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Press Releases For November, Here Are The Artists

press releases for November
Cy Dune is featured among these press releases for November

Trick Gum, Hot Water Music, Earthless, Hank May, Doss, Stereophonics, Cy Dune are among these press releases for November.

Trick Gum (Justin Raisen) – “So Bored I Wanna Die”: Propulsive and pulsating drumming, morose vocals with caustic lyricism over a hooky riff with cello, and a mix that brought comparisons to Beck and Cake: This is the new single from Trick Gum, the duo of cousins Justin Raisen and Jordan Benik. “This song had been kicking around for about a year or so,” said the band. “But once the cousins stumbled upon their musical vision for the final product, things took shape quickly, with great assistance from Anthony Lopez on drums and Derek Stein on cello.” Speaking on the song’s thematic material, they said: “Be real and understand that if someone consistently verbally entertains a certain viewpoint, but has no real desire to act on it, people will figure them out. Imagine that. Lip service is worse than worthless because the mind feels like it has done something when it has not. Power isn’t scared of anyone talking a big game to look good. In fact, people exhausting themselves through performative parroting is exactly how Power intends to stay on top. Go buy something that makes you feel good about yourselves, fellow serfs.”

Hot Water Music – “Killing Time”: Screamed and passionate vocals over a bright punk rock song from the celebrated band Hot Water Music, announcing the release of their brand new studio album, “Feel The Void” on March 18th. Featuring the return of producer Brian McTernan (Turnstile, Converge, Thrice, Texas is the Reason), “Feel The Void” offers up a torrent of resilience that strives for light in the context of personal and global darkness across its 12 energetic and impassioned songs. “Killing Time” is a direct response to the endless daily bombardment of negative information we found ourselves in the midst of during the early days of the pandemic. The song is a letting-out of pent-up frustration and negativity in the most positive way — through music. The song comes with an accompanying video while the band has announced a number of 2022 headline tour dates in support of the album. “This is so much more than just a band,” says Chuck Ragan (on vocals and guitar). “A lot of people understood a long time ago that we, the band, used Hot Water Music as a vehicle for our own therapy, to help get over these barriers and be able to continue when we’re feeling at our lowest, or feeling like the rest of the world is against us. Years ago, that was the choice that we made as a band – that it’s not about being popular or making money or seeing your name on a marquee. This is a way for us to release all this angst and inspiration and positivity, and share music that drives us to become better people, better friends, and better communities. It literally started with four of us, and over the years it became so much more than just a band – and I’m just so incredibly honored to be a piece of this puzzle.”

Earthless – “Death to The Red Sun”: An atmospheric journey in psychedelic rock metal or 20 minutes of guitars battling through a dense fuzz. There’s no doubt that this is an unusual length for an epic instrumental by the San Diego psych-rock power trio consisting of Isaiah Mitchell (guitar & vocals), Mike Eginton (bass), and Mario Rubalcaba (drums). The band will release a new album, “Night Parade of One Hundred Demons” on January 28 via Nuclear Blast, along with a winter tour kicking off January 27th at the Echo in Los Angeles. Their sixth album is comprised of two monster songs: the 41-minute title track and the 20-minute “Death To The Red Sun,” which comes with a video. The album and its title were inspired by an ancient Japanese legend in which a horde of demons, ghosts, and other terrifying ghouls descend upon sleeping villages at night, once a year. Known as Hyakki Yagyō, or the “Night Parade of One Hundred Demons,” one version of the tale states that anyone who witnesses this otherworldly procession will die instantly—or be carried off by the creatures of the night. As a result, the villagers hide in their homes, lest they become victims of these supernatural invaders. “My son and I came across the ‘Night Parade of One Hundred Demons’ in a book of traditional Japanese ghost stories,” bassist Mike Eginton explains. “I like the idea of people hiding and being able to hear the madness but not see it. It’s the fear of the unknown.”

Hank May – “High on LCD”: A diary-like song told by May’s loud acoustic style. This is a track from his debut album, “One More Taste of the Good Stuff,” out via Dangerbird. After spending much of his 20s living and playing in New York, May moved home to Los Angeles where he was closer to his family and able to turn the accumulation of notes, phrases, and melodies in his head into a record. He wrote much of “One More Taste of the Good Stuff “in his childhood home, shut away in a sound-proofed practice room adorned with Christmas lights that his father built for him growing up – a room that was demolished soon after he finished recording. The songs that came out of that isolated space possess a similar yearning for human connection, with lyrics that focus on the whimsical minutiae of brief encounters as well as long-standing relationships that ended during this time, such as the passing of Hank’s close friend and biggest supporter. “This video is a Halloween coffee table seance for a tenderly terrible tinder date,” May says. “Don’t miss Bob Dylan in the corner dropping his jumbled up ‘Subterranean Homesick Blues’ cards. I took inspiration from a month spent on the couch presiding over this coffee table and more visits to the thrift stores of Pasadena than I’m proud to admit. I slowly accumulated this small pile of treasures over the course of a week or two, then one night set up my phone on a tripod and went for it. I don’t intend to put quite as much love into a lyric video again in this lifetime, so please enjoy!”

