#New Noise Magazine

[thisisjoy]

[slovenlyrecordings]

Slovenly Recordings is gassed to release the second 7inch and DEBUT LP (!!!) by ANGEL FACE, a super new group featuring Fink (Teengenerate, Firestarter, Raydios), Toyozo (Fadeaways), wild woman skin basher Rayco on the pummel, and a freak who calls himself Hercules handcuffed to the mic! Our favorite new Japanese band has taken Tokyo by storm one live house party at a time, and these two limited edition vinyl slabs are already sought after by those in the know... Snag a copy of each while you can!

ORDER NOW: slovenly.com/artist/angel-face

Read more from New Noise Magazine HERE!

[damiannasworld]

"Rush! is a monster of an album with a total of 17 songs, ringing in at just under an hour long. Remarkably, each song on the album contains a message: Their music—though entertaining—exists as a confrontational force."

"The album begins with the most joyous day of one’s life, a wedding, and ends with one of the worst, a funeral. Circuitous is the perfect word to describe Rush! The entire album tells the overarching story about Måneskin’s rise to global fame, detailing the good times, the bad times, and every moment in between."

Review by New Noise Magazine

[mikeywayarchive]

Interview transcript under the cut:

PREDESTINED DUO-ELECTRIC CENTURY

PHOTO: JASON DEBIAK

INTERVIEW WITH MIKEY WAY AND DAVID DEBIAK BY ZACKARY MILLER

Electric Century-the musical duo of former My Chemical Romance bassist Mikey Way and Sleep Station and New London Fire mastermind David Debiak-released their debut album, For the Night to Control, worldwide on July 14 following a highly limited physical release of the album with Kerrang Magazine in 2016. "We've been carrying this thing for so long, now to have the opportunity to share it with everybody is a huge relief," Debiak says.

In the years since Electric Century's Inception, pop culture has again proven that there is an immense power in nostalgia, However, from the beginning, Way and Debiak planned to do nostalgia diflerently-not with a reunion or revival, but with something entirely new. For the Night to Control harks back to the Britpop and new wave music that Debiak and Way grew up loving. "When I was really young, I was drawn to the pop songs that were sad," Way says, "the ones that made you feel weird. You didn't quite know how to articulate the feelings at that age."

Way and Debiak have been friends since around the time Way first scribbled the name Electric Century in a middle school science notebook, but the two were never able to pursue music together due to Way's commitment to My Chemical Romance. When the group disbanded in 2013, the two linked up almost immediately.

Though its creation was chaotic at times, discussing the themes of addiction, death, and loss on For the Night to Control helped lead to Way's recovery and allowed him to return to the formative music of both his and Debiak's childhoods. "Every other time I tried to do something with Dave, I was in a fractured state, and now, for the first time in a long time, I'm not. It's a gift," Way says. "It seemed like the perfect time to finally share it with everybody."

"[At the time], things were fuzzy in Mikey's life-and in mine," Debiak says. "Yet, we still managed to pull something off that we can be very proud of." //////

Interview with David and Mikey, New Noise Magazine #34, 2017

Buy the magazine

[depravednotdeprived]

New Noise issue 60

[bitter69uk]

