Post Trash Premiere of Sean Morales’ Video for “Call It In”

Sean Morales – “Call It In” | Post-Trash Exclusive Premiere


by Dan Goldin (@post_trash_)

Sometimes a music video adds a new light to a song. Sometimes the song adds a new light to the video. Other times a video is simply a reminder that a new record came out and there’s still plenty of life left in it. Sean Morales‘ “Call It In” video, directed by Bud Campbell & Morales, is a bit of all three, a dark and blurry visual that follows a shadowy figure through the night streets. “Call It In,” the title track to Morales’ (James Arthur’s Manhunt) solo debut, sets a moody tone and a mysterious atmosphere. It’s dissonant yet casual, keeping its cool amid a sinister groove. As his drive becomes progressively more disorienting, so does the song, building with saxophone noise and melodic feedback. Ultimately it all leads to kids and a technicolor dance floor. Take it as you will, but know that both the song and video are better for one another.

Sean Morales’ Call It In is out now via Super Secret Records.

Stream New Marriage + Cancer Album at Echoes and Dust

Marriage + Cancer | Facebook | Bandcamp

Marriage + Cancer are a quickly rising noisy melodic band from Portland, OR. Their heavy, driving, chaotic sound has captivated audiences in the Pacific Northwest, grabbing the attention of Austin label Self Sabotage, who jumped to release the band’s full length debut. The album was recorded live at vocalist/guitarist Robert Comitz’s Stop/Start Studio, engineered by Billy Anderson (Sleep, Melvins, Neurosis) and mixed by Brent Asbury (Pinback).

Marriage + Cancer sounds off from the jagged recesses of domestic landscape, their self-titled debut letting out a bellicose & harrowing howl into today’s political & social voids. Rising from the ashes of K Records band Nucular Aminals, vocalist/guitarist Robert Comitz reformed the band under its new moniker, shedding the former’s organ grinding & jaunty goth riffs for a heavier approach ranging from the thumping bass of album opener ‘Command + Comply’ to the early-Sonic Youth-esque riffing of ‘Gound’ to the rhythmic expanse of ‘View From A Cross’.

The band is comprised of Comitz (who also plays guitar is Ssold [w/ members of Get Hustle, Rabbits]), guitarist Jay Mechling, bassist Christian Carmine (also currently in Marmits, previously in Fist Fite) and drummer Chase Hall (also of The Swan Thief).

Marriage + Cancer will be available on LP and download on February 9th, 2018 via Self Sabotage Records, a division of Super Secret Records. Pre-orders are available here. Listen to the album here:


The Sludge Lord Reviews Marriage + Cancer Self-Titled Album

ALBUM REVIEW: Marriage + Cancer – “Marriage + Cancer”

By: Charlie Butler

Album Type: Full Length

Date Released: 09/02/2018
Label:  Self Sabotage Records

Jagged shards of searing guitar coupled with pleasantly deranged vocals, makes for an album full of obnoxious noise and simmering potential.
“Marriage + Cancer” DD//LP track listing:

01. Command + Comply

02. God is Tan
03. Honor, On Our Knees
04. Headache
05. Six Feet + a Box
06. Flora + Fauna
07. Gound
08. Thirteen Stairs
09. View From a Cross

The Review: 


Right from the opening seconds of Marriage + Cancer’s debut LP it seems that the band are no strangers to the Jesus Lizard’s back catalogue. While the Portland quartet may not be breaking any musical boundaries their distinct take on the noise rock giants of the past is a compelling racket.

“Command And Comply” begins with the bands rock-solid rhythm section laying down the kind of insistent rumble that invites carnage to follow. Jagged shards of searing guitar soon join the fray along with pleasantly deranged vocals riddled with an off-kilter queasiness. Marriage + Cancer’ssound is classic noise rock infused with the breathless post-hardcore of Drive Like Jehu but delivered in a sludgy, nasty style all of their own. “Headache” finds the band at their heaviest and most pummelling while “Gound” is like a twisted fusion of Hot Snakes and Sonic Youth.

