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Illegal Art sampler of upcoming releases surfaces on Pitchfork — features tracks from Girl Talk, Steinski and the soon-to-be-released albums by Oh Astro and Realistic

Illegal Art sampler of upcoming releases surfaces on Pitchfork — features tracks from Girl Talk, Steinski and the soon-to-be-released albums by Oh Astro and Realistic.

Stefan Robinson a.k.a. Yea Big puts in three-song guest spot (Lionel Richie shows up too!) on Oh Astro’s forthcoming Champions of Wonder. Yea Big + Kid Static’s debut self-titled album on your desk now.

The Illegal Art record label continues to birth its Negativland-inspired, Deconstructing Beck credentialed and Girl Talk reinforced releases into a world where copyright laws are beginning to crumble. Case in point – the label will release new albums from two of its roster artists – Oh Astro and Realistic in the coming weeks.

Also on deck for Illegal Art is a career spanning collection from hip hop pioneer Steinski and an album of brand-new material from Girl Talk. A sampler featuring tracks from these upcoming records (save for Girl Talk – the track featured on the sampler is from a long out-of-print compilation) was recently made available for free download by Illegal Art in hi-resolution MP3 format. A post by Pitchfork linking users to the sampler download promptly crashed Illegal Art’s server.

Listeners should take note of the Oh Astro track “Hello Fuji Boy” (MP3) which features a sample from Lionel Richie’s infamous tune “Hello” immortalized in the wonderful video featuring a blind sculptress creating a model of Mr. Richie’s oversized noggin. The song appears on the band’s groundbreaking new album Champions of Wonder (on your desk now!) XLR8R recently chimed in with some early praise for the record, saying: “In true Illegal Art fashion, Jane Dowe and Hank Hofler’s first full-length as Oh Astro is comprised almost solely of sampled material, but this is far from a Girl Talk record. Champions of Wonder is an experimental conglomeration of glitchy techno, ambient, and broken-beat, all layered with distorted vocals that offset the album’s poppier moments with ghostly eeriness.” Also not to be missed is the album’s exquisite cover of Olivia Newton-John’s “Xanadu.”

The way-ahead-of-the-game publication also recently praised the upcoming Jib Door release of the retro-futuristic self-titled collaboration of comic book beats and rhymes between Chicago producer Yea Big and rapper Kid Static. Coincidentally, Big also appears on the upcoming Oh Astro record, lending his skills to three of the album’s tracks (one is a significant remix of a track from his debut release, The Wind That Blows The Robots Arms.) XLR8R says: “This LP is worth listening to just for Deejay Yea Big’s production. Stuttering, glitchy, and just plain jaw-dropping, Yea Big’s beats are up there with the big guns of Prefuse 73 and Daedelus. With Kid Static’s humorous, yet angst-filled rhyming filling it out, this duo have put excitement and innovation back into hip-hop.”

Also on tap from Illegal Art this October is Perpetual Memory Loss, the latest album from James Towning a.k.a. Realistic. With Realistic’s latest release, the Illegal Art label continues to challenge the restrictions of copyright as perceived by the larger music industry. The uniqueness of Realistic in comparison to other artists on the label further illustrates that sample-based music is strikingly some of the most original, innovative, and exciting music being made in the 21st century. Illegal Art claims Fair Use for all of its releases and has professional legal counsel nearby if needed.

More about Oh Astro:

Married duo Jane Dowe and Hank Hofler are both rooted firmly in experimental music, but with the Oh Astro project they continue their move towards odd interpretations of popular forms. Club music, children’s songs, and fragmented samples of pop/rock all intersect on their first full-length album, Champions of Wonder, under the Oh Astro banner.

Jane Dowe entered the international electronic music scene in 1998 on two critical CD releases, Institutional Collaborative on Mille Plateaux, and Deconstructing Beck on Illegal Art. On Institutional Collaborative, Dowe and Terre Thaemlitz created abstract music that was described as a “table-tennis mixing game with ‘lounge’ and ambient soundclips” (The Wire). Dowe resurfaced in 2005 on Illegal Art with the debut Oh Astro mini-album, Hello World, which was hailed as “funky and pretty, Hello World’s bite-sized samples concoct a weird pop universe” (CMJ New Music Monthly). While Hank Hofler peripherally contributed to the project, it wasn’t until after Hello World that he became significant collaborator in Oh Astro. Besides creating music Dowe has also done installations in galleries internationally and codes idiosyncratic software for her various projects.

Hank Hofler’s first performances were in Japan as part of the live electronic improvisation scene from 1998-2001, playing shows with Japanese artists such as Otomo Yoshihide, Merzbow, Ikue Mori, and Sawako. As Dowe was too shy for live events, Hank’s earliest shows were actually performing as “Jane Dowe” (further confusing the identity of the pseudononymous Dowe). As he developed his own reputation, Hofler began to be billed under his own name, began street performing in Tokyo, and later also took on the live shows for Oh Astro. As a tenure-track professor, Hofler currently teaches in an Arts Technology program at Illinois State University. Both Hofler and Dowe hold advanced degrees from prestigious institutions such as Dartmouth College and Keio Univeristy (Japan), but have strong reservations about the esoteric qualities of academic art/music.

The purposely-pixilated digipak artwork for Champions of Wonder was created by the internationally known producer/artist Terre Thaemlitz utilizing illustrations by Aiko Tsuji. The physical release also contains surround sound mixes of the first three tracks by Aaron Paolucci (who also mastered the stereo mixes) that can be played on a computer connected to a 5.1 sound system.

One of the common techniques on Champions of Wonder is the manipulation of vocals by spectral software that is coded by Dowe and long-time mentor Christopher Penrose. Even the more experimental or ambient tracks contain ghostly sounds of vocals that have been stripped from their original context and placed into the pulsating electronic world of Oh Astro. The other common practice on the album is that every sound, with the exception of some of the vocals, is sampled from pre-existing recordings. The types of music sampled range from top 40 songs to indie hipster music to the obscure. In the end, it’s more about what is done with the sample than what was originally sampled.

More about Yea Big + Kid Static:

“What Andy Kaufman did for comedy, Yea Big has done with their new album…” – Treblezine

Ever wonder what happened to the fun in hip-hop? What happened to the Digital Undergrounds, the Biz Markies and the De La Souls ? With all this serious rap, who fills in the gap for the people who just want to get their dance on? The answer: the dauntless duo of deejay Yea Big and emcee Kid Static.

Yea Big a.k.a. Stefen Robinson is a detail obsessed mad scientist of the mix reared on Ravi Shankar, bluegrass & Motown. He released his first full length CD, The Wind That Blows The Robot’s Arms, in 2006 on Chicago’s Jib Door label to much confusion and praise. One dude called The Wind “an ADD trip through instrumental spaz-hop”. Yea Big has done remixes for Minneapolis avant-hip hop outfit Kill The Vultures, the 12 Apostles label, Illegal Art, and continues to produce tour only mash-up and remix EP’s, the first two of which feature The Mae-Shi and Rapider Than Horsepower. In the fall of 2005, Yea Big took a beating on one of Chicago’s largest hip hop message boards for reasons no one really remembers too well these days. Kid Static watched as the crossfire obliterated this unheard of deejay and, after checking out some of his music online, invited Yea Big to collaborate with him. Drawn to Big’s atom splitting beats, Static says, “he’s doing the music I always heard in my head”. For his part, Yea Big, was mesmerized with Static’s presence. “His voice has an energy & grit. His phrasing, texture and flow did it for me.”

