The Week's Mixtape — Video Round-Up: MF DOOM, Divide & Dissolve, Here Lies Man, Lizzard, Fuck The Facts, Tamar Aphek, Rachika Nayar, Paul Leary, Dale Crover
First video round up of 2021 to cap off a ridiculous week. Hope you're all staying safe. Cults are bad.
MF DOOM: "Gazillion (Ron Gallo Tribute remix)"
(via Tell All Your Friends / New West Records)
(via Tell All Your Friends / New West Records)
Ron Gallo's upcoming album PEACEMEAL is scheduled to release March 3rd.
Website — http://rongallomusic.com/
Note from Ron Gallo: "To date, I don't think an artists death has hit me as much as MF DOOM and I did not expect that until it happened. That feels like the DOOM way - he's like a shadow lurking genius, a humble kung fu master - grounded, calm but could kill you in ten seconds, in this case left the body on halloween of the most fucked up year in memory and no one found out until New Years eve. This remix I did just kind of fell into place as a tribute, I had made the music track a few weeks ago and then realized his vocal from "Gazillion Ear" fit perfectly on top. I love the way it turned out. It feels like a whole new world than the original, like the sound of ascending and just wanted to share it. For me, MF DOOM is a taste thermometer. If you know, you know, if you like, I trust you. Not to say I don’t trust anyone that doesn’t (I probably don’t), but I definitely trust someone that does. Since a kid I’ve been obsessed with words and wordplay, no rules, free form, no grammar, sensical nonsense - no one to me has embodied this better. The first time I heard MF DOOM, it was The Mask and The Mouse record and it was instant, it felt like what I was always looking for, if there was a perfect music. It was hilarious, it was surreal, it was jazz, it was social commentary, it was sound collage, it was English language sonic visual art, it was insane colorful lyricism I could relate to as someone that falls asleep to common word choices, rhyme schemes, imagery. It was like finally physically walking into the universe I had in my head. I’m pretty sure “Crosshairs” has been on every playlist I’ve made for another person in the last 15 years.
I have written pages upon pages upon pages of stream of consciousness while listening to DOOM, he unlocks a key in my brain, his rhythm opens doors where suddenly you are speaking in tongues. It’s not common, music that checks all boxes, music that you want to be playing loud when driving through a city when people can judge you on 2 second increments in which you pass them by. I have a bunch of songs that are direct/indirect results of MF DOOM influence, maybe you can find them now on second listen. Anyway, this is my homage to my all-time #1 and in my opinion one of the best ever users of the english language. Thank you. R.I.P."
I have written pages upon pages upon pages of stream of consciousness while listening to DOOM, he unlocks a key in my brain, his rhythm opens doors where suddenly you are speaking in tongues. It’s not common, music that checks all boxes, music that you want to be playing loud when driving through a city when people can judge you on 2 second increments in which you pass them by. I have a bunch of songs that are direct/indirect results of MF DOOM influence, maybe you can find them now on second listen. Anyway, this is my homage to my all-time #1 and in my opinion one of the best ever users of the english language. Thank you. R.I.P."
Divide & Dissolve: "Prove It"
(via Rarely Unable / Invada)
Bandcamp — https://divideanddissolve.bandcamp.com/
Via Rarely Unable:
Multidimensional duo Divide and Dissolve share the video for “Prove It”, originally released as a stand alone single in 2019, and appearing on their forthcoming album Gas Lit (Invada, 29th Jan).
The visual expression of Divide and Dissolve’s message has varied across each of their music videos to date (revisit “We Are Really Worried About You” and “Denial”) but the intention of the music remains unchanged: to undermine and destroy the white supremacist colonial framework and to fight for Indigenous Sovereignty, Black and Indigenous Liberation, Water, Earth, and Indigenous land given back. About this latest single, Divide and Dissolve explains, “Prove It - calls into question the need to prove you experienced something. If someone wasn’t there to witness it, it still happened and may have caused harm. Colonial power structures, power dynamics, and societal expectations rely on Black, Indigenous, and people of colour being Gas Lit and denying our experiences, because the predominant white supremacist narrative demands us to. When a tree falls in the forest, it has fallen. Prove It is about the acceptance of experiences of pain without expectation.”