The first time I ever read about seminal New York art-noise band Sonic Youth was in Creem magazine as a teenager in the early 1980s. The accompanying photo depicted the scowling musicians posed menacingly around a car with a smashed windscreen while the article singled out singer-bassist Kim Gordon as “the scariest Youth”, noting her “Germanic voice totally devoid of femininity.” Colour me instantly fascinated! Flash forward to 2024 and – long past the dissolution of both her marriage to Sonic Youth co-founder Thurston Moore and the band itself in 2011 – the now 70-year-old Gordon remains the epitome of unassailable, ineffable deadpan cool. On her challenging and confrontational new solo album entitled The Collective, that bleached, alienated voice cited by Creem four decades ago is gloriously intact. I’m still absorbing the songs (I properly listened to it for the first time at the gym on Friday night), but on “Bye Bye” she hauntingly hisses and whispers what sounds like a “to-do” list (“Buy a suitcase, pants to the cleaner / Cigarettes for Keller / Call the vet, call the groomer, call the dog sitter / Milk thistle, calcium, high-rise, boot cut, Advil, black jeans / Blue jeans, cardigan purse, passport, pajamas, silk …”) over juddering, anxious trap beats. And on “I’m a Man”, Gordon – who’s always loved a feminist diatribe – scrutinizes toxic masculinity (“Pass me a black napkin, please / Dropped out of college, don't have a degree / And I can't get a date / It's not my fault … So what if I like the big truck? Giddy up, giddy up!”). In conclusion: Kim Gordon is absolutely slaying right now and it’s a beautiful thing. Pictured: portrait of Gordon by Danielle Neu.

[losprimeros]

the rita - magazine [NF133] | artwork by sam mckinlay

[dustedmagazine]

Maxine Funke — River Said (Disciples)

River Said by maxine funke

Maxine Funke has been making hushed and lovely songs with guitar and voice for more than a decade. Her songs are the dictionary definition of “less is more.” She strips elusive imagery to pencil-drawn simplicity. A whisper carries soft melodies over translucent lattices of acoustic picking, so that both voice and guitar nestle gently in your ear. And yet these songs are far from slight or ephemeral. They grow gnarly roots in your subconscious slyly and before you’ve really noticed it. Said Doug Mosurock in Dusted of the 2012 disc, Felt, “This is one of those records you’ll have a hard time shaking.”

This latest missive delivers the soft but faintly disturbing songs you’ve come to expect from Funke on one side and some intriguing long-form instrumental play on the other. The two halves of River Said are different but complementary, both water-pure reflections of the natural world (and an adjacent spiritual world), but in different timbres.

The song structured side starts with “Willow White,�� a murmured beauty of soft intimations and fluid picking, a serene and bucolic piece with ghosts in the shadows. “A trifle early is the spring/whisper willow whispering,” Funke intones in lucid simplicity, conjuring a riverbank world in sunshine. Yet there are darker, fairy tale elements hovering in the margins, sleepwalkers and nightmare wakers and power lines droning overhead like a beast. Beauty coexists with unsettling archetypes. Later, “River Said,” unleashes eddies and swirls of guitar sound that seem to mimic the motion of water running downhill. An elliptical sketch of a picnic takes shape. Bottles are uncorked, beer is sipped, feet are dabbled in the stream. There is something so clear and simple about the song, and yet it slips in and out of focus.

These are solitary songs, and Funke sings and performs them by herself. “Call on You,” adds an overdubbed vocal counterpart, Funke answering Funke in a delicately gorgeous call and response, “I’m gonna call,” she trills, and then, fainter, like a mountain echo, comes the reply, ���Call you.” The beauty of the songs comes in their purity and spareness, yet just this once, you see how ornamentation could fill them out and expand them.

Funke interspersed some instrumental intervals into Silk, layering keyboards and electronics and field recordings in abstract squiggles between verse-chorus songs. Here she explores similar un-song-like textures in two long tracks at the end of the album. You can almost smell the salt air in “Long Beach,” an extended meditation on surf and birdsong that Funke embellishes with subtle clicks and rattles of percussion and long crystalline organ tones that roll in and recede like the waves. “Oblivion” natters and scrapes with bowed tones, a cello apparently, but mussed and scratched to illegibility. Slowly a rhythm emerges in quick, overlapping swipes, and birds twitter, en masse, in the rafters. Funke adds some vocals in the second half of the cut, first intoning, then singing fragile lines about obsidian and sea lions. It is quite beautiful, in a shadowy, dream-haunted way, though you can never really get a firm grip on what it signifies.

