Cloak & Dagger
The Jesus And Mary Chain
The legendary Jesus and Mary Chain forged from the chaos of a post punk music wasteland that left the 1980s youth of the UK looking for a new band to hang their disaffections on.
Brothers William and Jim Reid took their own version of teenage angst, from their bedroom in East Kilbride Scotland to the D.I.Y. underground music scene of London in 1984.
Their attitude and thrashing guitar sound, bought them to the attention of Creation Records boss Alan McGee.
Creation released their first singe ‘Upside Down’ and its success saw the band perform a series of adrenalin fuelled live shows that often ended in controversy.
From the chaos and madness that surrounded the band, Williams true song writing genius and Jims heart stopping lyrics gave life in1985 to their debut album ‘Psychocandy’ that is today still held as a musical mile stone and spawned such classics as ‘Just Like Honey’ and ‘Some Candy Talking’.
In 2015 the band revisited the album to celebrate its 30th year, following their re acquaintance with Alan McGee, now operating as Creation Management. There followed with a hugely successful and much acclaimed world tour with a set that included the classic album being played end to end, after a shorter greatest hits opening set, still being controversial, but dazzlingly brilliant.
The band has spent most of 2016 in the studio, in London, Dublin and LA, finally readdressing the issue that they were now being begged for a new album. (Their last release was 1998.)
After signing a worldwide deal with ADA, the label service division of Warner Music Group, at last the finishing touches of the new record are being detailed in London, and the world holds it’s breath to hear the new material destined for release in March 2017.
Speaking to Canada’s CBC Music, McGee let slip. “They’ve made another album! It’s a big deal! It’s kinda enormous.”
The internet lit up with the news as it slowly dawned that finally the brothers had put their personal differences on hold and had produced another masterpiece.
The album will have its presale release in December 2016 and the band will embark on another world tour in support of the new album throughout 2017.
Spawned in Paris, France on February 29, 1984, Kein Mehrheit Für Die Mitleid (which loosely translates into “no pity for the majority”) was initially an industrial-audio concept accompanying art-installations by Erste Hilfe, a group of painters and sculptors, enfant terrible of the mid-80’s German underground art-scene. In the following years, KMFDM began to pioneer the crossover between techno/dance and heavy metal with their signature sound. Relocating to Chicago in 1990, KMFDM was the pride of Wax Trax Records during the label’s peak.
Under the leadership of German-born music founder Sascha K. a/k/a Käpt’n K, the only permanent member throughout the band’s history, KMFDM is still going strong after over three decades of conceptual continuity, regularly recording and releasing albums and frequently touring the world over.
Despite the fact that KMFDM consumed the majority of his time and efforts over the years, Käpt’n K still got involved in several side-projects (MDFMK, Excessive Force, Schwein, KGC, OK•ZTEIN•OK) and made a name for himself as a music producer as well as a remixer (Metallica, White Zombie, Front 242 and many more).
Between 1990 and 2007, KMFDM’s headquarters shifted between Chicago, New York and Seattle, since 2008 KMFDM operates out of Hamburg, Germany, again. To quote themselves, “The future belongs to those of us still willing to get our hands dirty”. Living by their D.I.Y. philosophy, KMFDM not only started their own music-publishing entity KMFDM Ent. US (BMI) but was also one of the first bands to ever launch an online merchandise-store, (KMFDM Store) and finally consequently, their own record label, (KMFDM Records).
Though once feared dead after the release of the album ADIOS in 1999, KMFDM re-emerged quickly, harder, faster, and better than ever. After the permanent departure of most of the former collaborators due to internal strife and irreconcilable differences it was time for tabula rasa, a clearing of the deck. New York native Lucia Cifarelli, previously the singer of the band Drill, made her first appearance in the KMFDM-camp during the project MDFMK, later she joined the re-formed KMFDM as front- woman and female lead-singer. As a powerful vocalist and expressionistic songwriter she has redefined KMFDM, as female vocals are no longer relegated to the background.
The Metropolis Records debut ATTAK , recorded in 2001, showed that this newly reinvigorated KMFDM could not be stopped. Since 2002 the lineup has been rounded out with the impressive talents of Andy Selway (the YoYo’s, Pig, Schwein, The Dwarves, Spittin’ Cobras) on drums and guitarists Jules Hodgson (Lodestar, Pig, Schwein, Spittin’ Cobras) & Steve White (Pig, 16
Volt, Deathbed Repentance). What these boys, lovingly known as “the pigs”, brought to the table was made unmistakably clear on the new line-up’s first album WWIII, a brutal thrashing and a sound that once again re-defined KMFDM for years to come.
