NO TRIGGER (usa – Bird Attack / No Sleep / Mightier Than Sword / Nitro / Bigmouth) www.birdattackrecords.bandcamp.com/album/adult-braces
NO TRIGGER have been around since the year 2000, pumping out melodic punk/hardcore songs slowly but surely every 4 or 5 years. Five long years have now passed since their last LP ‚Tycoon‘ came out in 2012, so the boys just recorded a brand new 4-song 12″ titled ‚Adult Braces‘, and it is unquestionably their greatest material to date. The album is everything fans have been waiting for: catchy as hell, flawlessly executed, and filled with hits. This album consists of 4 singles. 4 goddamn hits. 4 fucking earth-shattering smash hits. 4 number one mega-hit singles, all tied for number one. The next song on the charts would be number five. It would be these 4 songs tied as number one, then song number five. Then song number six.
Recorded with Jay Maas in Haverhill, MA and mixed/mastered with Jason Livermore at The Blasting Room in Fort Collins, CO, this album is as professionally produced as punk records come, so play it as loud as you goddamn want. Bird Attack Records will be releasing the album on special one-sided, screen-printed 12” vinyl worldwide. It will be released digitally (iTunes/Spotify) on Friday July 28th 2017, and released physically on Friday August 11th 2017.
No Trigger will be touring the UK and Europe in August of 2017, playing some regional East Coast US shows in the fall of 2017, and will also be appearing live at The Fest in Gainesville, FL in October. Grab a ticket now to any or all of the shows and go see these hot new jams played (perfectly) live.
Keep an eye out for more live shows TBA and pick up a copy of Adult Braces as soon as your dirty little hands can get ahold of that bad boy.
SAVE ENDS (usa – Tiny Engines / Black Numbers) www.saveends.bandcamp.com
A minute or so into „PunkORama 30“, the opening song on Warm Hearts, Cold Hands, Save Ends slugs their listeners in the face with a circle pit-worthy charge into the first verse of their first full-length.
It’s only a little unexpected. Strength Vs. Will, their 2012 debut, displayed a band that mastered mid-tempo power-pop; full of rumbling guitars that play off of each other like the guy/gal vocals featured on each track, the self-released EP immediately impressed listeners, and it’s no wonder that Tiny Engines scooped up the Boston band before any other labels could. So, when „PunkORama 30″ leads with a similar melodic sensibility—with sparkling guitars and slow, stomping drums—then lunges suddenly into a double-time dash, it’s a startling and exciting signal that Save Ends has applied a punk-rock punch to its pop sensibility.
Warm Hearts, Cold Hands follows the energetic trajectory set by this opening track. Some of the energy comes from the instruments—“Same Old Dice“ throbs with Burton Wright’s tom-heavy drumbeat, for example, while the piano on „Skeptical Sons / Curious Daughters“ drips delicately against its roaring guitars. Other songs get their power from Christine Atturio and Brendan Cahill’s complimenting vocals—from their confident voices bouncing off of one another in songs like „A Life They Wrote“ or melting into harmony on „Song of Susannah“, but also from their lyrics, which address life’s relentless evolution; though they sneak some nerdiness into their songs (including references to Stephen King’s Dark Tower and Dungeons and Dragons), the effect isn’t alienation but solidarity.
And that’s what makes Save Ends‘ first full-length so remarkable—its ability to connect with its listeners, draw them in with delicious melodies, and punch them in the gut.
SUMAC (usa – Thrill Jockey, Profound Lore Records, SIGE Records, Daymare Recordings) SUMAC is the powerhouse trio of Aaron Turner (Isis, Old Man Gloom,Mamiffer), Nick Yacyshyn (Baptists), and Brian Cook (Russian Circles, These Arms Are Snakes).
Sumac invests in the recursive exercises of chaos and control, which manifest on the band’s second album What One Becomes. The trio’s debut The Deal (2015) revealed a new side of Turner’s combustible songwriting and guitar work, further expanding on his efforts in Isis and Old Man Gloom. On the new album (recorded by the prolific engineer Kurt Ballou of Converge, who has also recorded High on Fire and Torche), the trio has elevated the songs’ complexities with a greater entanglement of velocity, density, form, and function. The results are a testament to the tour-honed collective intuition and technical skills of drummer Yacyshyn (Baptists), bassist Cook (Russian Circles, These Arms Are Snakes, Botch) and Turner. The music of What One Becomes requires that each player be attuned to the dynamics and the tension within the multilateral structures.
