The true identities of Rob and Travis Trump remain shrouded in mystery. Whatever the origin of these mystery men, they found only one way to deal with the insanity happening in the political world: they became Anal Trump. Anal Trump come from a rich tradition of politically-motivated extreme music. Grindcore’s origins date back to Margaret Thatcher’s Britain, when a collective of teenage anarcho-punks decided to call themselves Napalm Death and throw thrash metal and hardcore punk in a blender set to “loudest” and “fastest.” The First 100 Songs pays tribute to classic Anal Cunt (AxCx) album titles like The 110 Song CD and 5643 Song EP. Rob feels their appeal lies in that gray area. “They took hate so far beyond everything that all meaning seemed to invert at some point and back again so often that it became impossible to take seriously.” Whatever the intent, they succeeded in horrifying parents everywhere. Anal Trump have one distinct advantage over Seth Putnam’s trailblazing act: whereas Putnam and his collaborators had to come up with their own sleazy subject matter, Rob and Travis have a ready-made supply of parent-offending quotes straight from the Oval Office. Produced, recorded, mixed, and mastered by Rob Trump, The First 100 Songs boasts a hundred songs in eleven minutes -- their entire recorded output to date. Rob and Travis Trump aren’t going to fill your ears with talk of universal healthcare or equal voting rights or any of that socialist stuff -- although they donated 100% of the proceeds from their EPs to non-profit organizations like the ACLU and Planned Parenthood. They just want to point out that the most powerful man in the world is a hate-mongering clown, using shrieks and micro-riffs as their chosen vehicle.
Brooklyn-based indie art fun band, Ava Luna, began in frontman Carlos Hernadez's high school bedroom. While the band has transformed both sonically, and physically over the years, they've nailed down their fundamental elements in their latest album, Infinite House (2015), by solidifying their lineup, and traditionally structuring their art funk R&B-infused sound. This track is a cover of Desmond Decker's "Isrealites", and is the second release in the JNR 2016 Flexi Series.
The Beast You Are , the new album from L.A.'s Big Business, delivers 10 doses ofuncategorizably heavy rock music. From the ominous death march of "The Moor You Know" tothe soaring "Let Them Grind" to the delicate, ethereal "Under Everest," the band continues todefy listeners’ expectations. There are hints of Melvins, Torche, and Tad, but drummer CoadyWillis (Murder City Devils) and bassist/vocalist Jared Warren (Karp) bring their own offkiltersensibilities to the genre. The two formed Big Business in 2004, and their idiosyncrasies sooncaught the attention of The Melvins. Together they recorded three albums, an EP, and varioussongs between 2006 and 2016, all while maintaining their own identity as Big Business. Theyalso picked up guitarists Toshi Kasai and Scott Martin along the way, but on 2016's CommandYour Weather , they returned to their core duo format. They remain in that lineup for this, theirsixth full length: The Beast You Are.
Mind the Drift is the third studio album by American heavy metal band Big Business. Jared Waren (Karp) and Coady Willis (Murder City Devils) formed Big Business in 2003 in Seattle, Washington. They released their first two full length albums in 2005 (Head For The Shallow) and in 2007 (Here Come the Waterworks). At the time of the 2009 Mind the Drift release, producer/engineer extraordinaire Toshi Kasai (Willie Nelson, Foo Fighters) had been playing guitar with Big Business for a while. And in the months before the record was made, Jared and Coady had been touring pretty heavily with the Melvins. "I think we wanted to elevate the songs and make it really grand, like a Queen record," says Coady. "It's definitely thehardest record we've made to this day. The session was plagued with technical glitches from the getgo, so it felt like we never picked up any momentum. To my memory, it always felt like we were under this insane time crunch every step of the way. So as you can imagine the fun factor was pretty low. I think we learned an important lesson about how we best operate in the studio, and what we needed to have fun and feel creative and comfortable."