Over the last two years of collaborating together, Static and Big have played for Michigan meth farmers, cape cod yacht rockers, snacked on cheesesteaks behind the backs of Philly vegans and played grabass and smacked hi-fives with each and every one of them. Because in the world of high misadventure of Yea Big and Kid Static, the odd man out is always in.

More about Realistic:

“Following the aesthetic of Negativland and John Oswald, Realistic borrows material from every possible source: classic rock, disco, self-improvement records, soap operas [and more]. Towning demonstrates a knack for unconventional looping, sonic accumulation, and a good joke.” – All Music Guide

Realistic’s third album, Perpetual Memory Loss, features sixteen tracks of intricate sample-based compositions — a beautifully sophisticated celebration of found sound, recorded media, technology, and electronic composition. Slices of field recordings mesh with surreal electronic melodies, which creates enjoyably odd multi-layered musical fun. Realistic is the guise of sound collage artist James Towning, a musician and graphic designer originally from OhioIn 2003 he moved to Brooklyn, NY and currently works a full-time job as a motion-graphics designer in Manhattan.

Realistic has also appeared on releases with (or been remixed by) The Evolution Control Committee, Girl Talk, The Bran Flakes, Wobbly, Sawako, Pimmon, and Monochrome (Charles Noel).

A recurring source in Towning’s compositions is the nostalgic sounds of 70’s and 80’s techno-pop and rock artists that were personally influential over the years. As well as using computer-based waveform editing and sampling, Towning carries a portable digital recorder to capture various audio environments on a daily basis. Whether the source samples are found around the house, on TV, on a busy Chinatown street, or a crackly sound effects record, Realistic’s juxtaposition of head-spaces always creates something surreal and altogether new.

“There’s such a rich texture of sound and visuals in New York. I’m constantly entertained with the sounds that I record,” said Towning in a recent interview. An ever-increasing collection of thrift-store records and cassettes is another likely source of audio inspiration. “I love composing little sound pieces using whatever source material I choose. It’s a cathartic, fun, and essential part of my life,” said Towning.

With Perpetual Memory Loss, the Realistic sound has evolved into a tighter and more structured mesh of musical patterns and mangled beats. Tiny rhythmic patterns and subtle textural layers are revealed upon repeated listening. Sampled dialogue is used more sparingly than in previous Realistic releases allowing the musical voices to be heard more clearly. Each complex track is its own self-contained little world, with disjointed characters, funky grooves, and odd but familiar musical samples. Throughout the 45-minute album, expressionistic patterns of sound twist and fold into one another as the tracks evolve. At times the entire audio spectrum degrades and distorts in groovy syncopation. The tracks on Perpetual Memory Loss are more complex and refined, but what remains is the underlying sense of humor, rich production, and an offbeat composition style that is distinctively Realistic.

Regarding the album’s artwork, Towning explains, “The CD art was designed by me. It consists of many thumbnails of snapshots I’ve taken over the past three years or so. That timeframe coincides with the production of the audio tracks, too. The snapshots represent memories in a very literal way. They vary in subject matter from pictures of my cats, still-lifes, industrial landscapes, detailed textures, and random found art. The inside artwork reveals more snapshot thumbnails in varying degrees of clarity.” Towning further elaborates, “Beneath the CD, a collage of found images and photographs explodes and bleeds over into the snapshots. The technique of collaging with found and personal imagery reflects the style of the audio tracks too. The primary colors of red and green that I chose were inspired by and derived from a vintage Christmas card I received from a friend a few years ago. Again, a nostalgic reference.”

As for the title Perpetual Memory Loss Towning says it “speaks to the process of growing older and the mind’s ability to store, lose, and constantly distort memories. And how sometimes those memories are recalled in a random and overlapping order. As we get older, more and more memories are stored while others are buried deep or lost. The title also references the similarities between the ever expanding human mind and a computer’s finite hard drive and its ability to retrieve random and corrupt data.”

Oh Astro Live:
11/06 Normal, IL University Galleries
11/27 Normal, IL KRH
01/22 Joliet, IL Laura A. Sprague Gallery

Yea Big + Kid Static:
10/18 Jamaica Plain, MA The Milky Way
10/19 Brooklyn, NY Sound Fix (Fanatic CMJ Showcase)
10/21 Chicago, IL The Note
10/26 Kankakee, IL Myrtle House
10/31 Bloomington, IN Uncle Festers
11/09 Chicago, IL Darkroom
11/16 Chicago, IL Kinetic Playground

Oh Astro

Champions of Wonder Tracklisting:

Release Date: November 6, 2007

01. Snow Queen (MP3)
02. Hello Fuji Boy (MP3)
03. Lucy Sees the Moon
04. Candy Sun Smiles
05. Empty Air
06. Xanadu
07. Journey to the Center
08. Itch Box
09. Robot Love I Love You
10. Quiet Mouth
11. Pet Apples

Yea Big + Kid Static Tracklisting:

Release Date: October 23, 2007

01. The Screaming Starts At Sundown
02. We’ve Built A Time Machine That Runs On Beats. We Shall Only Use It For Good.
03. Static Leads The Coup
04. Transmission Ended
05. Joining Forces
06. Speak The Facts
07. Low Budget Battle Scene
08. The Basement / Enfant Terrible
09. On The Blink
10. Repairs Are Needed
11. Duck, Mother Fuckers! (MP3)
12. Revel In The Aftermath
13. The Life Here
14. Things Have To Change, Pete
15. Why The Fuck Does This Keep Happening
16. Back Into The Sleeve


Perpetual Memory Loss Tracklisting:

Stream The Album HERE

Release Date: October 23, 2007

01. The Camera Track (MP3)
02. Music in the Round
03. Conversation Hearts
04. Post-Corporate Fantasy
05. Amazing Fall
06. Welcome to Heaven
07. Brand Name Sunday
08. Library Music
09. Wandering Aimlessly
10. Have a Nice Trip
11. April and August Sixth
12. There is Always More
13. In Loving Memory
14. Snowday Plaything (MP3)
15. The Numbers Test
16. Uneventful Fall

Serj Tankian to Release Special Limited Edition Elect The Dead

Serj Tankian - Elect The Dead coverHere is pre-order info and details about the special limited edition version of Serj Tankian’s release “Elect The Dead”

(1) Pre-order info

Pre-Order Serj Tankian’s ELECT THE DEAD at iTunes and get 3 bonus tracks (The Reverend King, Blue, and Falling Stars) and the video for “Lie Lie Lie”

(2) Limited edition

Special Limited Edition

Linen wrapped hardbound book contains 4 bonus tracks, 48-page color booklet containing artwork & poetry, and unique code to unlock exclusive content.

