For 13 years now, the Münster-based four-piece Long Distance Calling has been famed and cherished for its weightless yet massive music. After having returned to their instrumental roots Long Distance Calling sat down to carefully ponder their next step. When they got up again, they were ready for their most extraordinary live undertaking yet: Aptly entitled “Seats & Sounds”, this string of concerts saw Long Distance Calling take to the stage in very special locations in front on a seated audience.
The band took the matter almost religiously and went to great lengths in pulling off their most daring effort. “We wanted to go one step further, highlighting the audio-visual quality of the band for the very first time”, the band states, referring to the phalanx of video screens and specially curated visuals corresponding to each song.
One of those rare performances, the one at the Kulturkirche Altona in Hamburg, was captured on film and tape and is now being released. More an elegant silent film (visually speaking) than an ordinary live video, Long Distance Calling deliver a stunning performance in two acts: A “normal” Long Distance Calling set with songs from all their albums, and a special ‘Avoid the Light’ set, performing the dramatic album almost in its entirety. “This is one of the most important releases of our entire career”, the band continues, “and playing it felt like time travel.”
Meticulously prepared and rehearsed, this is Long Distance Calling on another level. Backed by guest musicians Luca Gilles on cello and Aaron Schrade on percussion and electronic beats, the experimental rock veterans show their grandeur in cinemascope – elaborately filmed and monumentally staged. In the end, Janosch Rathmer (drums), Jan Hoffmann (bass), Florian Füntmann (guitar) and David Jordan (guitar) not only played their biggest Hamburg headlining show; they also peaked their stellar career.
On October 4th, 2019, Finnish melodic death metal masters INSOMNIUM are going to release their new album “HEART LIKE A GRAVE” via Century Media Records worldwide.
The impressive video was shot by Vesa Ranta and Aapo Lahtela of Kaira Films, who shot two videos in the same session with the band in the beginning of summer. These two videos are bound together, so they form one longer story.
The band comments: ”When the album theme is to dive deep into the black waters of Finnish melancholy, then Vesa Ranta is truly the right man to visualize the story. Album booklet is crafted from Vesa’s epic landscape photos and these same themes continue in the two videos that we shot at Koli national park. Woods and lakes, sorrow and longing. That’s the heart of Insomnium.” (INSOMNIUM)
”Insomnium is one of those bands that have been inspiring us. We have wanted to work with them for long time.Valediction is the beginning that sets the mood and presents the characters. The story will unfold in the next music video that will be released later. And as the album theme demands this tale here is grim indeed” (RANTA & LAHTELA)
Pre – order your copy of “Heart Like A Grave” HERE (https://insomnium.lnk.to/HeartLikeAGrave). The following formats are available: Ltd. Deluxe 2CD Artbook Standard CD Jewelcase Gatefold black 2LP+CD Gatefold white 2LP+CD Gatefold transp. magenta 2LP+CD Gatefold silver 2LP+CD Gatefold transp. sun yellow 2LP+CD Gatefold transp. blue 2LP+CD Gatefold golden 2LP+CD Gatefold lilac 2LP+CD Gatefold red 2LP+CD
INSOMNIUM will play a few selected Finnish shows to celebrate “Heart Like A Grave” 25.10. The Circus, Helsinki 26.10. Olympia, Tampere (SOLD OUT!) 01.11. Lutakko, Jyväskylä 02.11. Kerubi, Joensuu
In November INSOMNIUM will embark on a European tour with Black Dahlia Murder to support the new album. See the exact dates below:
METAL HAMMER, EMP, BANDBOND, MUSIX and METAL.DE present:
TOUR LIKE A GRAVE 2019 INSOMNIUM THE BLACK DAHLIA MURDER STAM1NA (*)
Also, don’t miss INSOMNIUM on their US tour with Omnium Gatherum and Sevenspires:
03/12/2020 Philadelphia, PA 03/13/2020 New York, NY 03/14/2020 Worcester, MA 03/15/2020 Montreal, QUE 03/16/2020 Sherbrooke, QUE 03/17/2020 Quebec City, QUE 03/18/2020 Toronto, ONT 03/20/2020 Newport, KY 03/21/2020 Milwaukee, WI 03/22/2020 Joliet, IL 03/23/2020 St. Paul, MN 03/24/2020 Winnipeg, MB 03/25/2020 Regina, SK 03/26/2020 Edmonton, AB 03/27/2020 Calgary, AB 03/28/2020 Vancouver, BC 03/29/2020 Seattle, WA 03/31/2020 Oakland, CA 04/01/2020 West Hollywood, CA 04/02/2020 San Diego, CA 04/03/2020 Santa Ana, CA 04/04/2020 Tempe, AZ 04/05/2020 Las Vegas, NV 04/06/2020 Salt Lake City, UT 04/07/2020 Denver, CO 04/09/2020 Dallas, TX 04/10/2020 Austin, TX 04/11/2020 Houston, TX 04/13/2020 Tampa, FL 04/14/2020 Margate, FL 04/15/2020 Orlando, FL 04/16/2020 Atlanta, GA 04/17/2020 Chapel Hill, NC 04/18/2020 Halethorpe, MD
INSOMNIUM line-up Markus Hirvonen – Drums Ville Friman – Guitars and vocals Niilo Sevänen – Vocals and bass Markus Vanhala – Guitars Jani Liimatainen – Guitars and vocals
About the song Reptilarium Reptilarium is a song about the darkest part of us and the hidden violence in our homes. We made this video with the kind help of choreographer Maria De Liberato and dancers Rossella Taraborrelli and Sara Bruscino.
Reptilarium is the 4th, track from the bands 2018 release “An Gorta Mór” ifsounds are an Italian Art Rock band
Release Date: August 27th, 2018 Format:CD & Digital Packaging: Jewel Case with 12-page color booklet
Songs Titles: 01. Mediterranean Floor (06:34) 02. Techno Guru (02:17) 03. Violet (04:07) 04. Reptilarium (04:51) 05. An Gorta Mór (22:00 I.Emerald Island II.Phytophthora infestans III. Bridget O’Donnell IV The Great Famine V. Doolough Lake VI. The Docks of Limerick VII. Regina Oceani VIII. Long cónra IX. Ghosts in America
Guests: Lino Giugliano – Keyboards and synths on “Reptilarium”, “The Great Famine” and “Doolough Lake”. Matteo Colombo – Violin on “Emerald Island” and “The Docks of Limerick”. Vincenzo Cervelli – Lead Vocals on “The Docks of Limerick”, Backing Vocals on “Ghosts in America”. Alessandra Santovito – Lead Vocals on “Regina Oceani”. Francesco Forgione – Bhodrán on “The Docks of Limerick”. Marco Grossi – Backing Vocals on “Ghosts in America”. Arranged by ifsounds.
Album Notes Lyrics and Music by Dario Lastella. Produced by Dario Lastella. in Italy Mastered by Steve Kitch in England Sleeve design by Fabienne Di Girolamo: http://fabiennedigirolamo.com “An GortaMór” was produced, recorded and mixed in Molise, Italy between October 2017 through May 2018.
Calgary-based hard rock quintet KOBRA AND THE LOTUS have returned with their new studio album ‘Evolution‘, which will get a September 20th release on Napalm Records.The upcoming LP sees the band imbued with a new fire that comes through by way of undeniable hooks, soaring guitar riffs, marching drum beats, and the soulful, bombastic vocal delivery of lead singer Kobra Paige. No longer bound by old formulas and expectations from the past, ‘Evolution‘ comes through with a sound that is expansive and, at times, borders on outright swagger. Each song feels like an Active Rock hit in the making, while still having the grit and feverish intensity that longtime fans have come to admire from Kobra and the Lotus.
Fans can now enjoy the first offering from ‘Evolution‘. The band has dropped their music video for the new single “Burn!”
‘Evolution‘ boasts the band’s most cohesive and confident material to date. For the new record, Kobra and the Lotus enlisted the services of producer Michael “Elvis” Baskette[Alter Bridge, Linkin Park, Slash, Sevendust]. “The new body of work sets the tone for the music going forward. Sonically, it’s still heavy. It highlights the showmanship and maintains the edge. At the same time, it’s approachable. It pays tribute to our influences, but it takes the next step. So, it’s a reintroduction to us and a rebirth. A firm goal was to build a strong identity and update everything. We just want to be Kobra and the Lotus; that’s what we’re doing.