In the fall of 2014 KMFDM released their latest album OUR TIME WILL COME and in 2015 the remix EP SALVATION. Since their 2015 US Tour, KMFDM recorded their brand new upcoming studio album HELL YEAH, to be released this summer. Supported by Ohgr, Skinny Puppy’s front-man and Hamburg’s own Lord Of The Lost, KMFDM will hit the road again to begin yet another massive round of concert dates in the US this fall.
She Wants Revenge
Producer and designer Seth Haley, born and raised in upstate New York and currently based in Los Angeles, California.
The Soft Moon
HEALTH are the new frontier of noise rock. Formed in 2005, HEALTH self-recorded their debut album over the course of 9 months at Los Angeles D.I.Y. venue The Smell, birthing an urgent and extraordinary album which seethed with ghostly, epic pop and spurts of chaotic noise. Their shows grew wilder, kids danced & moshed, blogs freaked out, critics raved, and everyone wondered how in God's name HEALTH was going to follow it up. While the anticipation continued to build, HEALTH released a critically-acclaimed remix record HEALTH//DISCO, toured with the likes of Crystal Castles, Nine Inch Nails, and Of Montreal and played over 420 shows!
In April of 2009, HEALTH emerged with their first new single since 2007: "DIE SLOW" received immediate accolades from Pitchfork & NME, with the effects rippling across their DIE SLOW THROUGH EUROPE tour, resulting in a near-riot in Eastern Europe. The song's infectious fusion of noise and dance was the most fully-formed and undeniably rad piece of music from HEALTH yet. And it only served to rile up their fans more. The new full-length was desperately needed.
On September 8th 2009, HEALTH answer the call and release their second album GET COLOR. Recorded in an especially gnarly part of Lincoln Heights, L.A, GET COLOR is an exuberant proclamation of noise, rock and electronic splendor. It's a celebration of sound; pretty, harsh, soft and basked in a blanket of ethereal vocals. GET COLOR is the manifesto HEALTH have been promising since their inception. HEALTH are the band. GET COLOR is the record. NOW is the time.
Two years after releasing the revered noise/dance record HEALTH//DISCO, HEALTH return to the remix realm with DISCO2 on June 22, 2010 on Lovepump United Records.
Curated and produced by HEALTH, DISCO2 features the epic noise jams of GET COLOR remixed by electronic luminaries Tobacco, Crystal Castles, Salem, Javelin, and Gold Panda (among others), morphing 2009's GET COLOR into an electronic masterpiece.
DICSCO2 leads off with the killer new HEALTH single "USA BOYS", mixed by legendary producer Alan Moulder (My Bloody Valentine, Nine Inch Nails, Depeche Mode). HEALTH have turned the dancefloor filthy again. It's going to be a noisy summer.
Cold Cave are an experimental electronic pop group from Philadelphia and New York City who make melodic synthscapes with jackhammer beats. They acknowledge the dark roots of synthesizer music as well as its potential for making the brightest pop with their hard songs celebrating the contradictory beauty of the human condition.
As with their ancestors, for Cold Cave the synthesizer is as much about mayhem as it is melody. It is a means of conveying, via dissonance, ideas about disturbance and decay as effectively as the harshest guitar rock. It comes as no surprise to learn that mainman Wesley Eisold is a writer with a past in hardcore punk and noise bands. Caralee McElroy has spent the past few years performing and recording with the acclaimed Xiu Xiu. Manhattan-based Dominick Fernow is known for for performing as the noise group Prurient, and as the owner of the NYC record store and label Hospital Productions.
Cold Cave strive for balance, between the ugly and the beautiful, between rupture and rapture. The songs on Cold Cave’s debut album Love Comes Close have an immediacy that belies thought-provoking titles like “The Laurels of Erotomania” and “The Trees Grew Emotions And Died”. In this way they mark that transitional moment when synthesizer music went from a subversive device for sound collagists to a serious commercial force. They are cerebral and savage, yet sweet and seductive.
