The sights, sounds and words of the week in noise.
NEWS
New book alert: Drag City are releasing a collection of posters from the Louisville punk scene that birthed the likes of Slint and Bonnie “Prince” Billy. Though never as celebrated as a music capital the way Seattle, Nashville, New York or Chicago ever were, the Kentucky city played a pivotal role in the development of noise rock, hardcore and its others — names like Rodan, Squirrel Bait, June of 44, and more recently, Young Widows, Waxeater and Watter. Titled White Glove Test, the book brings together poster art from 1978–94 and is available for purchase at the Drag City website.
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Seems like tribute records from the 90s are the new reunions. There’s currently crowdfunding campaign to finance a cover of Helmet’s debut Meantime, with contributions from KEN mode, Kings Destroy and The Atlas Moth among others. The starting goal is pretty low at $5,000 and as of writing a little over 40% of the way towards its target. Head over to the Kickstarter campaign page if you’re keen to throw some coin.
READ
How Much is Music Really Worth? | Pitchfork
“Putting the debates about artists’ income from Spotify, Pandora, and their ilk in a broader historical context, it becomes clear that the money made from a song or an album has clearly decreased over the last several decades. What’s equally clear, though, is that the value of music is almost as subjective financially as it is aesthetically; the economics of music, it turns out, is more dark art than dismal science.”
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Join The Chant? Pop’s Endlessly Problematic Relationship With Politics | The Quietus
“There’s a sense, some reckon, of heads-down expediency among today’s generation, that however tousled their hair may be or serrated their ‘indie’ guitar stylings, they are aspirational rather than countercultural. Is there even such a thing as the ‘counterculture’ anymore, outside of the dreams of 40-and-50-somethings brooding wistfully over their large vinyl collections? What has become of the insurrectionary spirit of rock’s halcyon years, before postmodernism set in and hip ironicism usurped an older, angrier spirit of authentic rage? Where is the Doc Marten energy of the old days, of rock music as soundtrack to petrol bombs and stand-offs with cordons of crewcut police?”
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The Man Who Broke The Music Business | The New Yorker
“From 2001 on, [Dell] Glover was the world’s leading leaker of pre-release music. He claims that he never smuggled the CDs himself. Instead, he tapped a network of low-paid temporary employees, offering cash or movies for leaked disks. The handoffs took place at gas stations and convenience stores far from the plant. Before long, Glover earned a promotion, which enabled him to schedule the shifts on the packaging line. If a prized release came through the plant, he had the power to ensure that his man was there.”
LISTEN
Lycia — Silver Leaf
I first heard of Lycia when the late Type O Negative frontman Peter Steele described the Arizona outfit’s music as the most depressing he’s ever heard which is lofty praise from the drabbest of the drab four. Now a duo, Lycia remained largely dormant for the first decade of the 21st century before resurfacing in 2010. “Silver Leaf” is one half of a forthcoming split release with Black Mare through Earsplit, and it seems Steele’s description still holds true; if you start your morning with the tides of reverb that envelop Mike VanPortfleet’s stark incantations, you’re useless for the rest of the day.
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Tyranny is Tyranny — The Rise of Disaster Capitalism
Tyranny is Tyranny first came to my inbox about six months ago with word of their ambitious concept album, Let It Come From Whom It May, based on American writer and critic Howard Zinn’s The People’s History of The United States. Rarely is protest music infused with such a vivid aesthetic — in this case, a vivid and violent sound somewhere between mid-west emo and Fugazi (Russell Emerson’s vocal delivery falls right in the middle of Ian Mackaye marching orders and Guy Picciotto’s attitudinal rebel yell. Tyranny’s latest record takes on Naomi Klein’s breakdown of disaster capitalism,The Shock Doctrine, and this time their adaptation is better produced and rich with guitars that convey vulnerability and power all at once. Extra props for this being the only record on Bandcamp tagged Zinn-core.
WATCH
Sumac — Thorn in the Lion’s Paw (Live)
As much as I’d love an ISIS (the band) reunion, it almost seems unnecessary. Between Old Man Gloom, Zozobra, Mamiffer and now Sumac, the members of the late post-metal vanguards are producing some of the most exciting heavy music in the world. Sumac is the youngest of those projects, having just released The Deal through Profound Lore earlier in the year. This video from one of their first shows ever back in March in Vancouver showcases how utterly gargantuan a three-piece can be. That’s Turner on vocals and guitar, Baptists’ Nick Yacyshyn on skins and Brian Cook of Russian Circles / Botch / These Arms Are Snakes fame on bass. This is the most crushing thing you’ll hear all week.
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Chelsea Wolfe: ABYSS album trailer
Your Sargent House Gush of the Week features the first taste from the fifth album of the new Noir Queen. This excerpt is easily the heaviest Wolfe’s ever sounded, and the visuals of a chiaroscuro California show the limitless potential of her cinematic world. Abyss is slated for a summer 2015 release.
