METALFIER is a NYC Heavy Metal band formed by Andrew Janda (guitars/vocals/composer). Our mission is to transform everyone into a Metalhead.
When you listen to Metalfier you get the sense that these guys love Metal. Not just the music but also the lifestyle. Their anthemic style takes you back to the 80’s style Judas Priest and Metallica played.
We play our music loud and We love Sex, Drugs & Heavy Metal Live \,,/
Metalfier’s line up is:
Andrew Janda – Guitars/Vocals
Jorge Styrtet – Drums
Reda Woodcock – Bass
Shadowside – heavy and angry guitar riffs and powerful female vocals! A band with power, energy and intensity. These three words define Shadowside’s career path very well. With 3 albums out, the Band has toured 30 countries, having played in front of a total audience of over 250000 people.
Formed in Chicago in the dark, cold winter of 2015, Bolthorn began to craft their unique tomes of riff-heavy, crushing black metal for their first recording: Menslich Dämmerung, a six song EP. Bolthorn’s norsk-tinged, at times progressive take on apocalyptic black metal speaks cautionary tales that morph from the voice of the egregiously victimized masses of our suffering planet, to the personal fires of struggle that haunt all living beings, our petty ancient gods forever lurking in the shadows, cackling at our condition. Bolthorn stand in solidarity with all those battling bigotry, homophobia, and sexism. For fans of Bathory, Dark Throne, Gorgoroth, Mayhem, Agalloch, Behemoth, Enslaved, Satyricon, and Black Sabbath.
In the cutthroat world of music, where friendships fade like one-hit-wonders, emerges Motel Breakfast. These Midwest misfits navigate adulthood through emotional anthems that live somewhere between Hot Mulligan, Dr. Dog, and Bruce Springsteen. But Motel Breakfast is more than a band; they’re a tight-knit crew of small-town souls who found solace and lifelong connections in their shared passion.
The indivisible bond between Motel Breakfast’s members is what sets them apart. Led by vocalist and guitarist Jimmy Denovsky, alongside lead guitarist Mick O’Donnell, Conor Brennan’s keys, Drue deVente’s bass, and Jesse Nasadowski’s drumming, together they are an unstoppable force and seamlessly blend the gravity and playfulness of life through their output.
Formed in 2017, the members of Motel Breakfast have never lived in the same place at the same time. Despite the geographical divide, with members scattered across Madison, Milwaukee, and Chicago, they have thrived in conquering the challenges of growing a band that can’t even have regular weekly practices. As a result, every time they get together, it is intentional. When members aren’t at their day jobs, they’re pouring their nights and weekends into Motel Breakfast, and so, their story is not one that is entirely their own. It’s a story of community, a vibrant ecosystem of friends, artists, and peers who have rallied behind them, affording the band their own platform of creative expression. From meticulously curated cover art to captivating photography and more, every detail helps foster inclusivity and the growth of those around them.
Simply put, Motel Breakfast is the kind of band you want to hang out with. Together they can silence a packed bar with anthemic vulnerability and then crack a dad joke mid-set. Balancing humor with poetry, they’re not afraid to take their craft seriously while staying true to themselves, too––and it’s working! Fans are drawn in by Motel Breakfast’s charisma and camaraderie, magnetically pulled into this world where authenticity, dedication and genuine magic coalesce.
With a name like Mouth Captain, one might expect to be brought back to that time you first tasted the vinyl interior of a ’74 Dodge Dart. But these two Blue Man Group alumni have weightier matters to lift, namely understated melodies coolly set in coppery reverb. Eric Gebow specializes in vintage drums and other assorted percussive rarities, while Mike Burns distills the truth of Americana into spare lap steel loops. Mouth Captain embraces the vastness of slow and purposeful dreamyness, but with a confidence that only comes with the ability to play ten notes in a space, but selecting the most effective three. Somewhere in the space between Bill Frisell’s country offerings, an instrumental Portishead, and a southwestern minimalist cowboy, Mouth Captain finds a warm blanket of lush to carry you over the horizon of space time.