Jared Waren (Karp) and Coady Willis (Murder City Devils) formed Big Business in 2003 in Seattle, Washington. Theirfirst fulllength album ( Head For The Shallow ) was released in 2005, followed by Here Come the Waterworks in 2007. The timeline of writing and recording Here Come the Waterworks is intertwined with the band's move to Los Angeles to play with the Melvins. Although Jared and Coady had not yet toured with the Melvins, they were living and practicing in L.A., and had just recorded (a)Senile Animal with the legendary and highly influential doom metal band. At this point, most of the songs on Here Come the Waterworks were fully formed. Big Business headed back up to Seattle to once again record with Phil Ek at AVAST! Studios. David Scott Stone was along to play guitar, with the idea that he would also become a permanent member of the band, but it became clear as recording progressed that he wasn't able to meet the strict demands of being in a touring band. Of the LP, Coady says, "I think we made a good record, the songs were starting to get a little more ambitious."
The year is 2003. The place: Seattle, Washington. In a tiny room packed some really nice gear, Jared Warren andCoady Willis recorded the first fulllength Big Business album, Head For The Shallow. Both Jared & Cody had previously recorded with Phil Ek, and really liked him as person, as well as his production sensibilities. Phil had made many records at AVAST! Studios and was right at home, which made the band feel a lot more comfortable. Says Coady, "I remember listening to the rough mixes of the O.G. in the van and getting super excited. It was sounding great, just like a real record! I still feel proud of this album. It made me feel confident that we could do more."
Recorded in Joshua Tree, CA, "Command Your Weather" sees Big Business return to its original two-man lineup of Jared Warren and Coady Willis. It'sa haunting dream about the struggle for dominance of will over the power and unpredictability of nature. Or it's just a really great rock record, it depends on how weird you're willing to get. But you've never had so much fun being crushed in the cogs of the universe's great machine, that much is for sure! I mean, there's no law against having a couple cold beers while we all burn in the fire of time, am I right?!
Recorded by Dave Curran of UNSANE/PIGS/BIG BUSINESS' previous record fame. Founded in 2003 in Seattle, WA., Big Business has spent the last 13 years touring the world and making records. In 2006 Jared and Coady joined forces with the Melvins and moved to Los Angeles. Performing as members of the Melvins and staying autonomous as their own band, they have been there ever since.
Birthmark is Nate Kinsella â€“ the incredible drummer of Make Believe/Joan of Arc, and cousin to Tim and Mike Kinsella (Owen, Cap’n Jazz, Joan of Arc, Owls, etc.). We’ve been fans of Nate Kinsella for years, but even his impressive pedigree couldn’t prepare us for Birthmark’s debut album “Antibodies”. Released last year on Polyvinyl, “Antibodies” is our collective *favorite album of the year* over here at Joyful Noise.
Built In Sun is a new project from Joe Plummer; drummer for The Shins, Cold War Kids and Mister Heavenly. Joe also produced and co-recorded an all drum project called Hew Time, released on Joyful Noise in 2014. Joe has also toured and recorded with Modest Mouse and The Black Heart Procession on drums and percussion over the last 10 years. Built In Sun was created during touring breaks between The Shins and Cold War Kids releases. Built in Sun began as an instrumental idea, with inspirations landing somewhere between John Cales' "Fear", the punk vibe of the Wipers and John Reis, and his favorite soundtrackists; John Brion and Clint Mansell. After the first instrumental mixes were finished (with help from Richard Swift), he decided that the melodies just might be cool enough to ask a few of his pals to sing. Pall Jenkins (The Black Heart Procession) was the first. Within a week, Pall had added vocals to most of the tunes. The songs now felt complete, and it felt good to collaborate with Pall again. With this, "Built In Sun" was complete, and is set to be released on PIAPTK, August 7th, 2015.
A Busman's Holiday performance begins with the thump of kick-pedal on suitcase and the tuning of acoustic guitar strings, two affable brothers quietly considering where to take their audience first. They may begin with an exultant and driving harmony or a ballad in a melancholy mode, but not before they have laughed and shared stories with their audience, patient and cheerful, assuring the crowd that they are in good hands. As Lewis and Addison begin to sing, their voices together evoke the Southern Indiana where their music was born. One can't help but feel the presence of the songs' characters in the room beside you, the music offering intimate details from vivid strangers.
The Rogers brothers' appeal has never been limited to a niche audience. Tested on the road for years, playing music at honky-tonks and roadhouses, moth-eaten lounges crawling with night creatures, punk palaces, last-wave folk huts, they've honed their skills and free-flowing banter to the point where they've been able to endear themselves to all corners.