Divide and Dissolve members Takiaya Reed (saxophone, guitar, live effects/ (Black & Tsalagi [Cherokee]) and Sylvie Nehill (drums, live effects/ (Māori) create instrumental music that is both heavy and beautiful, classically influenced yet thrillingly contemporary, and powerfully expressive and communicative. It has the ability to speak without words, and utilises frequencies to interact with the naturally occurring resonance.
The band comment, “Sometimes we don’t need to talk in order for others to understand what’s going on. We are also communicating with our ancestors through the music. Our ancestors help us to communicate with each other on a deeper level as well. This deep connection is able to be achieved without words.”
There is an undeniable chemistry between the two musicians when interlocked in their waves of sound. The band reveals how that connection has been there since the very beginning, “When we first started playing music together we didn’t know each other very well. However in the beginning of getting to know each other we spoke of our Indigeneity and thought it was important to share about our families. This was unique and special for us to be able to share and create a cohesive infrastructure for writing our music.”
Supporting the work, and lifting the experience of talented people around them is another key aspect of the Divide and Dissolve vision. This is apparent in their collaborations with music video directors such as Amber Beaton who directed “Denial”, and Chi Chi Castillo (director) and Sepand Mashiahof (producer) who made the video for the lead single “We Are Really Worried About You”. On another new album track “Did You Have Something To Do With It” the band again enlist writer/artist Minori Sanchiz-Fung who has appeared on previous releases, to perform a compelling spoken word piece.
Gas Lit is the third full-length album from Divide and Dissolve, and first for Invada. The album is due out on all formats on 29th January.
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Here Lies Man: "Collector Of Vanities"
(Us-Them Group / RidingEasy Records)
Bandcamp — https://hereliesman.bandcamp.com/
Via Us-Them Group:
Brooklyn Vegan yesterday hosted a revealing, exclusive walkthrough of the band's influences on the new album HERE. And, Premier Guitar Magazine featured HLM's Marcos Garcia last week in their illustrious Rig Rundown series HERE.
Four albums in, the convenient and generalized catchphrase for Here Lies Man’s erudite sound — if Black Sabbath played Afrobeat — might seem a little played out. But Ritual Divination is perhaps the best rendering of the idea so far. Particularly on the Sabbath side of the equation: The guitars are heavier and more blues based than before, but the ancient rhythmic formula of the clave remains a constant.
“Musically it’s an opening up more to traditional rock elements,” says vocalist/guitarist/cofounder Marcos Garcia, who also plays guitar in 2020 Grammy-nominees Antibalas. “It’s always been our intention to explore. And, as we travelled deeper into this musical landscape, new features revealed themselves.”
The L.A. based band comprised of Antibalas members have toured relentlessly following their breakout 2017 self-titled debut. Their second album, You Will Know Nothing and an EP, Animal Noises, both followed in 2018. Third album No Ground To Walk Upon emerged in August 2019. All of them were crafted by Garcia and cofounder/drummer Geoff Mann (former Antibalas drummer and son of jazz musician Herbie Mann) in their L.A. studio between tours. Ritual Divination is their first album recorded as the full 4-piece band, including bassist JP Maramba and keyboardist Doug Organ.
Ritual Divination continues with an ongoing concept of HLM playing the soundtrack to an imaginary movie, with each song being a scene. “It’s an inward psychedelic journey, the album is the trip,” Garcia says. “The intention and purpose of the music is to create a sonic ritual to lift the veil of inner space and divine the true nature of reality.”