Bonus CD Tracks


2. Empty Walls (acoustic)

3. Feed Us (acoustic)

4. Falling Stars

Queens Of The Stone Age – Era Vulgaris

Queens Of The Stone Age – Era Vulgaris

You, my friend, are as common as a dumpster rat. You’re forgotten like a peanut shell beneath a bar stool. Or, maybe you’re just information, ripped out like a yellow page from a phone-booth book hanging from a chain. The end times sound like a thrill compared to this, the common times. The Era Vulgaris. At least you’re not lonely, ‘cause we’re all in it. And at least it sounds good, ‘cause Queens of the Stone Age are playing it.

“It’s actually a reaction to what we think is the era vulgaris. You don’t have time. I already know that. And, so, here we go: Pow, pow, pow, pow, pow. In a world of short bursts, it’s like trying to reach down someone’s throat in two seconds.”

That, my friend, was Josh Homme speaking, the singer, guitarist, mind of Queens of the Stone Age. He’s also common. As is Troy Van Leeuwen, guitarist, multi-instrumentalist, member of the band…common folk. He’d like to add the following about the new album:

“Lean is a great word for it. ‘Cause we don’t have that many songs on the record. And it’s like who’s got the fucking time? Not us. We want to get the point out there. Slam, bang.”

Have Queens of the Stone Age given up? Is this when we see behind the curtain, the gears all rusted and stripped, a broken machine, the end of an era? No. Listen closely to lead single “Sick, Sick, Sick,” featuring the Casio keyboard-guitar and vocal stylings of one Julian Casablancas, leader of the Strokes, complicit in QOTSA’s determination to cut through the static. “Don’t resist,” so the song suggests. I dare you to, my friend.

Have a go at “I’m Designer” and try not to see yourself in that one. It’s a carnival crystal ball tapped by long black fingernails, a murky view into the close future where your own name means less than the labels on your shirts and devices. “The thing that’s real for us is fortune and fame/All the rest seems like work/It’s just like diamonds… in shit.” If ever there were, my friend, an anthem for an era with no anthems, this is it. Raise your fist in the air to this one. (The fist without the phone, please.)

There’s the sliding lap-steel metallic chirp of some pre-historic bird perched inside “3’s and 7’s,” a roundtable song of poker, the sport of lying, where money can be made from a straight flush or a straight face. “Into the Hollows” beckons with a rubber-band bass line, while it wonders about hiding in a place that’s deep and dark, asking if you’ll be swallowed or safe or both. “Battery Acid” buzzes like a hundred houseflies, marching and chanting exactly like something you’d be hard pressed to rinse from your skin.

These eleven new songs by Queens of the Stone Age are specifically designed to interrupt your programming. Joey Castillo’s drumming is clean as a bone, complex like a skeleton. Troy sounds like he’s trying to summon something out of his own body that he’s never even seen. Mark Lanegan’s voice is here, like a crackling fire made from stolen scrolls. Chris Goss acts as anchor, like a catcher with as many RBIs as thrown-out runners. Mr. Joshua Homme shows that you can clear six-feet-four inches and sing falsetto, you can sneer and sing harmony, you can work and you can play. He also proves, by willpower alone, that you can find a small space in this common, vulgar era to do something uncommon. There is hope, my friend. It is Era Vulgaris.

“In an age that’s fast like this, how do you fall in love with somebody? How do you become a master painter? Who sacrifices the time and effort to wait?” asks Mr. Homme. “But I love facing insurmountable odds, because someone’s gotta make it. It’s like being in the Civil War where they just stand in front of each other. You run at a line of people and they are dropping on your left and right. You can get down on the ground and cry or turn around. Or, you keep going. Someone has to make it. Why shouldn’t it be you?”

Release Date: June 12, 2007 E.V

tour dates

The Arch Enemies adds additional dates, hits the road behind leader Steve Goldbergs thesis project described as …possibly the most elaborate, orchestrated indie-pop effort Pittsburgh has ever produced.

The Arch Enemies adds additional dates, hits the road behind leader Steve Goldberg’s thesis project described as “…possibly the most elaborate, orchestrated indie-pop effort Pittsburgh has ever produced.“

Fans of Neutral Milk Hotel and John Vanderslice take note (especially of the cover versions on the band’s website!)

“Steve Goldberg’s senior project is an orchestral-pop gem — this eponymous album with his band, The Arch Enemies, is possibly the most elaborate, orchestrated indie-pop effort Pittsburgh has ever produced.“ – Pittsburgh City Paper

Steve Goldberg and The Arch Enemies first spread the good news of its debut album to the eastern US this past summer, and now the band has set its sights on the west coast with a tour that launched in Las Vegas on October 10th. The band has been posting daily notes from the road on its website where fans can also find some recently unearthed acoustic demos of tunes from the band’s self-titled debut, as well as some fun cover versions of Neutral Milk Hotel’s “In the Aeroplane Over The Sea” and “King of Carrot Flowers” as well as John Vanderslice’s “When It Hits My Blood.”

The Arch Enemies first materialized as a rotating cast of live backing musicians for Pittsburgh pop auteur and music student Steve Goldberg who was studying music composition and creative writing at Carnegie Mellon University. It began innocently, as these stories often do, with a trumpet here or a violin there. But before he knew it, Goldberg was living on the outskirts of London and performing with a tuba player named King Wang. It wasn’t long before he got to experimenting with string quartets.

And it was there, under the influence of meat pies, ale, and low brass, that most of the songs that would become Steve Goldberg and The Arch Enemies were conceived. Soon after returning to his native shores, armed with a head full of ideas and a healthy moustache, Steve sequestered himself in a secret underground recording studio. Enlisting an elite squad of orchestral mercenaries, he built his pop fortress lovingly, brick by brick.

The band’s self-titled debut album, recorded over eight months during Goldberg’s final two semesters as his thesis project, contains parts for 22 different instruments. All of the musicians were recruited from the Carnegie Mellon University School of Music, and most of them hadn’t heard the music before showing up to record. The album was engineered by another CMU student and all vocals were recorded with a custom tube microphone built by an electrical engineering student. The album artwork and layout were created by CMU design students, as well. The record was mastered by Garrett Haines (Starlight Mints.)

By the time the final overdub was put to hard disk, The Arch Enemies’ ranks had swelled to include harpsichords and trombones, vibraphones and glockenspiels, flutes and French horns. A powerful juggernaut to be sure, but such a behemoth was unfit for maneuvering in small spaces. A tour was devised — an away team was needed, one that would be powerful yet nimble and capable of performing surgical strikes and counter-intelligence operations anywhere in the globe. Goldberg put out the call.

