ISIS Farewell Tour, East Coast Dates with Cave In & the Melvins

Let's not talk about Lost. What a disappointing finale to years of fanaticism and declaring it the best show on television. Obviously, we'll have to watch it all over again...


More important is the new of Isis coming to an end. "We've seen too many bands push past the point of a dignified death," the band stated, "and we all promised one another early on in the life of the band that we would do our best to ensure Isis would never fall victim to that syndrome." There's nothing wrong with admitting that you've reached the end of your creative project. Ring leader Aaron Turner is comparable to Jacob Bannon of Converge for this visual and sonic creativity as a powerful presence and the figurehead for Isis. While the latter band is still going strong, it's highly likely that the members of Isis will reinvent themselves into something much greater. Together for the last 13 years, Isis is best known for its run with Ipecac records, which was partially founded by Mike Patton (you know who he is, c'mon). He claims that Isis was "a major part of our label's foundation." Oceanic is definitely their best record on the label.

But with the bad news there is some good, and it is that Isis will embark on a final North American tour from late May through late June. Dates below. DO NOT MISS THIS TOUR.

May 26 @ The Casbah, San Diego, CA
May 29 @ Wow Hall, Eugene, OR
May 30 @ Capitol Theatre, Olympia, WA
May 31 @ Rickshaw Theatre, Vancouver, BC
Jun 1 @ Neumo’s Seattle, WA
Jun 2 @Doug Fir Lounge, Portland, OR
Jun 4 @ Great American Music Hall, San Francisco, CA
Jun 5 @ The Troubadour, Los Angeles, CA
Jun 12 @ Bonnaroo Festival, Manchester, TN
Jun 14 @ 40 Watt Club, Athens, GA
Jun 16 @ 9:30 Club, Washington, DC
Jun 17 @ Theater Of Living Arts, Philadelphia, PA
Jun 18 @ Webster Hall New York, NY
Jun 19 @ Music Hall Of Williamsburg, Brooklyn, NY
Jun 20 @ Paradise Rock Club, Boston, MA
Jun 21 @ Paradise Rock Club, Boston, MA
Jun 22 @ Port City Music Hall, Portland, ME
Jun 23 @ Club Soda, Montreal, Quebec

Sepalcure Take the Cake @ Dub War NYC, Release on Hot Flush

photo by Seze Devres

Sepalcure played the Bass Mutations gig at New York's Unsound Festival, and to be quite honest it came and went for me. There was something that I didn't quite get about the two Brooklyn musicians until last night when they made their Dub War debut. While both crowds were the two best you could legitimately ask for in a six-month period, the harmony between club Love's pure soundsystem, a midnight time slot and the perfection of their set after many hard months working on their upcoming Hot Flush release all came together in tune.

'Love Pressure' is an EP that shows the softer side of Hot Flush, a predominantly dubstep label run by Scuba and Alex Incyde. Saturated with female vocals in a sort of classic house music fashion, the rolling bass lines are a blanket of punches to keep you swaying back and forth. "It's unreal that anyone could be this good," was exclaimed within my crew, and I couldn't agree more. The ingredients include a unique blend of tribal dub, two-step and soulful rhythms peppered with their love for 90s house a cappellas.

And character goes a long way. Take Praveen Sharma, one half of the duo. He helps run Percussion Lab, and absorbs music like a sponge, but also has one of the warmest and most inviting personalities in the scene. Always positive, he is by far the most enthusiastic performer you will ever see behind the decks, and the chemistry between him and Travis Stewart (Machinedrum), his musical partner-in-crime, is all part of the force that moves you.

"Every Day of My Life" and the EP's title track are bouncy and fun, and closing track "The Warning" is gorgeous and goosebump-inducing. It's some of the most emotive bass-heavy music you'll ever hear, and whether or not it carves out a new subgenre from hereon in, 'Love Pressure' will definitely stand out on its own.

HF025 will be available June 7th 2010 on 12” vinyl, and digitally at Beatport.

Added // a comment from Matty Steppo, a Providence dubstep DJ: "That was the best hour of electronic music I've seen live for a while."