Likewise, musically and sonically, the album is self-reflexive. “On this album the feel changes within a song,” Garcia says. “Whereas before each song was meant to induce a trancelike state, now more of the songs have their own arc built in.” Similarly, the guitar sounds themselves herein eschew the fuzz pedals of previous recordings, going for the directness of pure amp overdrive and distortion using an interconnected rig of 4 amplifiers. And, here, the well-versed live band is able to record as a unit, giving it much more of a live and dynamic feel.
Rough Trade named the band’s self-titled debut in their prestigious Top 10 Albums of 2017. BBC 6 & Classic Rock Magazine deemed it among the year’s best, as well as countless other press outlets singing its praises. Each subsequent album furthered the band’s reputation for genre-smashing rhythmic experimentation, topping many year-end lists as well as earning features from countless metal and indie rock outlets, plus cover stories in weekly papers.
“We’re very conscious of how the rhythms service the riffs,” Garcia explains. “Tony Iommi’s (Black Sabbath) innovation was to make the riff the organizing principle of a song. We are taking that same approach but employing a different organizing principle: For Iommi it was the blues, for us it comes directly from Africa.”
Ritual Divination will be available on LP, CD and download on January 22nd, 2021 via RidingEasy Records.
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If color could communicate premonitions of feelings and introspective mental states, then the album cover of LIZZARD's Eroded would be an adequate synopsis of the current state of the world: the ochre, brown, and green feel tired, worn, drained, eroded... but the bright yellow and orange and the central white parts insinuate a statement of hope, and in that the album art couldn't be a more adequate representation of LIZZARD's music: a melting pot of invigorating riffs, heavy driven groove, and catchy vocal lines. In early 2021, Eroded comes as a strong, hopeful voice expressing the suppressed yearning for an end of this madness which we all carry inside.
LIZZARD's songwriting is often distinguished by intricate rhythmical patterns, but these are always woven into the fabric of immensely catchy song constructs. The technical prowess here is well concealed behind the glaring allure of the immediacy of raw, in your face rock music. In many ways, Eroded is a trip back to the best parts of the '90s, but in the sound of 2020.
Notes the band of "The Decline," "'The Decline' always had an instantaneous emotional impact to us. The contrast between the cynical verses and the beautiful evidence of its chorus perfectly defines the behavior of human beings in relation to their surroundings."
“Musically it’s an opening up more to traditional rock elements,” says vocalist/guitarist/cofounder Marcos Garcia, who also plays guitar in 2020 Grammy-nominees Antibalas. “It’s always been our intention to explore. And, as we travelled deeper into this musical landscape, new features revealed themselves.”
The L.A. based band comprised of Antibalas members have toured relentlessly following their breakout 2017 self-titled debut. Their second album, You Will Know Nothing and an EP, Animal Noises, both followed in 2018. Third album No Ground To Walk Upon emerged in August 2019. All of them were crafted by Garcia and cofounder/drummer Geoff Mann (former Antibalas drummer and son of jazz musician Herbie Mann) in their L.A. studio between tours. Ritual Divination is their first album recorded as the full 4-piece band, including bassist JP Maramba and keyboardist Doug Organ.
Ritual Divination continues with an ongoing concept of HLM playing the soundtrack to an imaginary movie, with each song being a scene. “It’s an inward psychedelic journey, the album is the trip,” Garcia says. “The intention and purpose of the music is to create a sonic ritual to lift the veil of inner space and divine the true nature of reality.”
Likewise, musically and sonically, the album is self-reflexive. “On this album the feel changes within a song,” Garcia says. “Whereas before each song was meant to induce a trancelike state, now more of the songs have their own arc built in.” Similarly, the guitar sounds themselves herein eschew the fuzz pedals of previous recordings, going for the directness of pure amp overdrive and distortion using an interconnected rig of 4 amplifiers. And, here, the well-versed live band is able to record as a unit, giving it much more of a live and dynamic feel.
