Austin-based record label that focuses on the local punk and underground music scene
Off fucking kilter but totally on point – TUNIC is a Noise Rock band that I can fuck with! Self Sabotage Records will be unleashing their debut LP Complexion on February 8th, and today we’re stoked to be sharing their urgent song “Nothing Nothing” with you below. Pre-Order Complexion right here, and right now you can hit play and let the strange sounds of TUNIC invade your mind!
by Dan Goldin (@post_trash_)
In case you weren’t paying attention, Austin’s Exhalants released one of the year’s best noise rock albums with their self-titled debut back in August. The trio sound is both nuanced and rabid, lashing out with destructive tendencies but easily digestible, imagine something like the unholy three-headed stepchild of Unwound, Tar, and Big Black. It’s a debut that deserves praise beyond those with their ears to the ground, an album too gotdamn loud to be kept quiet. Forming from the ashes of the much beloved Carl Sagan’s Skate Shoes, Exhalants pick up where the former’s dusty noise punk left off and runs wild with it, decimating eardrums and perception all the same.
On an album that never lets up from it’s gripping sludge and distorted pummel, “Punishers” is a stand-out in a flurry of stand-outs thanks to it’s patience. The song uses empty space to create depth in their attack, with a sordid groove and mangled guitars finding their own room to wander. Even with moments carved out between the feedback, “Punishers” remains dense and abrasive, each member thudding in time with the muddy pulse and ferocious drums; Steve Pike’s dry shouts in command of Exhalants’ rusty scorn. The band’s video for the song is a black and white collage of sorts, capturing both performance and gentrification in motion with high rises constructed in flickers and chaotic flashes.
The band are touring in November with Pinko. Complete dates and video premiere below.
TOUR DATES:
11/02 – Austin, TX @ Beerland
11/03 – San Antonio, TX @ Limelight
11/08 – Houston, TX @ Leon’s Lounge
11/09 – New Orleans, LA @ Bank St. Bar
11/10 – Birmingham, AL @ Saturn Bar
11/11 – Athens, GA @ HI-Lo Lounge
11/12 – Nashville, TN @ East Room
11/13 – Kalamazoo, MI @ House show
11/14 – Chicago, IL @ Subterranean
11/15 – Kansas City, MO @ Roller Dog
11/16 – Denton, TX @ Space Station
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Austin noise rock trio Exhalants are premiering their new self-titled album exclusively with Louder.
The band’s debut album, Exhalants will be released on August 24 via Self Sabotage Records. Mixing the sounds of mid-90s Dischord with angular post-hardcore and vicious noise-rock, it marks a blistering debut which will serve fans of Shellac, Unsane and Hoover well.
“It’s 41 minutes of loud, unrelenting noise rock,” the band tell Louder.
“It’s our first effort and we feel it’s a good example of the music we write together as a band. Just three friends getting together writing the music we want to write.”
Exhalants will be available on LP and download on August 24th, but you can hear the album in full below now.
«Morose»
SELF SABOTAGE RECORDS, SS23
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Norwegian bassist Ingebrigt Håker Flaten, co-founder of seminal Scandinavian groups as The Thing and Atomic, formed The Young Mothers after relocating to Austin, Texas. This Texan sextet was titled after after a Houston community project for teen mothers that Flaten’s then-partner worked with. This title captures the spirit of this group that embraces and nurtures a hyperactive fusion of sonic approaches – free-improv that meets tough hip-hop lyrics, Tejano-inspired horn lines mixed with soul jazz and Ethio-jazz quotes and surf rock that collides with metal.
«Morose» is the sophomore album of The Young Mothers, following the self-released «A Mothers’ Work Is Never Done» (2014). This album was recorded in the middle of 2016 and early 2017 after the group completed few tours in United States and Europe, solidifying its explosive interplay. The line-up remains the same – Flaten on acoustic and electric basses; drummer Frank Rosaly, the only non-Texan player, a Chicagoan now based in Amsterdam who has played in Flaten’s defunct Chicago Sextet; Dallas-based, vibes player-drummer Stefan González, known from the Yells At Eels; Houston-based sax player Jason Jackson; Austin-based guitarist Jonathan F. Horne, known from the group Plutonium Farmers; and Houston-based hip-hop artist, trumpeter, electronics player (and social activist) Jawwaad Taylor.
The distinct sonic approaches keep crisscrossing and merging into each other constantly in the most natural manner, offering a peaceful co-existence. The Young Mothers simply claim that superficial genre labels don’t mean much anymore and even in the volatile, urgent microcosm of The Young mother there is enough room for all. This sextet does not leave you any choice but to surrender totally to the infectious, groove of «Attica Black». Before realizing it you may find yourself dancing or moving your limbs involuntary to its fierce and intense free-jazz freak out. «Black Tar Caviar» blends Gato Barbieri-like soulful jazz blows with death metal growls and Ethio-jazz à la Gétatchèw Mèkurya and «Bodiless Arms» suggest a folk theme from the school of Don Cherry. «Jazz Oppression» summarizes what The Young Mothers thinks of purists or authoritative protagonists of any genre, especially jazz, provoking these neo-cons jazz advocates to stand against the tidal waves of this omnivorous sextet. «Shanghai» concludes this intense journey with an optimist-dreamy invitation to a better, more welcoming world.
