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Treat Em Right

Treat Em Right (Boards of Canada Remix)

Treat Em Right (Boards of Canada Remix Instrumental)

After a 31-year career in music with the Melvins, which has born over 30 albums of studio and live material, dozens of limited and highly limited 12-inch, 10-inch, and 7-inch records, and north of 2000 live performances why is he going acoustic now?

Because it actually makes sense.

After all, Buzz has written the vast majority of the Melvins’ songs with a fair amount of them originally written on an acoustic guitar and then simply transferred to electric. "I recorded most of This Machine Kills Artists with my red white and blue Buck Owens American acoustic. It's a great guitar and is pretty much irreplaceable so it's staying home for tours. It's too bad really. Maybe I can paint the Chinese one I use live red white and blue! Ha!"

This Machine Kills Artists is an authentically acoustic album with no electric guitars, amplifiers or direct boxes used during the 17-track release’s recording.  Buzz’s live performance, previewed in a brief March tour, is equally raw, with the legendary singer/guitar player armed with only his guitar and his quirky-yet-captivating stories.

"I have no interest in sounding like a crappy version of James Taylor or a half assed version of Woody Guthrie,” explained Buzz.  “Which is what happens when almost every rock and roller straps on an acoustic guitar. No thanks... This Machine Kills Artists is a different kind of animal."  This Machine Kills Artists isn’t merely Melvins Lite (hey, there already is a Melvins Lite!), instead the album offers a surprising new side to the grunge progenitor, songs when offered naked further highlight what a powerful songwriter the Melvins’ front man is.

Along with the new album Buzz will be hitting the road on a giant tour that will take him all the way around the world! The tour itself will begin in the U.S. with a multi-month outing before winding it’s way throughout the globe. The songs on This Machine Kills Artists were written to be performed live and that's exactly what Buzz plans on doing.

It's all about digging it out of the dirt...

The more you work the luckier you get...


05 Vaulting Over A Microphone

Production and Arrangements: Tilian Pearson

Vocals: Tilian Pearson, Kiersten Lief, Sofia Sweet

Happy Christmas War Is Over (cover)

The self-titled debut for the trans-Atlantic project Split Cranium was a ferocious homage to Nordic d-beat masters like Terveet Kädet and Anti Cimex. The album’s no-frills barrage of charged hardcore might have been a little orthodox in its blitzkrieg riffage, stampeding pace, and gravel-throated ire, but its straightforward approach was an unexpected departure for bandmasters Aaron Turner and Jussi Lehtisalo. While Turner has hinted at an affinity for crust classics in the base misanthropy of Old Man Gloom and Lehtisalo toyed with peace punk aesthetics on Circle albums like Panic, neither musician has ever done such a faithful approximation of a pre-existing sound. But for two artists with extensive catalogs of challenging and groundbreaking music to take a stab at working within an established framework was, in its own way, an exhilarating middle finger.

Six years later, Split Cranium returns with their sophomore album I’m The Devil and I’m Okay. Turner and Lehtisalo waste no time establishing their new mission statement, opening the album with Popol Vuh-inspired keyboards by Faith Coloccia (Mamiffer, Mara) that saturate the ruthless reinterpretation of the Discharge template on “Evil Hands”. The contrasting breaths of sublime ambience serve to highlight the savagery abetted by bassist Nate Newton (Converge, Doomriders, Old Man Gloom) and Tomi Leppänen (Circle, K-X-P), making I’m The Devil and I’m Okay simultaneously more sonically rounded and more visceral and vicious. “We wanted to make a record that was less straightforward than the first one,” Turner says of their method. “Jussi loves melody and I love dissonance and noise, so that is probably the healthy creative contrast that made this record what it is.”

While Split Cranium continues to be driven by the blazing guitar malaise of Lehtisalo and the harrowing bellows of Turner, the melodic counterpoint provided by Newton on “Wet Shadow”, the ethereal vocals summoned by Coloccia on “Ingurgitated Liquids” and “Death Bed – The Yellow Room”, and the squalls of white noise on “Whirling Dusk” are a but a few of the components that knock I’m The Devil and I’m Okay off the axis of traditional d-beat hardcore. The strongest records in the anarcho-punk canon have figured out ways to inject melody or push extremes without diffusing their punch or diminishing their hooks. Split Cranium retains the principal components of speed and vitriol while expanding their frequency spectrum into realms of both beauty and sheer ugliness, making I’m The Devil and I’m Okay a white-knuckle headfuck in a realm of sterile imitations.

iTunes

Split Cranium - Evil Hands

Spotlights, the Brooklyn-based trio who released their Ipecac debut, Seismic, late last year, return with Hanging By Faith, a five-song EP featuring remixes from Void Manes and ISIS/Palms’ Aaron Harris.
 
The band is streaming the song “The Hanging (Hang Us All) Kris Dirksen Remix,” which can be heard here: http://smarturl.it/HangingByFaith. Pre-orders for the collection are available at the same link and include an instant download of “The Hanging (Hang Us All) Kris Dirksen Remix.” The fifth song on the album, “Faith,” is a cover of The Cure classic.

Spotlights venture overseas for a 15-date European tour later this month, with the trek including the outfit’s debut Roadburn performance. The band plays a hometown, record release show at Brooklyn’s St. Vitus on June 30. Toby Driver (Kayo Dot) and Somnuri open.  
 
Tour dates:
 
April 20  Munster, Germany  Gleis22
April 21  Liège, Belgium  Kultura/Insert Name Festival #4
April 22  Tilburg, The Netherlands  Roadburn Festival
April 24  Hamburg, Germany  Molotow
April 25  Copenhagen, Denmark  KB18
April 26  Dresden, Germany  Katy’s Garage
April 28  Graz, Austria  PPC
April 29  Wien, Austria  Arena
April 30  Cadca, Slovakia  Acafe
May 1  Budapest, Hungary  Robot
May 2  Cluj-Napoca, Romania  Form Space
May 3  Timisoara, Romania  Reflector
May 4  Zagreb, Croatia  Klub Mochvara
May 5  Luzern, Switzerland  Neubad-Keller
May 8  Bern, Switzerland  Rossli
 
June 30  Brooklyn, NY  St. Vitus Bar

Hanging By Faith

The Hanging (Hang us all) Kris Dirksen Remix

Einstürzende Neubauten - Stella Maris

Porcelain And The Tramps - Gasoline

Black Sabbath "God Is Dead?"

Ipecac Recordings is the brainchild of Greg Werckman (former label manager for the legendary punk label, Alternative Tentacles, employee for Mercury Records for a record 15 minutes, currently operating Pick-A-Winner Management) and Mike Patton (former frontman for Faith No More, Mr. Bungle, currently of Fantômas, Tomahawk, Peeping Tom).

Werckman and Patton had been scheming for years (in between video games) about starting their very own label, waiting for just the right moment to unleash their master plan. Ipecac Recordings is not about to make music biz history and execute a revolution (although one is surely needed) or bore you by waxing poetic about their original musical philosophies. But if we have to adhere to a "mission statement," how about the notion of being an honest, artist friendly label run on a shoe string with no outrageous promotional or production costs. This label is a home to Mike Patton's eclectic musical collaborations as well as a place where bands we admire have the freedom to release music they might not be able to, or want to, release on other labels.

05 Vaulting Over A Microphone

Ipecacrecordings

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