Rough Trade named the band’s self-titled debut in their prestigious Top 10 Albums of 2017. BBC 6 & Classic Rock Magazine deemed it among the year’s best, as well as countless other press outlets singing its praises. Each subsequent album furthered the band’s reputation for genre-smashing rhythmic experimentation, topping many year-end lists as well as earning features from countless metal and indie rock outlets, plus cover stories in weekly papers.
“We’re very conscious of how the rhythms service the riffs,” Garcia explains. “Tony Iommi’s (Black Sabbath) innovation was to make the riff the organizing principle of a song. We are taking that same approach but employing a different organizing principle: For Iommi it was the blues, for us it comes directly from Africa.”
Ritual Divination will be available on LP, CD and download on January 22nd, 2021 via RidingEasy Records.
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Lizzard: "The Decline"
(via Earsplit PR / Pelagic Records)
Website — Pelagic Records
Via Earsplit PR:
French power trio LIZZARD today unveils their brand new video for "The Decline." The track comes by way of the band's new full-length, Eroded, set for release next month via Pelagic Records.
If color could communicate premonitions of feelings and introspective mental states, then the album cover of LIZZARD's Eroded would be an adequate synopsis of the current state of the world: the ochre, brown, and green feel tired, worn, drained, eroded... but the bright yellow and orange and the central white parts insinuate a statement of hope, and in that the album art couldn't be a more adequate representation of LIZZARD's music: a melting pot of invigorating riffs, heavy driven groove, and catchy vocal lines. In early 2021, Eroded comes as a strong, hopeful voice expressing the suppressed yearning for an end of this madness which we all carry inside.
LIZZARD's songwriting is often distinguished by intricate rhythmical patterns, but these are always woven into the fabric of immensely catchy song constructs. The technical prowess here is well concealed behind the glaring allure of the immediacy of raw, in your face rock music. In many ways, Eroded is a trip back to the best parts of the '90s, but in the sound of 2020.
Notes the band of "The Decline," "'The Decline' always had an instantaneous emotional impact to us. The contrast between the cynical verses and the beautiful evidence of its chorus perfectly defines the behavior of human beings in relation to their surroundings."
Captured during a long month of voluntary isolation at the legendary Castle Studios in Germany, Eroded brings the light at the end of the proverbial tunnel. "The vibe on the album is generally one of hope and an invitation to stay alert to the light within ourselves, and to keep moving towards brighter destinations." Bring on the future and for once, let it be the past, as we knew it before the pandemic.
Eroded will be released on CD, LP, and digital formats February 19th. Find preorders at
THIS LOCATION.
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"The infection is spreading
Like a field infested with insects, with pests that multiply
Unable to treat the infection, it’s becoming larger...
...We hear you say you’re concerned, that you understand
But nothing is done
State of emergency; where are the resources?
It’s all talk
Help isn’t on the way
Communities will remain under strain
Pushed to the breaking point
Everyone is scrambling to save lives
As long as you feel their lives do not matter, they will keep dying"
Fuck The Facts has once again teamed up with director David Hall, who has been making videos for each of their albums since the release of Stigmata High-Five back in 2006.
"His unique approach to making videos has always been inspiring to us and we've always given him carte blanche (just watch our video for "Everywhere Yet Nowhere''). For the "Dropping Like Flies" video Dave manages to give the viewer an uncomfortable and satirical look at the devastating opioid epidemic. Highlighting just how much this issue is not taken seriously enough." says FTF's Topon Das.
Director David Hall adds:
"The main inspiration for the video for “Dropping Like Flies” came directly from Mel’s lyrics. She eloquently sings about addiction as an epidemic and society’s response: “help isn’t on the way.” I wanted to present a vision of hopelessness, the brutal ravaging of addiction, the pervasiveness of prescription meds, the economic forces that conspire, and show some faces not commonly presented as addicts: white people, senior citizens, the middle and upper class. Addiction transcends all demographics. God sends flies to wounds he should heal. Pills rain down from heaven."
