Patriarchy, Izzy Spears, Atta Boy, Niina Soleil, Heads Are Heavy, Channel Tres, and Plastic Harpoons are the artists among these press releases for October.
Patriarchy – “Good Boy”: Celebrate Halloween a few days ahead with this provocative horror-appeal video of Patriarchy and its brutal electro-industrial beats, scary synths, gore ambiance, and secret ritualistic debauchery. “I fell out of my strong ritualistic routine and into a chaotic semi-relationship full of amazing sex and non-verbal interactions,” declared frontwoman Actually Huizenga. “An Understanding could never be reached. There was no Control. There was nothing but carnality and confusion; it became my obsession, projection, fantasy, and failure. It became my Unself. The guy I wrote most of the songs about, he’s heard all of them, and he loves them. He’s like, “Is this one about me? Oh wow!” In that very interaction, I started to get myself back. I’ve gone to the cave and found my dragon. I’ve fucked him, I’ve loved him, and I’ve learned from him- but I did not kill him… because this is the blood of the love song. I must remove the veil behind the armor; move forward and look this thing straight in the eyes as I fuck him. Listen to him speak as I kiss him; To see the smile of beasteal evolution through his alluring teeth…To study him after the physical struggle; To become him through my art…To merge Into The Unself.” The Unself LP is out now via Dero Arcade.
Izzy Spears – “BAD NEWS”: A lo-fi horrorcore theme, and an uneasy vibe for an unclassifiable song. As hazy as it is bouncy, the track travels through the stages of grief following the turbulent end of a relationship. Amidst the heartache and anger in the aftermath, there’s still a lingering nostalgic feeling, where you wonder what could’ve been. Speaking on the track, Izzy wrote: “Love leaves a bruise.” It comes alongside a gorgeous music video that capitalizes on the track’s intense, and somewhat fantastical nature. “BAD NEWS” is the second single off Izzy’s forthcoming debut EP entitled “Monstar,” due November 11 via KRO Records. Izzy Spears describes “Monstar” as a sort of encrypted diary entry. Inspired by his own life, each song is very personal, telling a different story about an experience he’s had. But with coded lyrics, the songs leave much up to interpretation for the listeners.
Atta Boy – “Deep Sea Ladder”: An emotional and sweet tune, with indie guitars and a sour edge going crescendo throughout the song. It comes with a video directed and drawn by David Delafuente, with the band swimming in the freedom of embracing their own insecurities. The LA indie-pop quartet has just released a third studio album, “Crab Park,” a pacifying body of work that feels like a candle in a dark room–a quiet guiding light that evokes a particular sense of serenity. With album art designed by the band’s own Lewis Pullman (drums), the ten-track body of work allows the band to thoughtfully reflect on the varied aspects of change–nostalgia, an ever-changing understanding of home, the value of meaningful friendship, and the vulnerability that comes with embracing the full, broad spectrum of emotions throughout life’s highs and lows. With imaginative song structures and twirling melodies, “Crab Park” is a buoyant celebration of the natural cycle of living, dying, dissolving, and reforming, ultimately, perpetually in bloom. On “Deep Sea Ladder,” Eden Brolin sings with unbounded honesty, “I know this house is sinking, every shingle out of line / I know this house is broken, you remind me all the time / But this house is mine.” It’s an intimate, pensive tune that sees the narrator take ownership of their flaws and insecurities where they find freedom in their own faults. The process of writing “Deep Sea Ladder,” Brolin explains, “was written as an exercise in an effort to practice writing songs more quickly and with less judgment. The exercise involved going through literature and sort of randomly finding words and placing them together in different variations as a jumping-off point.” Landing on the words “Deep Sea Ladder” Brolin continues, “stuck out as it made me think of something I was grappling with at the time, and through that allowance of curiosity that image continued to be fleshed out. The band was vital in finding colors in the music and production that fill out the story more vibrantly.”