And their mainman Wesley Eisold is an absolute new young god of nihilism and despair. He says things such as, “I couldn’t understand why people were wearing watches, because they seemed like hourglasses of death, keeping track of how much time was running out”. He talks of his “absolute fixation with nostalgia and the idea of people and loves that never happened, so much that I can’t function properly with the people in my actual life”. And in two pithy sentences – “I dread clubs but I love the music they play in them,” and “I find it all so disheartening, what we hope to find when we leave our homes,” – he brilliantly captures Cold Cave’s aesthetic: the Morrissey of “How Soon Is Now” wailing over Nitzer Ebb beats.
According to Eisold, if anything, their music reflects what it feels like to live in the present. Eisold, whose baritone is as rich and resonating as that of Phil Oakey, Nick Cave or Iggy Pop, says “Of course we love the lineage of the genre, early experiments with machines to convey human emotion; the marriage between pop and industrial music. At the time it was documenting the early stages of a new world, and we are recording what it feels like to be alive in that world.”
When asked whether there is a set of guiding principles at work here, a Cold Cave aesthetic that runs from the artwork to the music, he answers: “We spend a lot of thought choosing what we do. The artwork is as imperative as the music. It is the only imagery attached to the recording. We judge books by covers everyday and it is my hope to have the sleeves represent the emotion, or lack of, in the music.”
He concedes that even though there are few explicit references to the heart of darkness on Love Comes Close, there are hints in the language used in the song titles at depravity and desolation. And he agrees that this makes Cold Cave heirs to the synthpop noir of New Order, Throbbing Gristle, Soft Cell and Muslimgauze.
ohGr is a band formed by Nivek Ogre, of Skinny Puppy, and musician/engineer Mark Walk. Although the pedigree of the group's members might suggest otherwise, ohGr is not strictly an industrial group, as it draws heavily from elements of electro-pop, metal, and even hip hop. The sound diverges heavily from that of Ogre's earlier Skinny Puppy work, incorporating a more conventional structure as well as a lighter tone, lyrically and musically.
The Gaslamp Killer
LA’s William Bensussen, aka The Gaslamp Killer, is many things at once. The San Diego native is a bonafide one-off; an artist and human being that can never be repeated. With an unparalleled energy, the DJ, producer, promoter and curator brings a different level of performance and showmanship to electronic music.
“I always felt drawn to party time ever since I was little. Any kind of opportunity; a wedding, bar mitzvah, holiday. Whatever kind of event that was going on in my little community in San Diego, if there was music, I was dancing. It’s just the way it was. I’ve always been into the energy and the happiness that it brings.”
Being a true music lover, and a complete obsessive, as a DJ/selector Bensussen has opened minds around the world to music that wouldn’t otherwise get heard. In his own words: “As artists, it’s our job to entertain as well as educate.” Alongside co-founder Daddy Kev, GLK has put Southern California on the music map for years to come, with their beat mecca Low End Theory and the vibrant creative
community they’ve built around it. The weekly Wednesday club night has brought together different scenes and generations, breaking new artists while also getting the likes of Thom Yorke and Erykah Badu to play DJ sets to the fevered Low End crowd, who often wait hours to get in.
Over the last ten years, Gaslamp Killer’s iconoclastic attitude has led him beyond LA to far-reaching corners of the globe, one stage at a time: from Pitch in Amsterdam, to Sonar in Barcelona, to Austin Psych Fest, to Roskilde in Denmark, to Coachella. Holding a collection of well over 13,000 vinyl records, GLK’s untamed, unpredictable sets take traditional genres of rock into the outer reaches of hip-hop and the deep into the cosmic pressure of the heaviest electronic beats, with plenty of obscurity and bizarreness in-between.
The now rare, GLK collectables “I Spit On Your Grave” (Obey) and “All Killer” (Finders Keepers) inspired a new generation of DJs to appreciate the art of a mixtape. Dusted Magazine described his follow-up mix, “Hell And The Lake Of Fire Are Waiting For You” (self-released), with words that describe GLK as a DJ in general: “Trying to figure out what’s going on is half the draw.”
