By now, the story of teenage metal trio Unlocking The Truth (who walked away from a seven-figure deal with Sony) is well known. After years of media excitement, late-night TV appearances, and breakout sets at Coachella and Bonnaroo, the band’s debut album Chaos was finally released independently last year. The Brooklyn-based band is now back with a new music video for their latest single “My Chains” that premiered exclusively with Loudwire.com. The video (directed by JP Brasca) cuts through much of the hype surrounding the group and shows a different side of the band.
“We wanted the video to show that Unlocking The Truth has more to offer than just a good song,” says guitarist/vocalist Malcolm Brickhouse. “The video and song both push the envelope for ‘the norm’ in metal music. It’s fresh. It’s new. It’s MY CHAINS!”
The track is a soulful metal hybrid, co-produced by Brickhouse (and Kenta Yonesaka, Germano Studio NY), who says “The meaning of ‘My Chains’ will be different for everyone, but there’s a line in the song for everyone. Think about it. We all have chains in life. It could be somebody or something we use as a crutch to help us get through life and loosen those chains.”
“My Chains” is available on Spotify and iTunes.
LINKS:
http://unlockingthetruthband.com
https://www.facebook.com/pg/UTTBand
https://twitter.com/UTTband
https://www.instagram.com/unlockingthetruth
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The Morelings – Same Century
Founded by Matthew William and Kedra Caroline, The Morelings hit the Philly scene as a three-piece in August of 2014 and later recorded their debut studio project with Philadelphia producer Kyle “Slick” Johnson in the fall of that year.
Issued in January of 2015, the three-song EP, No Sign, consists of “dark dream-pop guitars, ethereal vocals, and dilated atmospheres” (Going Solo). The following summer, they toured the East Coast and Midwest as a duo and, meanwhile, were invited to contribute a cover of “Lonesome Tonight” to a New Order tribute album called Dreams Never End, about which Philebrity has said, “you’ll never settle for the original version again.”
With positive reception, The Morelings released three captivating music videos for each song of their EP, establishing a firm visual aesthetic. In June of 2015, the Morelings began working on their first full-length album, Same Century, with Philadelphia producer Jeff Zeigler (The War on Drugs, Nothing, Kurt Vile). They have since expanded their act to a five-piece, delivering live performances reflective of the rich, layered studio sound for which they have become known.
SOURCE: Official Bio
LINKS:
http://www.themorelings.com
https://themorelings.bandcamp.com
https://soundcloud.com/the-morelings
http://instagram.com/themorelings
https://twitter.com/themorelings
http://themorelings.tumblr.com -
Cellista – Look Homeward, Angel
Cellista has announced her new album ‘Transfigurations’ album, which is set to release on May 31, 2019. Ahead of this, she is previewing the song ‘Look Homeward, Angel’ featuring the lyrics and rhymes of hip hop artist DEM ONE (a.k.a. Demone Carter) and beautiful soprano vocals by Melissa Wimbish. As a stage poem, ‘Transfigurations’ is a multi-media work that includes dance, poetry, original classical compositions, noise and sound textures.
“In 2017, Transfigurations began growing out of an avant-garde performance art piece I wrote, composed, and directed called ‘Wants’. It was meant to be a response to Trump and the rapid gentrification of the Bay, and address the tragedy of the Ghost Ship fire. Wants became a 20-minute film that my regular filmmaker Jennifer Gigantino shot and edited. The ruptures feature sounds from the Internet Archive and there are lots of historical recordings and found sounds, most originating from the Bay area,” explains Cellista.
‘Transfigurations’ is a response to the world we inhabit. It is meant to allow us all, singularly and as a community, to see the ruptures that punctuate our place in the present – The ache of the Ghostship that points to greater ruptures interwoven like veins; the call to resist the deadening of our world by institutions and false power, and the violence of gentrification and displacement. Above all, for Cellista, it is a way of seeing and sharing awareness of her own impact within this shared place.