J.J. Josephs (fiery fiddlist and renowned medicine man) and The Duke (lead bass guitarist extraordinaire and international poker champ) were retained from the studio crew. The new squad was completed by the inimitable Mink Shoals (martial arts expert, accomplished golfer) on the skins. Like some sort of rock and roll Planeteers, their powers combined to create a heroic force for combating bad vibes. Now, you can experience that force for yourself. Keep your friends close, and The Arch Enemies closer when they arrive in your town.

Steve Goldberg and The Arch Enemies Live:

10/16 Los Angeles, CA Knitting Factory
10/17 San Luis Obispo, CA Frog and Peach Pub
10/18 San Francisco, CA Edinburgh Castle
10/19 Chico, CA The Salem House
10/20 Redding, CA Red White and Brew Pub
10/21 Eugene, OR The Black Forest
10/23 Portland, OR Kelly’s Olympian
10/25 Seattle, WA The Mars Bar
10/26 Olympia, WA 4th Ave. Tavern
10/27 Bend, OR, 541 Lounge
10/28 Arcata, CA The Green House
10/30 Sacramento, CA The Press Club
11/01 San Diego, CA The Casbah
11/03 Las Vegas, NV Beauty Bar

Steve Goldberg and The Arch Enemies Tracklisting:

Stream The Album HERE

01. The Road
02. February Third
03. Julia
04. The Spy (Part 1) (MP3)
05. The Spy (Part 2) (MP3)
06. 23rd Century Identity Crisis
07. The Battle of Agincourt
08. Artichokes
09. Hideaway
10. Summer’s Ending (MP3)

music videos tour dates

HEALTH cares: blog-phenomenon L.A. underground quartet to play multiple CMJ parties, posts MySpace remix site, tours U.S. and tops U.K. charts. Yes, all at once!

HEALTH cares: blog-phenomenon L.A. underground quartet to play multiple CMJ parties, posts MySpace remix site, tours U.S. and tops U.K. charts. Yes, all at once!

HEALTH, the L.A. underground music quartet whose — ahem — infectious music is catching everywhere from online press (ranking a stunning #5 on the “most blogged about” list) to U.K. radio (its recent collaboration with Crystal Castles hitting #9 on the Indie Charts) is slated to play no less than SEVEN events during the CMJ Music Marathon in New York City this week, including a secret rooftop video shoot for a very popular website named after farm tools. See full performance schedule below. Not only do the members of HEALTH rock the rock, they also talk the talk.

HEALTH has also set up a separate MySpace page from its regular band site for all of its myriad remix/collaboration projects. Check it out HERE. The impressive word-of-mouth excitement about HEALTH has quickly become an international phenomenon. The band recently ripped a swath across the U.K. — garnering praise from the NME, BBC radio and many more — and HEALTH is currently healing cynical souls all across the U.S. (see complete dates below.) HEALTH’s live shows are sweaty, packed fits of beautiful noise that could perhaps be best compared to Liars, Animal Collective and latter-period Black Dice.

HEALTH’s self-titled debut full length on the ultrahip Lovepump United label hit shelves on September 18th. Soon, L.A. based Cold Sweat Records (Battles, Phantom Family Halo, This Moment in Black History) will issue the vinyl version of the album as well. As if that weren’t enough HEALTH activity, the band has announced a slew of commissioned remixes to follow hot on the heels of the album. The impressive list of remix collaborators includes Pink Skull (Minneapolis), David Gilmore Girls (Amsterdam), Crystal Castles (Toronto), Curses! (NYC), Toxic Avenger (Paris), CFCF (Montreal), Juiceboxxx (Milwaukee), Narctrax (Tokyo), Lovely Chords (Buenos Aires), et al.

The group’s surging notoriety is also due in part to the magic of the Interwebs. In addition to the blog attention described above, Anthem Magazine recently posted and amazing live performance of the HEALTH song “Glitter Pills” shot at The Smell in downtown L.A. Additionally, director Nik Mercer shot a collaboration between HEALTH and Aa (Big A Little a) reworking the former’s tune “Crimewave”.

Regarding the remix onslaught, HEALTH recent issued the following statement: “HEALTH likes to make scary noises, we like to chant until our faces go red, we like to beat on drums until there’s blood on the floor. But we also like to boogie, and sometimes we need help from people we admire. There is a great big world full of music and there is no excuse for standing in the corner with your eyes closed. You can always make friends with the other kids in class, even If your favorite band is Slayer and theirs is Bell Biv Devoe, so let’s hold hands.” An MP3 of the CFCF remix of”Triceratops” is already available. Click HERE.

More about HEALTH:

Instead of finding a room where the only thing one can hear is their heartbeat, HEALTH recorded its debut full length in one of the band’s favorite places. The Smell is an all ages music venue in downtown Los Angeles. It is open and brick and dirty and dark, but when you sing a church hymnal or hit a drum as hard as you can the sound is beautiful. They did both of these things on the record. They also went out and found equipment built the same time as The Smell, mostly ribbon microphones designed by the BBC for radio broadcasts in the 1930’s, things George Martin liked to use, and other things they didn’t know about. The record is 11 songs in less than thirty minutes – on it there is new music with old sounds.

HEALTH was six months old the first time they played for real people. Before that, there was more talk than music, mostly about art, food, sex, animals, records, drugs, politics and sleeping. After two more shows in Los Angeles, the group self released a 7-inch and went on tour. While they were traveling, people told them their music was weird. When they got back they played on a bill with Ex-Models and Death Sentence Panda. They felt like grown men. After that, people let them play shows more often, mostly at all ages art spaces like The Smell and Il Corral. They became friends with other L.A bands like No Age, The Mae Shi, Mika Miko, BARR, Captain Ahab, Anavan, and Abe Vigoda. Then they went on three more tours and a trip to SXSW.

HEALTH have also had a hand in 8-bit glitch duo Crystal Castles’ recent success. In addition to a Crystal Castles/HEALTH split 7” (released concurrently on Lovepump United with HEALTH’s LP), Crystal Castles highly anticipated Crimewave EP is named for a HEALTH remix for which the two bands recently shot a video.

