In a few short weeks, Pink Floyd will bring to light their last album The Endless River. Those that I have spoken to about the forthcoming record seem to be skeptical and lukewarm at best to the idea. Personally, I’ve recently become really attuned to the playing of late keyboardist Richard Wright and if you consider that The Endless River is 19 instrumental songs, I feel curious to moderately excited about the new release. What’s your favorite record by the band? Is it the cynical prog machinations of Animals or the unrefined, yet undeniably promising Saucerful of Secrets? Make your opinion known and vote. Continue reading
Everyone’s favorite Canadian grindcore outfit Fuck The Facts will be releasing their new Abandoned EP in October and the band has unleashed their new track “Disabused.” As always, Fuck The Facts kill this track, but then again, who would ever doubt the masterful grind that FTF have been releasing all these years? Check out this rad track after the jump. DO IT. Continue reading
Whirr are a band that the world should be familiar with at this point, as they spawned Nothing and will be releasing one of my favorite albums of the year very soon. The band has unleashed their phenomenal new album Sway upon the world today and it is a glorious thing. This album is shoegazing, post-rocking, noisy and it’s beautiful. Whirr craft some of the best music you will ever hear and you have GOT to get into this. You can check out a full stream of Sway over on Pitchfork and stream their track “Mumble” after the jump. ENJOY! Continue reading
Over the six years my band has been part of the Vancouver live circuit, one particular show stands out in my memory. Within thirty seconds of their set, the band onstage at the Patricia Hotel caused total chaos when their vocalist jumped into the crowd. I remember thinking to myself, “Who is this madman?” Not only did the vocalist have the crowd at his whim, the vocal sounds coming out were powerful. Turns out that man was Last Plague’s Heath Fenton. Along with Last Plague, Heath played in the bands Witness Protection Program and Angry. I got a chance to pick Heath’s brain and find out what’s going on these days with Last Plague.
How has the Vancouver changed from your days as an all age musician to the present day?
Heath Fenton (vocals): It has changed a bunch. When I first moved here in 1996 it was the music scene that brought me here. There were a shit load of wicked bands and there was tonnes of support for the scene. All ages shows would sometimes draw in the high hundreds for local shows. Amazing stuff. That’s the main difference. Unfortunately that scene fizzled out shortly after we moved here. For whatever reason. People growing up. Drug addiction was a major factor in it. The scene is healthy now. There are a number of places to play. And so many amazing bands. people really have got to pay more attention to what is going on with heavy music in this town. Another difference is, in the late 1990’s and early 2000’s there was really only a couple of venues that would house heavier type bands. So that has changed. There are at least a dozen right now. And crowd support seems to be coming around again. But nothing like it was in the mid 1990s. Maybe that will change, but I have no idea what the kids are doing these days. And the bar crowd is not getting any younger.
What Vancouver venue sticks out in your memory as being fundamental to your show going/playing past?
The venue that stands out the most to me over the years is obviously the old Cobalt. That and the Columbia, which is called 303 now. Both were run by Wendy13, and anything she does pretty much rules for the metal/punk community. When I was in my first real Vancouver band (Human Resistance Program) she ran the Columbia shows and always booked us. We played a shit load of awesome shows there that stand out in my mind. After that place closed then it was onto the Cobalt. I don’t think i need to explain anything about that place and the legendary status it achieved with in the community. It’s just too bad it ended.
Every Time I Die have officially announced their new U.S. headlining run in support of their most recent effort, From Parts Unknown. The band will be joined by the likes of The Ghost Inside, Architects, Hundredth and Backtrack. Those dates, as well as Every Time I Die’s video for “Decayin’ With the Boys”, can be seen below.
UK-based doomsayers OHHMS have announced the release of their debut full length record. The new record will bear the title Bloom and will see a release through London-based Holy Roar Records on October 6th. The recorded was recorded by Ian Sadler and mastered by Brad Boatright and will feature two-tracks that collectively clock in at 32 minutes in length. The album’s artwork, track listing and video teaser can be found after the break.