“The music that I grew up with influences me today enormously still. I love classic rock, I still love Dub and I still love Rap. Real rap. Gansta rap. I love bands, live bands, it’s the music I grew up with. I don’t think there are that many bands that can compare to Jimi Hendrix, Led Zeppelin, Pink Floyd, The Doors. They’re not popular for no reason. I play The Beatles in my sets all the time still. Their music is a huge influence on me. I still play Dr Dre in my set all the time. His beats and the rhymes, the energy, they just affect me so much. They are a part of me. As well as Hip Hop, as well as Rock, and Blues, and Soul, and Jazz, and Reggae, and Dub. That kind of music I think lends to everything that we are all into today. All of us are fueled by that. The formulas that they laid and
the foundations that they laid are used by musicians forever and will continue to be used forever.” interview with Serato: http://serato.com/icon/the-gaslamp-killer)
As a producer, The Gaslamp Killer has worked with artists such as Gonjasufi, Prefuse 73 and Flying Lotus. His own experimental solo material pushes the borders of genre as much as his performances, particularly with his heavy-weighted EP ‘My Troubled Mind’ (Brainfeeder) and the monster ‘Death Gate‘ EP (Brainfeeder), which featured Gonjasufi, Computer Jay and Mophono.
Forthcoming on Brainfeeder in September 2012, ‘Breakthrough’ will mark the debut full-length album from the Gaslamp Killer. Blending California-inspired psych with widespread global influences, on ‘Breakthrough’ GLK brings together a potent cast of friends to contribute to the album, with guest appearances from Gonjasufi, Adrian Younge, Dimlite, Daedelus, SAMIYAM and more. A musical anachronism and unconstrained compilation from a wandering spirit.
Lust For Youth
“Movement and gesture is natural. The flâneur has an iPhone, and their heart is embroidered into a microfiber sleeve in gold.
Lust for Youth are a three-piece from Copenhagen made up of Hannes Norrvide, Malthe Fischer & Loke Rahbek. 2014’s acclaimed album, International, took the melancholic insomnia of their former releases out into the street and away from the domestic frustrations of a life in headphones. Suddenly, surrounded by bodies, and with a staccato heart, Balearic infatuations and capricious nights in crowded clubs set the mood for Norrvide’s pining sighs. International marked Lust For Youth’s new-found decadence with fully resolved charm and enhanced self-deprecation.
This was swiftly channeled into their recent hit, “Better Looking Brother.” Compassion’s first single was streamed over 50k times in its first month, capping off a highly successful 2015 of worldwide tours and critical social media updates.
Compassion restates beauty for a time of crisis and clickbait. Judgement, design, form, and opinion: to what end will we refine our world if we can’t also make an anthem of our lives? This is the tender conspiracy: I’m on twitter; I have an anthem. Do we have an anthem? We have lust. Let’s meet irl.
Lust for Youth are affectionately vicious, and vulnerably sharp. They are the anticipation of the comedown as you come up on the best you’ve ever been of- fered from a bathroom stall. This is the spectrum: a low you know, and a dizzy new height.
Hearts blind lights and finance desire. Is it the fate of the cunning to look good, or is it just cunning to look this good? Compassion is dexterity: we all look this good. An impulse is an appetite, and you’re entitled to everything. Multitask collapse and revolution because you’re a beautiful mess.
Compassion is deliverance. Anticipate compassion.” —Patrick Quick
A fearless artist at his challenging yet melodic best, Mykki Blanco releases his debut album "Mykki" (produced by Woodkid and Jermiah Meece) on 16th September on Dogfood Music Group / !K7.
Mykki Blanco has metamorphosed many times. The multi-faceted star was a child actor who founded a performance art collective as a teen, ran away from home, and won scholarships to two prestigious art colleges, quitting both as he realised that "the art world is just one big scam for rich people" - an idea touched upon in album track "High School Never Ends" written with Woodkid, which premiered on FADER in May.
Finding fame first as a fearless noise rap poet, he published a book "From The Silence Of Duchamp To The Noise Of Boys". Then what started as a video art project about a "teenage drag rapper" transformed into 2 years of Blanco living as a transgender woman in his personal life. Though eventually not transitioning, Mykki Blanco graduated in real life experience as well as artistically into the non-binary gender-queer post-homo-hop musical artist that we see before us today. Needless to say, it's impossible to pigeon-hole Blanco and his unique and beautiful sound is no exception.