Doss – “Cherry”: A dark-nightclub track with Doss’s loud whisper and some rave party beats. The song, both cheerful and creepy, was recorded with rising vocalist Cecilia Gault at Electric Lady Studios and premieres as a Spotify Single in partnership with their Fresh Finds program. “I knew I wanted to make a serviceable club track with Cecilia and I started writing ‘Cherry’ with her vocal style in mind, imagining wanting to be really present in a club by yourself, enjoying the moment in your own way,” says Doss. “Cecilia and I were totally in sync with that idea and I think that really comes across on the track. It was exciting hearing the song evolve and develop at each stage of the process and I’m excited to share it with everyone.” “Cherry” is Doss’ first new music since her wildly acclaimed EP 4 New Hit Songs, out earlier this year via LuckyMe. Doss has sold-out shows from basement clubs to MoMA PS1,  DJed in the middle of Times Square for The Lot Radio, and reworked “Enigma” for Lady Gaga’s Dawn of Chromatica remix album. Raised in Texas and based in New York, Doss first appeared in 2014 on the taste-making label Acephalé with an EP that Pitchfork called “an exploration of the pure joy of sensation.” Though her personal life has always been a bit of a mystery, the (soft)pretty pink vinyl edition and ongoing series of puppy logos showcase her deep background in design—Doss’ signature visual identity, like her music, often evokes the playful maximalism of the early 2000s with equal parts sincerity and humor. Though known as an underground fixture, Doss has always had major supporters in big-name artists. SOPHIE, in particular, was a frequent collaborator: they toured together in 2018 and teamed up for the legendary unreleased track “New York’s Burning Down” and a version of “Whole New World” on the OIL OF EVERY PEARL’S UN-INSIDES NON-STOP REMIX ALBUM.

Stereophonics – “Do Ya Feel My Love?”: A sincere and anthemic British pop-rock song with traces of Oasis, and emotional vocals sprawling over layered guitars. This is the second single from the band’s forthcoming album, “Oochya!,” which will be released on March 4, 2022, via Stylus Records through Ignition Records Ltd. “Do Ya Feel My Love?” feels like a flashback to years past, with the Welsh rockers’ trademark formula returning with a fan favorite in the making.  Driven by garage-like drums, punchy bass, and guitar alike—with Kelly Jones’ signature tones lacing the verses before the anthemic refrain rises in the chorus—this track exhibits the durability and uniqueness of Jones’ vocal range and lyricism. Watch the video for the single, a stunning energetic band performance directed by Maxim Kelly for Caviar. “Oochya!” follows Stereophonics’ previous album, “Kind,” which went to Number One in the UK album charts in 2019, outselling nearest competitor Kanye West by over 10,000 copies. It became the band’s 7th UK Number One album in the process. The release of Oochya! will also see the Welsh rockers return to the road for what’s sure to be another eagerly anticipated sold-out UK Arena tour. Kicking off at Manchester Arena on March 18, 2022, the 11-date tour reaches The O2 London on April 1 and culminates at The Birmingham Resorts World Arena on April 2.

Cy Dune – “Don’t Waste My Time”: With new wave-y beats, the track evokes a playful ‘80s synth dancefloor ready to make you forget about life’s problems. This is Cy Dune’s last explosive project, the post-genre positive punk project of artist and producer Seth Olinsky, co-founder of legendary underground noise folk experimentalists Akron/Family, as well as co-founder of Lightning Studios. “Life’s too short. ‘Don’t Waste My Time’ is a fun, new no-wave track that wastes no time with things like verses and other niceties deemed unnecessary on its direct route to fun,” notes Olinsky. “A meta throwback post-punk vibe that gets right on with the arty punk party so fast it can’t even wait for the remix – it just breaks down and starts to remix itself halfway through. To me, it’s like the 20th century seen looking back through 21st-century spectral glasses, a collage of iconic analog synths and patched 80s new wave guitar tones with modern production techniques, that has the one iconic purpose of having a little fun – now.” Seth’s projects have always had a post-genre approach to music-making. Collaging several genres simultaneously to create multi-meaning, and purposefully juxtaposing authentic and pure songwriting sincerity, with self-aware meta-meaning and pranksterism. The new track is his first new music since his 2019 album “Desert” and comes ahead of a new album due in 2022.

 

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