HEALTH Live at CMJ, 2007:

Monday – 10/15
05:00PM – Secret Rooftop Shoot

Wednesday – 10/17
04:30PM – Fader Magazine Side Show
at 146 Orchard (btw Stanton and Rivington)

Friday – 10/19
02:30PM – Brooklyn Vegan Party at R Bar
10:15PM – CMJ Showcase at Knitting Factory
02:00AM – Vice Magazine Party at TBA

Saturday – 10/20
06:00PM – Soundfix Records In-Store
10:00PM – Death by Audio at 49 S. 2nd St (btw Wythe & Kent)


*w/ Crime Novels
^ w/ Yip Yip
% w/ Aids Wolf

10/15-10/20 CMJ (See schedule above)
10/16 Purchase, NY Suny Purchase*^
10/17 Annandale-on-Hudson, NY Bard College*
10/18 Philadelphia, PA Danger Danger Gallery*^
10/19 New York, NY Knitting Factory CMJ^%
10/21 Baltimore, MD The Depot^
10/22 Washington, DC Civilian Arts Project*^
10/23 Charlottesville, VA Bridge Progressive Arts Space*
10/24 Charleston, SC Tin Roof*
10/25 Savannah, GA The Sentient Bean*
10/26 Atlanta, GA Lenny’s Bar*
10/27 Birmingham, AL Bottletree*
10/29 Houston, TX Proletariat*
10/30 Austin, TX Emos*
10/31 Denton, TX Eighth Continent*
11/01 Lubbock, TX Bash Riprocks*
11/02 Tucson, AZ The Living Room
11/03 Los Angeles, CA The Smell* (Dave Clifford Birthday Show)
11/15 San Diego, CA Che Cafe%
11/16 Los Angeles, CA The Smell%
11/17 San Francisco, CA Bottom of the the Hill%

HEALTH Tracklisting:

Stream The Album HERE

Released: Sept. 18, 2007

01. Heaven
02. Girl Attorney
03. Triceratops (MP3) | (CFCF Remix MP3)
04. Crimewave (MP3)
05. Courtship
06. Zoothorns
07. Tabloid Sores
08. //M\\
09. Glitter Pills
10. Perfect Skin (MP3)
11. Lost Time

music videos tour dates





Manchester Orchestra and Annuals are proud to announce a 20-date co-headlining tour beginning October 26th in Atlanta, GA. As a special exclusive to the upcoming touring partnership, Manchester Orchestra and Annuals have created an exclusive, limited edition 7-inch for fans attending the shows. Only available on the upcoming tour dates, this split vinyl 7” contains each band covering each other’s tracks: Annuals cover Manchester Orchestra’s “Where Have You Been”, and Manchester Orchestra cover Annuals “Brother”, the Mp3s of which are available below. For the artwork, each band re-interpreted the other’s album art, featured below.

Annuals covering “Where Have You Been?”

Manchester Orchestra covering “Brother”

Manchester Orchestra & Annuals Co-Headlining US Tour

October 26 Atlanta, GA Drunken Unicorn
October 27 Carrboro, NC Cat’s Cradle
October 28 Washington, DC Rock n Roll Hotel
October 30 Philadelphia, PA Northstar
October 31 New York, NY Bowery Ballroom
November 1 Boston, MA Great Scott
November 2 Montreal, QU Le Gymnase
November 3 Toronto, ON Mod Club
November 5 Detroit, MI Shelter
November 6 Chicago, IL Subterranean
November 7 Minneapolis, MN Varsity
November 10 Seattle, WA Crocodile Cafe
November 11 Vancouver, BC Plaza Club
November 12 Portland, OR Doug Fir Lounge
November 14 San Francisco, CA Bottom of the Hill
November 15 Los Angeles, CA Troubadour
November 16 San Diego, CA Epicentre
November 17 Phoenix, AZ Clubhouse
November 19 Denver, CO Hi-Dive
November 20 Lawrence, KS The Bottleneck

Additionally, Manchester Orchestra will also perform on “Late Night With Conan O’Brien” October 31st, in support of their critically acclaimed debut album I’M LIKE A VIRGIN LOSING A CHILD. Director Sam Erickson offers fans an intimate look into the personalities of Manchester Orchestra and more specifically, the mind of principle songwriter / lyricist Andy Hull, in his new documentary, WHAT’S LEFT BEHIND. Filmed and directed by Sam Erickson (My Morning Jacket’s “Okonokos” and Dave Matthews “Live at Radio City”), WHAT’S LEFT BEHIND, like the band’s album, explores themes of religion and death, but also highlights the close bond forged between band members and emphasizes the importance of family and friends. WHAT’S LEFT BEHIND follows the band for one week through Tennessee, Alabama, Georgia and the Carolinas while on tour, and plans for release of the film are still being determined.

Since the release of I’M LIKE A VIRGIN LOSING A CHILD, the band have appeared on the “Late Show With David Letterman,” and have performed at the Bonnaroo Music & Arts Festival, Austin City Limits, Reading and Leads Festival. The band is currently on a North American tour with the Kings of Leon & BRMC and will spend December in the UK on a Kings of Leon arena tour.

In addition to Rolling Stone, Spin, MTV News, Paste, Alternative Press and many others, The New York Times recently raved I’M LIKE A VIRGIN LOSING A CHILD “is one of this year’s best … in it you can hear the influence of R.E.M. and a generation of indie rockers … there’s something pleasantly inscrutable about Mr. Hull, whether he’s delivering a spiteful rant or serenading someone … This is a fundamentally immodest album: music to swoon to.” At the conclusion of the band’s performance on the “Late Show With David Letterman,” Letterman himself exclaimed, “That’s exactly what we’re looking for!”

tour dates

The Lodger brings its Heavenly sound to the US for the very first time with an east coast tour to launch later this month. Debut Slumberland Records album Grown-Ups out now.

The Lodger brings its “Heavenly” sound to the US for the very first time with an east coast tour to launch later this month. Debut Slumberland Records album Grown-Ups out now.

Leeds, UK-based band The Lodger will be launching its first string of US dates on the east coast later this month on the heels of the release of its debut stateside album Grown-Ups and the hit blog-o-sphere tune (and genuine UK smash) “Kicking Sand” (MP3). See below for the complete tour itinerary.

“Leeds trio The Lodger sound unapologetically influenced by several generations of their indie countrymen: flashes of Orange Juice, The Wedding Present, Heavenly, and others permeate their debut album Grown-Ups. But they’re more than just C-86-addicted anoraks attempting to replicate the cooler parts of their record collections. Opening track ‘Many Thanks For Your Honest Opinion,’ with its scratchily energetic guitar parts and snarky lyrics, clearly owes a bit to the David Gedge songbook, and the winsome bubblegum melody and lovelorn lyrics of ‘The Story’s Over’ are tailor-made for a cover by Amelia Fletcher’s next band. But the young trio perform their brand of earnest semi-twee indie pop with such scrappy enthusiasm and emotional directness that accusations of near-plagiarism simply don’t wash. Listening to a small, unfussy gem like ‘Unsatisfied,’ which sounds like what Coldplay might have been if stripped of every last bit of Chris Martin’s inherent self-importance, it’s clear that The Lodger’s prime mover, singer/songwriter Ben Siddall, garners comparisons to Gedge and Fletcher mostly because Grown-Ups suggests that he just might be nearly as good as them.’ – All Music Guide

On the heels of the successes of bands like The Kaiser Chiefs and The Arctic Monkeys, the north of England is fairly bursting with exciting guitar pop bands, and The Lodger is amongst the brightest hopes. Taking its cues from fellow northerners The Smiths and The Wedding Present, The Lodger’s music is classic melodic pop, fueled by sparkling hooks and plangent lyrics. The tunes are sharp and timeless, a thoroughly modern distillation of great Britpop from the 60s right up to today. Grown-Ups is a perfect introduction to the thrilling pop charms of The Lodger.