-Weird Beard, 2013
Middle Western was formed out of a long friendship and discussions the various members had while playing on each others’ recordings and the occasional band show organized as a way to play and sing songs written and recorded by other members. The band is made up of singer/songwriter and Anti Records artist William Elliot Whitmore on bass guitar and vocals; singer/songwriter/session keyboardist and founder of legendary Iowa roots music label, Trailer Records, David Zollo on keyboards and vocals; Chicago multi-instrumentalist Stephen “The Kid” Howard (James McCartney, Pinebender, Mississippi Heat) on electric guitars; Stevie Doyle (The Hoyle Brothers) on electric and slide guitars; and in-demand Iowa City drummer Brian Cooper on percussion. The fact
that members live in Chicago (Doyle, Howard;) rural Iowa City (Cooper and Zollo;) and rural southernmost Iowa (Whitmore;) Middle Western brings together the influences and talents of its members to create something at once unique and familiar. Mixing New Orleans piano stomps, Crazy Horse-era guitar epics and proto-garage boogie, Middle Western is at work on their debut record, at Lone Tree’s Flat Black Studios, with Luke Tweedy engineering and mixing, and a summer 2017 release planned.
In the early stages of writing the follow-up to 2014’s I Must Find You, singer-songwriter Eric Marshall (Young Oceans) became captivated with the Eucharist. His fascination is understandable. Whatever the language, whatever the time, whatever the culture, participation in this sacrament provides an intimacy and solidarity founded not in prosperity or political power but in brokenness, humility, and surrender. Stretching across centuries and cultures in an unbroken line for 2000 years, the Communion pulls the participant, in a sense, outside of time and space, in connection with the universal Church eternal. “Past and future come rushing into the present, pouring an ocean of meaning into the little bottle of ‘now’.”*
The result of Marshall’s inspiration is Suddenly (or The Nuclear Sunburst of the Truth Revealed)**, a collection of recordings that doubles as a Eucharist liturgy and as the new Young Oceans album. Marshall’s songs weave echoes of ancient prayers that Catholics and Protestants will find familiar, forming an arc from invocation (Lord come as the Lion or come as the Dove) to benediction (We pour out ourselves before You).
But, just as every believer lives in the tension of the ‘already and not yet’, the posture feels every bit the next Young Oceans album as the songs also address a modern context. The anguished pilgrim wrestles to maintain the transcendence of Communion in a world hell-bent on violence and the seeds of strife (“Out Here”). He pleads for the voiceless (“Walls Come Down”) and ponders the heart of Jesus’ high priestly prayer in John 17 (“Are We Not One”). It is a struggle between the constant groaning from the original curse, and yearning for the way the world finally will be (“This Wild Earth”).
It is a turmoil seen in Israel and Palestine, where Marshall joined a political and humanitarian pilgrimage over the Spring of 2016. The experience was a searing one. “There is nothing simple about the Middle East, in any respect,’ remarks Marshall. “The slightest elements of that experience haunt me. ‘Every Heart Is Open’, for example, originated with the melody of a Muslim call to prayer that came blaring out of the local mosque at 5am my first morning in Galilee. There is a lot of that trip in this record.”
Crescendo is reached in the title track; an anthem for the doubter. Christ in Gethsemane questioning the plot. Or, the believer plagued with a recurring sense that his faith is nothing; there is no God, or at least He doesn’t care. How can it be otherwise in a world so overrun with pride, pain, division, failure, and hatred? Why is He silent? And suddenly, in a moment, suddenly… He is there. Not always in the same or expected way, but there nonetheless. He is the transcendence. His is the body and the blood which sustains us. His is the peace that will always surpass our present understanding.