Time has passed. They've read the books, they've been on the train. The new album by Busman's Holiday, Popular Cycles, is a vehicle to the lives of others. It is a continuation and elaboration of their previous albums, A Long Goodbye and Old Friends. While their earlier efforts pulled in for portraits at close range, their new collection zooms in to capture the private moments in a family's back yard, then gazes up at the macrocosm, turning to planets and tree-crushing storms. The writerly duo is detail-oriented and lyric-driven; they uncork the hidden champagne. The songs live through their details - the voice of an aging planet, a desperate gunman, the penitent, the child, TV guide wisdom, the adoring father lost in the cosmos, the dream.
Two planets turn in tandemLike brothers holding handsThey live and burn in cyclesAs the universe expands
Much like the lyrical content, the musical landscape of Popular Cycles spans grandly, from the booming of a 21-piece orchestra to the solitary sound of a singing bowl. Started in the autumn of 2014, continued in the late winter of 2015, the duo recorded the album in Bloomington, Indiana and Montreal, Quebec, respectively. Recorded at Arcade Fire's Sonovox Studio, the writing of the album concluded in a snowed-in apartment above. Arranger Matt Nowlin and producer Mark Lawson helped them capture a more adventurous sound, riding forward on pulsing acoustic rhythms. Busman's Holiday imitated sounds they'd heard in electronic music with acoustic instruments, the way a mockingbird mimics a car horn. The resulting sound is both familiar but fresh. From western soundtracks to a drone of twelve-strings, tones of forgiveness sweet enough to taste, funky drummers, the splish-splosh of fingers & palms, and melancholy chanting. From Richard Strauss to PeeWee's Playhouse, Busman's Holiday brings a refreshing sound to the stale world of pop music.
Lewis and Addison Rogers are brothers who make pop-music together. When they do this, they go by the name Busman’s Holiday. Lewis plays guitar, and Addison plays his modest drum kit, complete with suitcase-bass-drum. Independently, the brothers have performed with artists such as Jens Lekman and Sleeping Bag. “A Long Goodbye”, the first proper album from Busman’s Holiday was recorded by Mark Lawson (Arcade Fire) and mixed by Drew Vandenberg (Toro Y Moi, Kishi Bashi). The band has been featured on WNYC’s Radiolab. RIYL: Kishi Bashi, Paul Simon, Randy Newman, Van Dyke Parks, music!
The Caddywhompus idioverse - the shared, invented language, subtle and unspoken gestures, thoughts and quirks wrought from close bonds and experience - is one unique to Chris Rehm and Sean Hart. From growing up only a short bike ride from one another in Houston to nearly a decade of performance together as a guitar and drum duo in New Orleans, their years-in-the-making style consists of distorted walls of sound with lightspeed melodic U-turns and waves of brilliant noise, a dynamic that only could be learned by the two players on Odd Hours, their latest album out April 14, 2017 on Inflated Records.
This album collects Child Bite's recent two sibling EP's into one brutal package. For years, we have watched Child Bite change, contort, and rearrange itself in to the gnarly powerhouse that exists in its current period. Since the inception of their now steady relationship with JNR, the sounds have become more abrasive then their spastic avant-pop beginnings.
Within the first few moments of "Worship", you will find yourself encouraged to “worship the father / slaughter the son” as well as “snip off the tip of the blasphemer’s tongue.” However you choose to interpret singer Shawn Knight’s vocals, which are easily his most hostile to date, you wont escape the mood of this piece. And, the mood is that of 4 perplexed soldiers foraging for rushes of adrenaline to keep themselves alive while condemned to fight an unjust, unwinnable war. "Wrong Flesh" is a gritty battle march, which conjures memories of the Deadites storming the castle in search of the Necronomicon. From here, they take us down paths that are exponentially dark — with, "No pussy shit" as their credo. This is, in fact, the darkest and most mature effort we have seen from Child Bite. The shrilling, and impulsively head-bobbing verses of Scum Gene (Trash Vibrato) — are only rivaled in turpitude by Shawn Knight's lyrics; like those of "Smear Where the Face Was" that read: "Drag behind or standing still - Impulse is fear, and fear you will." The lyrics, as a whole, paint a fuzzy picture of fear, paranoia, and despair.