The Lodger was born in Ben Siddall’s Leeds flat in 2004. Encouraged by local label Dance To The Radio, Siddall recruited friends for bass and drum duties, tuned-up with live shows around town and debuted in early 2005 with a track on a Dance To The Radio compilation. The band quickly followed-up with its excellent debut single “Many Thanks For Your Honest Opinion,” the “Watching” 7-inch on Double Dragon, and a track for the Wrath label’s split 7-inch series.

Soon after, the UK press was raving, with the NME repeatedly mentioning The Lodger and featuring “Many Thanks for Your Honest Opinion” in the influential “What’s on the NME Stereo?” column. London-based indie label Angular Records picked up The Lodger’s third single “Let Her Go” and in late 2006, the band entered a small Sheffield recording studio to being work on its debut album. The result is Grown-Ups.

Oakland, California-based label Slumberland Records has always had an ear for the next big thing, and is best known for releasing records by Velocity Girl, The Aislers Set, Hood, Rocketship, and The Softies. Label head Mike Schulman has been fairly quiet over the past several years, waiting for the next Slumberland worthy act to strike his fancy. The band that did just that was The Lodger, a band that Schulman feels has made a timeless pop record in Grown-Ups.

The Lodger Live:

10/24 Somerville, MA PA’s Lounge
10/25 Brooklyn, NY Sound Fix
10/26 New York, NY Cake Shop
10/27 Philadelphia, PA Khyber
10/28 Washington DC Velvet Lounge
10/29 Brooklyn, NY Union Hall
11/01 Richmond, VA The Camel
11/02 Durham, NC Duke Coffeehouse
11/03 Athens, GA Flicker Theater

Grown-Ups Tracklisting:

Stream The Album HERE

01. Many Thanks For Your Honest Opinion (MP3)
02. Kicking Sand (MP3) |
03. Getting Special
04. You Got Me Wrong
05. A Free Period
06. Simply Left Behind
07. My Advice Is On Loan
08. Let Her Go
09. Watching
10. Unsatisfied
11. The Story’s Over
12. Not So Fast
13. Bye Bye
14. Let’s Make A Pact

interviews music videos reviews

Biffy Clyro joins Queens of the Stone Age on Tour

Now these Celtic rock warriors are about to meet their match and embark on an October tour with Queens of the Stone Age, a pairing no credible and die hard rock fan can deny is genius and worth any tickets’ price.

“Now I’m Everyone” lays a (just as good, if not better) QOTSA worthy bittersweet melody over a backbeat sure to
inspire massive FIST-PUMPING” – ( Sup.)

“Debuting at No. 2 in the UK and marking the emergence of a proprietary sound. … sturdy songwriting and singer-
quitarist Simon Neil’s wounded tough-guy yearning keeps things appealingly unhistrionic. “The Conversation Is…”
chimes with endorphin rush guitars, “As Dust Dances” is a slow-burning neo-grunge ballad ideal for Zippo-waving,
and the whole manages to rock hard and spring surprises in equal measure.” – (Blender)

If you don’t want to take our word for it: Take theirs;

“Heads began bobbing and ripples of moshing emanating out from around the band…The band truly came into their
own on harmony-heavy songs like “Who’s Got a Match,” where all three members harmonize like a heavy metal
barbershop quartet – a quality that distinguishes them from other hard rock bands… They finished the set with
“Glitter and Trauma”…with its long disco beat and almost incongruously hard guitars, the track pitches the band
somewhere between alt. heroes Tool and 70’s rockers KISS” – Ewan Anderson, Filter Magazine
(show review- The Wittern, Los Angeles).

“Pursuing a bigger, more direct style… with such jumpy ravers as ‘A Whole Child Ago’ and ‘Now I’m Everyone,’
which pilot Gang of Four-style verses toward big, paunchy refrains. And ‘Love Has a Diameter’ demonstrates that,
much of the time, the band even does arena-rock well” – (The Washington Post)

“Biffy Clyro were arguably the most notable and somewhat notorious name on the ticket for many” says Pensatos.
“Both “Living is a Problem Because Everything Dies” and the spine tingling “Folding Stars” tore the stage up and
put the fire and balls into a room filled with your average Smiths/Morrissey fan waiting for The Editors. It may also
have well showed them up. Tonight they were nothing but rock geniuses on stage; parry and jousting along shake and
strike jangles larger then their parts.” – (

Indeed Biffy Clyro are an incredible live band, which is one of the reasons why they were hand selected by Josh Homme
to open up on the east coast leg of the QOTSA tour. They are a bands’ band — since the release of PUZZLE
their (thier 4th UK release debuted at #2 on the UK charts and this is their US Debut) , everyone from The Rolling Stones,
The Who, The Red Hot Chili Peppers, Bloc Party and The Editors have requested Biffy Clyro as their opening act.
There is a reason why these bands choose Biffy Clyro!

To get a more intimate look and to see just how genuine and powerful this Scottish trio is, check out this epk which
includes live footage/video clips and interviews with Simon Neil (vocals/lead guitar) and twins Ben (Drummer)
and James Johnson (bass/rhythm section):

Along with the radio campaign kicking in this week for the single “Living is a Problem Because Everything Dies ”
(Highlights at radio include adds at WBCN – Boston,WROX – Norfolk, KMRJ – Palm Springs, WPBZ – West Palm Beach)
MTV has jumped on board , the video has been selected as an MTV2 DISCOVER AND DOWNLOAD video.
The video straight into an ELITE 8 Rotation (The highest rotation on the channel). The band will also be featured on all
platforms of MTV2 and for 6 weeks after the start date. As a part of the “Discover and Download” program,
“Living is a Problem…” can be seen on MTVu starting at 35 spins per week.

Living Is A Problem Because Everything Dies

“As the opening symphony of “Living is a Problem..” gains momentum and starts to kick you in the head repeatedly
one thing becomes very clear. Whoever the fuck Biffy Clyro is they made one hell of an epic album. Arena rock is back,
straight outta Glasgow and serving up power chords like no tomorrow”. “Saturday Superhouse” wins as the eponymous
single, but Puzzle is not only for wall-to-wall headbanging” – (Sup Magazine)

“With irresistibly catchy vocals, and melodies set within spiky, squealing guitars, Scottish three-man post-punk group
Biffy Clyro creates an energized sound that’s poppy enough to appeal to Fall Out Boy fans while holding on to the
dirty sound that made the Pixies and Nirvana so appealing… Contagious sing-alongs are undercut by fuzz and feedback,
giving it the Pinkerton- era Weezer appeal – music made more believably emotive and ultimately enjoyable by the struggle
between its infectious nature and its raw, jagged sound” – (CMJ)

“One of the UK’s best kept secrets until now. “Puzzle” the trio’s 4th album is a testament to their inventive mastery of epic
chords, complex drumming and tugging melodies. Fans of Queens of The Stone Age and the post-emo dynamics of Sunny
Day Real Estate are sure to swoon over what critics are calling one of the best rock records this year.” – (Trace)