Pre-orders for Bloom can be placed here.
Vancouver, Canada based Progressive Rock/Shoegaze/Post Hardcore band Seven Nines and Tens have detailed their forthcoming new single. The track “I Come From Downtown” will be the 1st single from the band’s 2nd album titled “Set the Controls For the Heart of the Slums.” The 6 track album was produced and mixed by Steve Hanker and was tracked at Rain City recorders. The tracks were engineered by Steve Hanker with assistance from Jessie Karr.
This will be the bands first new material since the “Constants & Axioms” single which was released in 2013 by New Jersey based indie label Nefarious Industries (Jar’d Loose, East of the Wall, Maid Myriad.) As soon as we get release dates for the single and album, we will let you know. Until then check out the Constants & Axioms single at the bandcamp link below.
Swedish hardcore act Gust have premiered a new track from their forthcoming self-titled debut over at CVLT Nation. The new track is the thunderous, crusty jam “Reality Chokes”, which is sure to inspire an abundance of neck-snapping headbanging throughout the day. Check out the track for yourself over at CVLT Nation now.
Gust will be released on September 16th.
Champaign Illinois’ finest band Hum established an insurmountable precedent for themselves with their 2nd full length record “You’d Prefer An Astronaut.” The record, released in 1995 contained the band’s biggest hit and most well known song “Stars.” The song became a staple of modern rock radio and was championed by everyone from Howard Stern, The Deftones, and was even featured in a Cadillac commercial. A space rock band being used as a soundtrack to sell cars. I’m confident no one least of all the band themselves, saw that coming.
Though the follow up record and today’s Lost Diamond sold markedly less copies then it’s predecessor, it seems to have a more lasting legacy. We’ll get the accolades out of the way first by saying that indie tastemaker powerhouse, Pitchfork, declared the record one of the best of the nineties and ranked it #81 on a list of 100. The 10 songs on Downward exhibit a dramatic increase in quality as far as songwriting and overall cohesiveness are concerned. Nearly every song uncovers a whopping guitar theme executed with the precision of a remarkably well seasoned band.
Echoes of opening track “Isle of the Cheetah” can be heard today in countless other bands like Cave In, Hopesfall, Finch, and the Deftones to name a few. The first single “Coming Home” is decidedly uncommerical compared to the bands fluke hit but over time unveils itself as a timeless and peerless example of dominant guitar rock.
The album was issued in “Super Audio Compact Disc” format and the extra attention to fidelity no doubt aided the intricacies and nuances of the music. All this quality unfortunately had no bearing on the band’s bosses at RCA records who were clearly unimpressed with the lackluster sales of the record. Further to that, the band disbanded shortly after it’s release. Although the marketing department at RCA had no idea what to do with such an elaborate piece of art, their Artist & Repertoire department clearly did with staff member Bruce Flohr being responsible for signing the band and later Boston metal legends Cave In. Not a bad professional track record to say the least.
In conclusion, the band’s style was so groundbreaking that a tribute album was released with powerhouse up and comers contributing like Junius, City of Ships, Arctic Sleep, and Constants. The tribute record featured songs from all three of the bands records with a majority of the tracks being from Downward. It’s a shame that no one chose to cover the album’s centerpiece (and arguably the bands best song) “Afternoon With The Axolotls” as it’s simply stunning. Although they no longer tour the band convenes once a year or so to play a local show and fans fly from all over the world to see these legends plug in one more time.
I’ve often found that one of the most useful and generally awe inspiring ways of discovering new music is to seek out records that other musicians recommend. A while ago I read an interview with Sonny Kay of legendary noise punk band The Vss where he was speaking of a list of records that were receiving a lot of play time in his stereo. Given the strength of his musical output – the aforementioned The Vss, Year Future, and running the short lived but important record label Gold Standard Laboratories, the man knows a thing or two about quality music. One of the records I obtained thanks to his insistence was “Trait” by the band Pailhead.
