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Sterile Jets “No Gods No Loss” | Music Profile

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Band/Artist: Sterile Jets
Location: Long Beach, California
Styles: Noise Rock, Old School Metal, Punk, Post Hardcore
Similar to/RIYL: Melvins, Sonic Youth, Fugazi, Butthole Surfers, Shellac
CD: No Gods No Loss
Release date: May 4 2017

Accolades: Toured Northern California May 2015.

Members/Instruments:
Robert Bly Moore:  Guitar / Vocals
Wm B.ILL Partnoff: Bass / Vocals
GS Bean : Drums

Production: Produced by Bil Lane and Sterile Jets

Tracklisting:

The Arsonist
Rehabilitated Truth
Go Out And Bleed
Piss On Your God
Soliloquy Of A Heartbroken Loner
Fireside Drive (first single/video)
White Satan
A Sterile Existence
Free Pork Bougie
Olive Spoil

http://sterilejets.com

Bio and About the Album:

Sterile Jets make music that doesn’t conform to a single style or genre, with lyrics that mirror the struggles the band, and their fans, confront on a daily basis. The band – singer/guitarist Robert Bly Moore, singer/bass player Wm. Partnoff and drummer GS Bean – is a true democracy. They compose and arrange every song to bring out its best elements, delving deeply into punk, post rock, jazz and metal, with stimulating side trips into rockabilly, grunge and even pop. The result is a winning combination of noise and melody, romanticism and irony, love and anger that captures the complexities of everyday American life. Those looking for music steeped in the courage, honesty and energy of punk’s primal explosion will find it in the uncompromising sounds of the Sterile Jets.

Stoner Punk, Art Punk, “Rebel Noise Rock,” call it what you will, but there is no denying that the brand of caterwauling that STERILE JETS (SJs) produces is absolutely FUCK YEAH! Formed in year nine, after the break-up of Bass’r B. ILL’s former band Dynamic Ribbon Device, B. ILL set forth to start a band that would ultimately satisfy his artistic needs. He went straight to the to the Internet (Craig’s List to be more specific), to complete his conquest. After a few revolving members, the band became the complete trio, it is now, in 2012. The lineup includes: Robert “Bly” Moore (Lead Guitar/Vocals), Wm. “B. ILL” Partnoff (Electric Bass/Vocals) and Matthew Bean… “Bean” (Trap Set). SJs self describes their unsettling sound as if Sonic Youth fucked the Velvet Underground and had an unruly Black Flag baby. Other influences for the band are Rudimentary Peni, McLusky, Ponys, Husker Du and Dead C. Also, the band has covered songs from Fang and Flipper. SJs also take influences from the literature and art scene, such as Charles Bukowski, William S Burroughs and Raymond Pettibon. Drawing from life experiences, dive bars, drug abuse and the absurd hypocrisies of civilization, SJs music has been described as original, jarring, loud, noisy and weird. The current incarnation of SJs have been gigging in Southern California for nearly a year, focusing on the Long Beach and Orange County areas. Venues the SJs rocked include Fern’s Cocktails (Long Beach), Harold’s Place (San Pedro), the defunct Puka Bar (Long Beach) and The 2010 OC Punk Rock Picnic (Irvine).

No Gods No Loss was co-produced by Sterile Jets and audio engineer Bil Lane, a close friend of the band. “We wanted the raw sound of a live show,” Moore continues. “Except for the vocals, the album was recorded over a long weekend, with everything stripped down to the basics. We spent more time writing, arranging and refining the songs this time. Bil has a ton of expertise and a laid back attitude. He gave us the freedom to make the music sound how we wanted it to sound.”

“Fireside Drive,” the album’s first single, contrasts the band’s quieter, more melodic side with their love of distortion. Melodic bass and guitar introduce Moore’s playful, seductive vocal before flipping the switch into an interlude of grinding distortion. By alternating between quiet passages and jolts of noise, the band amplifies the passionate yearning of the lyric. The song builds to a beautifully chaotic climax, complete with a few random quotes from Voltaire about the exploitation of the working class.