The first single, “Burn!” ignites this chapter. A hummable riff snaps into a visceral verse as the frontwoman directly declares, “I really hate you, yes I do.” The track builds towards an incendiary and infectious chorus, hinging on a seesawing guttural groove and hitting like a sledgehammer. “It’s about all of the reasons you hold yourself back,” she explains. “You literally need to burn all of those feelings, stories, excuses, and obstacles keeping you from being your own authentic self. It’s super personal. It’s a product of growing and arriving as a person. I’m realizing who I am. It’s symbolic of the rebirth,” says Kobra.
KOBRA AND THE LOUTS – ‘Evolution’ Tracklist 1. Evolution 2. Burn! 3. We Come Undone 4. Wounds 5. Thundersmith6. Circus 7. Wash Away 8. Liar 9. Get The F*ck Out Of Here 10. In The End 11. Tokyo (Japan Version Only)
Going further into the process behind ‘Evolution,’ Kobra comments, “We’ve never done a record like ‘Evolution.’ We’ve flown demos over the internet back and forth or started a few ideas prior to hitting the studio. This time, we were all working together in the flesh for the full duration of the writing process. It’s a collision of everything we love. We feel like it’s the freshest and most timeless thing we’ve brought to the table.”
In addition to the release of their new record, Kobra and the Lotus will hit the road starting next month. The trek kicks off on August 29th in Nashville, TN and concludes on November 1st in Ft. Myers, FL.
KOBRA AND THE LOTUS On Tour :8/29: Nashville, TN @ Mercy Lounge 8/31: Charlotte, NC @ Amos’ Southend 9/2: Huntsville, AL @ Sidetracks Music Hall 9/3: Columbus, OH @ Skully’s Music Diner 9/4: Lakewood, OH @ Phantasy 9/5: Rochester, NY @ Montage Music Hall* 9/6: Stafford Springs, CT @ Stafford Palace Theater 9/9: Laconia, NH @ Granite State Music Hall 9/10: Hampton Beach, NH @ Wally’s 9/11: Portland, ME @ Aura 9/13: Harrison, OH @ The Blue Note 9/14: Flint, MI @ The Machine Shop 9/15: Grand Rapids, MI @ The Intersection 9/18: Kansasville, WI @ 1175 Sports Park & Eatery 9/19: St. Louis, MO @ Delmar Hall9/20: Lombard, IL @ Brauer House 9/22: Lexington, KY @ Manchester Music Hall 9/25: New York, NY @ Sony Hall 9/26: Harrisburg, PA @ Club XL Live 9/27: Lynchburg, VA @ Phase 29/29: Warrendale, PA @ Jergel’s Rhythm Grill 10/1: Atlanta, GA @ Variety Playhouse 10/3: Wichita, KS @ Wave – Indoor Stage 10/5: Golden, CO @ Dirty Dogs Roadhouse 10/6: Albuquerque, NM @ Sunshine Theater10/9: Las Vegas, NV @ Bunkhouse* 10/10: Ramona, CA @ Ramona Mainstage 10/11: Los Angeles, CA @ The Whisky 10/12: Los Angeles, CA @ The Whisky 10/16: Tucson, AZ @ Encore 10/17: Roswell, NM @ The Liberty* 10/18: Oklahoma City, OK @ Diamond Ballroom 10/19: Waco, TX @ The Backyard 10/20: Dallas, TX @ Gas Monkey Bar & Grill 10/22: Houston, TX @ House of Blues 10/23: San Antonio, TX @ The Aztec Theater 10/24: Corpus Christi, TX @ House of Rock 10/25: Lafayette, LA @ The District 10/26: Miramar Beach, FL @ Village Door Music Hall 10/30: Orlando, FL @ Hard Rock Live 10/31: Savannah, GA @ Victory North 11/1: Ft. Myers, FL @ The Ranch *KOBRA AND THE LOTUS HEADLINE
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