This Will Destroy You : New Song + Headlining Tour

It is with great pleasure to announce that not only is there a free mp3 available of the new This Will Destroy You track, "Communal Blood," but the Texan four-piece band is headed out on the road soon in a headlining slot. It's been two long years since I last saw them perform in a tiny venue at SXSW, and the performance has never wandered far from the forefront of my memories. TWDY's drummer was after referred to as "a human hammer" by myself and accompanying friend, and the set itself was comparable to Explosions In the Sky and Godspeed's finest moments.

A must-see tour. The band will have a limited pressing (500) of "Communal Blood" on vinyl, and the new full-length, Tunnel Blanket, will be out on...ahh, I have no idea. Will edit when I find out.

Listen: This Will Destroy You - "Communal Blood"

05/26 DENTON, TX @ The Boiler Room
05/27 AUSTIN, TX @ The Mohawk
05/28 SHREVEPORT, LA @Silver Lake Ballroom
05/29 BIRMINGHAM, AL @ Bottletree
05/30 TAMPA, FL @ New World Brewery
06/01 JACKSONVILLE, FL @ Jack Rabbit’s
06/02 ATLANTA, GA @ The Drunken Unicorn
06/03 NEWPORT, KY @ Southgate House
06/04 CHICAGO, IL @ Lincoln Hall
06/05 TORONTO, ON @ Rivoli Cabaret
06/06 MONTREAL, QC @ Petit Campus
06/07 ALISTON, MA @ Great Scott
06/08 BROOKLYN, NY @ Knitting Factory
06/09 NEW YORK, NY @ Mercury Lounge
06/10 WASHINGTON, DC @ DC9
06/11 PHILADELPHIA, PA @ Kung Fu Necktie
06/12 CHARLOTTESVILLE, VA @ Random Row Books
06/13 CHAPEL HILL, NC @ Local 506
06/15 CHARLESTON, SC @ The Oasis
06/16 KNOXVILLE, TN @ Pilot Light
06/17 NASHVILLE, TN @ The End
06/18 NEW ORLEANS, LA @ Saturn Bar
06/19 HOUSTON, TX @ Mango’s

ArpLine @ Death By Audio // 04.22.10

It's been far too long since I've gone to a show to see a band on recommendation in a raw, DIY space that isn't overcrowded with people who've read about the next big thing in Time Out NY. I hardly use MySpace anymore to check out bands because that website consistently fails to stream properly anymore, but it worked enough to give me a taste of ArpLine's sound. Lately, it's hardly bothered me when a band reminds me of those that came before, and there were reminiscent moments of Arcade Fire, the Beatles and the Killers under vocals that wavered between Jack White, Lou Reed and Peter Murphy.

I must have listened to Travel Book, the band's debut, at least 6 times that day before going to Death By Audio. I was completely sucked in and almost shocked by how fast I took to this band and agreed, whole-heartedly, with the press release's comment that the music would fit in perfectly with a John Hughes film were he still alive and active today.

This band could be huge by the time CMJ rolls around, and while I can see them sonically filling out a big venue it was a full pleasure in the concrete confines of S 2nd + Kent. Originally called the Kiss Off, this Brooklyn band has been making waves in everything from KEXP to Brooklyn Vegan. Though the whole album works great in its entirety, "Parts Unknown" is definitely one of their stronger tracks and I highly recommend checking them out if they're playing again in Brooklyn soon.

Download: ArpLine - "Parts Unknown"
Website: ArpLine

Black Rebel Motorcycle Club @ Webster Hall // 04.08.10

Where do I even begin? The word of summation is disappointment. I wasn't expecting the religious experience that BRMC played that night at the Warsaw in on June 2, 2002. That night was, actually, a "make good" for their unexpectedly cut-off set opening for Spiritualized at the Beacon Theater just a few weeks prior. (To this day, I still have a solid story that leaves me convinced that that their tardiness and that subsequent gig in Brooklyn was my "fault." That is a whole other story...long live the Butterfly Effect!) They'd gone through their entire debut album on Virgin and were still getting used to being adored for having only one release. They were darker than the White Stripes and heavier than the Strokes; better than both...combined...if you asked me.

Last night's performance at Webster Hall had been sold out for weeks, and despite the early timeslot (Rebel were set to go on at 8:30pm, mostly because WH has to clear out in time for their club night), I had a feeling the performance was going to overcome any sort of obstacle. There were issues with us getting in, and I was feeling ill to begin with. The music should have persevered but instead there were unavoidable things that ticked me off. Happy to have heard a transformation in the band from bringing on a new drummer - and a female one, to boot - the older songs fell flat. We walked in on "Red Eyes" and tears, which is perhaps the only BRMC song that cannot sound incredible, but even "Whatever Happened To My Rock 'n Roll" and "Love Burns" - especially, "Love Burns" - lacked enthusiasm from any member.