“Rehabilitated Truth” opens and closes with screeching feedback from Moore’s guitar. Bean’s galloping drums play variations on a fractured samba rhythm that pushes the guitar and bass in all kinds of twitchy directions. Moore’s growling half spoken vocal plunges into a maelstrom of hopelessness that reflects the agony of a dying relationship.

“Olive Spoil” is a sonic assault drenched in grimy guitar overtones, free form bass lines and out of control drumming. Its random tempo changes, unexpected bursts of silence and rapid shifts between noise and melody suggests some unholy combination of Hendrix and Motörhead. Partnoff’s rolling, bluesy bass and Bean’s rock steady drumming support Moore’s mixed down vocals on “Free Pork Bougie” before the tone shifts with a slow, roaring avalanche of earsplitting distortion. The mood swings of the music hint at the tension between the 1% and the country’s working class. “We’re dealing with job loss, expensive or non-existent education and not knowing how we’re going to pay rent,” Moore says. “The rich and powerful are just playing a game.” Beat writer Charles Bukowski inspired “Go Out and Bleed,” a slow, straight-forward, metallic rocker with grim, surrealistic lyrics and an impressive display of Moore’s guitar pyrotechnics. Partnoff’s noisy bass opens “White Satan” as Moore’s guitar provides a shower of quiet, playful arpeggios before moving into sinister, doom rock territory. With the help of Partnoff’s descending bass, Bean’s ponderous backbeat, Moore’s massive power chords and Partnoff’s harsh, snarling vocal, the song shatters the tenets of the conservative agenda.

“Our inspiration comes from what’s going on around us,” Moore says. “This record was written during a point of collective turmoil. We were grappling with chaos, the death of close friends and toxic relationships. That uncertainty comes out on the record. The songs have more anger and darkness this time around, but we don’t write with preconceived notions of what it’s going to sound like. We just do our best to give you something that’s truly us at that moment.”

Wm. Partnoff was born in the LA suburb of Whittier. He was inspired to pick up the bass by Iron Maiden’s Steve Harris. After spending years playing in bands in the San Francisco Bay Area, he moved to Long Beach in 2008. GS Bean started drumming to combat his extreme ADHD, but didn’t get serious about music until he was 19. His love for politically and socially progressive bands like England’s Subhumans profoundly influenced his life and taste in music. After finding Partnoff through Craig’s List, the duo searched for a guitar player and found Robert Moore, who’d just moved out from Indianapolis. His desire to blur boundaries and play whatever he felt, as loud as he could, clicked with the newly formed band’s vociferous, anything goes outlook.

“If you listen to our last record, and compare it to No Gods, you can hear our evolution,” Moore says. “We’ve found our voice and gelled into a tight band. We’re always working to stretch ourselves, and do something different and No God sees us exploring new time signatures, new rhythms, new lyrical ideas. We’re constantly challenging ourselves to be better.”

APE|MEN – Zero | Music Profile

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ape men zero music news profileBand/Artist: Ape Men (stylized APE|MEN)
Location: Industrialized world, South Eastern Fringe of the European Union
Styles: Indie, Indietronica, Alternative, Indie Pop
Similar to/RIYL: Kasabian, Nine Inch Nails, AWOLNATION, Beck, Panda Bear
CD: APE|MEN – ZERO (2015, debut EP)

Accolades: This outfit hasn’t gigged outside clubs, but is a trio formed from indie band Gravity co. which has over 18 top musical achievement awards in South Eastern Europe, has opened for the Prodigy, Fun Loving Criminals, Stereo MCs, Kosheen, and others and has played festivals at EXIT (Serbia), Sziget (Hungary), Eurosonic (Holland), Bestfest (Romania), Spirit of Burgas (Bulgaria), and others.