Niina Soleil – “Flowers On Fire”: A seductive track with bold and passionate vocals, rhythmic claps, backup voices, cyclical instrumentals, and an overall very catchy vibe. The single comes with an accompanying music video. “‘Flowers on Fire’ was basically done in a few hours, after several shots of mezcal and a flurry of musical ideas ping-pong,” said Nina Shallman (her real name). “My co-writers for this song, Jeremy Ruzumna, and Erik Janson, are both out of their minds in the best way possible. Musical geniuses and huge goofballs. We had a blast. Lyrically, ‘Flowers on Fire’ is about passion and tension, suspense and release. It’s also sort of a challenge, a ‘your move,’ kind of song. Like, the ball’s in your court— so what’re you going to do about it? So much of my lyrics are imagery and word puzzles, with meter and rhythm, and rhyme. And I always seem to subconsciously make life hard for myself lyrically! I mean, I rhymed ‘subterranean’ with ‘rein me in’ in my head, and then I had to write an entire verse around that idea alone. So extra.” Niina Soleil is set to share more new music later this year.
Heads Are Heavy- “A Different Day”: A chaotic, and savage dance filled with atonal choruses and percussive beats. The result works like an infectious ritual with a gospel ambition. Heads are Heavy is Julie Edwards (Deap Vally, Deap Lips, Desert Daze co-founder) and Marc Smollin. The former Pity Party bandmates reunited for the new project after discovering iPhone recordings of live jams from a rehearsal room adjacent to a poultry processing plant. their self-titled debut EP available now is six songs that have been 17 years in the making with tracks unearthed from an obscurity so thick even their authors knew not of its existence. The duo ended up expanding upon those recordings with co-producer Josiah Mazzaschi (Jesus & Mary Chain, Deap Vally, Childseat, Light FM) in his studio, The Cave. Bound together by a common compulsion towards major-downer-type shit and atonal harmonies, Smollin and Edwards implicitly understand each other in a way no other can, and within the folds of their co-psychic arcanity, fragmented shards of pop and poetry congeal into misshapen lumps, shining and dull. And that is Heads are Heavy. Their self-titled debut EP is out.
Channel Tres – “No Limit”: A laid-back, smooth, funky, sexy track with Channel Tres’s hushed baritone, and a groovy dancefloor. The single was released via GODMODE/RCA Records and announces Tres’s official signing with RCA in partnership with Godmode. His debut full-length album “Real Cultural Shit” is out later this fall. Of his new single, Channel Tres says “’No Limit’ was made about my time in New Orleans and about my memories of backyard BBQs my family used to have in Compton. It also speaks of breaking past limitations in life and with a love interest.” “No Limit” follows a series of head-bopping singles from Channel Tres including “Acid in my Blood” and “Ganzfeld Experiment,” released in February, and “Just Can’t Get Enough,” the funky, 70s-infused single sampling legendary soul man Teddy Pendergrass. The tracks make-up Real Cultural Shit, primed to be Channel’s most authentic work yet and a proper introduction into Compton house. While house music has been experiencing a mainstream resurgence in 2022, Channel Tres has proven to be a pioneer in the space—he’s ahead of the curve. “Compton house” is his invention, a blend of the rhythms of Chicago house and Detroit techno with the snarl of West Coast rap. It’s proven to be an irresistible formula.
Plastic Harpoons -“East of State”: A soothingly melodic track with a Southern Cali soft rock vibe; the song has a retro flavor (with Saxo), laid-back and Jazz-influenced with confident vocals. Santa Barbara’s Plastic Harpoons are an Americana band that incorporates a touch of indie-rock into classic rock and power-pop sensibilities, and their “Modern World” LP is out on November 30 via Lolipop Records. Daniel Vasquez said on their newest single: “I wrote the original concept to be more of a mellow love song about someone being caught off guard by love at first sight. We jammed on it a few times before we unlocked a groove that we could not ignore. We decided that the setting for this song needed to match the vibe of the music. Taylor then crafted a background setting of a guy having his usual debaucherous night out on the town when he is struck by love and saved by her for the night.” Bear Erickson, who mixed and mastered the band’s forthcoming album, said: “In times when people think the world is ending, Plastic Harpoons demonstrate that the story is just getting interesting. With vocals front and center that have something clear to say, this band brings me back to the feeling I experienced from the ’60s and ’70s rock bands. A genuine, honest, and artful take on life and all we go through.”
punk blasts of energy
# 1 where Jack Harlow resides
ear candy trap
Ye’s hatred of Jews is well beyond a bi-polar by product
even by her through the roof skills the three singles we’ve heard have been masterpieces…
Graphic Novel “Merriment”, Written by Joe Steinhardt and Illustrated by Marissa Paternoster, Reviewed
an extended metaphor for Joe and Marissa’s friendship
worse than I remembered it being
Noah’s only song worth your while has taken over