Suddenly we’re waiting
Suddenly You’re there
The blueprint for The Heavy Sounds is simple: Keep the people dancing. Steeped in the tradition of 60’s and early 70’s instrumental Soul and Funk, The Heavy Sounds have quite literally created a band that can say everything while saying nothing.
Loud music from Chicago. No Men can be described as queer, femme-fronted, the androgynous opposite of “yes men”, and anti-everything. Equal parts 69, 420, and 666. One bass, dueling vocals, dual drums. No “guitar rock” allowed.
Vol. 4 is the fourth studio album by English rock band Black Sabbath, released in September 1972.
Performed by: After Forever
Four musicians gathered together to do one thing, bring Black Sabbath tunes to YOU. They call themselves After Forever and are dedicated to create a musical flow just like Sabbath did and still does. In the days of auto-tune, perfect recordings, and backing tracks galore, the music of Black Sabbath needs more appreciation. After Forever is a BIG slice of Black Sabbath and features songs you know and amazing songs you have never heard before. Relive the birth of metal with After Forever.
The name Bölzer is difficult to translate into one word in English. It can be approximated to something like “smasher” or “bulldozer”. bölzen is a Swiss German verb deriving from Bolzen (a bolt); bolzen(verb, without the umlaut) can also mean “to drive fast” in other parts of the German-speaking countries as well as being a term related to football (“to slam”). The band themselves describes the meaning as “a powerful force or blow or strike that has no regard for the consequences or the repercussions. And in that sense it’s not directed either, it’s just a chaotic strike of energy…. a force of chaos, and a force of life and death and anything.”
Born in Brooklyn and of Guyanese descent, JHN grew up listening to a lot of Caribbean music. With his father absent, JHN tried his hand at drug dealing but didn’t like it. After this, he followed his older brother into rapping. He said of the experience, “my older brother felt like a father. He was only two years older than me so that was all I had. Whatever he would’ve done I was going to do.” In the beginnings of his music career he went by his birth name, Carlos Saint John. He describes his earlier rapping style as more aggressive and less melodic than his current output. He also used this name for a brief time when he put rapping on hold to spend time writing songs for other artists. JHN has co-writing credits on songs like Usher’s 2016 hits “Crash” and “Rivals.”
Multi-Grammy Award winning artists Robert Sput Searight and Nate Werth take percussion out of the shadows and into the spotlight with their new project, Ghost-Note. World renown for their ongoing catalog with international sensation Snarky Puppy, this dynamic duo expands their rhythmical voice into a celebration of music in all its forms. This is music that takes listeners on a mind-blowing journey, inspired by the influences of James Brown, Prince, and J Dilla to name a few.
Since forming, Ghost-Note’s sound has evolved to a state that can best be described as ‘conscious funk’ – an elaborate and sonically powerful surge of the tremendous talents that each of the players provides, with the bandleaders leaning back and letting the band go. The core lineup is a rotating cast of heavy hitters – all stretching to meet the expanding nature of the band. The explosive rhythm fueled band, deeply rooted in neck breaking funk, is comprised of the industry’s best and quickly becoming one of the most anticipated live shows of today.
Band members include A.J. Brown (Fred Hammond) on bass, internet star Dywane “MonoNeon” Thomas (Prince) on bass & guitar, Sylvester Onyejiaka (Prince, Quantic) baritone sax, tenor sax, & flute, Xavier Taplin (Prince) on keyboards, Jonathan Mones (Funky Knuckles, RC and the Gritz) on alto sax & flute, Mike Jelani Brooks (Kirk Franklin, RC & the Gritz) on tenor saxophone & flute, Justin Stanton (Snarky Puppy) on keyboards, Vaughn “V-keys” Henry on keyboards, Daniel Jones (Jay-Z, Janet Jackson, Justin Timberlake) on keyboards, Nick Werth (Galaxe, Yak Attack) on xylosynth, and Alvin Ford Jr. (Pretty Lights, Dumpstaphunk) on drums.
