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(((O))) : ALBUM STREAM: MARRIAGE + CANCER – MARRIAGE + CANCER

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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:

PopMatters Exclusive Full Album Stream of Terminal Mind’s ‘Recordings.’

Stream Seminal Punk Band Terminal Mind’s New Compilation ‘Recordings’ (premiere)

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JEDD BEAUDOIN

Photo: Ken Hoge

Terminal Mind

BETWEEN 1978 AND 1981, TERMINAL MIND HELPED SHAPE THE FUTURE OF AMERICAN PUNK ROCK AND NEW COMPILATION SUGGESTS THE GROUP IS STILL AT THE CUTTING EDGE.

Formed in 1978, in the first blast of Texas punk, Terminal Mind sounds remarkably fresh and prescient today, more than three decades since the group splintered in the heat of the Lone Star sun. In its short, happy life, Terminal Mind recorded a series of catchy but aggressive songs that earned the group opening slots with Iggy Pop and drew comparisons to John Cale, Wire and Pere Ubu. A new collection, Recordings, features a rare four-song seven-inch single as well as previously unreleased studio ventures and material previously heard on the underground classic Live at Raul’s.

Listening to the clang and clamor of “Zombieland”, one can hear the skeleton of R.E.M. and other bands that crawled from the Athens scene. In “Sense of Rhythm” one can detect influences similar to the unsung Kansas punks the Embarrassment, a burst of energy that’s somewhere between the garage and the Silver Factory. “Black” predicts much of Steve Albini’s bleakest sonic explorations while casting an ear to Manchester and the sounds of Joy Division and its ilk.

The group initially existed as a trio with Steve Marsh joining brothers Doug and Greg Murray, then added synthesizer maestro Jack Crow. Across the years, Marsh would be involved in Miracle Room and Evil Triplet while Doug Murray would become a member of the Skunks and his brother spent time with the Big Boys. (Crow passed in 1984.)

This lovingly remastered collection, Recordings is available as LP, CD and digital download via Sonic Surgery Records on 19 January and may be ordered here.

TRACK LIST

01. I Want to Die Young

02. Refugee

03. Sense of Rhythm

04. Zombieland

05. Obsessed With Crime

06. Fear In the Future

07. Radioactive

08. Bridges Are For Burning

09. (I Give Up On) Human Rights

10. Black

11. Missing Pieces

12. Bureaucracy

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Album Premiere: Sean Morales Streams Album ‘Call It In’

January 11, 2018

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Singer/songwriters Sean Morales also plays in the group James Arthur’s Manhunt, but today he premieres his new solo debut, Call It In (Super Secret Records). The album itself is a pepped up session of music that doesn’t stay in one place as Morales opts to move from indie rock to punk, blues, power pop, and even touches on Krautrock. The man from Austin, TX, by way of Norfolk, VA, has coraled an assortment of characters to help assemble this album which included Young Mothers, OBN IIIs, Golden Boys and more. Morales doesn’t choose to stand still or stagnate in simply one genre, which gives Call It In an added charm. While others have attempted it only to suffer from a critic(al) identity crisis, here, it’s just charming.

Call It In will be available on LP, CD and download, dropping tomorrow, January 12th, 2018 on Super Secret Records and we’d all be fools if we didn’t pay attention to this album.

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Alt Dialogue Exclusive Stream of Little Mazarn Debut

Exclusive: Little Mazarn album stream

Posted by altdialogue in News

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Little Mazarn, the stage name for Lindsey Verrill, gets her name from what she calls “an unromantic river” in Arkansas. Playing banjo on three original songs, a traditional murder ballad (“Rain And Snow”) and an English sea song, Little Mazarn, in her lilting warble, sings “about precious things, boring things, nature and the garbage that is humanity” (her words). A dreamy pop that would have fit in nicely with the slowcore of the late 90s and early 00s, the album also has unmistakeable connections to older forms & genres like country, gospel and Appalachian folk.

Verrill is joined on the album by live accompanist Jeff Johnston on saw, vocals and harmonium, as well as several guests contributing strings and vocals throughout. Recorded and Mixed by David Boyle at ChurchHouse Studios in east Austin.

Little Mazarn will be available on LP and download on December 15th, 2017 via Self Sabotage Records, a division of Super Secret Records. Pre-orders are available HERE.

LITTLE MAZARN LIVE:

12/15 Austin, TX @ Central Presbyterian Church – Album release show

Stream the New Album from More Eaze, bodiezNc0de, at Spill Magazine

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MORE EAZE – bodiezNcOde

Self-Sabotoge Records

bodiezNc0de, the latest album from prolific performer, composer & producer More Eaze (aka Marcus Maurice aka Marcus Rubio), is a combination of pop-oriented songwriting, process/generative compositional techniques and careful production. Simultaneously guarded & open, More Eaze’s personal lyrics address subjects as varied as the abstraction of the body, the resilience of forms and even the political disagreements between parents & their children. The music mirrors the subject matter, its emotive melodies complemented with warm strings, rhythms both languid & insistent, juxtaposed with & sometimes broken up by a variety of electronic jabs & waves. Performers on the album include Slug Christ (on “i don’t care”), Thor Harris, Dane Rousay and more. Recorded by Marcus in his home as well as at Estuary Recording Facility (Austin TX) with Evan Kaspar.

Artist Quote

Marcus Rubio says about the release, “bodiezNc0de is one of the most personal releases I’ve made so far in many ways but it is also the first more eaze release to feature a pretty big list of collaborators and performers. a good bulk of the album grew from a solo laptop/guitar/violin set I was performing pretty regularly and then eventually brought to a band. in many ways, it is an attempt to illustrate my belief that no piece of music is “fixed” and to create songs that rely equally on structure and chaos allowing forms to emerge gradually. I was particularly excited to work with slug christ and thor harris on some of these tracks because their music has a similar dichotomy to it and both of them made essential contributions to the record. both of their work also deals with anxiety, sadness, and humor in a way that strongly impacted much of the record’s atmosphere.”

More Eaze
bodiezNcOde
(Self-Sabotage Records)
Release Date: September 29, 2017

Pre-Order Via Self-Sabotage Records

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Stream – Cruel Whip – Fatal Man (Self Sabotage)

AUGUST 31, 2017ILYA

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Stepping away from his mic-destroying duties in Austin punk band Xetas, David Petro becomes Cruel Whip, a half-man/half-cyborg scoring a soundtrack to a weird future.

6 tracks of Cruel Whip‘s debut are filled to the brim with bone-rattling percussion as well as jarring noises and glitches of unimaginable variety. There’s a dash of melody to be found underneath the grimy surface with Consumption sounding like a radio broadcast from a distant planet and Table of Drops being a secret electropop hit from another dimension.

For the most part, however, Fatal Man sticks to the principles taught by the likes of SPK, Einsturzende Neubaten and Throbbing Gristle. Menacing, mechanical and downright sinister at times the album leaves little room for contemplation – nothing short of a total war, indeed.

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