A few years passed before I actually sat down and listened to the record (there is so much music to be heard and only so much time) and when I did, I immediately regretted not listening to Pailhead sooner.
Pailhead was the short lived musical union formed after Al Jourgensen of Industrial legends Ministry befriended Minor Threat/Fugazi/Dischord Records founder Ian Mackaye. Imagine one of the vocalists of Fugazi (literally) putting words over a foundation of industrialized post punk and you have an idea of the style that Pailhead did so well and for such a short time.
The pacific coast of Canada hosts one of the nation’s largest, most diverse, and thriving music communities. Some bands are here today, gone tomorrow, some carve out a career for themselves, and some rocket out of the starting gate with strong songs and an unflinching work ethic. Vancouver’s Within rust find themselves undoubtedly in the latter camp.
Describe the first Within Rust live performance?
March 2012, Burnaby Winter Club, we were headlining for some ridiculous reason with all these pop punk bands who’d been around way longer than we had, and we had these lasers that had been taken from the pacific coliseum or something, and we were terrible and everyone loved it.
What do you consider to be the preferred medium for music distribution in 2014?
Youtube. Without a doubt, Youtube. They’re doing some sketchy things right now though so we’ll see about that. As far as actual unit distro? Itunes.
It’s been a while since I became age of majority, what’s the all ages scene like these days?
Its kinda weird… I mean on the one hand you have the super passionate thriving punk/ hardcore scenes, then you have the loyalist pop punk scene, which is mixed with the metalcore scene, and its basically the same 200 kids that go out to those shows and sing or scream their hearts out. We’ve had some casualties in that scene lately with bands moving on, but there’s always more filling in the void so it’s cool. A lot of variety, we’ve made tons of friends playing in that scene even though we never really fit in it.
You just found out that you have a 20 minute set opening for Within Rust’s collective favorite band at your city’s Hockey Arena – what band is it?
What’s the musical landscape like in your hometown in 2014?
Every band out of Delta/ Surrey just goes and plays in Van and Burnaby, unless they’re soft enough to get the festivals Surrey puts on, which can be quite big. We’ve played more cities in the US in the last 3 weeks than we’ve ever played shows in this town. An example of a band out of ‘Surrey’ we identify with is Galactic Pegasus. You’ll never see them play in Delta, but believe it or not some of them live here.
For a younger band your sound is familiar yet not derivative. What would you attribute to helping you find your own sound?
It’s just the result of being into heavier music but coping with a singer with a really distinct, clean voice, and a guitarist who plays in weird chord shapes. There are so many ways to be intense or to express yourself as a band and I think we’ve really wrapped our heads around that to make some weird alternative prog slurry. We’re always trying to push that harder and harder and find new ways and textures to make it just sound like something we’ve never done before.
Thanks a lot guys and all the best to Within Rust!
Thanks for talking to us! Lets do this again some time!
Visit WITHIN RUST on facebook
Today is the Day have unleashed the details surrounding their upcoming 10th full length album, Animal Mother. The album, which was produced and mastered by frontman Steve Austin himself, will be released through Southern Lord on October 14th on 2xLP and CD. Austin has described the sound of the record in the past as a mix between Temple of the Morning Star and In the Eyes of God, which means optimum heaviness. You can check out the album’s official artwork and track listing as well as a video trailer, which previews some of the auditory madness to come.
The forthcoming 11th studio album from Opeth, Pale Communion, can now be streamed in its entirety over at Pitchfork. The album will officially be released through Roadrunner Records next Tuesday, August 26th. But I know Opeth fans cannot wait another minute to sink their fangs into progressive rock goodness, so head over to Pitchfork to satiate your cravings.
The band will also be embarking on a co-headlining tour with In Flames this December, with Red Fang to open. Those dates can be found below.