Ghost Cult Mag Exclusive Stream of New Randall Holt Single

EXCLUSIVE TRACK PREMIER: Randall Holt – I Felt Safe Again And Was At Home

Austin Texas-based classical and experimental cellists, Randall Holt may not be a household name to some, but fans of underground music surely have heard his work. In addition to being a member of a member of Knest (with Thor Harris & Jonathan Horne) and Horne + Holt. Randall has also played in Reverend Glasseye, and collaborated with Godspeed You! Black Emperor, Yann Tiersen, Eric McFadden Trio and jazz composer Adam Rudolph. Having released his current album (digital only) in March 2016, Inside The Kingdom of Splendor and Madness on Self Sabotage Records, next week will see the release of the album on cassette and compact disc. To celebrate Ghost Cult has teamed up with this important artist to bring you his new single, ‘I Felt Safe Again And Was At Home’.

Pre-order:http://selfsabotagerecords.bigcartel.com/product/randall-holt-inside-the-kingdom-of-splendor-and-madness

Personnel:

Randall Holt — cello

Recorded, mixed and produced by Chico Jones at Ohm Recording Facility, Austin TX

Mastered by Jerry Tubb at Terra Nova Digital Audio, Austin TX

Photo by Renate Winter

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2016 Self Sabotage Records

Daniel Dennis Finds Support in Record Labels to Stand Out in Mexico and the US

Daniel Dennis encuentra apoyo en disqueras para destacar en México y EUA
NOTIMEX 27.02.2018 – 11:06H

El cantautor mexicano Daniel Dennis encuentra oportunidad para mostrar su talento en las firmas discográficas Super Secret Records, de Estados Unidos, y San Saba Records, de México, que juntas apoyarán nuevos talentos en ambos lados de la frontera norte.

En entrevista, el joven radicado en la Ciudad de México desde hace tres años, destacó que su carrera empezó en 2015, cuando lanzó un disco de manera independiente. “Ahora tengo el respaldo de Clemente Castillo, de Jumbo con San Saba Records y de Richard Lynn, de Super Secret Records”.

Daniel Dennis indicó que con esta fusión discográfica los nuevos talentos tendrán una oportunidad de crecimiento ante el nulo interés de las grandes firmas discográficas trasnacionales. “Voy a ser parte de un compilado que dará muestra del talento que ya somos parte de estas firmas y el disco saldrá en un par de meses”.

Explicó que su vena artística es hereditaria, ya que su padre y su madre siempre gustaron de tocar instrumentos, por lo que nunca se ha fijado si es difícil o no la carrera.

“Es una diversión, siempre he visto esto más como una disciplina artística que como un negocio, aunque sí veo algunos indicadores que hace complicado el avanzar”.

El cantautor mencionó que cuando la gente se le acerca para felicitarlo, lo toma como un buen indicador de que va avanzando en conquistar más oídos. “Cada vez más gente consume mis canciones por plataformas digitales sin haber invertido en promoción y publicidad, mis canciones me han dado esa oportunidad de llegar a cientos de personas”.

Aseguró que estar en la Ciudad de México es la más grande oportunidad. “Este momento es ideal para extender mis obras y llegar a más personas, porque tenemos un mercado enorme que permea a países del Centro y Sudamérica, y me gustaría llegar al mercado hispano de Estados Unidos”.

Daniel Dennis explicó que antes de que salga el compilado, lanzará un segundo disco de manera independiente y tendrá nueve canciones, “pero después de esto voy a entrar al estudio con estas dos discográficas para hacer un tercer disco, el primero con ellos, porque canciones tengo en el cajón”.

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Mexican singer-songwriter Daniel Dennis finds an opportunity to showcase his talent at record labels Super Secret Records in the United States and San Saba Records in Mexico, which together will support new talent on both sides of the northern border.

In an interview, the young man based in Mexico City for three years, said his career began in 2015, when he released an album independently. “Now I have the backing of Clemente Castillo, of Jumbo with San Saba Records and of Richard Lynn, of Super Secret Records”.

Daniel Dennis indicated that with this record fusion the new talents will have an opportunity of growth before the null interest of the great transnational record companies. “I will be part of a compilation that will show the talent that we are already part of these firms and the album will be released in a couple of months.”

He explained that his artistic vein is hereditary, since his father and mother always liked to play instruments, so he never noticed if the race is difficult or not.

“It’s fun, I’ve always seen this more as an artistic discipline than as a business, although I do see some indicators that make it difficult to move forward.”