The video for "Dropping Like Flies" can be viewed via its premiere on MetalSucks HERE.
Eroded will be released on CD, LP, and digital formats February 19th. Find preorders at
THIS LOCATION.
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Fuck The Facts: "Dropping Like Flies"
(via Asher Media Relations / Metal Sucks)
Website — https://www.fuckthefacts.com/
Via AMR:
Unleashing the latest slab of their patented “bastardized” grindcore with their new album Pleine Noirceur this past November, Fuck The Facts have a new music video for the track "Dropping Like Flies". The song is a face-punching, fist-pumping smorgasbord of 90’s death metal, crust punk, and weirdness. Lyrically, the track was written by vocalist Mel Mongeon to tackle the reality of drug addiction and the opioid epidemic in certain parts of Canada pre-covid times.
"The infection is spreading
Like a field infested with insects, with pests that multiply
Unable to treat the infection, it’s becoming larger...
...We hear you say you’re concerned, that you understand
But nothing is done
State of emergency; where are the resources?
It’s all talk
Help isn’t on the way
Communities will remain under strain
Pushed to the breaking point
Everyone is scrambling to save lives
As long as you feel their lives do not matter, they will keep dying"
Fuck The Facts has once again teamed up with director David Hall, who has been making videos for each of their albums since the release of Stigmata High-Five back in 2006.
"His unique approach to making videos has always been inspiring to us and we've always given him carte blanche (just watch our video for "Everywhere Yet Nowhere''). For the "Dropping Like Flies" video Dave manages to give the viewer an uncomfortable and satirical look at the devastating opioid epidemic. Highlighting just how much this issue is not taken seriously enough." says FTF's Topon Das.
Director David Hall adds:
"The main inspiration for the video for “Dropping Like Flies” came directly from Mel’s lyrics. She eloquently sings about addiction as an epidemic and society’s response: “help isn’t on the way.” I wanted to present a vision of hopelessness, the brutal ravaging of addiction, the pervasiveness of prescription meds, the economic forces that conspire, and show some faces not commonly presented as addicts: white people, senior citizens, the middle and upper class. Addiction transcends all demographics. God sends flies to wounds he should heal. Pills rain down from heaven."
The video for "Dropping Like Flies" can be viewed via its premiere on MetalSucks HERE.
Fuck The Facts has amassed a respectable discography over the years, and the new offering of Pleine Noirceur joins the 7 LPs and 6 EPs released to date. The considerable amount of time the band has been working together shows in the natural chemistry that courses through each of the 12 tracks. Fuck The Facts comments on the album:
“We took a long break before working on this album, I feel like it’s a collection of bits and pieces; old and new, short and long. It’s us working back into the groove, just in time for a pandemic. This album also could have easily been 3 EPs, you really have to listen to the whole thing in order to fully enjoy it. It opens the door for what is next.”
Recommended for fans of Cephalic Carnage, Exhumed, and Morbid Angel, Fuck The Facts' new album Pleine Noirceur is available in several different formats listed below.
“We took a long break before working on this album, I feel like it’s a collection of bits and pieces; old and new, short and long. It’s us working back into the groove, just in time for a pandemic. This album also could have easily been 3 EPs, you really have to listen to the whole thing in order to fully enjoy it. It opens the door for what is next.”
Recommended for fans of Cephalic Carnage, Exhumed, and Morbid Angel, Fuck The Facts' new album Pleine Noirceur is available in several different formats listed below.
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Tamar Aphek: "Russian Winter"
(via Kill Rock Stars)
Website — https://killrockstars.com/collections/all/products/all-bets-are-off
Via Kill Rock Stars:
Tamar Aphek's latest single, Russian Winter, is out now, accompanied by a music video featuring UFOs and a guitar neck as a runway.
Russian Winter is off her forthcoming album, All Bets Are Off, out January 29th. Violet vinyl. Yum.