Eyal Hareuveni
Jawwaad Taylor (rhymes, tp, elec), Jason Jackson (ts, bs, v), Stefan González (vib, dr, v, grindalonium); Jonathan F. Horne (g, v); Ingebrigt Håker Flaten (el.b, acc.b), Francisco Rosaly (dr, perc)
Austin space/psych institution ST 37 celebrated its 30th anniversary last year and follows it up with a double-length state of the union address. Longtime leaders Joel Crutcher (guitar), Lisa Cameron (drums), and Scott Telles (bass/vox), joined by axe wielders Bobby Baker and Matt Turner and electronics gremlin Bob Bechtol, reach a new peak. “KBDP” and a remake of “Grey Area” from Telles’ pre-ST band Elegant Doormats dive into a psychedelic sea, riding waves of pedal-damaged guitars and oscillator atmosphere into the deepest trench. The snarling “Boss” and blasting “Hollywood Cemetery,” plucked from the obscure catalog of Telles’ old Houston hardcore band Vast Majority, hit an opposite note, rocking hard enough to dispel Mary Jane’s thickest clouds. “Shadesty” and redos of old standards “Snootle y Choobs,” featuring harmonicat Walter Daniel, and “Rooster Feather Paycheck” find the median, balancing black-light tripping with brute force. From wide-eyed chemical pilgrimages to balls-out punk pound, the album sums up ST 37’s strengths.
Premiering new music from familiar faces is one of our favorite things to do. Not only does it give us the chance to highlight more incredible songs and albums, but it gives our readers another opportunity to discover an artist they may have missed the first time around. Which brings us to today’s premiere and another chance for us to spotlight the incredible work of cellist Randall Holt. Back in April, we highlighted the re-release of his album Inside The Kingdom of Splendor and Madness, a glowing example of why he’s been one of the go-to string players in underground experimental music and post-rock. For his latest project, Holt has teamed up with experimental guitarist Jonathan Horne of incredible groups like The Young Mothers (seriously, check these guys out – they sound like Battle Trance collaborating with John Zorn‘s chamber ensemble alternating between jazz-rap and avant-garde metal). If you’re unfamiliar with either musician’s work, Wires provides an exceptional entry point produced with finesse by experts of their crafts. The album is a sublime combination of drone, modern classical and post-rock that sees each musician elevating the other’s performances to newer heights.
Across seven brilliant tracks, Holt and Horne perform awing music in perfect harmony. Though there are a myriad of sonic comparisons appropriate to mention here, the most complete analogy I can offer is “Earth as a guitar and cello duo playing droning post-rock in the vein of Godspeed You! Black Emperor.” It’s as if the duo perfectly synthesized Angels of Darkness, Demons of Light I & II with Lift Your Skinny Fists Like Antennas to Heaven while bringing a classically-trained perspective to the conversation. Fans of any of the aforementioned genres or bands will find a truly enthralling album full of exploratory sounds that allow both Holt and Horne to shine in their own ways. Yet, at the same time, it’s a sleek album full of modern ideas that are effortless to listen to, like the sonic equivalent of Sailor Jerry sleeves peeking out from a designer three-piece suit.
Commencing the proceedings is “Mvmt 1 – A Margin,” which encapsulates the album’s ethos perfectly. Slow, methodical guitar builds reminiscent of Dylan Carlson weave through a consuming landscape of GY!BE-style cello landscapes, intertwining to create a seamless marriage of neofolk, modern classical and post-rock sensibilities. There are also prominent themes of post-minimalism throughout the album, best exhibited by the epic “Stumbling Past the North Star.” The term “cinematic” is thrown around often when post-rock is the topic at hand, but avoiding the term would do a disservice to the vast sonic landscape unraveled by what’s arguably the album’s strongest track. Horne and Holt craft immense tension in perfect unison, eventually building toward an explosive climax that’s impressively smooth and all-encompassing in its payoff. Whereas most post-rock aims for the abrupt crescendo, the duo here pulls off the same level of emotional intensity with subtlety and finesse. Finally, “Mvmt 7 -Amend” is a robust march that finds the duo toying with their sound further, incorporating more noise and exuding an overall more foreboding presence.
Wires is an extraordinary collection of works that show both mastery of the genre it works in while also defying these styles’ traditional formulas. There’s certainly something here for fans of any of the genres mentioned throughout this post, and even those initiated with these genre movements will surely find value in the album’s expansive, enticing soundscapes. As we mentioned earlier, there’s really no excuse this time around if you ignore the immense talents of Holt and Horne; they’re both experts of their instruments and composition who deserve a great deal more praise and attention than they appear to have received thus far.
Wires is available 7/27 via Self Sabotage Records. Order the album on vinyl here.