“Imagine the backroom of a dive bar in a bad neighborhood where the All American Rejects and Foo Fighters are
chain-smoking, throwing back shots and playing cards. Sound good? Check this Scottish trio out on Warped this year
and secure future bragging rights to your friends for later.” — (ALTERNATIVE PRESS’ 22 BEST

“Slicker than grunge, grungier than new wave, less cocky than metal and more metal than your pub-crawling cadre.”
– (Rokovoko: Tune Head)

“FUGAZI influenced emo ramblings meet the epic rock of Muse with a little Mew thrown in. TEXAS SIZE GUITAR
SPECTACLE caveman hair more than just a little angst and a dash of sophistication!” – (CMJ)

“Biffy Clyro combine the melodic charge of the Foo Fighters with the rhythmic shifts and emotional resonance of Sunny
Day Real Estate.” – (Revolver)

“Daring in structure” – (Music Snobbery)

“Enthusiastic music fans feel a sense of pride when an underground band they’ve been championing finds success.
For me, that band is Biffy Clyro…” – The Boston Herald

On tour with Queens of the Stone Age
Oct 12 – Boston, MA @ Orpheum Theatre
Oct 13 – New York City, NY @ Theatre at Madison Square Garden
Oct 15 – Torono, ONT @ Hummingbird Centre For The Perf. Arts Toronto
Oct 16 – Montreal, Quebec @ Metropolis
Oct 17 – Clifton Park, NJ @ Northern Lights
Oct 20 – Columbus, OH @ The LC Pavilion
Oct 22 – Grand Rapids, MI @ Orbit Theatre
Oct 23 – Detroit, MI @ The Fillmore FKA State Theatre
Oct 24 – Milwaukee, WI @ The Rave
Oct 25 – Chicago, IL @ Riviera Theatre

* Biffy Clyro at CMJ – New York City
Oct 18 – Fader Party – Sideshow, 146 Orchard (b/w Stanton & Rivington) 6:00pm
Oct 18 – Blender Party – Blender Theatre at Gramercy 127 East 23rd Street (B/w Lexington & Park Ave South) 9:00pm

interviews press releases reviews tour dates

Old Time Relijun wants to tell you a thing or two about Catharsis In Crisis, darlings of the rockcritstocracy host press day in midst of CMJ showcases and grueling national tour.

Old Time Relijun wants to tell you a thing or two about Catharsis In Crisis, darlings of the rockcritstocracy host press day in midst of CMJ showcases and grueling national tour.

“Unless I read them wrong (and I may; the music itself is the opposite of describing it: it’s wet, and bloody, and it smells like fresh earth and red cinders, and it’s a good goddamn time, is what it is) Old Time Relijun’s theory is that ‘the underground’ (I know. I know. I know) isn’t an identity that reinvents itself once or twice per generation, but a permanent place within a culture – maybe within all cultures – where styles don’t go in and out of fashion but are always floating around in the air just above our heads.” — John Darnielle, Last Plane to Jakarta

“The music kicks ass: brutal, fluid, funky, spasmodic, violent, sexual…I wish there were more visionaries like Dionyso around.” — Everett True, Village Voice

The Pacific Northwest’s beloved, esoteric uprooters of rock’s antecedents, Old Time Relijun has announced it will host an interview day in New York City on Thursday, October 18th in the midst of its comprehensive U.S. tour. The band will also play two showcases during the CMJ Music Festival: Fanatic Promotion’s daytime party at Soundfix Records (onstage at 4pm sharp on 10/19) and Panache Booking’s showcase at the Knitting Factory later that night. For complete tour dates, please see below.

Old Time Relijun’s latest K Records meisterwerk Catharsis In Crisis (STREAM) has already received an impressive outpouring of premature critical praise months prior to its release this week. Legendary music scribe Everett True — he who put Sub Pop and myriad others on the map with his writing in NME and Melody Maker, as well as current author and Plan B editor — rated Catharsis In Crisis #1 in his “Top 5 Antifolk Songs” column in the Village Voice. A couple of weeks later, True followed that article with a column raving yet again about Old Time Relijun.

Likewise, esteemed critic and musician John Darnielle (singer/songwriter of The Mountain Goats and Last Plane to Jakarta editor, et al.) writes one of the most eloquent and flowing prose pieces about the latest Old Time Relijun disc in his latest zine. The review (clumsily quoted above) must be read in its entirety to be fully appreciated.

However, in addition to what the critics are saying, the band’s spokesmen, guitarist/vocalist Arrington de Dionyso and bassist Aaron Hartman have their own unique ideas to express regarding the concepts behind the album and its execution. So, the eminently quotable musical adventurers have made time available for interviews in order to share their vast ideas with members of the press (and blogs alike.)

Old Time Relijun continues to further shatter rock’s imperious formalism with its latest K Records release that landed in shops on October 9th, 2007. Song after song, the ferocity of vocalist/guitarist Arrington de Dionyso draws listeners deeper into a world where language, rhythm and unrepentant libido collide. The music is temperamental, unwieldy and unyielding; aimed to cut listeners to the bone.

Catharsis in Crisis was written and recorded at Calvin Johnson’s fabled Dub Narcotic Studio in Olympia, WA over four inspired days and nights. Legendary producer Steve Fisk was recruited to mix this raw material into OTR’s most fully realized album to date. OTR + Calvin Johnson + Steve Fisk = a magical alchemy of sound and light. But don’t worry folks, it’s still terrible background music.

Arrington de Dionyso’s electrifying vocal delivery retains the blood-soaked risk of a true underground visionary, while showcasing his mastery of over-the-top nuance. Aaron Hartman (contrabass) and Germaine Baca (drums) propel the album forward with relentless bump-and-grind. Catharsis in Crisis is the first album to reveal OTR’s new secret weapon, subversive “saxophonista” Benjamin Hartman, who uses and abuses his classical training to drive the band further into the spheres.

Often lazily compared to a No Wave version of Captain Beefheart, Old Time Relijun’s subversive — dare we call it sadistic — mashing of world folk music styles sounds brutally fresh. No Wave? Forget that. Catharsis in Crisis is Yes Wave for the young millennium. “Daemon Meeting”(MP3) blazes through a bizarre convocation of underworld creatures, to conclude with the query, “what does it mean to be human?” A tenor saxophone throttles the dub-infected “Liberation” with propulsive urgency through a zone of “young life and decay,” while songs such as “In the Crown of Lost Light” and “Invisible New” confront infinity with their bright shimmering sound. Even Dante is given a run for his money with the Ennio Morricone influenced junk-disco centerpiece “Veleno Mortale,” actually an Italian “re-translation” of the brutal “Burial Mound” featured on OTR’s album 2012.

Taken as a whole, the three discs of “The Lost Light Trilogy” (in reverse chronological order Catharsis in Crisis, 2012 and Lost Light) are a tour-de-force of myth, dream and autobiography. ”We wanted ‘The Lost Light Trilogy’ to be a kind of rock opera,” de Dionyso says. “But with a non-linear development of plots and characters. Every song on each album contains musical or lyrical fragments of other songs within the trilogy, like broken shards of mirrors reflecting each other infinitely, the way a cubist painting presents multiple perspectives of the same subject, or the labyrinthine twists in a Borges story.”