“'Russian Winter’ is my first concept music video. It was developed in few stages: first a visual translation of my personal feelings in light of the collapse of all the frameworks and creative endeavors in which I was involved before the Corona Virus, then hours of brainstorming with the director Amir Buxbaum on how to put all the ideas into the patterns of a music video, then discussing the proper shot angles with the photographer and finally diving with the animator in a symbolic ocean of images. Against the feeling that we are facing huge changes in our old and familiar world – it was necessary for me to cling to some familiar images like the cycle of the four seasons and the activities which characterize each one of them, hoping that sticking to the familiar stuff will help with moving to the unknown world. On the way to the expected new world, which might be based on new rules in personal relationships and facing the force of nature, we mixed classical images like the Birth of Venus flying on a rocket ,or Roman portraits rolling their eyes with astronauts and flying figures preparing us to travel in a spaceship, surrounded by lights of a Kaleidoscope towards an island populated by aliens and extraterrestrial presence with whom we interact to become part of, or maybe even build the new world that will expect us after the pandemic is over. The work on the video added a new dimension to my cooperation with my musical partners which was based before on an exceptional ability to listen to each other, to building an infrastructure of coordination in movements and building a new language of choreography.”
-Tamar Aphek
(via Kill Rock Stars)
Website — https://killrockstars.com/collections/all/products/all-bets-are-off
Via Kill Rock Stars:
Tamar Aphek's latest single, Russian Winter, is out now, accompanied by a music video featuring UFOs and a guitar neck as a runway.
Russian Winter is off her forthcoming album, All Bets Are Off, out January 29th. Violet vinyl. Yum.
“'Russian Winter’ is my first concept music video. It was developed in few stages: first a visual translation of my personal feelings in light of the collapse of all the frameworks and creative endeavors in which I was involved before the Corona Virus, then hours of brainstorming with the director Amir Buxbaum on how to put all the ideas into the patterns of a music video, then discussing the proper shot angles with the photographer and finally diving with the animator in a symbolic ocean of images. Against the feeling that we are facing huge changes in our old and familiar world – it was necessary for me to cling to some familiar images like the cycle of the four seasons and the activities which characterize each one of them, hoping that sticking to the familiar stuff will help with moving to the unknown world. On the way to the expected new world, which might be based on new rules in personal relationships and facing the force of nature, we mixed classical images like the Birth of Venus flying on a rocket ,or Roman portraits rolling their eyes with astronauts and flying figures preparing us to travel in a spaceship, surrounded by lights of a Kaleidoscope towards an island populated by aliens and extraterrestrial presence with whom we interact to become part of, or maybe even build the new world that will expect us after the pandemic is over. The work on the video added a new dimension to my cooperation with my musical partners which was based before on an exceptional ability to listen to each other, to building an infrastructure of coordination in movements and building a new language of choreography.”
-Tamar Aphek
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Rachika Nayar: "The Trembling of Glass"
(via Clandestine PR / NNA Tapes)
Bandcamp — https://rachika.bandcamp.com/releases
Via Clandestine PR:
Today, Brooklyn-based ambient-electronic composer Rachika Nayar (formerly Rachika S.) announced her debut full-length album, Our Hands Against The Dusk, and shared the deeply moving lead single “The Trembling of Glass.”
On the track Nayar explains: “I arranged nearly the entire song from processing one guitar progression into a bunch of different sounds—which then reveals itself in its raw form at the end of the piece from beneath the fog of all those textural mirrors. For myself, listening to it brings to mind: Nostalgia. Memory. Pulling back the veil, and the painful clarity of seeing yourself anew.”
Our Hands Against the Dusk is a kaleidoscopic release built from textured guitar loops, shimmering synthesizer crescendos, lyrical piano, and orchestral strings -- all digitally processed and threaded through multiple genres, including ambient, emo, electronic, and contemporary classical. The album’s fluid but deeply felt through-line represents Nayar’s navigation through the many musical and human communities she has been a part of as an Indian-American trans person. Written over the past four years, Nayar’s debut full-length winds through vivid personal moments -- ecstasy, ambivalence, grief, and calm -- via the composer’s protean musical voice.