The beat hits you in the chest like a jackhammer…your head starts bobbin’…the bass attacks with no mercy…now you wanna’ dance! You look around and people are groovin’ everywhere! You don’t know what’s going on, but it feels good! Don’t be alarmed! It’s a natural reaction to the force of nature called Chip Ratliff & The DirtyBluCrue!!! The band offers fans an unforgettable live experience steeped in the Chicago tradition of a good time!
Throughout the country’s music venues including Chicago’s Navy Pier (Chicago), Buddy Guy’s Legends, California’s Fender Center, and more, people have experienced the colossal low end and tasty grooves that this band dishes out routinely, and with a vengeance! Bassist/vocalist Chip Ratliff and his band is dedicated to not just rehashing classic funk, but to taking his own unique style of Funk, Soul, and Blues to new heights. Fueled by his own original releases, Chip takes his talent, infuses it with the sophisticated funk and showmanship of Prince, the tightness of any one of James Brown’s bands, the grit and excitement of Chicago Blues, the extended live jams of a Parliament-Funkadelic show, combines it into one big pot, and serves it hot!
Every show is different. “The set list is a guideline!” says Chip. “We keep it spontaneous and free flowing throughout. Makes it fun for me, the band, and the audience can feel it! They go on the journey with us. It always comes out good!”
“I just want you to get down and have a good time! If you leave the show happy, exhausted, and wanting more…mission accomplished!”
Winner of the 2017 Ameripolitan Music Award for Best Female Rockabilly Artist, and named the “Best Up-And-Coming Band” by Hudson Valley Magazine, Lara Hope and the Ark-Tones are New York’s premier roots rock n’ roll, rockabilly, rhythm & blues outfit. Born from a hybrid of Lara’s former rockabilly band The Champtones, and upright bassist Matt’s international psychobilly act, The Arkhams, The Ark-Tones hit the ground running in 2012 and haven’t slowed down since.
Lara Hope was featured on the cover of UK Rock n’ Roll magazine in March 2015, and New York’s Ulster Magazine in March 2016. The band has shared the stage with many well-known acts including Tiger Army, Gary US Bonds, America, Big Sandy, and Wayne Hancock, amongst others, and has performed at at a variety of national festivals including Viva Las Vegas, Ink n Iron, and The Nashville Boogie. The band is also known for their visually arresting videos – “Whiskey Pick” (from their debut album) and “I’m the One” were official selections in the 2014 and 2016 Woodstock Film Festival.
Just when you thought Southern rock was said and done, along comes Beitthemeans, swaggering out from a dark shed somewhere deep in the pines of Sylacauga, Alabama. The name is fitting for a power trio that is all about boot straps, whether it’s pulling them up or using them to beat their way out of a smoldering genre that could benefit from a whipping or two. With swelling riffs, bluesy throwbacks and a lead singer with a screech that must be part owl, BITM certainly cracks the whip on Southern rock.
Formed in the North Carolina coastline community of Wrightsville Beach in 2001, the riff-fueled, distortion-driven rock of ASG that can be found on their latest effort has actually been at the band’s core since its inception.
Initially forming as a three-piece instrumental project, due to the lack of a dedicated vocalist, ASG were intensely focusing on devising tight, driving guitar riffs, locking guitarist Jason Shi in with the rhythm section of bassist Andy Ellis and drummer Scott Key.
But as time passed and no vocalist was found, Shi was eventually forced to step up to the mic.
With Shi becoming more comfortable as a frontman, the group found themselves connecting with Volcom Entertainment, who signed the band and put them in the studio in 2003, to record their debut album, …The Amplification of Self Gratification.
In 2005 ASG found themselves in a proper studio with proper producers, Matt Hyde and Phil Caivano, recording their sophomore album, Feeling Good Is Good Enough, an album that summoned all the band’s potential and spawned a thunderous hard rock creation that equaled what the band had been working towards for the past 3 years.