Members/Instruments: Bobby, Ivo, and Petar
Bobby Cheshirkov – Vocals, guitar
Ivo Chalakov – Guitar, vocals
Petar Samanliev – Computers & gadgets
Production:
Composed by Ivo Chalakov
Lyrics by Bobby Cheshirkov
Co-produced by Ivo Chalakov & Petar Samnaliev
Arranged by APE|MEN
Mixed by Petar Samanliev & Ivo Chalakov
Mastered by Plamen Yotov

Tracklisting:
1. Pictionary
2. Bye-Bye Devil
3. Up Is the New
4. Cash
5. Zero Pictionary

Bio:
Ape Men (APE|MEN) are an edgy indietronica trio from the post Iron Curtain fringes of the European Union formed in 2013. The band paint an urban soundscape with gritty scuzz guitars and moody lyrics over saturated synthesizers and thumping electo beats.

The band’s debut EP “ZERO” was released independently on Feb 19th, 2015. The EP is accompanied by a single and music video release for “CASH”. The video was directed by Ruscen Vidinliev.

 

 

Mylets | Music Profile

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Mylets Music Profile
Artist: Mylets
Album: Arizona
Label: Sargent House
Release date: 20th April 2015

Under the moniker Mylets, Henry Kohen takes on the roles of several musicians at once. The wunderkind guitarist who, at 17, became the youngest artist signed to Sargent House has since established his reputation as an awe-inspiring and agile performer, playing across North America and Europe multiple times over the past couple of years.

Dancing across multiple guitar pedals that line the stage, Kohen also sings and lays down guitar loops while simultaneously tapping out beats on a drum machine. Nothing is pre-programmed. Every note played is as organic and fallible as its performer. Kohen’s physicality and presence is captivating on stage, but what’s even more impressive is that his songwriting talent is equally as vast and varied as his multitasking skills.

Arizona is the defining work of a masterful tunesmith. Despite their complexity, the songs are never disrupted by the intricacies running beneath their hyper-infectious pop structures. Kohen operates his equipment like the conductor of a small orchestra, summoning fully realized melodies from his devices. “I put in a lot of effort to make every single word and note of each song as deliberate and concise as I could,” Kohen explains, “rather than throw out an unintelligible overflow of information.”

Album opener “Trembling Hands” is a massive, hook-heavy anthem driven by layers of churning guitars and distortion that stirs somewhere between the throaty verses of Broken-era Nine Inch Nails to the hymnal anxiety of a Cloud Nothings record. The title track follows with a cascade of syncopated guitar arpeggios setting the stage for a reverse-reverb soaked vocal harmony that chimes like something off of U2’s Unforgettable Fire. And, that’s the beauty here: Mylets appeals to every listener, not just other musicians. Kohen understates his unparalleled and highly specific skills and instead forces the emotion informing his music to the forefront. This ability is what makes the songs on Arizona command repeat listens.

Mylets first came to Sargent House’s attention with a series of self-released solo EPs, much of which were remastered and compiled on the label’s 2013 release Retcon. Around that time, Kohen relocated from Columbus, Indiana to Los Angeles, residing at the artist-friendly Sargent House all the while working intensively on prepping Arizona material for the studio. In the interim, Mylets also toured extensively on different continents with And So I Watch You From Afar, TTNG and Emma Ruth Rundle. “Because of the range of time spent writing, it was very important for me to capture the concepts of creative and personal growth within the songs on the record,” Kohen says. “I recorded the album twice under very different circumstances in 2014 and on the second round of studio time, I left with a product that I felt was as true of a representation of what was initially in my head as I could have created.”

Arizona will be available everywhere on LP, CD and download via Sargent House on 20th April 2015.

 

 

 

The Great Escape All I Think About | Music News

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thegreatescapemusicnewsBand/Artist: The Great Escape
Location: Los Angeles
Styles: Alternative, Pop
Similar to: Black Keys, The Heavy, Adele, The Dead Weather, Janis Joplin, American Authors, Arctic Monkeys, Amy Winehouse
CD: Self-Titled

Members/Instruments:
Amie Miriello – Vocals
Malte Hagemeister – Guitar
Kristian Nord – Drums
Production: Produced by Kristian Nord & Malte Hagemeister for Nordmeister

Bio:
This is why they still call it the Golden State: The 49ers found it in the dirt, a century later the Dogtown kids discovered it in the shape of backyard pools, and now, some four decades further down the road, The Great Escape, a foot-stomping, genre-busting three-piece from Venice, have struck that California vein again –
with their own blend of raw energy song craft.