The singer-songwriter mentioned that when people approach him to congratulate him, he takes it as a good indicator that he is progressing in conquering more ears. “More and more people consume my songs on digital platforms without having invested in promotion and advertising, my songs have given me that opportunity to reach hundreds of people.”

He said that being in Mexico City is the greatest opportunity. “This moment is ideal to extend my works and reach more people, because we have a huge market that permeates countries of Central and South America, and I would like to reach the Hispanic market in the United States.”

Daniel Dennis explained that before the compilation comes out, he will release a second album independently and will have nine songs, “but after this I will enter the studio with these two record labels to make a third album, the first with them, because songs I have in the drawer. “

Record Fusion Opens Opportunities For New Talent: Walter Esaub

Earlier this year, we at Super Secret Records created our fourth label – San Saba Records. This new label will focus on international music, starting first in Mexico then eventually branching out. This article (Spanish first, rough English translation second) talks about some of the initial work we’ve done with Walter Esaub, best known for his work as Negro:

Fusión discográfica abre oportunidades a nuevos talentos: Walter Esaub
NOTIMEX 27.02.2018 – 14:56H

La agrupación Negro y Las Nieves de Enero encuentra una oportunidad, para dar a conocer su propuesta musical de rock alternativo con la fusión de firmas discográficas de Estados Unidos y México.

“Estamos en la etapa de aferrarnos a nuestro sueño de llevar nuestra música a México y el resto del mundo, aunque reconocemos que habíamos pensado en darnos por vencidos, pero gracias a Clemente Castillo y a Richard Lynn, hoy tenemos más ganas que nunca de seguir tocando”, dijo Memo Walter Esaub.

El fundador de Negro y las Nieves de Enero, puntualizó que a Clemente Castillo lo conocieron en un concurso de bandas en Acapulco, donde fue juez. “Después de tocar, él mismo se nos acercó y nos propuso ser parte del elenco artístico de la disquera independiente más fuerte de Austin, Texas, pero ya no hubo más”.

Indicó que días más tarde el integrante de Jumbo los volvió a ubicar, para empezar a trabajar juntos vía redes sociales, “pero esta semana se dio el primer acercamiento y ya estamos contemplados para estar en el primer disco compilatorio, donde se promocionará a los talentos de la fusión discográfica”.

Memo Walter Esaub afirmó que los discos subsecuentes saldrán por San Saba Records en México y distribuidos por Super Secret Records.

Informó que la próxima semana regresan a la ciudad de México, para tocar en un foro conocido como Casa Max Rojas, “pero saliendo al mercado el EP de mayo para adelante, tendremos más contrataciones, bueno eso esperamos, porque estamos seguros de que nos apropiaremos de un público fiel”.

Por último, considero que las redes sociales les han abierto las puertas de otras naciones como Colombia, donde ya tienen seguidores que ya consumen sus canciones que han subido en YouTube. “La puerta de las redes sociales están abiertas para todos los músicos del mundo”, finalizó.

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Record fusion opens opportunities for new talent: Walter Esaub
NOTIMEX 27.02.2018 – 2:56 P.M.

The group Negro and Las Nieves de Enero find an opportunity to publicize their alternative rock musical proposal with the fusion of record labels from the United States and Mexico.

“We are in the stage of clinging to our dream of taking our music to Mexico and the rest of the world, although we recognize that we had thought about giving up, but thanks to Clemente Castillo and Richard Lynn, today we have more desire than ever to continue playing “Said Memo Walter Esaub.

The founder of Negro y las Nieves de Enero, pointed out that Clemente Castillo was known at a band contest in Acapulco, where he was a judge. “After playing, he approached us and proposed to be part of the cast of the strongest independent label in Austin, Texas, but there was no more.”

He indicated that days later the member of Jumbo relocated them, to start working together via social networks, “but this week the first approach was made and we are already contemplated to be in the first compilation album, where the talents will be promoted. of the discographic fusion “.

Memo Walter Esaub affirmed that the subsequent discs will be released by San Saba Records in Mexico and distributed by Super Secret Records.

He reported that next week they will return to Mexico City, to play in a forum known as Casa Max Rojas, “but the EP will go on the market from May onwards, we will have more contracts, well we hope, because we are sure that we will appropriate from a loyal audience. ”

Finally, I think that social networks have opened the doors of other nations like Colombia, where they already have followers who already consume their songs that have uploaded on YouTube. “The door of social networks are open to all the musicians of the world,” he concluded.

