This summer, Ben Chasny’s Six Organs Of Admittance will be in the UK spreading the workings of the Hexadic, the system that underpins his most recent album for Drag City bearing the same name. Most of the dates are performances from the full live band, except for a special workshop as part of Supersonic Festival 2015 in Birmingham, where Chasny will be explaining and demonstating the Hexadic process to patrons of the adventurous arts event.
For Mancunians the gig to watch out for Manchester Gulliver’s on June 14th.
Southern California’s Goatsnake have released the title track from their upcoming album, Black Age Blues, the band’s first LP in fifteen years. Black Age Blues will be released through Southern Lord Recordings June 1st, and preorders for the album are now live. In addition to physical preorders, the record is also available via iTunes, offering the tracks “Black Age Blues” and “Elevated Man” for instant download, which are now available to purchase individually. Check out the preorder options at the new Goatsnake store, via BandCamp andiTunes.
In June, Peggy Seeger embarks on a 16-date UK tour to celebrate her 80th birthday, accompanied on stage by her sons, Calum and Neill MacColl. Both fine musicians in their own right, between them they’ve played with some of the biggest names in pop and folk music in the world. Peggy says “The boys asked what I wanted for my birthday. I said it might be my last tour so I wanted them to join me. How many other families are able to request and give a similar gift?” Peggy plays Band on the Wall Manchester on June 18th.
After leaving a career as mechanical engineer in Boston to focus on art and sculpture, Tristan Shone created Author & Punisher while getting his MFA in Southern California. In the metal and machine shops of University of California, San Diego, Shone forged a relationship with design, sound and fabrication that ultimately yielded A&P’s first three albums and mapped the journey away from traditional instrumentation towards custom made, precision machinery that he calls Drone Machines, Dub Machines and now his series of Masks.
Author & Punisher’s newest album entitled Melk En Honing, produced by Phil Anselmo (Pantera, Down, Superjoint Ritual, and more) and due out Summer 2015 via Housecore Records, is a melange of his various drone machineries employed together with multiple physical rhythm machines, some synth and the new electromechanical masks that began to appear in A&P performances across the U.S. and Europe in 2014. After a year of heavy touring and festival appearances, the goal with this album became to try and capture the live dissonant power of the A&P experience. The combination of Anselmo’s persistence, expertise and some of Shone’s new experimentation with various vocal devices, this is a vocal-prominent, bass heavy album that combines A&P’s signature elusive drone sequences and hard hitting rhythms with unexpected terrains of melody and musicality that sustain Shone’s reputation as an unorthodox innovator in a class all of his own.
From their sixth full-length album Success, due out June 15th via Season Of Mist, is KEN mode‘s call to end the hostilities that plague our communications and interactions. ‘These Tight Jeans’, the second track on an LP that intrigues and excites at every turn, underlines the bold aesthetic makeover the Canadian band has undergone sixteen years after their inception, with a quickfire round of damaging grunge punk and conscious, catchy lyrical heft – or as the band put it themselves…
“These Tight Jeans is a post punk-rock tribute to the absolute insanity of the ‘hater’ culture that plagues the media, social networking, and our daily lives as human beings alive in 2015. The first line of the song says it all: “I would like to learn how to kill the nicest man in the world”. Stop disrespecting each other and go run a marathon, do some push-ups, read a book, create something: get a life. Life’s too short. Guest vocals by our friend Jill Clapham, and channels plenty of feel from 80’s post punk and garage rock coupled with our usual bite.”
Rock, noise, math, indie – KEN mode offer a root to it all on Success, locating a common ancestor that’s behind all that they do and have done as a band. It’s one seriously fermented sound that pervades these recordings, a goldrush of skewed rhythms, corrosive riffs and scorching pickup abuse, so diligently pulled off and inherently important to the band. Their path first appears to be one of complex inspiration, but a lineage soon becomes clear, lighting up a way through concentric circles of legacy that encompasses Revelation Records, Dischord, Touch And Go, Sub Pop – the full spread of inventive heavinesses that fed in to the grunge estuary, and out in to the open sea of independent labels in the final decade of the last century, where KEN mode first appeared.
Success is a funny concept; in its rawest, most pure form, it is entirely relative, and this was the subject KEN mode chose to approach their new album with. Sonically, and lyrically, a shift has been made from the classic spitting of metallic hardcore tinged vitriol, that the band has become known for, to a rawer, more mature, even humourous indie rock aesthetic. In April 2014, the band set out to pay tribute to where they’ve come from: a salute to both their Canadian Prairie roots, and a time when they first started to care about making music; the burgeoning ‘grunge’ and Touch & Go/Dischord scenes of the late 80s/early 90s, with bands like Nirvana, Big Black, Cop Shoot Cop, The Cows, Circus Lupus, and Drive Like Jehu warping their teenage minds. Lyrically, the band’s fascination with comedy spirals around classical western concepts of ‘success’ – from employment, sex, marriage, religion, socioeconomic standing, and particularly the many perceptions people have of how they, and those around them, happen to fit into the world.
Recorded with legendary engineer Steve Albini (Nirvana, the Jesus Lizard, PJ Harvey and so many more) to capture the material in a fully live and analog session in the band’s hometown in November 2014, brought to fruition is the most raw, rock and roll sound the band has ever put forth.