Amassing a vast online following with a savvy and savage social media output, Mykki is hailed online as a digital warrior princess who rules across the underground music scene with mixtapes like Gay Dog Food, cult hits like Kingpinning and sensational videos like Coke White, Starlight, The Initiation, Wavvy, and Haze Boogie Life. Blanco's output to date has been hailed as razor sharp, ahead of its time and sometimes deliciously far out. Yet this album seems to leave much of the mayhem behind, marking yet another departure, this time in favour of melody and musicianship, and Mykki comes of age as a serious chart contender.
"I realised as an artist I need to focus on myself and on my work. Arguments with people online distract from that. I used to have a problem with the media trying to define me, either as a drag queen, or a transvestite, as a homosexual rapper, a transsexual or an HIV positive pop star, but most people need labels and my true fans know who I am and what I'm about"
The spaced-out touchdown track 'I'm In A Mood' sets the tone for this challenging eponymous debut, a synth-layered and classically-arranged landscape that frames a vivid tableau from within which Mykki muses and provokes across thirteen fascinating tracks.
The summery pitch-shifted slopes of 'Loner' hint at the looming isolation of "social media" and the notion that the big bad wolf is, in fact, a lone wolf. "High School Never Ends" is an epic ballad that queers the Romeo & Juliet story to expose growing racism in Europe, the despicable refugee crisis and society's increasingly relinquished appetite for diversity, much of which Mykki observed first hand while touring internationally for the past 4 years.
However, the old Mykki Blanco who likes to keep the internet awake at night is never far away. "Fuck being low key!" spits Mykki at the start of "Fendi Band", a filthy twister of a track that trades in straight jackets, handcuffs, duct tape and whips. Mykki exposes his cheek on "My Nene", a mysterious siren-call which plods along hauntingly before unapologetically dropping its knickers into a sexually-charged ass-banger before dissipating into the spiralling-cynicism of "The Plug Won't", a curb-crawling hymn to the deceitful face of club culture.
"Shit Talking Creep" is a daring shooter glass of hip hop and global politics with echoing militant cries and gritty mud-grovelling effects. The track shines the mic on hatred and intolerance in Russia, while toeing a line of pornographic innuendo - "Fuck n*gger, NO, I'm coming with the Russians" - a commentary on the country's hypocritically large output of gay porn. The track's shock blanket of tribal war drums are both ejaculative and quite literally 're-percussions'.
"For The Cunts" is a self-conscious gay club party anthem that perhaps ridicules and mimics the club-boppers in Mykki's fan base more than he'd care to admit. Meanwhile "Rock n Roll Dough" hangs low like a vintage Snoop Dogg track, punctuated with minimal snares, it catches the light with the hard-faced campness you would normally get on a Gwen Stefani classic. "You Don't Know Me" touches upon Blanco's openly HIV+ status but underlines a determined unwillingness to be unfairly defined by this reality.
Mykki Blanco's referential framework is both archival and futuristic: a myriad of culture references, spiritual anecdotes, designer labels, make-up brands, hippie jargon, Fendi here and Snapchat there - all perfectly reflecting the creative dialogue digital landscape we live in.
What stands out above all of this though on "Mykki" is the musicianship, melody and depth, that help Mykki Blanco birth a heavyweight album about feminine empowerment, the discovery of one's "second soul", giving a voice to the marginalised and scratching a question mark that cuts deeps over and over again.
From Pittsburgh, Pennsylvania, USA.
The highest apex of psychedelia, be it art, music, drugs or literature, is to induce a prolonged consciousness shift that affects the consumer far beyond the time they were privy to the act. Moon Duo's third full-length LP, 'Shadow of the Sun,' was written entirely during one of these evolving phases -- a rare and uneasy rest period, devoid of the constant adrenaline of performing live and the stimulation of traveling through endless moving landscapes. This offered Moon Duo a new space to reflect on all of these previous experiences and cradle them while cultivating the album in the unfamiliar environment of a new dwelling; a dark Portland basement. It was from this stir-crazy fire that 'Shadow of the Sun' was forged.
Evolving the sound of their first two full-length records, 'Mazes' (2011) and 'Circles' (2012), Moon Duo -- Ripley Johnson and Sanae Yamada -- have developed their ideas with the help of their newly acquired steam engine, Canadian drummer John Jeffrey (present on the band's last release, 'Live in Ravenna'). The unchartered rhythms and tones present on this record are reflective of Moon Duo's strive for equilibrium in this aforementioned new environment. You can hear it is the result of months of wrangling with a profound feeling of being unsettled -- there are off-kilter dance rhythms, repetitive, grinding riffs, cosmic trucker boogies and even an ecstatically pretty moment. Mixing with Jonas Verwijnen in Berlin, allowed for a creative catharsis and dissolved the album's formal technique into a cool and paradoxically sane sound of confusion.
