The Swedish duo Invoke The Insult is the exaltation of the best electro-industrial / EBM art, simultaneously oldschool-newschool oriented. Jonas & Klas create an attractive, danceable and dynamic technological sound, through equipments capable of expressing the maximum emphasis, which will lead the listener into a pure and rational electronic dimension.

Aggressive, obscure and acidic vocals, hypnotic drum-programming, punctuations of sequencers and alienating keyboards are the peculiarities of the thirteen songs included in the great album entitled “You Can Trust”, with which Invoke The Insult wish to state once and for all their authority and obtain important credits among the fans.

Distinction, talent and hard determination are the elements that will act as propellant to this amazing project, establishing an intense contact with your body and your senses: the effects will be indescribable.

Today Jenny Hval announces her new album ‘Blood Bitch’, due Sept 30th, via Sacred Bones Records, and shares the first single ‘Female Vampire’. As well as various European festival slots, the Norwegian artist is also set to tour the UK in October this year with shows in London, Glasgow and Manchester.

In the words of Jenny Hval herself:

“Blood Bitch is an investigation of blood. Blood that is shed naturally. The purest and most powerful, yet most trivial, and most terrifying blood: Menstruation. The white and red toilet roll chain which ties together the virgins, the whores, the mothers, the witches, the dreamers, and the lovers.

Blood Bitch is also a fictitious story, fed by characters and images from horror and exploitation films of the '70s. With that language, rather than smart, modern social commentary, I found I could tell a different story about myself and my own time: a poetic diary of modern transience and transcendence.

There is a character in this story that is a vampire Orlando, traveling through time and space. But there is also a story here of a 35-year old artist stuck in a touring loop, and wearing a black wig. She is always up at night, jet lagged, playing late night shows - and by day she is quietly resting over an Arp Odyssey synthesizer while a black van drives her around Europe and America.

So this is my most fictional and most personal album. It’s also the first album where I’ve started reconnecting with the goth and metal scene I started out playing in many years ago, by remembering the drony qualities of Norwegian Black Metal. It’s an album of vampires, lunar cycles, sticky choruses, and the smell of warm leaves and winter.”

Listen to first single ‘Female Vampire’ here.

Norwegian artist and writer Jenny Hval has developed her distinct take on intimate sound since the release of her debut album in 2006. For her last two solo albums, 2013's Innocence Is Kinky and 2015’s Apocalypse, girl, Hval’s debut for Sacred Bones, she has received thoughtful and widespread international acclaim for her fascinating voice, singular delivery and markedly non-traditional arrangements which incorporate elements of poetry, prose writing, performance art, and film. The New York Times defines her writing as “taking a scalpel to the subjects of gender politics and sexuality.” Hval has eloquently brought to light issues of both male and female gaze, which for years had been swept under the rug and/or denied all together.

Hval’s conceptual takes on collective and individual gender identities and sociopolitical constructs landed Apocalypse, girl on dozens of year end lists and compelled writers everywhere to grapple with the age-old, yet previously unspoken, question: What is Soft Dick Rock? After touring for a year and earning her second Nordic Prize nomination, as any perfectionist would, Hval immediately went back into the studio to continue her work with acumen noise producer Lasse Marhaug, with whom she co-produces here on Blood Bitch. Her new effort is in many respects a complete 180° from her last in subject matter, execution and production. It is her most focused, but the lens is filtered through a gaze which the viewer least expects.

‘Blood Bitch’ is set for release September 30th via Sacred Bones Records.

See Jenny Hval live:

3rd Jun – Kilbi Festival, Duedingen CH

4th Jun – Primavera Sound Festival, Barcelona ES

16th July – Pitchfork Festival, Chicago US

5th Aug – Off Festival, Katowice PL

1st-5th Sept – End of the Road Festival, UK

14th Sept – Ultima Festival, Oslo NO

30th Sept – LPR, New York City, NY

17th Oct – Stereo, Glasgow UK

18th Oct – Soup Kitchen, Manchester UK

19th Oct – Oslo, London UK

21st Oct – AB, Brussels BE

22nd Oct – Point Ephemere, Paris FR

24th Oct – Suedpol, Luzern CH

26th Oct – Kantine am Berghain, Berlin DE

27th Oct – De School, Amsterdam NL

28th Oct – Kampnagel, Hamburg De

29th Oct – Jazzhouse, Copenhagen, DK

11th Nov – Resident, Los Angeles CA

On June 11, the American electro duo Matmos presents his recent CD Ultimate Care II in Arts Centre België (Hasselt, Belgium). It is a unique concert you should not miss!

Drew Daniel and Martin Schmidt create unique sound experiments since 1997. Once they were apprentice surgeons in A Chance to Cut is an Chance to Cure (2001), now a washing machine gets their attention...