Shortly after completing Feeling Good Is Good Enough, second guitarist, Jonah Citty, was added to help recreate the album’s sounds live, which was none too soon as the band quickly found themselves on the road with the likes of Motorhead,Fu Manchu,Saviours,The Sword, Torche, Dwarves, and CKY.
In June 2007 ASG returned to Los Angeles to record their fourth album, entitled Win Us Over, with Matt Hyde again.
Win Us Over, is a vivid, psychedelic, and panoramic thrust that is just as much for the ears as it is for the aura; an experience in a colorful and dense cloth of abrasiveness.
Big beefy guitar riffs and melodic foreboding are soaked in Southern roadhouse whiskey, that just might be laced with psilocybin, and are hazed out through a kaleidoscopic squall that packs a walloping sonic punch.
While the ingredients of stoner rock, psychedelic metal, and angst-ridden punk rock are apparent, ASG doesn’t fit under any particular category. Be you a fan of plain ol’ rock and roll and don sleeveless flannels while sucking down 22 ouncers and gettin’ rowdy – or enjoy waxin’ deep on the bong, Win Us Over lives up to it’s namesake and ensures that come January 22nd 2008, ASG won’t be knocking on any doors; they’ll be knocking them down.
Win Us Over is available now digitally and is set for physical release (CD &am; 2XLP) on January 22, 2008
Cole was born in Kingston, Jamaica in 1945 and nicknamed “Stranger” by his family, as they considered that he didn’t resemble any member of his kin. Cole was initially successful as a songwriter, writing “In and out the Window”, which was a hit for Eric “Monty” Morris. This success gave him the chance to make his recording debut in 1962, instantly finding success with singles such as “Rough and Tough” and “When You Call My Name” (a duet with Patsy Todd) for producer Arthur “Duke” Reid. Further success followed with singles for Reid through to the mid-1960s, and he also worked with other producers at this time, including Clement “Coxsone” Dodd (a duet with Ken Boothe on “Worlds Fair”), and Prince Buster. Further duets included recordings with Gladstone Anderson (on “Just Like a River”) and Hortense Ellis, the tendency to record duets apparently due to his shyness when it came to singing alone. In the late 1960s and early 1970s he recorded with several producers, including Bunny Lee, Lee “Scratch” Perry, and Sonia Pottinger. These included further material with Todd as Stranger & Patsy.
In 1971 he emigrated to England, where he toured extensively, and moved on again to Canada in 1973, settling in Toronto. He worked as a machinist in the Tonka Toy factory in Toronto and later opened the first Caribbean record shop in Toronto His first album, “Forward in the Land of Sunshine”, was released in 1976, with a handful of further albums released over the next ten years, most on his own label.
In 2006, Cole released his first album in twenty years, Morning Train, a collaboration with Jah Shaka. Cole is featured in the 2009 documentary Rocksteady: The Roots of Reggae, in which he and other stars of the rocksteady era reunited to record a new album of the same name, released in August 2009.
Cole’s son, Squiddly, followed him into a music career, working as a drummer for artists including Ziggy Marley , Amy Winehouse, Mutabaruka, and many more.
Sleepwalk drifts seamlessly between spacious slow burns and grungy, riff-driven rock, woven together by warped guitar leads played through an endless string of effect pedals. Placing equal focus on both melody and atmosphere, haunting vocals and chord progressions punctuate songs cloaked in thick reverb and distortion.
Cosmos Ray is a Chicago based singer, songwriter, producer, and DJ. His career began in 1995 as a hype man for Mr. Greenweedz, then a member of the Family Tree of All Natural, Inc. Since then Cosmos Ray has fronted, sang, emceed and composed for bands such as Star People, Akasha, and Heavyweight Dub. He curates the monthly all-vinyl reggae night, Simmer Down Sound and was a resident DJ for Rocksteady Sundays at The Shrine.
