Heavy rockers The Shrine emerge from the primordial sludge with a new LP for Tee Pee Records

Heavy rockers The Shrine emerge from the primordial sludge with a new LP for Tee Pee Records http://www.tinymixtapes.com/sites/default/files/1401/news-14-01-shrine.jpg

Somewhere in Venice Beach, CA, is a garage that time forgot. A garage filled with ratty brown couches, cheap bear, your long-haired older brother circa 1979, and some heavy riffs. Now imagine… nuclear slime!!! SEEPING INTO THE GARAGE!!! And then from the depths of a slime — in a plot line not dissimilar to the conception of Teenage Mutant Ninja Turtles and like, human evolution in general — emerged The Shrine. The power trio of Josh Landau (guitar/vocals), Courtland Murphy (bass) and Jeff Murray (drums) have toured with Red Fang, Earthless, Dinosaur Jr., Graveyard, and Black Flag’s Chuck Dukowski, who also produced the band’s early output.

Now The Shrine are back with a new album for Teepee Records, Bless Off, which drops March 11. This ish was recorded on reel-to-reel tape with old school gear, and features “The Duke,” a track with lyrics originally written by friend-of-the-band Dukowski in 1983 for Black Flag. The album art includes the band’s favorite animal, the wolf, because DUH all bands like wolves, and is a tribute to the iconography of Dogtown Skateboards and show flyer artist Ric Clayton (Suicidal Tendencies.)

Bless Off tracklisting:

01. Destroyers
02. Worship
03. Tripping Corpse
04. The Duke
05. Nothing Forever
06. Bless Off
07. On the Grind
08. No Penalty
09. Spit in My Life
10. Napalm
11. Hellride

• The Shrine: http://theshrinefuzz.tumblr.com
• Tee Pee: http://teepeerecords.com

RIP: Arthur Doyle, legendary “free jazz soul” artist

It is with a heavy heart that we confirm the passing of Arthur Doyle, a performer of what he called “free jazz soul.” He died on January 25. We’ll be posting an essay on him next week, so for now, we’ll just leave you with some quotes and a few videos: one solo, one with drummer Sunny Murray, and one of a track off his 1978 debut, Alabama Feeling.

“You can’t separate the singing from the saxophone. You can’t separate the flute from the saxophone. You can’t separate none of it from the saxophone. It all revolves around one instrument, and that is Me, Myself.”

“I love being underground, man.”

“When I play in front of an audience I try to communicate all the things that happen to me in this life, the life before that, and the life after that.”

• Arthur Doyle: http://en.wikipedia.org/wiki/Arthur_Doyle

Cloud Nothings to release new album Here and Nowhere Else, share new single on the internet (and nowhere else)

Hey! You didn’t forget about the indie rock band Cloud Nothings already, did you? And so soon after their 2012 release Attack on Memory made us all fall in love with Pixies and Pinkerton-emo all over again? Damn. How quickly we forget! Oh man, if only main man Dylan Baldi would put out another record so that you could remember his band again! Alas and alack!

Oh wait. He totally IS. It’s called Here And Nowhere Else. Say, do you want to hear him talk about it? Sweet! Me too!

For starters, it’s apparently a little less sad than the last one. “I was feeling pretty good about everything so I just made stuff that made me happy,” Baldi says. “I had nothing to be angry about really so the approach was more positive and less ‘fuckeverything.’ I just sat down and played until I found something that I like, because I was finally in a position to do that.” Cool! I feel less angry now than I did in 2012 too! I blame Occupy Wall Street. Anyway, so yeah, Baldi wrote a lot of these songs on the road and is even “pretty sure every song was written in a different country.” Then he met up with hot-shit producer John Congleton at Water Music in Hoboken, New Jersey (which, unfortunately, is only in one boring country) to record it all.

Oh wait, did you still want to hear more quotes about the sound from Baldi? Sure! Let’s do it: “It’s more subtle,” he says. “It’s not just an in-your-face rock record. There’s more going on.” You want some more? BAM: “You can listen to a song 20 times and still hear different little things in there that you didn’t notice before. Every time I listen I notice something that I didn’t even realize we did.” Satisfied? Well, I hope not, because the album will hit us like a wave of mutilation on April 1 via Carpark/Mom+Pop and is available for pre-order as of today on some place called iTunes.biz. In the meantime, you can stream the first single, “I’m Not Part of Me,” below and maybe make up your own quotes about what it sounds like and share them with your friends on Facebook and Twitter! Yeah! Do that!

Here and Nowhere Else tracklisting:

01. Now Hear In
02. Quieter Today
03. Psychic Trauma
04. Just See Fear
05. Giving into Seeing
06. No Thoughts
07. Pattern Walks
08. I’m Not Part of Me

• Cloud Nothings: http://cloudnothings.com
• Carpark: http://www.carparkrecords.com

Isaiah Rashad releases Cilvia Demo today, nods to the basements and the skateparks

Down in a basement somewhere or maybe a skate park, some kid is handing out his band’s demo tape. Or maybe he raps. Or maybe she makes beats. Anything could be on this demo tape. And whatever’s on there, it’s probably bad. It’s probably really bad. But it might not be bad. It might be really good. Regardless, it tends to be an avenue solely occupied by new artists trying to get their work out into the world for the first time.