The highlight of the album comes when Marriage + Cancer move away from driving punk rock territory and explore slower tempos. “God Is Tan” begins as a sickly, drunken lurch that steadily builds in spite and intensity into a furious cacophony of serrated guitar squall. The second half of album closer “View from a Cross” also benefits from a similar shift in volume and dynamics when it drops down to taut, spacious chords before launching into a raging climax. These passages of brooding menace heighten the impact of the glorious mayhem that surrounds them and it would be interesting to see the band develop this aspect of their sound on future releases.

Marriage + Cancer’s self-titled debut captures the raw power of a band in its formative stages, full of obnoxious noise and simmering potential.

“Marriage + Cancer” is available here

Band info: bandcamp || facebook

Out Now: Breakdancing Ronald Reagan – ‘Harsh Noise’

Today is the album release day for harsh noise artist Breakdancing Ronald Reagan’s ‘Harsh Noise’! The album is available on cassette and digitally or can be streamed through your favorite streaming platform.

Breakdancing Ronald Reagan 'Harsh Noise'


Breakdancing Ronald Reagan is Johnathan Cash, Denver CO noise artist, formerly Johnathan Cash, Austin TX noise artist. A darling & miscreant of the national noise scene, BRR once again goes against the grain with his latest album, Harsh Noise. A nine-song sojourn into BRR’s brand of absurdism, the album is noise’s Chill Out, drifting from the ambient into crushing reds into pop parodies/covers like Soundgarden’s “Black Hole Sun,” Enrique Iglesias’s “Hero” and Poison’s “Every Rose Has Its Thorn.”

FFO/RIYL: Fuckemos; Negativland; V/Vm; Haters; Emil Beaulieau; Gerogerigegege

album art by Steve Pike
album layout by Jay Campbell

2018 Self Sabotage Records

release date: Friday, 2 February 2018

Sean Morales’ Call It In Reviewed by Austin Chronicle

Sean Morales

Call It In (Super Secret)

Texas Platters

Fresh off the homegrown James Arthur’s Manhunt, Virginia-bred multi-instrumentalist Sean Morales’ solo debut prioritizes the right feel over high definition. The album’s rough veneer is indicative of its single-occupancy origins, but Morales’ rich songcraft and compelling arrangements exude a warm human scale that never veers into obscurity for its own sake. Leading with a cover burns in the less-traveled road at the outset, Chris Spedding’s “Video Life” crackling with heady effervescence. The title track flips the mood to dark noir with growling, flanged vocals and a menacing riff, and multiple songs start with acoustic blues before leaping in different directions. The contemplative country-blues of “Bring Me Home” evokes the troubled soul of Skip Spence. Utility guitarist and saxman Jonathan Horne of Young Mothers makes over Faust instrumental “Party 1” as a slow-building traffic jam to close.


Austin Chronicle Review of Terminal Mind’s Recordings

Terminal Mind

Recordings (Sonic Surgery)

Texas Platters

All so-called “art-rock” should have actually rocked. Like Terminal Mind in 1979. Prior to reincarnating as a psychedelic shaman in noisy freak-out specialists Miracle Room and, more recently, Evil Triplet, Steve Marsh was a wired and gangly punk bassist with a heartful of artful angst. Alongside future Skunks/Big Boys twins Greg and Doug Murray manning drums and guitar, Marsh – looking like David Byrne’s titular psycho killer brought to life – howled nihilist anthems like “I Want to Die Young” while adding his thrum to a sound comparable to how the Ramones might have sounded had their biggest influences been Roxy Music and Can. For proof, look no further than this first-ever compilation of just a four-song 1979 EP, some cuts on Live at Raul’s, then a brief incorporation of keyboardist Jack Crow. Done by 1981! A sackful of unreleased demos and live tapes moldering in Marsh’s dresser drawer sweeten the deal. Modern technology strips away the grime, letting pristine blasts of sonic neurosis like “Black,” “Obsessed With Crime,” and “Bridges Are for Burning” call us all to arms anew.