Founded in Philly in 2003, Cleric resides in the circle of bands like The Dillinger Escape Plan and Car Bomb – elite musicians playing avant-metal that wows on both a cerebral level and a gut level. Cleric’s brand of metal is marked by dark, cinematic atmospheres and free jazz-informed forays, bursting through a base of highly technical, mathy shred. As a review in Chicago Reader phrased it, the sound is “a kind of metal, the way [David Lynch’s] Lost Highway is a kind of movie. It’s an elastic tissue of creepy electronic noise and barely-human screaming, impregnated with patches of riff-salad grind and hypercube mathcore.”
On Retrocausal, Cleric has pushed its style to new heights. Meshuggah-esque hypnosis, doomful synths, spastic skronking, and blastbeats weave together into highly unpredictable, kitchen-sink epics, many surpassing the 9-minute mark. An ominous vibe, straight off a movie screen, underlies everything; lurking in the shadows are mysterious samples and field recordings evoking deep sea and outer space.
None other than John Zorn is a fan and collaborator who lent his talents to Retrocausal. Elder statesman of musical freedom, a man whose massive body of work incorporates jazz, classical, metal, klezmer, film scores, and more, Zorn guests on Retrocausal’s closer, “Grey Lodge.” Cleric’s relationship with Zorn began in 2013 when he invited the band to work with him on his ongoing Masada project, and continued with his tapping guitarist Matt Hollenberg to join his band Simulacrum (along with John Medeski of Medeski, Martin, and Wood).
In addition to Zorn, Retrocausal features guest appearances by Mick Barr (Krallice, Orthrelm, Ocrilim) and Timba Harris (Secret Chiefs 3).
DOCTOR DEATH CRUSH are a 5-piece rock band currently based in LOGAN SQUARE, CHICAGO, IL. Delivering a highly unique and contemporary blend of glam, goth and grunge. Their ‘dark art rock’ sound is dense, heavy and intricate. Most often, fans of DOCTOR DEATH CRUSH rave about the unmistakably unique vocal style of mysterious lead singer ‘Violet the Psychic Dominatrix’, and the soaring, skull-melting guitar solos executed with ruthless precision by provocative lead guitarist Steven Lynn (aka ‘Dr. Sunshine’). Explosively cathartic live performances unfailingly include ritualized demonic exorcisms free of charge.
The pride of Louisville, KY, STAGECOACH INFERNO rages with their brand of self-dubbed “Wild West Heavy Metal.” Their 2016 release, A Town Called Atonement, is a platter of riffs that will have you running for your life through the open prairie and desert. Always an exceptional live show, come ready to be rocked and be shown how the wild west was won.
Formed by the Baechle brothers in 2007, Oakland, California’s OWL deliver their style of classic heavy metal summed up as “BlackZeppelinBudgieLizzyMotorVenom.” A band of insane DIY ethic, they bring their relentless intensity to the stage for you to enjoy.
Formed in 2003, Austin, Texas’ IGNITOR are coming in hot after the release of their sixth full-length, Haunted By Rock & Roll, in November of 2017. Bringing their hybrid of some of the best of American, British, German 80s influenced heavy metal, they give you anthem-oriented tunes to raise your fists to.
Invisible Inc. is a musical project of lead emcee George Watsky and producer/ musicians Daniel Riera and Max Miller-Loran, all San Francisco transplants living in Boston. Using an innovative combination of live horns, laptop looping, emceeing, talkbox and more, Invisible Inc. brings hip hop and jazz together with a refreshingly original instrumentation
A truly unique musical product of both Brooklyn and Chicago, Dave Miller, who “plays with refined restraint of someone twicehis age” (Time Out), has once again redefined his parameters with the improvisational psych-folk of “Old Door Phantoms”. Out 4/1/16 on ears&eyes Records with a national tour to support!