Both the songs and the noise compositions have their merits—though I prefer the songs—and both distill natural energies into unruffled reflecting pools of sound. Both will calm you down, but also, if you let them, disturb you. These are gorgeous landscapes with sketched in trolls and demons in the margins, hard to see but showing their teeth.

Jennifer Kelly

[neomachine]

bro i need to hear raygun tackle those kurt cobain screams on scentless apprentice so bad

[dockaspbrak]

Have you guys ever listened to the soundtrack of Phantom Thread? Like 4 songs on that album make me want to cry. Sandalwood I in particular rn. Jfc

[slovenlyrecordings]

DESTROY ALL GONDOLAS / G​​​Ū​​​TARA KYŌ split 7" reviewed at New Noise Magazine!

"Admittedly, I had never heard of either of these bands. But when the revered label, Slovenly Records, breaks tradition with its first ever split seven-inch after 250-some releases, I—along with the rest of the world—pay attention. Venice, Italy is the obvious home of Destroy All Gondolas, led by Wasted Pido. Their track, “Death By Hamburger,” is a barrage of furious riffs and feedback with blinding speed in a psyche garage punk whirlwind. The band had an LP in 2017 and an EP in 2015. Popping up on Slovenly with a new blistering track in 2023 is sure to find the spotlight. The song is chaotic mayhem until about halfway through when it descends into a surf-laden, sparse echo chamber of a reverb-drenched headfuck.

Gutara Kyo hail from Kobe, Japan. While slightly more restrained and discernable, the psych-garage of the Japanese ‘60s modern day ferocity and hostility is appreciated in this updated sound. Gutara Kyo’s B-Side is undeniable in its severe rocking despite only exhibiting two short tracks in under three minutes. Both embrace the signature sound of Slovenly. “Revolving Hell” drives with an abrasive stomp while being energetic and boldly infectious. “Just Gotta Do It” boasts a brash, alarm like repetitive guitar line. I love the drum sound on the tracks. The guitars are caustic and loose. Two glorious tracks here."

[avomagazine]

Every week, we bring you a treasure trove of captivating music videos from lesser-known, new and intriguing Japanese artists who deserve your support! Join us on this extraordinary musical journey as we shed light on the artists who often go unnoticed but leave an unforgettable impact. We also maintain a YouTube Music playlist!

This week we highlighted music videos from:

🍙 xiexie 🍙 くしゃみ。。 (Kusyami..) 🍙 LOT SPiRiTS 🍙 Dead By Inches 🍙 Barbican Estate 🍙 Sezyo 🍙 QUINCAMPOIX

Since 2020, AVO Magazine has been publishing a list of seven music videos by Japanese artists in various music genres (from pop to rock to metal) that we think you will find interesting!

Enjoy the music!

[crewdlydrawn]

This article is gold.

“If you can’t run a company ethically, you shouldn’t run it at all,” said Reich, whose progressive views on business and inflicting psychological torment on Brennan Lee Mulligan are widely known.

GOLD.

💔

[seronefada]

The Ghost sucks at haunting.

Tim is annoyed, he moved in a new apartment. And it's hunted, he could possible deal with that, but this ghost must be the worst poltergeist in history.

He doesn't let books fly around. He usually tries to read them and gets angry. When the books get to complicated. Then he throws them.

Plus point for not throwing Tim's comic.

Does not let's plates and stuff flow around, just brings them in Tim's room when he didn't clean them.

Except for the time Tim got hurt on patrol and was really tired, the ghost did them himself.

Sometimes makes strange noise. Nothing creepy just strange. Turns out sometimes Tim just hears him play with something. Most of the time self build rockets.

Ghost doest not attack his gaming equipment. He plays with them while Tim is out. This ghost even made his own saves.

He named his save files: totally not a ghost.

He took Tim's credit card and made an subscription to a space magazine.

Tim is pretty sure that's one of the worst ghost ever. It's just a roommate who doesn't pay rent and borrows all your stuff without asking.