After two years of activity, Austin-based progressive space punk band Future Death has certainly been busy. After they released their first single in July of 2013, their debut self-titled EP was released in October of that year. After many regional tours and countless local shows, they released their debut full-length Special Victim in May of 2014 on Bloodmoss Records to much critical acclaim. The album was followed by extensive national tours in 2014 and 2015 with bands like This Will Destroy You and Boyfrndz. The band and their music was also featured in the upcoming indie slasher movie Night of the Babysitter, which will be released in the near future.
Future Death’s upcoming EP titled Cryptids on Bloodmoss sees the band utilizing the studio more with a heavier and wider element of vocal work and synthesizers from vocalist Angie Kang, as well as a more fluid and cohesive transition from track to track. This element ties in a more linear quality to the record that was less present on Special Victim, but also lent the band to more exploratory approaches to production with engineer Chico Jones (OHM Recording Facility).
There's an intoxicating feeling inside Hamilton, Ontario, and Black Baron has managed to distill the essence of that feeling into a potent brew. In the same way that the films of David Lynch are sewn together from the fabric that holds together dreams, Black Baron creates songs from the fabric of Hamilton. While the local hardcore scene has been cutting records reminiscent of the city's steel mills since the early 1990's, Black Baron, a band comprised of some of the city's hardcore elite, creates the soundtrack to a different side of the city. Unlike the punishing steelfucker sound of Hamilton hardcore, Black Baron's music is rooted in a deep sense of melancholy, one that does not seek destruction, but rather seeps its way into the collective consciousness following the potentiality of destruction or abandonment. Coming from a city devastated by economic decline following the shrinking of its industrial sector, Black Baron evokes the haunting memory of the closure and loss of Hamilton landmarks at a time when the city appears to be on a cultural upswing.
To ascribe a genre stamp to Black Baron's music feels like sacrilege. While on paper the band's sound could loosely be described as post-punk, the dreamy, nearly aquatic tones, dazzling riffage, and unabashed lyrical melodrama add dynamic elements to their sound that are typically missing from that of their peers. The band's debut full-length album Abject Skin, which is chock full of new material along with refined versions of tracks taken from their 2013 tape Divine Chains, is a representation of a band sticking to their hometown roots all while carving their own vicious path.
Out of the modern musical abyss comes Jackson Scott, a 22-year-old artist living in Asheville, NC. Finding pure metaphysical euphoria within the depths of cassette recorders and guitar pedals, he enjoys the simple things in life such as playing music with friends and falling into existential voids. After touring extensively in 2013 for his debut album Melbourne, released on Fat Possum Records, Jackson returned home to record an album that he could listen to in absolutely any negative or positive state of mind.
His second album Sunshine Redux is a translation of this paradoxical psyche, a kaleidoscope of sounds ranging from 60's flower power to 90's hip-hop production techniques. Veering from nihilistic punk rock explosions to gentle sonic nightmares, it is his most cohesive musical undertaking yet.
On June 24, Brooklyn's EULA will release their latest single "Orderly" b/w "Meadows" on Bloodmoss Records. Recorded by legendary producer Martin Bisi (Sonic Youth, Swans), EULA's angular, aggressive sound has reached their grandest scale yet. The merging of Alyse Lamb's guttural wails with the band's clashing guitars, deep rumbling bass, and booming backbeat-heavy drums is as chaotic as it is meditative. Bisi's focus on layers and textures is apparent here as he pulls back Alyse's haunting vocals just enough for the grimy feedback to have as much of an impact in all the heaviness.
SLAVVE is a two-piece band from West Palm Beach, FL. Though they have since relocated to Brooklyn, the duo has deep roots in the music they've always loved. Started as a home project by guitarist/vocalist Chuka Chukuma, SLAVVE's vibe is all systems go. Fully formed in the summer of 2013, Chuka recruited drummer and childhood friend Marcos Marchesani, former member of Weird Wives and Surfer Blood, to make everything bigger and louder. SLAVVE can be heard in full effect on their self-titled EP on Bloodmoss Records. Recorded in just two days, the EP is a glimpse into the powerful, gripping force that is SLAVVE. In an effortless mix of punk, post-punk, screamo and hardcore, SLAVVE's self-titled EP spans issues of intrinsic uncertainty ("Better Half"), the strange pride of being alone ("Pity Party"), deception and frustration ("In Your Dreams"), and the futile nature of trying to make something work when it just doesn't ("Out of Mind"). SLAVVE is paving their own way, staying true to the music they loved growing up while looking ahead to carve their own musical landscape.
From swirling, tumultuous outbursts to pummeling destruction, the controlled chaos that is Future Death is ready to be unleashed in 2014. Stripping everything to the bone, the band’s creative process is heavily linked to impulse as they capture their feelings organically and in the moment while leaving little room for conceptualization. The Austin-based band formed in 2012 as Alton Jenkins and Bill Kenny began writing and recording what later evolved into their debut EP, which was self-released in the summer of 2013. They added bassist Jeremy Humphries to the lineup and vocalist Angie Kang found them later after months of writing. Special Victim, their forthcoming debut full-length on Bloodmoss Records, was recorded and mixed by This Will Destroy You’s Alex Bhore in a funeral-home-turned-studio owned by producer John Congleton. With the creative tools at hand, Future Death took a bright, explosive approach on Special Victim. Like the band’s overall creative process, the concept of impulse is apparent throughout album itself. There’s not much time to breathe, and that’s exactly why it is such a thrilling and powerful listen.