But it also appears to be the avenue of Isaiah Rashad, who happens to be signed to TDE. You may know TDE as the label that puts out very, very, very not obscure rappers like Kendrick Lamar and ScHoolboy Q. They’re also the label that put out Rashad’s Cilvia Demo today.

In fairness, Cilvia Demo may not be an actual demo. What it is actually remains a little hazy. Demo is in the title, yet demos don’t tend to get wide releases from large labels. Rashad has called the release an EP in the past, yet it’s 14 tracks, typically longer than the typical EP. Let’s leave it at this: Cilvia Demo is a new collection of music by Isaiah Rashad. It features appearances from TDE labelmates SZA, Jay Rock, and ScHoolboy Q. It is 14 songs long. It will probably not be handed out in a skatepark.

Listen to “R.I.P. Kevin Miller” below, and “Soliloquy” at the Chocolate Grinder.

Cilvia Demo tracklist:

01. Hereditary
02. Webbie Flow (U LIKE)
03. Cilvia Demo
04. R.I.P. Kevin Miller
05. Ronnie Drake (feat. SZA)
06. West Savannah (feat. SZA)
07. Soliloquy
08. Tranquility
09. Menthol (feat. Jean Deaux)
10. Modest
11. Heavenly Father
12. Banana
13. Brad Jordan (feat. Michael Da Vinci)
14. Shot You Down (feat. Jay Rock and ScHoolboy Q) (Remix)

• Isaiah Rashad: https://soundcloud.com/isaiah_rashad
• TDE: http://www.txdxe.com

White Suns make a habit of crushing your soul (in a good way), announce Totem LP

So, you know White Suns, who hastily bowled over the TMT collective with their second full-length album and adequate annoyer of neighbors Sinews (TMT Review) back in 2012? Remember how that album epitomized relentlessness, save a pause on the first track? Forget all that. In the intervening two years since that album’s release, the Brooklyn-based trio have allegedly softened their approach, affected as they were by the mental tranquilizers induced by a series of marathon hot yoga sessions. It’s more like Rainbow Twinkles now. The vocal similarities of Kevin Barry and Art Garfunkel now exist to the point of being easily pointed out.

JK. JK.

A press release does mention a “tempering” on their upcoming album Totem, but context reveals the ends and offers relief to enthusiasts of White Suns’ previous work: tempered by “deadened stares” and “slow-burn instrumentals.” That sounds like a more apparent interspersion of drone to me, but a lack of samples only leaves us to speculate. Totem comes out March 11 via The Flenser, and a noteworthy credit applies to Martin Bisi as the recording engineer, who has previously worked with the likes of Sonic Youth, Boredoms, and Swans. A fitting recruit, then. Might want to preemptively raise the volume for this one. Yes, raise.

Totem tracklisting:

01. Priest in the Laboratory
02. Prostrate
03. Disjecta Membra
04. Cathexis
05. Fossil Record
06. Clairvoyant
07. Line of Smoke
08. Carrion

• White Suns: http://whitesuns.blogspot.com
• The Flenser: http://theflenser.com

RIP: Pete Seeger

From The New York Times:

Pete Seeger, the singer, folk-song collector and songwriter who spearheaded an American folk revival and spent a long career championing folk music as both a vital heritage and a catalyst for social change, died Monday. He was 94 and lived in Beacon, N.Y.

[…]

Mr. Seeger was a prime mover in the folk revival that transformed popular music in the 1950s. As a member of the Weavers, he sang hits including Lead Belly’s “Goodnight, Irene” — which reached No. 1 — and “If I Had a Hammer,” which he wrote with the group’s Lee Hays. Another of Mr. Seeger’s songs, “Where Have All the Flowers Gone?,” became an antiwar standard. And in 1965, the Byrds had a No. 1 hit with a folk-rock version of “Turn! Turn! Turn!,” Mr. Seeger’s setting of a passage from the Book of Ecclesiastes.

Mr. Seeger was a mentor to younger folk and topical singers in the ‘50s and ‘60s, among them Bob Dylan, Don McLean and Bernice Johnson Reagon, who founded Sweet Honey in the Rock. Decades later, Bruce Springsteen drew the songs on his 2006 album, “We Shall Overcome: The Seeger Sessions,” from Mr. Seeger’s repertoire of traditional music about a turbulent American experience, and in 2009 he performed Woody Guthrie’s “This Land Is Your Land” with Mr. Seeger at the Obama inaugural. At a Madison Square Garden concert celebrating Mr. Seeger’s 90th birthday, Mr. Springsteen introduced him as “a living archive of America’s music and conscience, a testament of the power of song and culture to nudge history along.”

Although he recorded more than 100 albums, Mr. Seeger distrusted commercialism and was never comfortable with the idea of stardom. He invariably tried to use his celebrity to bring attention and contributions to the causes that moved him, or to the traditional songs he wanted to preserve.

Mr. Seeger saw himself as part of a continuing folk tradition, constantly recycling and revising music that had been honed by time.

• Pete Seeger: http://peteseeger.net

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