Austin Chronicle Exclusive Stream of “The Shadow Over Overkill”

Kaiser, Cogburn, Hoffnar & Håker Flaten Rock Free and Lovecraftian

A track premiere from the Mountains of Excess

Henry Kaiser / Chris Cogburn / Ingebrigt Håker Flaten / Bob Hoffnar: En Las Montañas de Excesos

Henry Kaiser / Chris Cogburn / Ingebrigt Håker Flaten / Bob Hoffnar: En Las Montañas de Excesos

Henry Kaiser lays out his artistic credo: “I’m a die-hard improviser and I’m a die-hard experimentalist. I always want to try things I haven’t done before and see what happens.”

The premise behind the veteran Bay Area guitar wizard’s next release pivots on collaborating with new musicians. That scenario came to fruition on a 2015 session that found him interfacing with a trio of A-list Austin improvisers: bassist Ingebrigt Håker Flaten, drummer Chris Cogburn, and pedal steel expert Bob Hoffnar.

“There was no plan,” admits Kaiser. “There was no discussion. We hadn’t met. We came to the studio, set up, and we played without talking much at all.”

The resulting En Las Montañas de Excesos (In the Mountains of Excess) cuts loose an expressionistic, free-form fusion alternating between aggressive musical pile-ons and anti-gravitational space sections. Cogburn’s malleable meters and Håker Flaten’s muscular electric bass serve as the quartet’s rhythmic tail fin. Meanwhile, Kaiser and Hoffnar beam prisms of squirrely melodies that challenge electric guitar and pedal steel conventions.

While it’s tempting to deem such unrestrained movements as free jazz or avant-garde, Kaiser characterizes it as something more familiar.

“It’s just rock & roll,” he chuckled over the weekend. “It’s improvised rock & roll and I grew up with a lot of that in the Bay Area where it went to a lot of crazier extremes than it did on the albums by San Francisco bands like the Grateful DeadMoby Grape, and Quicksilver Messenger Service.

“You’ve got little fringe things with improvisation in what passes for rock & roll nowadays,” he continues, “but the way pop music has become so conservative and mainstream, most of what sells a lot isn’t Jimi Hendrix playing ‘Purple Haze.’ It’s indie rock that’s about as experimental as Perry Como.”


En Las Montañas de Excesos
 arrives April 6 on Austin’s Self Sabotage Records. The collection subdivides into two continuous vinyl sides as well as four longer digital tracks. Each is titled with the self-effacing corruption of an H.P. Lovecraft story. Lead cut, “The Shadow Over Overkill,” streams here for the first time:

Interview with Ingebrigt Haker Flaten at Bass My Fever

Review of Rodenticide’s Debut Album By Bleg

RODENTICIDE-S/T LP:

Oh wonderful! No! Truly! Sophisticated garbage core, prose in putrefaction. sounds like Shitnoise come cruddy Noisecore with improvised Jazz conjunction (blasty, random, tangential drums from Chris Pitsiokos), bad Albert Ayler antiphonics (cheap reads abuse from Isaiah Richardson ) & scratty ill-incongruence discord on guitar & bass courtesy of a Mr. Richard Lenz (reminiscent of Sharrock shred in some instances). Insalubrious, unpalatable, perturbed, unstable, badly besmirched. & the poisoned cherry on the fatal compound – vocalist Samantha Riot- dishing dollops of hyper-cynical emesis, rye, expecting the worst & plastered in cicatrix tissue from stewing in New Yorx multi-dimensional feculence over years. Pretty impressive- wracked, on the verge, melting-down, wearing away. Well-articulated, greatly acerbic & in a dramatic twist of juxtaposition – well composed & placid- despite the hysterical sentiments, subject & contrasting to the clarion from the three musicians quarter. It chimes as an abrasively emphatic renouncing & disparagement of NY, but also of the modern urban environ – it’s a somewhat blistering tirade & veteran vituperation. Funny yet again, cos’ the chick rends into the soft under-belly of the city with such savagery & disdain, but with the geographical distinction & unique lingo that only a native New Yorker could exhibit. So the city can take great pride in the manner it’s daughter goes about clawing it’s innards out in some kind of perverse circle of love hate. Honestly, to have someone so astutely talking about how much these great urban epicenters fucking suck & prey on their inhabitants is very pertinent. The assault & loss our cities inflict rarely permeates the gloss & pretense (certainly to this level) despite it’s expanse, volume & toll. Certainly a fine piece of work from this four-piece. Vocals aside, it’s residing destination is something like a strand of Noisecore (foreseeably bracketed as “Post Punk”) but I expect the crew have arrived at this mannerism without any exposure to the latter. A welcome objurgation of metropolitan malaise, dusted with sass, served on a fracas blatter of fighting stray-dogs.

Rekd: 2017?

Label: Self Sabotage Records