Inspired by everything the West Coast has come to stand for – the surf, the sun, the laid-back attitude, the proverbial Dream –, every single track, every chorus, every story they tell oozes that fun-loving, grit-digging vibe and feel. And you can just tell they had to go the extra mile to unearth what they were looking for: After all, two of them, Kristian Nord (drums, production) and Malte Hagemeister (guitars, production), are originally from Hamburg, Germany – these guys came a long way to live that Dream. Joined by powerhouse singer Amie Miriello, a Connecticut native and seasoned performer, they are about to release their debut album, a collection of songs that offers just what it says on the tin – A Great Escape.

Having first met while songwriting for other artists, the three L.A. transplants quickly realized they had a shared vision: Together, they wanted to create an update to that 60s, 70s sound when rock and pop music was still raw and unpolished. When it didn’t come attached with layers of irony or slick braggadocio. When it was nothing but a celebration of emotional storytelling, bold statements and heartfelt sentiments, poured into lavish melodies and harmonies. Hence the chorus, “this is a time to celebrate/What a beautiful escape,” as Amie sings over the pounding, surf’n’blues-heavy bliss that is “It’s Getting Better”.

Channeling the classic, timeless approach of their all-time favorites (e.g. Hendrix, Joplin, Cohen, Stones, the Beatles), but also nodding to their contemporaries (Adele, The Black Keys, The Heavy, Jack White), The Great Escape’s self-produced debut full-length has this no-holds-barred approach written all over it: “All I Think About” is all clapping, until the track breaks open into a huge chorus about longing, whereas horn-fuelled “Rebel” showcases intense dramatics and the amazingly powerful, raspy voice of Amie: “some people call me insane/they just ain’t on my level”. Elsewhere, the playful, sun-drenched “Secret Song” even flirts with gospel, soulfully majestic “I Want It All” is pure retro splendor, and even though “Let’s Go” sees them take off to higher and higher levels, they certainly know how to conjure minimalist, sweet and melancholy daydreams (“Don’t Wake Me Up”, “I Just Can’t Help Myself”) as well.

“Lots of first takes made it on the album, and most vocals were recorded right after writing the songs,” explains Malte, whose “demo guitars often stayed because they just had that right feeling.” Keeping things spontaneous and DIY, it’s “all about the performance, not about perfection,” Kristian adds. “When a take had the right kind of vibe to it, we just moved on and didn’t even second guess it.”

Album guests include old studio hands such as Stanley Behrens on blues harp (Jimmy Smith, Canned Heat, War, Willie Dixon), Kevin Dorsey on vocals (Michael Jackson’s vocal director, Ray Charles, Santana, Aretha Franklin), Zac Rae on B3, piano and keys (Lana Del Rey, Norah Jones, Santana), as well as a shape shifting horns section comprised of Katja Riekermann (Rod Stewart, Al Green) and Marco Palos (Los Lobos, Louis Prima Jr).

Trying to discover her true self, she has “traveled far and wide, but never understood,” Amie sings on “I Just Can’t Help Myself”, and yet it seems that after all this traveling and digging, they have finally struck the kind of “pay dirt” that really shines in their hearts and minds: “Don’t need a stake in the ground,” she sings elsewhere, “that’s not for me/Flow with the rhythm of the sound and the beat.” That’s more like it: A steady flow, no blinders, no rules. Music that feels more like an endless Hang Ten, pure, unfiltered playfulness on top of a wave, rather than some quick, steely-eyed Eureka moment.

With packed high-energy shows around L.A. already under their collective belt, The Great Escape have come to bring that gritty rawness they scooped out along the way.

 

 

Elstow | Music Profile

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elstowIn July 2012 Jared Shaw and Chel Browne sent a couple of low-fi demos to Peats Ridge Festival on a whim. Having played only one live show together, their obsession with music was very much a private affair up until then, and neither expected the illustrious Sydney music festival to respond at all. But respond they did, and just a few months later the duo stood together on stage in the eastern-psychedelic-themed ‘Chai Tent’ and warmed an unsuspecting audience with hazy sixties-inspired songs about love, loss and death, blending delicate vocal harmonies with somber misty tones.