Bass player Sean Clancy expands on his unique style with brutal tones and syncopated rhythms that match the band's progression further into the macabre. Brandon Sczomak has made the switch from drums to guitar (who knew?). He has flawlessly adapted to the precedent set by his predecessors, and he is taking it to fantastic new place. If you are a drummer and you are unfamiliar with Moshe Rozenberg (ex-DD/MM/YYYY), just buy this record right away. I would still listen to this record if it were only drums. The beats were also partly written and arranged during pre-production by Detroit drummers: Brandon Moss (Bars of Gold), Matt Rickle (Javelins/Fawn), Brandon Sczomak (current Child Bite guitarist), and Dave Vaughn (Detroit Cobras). The album was recorded with Chris Koltay of High Bias Recordings (Akron/Family) riding the faders. It was mastered by the infamous Weasel Walter (XBXRX, Flying Luttenbachers).
I was five years old in 1982. I remember sitting on thick brown carpet, plugging in the joystick, and playing Yars Revenge on the Atari 2600. The music consisted of a single, oscilating drone. Thirty years later technology has granted us the wish of near-infinite possibilities: it's not uncommon for some games to feature vocal choirs and symphony orchestras. Of course, as Orson Welles famously remarked, "The enemy of art is the absence of limitations."
A few years ago my friend Jay Tholen asked me to write music for his adventure game about a mute, handless clown named Dropsy. We talked about junkyards and circus tents, we looked at photos of open country roads and graffiti and neon lights. Jay showed me his early pixel landscapes and it made me think, perhaps video games represented a type of modern folk art. He embraced the limitations of medium and created something honest and beautiful. I wanted to do the same with the soundtrack.
The themes for Dropsy were composed almost entirely on piano. After months of preparation, I booked a single, 12-hour recording session and tried to leave enough space for each musician to contribute their own voice. Everyone looked at the images Jay provided and we talked about the different locations inside the game. I can hear the subliminal influences of Joe Raposo's early music for Sesame Street in the music now. I hear the mechanical pop of Devo and the doom metal of Earth. I hear the limitations working their magic. The music is alive.
Bassist, composer, and vagabond, CJ Boyd uses low-end loops and voices in order to stop time. On perpetual tour since March 2008, movement and stasis are both at the center of his music. Utilizing only upright bass, bass guitar and voice, CJ creates a distinctive meditative atmosphere. Songs slowly build from singular, meditative bass lines into explosive, layered, and hugely complex walls of sound. The upcoming album is his first since 2012, and his finest work to date.
Introducing, the debut solo album from the enigmatic legend that is Dale Crover.Amongst his 30+ year career as one half of the essential Melvins roster, Crover has contributed to countless albums ranging from platinum-plated classics (ahem, Nirvana) to seminal cult LPs. However, up until this point Crover's solo efforts have only appeared once in a blood moon, limited to the Melvins 1992 KISS-themed solo EP, and a couple intermittent 7" releases. The Fickle Finger Of Fate marks Crover's first calculated, full length solo effort.But let's be clear: this is not a drum record. The album features a perplexingly diverse batch of songs that recall the best moments of the Melvins catalog. With 90% of all instruments played by Crover, and recorded by longtime engineer Toshi Kasai, the album is sure to tickle the temporal lobes of Melvins devotees.Sonically, the album ranges from slightly microwaved heaviness, to surprisingly chill Pink Floyd-tinged ballads, to Max Roach-meets-Throbbing-Gristle drum experimentations, to good old fashioned Andy Kaufman-style head-fuckery.Though consistently otherworldly, The Fickle Finger Of Fate is surprisingly approachable— dare we say, catchy. But even at it's most anthemic, you won't be able to shake the feeling that a sinister ambience is hovering just beneath the surface.
The most apt description of Daniel Smith's sojourn as a musician would bewritten in iambic pentameter, because this sojourn is as immemorial as ThePilgrim's Progress, or Paradise Regained, the son raised in a proper spiritual andmusical household, who casts it all off, goes out and listens to a bunch of SydBarrett and Don Van Vliet and similarly admirable material, is recast in the imageof this highly original music, and who then returns to the fold, like in theparables. Nearer to the home fires, he is repurposed and begins to hear theprofundity in the familial gospel sound, whereupon he conceives of this band, tobe made up of his siblings and friends, which will reproduce this very sound offamily, and his band records several albums of truly unique contemporary music,more punk than punk, more psychedelic than psychedelia, and more ecstatic anddivinely inspired than a lot of the slick gospel music; he thus falls somewherebetween the cracks, like a lot of truly revolutionary American composers, likeCharles Ives, like Moondog, like Harry Partch, like Meredith Monk, like Sun Ra.From this singular perch, Smith composes some of the most original music of thenineties and oughts, with his siblings by his side, often wearing inventivehomemade costumes spun from the metaphors of the Daniel Smith cosmogony.
