Today HUNTRESS have released their third studio album STATIC via Napalm Records. The highly-anticipated record was produced by Paul Fig (Grammy nominated engineer, Alice in Chains, Deftones, Trivium, Ghost BC) and Jim Rota (Fireball Ministry, Emmy winning Executive Producer of the Sonic Highways series, Producer Sound City Movie), Engineered and Mixed by Paul Fig.
Coinciding with the release of STATIC is the world premiere of the band’s new video for the song “Sorrow” on Loudwire. The video was written and directed by Phil Mucci (Disturbed, Stone Sour, High on Fire), produced by Phil Mucci and Ian Mackay of Diabolik.
HUNTRESS storms the high seas September 28th – October 2nd as part of the Mötorboat Cruise. The band will appear alongside heavyweights Mötorhead, Slayer, and Anthrax just to name a few. Expect high-energy sets from HUNTRESS featuring favorites off the first two albums and new head bangers from STATIC.
In addition to the Mötorboat Cruise HUNTRESS have announced that they will be providing direct support for Black Label Society as they go “doomtrooping” into 2016. This run of dates kicks off December 26th in Phoenix, AZ and runs through New Year’s Eve in Marksville, LA.
HUNTRESS:
Jill Janus – Vocals
Blake Meahl – Guitars
Eli Santana – Guitars (appears courtesy of Prosthetic Records)
Tyler Meahl – Drums (appears courtesy of Prosthetic Records)
Spencer Jacob Grau – Bass
HUNTRESS was spawned from the preternatural union of Jill Janus with underground metal band Professor. The band thrives on thundering drums, heavy riffs, spectral solos and catchy choruses that come from the band’s musical concoction of melodic songwriting, occult science and bong rips. HUNTRESS delivers a modern sonic attack while staying true to the roots of heavy metal, with a penchant for thrash, death and black metal.
Peek-A-Boo presents the new clip of Canal Pop feat. Josefina Aufranc
The music video was shot (mostly) in black and white as an homage to the classic 80s synthpop aesthetics used by from such bands as Depeche Mode or Front 242, though the song is catchy and radio-friendly (it kind of sounds like a Kylie Minogue song).
This is the official video for Sarah Cracknell's new single 'Nothing Left To Talk About' (featuring Nicky Wire). 'Nothing Left To Talk About' is the first single to be taken from Sarah's new solo record Red Kite, released on 15th June 2015 on Cherry Red Records.
Glam, goth, gutter: Double Eyelid is the art-damaged music project of Ian Revell. Formed as part of an experimental staging of Hamlet, Double Eyelid has spent the last six years developing its sound and challenging audiences along the way. Driving the band are the songs and energy of singer, occasional instrument-player and charismatic oddity Ian Revell.
Adding guitar grit and production chops is Karl Mohr, and floating above the fray is keyboardist Benjamin Mueller-Heaslip. Double Eyelid was formed in Toronto in 2009 by Ian Revell (vocalist, songwriter). While key influences include Bauhaus, David Bowie, Rozz Williams and the Sex Gang Children, the closest parallel is perhaps to early Roxy Music, with its tension between street level expression and high art. 2011 proved to be a "launch" year that included gigs with The Scarlet Fever, Corpusse and Adaptive Reaction. The 3 core members (Ian Revell, Karl Mohr and Benjamin Mueller-Heaslip) met via the music department at Queen’s University (Kingston, Canada). The first time the 3 worked together musically was in 2003, performing as Karl Mohr and the Fallen Angels – Karl Mohr was the vocalist/songwriter for that project, which also was in the ‘goth’ vein – Karl has since renamed his project Dead Red Velvet.
After trying different lineups and a couple of different drummers, Double Eyelid decided to work with a drum machine live and in the studio. Initially an arty post-punk project, the band shifted in more of a legitimate goth direction with the first single and video, “Dead is Better,” which were released in July of 2012. The video for “Dead is Better” was shot by up-and-coming horror filmmaker Steven Cerritos, and was featured by MuchMusic, Canada’s equivalent to MTV.
Below is their newest clip
Continuing his work with memory not only as a subject but also as a process, Michael Anderson has culled many of the sounds on this record from the past. But this is not a record of rehashed material or remixes. Rather, DREKKA's music is made through continually delving into an archive, digging up and repurposing old recordings, live performances, and forgotten snippets of the voices of out-of-touch friends.
Anderson often begins his live performances subtly, with smoldering ambiences and sublime waves, a practice which functions both as soundcheck and prelude. In this case, a sonic formation used to bridge two sets performed one night in Taranto, Italy, has been revisited and reshaped into "The Seventh Continent (Oceanic Waves Wave)." It is a work of evocative and emotive sound art, assembled textures created from manipulated voices. The piece owes as much to NURSE WITH WOUND as it does to MICHAEL HANEKE, whose influence is paid homage through the title. Anderson indeed plays the role of the auteur here, his own voice manipulated and intertwined with the voices of unwitting collaborators, unwitting at least in the moment. They are voices from his archive of cassettes and field recordings. Annelies Monseré makes an appearance from Gent, Belgium, many months or years earlier and many miles away.
"The Work in Question is Unbeknownst to The Participants at Hand (in three sections)" reaches even further back, through years of sound. The details of locations, methods, and even participants are hazy (Tyler Damon, Sarah Dunevant, Mark Trecka are among the certainly present) and in some cases completely lost (anonymous, obscured entirely). The sounds of a forgotten recording session from the mid-90s are counted among the sources here. Anderson’s deft hand has collated and juxtaposed strands of narratives from across two decades into this haunted drone. Like TARKOVSKY's "The Mirror", it is an assemblage of memories, at times dissonant. But like the work of TIM HECKER, this is music that is warm and hospitable and in some sense ultimately soothing.
Working under the name DREKKA since 1996, Anderson has released dozens of cassettes, CDs, and LPs on both his own Bluesanct label and many other labels internationally. He has traveled, collaborated, and relocated; collecting memories and building an very personal archive of corresponding sound. Tours throughout Iceland and Europe and the United States have contributed to that archive as much as they have served as platforms for public performance. DREKKA owes something to the soundscapes and non-linear impressionism of CINDYTALK or COIL, the gravity of EINSTÜRZENDE NEUBAUTEN. But his work is very apparently unique. Throughout years of performing and recording, Drekka has explored early industrial tape culture, fragile bedroom noise folk, and expansive cinematic textures. He has touched on the themes of silence and memory and noise and forgetfulness. In the past decade, his gorgeous sound sculptures have fit more neatly into the industrial noise and ambient genres, holding a place alongside contemporaries like SVARTE GREINER, TIM HECKER, or WILLIAM FOWLER COLLINS. And yet these pieces are very evidently personal. Rather than the obscurity that is so often the effect of experimental music, DREKKA functions as a direct line into Anderson’s mind, his dreams, and his fragile and tenuous cache of memories. These personal aspects and this fragility are even more clearly on display than if they were obfuscated by poetic abstractions.
While "haunting" and "hypnogogic" are words often used to describe experimental music and art, DREKKA unequivocally occupies and deals in those dark spaces which comprise the tenuous province of memory and dreams. Those are the real ghosts of time and sound.
“Unbeknownst to the Participants at Hand" is Drekka’s second offering in a trilogy of full-length releases on Dais Records. This second volume will be pressed in a limited edition pressing of 500 copies.