 
Borrowing the name of the building they lived in, and guided by a deep appreciation for the folk and psychedelic pop of the sixties and seventies, the duo quickly expanded to five members as they explored their wider musical tastes. Drawing on the psychedelic sounds of bands like Jefferson Airplane, Jimmie Spheeris, and early Pink Floyd, coupled with an infatuation with nineties alt-psych idols Brian Jonestown Massacre and Mazzy Star, Elstow started work on their debut EP in 2013. Released the following year, AS  THE SUN FALLS was five tracks of dreamy psychedelic landscapes fused with a moody folk sensibility. Both personal and surreal, bloggers described it as “music to lose yourself to,” and “a psychedelic romance.”
 
Harnessing an atmospheric and increasingly dynamic live set, the band spent 2014 playing all over their hometown of Sydney, winning over unsuspecting hearts one mind-bending show at a time. Their sound, which has been described as ‘neo-psychedelic-dream-folk,’ has been evolving slowly and surely, refusing to remain static.

In the late months of 2014, Elstow went back into the studio to record their new single, ‘Evil Dreams.’ Despite the sinister sounding name, and promises of a “very weird” video to accompany it, the new song is described by Shaw as “a little more upbeat than the EP,” and combines Elstow’s dreamlike psychedelic overtones with a breezy sunshine-laden chorus. ‘Evil Dreams’ swings between verses of doubtful self-reflection and a chorus of daydream surrender. Carefully woven vocal harmonies float amidst an abundance of tremolo guitars, delay, and crisp tambourines; ‘Evil Dreams’ is as ambitious as it is timeless.

 

 

d.oh Hole in my Sock | Music News

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Band/Artist: d.oh
Location: Toronto, Ontario
Styles: Electronic, Indie
Similar to/RIYL: James Blake, The Weeknd, BANKS, Made In Heights, Chet Faker
CD: Hole In My Sock
Release date: January 15, 2015
Accolades: Performed on Canadian Pavilion at Shanghai World Expo 2010, Toured Cuba

Members/Instruments: Daniel Oh – everything
Production: Daniel Oh

d.oh "Hole in my Sock"

Tracklisting:
Run With Me (feat. Adam Noble-Marks)
Alien Rooster
A carver’s love song
Tear Fall
Mountains of Glory
Only to Kill


Bio:
d.oh is a musical project that was created in 2012 while Daniel Oh was experimenting with music in his bedroom. Between and during classes at the University of Toronto, Daniel has been fervently pursuing his true passion – music. Though his sound has evolved into something that is more electronic, he draws from his influences in rock, blues, jazz, and pop.

 

 

The Art of Amputation: Distorted Pop Song | Music News

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Ruby Music
17 November 2014
The Art of Amputation are an alternative five-piece from London who combine soaring melodies with experimental sounds and big fuzzy guitars to create soundscapes they claim will “hold your hand in dark times.”

The band consists of Freddy de Lord (Keyboards, Vocals and Saxophone), Hugh Fox (Drums, Drum-Loops/Programming and Percussion), Allan Harrod (Vocals, Guitar and Keyboards), Mark Hyden (Guitars and Vocals) and newly added member Tim Harrod (Vocals and Percussion).

theartofamputation

The Art of Amputation began when Hugh and Allan got together as a duo after the break up of a previous band. The pair started writing and rehearsing together as a simple keys/guitar and a drummer outfit. Together they wrote and recorded most of their first EP, though it soon became clear that they needed to find an additional guitarist to attain the sound they wanted. Mark was recruited and the trio began rehearsing and writing based on a shared appreciation of an eclectic range of artists like Weezer, Pixies, The Beatles and Bowie. Time in the studio triggered an influx of ideas and the band needed another member in order to realise them. Freddy joined in a formative period for The Art of Amputation. Each member’s individual styles began to compliment the others and the result was the creation of some impressive and polished tracks.