Of course, "It Ain't Easy" was played since it was not only a single but considered their most memorable song from 2006's 'Howl,' right? I don't know. People bitch and moan about how they went too far up Johnny Cash's ass on that one, but I think the slower, gospel choir-invoking songs with Jesus' name appearing more than once in the lyrics are its best moments. BRMC played at Boston's Avalon (R.I.P.) in 2006 and they played almost everything off of that record with Rob Levon Been spending at least 80% of the set on his black upright piano. This time around, it felt as though the big black box was only on stage for show. And in regards to the new album, well, "Beat the Devil's Tattoo" and "Aya" are its best songs. The first went off well, but it's the album's opener and they have a knack for kicking it off strong. "Aya," though, with its most transcendent chorus, came off boring, only to revive the crowd after enveloping us in their most soulful performance...a cover. Granted, it was Elvis' "Love Me Tender," but really?

My friend commented that the band seemed more enthusiastic than when he'd last seen him, but it's worth mentioning that this was at the House of Blues in Orlando during the 'Howl' tour and it was an opening set for Kings of Leon fans. "...and Kings of Leon fans really SUCK," I added. In a venue that holds 1,000, of course they'd be miserable playing to 30. This was different. We discussed it after and ultimately decided that their special rock 'n roll spirit that captivated us almost a decade ago has been waning progressively over the years. I've gone to see the band play every tour through the Northeast without question, but after last night, I may have had my final fill. I'm a long-time fan and a music writer, sure, but last night I was just an audience member soaking in the atmosphere around me and all of its elements. "It seems like with each tour they just get more and more boring," my friend said, "I don't get it."

Neither do I, but I can only assume that I should keep those fond memories of that exceptionally spiritual experience with the band some eight years ago and call it a day. Sad but true.

The Exotic Appetizer: Unsound With Vladislav Delay & Sebastian Meissner

Sebastian Meissner

It'd be no surprise to say, two weeks from now, that the New York installment of Poland's Unsound Festival blew my mind. But the fact is that it already did so tonight, and in such an unconventional manner, comes as a shock. Month after month, the Bunker parties as well as my few but favorably attended Wordless Music events have consistently impressed and enlightened me. Unsound's opening reception - featuring Vladislav Delay + visual artist Lillevan as well as Sebastian Meissner leading the Kwartludium quartet - was a deconstruction of established ideas, and left my American mindset feeling completely mindfucked. While it was happening, I couldn't understand, but as both performances came to an end and a few discussions were had, the mission to blow apart expectation, regimentation and perception was coming in to focus.

Sebastian Meissner's conduction of a four musicians set against a handful of SST classics was far from a cover band. In all honestly, I went into the event believing I had no preconceived notions about how this "modern classical interpretation" was going to unravel. I was wrong...I think. I had expected, perhaps, to hear as much as one riff or one famous vocal line translated through the violin or piano atop a dubby whirl of live samples and loops, but it wasn't the case. This was not an ambient filtering of punk, but a complete deconstruction (there's that word again) of some of the simplest sonic structures. It was best commented on after the event by a friend, who acknowledged the difference between a city of, say, New York and those that make up the cultural backgrounds of Unsound's Eastern European lineup. Poland. Romania. Belarus. Ukraine... These countries are vast and far more ancient than most of North America's development, and their cities and roads were developed on anything but a grid system.

One other amazing comparison made by such friend was that of going to a fine restaurant and trying something new. The chef takes one exotic element and piles one or two other exotic elements on top, but it's so small and you taste it and in an instant it's over and you say, "Well, what the hell was that?!" After about seven or eight courses, though, you begin to understand the purpose of that first course in the big picture, and it all ties together and harmonizes the palette somehow. Ultimately, this could be the genius that lies ahead at the close of the Unsound Festival...let's see.