On “Clutch Of Oblivion” the riff develops from a languid desert-rock melody and blossoms into a dense aggregate of rhythm, force, and vigor. A muscular hypno-rock aspiration burns out before reaching escape orbit, and the ensuing plummet of solitary guitar notes lead the band into the realm of introspection before another volley of motorik pummel. “Rigid Man” begins as a lurching epithet that finds the trio in a shadow boxing lockstep for the song’s first half of pugilistic rhythm and noise, only to smash itself on the ground amidst a diabolical feedback whorl from Turner’s guitar and to tear free from the rhythmic underbelly, tapping into the vein of unhinged expressionism howled by Les Rallizes Denudes and Caspar Brotzmann Massaker.
There is a profound anxiety that leaches through What One Becomes. Sumac’s choreographed structures parallel the internal and personal struggles with anxiety. They seek to identify the source, devise a course of action, and confront that condition at hand. Turner explains, “Much of it has to do with questioning fabricated structures of identity and what it means when those structures are destabilized by contact with the outside. That has been a unnerving process to undergo, but also fruitful in terms of discovering the path to individuation and realized connection with the self. Another facet of experience I’m working to convey is about living with the sustained presence of anxiety, and avoiding reliance on musical devices of cathartic release to provide escape from this condition.” Sumac channels psychic distress into their rigorously algebraic maneuvers and syllable-crack dissonance. These are an acts of honesty in the face of a particular conduction as well as acutely prescient designs of musical intensity that commands attention to all of this detail.
It’s been a hectic couple of years since Los Angeles punk quartet Bad Cop/Bad Cop dropped their debut full-length, Not Sorry. The band spent a huge chunk of the intervening time on the road, like most bands do – and they wound up discovering some ugly things about themselves, like most bands do. Only for Bad Cop/Bad Cop, it got very serious, very quickly. “We were on the Fat Wreck Chords 25th anniversary tour in 2015, and Stacey was partying really hard,” says co-vocalist Jennie Cotterill. “She ended up bottoming out on the tour, and we had to leave. It was not a good separation. We had to go home and drop off the tour and figure out if we were still a band, what are we going to do about Stacey… Thankfully, Fat helped send her to detox, and she came out of that as a completely new person with a totally different trajectory.” Out of that experience came “Amputations,” one of the highlights on Bad Cop/Bad Cop’s explosive second album, Warriors.
Many of the album’s most cathartic, aggressive moments come from the mind of co-vocalist Stacey Dee, who after going through the darkest time of her life has come out stronger than ever. Instead of focusing solely on her own issues, she was able to expand her horizons, writing songs as poignant as “Victoria” (about a friend’s child who committed suicide) and “Womanarchist” (in which Dee namedrops Revolutionary War heroine Nancy Morgan Hart and Joan of Arc while proclaiming she wants “to make the whole world feminist”). Dee explains much of her expanded worldview came in the wake of the 2016 presidential election, making Warriors one of the first punk albums written in the Trump era.
The foursome began recording immediately following a successful tour with the Interrupters last fall, spending roughly six weeks between Hurley Studios and Maple Sound Studios with their longtime collaborator and producer Davey Warsop between December 2016 and February 2017, with Jason Livermore (Descendents, Lagwagon) responsible for mixing and mastering – and just like on Not Sorry, Fat Wreck Chords founder Fat Mike chimed in with plenty of ideas as well.
Dee: “I was so negative for most of my life. After changing my life, I have been trying to focus on strength, connectedness and positivity. I think this record is a good start.”
Emma Ruth Rundle singt auf ihrem zweiten Album „Marked For Death“ auf eine besondere, leidenschaftliche und faszinierende Art über die Sinnlosigkeit des Lebens und den am Ende wartenden Tod. Die Themen sind Tod, Trauer, Selbstzerstörung. „Rundle has made her name performing mournful, minor key compositions, swelling with gothic drama, and her latest is her heaviest and most uplifting work yet.“ (Pitchfork)
Im Mai 2017 kam die Amerikanerin zusammen mit ihrer Band für fünf Shows nach Deutschland. Düstere, persönliche und beeindruckende Live-Shows erwarteten die Konzertbesucher. Mit ihrer unglaublich variablen Stimme nahm Emma Ruth Rundle die Zuhörer in ihre eigene Welt voll Trauer und Erlösung mit und machte die Konzertabende zu einem außergewöhnlichen Erlebnis.
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