Allan’s keen ear for melody has been the main catalyst for the creation of each of the band’ compositions with other members working together until the song as a whole falls into place. The bands last writing tool is always the studio. They have big ideas and working with producer Steve Honest in Hackney Road Studios has ensured the creative process progresses seamlessly. Allan’s brother Tim recently completed the band’s line up, joining The Art of Amputation on vocals and percussion for their live shows.

Their new single ‘Distorted Pop Song’ is a stunning and intricately layered composition that channels the influences of The Flaming Lips and The Big Pink with its infectious, uplifting melody climaxing in a Spector-esque Wall of Sound.

Gigs:
17th October – Headline show at Camden Barfly

 

 

Kiev Remixes – New Album From Ummagma

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Formed in Moscow in 2003, Canadian Shauna McLarnon and Ukrainian Alexx Kretov have been consistently writing and recording music whilst living between Ukraine and Canada. Shauna’s delicate airy gossamer-like vocals hold glimmers of Cocteau Twins, Stereolab, The Sundays, Curve, Lush, and Slowdive. Alexx’s guitar, vocals, synths, beats and programming create cinematic soundscapes with elements of Pink Floyd, Peter Gabriel, Bill Nelson and Brian Eno, enabling the listener soar above the music.

music news

Ummagma debuted with 2 simultaneous LPs (‘Antigravity’ and ‘Ummagma’) in 2012. They’ve built on the success of those records by collaborating with Moscow’s Sounds of Sputnik on their ‘New Born’ LP, which will be released by UK label Ear to Ear Records on November 21st 2014.

In 2013, Ummagma won the Alternative Eurovision, hosted by Amazing Radio, from 21 countries and repeated the feat in 2014 on Pure FM. They received 2 awards at the 2013 Australian Independent Music Video Awards, often feature in The Scottish New Music Chart, and landed a full-spread feature in Rolling Stone Russia. Ummagma has also caught the attention of Robin Guthrie (Cocteau Twins) and Malcolm Holmes (OMD), who have remixed tracks for forthcoming release.

Despite heavy turmoil in Ukraine, Ummagma are showing a solid footing, looking forward to a brighter future for Eastern Europe. In ‘Kiev’, this Canadian-Ukrainian team celebrates their freedoms, exploring the root of today’s problems to create beauty in the face of hostility.

‘Kiev’ is the capital of Ukraine and the epicenter of massive civil unrest this year, but with this release of the same name, Ummagma rise above the decay and mayhem encountered in that country to embrace diversity and beauty, while taking their music in new directions. ‘Kiev’ is a essentially message of hope.

This release is an impressive package featuring the original track ‘Kiev’ plus 9 remixes from 9 fantastic artists from nearly as many countries, celebrating the splendor of the original composition in their own unique styles.

Auxiliary tha Masterfader transforms the duo’s work into an Italoesque electro-disco-pop gem. A Copycat’s handclap-dream-pop version is tender as a peach skin with a retro summer groove factor. Statickman’s synths shoot like laser guns into the retro-synth future. A Copy For Collapse goes for a more experimental, industrial approach, while David Garcet’s trippy chillwave edit brings downtempo bliss. Mikael Fas dishes up a beautiful trance-imbued deep house version. Celebrated Japanese chillwave artist Haioka takes everything to the next level with sounds reminiscent of an angelic playground. Sounds of Sputnik presents a stripped-down 90s indie version laced with synth-guitar harmony. Brazilian electro-child Mind Movies delivers a fragmented, dubby and loud breakbeat adaptation that probably comes closest to the actual state of mankind if we could listen to its rhythm.

The outcome shows that what is the end for one person may be the start for another. Even more important, it shows that beauty can blossom even in the midst of ugliness.

Emerald & Doreen Recordings is a German boutique record label for futuristic indie, chill & dance music, curated by dedicated audiophile music makers and lovers who pride themselves on selecting the most exciting original material they can find, engaging the services of the most innovative remixers. Emerald & Doreen Recordings released Ummagma’s ‘Rotation/Live and Let Die’ single in December 2013, followed by the ‘Lama’ extended EP in late May 2014.

RIYL: Stereolab, Curve, Cocteau Twins, Broadcast, Everything But The Girl, Dubstar

Released 31 October 2014