Matmos surprises again with its unique style of music. Ultimate Care II is a specific composition for a certain kind of Whirlpool washing machine, including centrifugation and various sounds, or as Matmos puts it: the object being rubbed and stroked and drummed upon and prodded and sampled and sequenced and processed... with the collaboration of Dan Deacon, members of Horse Lords, Half Japanese and Needle Gun. Keywords: industrial, Miami Bass, free jazz, house, krautrock, drone, musique concrète and new age...

Not to be missed: Matmos, on June 11 in KC België, Burgemeester Bollenstraat 54, 3500 Hasselt.

Health&Beauty are as proud as a dog in shoes to announce they have signed to Wichita Recordings, who will release their sixth full-length studio album, ‘NO SCARE’ on 5th August 2016.

Health&Beauty is the name under which Brian J Sulpizio has released music since 2003. The current lineup of the group has been playing together since 2012, featuring pianist Ben Boye (a constant collaborator since 2009, who also plays with Will Oldham, Angel Olsen and many others) and drummer Frank Rosaly (a regular collaborator with Peter Brotzmann and many other jazz and experimental music greats). This version of the group along with bassist Anton Hatwich, made up the band on Ryley Walker's ‘Primrose Green’.

‘NO SCARE’ is the most euphoric listening experience presented yet in the band’s catalogue, where darkness and light can't help but complement each other in the short comedy of the human experience.

Today the Chicago-based three-piece share the first cut from their new record, a track entitled ‘Wartime’. The original version of the song featured a lyric and melody borrowed from Neil Young’s “Hey Babe” (from ‘American Stars and Bars’) which Neil would not clear for usage and which were replaced instead with a killer pedal steel solo, played by Matt Schneider of Moon Bros, and new vocals sung by Emme Williams of Fastness. Brian J Sulpizio said the following about the track:

“A young man who lived in my neighborhood in Chicago was about to graduate high school and he was telling me about how the best option for him was to sign up for the Army. He was also considering becoming a truck driver but I never saw him after the one time so I don't know what he decided. I wrote the song with the volunteer army in mind. I really liked having the Neil Young line at the end; tied it together in a way. We're still doing that live, which I think is legal.”

Ahead of their upcoming album release, Barcelona-based MOURN are sharing new single 'Irrational Friend', which is taken from their record 'Ha, Ha, He', due June 3rd via Captured Tracks.

Laden with the band's intricate take on post-punk, 'Irrational Friend' is inspired by William Blake’s “The Laughing Song” and much like the poem itself, the track is sort of a last gasp of screaming laughter on an album that's marked in real time.

Listen here

MOURN’s Jazz Rodríguez Bueno explains the band's previous single 'Second Sage' saying, “This song is about last August. I was feeling alone, I had nothing to do so I spent the most of the time playing the Legend of Zelda, Ocarina of Time. That was the only thing that made me feel good at that time, and it made me feel kind of useful somehow. One day after playing, I picked my guitar and started talking about it. It's basically about me waiting for someone to talk to me while I am in the Fire Temple."

MOURN's self-titled 2014 debut LP gave the world an interesting idea: Catalonian teenage wunderkinds making authentically great guitar-based music in an era where it's considered almost unfashionable. Since that period, the band has faced some very real issues, both personally and professionally, things that 17-to-20 year olds normally don't have to worry about. When dealing with such a youthful band, you worry about how they will live up to the early attention as it begins to dissipate. Upon hearing Ha, He, He. for the first time, it turns out, we never needed to look forward to MOURN growing into a great band; they already are one.

As the opening bars of 'Flee' gallop into 'Evil Dead,' it’s instantly evident that MOURN will continue their speedy ascent from local curiosity into an international band on the rise. Ha, Ha, He. is sonically deep, heavy and manages to retain all the immediacy of their successful debut MOURN. It's one of those rare records where you watch a band's level of sophistication grow leaps and bounds without losing the foundation and simplicity of what made people take note in the first place.

Ha, Ha, He. has all the twists and turns of Post-Rock from its Chicago heyday bolstered by the melodic quirkiness of a new influence for the band, Throwing Muses. On 'Brother, Brother' and 'Howard,' we see MOURN through a pop lens: undeniably catchy, but intricately performed and still somehow "heavy." This is a band that can play around with the pop format in a way that doesn't degrade their songwriting talent to the lowest common denominator. Not an easy task. On the challenging-yet-beautiful 'Second Sage,' it becomes apparent that MOURN have begun to carve out their own niche and their songs are no longer fits of inspiration indebted to their heroes, but just the band being themselves.

The penultimate 'Irrational Friend' takes its chorus, 'Ha. Ha. He!' from William Blake’s “The Laughing Song,” a poem from his Songs of Innocence and Experience. You can sense the band working through their experiences as a group of young and talented people entering their 20s. They face a future that can be equally rewarding and cruel, with respect to their career in music as well as life in general.