The Canadian power-trio Occult Burial, born in filth in 2012, plays vicious 1st wave black metal laced with witching speed metal. 2016 will see the release of “Hideous Obscure” – their first full length. An evil frenzy of possessed shrieks, morbid riffs and rhythms of rampage… recorded primitively on an 8-track! The ancient returns!
Joël Thomas – Bass/Voice
Dan MacLoud – Axe
Dan Lee – Drums
DUMAL
The band’s name comes from the Charles Baudelaire book of poetry Les Fleurs Du Mal (“The Flowers of Evil”), so essentially “Dumal” translates to “Of Evil”.
Suffering Hour are a blackened death metal band from Forest Lake, Minnesota. Forming under a different name as a tech-thrash band in 2010, the band carried their sense of manic chaos and old-school structure into the world of cosmic black death. Profound Lore Records.
“Dødheimsgard” is a conjunction of three words: “Død”, which means death, “Heim” which means home, and “Gard” which means mansion (at least in this context). A natural translation of Dødheimsgard into English would be “Mansion/house of Death” or “Realm of the Dead/Death.”
LEPROSY INC. O LEPROSY INCORPORADO, ES UNA BANDA FORMADA PARA PARTICIPAR EN UNA SERIE DE EVENTOS EN VIVO, HACIENDO TRIBUTO AL GRUPO LEPROSY Y A ZAIKO, LA BANDA ESTA FORMADA POR: JULIO (GUITARRA), FELIPE (BATERIA) Y MARIO (BAJO). QUIENES SON EX- MIEMBROS ORIGINALES DE LEPROSY, INVITAN AL CANTANTE DEL GRUPO TRANSTORNO PEDRO SANCHEZ, PARA ESTA SERIE DE CONCIERTOS, ORIGINALMENTE EL GRUPO IBA A SER LLAMADO ZAIKO, Y EL NOMBRE DEL TOUR ERA LEPROSY INCORPORADO, PERO POR MOTIVOS DE ULTIMO MOMENTO PARA ESTA GIRA SE HACEN LLAMAR LEPROSY INC. JULIO, FELIPE Y MARIO GRABARON LOS DISCOS DE LEPROSY LLORA CHIAPAS 1998 – REY DE LAS BESTIAS 1999 – DEVORANDO SUEÑOS 2001 Y LOS DISCOS EN CONCIERTO VOL. 1 Y 2 2001. PARTICIPARON CON UNA CANCION AL DISCO TRIBUTO V8 GRUPO ARGENTINO, CON LA CANCION (A TRAVEZ DE LOS TIEMPOS) COMO ZAIKO GRABARON EL DISCO MIEDO EN EL 2003,
Between the lost promises of summer and the bitter austerity of winter lives the time between; the shorter, pallid days, the dying leaves, the melancholic reflection of time as it passes… This pensive time between has been evoked and pondered in the words of poets ranging from Yeats to Keats, and once again it finds sublime expression in the lush, passionate, melodic, dark pop of autumn.
Autumn is Julie Plante (vocals), Jeff Leyda (bass), and Neil McKay (guitars). Forming in Minneapolis in 1994, autumn has always sought to create melodies that get the listener to feel something deeply, that have the ability to haunt you in some way after the fact. The band released two albums on Tess Records – “the hating tree” (1996) and “return to the breath” (1999), with accompanying tours in support of each album before taking an extended hiatus.
“the fall” is the band’s brand-new 3-song single, produced by William Faith and released on Sett Records. Leading off with the track “the fall” the band inhabit the onerous tension between ire and loss, with vocalist Julie Plante spitting “I saw the light, and it was not where I needed it to be” over the haunting guitar refrains of Neil McKay and Jeff Leyda’s serpentine bass work, driving the beat onward.
The single will soon follow up with a video for lead track “the fall” and a new full length album, titled “chandelier”, slated for release on February 14, 2018. Touring should follow, both in the USA and abroad.