Engineered by longtime collaborator Maryam Qudus and Grammy-winner Nahuel Bronzini, ‘Transfigurations’ features original compositions and arrangements by Cellista and also involves Bay area composers Peter Colclasure, Nick Vasallo and Be’eri Moalem with his piano quintet Tzeva Adom. The album also features the original poetry of Aubrey Ferreira, narrated by DEM ONE. The movements are composed and curated in a suite-like manner with genres ranging from thrash metal, noise, hip-hop, and classical music.
Cellista is an American experimental cellist and multidisciplinary artist. Her penchant for performing music in unconventional spaces and her devotion to collaborating with artists across media and genres disrupts the world of the classical performing arts. Cellista traverses the walls between disciplines and the borders between spectator and audience. She etches out her own niche through her performances of captivating theatrical recitals by interweaving film, text, and dance. Her work is deeply rooted in her musicological studies of Olivier Messiaen and the French Surrealists.
Cellista’s sound brims with a dissidence informed by her classical foundation and her want to tear that very foundation apart. It explores the sounds of her immediate community through sound collages and music curated to augment that community. Similarly, it explores the meeting point of musical borders and gives testimony to the fragile ecosystem of the San Francisco Bay Area that sits alongside the rest of the world in an increasingly vulgar epoch.
As an experimental cellist, performance artist and artistic director of the interdisciplinary performing arts group Juxtapositions, Cellista is known for her collaborations with artists across various media, as well as her self-produced stage poems (live performances staged in unconventional spaces that incorporate elements of music, theater, improvisation and visual art across a range of genres including pop, hip-hop, classical and more).
Her interdisciplinary exhibit ‘The End of Time’ premiered alongside internationally renowned visual artist Barron Storey’s solo exhibit ‘Quartet’ at the Anno Domini art gallery in San Jose, California. The dual exhibition, created in tribute to French composer Olivier Messiaen’s seminal chamber work ‘The Quartet for the End of Time’, was met with critical acclaim.
Cellista has worked with Grammy-nominated artist Tanya Donelly, producer John Vanderslice, Troyboi, Don McLean, Casey Crescenzo, Van Dyke Parks, and Pam the Funkstress. She recently joined soprano Carla Canales for Hear Her Song, a project that promotes women’s voices through original compositions by female composers. Under the musical direction of Kurt Crowley (Broadway’s Hamilton), her playing was praised.
Cellista’s debut 2016 full-length album ‘Finding San Jose’ was engineered by Maryam Qudus (Doe Eye). The album and its subsequent release as the soundtrack for an interdisciplinary ballet directed and produced by Cellista received favorable reviews.
“Transfigurations’ will be released on May 31, 2019, both digitally and on CD. Digital releases will be available on Bandcamp, iTunes, Amazon and all major online stores. The CDs, which come with a full-length book and download code, will be available for purchase on Bandcamp and at shows.
In a region known for disrupting the status quo, Cellista is celebrating the legacy of the original disruptors
– Andrew Gilbert, San Jose Mercury NewsCellista is a classically-trained, punk rock spirited girl with the charm and elegance to defy the stereotype that classical music isn’t cool
– Belle FoundationBuilt on a classical foundation, her music is beautifully avant-garde yet accessible enough to touch one’s sensitivities and create intrigue surrounding her music, her world-view, her all-encompassing vision – elegantly combining sound, space, and dance in an impactful way and the meshed field of wonderment connecting them
– Big Takeover MagazineMore than just a cellist
– Nathan Zanon, Content MagazineShe gave me quotes to put around the emptiness. She gave me context. And subtext. And reflex-tions of what has now filled the void
– Gary Singh, journalist, poet, Steinbeck FellowAn overall brilliant gem. True to her “pastiche” curatorial style, this inclusion and collaboration with other creatives is what makes a captivating and mesmerizing listening experience
– Cherri Lakey, KQEDLINKS:
http://www.cellista.net
https://www.facebook.com/cellista.music
https://twitter.com/xcellistax
https://www.instagram.com/xcellistax
https://www.soundcloud.com/xcellistax
https://cellista.bandcamp.com
https://www.youtube.com/user/xcellistax/videos
https://open.spotify.com/artist/3sZ132TtThqqirlRB9BjFp -
Rude Audio – To The Sun
Rude Audio is proud to announce their new ‘Rude Redux’ EP, slated for release on October 8, 2018, through Zirkus Records. Featuring five tracks, this new release sees the band refine their trademark sound, and fusing their love of woozy dub with throbbing electronics. Here, house music, flecked with Arab and Indian vibes, also shamelessly cavorts with dub.