Drab Majesty is the solo project of Deb DeMure, the androgynous alter-ego of L.A.-based musician Andrew Clinco. With its combination of reverb-drenched guitars, synth bass lines, commanding vocals, and rhythmic drum machine beats, this project is a stark departure from Clinco’s previous stints as drummer in Marriages and Black Mare. Dubbed “Tragic Wave” and “Mid-Fi” by DeMure, Drab Majesty eloquently blends classic 80s New Wave and hints of early 4AD with a futuristic originality. Drab Majesty’s first release, a limited-edition cassette of 100 copies titled Unarian Dances, was self-released in 2012 and re-pressed by Lolipop Records shortly thereafter. Drab Majesty then signed with Dais Records and put out the debut LP Careless in 2015. Careless was met with high praise from critics and fans alike, and the original pressing is now a sought-after gem. A year after the initial pressings of Careless sold out, Dais released a compilation titled Completely Careless, featuring Drab Majesty’s entire discography, including two previously unreleased tracks.
A talented multi-instrumentalist, DeMure composes all of the elements of Drab Majesty. However, rather than taking personal credit for the music, DeMure insists that the inspiration for the songs is received from an other-worldly source and that Deb is merely a vessel through which outside ideas flow inward. But Drab Majesty is more than just a musical project — it’s a methodical experiment in the identity of creativity. The character Deb DeMure is an enigma that eludes all expectations of gender and ego. When DeMure’s imposing 6’ 4” figure assumes the stage, Deb’s playful, harlequinesque appearance, tempered by an ominous body language, and clashing with the dreamy, ethereal melodies comes across as a web of contrasts. The result is a perfect balance between seemingly conflicting messages, between the high and the low, the drab and the divine.
Steve Moore (born in 1976) is a multi-instrumentalist coming from Seattle, WA. He plays piano, wurlitzers, casiotones, bells, trombone and is also a composer. He played with artists as Sufjan Stevens, jazz performer Bill Frisell, and Sunn O))).
Since 2001, he has played and toured with Laura Veirs' band Saltbreakers (along with Karl Blau and Tucker Martine) playing keyboards, trombone, singing and sometimes playing bass.
Uniform formed in New York City in late 2013 when old friends Ben Greenberg (Hubble, The Men, Pygymy Shrews) and Michael Berdan (York Factory Complaint, Drunkdriver, Believer/Law) realized they lived on the same street. Their impulsive collaboration quickly yielded Our Blood / Of Sound Mind and Body single. The six tracks that comprise the equally abrasive but more refined Perfect World have been coming together between tours and work ever since.
The music that Greenberg and Berdan conjure up under the Uniform moniker is immediate, aggressive, and even primal in form, but it plumbs untold depths. Berdan’s venomous voice mines deeply personal themes of resentment, regret, reflection and addiction over the hum of Greenberg’s almost impossibly disciplined guitar, bass synth, and drum machine lines. Greenberg uses the word “templatized” to describe their approach to writing songs for Uniform.
“There’s this set bunch of gear to create sounds, and it only creates sound through a certain process, or within its own limitations,” Greenberg said. “The goal of songwriting is to see how many different kinds of sounds you can get from the same basic process and machine.”
On Perfect World, that machine is firing on all cylinders. The guitar is run through a cheap ’80s preamp marketed to metal kids. The drum machine is equally no-frills, an Akai XR20 that Greenberg says “most people wouldn’t want to keep around.” These humble components are combined with noisy synth and Berdan’s profound howling to form something much greater. Post-punk, synthpunk, and industrial traditions are borrowed from as needed, but the constraints placed on the process mean the result is unique to Uniform. Berdan describes his lyrics as the consequence of feeling “so full of pain, confusion, deep selfishness, and general animosity that you make some horrible mistakes and have to learn how to forgive yourself for them.” Perfect World feels like the sum of all that pain and confusion, but it also feels like the catharsis.
Tropic Of Cancer
Tropic Of Cancer is the solo project of Camella Lobo.
