Couch Slut, “My Life as a Woman”

Punishing noise-rock drenched in fuzz, with a little tip of the hat to some metals, some hardcore and all that furious sex danger love action the kids love so goddamned much. 

Couch Slut are a five-piece hailing from New York City, hailed by L-Magazine as “Best New Heaviness” in their 2014 best-of-Brooklyn awards.  Noted for their scathing, bowel-rattling, anxiety-inducing live performances, Couch Slut are a band that has finally embraced the angular, dissonant and emotional deluge of late 80s/early 90s noise rock and indie bands (ie Am Rep, Butthole Surfers, early Dino Jr) and fused it with the power, aggression and darkness of non traditional metal and hardcore.  

“My Life as a Woman,” Couch Slut’s debut album, due Oct 6th on Handshake Inc., is a six-track odyssey of noise, death and trouble – masterfully pounded to hell and back, serenaded and spit upon, kicked in the face and left smiling, revenge blood pooling in your busted spleen.  Featuring provocative, not-safe-for-facebook, artwork by world renowned Brazilian smut artist Leandro De Cotis Perfect for: modern living, awkward trips to the bathroom, getting wasted. 


05 Rape Kit 1

04 Carpet Farmer 1

03 Replacement Addiction 1

02 Lust Chamber 1

01 Little Girl Things 1

Composed by Mick Barr for the film of the same name, "Mother Satan Don't Turn Out The Light,' is an eleven minute modern piece for 12-string banjo and violin.  Recorded by Colin Marston. 

performers: Mick Barr, 12-string banjo, Caley Monahon-Ward, Violin. 

Purchase the song and the film at handshakeinc.com

Mother Satan Don't Turn Out The Light

Sun Invert, from the self titled cassette by Arkansas' Ash of Cedars. Southern Gothic Black Metal from the heart of nature's soul. 

Crooked nature in all its suffocating glory cracks and snaps in the fire, spreads like ink above, and slithers, crawls and slinks with the low grass, the grubs, and the black-red floor of the night forest. Starving eyes encircle the dry camp in the dark, drawn to brother fire. The heat, the unlight and sound, forms. An ancient path in pain, face down in the coals, bloodrock, leading to the shallow underneath. Under the ground. The bottoms of caskets like queer, dark panels. Loamy too tight tunnels, barriers of bone, the old trip through cobwebs, briar, nails backwards broken. The anti-journey, the non-destination. Disintegration of flesh, dried and cracked blood, maggotpath. To scream to escape but the lungs are compacted with black, wormwood and earth. The asterisms are inversed. The stars, the Crux, are black. 

Hailing from Little Rock, Arkansas, Ash of Cedars play Southern Gothic Black Metal inspired by the untamed landscape and mysticism of the American South. One foot in a Faulkner novel, the other in old Weakling and Darkthrone records, Ash of Cedars' debut EP, is no-frills black metal that eschews politics and image, instead, seeking inspiration from the black, wooded night that surrounds them. 

Featuring members of Vore, Snakedriver, Epoch of Unlight and Rwake.

Sun Invert - Ash of Cedars

“Life’s nothing like the way I knew it…Mid-life feels more like being half dead.”
 
So howls to the sky Dan Alex Riviera on Twin Lords' debut album,  "Devastating Planetary Shift," and I think it's safe to say he speaks for all of us.  An unnamed character's lament.  He is Jung’s Modern Man in Search of a Soul, he is the shaved-ape, cursed with consciousness; the secret, kind soul, shat upon since birth; the passenger, traversing dusty and dirty alleyways, pocket-knife at the ready - to defend and to kill those who wish to trample on him, and take what is his, and laugh at his misfortune and ignore his beautiful and curious nature.  He is me and you and we have had enough. 
 
Such is the lyrical and spiritual content of New York’s Twin Lords debut album “Devastating Planetary Shift.”  A forty-minute odyssey of gonzo, insatiable riffs, thunderous, progressive melodies and blast-beaten, janked-out anthems that ache to be cranked up as loud as your face-piece can handle.  Urgent, and furious.  To the death.  
 
One part Lightening Bolt, one part Nomeansno, and one part Bastard Noise, Twin Lords play a punishing mix of swirling, melodic, progressive, heavy-as-hell metal rooted in insane bass riffs and blast-off drumming.  The music is beautifully weird, wonderful, infectious and totally fresh – a welcome sonic salve for fans of original, extreme music that speaks to the human condition.

Handshake Inc

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