Check out the new video from CORRECTIONS HOUSE called “Bullets And Graves” from their album Last City Zero, out now on Neurot Recordings. In a time when music is coming out at a rapid rate and lacking depth, this band has flipped the script. I really hope people stop and listen to CORRECTIONS HOUSE, because they are making sonic art that will stand the test of time!
I know one album that is going to live with me for a long time is ULTRAVIOLET from KYLESA. They created songs that make me feel really good to be a human, and that won’t allow my mind to slip away into a space of no hope! One such tune is KYLESA’s “Low Tide.” Today, right here and now, you can check out their new visual for this outstanding anthem directed by Brodie Rush.
Label: Svart Records
It’s hard to talk about Finnish post punkers Beastmilk’s much hyped debut album Climax without playing the ‘spot the 80s musicians’ reference game. The influence of Echo & The Bunnymen, Morrissey, Joy Division and Danzig is readily apparent when listening to Beastmilk’s rattling gothic rock, but there is something more to this album, something not so necessarily quantifiable, that sets it apart from simple nostalgic throwback music.
Maybe it’s the undeniably modern and hard rocking production from Massachusetts musical mastermind Kurt Ballou, guitar freak for hardcore luminaries Converge and engineer and owner of God City Studios, responsible for producing pretty much every great hardcore album released in the past decade or so.
Or maybe it’s that the time vocalist Kvohst has served fronting legendary British/Norwegian black metal bands Code and Dodheimsgard has granted him a greater sense of theatricality and immediacy and a bigger set of balls than your average gloomy pale post-punkers ever had.
The sickest hip hop album of 1994 was not created by a rapper, but by the British group PORTISHEAD. When I first heard their debut album Dummy it was like hearing Wu-Tang for the first time. In my mind, every song on their album was a special audio moment that I wanted to hear over and over again. Beth Gibbons’ voice sounds like ghosts are floating around each verse that she whispers, only to be matched with the raddest production from Geoff Barrow, whose drums were heavy as fuck! PORTISHEAD were urban gothic blues that spoke to the loneliness that blows through humanity. Check out this stellar full set of them wrecking shop in NYC with the New York Philharmonic on strings…nuff said…Now get your PORTISHEAD on and open the Glory Box…
If someone asked what state produced the weirdest bands of the 80′s, I would have to say Texas. Like I have said before, groups from this part of America flipped Punk Rock on it’s head and created an alternative universe where there were no rules! The first time I heard Scratch Acid, I felt like I was listening to the Lone Star State’s version of the The Birthday Party high on LSD. Then there was the Butthole Surfers, who just made my fucking jaw drop when I walked into their show by accident in 1984. Both of these bands went on to transform unground music into something all their own and I totally respect that. Today CVLT Nation celebrates Scratch Acid & Butthole Surfers with full sets from the mid 80′s.
You better get on your knees, the apocalypse is coming and its four horsemen are Dreadlords. This group of ritualistic racket-makers summon up an unholy concoction of apocalyptic blues, Satanic southern gospel and shamanic sacrilege. This blasphemous demo tape sounds like the sonic incarnation of a Flannery O’Connor short story or Cormac McCarthy novel – back before he started winning literary prestige awards and was still writing twisted Southern bloodbaths about incest, scalping and backwoods violence.
Guitars and piano clang and crash in a free form fall through a cathedral-sized chamber of reverb, while Dreadlords’ singer rants and raves like a schizophrenic madman at the pulpit, veering from Nick Cave-style blues sermonizing (once again, think less his later dad-rock, Kylie Minogue duet-ing phase and more his spastic early years) to black metal-esque croaking and snarling, and even the occasional haunting howl of a werewolf in full moon fever.
What was the recording process like for Pain is Beauty and how did the experience differentiate itself from prior recordings? Also, the album incorporates a stronger electronic element, bearing a different sound from what fans have come to expect. What powers and influences brought about this change?
CHELSEA WOLFE: I met my bandmate Ben Chisholm about four years ago, right around the time when I desired to bring some sort of electronic element into the band. He’s into analog synths and electronic beats and he’s really brilliant and multi-talented. Needless to say, he was a perfect fit. I found that we wrote songs together easily and we started messing around with some electronic songs that I originally thought we’d use for a side project…but I realized over time that I really didn’t want to put limits on this project, so we eventually started playing some of those songs live and I had a lot of fun with their energy. I knew they’d be the base for this new album.
WOLVSERPENT created a very special album this year called Perigea Antahkarana, out now on Relapse Records, and every minute of this record is a looking glass into another dimension. Live, the band are able to totally expand the dark majestic qualities of their sound into a whole other sonic universe. Our comrade in video Kevin Hobbs captured WOLVSERPENT’s most recent show in the Bay Area, and after watching the footage you will see that words almost can not describe how good this band is! If WOLVSERPENT is coming to your town, you better not miss them, because their live show is a ritual that you must experience!
Hi Justin, can you tell us about the recent Godflesh West Coast tour cancellation?
Yes, we’ll officially announce new dates soon. It was really bad news. We did all the work on our end to get the visas in time, but once again this process proved to be cumbersome. We’ve been there before and we know how this stuff works. But due to the government shutdown, Immigration just delayed our visas again and again and again. Basically they tried telling us they weren’t affected by the shutdown but they most definitely were. It’s already hard to get a fucking visa for this country, and then along comes a government shutdown and that pretty much killed all our plans. Godflesh and Jesu have had visa issues with US tours as long as I can remember. Jesu bassist Diarmuid Dalton was busted years back for marijuana possession and decades later that was enough for Department of Immigration to deny him a visa. So once again this tour is fucked, just as other tours of ours have been fucked in the past regardless of the band, times, anything – it’s just how it is. I still remember the first time this shit happened. It was 1990 or something like that and Earache Records sent us to play two shows in the US with guitars, but no visas! So we flew into Boston to do two shows, and no fucking idea what we were doing. I was twenty years old, and had no idea. Flew in all excited to finally play the US, and instead we got detained, interrogated and shipped right back to England, we didn’t even have the chance to leave the airport. And now every single time I want to tour the US they ask me about that incident and I have to explain it to them over and over again. Now we’re shooting for April 2014, and we started work on the visas again, immediately, like six fucking months ahead of time, so let’s hope that’s enough to deal with the US’s crazy immigration bureaucracy!
Did you pick the bands to bring on tour with you on this run?
Basically, yes. It’s unfortunate about Prurient, but Dominick couldn’t do it, so at that point I wanted to get Aaron more involved, initially getting Old Man Gloom to play but they couldn’t, so at that point I suggested to him to get House of Low Culture to play. Nails are solid, they are from the West Coast, so they were never in question.