Handwritten love letters. A long conversation with a stranger on the subway. Strolling down the Boulevard gazing up at the autumn leaves. Getting lost. Happy accidents. This is a forgotten time…
a forgotten place. The romance of tangible, human contact, the sentimental notion of not being tied to your phone, to your social media feed, to your avatar. Have we all forgotten how to be human? Have we forgotten the notion of Romance? Or is #romance just another hashtag, another Wikipedia entry, another google search, another Tinder swipe? Nostalghia says it best: “I am bringing romance back into the tangible world. I want the world to fall in love with being human again.”
Nostalghia’s new music is a journey to a time, a sound and a place where human emotion and purity of the heart ruled supreme. Think Ella Fitzgerald, Nick Drake, Leonard Cohen, Nick Cave, Elliot Smith, Mazzy Star, Thom Yorke, Fiona Apple and Cigarettes After Sex.
As one critic put it, "Nostalghia has a truly authentic vulnerability that is most rare. I literally found myself weeping in the middle of the venue." She often channels a creative tsunami that leaves her racing to the piano. The only way for her to capture the true essence and honesty of the moment is by recording her scratch ideas into her cell phone.
Just six years ago Nostalghia found herself homeless in California’s North San Fernando Valley. After breaking into a dingy piano room to sleep for the night, her life would change forever. At that time, the untrained siren didn't even know she could sing or play. But, that piano, in that room, in that time would teach her everything she would need to know.
Nostalghia has appeared in and written for hit films and television shows including John Wick, John Wick Chapter 2, How to Get Away With Murder, The Following, the NBA Finals, and Salem. She has toured with some of the biggest names in alternative rock, a few of which include 30 Seconds to Mars, TV on the Radio, AFI, Chino Moreno's Crosses, and Serj Tankien. And she has played at many of the world's greatest music festivals including Austin City Limits, Sound Wave, Riot Fest, Life is Beautiful, Sunset Strip Music Festival, Ottawa Blues Fest, Pemberton Music Festival, and Hudson Project.
Skeleton Hands, comprised of Evan Scott Sharfe and Chase Anderson, bring an eclectic electronic sound reminiscent of the glory days of post-punk that is simultaneously foreboding and uplifting. With influences ranging from House and Techno to Post-Punk and Traditional Goth, Skeleton Hands creates a moody sound with a joyful darkness that rumbles the floor and circles the atmosphere.
Starting out as a studio project in 2010, the band has released two singles on RACECAR Ltd. including Ravage and Oxygen, along with a handful of self-released EPs. Their debut full-length album Gone, presented a sound that is both familiar and fresh. It garnered many praises the world over, selling out of vinyl copies shortly after its release. As the album continues to gain new listeners, Sharfe and Anderson have continued to explore their sound, with their follow up album entitled Wake.
With every subsequent release, Skeleton Hands continue to blend their sorrowful vocals alongside a guitar-tinged, synth-infused palette that firmly plants them at the forefront of a new movement of buzz worthy names in dark pop.
Italian drummer and composer, best known as the live drummer of The Soft Moon, Death Index, and as a founding member of many renowned Italian punk bands.
Jess Labrador and Shannon Sky Madden. San Francisco, US.
Lord Of The Lost
Chris "The Lord" Harms follows his predestined path to create something beautiful and beguiling, a new musical platform for dark and emotive rock. ..Introducing: LORD OF THE LOST .. Chris Harms started out as vocalist and guitarist for industrial rock outfit ..PHILIAE.. (1999-2004). Since then his musical career has flourished, from stage guitars for ..BIG BOY.. (2007) to guitars, vocals and production for the legendary glam rock explosion ..THE PLEASURES.. (since 2004). As well as this, he keeps one foot in the gothic scene as the singer of the electro/indsutrial project ..UNTERART.. (since 2006). In LORD OF THE LOST he brings to life his own visions. But he is not alone: .. Together with Sebsta (Guitars), Class (Bass), Any (Drums) and THE PLEASURES band mate Sensai (Guitars), he founded LORD OF THE LOST in 2008, to breathe fresh life into gothic rock. .. The band spent much of 2008 in the studio working on their debut album which was released on February 19th 2010. .. WANNA BE IN OUR GERMAN STREET TEAM? Join the ARMY OF THE LOST:
David Scott Stone