Catharsis in Crisis, while concluding the trilogy, also stands on its own. Like the confrontational, compulsively danceable live show for which OTR is known and loved, Catharsis is a record and a testament to the oscillations of opposites. Darkness and Light, Water and Fire, Spirit and Matter struggle within Old Time Relijun’s alchemical oeuvre. From this elemental battle, the music emerges, dripping and triumphant.

More About Old Time Relijun:

Olympia, Washington. New Year’s Day, 1995. A dark and smelly basement. Three young musicians gather to tackle the vast songbook of Arrington de Dionyso. They had heard his self-recorded cassettes. The songs were wild and lovely. Arrington (the rebellious son of Methodist ministers) played every instrument with the soul of an outsider artist who didn’t know any better. He knew he needed to bring his songs to life.

The original trio was brought together for one show. Just to see what would happen. They called themselves Old Time Relijun. Arrington played a $20 guitar and a beat up bass clarinet. He sang with a mixture of piss and vinegar that exploded with naive charisma. Bryce Panic harassed the drums. Aaron Hartman beat on a two-string upright bass with a microphone taped to its bridge. They communicated with the clairvoyance of long-married ninjas.

That first show, everything went red: strings broke, the bass was a solid mass of feedback, the PA was blown. They used Arrington’s songs as a template to meld shock-ritual with a mad-tea-party-dance-vibe. They barely noticed the college kids in full Riot Grrrl gear screaming, they had no idea that punkers and hippies were dancing together. Something awful happened that night. A band was born.

Soon they were playing full sets to friends and taste-making Olympia hipsters alike. They played every show they could – whether or not they were on the bill. They developed the kind of intuitive free-jazz rapport of which most bands could only dream.

In 1996, OTR recorded its first album, Songbook Volume One. They released it themselves, financing the production by tricking a friend out of his meager inheritance. The CD was packaged in stolen popcorn bags.

In 1997, Calvin Johnson invited the band to record a song for the Selector Dub Narcotic compilation for his K Records label. At that point, a beautiful relationship was born.

After Bryce left to pursue a life of dance and yoga in India, one of the band’s younger fans, Phil Elvrum, asked if he could join. He moved to Olympia, and OTR’s second of many lives began. Phil’s caveman beats and undeniable production savvy helped launch the first three Relijun albums K would release. Uterus and Fire (1999), was a bombastic exercise in recording in the red. Serena de Pecera (2000) was a one-night multilingual wonder, acting as a coda to the unyielding momentum of Uterus and Fire. Then came the band’s first true masterwork, Witchcraft Rebellion (2001), an album as deep and bizarre as anything you’ll find on your record shelf. A retelling of the first chapters of Genesis from the serpent’s point of view.

After a couple U.S. and European tours, Phil decided to focus his energy on his recording projects and his own band, the Microphones. Old Time Relijun continued in a variety of mutated formations, with various lost souls sitting behind the drum set.

The group experienced a brief lull in activity as Arrington began a vagabond period that would take him hitch-hiking across the United States and back and forth between Italy, France and Argentina. A compilation of unreleased oddities, Varieties of Religious Experience, was released in 2003, and both Arrington and Hartman had time to reevaluate the direction their band would take.

During his travels, Arrington composed an outline for what would become “The Lost Light Trilogy”. The first two installments, Lost Light (2003) and 2012 (2005), recorded with the help of drummers Rives Elliot and Jamie Peterson, respectively, saw extensive touring, a wider audience for the band, as well as high praise from critics world wide.

Old Time Relijun Live:

10/10 Pittsburgh, PA Garfield Artworks
10/11 Middleton, CT Wesleyan
10/12 Hanover, NH Dartmouth
10/13 Brooklyn, NY Southpaw (WFMU event w/ Oneida)
10/14 Montreal, QC Divan Orange*
10/15 Quebec City, QC Bal du Lezard*
10/16 Halifax, NS The Seahorse*
10/19 Brooklyn, NY Soundfix Records (Fanatic CMJ Party)
10/19 New York, NY Knitting Factory (Panache CMJ Showcase)*
10/21 Annandale on Hudson, NY Bard College*
10/24 Asbury, NJ Asbury Lanes*
10/25 Poughkeepsie, NY Vassar College*
10/26 Jamaica Plane, MA The Milky Way*
10/27 Providence, RI as220*
10/28 Philadelphia, PA COPY Gallery*
10/29 Baltimore, MD The Talking Head Club*
10/30 Washington, DC Velvet Lounge*
10/31 Brooklyn, NY Todd P NYC*
11/01 Hudson Valley, NY WFMU Live Performance
11/02 Chapel Hill, NC Local 506
11/03 Charleston, SC Cumberlands
11/04 Athens, GA Secret Squirrel
11/06 Birmingham, AL Bottletree w/ Don Caballero
11/07 New Orleans, LA Circle Bar
11/08 Houston, TX Proletariat
11/09 Austin, TX Emo’s
11/10 Denton, TX Hailey’s
11/11 Oklahoma City, OK Conservatory
11/13 Kansas City, MO Record Bar
11/15 Denver, CO Hi-Dive
11/16 Salt Lake City, UT Urban Lounge
11/17 Boise, ID Neurolux

Catharsis In Crisis Tracklisting:

Stream The Album HERE

Release Date: October 9th, 2007

01. Indestructible Life!
02. The Tightest Cage
03. Daemon Meeting (MP3)
04. Liberation
05. Garden of Pomegranates
06. Akavishim
07. Dark Matter
08. The Circular Ruins
09. Veleno Mortale
10. Dig Down Deeper
11. A Wild Harvest
12. The Second Day of Creation
13. In The Crown of Lost Light
14. The Invisible New

Petroleum By-Products

written by Gena Perala

Last night was week 4 of CITR’S Shindig – a 13-week battle of the bands, which happens every Tuesday night (up to Dec 4th) from around 9pm-12am at the Railway Club.

27 Bands/musicians are selected, three play per night, and the winner walks away with recording time and an assortment of other prizes. So far, it’s simply been a good reason to get drunk on Tuesday nights, since most of the bands have been somewhat disappointing. The only one I’ve really liked has been “The National Shield” who kicked off shindig this year, but didn’t win so are not moving on in the competition (boooo).

However, all that changed when The Petroleum By-products hit the stage, donning trashy outfits… err I mean trash bags, yes plastic garbage bags with masking tape (political statement re: the city strike? I think not) and played an awesome 30 minute set. They have a female lead guitar and vocalist, and are 4 pieces (guitar, bass, keys and drums) of indie rock, punk, new wave fun-ness, who like to switch it up a bit as well – everybody hits the vocals, everybody adds to the sound.

The crowd was into them, I was into them, you might get into them too…and they just might be Shindig’s 2007 winner. Check them out. Petroleum By-Products.