Ahead of this release, Rude Audio present the lead track ‘To The Sun’, complete with a new virtual reality-inspired video, directed by Ali Ingle. This week, Andrew Weatherall also just premiered two tracks from the new EP on his radio show.
Rude Audio is a South London-based collective with a history of putting on fantastic underground parties, releasing the occasional dubby Balearic opus, engineering for the disparate likes of Paul Weller, Lemon Jelly, and Royal Blood and generally mooching about anywhere that doesn’t have bouncers or operate a dress code.
The core of the collective are Mark Ratcliff (whose releases have been played by the likes of Andrew Weatherall, Laurent Garnier, Kris Needs, Don Letts, Graeme Park and Rob de Bank, as well as BBC Radio 6’s Nemone and Gideon Coe), Owain Lloyd (mixing engineer for everyone from Oakenfold and Weller to Niall Horan) and Dave [The Rave] Brennan (ex-The End recordings and key player at tech house dons’ label, Bombis).
The EP represents a progression from Rude Audio’s latest ‘Rudest’ EP. More hooks, more chug, and more Middle Eastern and Indian influences, while retaining an underlying commitment to the dubby end of the spectrum. Inspired by the more open-minded dancefloors proliferating in the south and east London, where world music might brush up against techno, dub and indie dance, the ‘Rude Redux’ EP operates between 108 and 120 BPM – fast enough to dance to, slow enough to let the music breathe.
Inspired by the new, eclectic, lower BPM spirit found on more discerning south and east London dancefloors in recent years, the ‘Rude Redux’ EP has allowed Rude Audio to bury into its abiding love of dub, leftfield house, and middle eastern sounds and weld everything to a chunky four-to-the-floor anchor.
The Rude Audio sound takes dub and house as its starting point and heads out into analog electronic waters, where the chuggy, Balearic spirit of the early 90s progressive house meets its more modern, low slung counterpart – think A Love From Outer Space, indie dance and nu disco.
“Whenever we are producing and getting excited by our output, we always insist that things sound as good as early Future Sound Of London singles and remixes. More broadly, we continue to be inspired by the more open and eclectic dancefloors of the early 90s and their spiritual counterparts today. Long may the Balearic spirit continue to resonate,” says Mark Ratcliff.
This EP includes a remix by Rich Lane, one of the best underground remixers and producers in the UK electronic music. His tunes are spun by all the key players in the new Balaeric scene – Andrew Weatherall, Sean Johnson, Daniel Avery and Logan Fisher. His sound has spread across dancefloors such as A Love From Outer Space with some of his recent remixes already considered classics.
“Rich Lane’s remix of ‘Steady State’ is our favorite remix of the last 5 years, and his remix of our own ‘To The Half Moon’ is right up there alongside it, in our humble opinion,” says Ratcliff.
Rude Audio continues their residency at Flaxonptootch in Kentish Town, London, the first Thursday of every month, where art shows mutate into parties later in the evening. He is joined by an extra special guest this September.
Rude Audio will host a launch party for the EP in mid-October supported by some special guests, more detail to follow.
“Absolutely loving this, thats brand new and extremely good for you”
– Don Letts, BBC 6“This is indeed amazing – this is Rude Audio”
– Andrew Weatherall“Insofar as modern players on the electronic music scene go, Rude Audio number among the most dynamic, stirring the pot to concoct blends that transcend sub-genre, weaving brilliant ethnic hues into their musical fabric”
– Big Takeover Magazine“Rude Audio might not be a household name in the electronic music world, but it may just become one if they continue making music of this caliber… a seamless hypnotic Balaeric spell”
– Overblown MagazineLINKS:
http://www.rudeaudio.net
http://www.facebook.com/rudeaudio
http://www.rudeaudio.net/blog
http://twitter.com/RudeAudio
http://soundcloud.com/rudeaudio
http://www.youtube.com/user/ThatDirtyEcho/videos