Unsound Festival Debuts In New York TODAY

My anticipation for the Unsound Festival's premiere in New York has been relatively short, but more intense than any Christmas morning I have ever looked forward to. During the next 10 days, areas of New York City will be saturated with some of the most experimental music in the truest sense of the word. Both Ronin of Wordless Music and Bryan Beyond/The Bunker are two of the handful of talented, significant promoters in America, and they've all paired up with festival founder Mat Schulz, whose been in town planning this massive feat.

"After seven editions in its native Kraków, Poland, Unsound Festival comes to New York for its USA debut. Stationing itself across several venues throughout Manhattan and Brooklyn, this bold, uniquely modern program of music will take in everything from classical music to post-rock, electronica to noise and beyond.

Eastern Promise a cornerstone of the festival will expose a broad range of artists from Poland, Romania, Ukraine and Belarus. The Unsound Warhol series features events dedicated to and inspired by Andy Warhol. Additionally the festival includes a kids-only workshop in electronic music, two "Silence & Noise" nights devoted to post-rock, noise and drone, a Brooklyn electronic music showcase, two Bunker nights featuring the very best in contemporary techno/house and a special Bass Mutations showcase dedicated to dubstep & its variations. Both Festival weekends will also include panels and workshops."

For the most comprehensive breakdown of the festival, please visit its press page at Backspin Promotions.

Artists include: 2562 (Netherlands), ACME (USA), Pavel Ambiont (Belarus), Vince Aletti (USA), Borne (USA), Blondes (USA), Kabir Carter (USA), Eric Cloutier (USA), Carl Craig (USA), Marcin Czubala (Poland), David Daniell (USA), Vladislav Delay (Finland), Ensemble LPR (USA), Falty DL (USA), Groupshow (Jan Jelinek, Andrew Pekler, Hanno Leichtmann) (Germany), Tim Hecker (Canada), Luke Hess (USA), Ezekiel Honig (USA), Mike Huckaby (USA), Petre Inspirescu (Romania), Jacaszek (Poland), Jan Jelinek (Germany), Kadebostan (Germany), Alexander Kaline (USA), Konque (USA), Kwartludium (Poland), Legowelt (Netherlands), Hanno Leichtmann (Germany), Alan Licht (USA), Lillevan (Germany), Sebastian Meissner (Germany), Moritz Von Oswald Trio (Germany), Mountains (USA), Nadja (Canada), Neurotic Drum Band (USA), Newworldaquarium (Netherlands), nsi. (Germany), Joshua Ott (USA), Andrew Pekler (Germany), Tristian Perich (USA), Derek Plaslaiko (USA), Pole (Germany), Barbara Preisinger (Germany), Dave Q (USA), DJ Qu (USA), Radian (Austria), Lee Renaldo (USA), Simon Reynolds (USA), Patrick Russell (USA), Sawako (USA / Japan), Anthony “Shake” Shakir (USA), Sepalcure (USA), Michael J. Schumacher (USA), Mike Servito (USA), Jacek Sienkiewicz (Poland), Spinoza (USA), Asa Stjerna (Sweden), Morton Subotnick (USA), Tape (Sweden), Tobias. (Germany), TRG (Romania), Untold (UK), Levon Vincent (USA), Xavier Van Wersch (Netherlands), Bora Yoon (USA), Zavoloka (Ukraine) and Zenial (Poland)

Head over to Halcyon's digital shop, to download a free compilation featuring artists performing at Unsound from February 4th - February 14th.

The Bronxxx Deliver Their Rock Liturgy

We were going to use our own photo for this, which even has a hand w/ digicam nearly blocking the view of the band, we just couldn't pass up the epic staff shot from the CMJ blog. Needing a break from techno, the Solid PR CMJ showcase was, by far, the best way to kick off our return to New York for the marathon. The Bronx didn't take the stage at Fontana's until after 1am. Every minute was worth the wait as the basement turned into an offensive pit of energy and catharsis. There's a bruise on one of our lips and the dirty-ass sneakers to prove it.

Being in this environment is being alive if you're meant for it, and for some it's similar to churchgrounds for those that seek escape through means other than drugs. The music and the rush is a drug, and The Bronx delivered - just as they had at least five years ago - to turn a room into a chaotic frenzy of punk rock. Pulling one by one from their first full-length, it proves that LP is the stuff of legends, and even after their other releases their live set trumps all other efforts when it comes to stirring a crowd up and giving them exactly what they came for.

MySpace: The Bronxxx