Our Hands Against The Dusk will be released March 5, 2021 on cassette and digital, via NNA Tapes.
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Paul Leary: "Born Stupid"
(via Joyful Noise / Shimmy Disc)
Via Joyful Noise:
This release marks not only the return of Paul Leary, but also the return of Shimmy-Disc Records! One of the most important and formative labels of all time, Shimmy-Disc was established in 1987 by then-musician and producer Kramer. Between 1987 and 1999, Shimmy-Disc released music from a vast array of artists such as Ween, Daniel Johnston, John Zorn’s Naked City, Jad Fair, King Missile, Kramer’s own bands B.A.L.L. and Bongwater (along with his numerous collaborations with ex-Soft Machine members Daevid Allen, Hugh Hopper and Robert Wyatt), Japanese noise heroes BOREDOMS and RUINS, the inimitable Reverend Fred Lane, and even some barely-musical exercises in “fringe” theatrical absurdities like GWAR. The label knew no bounds.
In 2020, Kramer was the Artist In Residence at Joyful Noise, a project which was intended not only to shine a light on Kramer as an artist, but to re-establish Shimmy-Disc as a label. Now in 2021, Shimmy-Disc has partnered with Joyful Noise to release several records, the first of which is Paul Leary's Born Stupid.
Born Stupid will be released on February 12, and the first pressing is now available – limited to 1000 copies on "Gratuitous Red" vinyl.
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Dale Crover: "I'll Never Say"
(via Speakeasy PR / Joyful Noise)
Via Speakeasy
Jan. 7, 2021, LOS ANGELES – Dale Crover, Melvins’ drummer extraordinaire, has shared a final preview of his forthcoming sophomore solo release, Rat-A-Tat-Tat! (Jan. 15, Joyful Noise Recordings), debuting the track “I’ll Never Say”.
“I had the song done except for lyrics before I recorded it,” Crover explained in an interview with American Songwriter, who premiered the track. “I did guitar and drums first, then handed it over to Steven McDonald to play bass and I never tell Steven what to do, I just let him work his magic. My only request was he play his Hofner hollow body bass. We did vocals next, then added keyboards. Sort of the same process with Toshi (Kasai). We’ll look for a sound that fits the mood, then I’ll let him come up with a part. I maybe have a little input here or there. Pretty simple instrumentation on this song.”
Rat-A-Tat-Tat! pre-orders are available now (http://joyfulnoi.se/Rat-a-tat-tat), including a limited-edition purple vinyl variant, as well as CD and digital. “Tougher” (https://youtu.be/AhDyEa7VhNo), “I Can’t Help You There” (https://youtu.be/z71Q0ODJ0M0), “Shark Like Overbite” (https://youtu.be/oqnLVp8gC-g) and “I’ll Never Say” are included as immediate downloads with all digital pre-orders.
Dale’s solo debut album, The Fickle Finger of Fate, arrived via Joyful Noise Recordings in the Summer of 2017. Rolling Stone said the offering showcased “a melodic sensibility weaned on Sixties pop and Seventies arena rock,” Dangerous Minds described the album “surprisingly airy and trippy,” and Magnet Magazine dubbed the collection “Beach Boys-meets-fuzz rock.” Crover hails from Aberdeen, Wash. and has the distinction of having played with the town’s two most famous bands: the Melvins (he’s been a member of the band since close to its inception, joining in 1984) and Nirvana. In the intervening years he has released dozens of albums as part of the Melvins, as well as various side projects including Altamont, Shrinebuilder, Crystal Fairy and most recently becoming a permanent member of Redd Kross.
Sincerely,
Letters From A Tapehead
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