“Tonight You Look Like A Spider” is the first ever solo album from David Yow â€“ the legendary singer of The Jesus Lizard and Scratch Acid. This album is every bit as twisted and fucked-up as you’d expect from Mr. Yow. 49-minutes of nightmarish noise, created and recorded entirely by David Yow over the past decade.
Experiencing one emotion at a time is a luxury of the past. Think back to that moment at the women's march or the pro-science rally, when you spied a small child holding a handmade sign that read "I love naps but I stay woke" or "Boys will be boys good humans" or "May the facts be with you." How adorable! How upsetting! How the hell are they going to make it to adulthood in this toxic environment?
Deerhoof is right there with you. They recognize that we are simultaneously living in two worlds, one a maniacal, mainstream monoculture hell-bent on driving humankind into extinction, the other a churning underground teeming with ideas and dogged optimism and the will to thrive and survive. Mountain Moves refutes the former by ecstatically celebrating the latter.
Though Deerhoof have often made albums from start to finish with virtually no input from the outside world, now is not the time for artists to operate in isolation. Mountain Moves throws the doors wide open. Working quickly, the band invited myriad guests to participate, some of them dear friends, others practically strangers. They are of different ages, different nationalities, different disciplines. The only common thread was that each and every artist on Mountain Moves doesn't fit into a single, neatly-defined category - and doesn't wish to.
Introducing: Divorcee, the new project from Yoni Wolf and his ex-girlfriend Anna Stewart. With their self-titled debut EP, the WHY? frontman steps out of the spotlight to craft all the music himself, while Stewart sets her brutally honest lyrics to each song.
Formerly the man behind Jookabox, DMA (aka David Moose Adamson) began his career as a one-man-band in the grand old tradition of the 'one-man-band' (re: man with a bass-drum on his back and a monkey clapping symbols, collecting change from the crowd etc.). Growing away from the outright-spectacle that was Jookabox, DMA gives us a more meditative, and ultimately deeper sound, perhaps best enjoyed in a sensory deprivation chamber.
"Got A Mile, Got A Mile, Got An Inch (Live)" is a recently-unsurfaced "authorized bootleg" from math rock pioneers Don Caballero. Recorded in 2003 at a single show in Chicago, "Got A Mile” captures Don Cab's unrivaled musicianship in gritty, brash fashion. Featuring the lineup of Gene Doyle, Jeff Ellsworth, Jason Jouver, and (of course) Damon Che, the band performs material spanning from 1993's "For Respect" (Touch & Go) to songs that would end up on 2006's "World Class Listening Problem" (Relapse Records). While classics like "Fire Back About Your New Baby's Sex" and "Delivering The Groceries at 138 Beats Per Minute" are performed true to their recordings, the band also explores medley territory at times, weaving together songs like "Let's Face It Pal, You Didn't Need That Eye Surgery" and "You Haven't Lived Afro Pop" into the aptly named "Let's Face It Pal, You Haven't Lived Afro Pop".
Being in a band can be like being in a marriage, for better or for worse. Dumb Numbers is more like an open relationship. There is no definitive lineup. I have an amazingly talented bunch of friends from all across the world who contribute to recordings, but there is no commitment beyond that. This makes live performances a rare occurrence. Basically if My Bloody Valentine want us to open we'll be there! But otherwise Dumb Numbers is mostly a recording project. With that being said, The new album from DUMB NUMBERS features ADAM HARDING with LOU BARLOW (Sebadoh, Dinosaur Jr), DALE CROVER (Melvins), DAVID YOW (the Jesus Lizard/Scratch Acid), MURPH (Dinosaur Jr), KEVIN RUTMANIS (Cows/Melvins) ALEXANDER HACKE (EinstÃ¼rzende Neubauten), BOBB BRUNO (Best Coast), BONNIE MERCER (Grey Daturas) and STEVE PATRICK (Useless Children).