Wherever the Internet Goes, Sorrow Follows

WithGuitars January 2019 Soundcloud playlist

Force Field PR Jan. / Feb. 2019 Playlist

terror street

Written and performed by LUMER. 
Recorded and mixed by Tom Goodall. 
Produced by LUMER and Tom Goodall.
Mastered by Pete Maher.

Burn / Bleed

Our Dreams Trundle Beyond The Hilltops

Two Particle Beams Collided

Take Me To The Beginning Of Time

Bestiaries Of The Middle Ages

A Medication List

Made Up

Dan Francia's full length solo debut "Come Back To Life" is out January 25 via Exploding In Sound Records.

Dan Francia - Stereotype

This Is Not The End out February 1st on By The Time It Gets Dark on CD / LP / DL. Pre-order here: radi.al/SpielbergsTINTE

Spielbergs are:

Mads Baklien (guitar, vocals, synth)
Stian Brennskag (bass)
Christian Løvhaug (drums)

UK dates:

11.02.19 – Jimmy’s - Manchester 
12.02.19 – The Garage (Attic Bar) - Glasgow
13.02.19 – Think Tank? Underground - Newcastle
14.02.19 – Sunflower Lounge - Birmingham 
15.02.19 – Shacklewell Arms - London

Band To Watch feature at Stereogum: 
www.stereogum.com/1992834/band-to-…hises/interview/

The Guardian "Ones To Watch" 2019

#1 in the Artist Chart on Hype Machine x 2

“‘We Are All Going To Die’ is the perfect introduction to the trio – with clattering rhythms and razor-sharp riffs combining for a devastating listen.” - NME

“Big, heart-on-sleeve guitar-rock with a go-for-broke anthemic intensity… “We Are All Going To Die” will have you either tearing up, punching the sky, or both.” - Stereogum

“Fans of fuzzy, propulsive cathartic jams, are about to have a new favourite band.” – Kerrang!

“Pummelling yet melodic guitars batter you round the heart with nary a pause for breath… Full of huge, lung-busting, shouting-into-the-wind vocals and relentless drums, guitars and everything else, cheerily-titled new single ‘We Are All Going To Die’ shows little concern for restraint.” - DIY

"We Are All Going To Die" is encased in a relentless soundscape of drums and guitars, owing its all-encompassing musicianship to shoegaze that is underpinned by a distinctly emo heart.” - The Line of Best Fit

“A roller coaster ride of rollicking riffs, descending and ascending with a luminous fury and friskiness, before delivering us back home again safe and sound, but breathless.” - The 405

“Guitars drill down at all angles, while the pummelling percussion sounds like a cement mixer trying to chew up a steel beam.” - CLASH

“It offers the kind of swaggering, punch-drunk escapism we used to spend all our time wishing for in our teenage years, while making it feel utterly achievable even now we’re much older and far more cynical.” – Gold Flake Paint

“Harnessing the sun-kissed escapism of road-trip-rock acts like Japandroids and Cloud Nothings, their pessimistic streak is cast aside be searing riffs and an urgency most lo-fi groups could do well to glean from.” - AnotherMan

“One of the most exciting bands of 2018.” – The i Paper

Spielbergs - Five On It

The Bride

"Mirror" is the title track from our debut LP to be released February 1, 2019.  
Preorder the record on 2xLP Double Vinyl at balms.bandcamp.com

Balms are Jared Padovani, Michael Ascunsion, and John Kolesnikow • Written by Balms • Recorded by Jack Shirley at The Atomic Garden, East Palo Alto, CA • Mixed by Justin Gerrish at Hook & Fade Studios, Brooklyn, NY • Mastered by Justin Weiss at Trakworx, San Francisco, CA • Art by John Kolesnikow

Mirror

━━━━━━━━☆ʙʀᴜɪsᴇs ᴀɴᴅ sᴀᴛɪɴ☆━━━━━━━━
here we are 
here we go 
can we do this
i'm not sure

bruises and satin 
and spiderwebs to catch him

you make me feel like i'd be happy if i tried
you make me want to put some effort in my life 

too much of my time
too much of my life
writing songs for people
while the stars fall from the sky
i hate it when i cry 
you said you didn't mind
you hold me and i fight back 
all the tears that fill my eyes

i'm so sorry
i'm so sorry
i'm so sorry 
that i 
i'm so sorry
i'm so sorry
i'm so sorry 
started crying 
started crying 
started crying 

[bruises and satin
and spiderwebs to catch him]

you make me feel like i'd be happy if i tried
you make me want to put some effort in my life

i'm so sorry 
i'm so sorry
i'm so sorry 
that i 
i'm so sorry 
i'm so sorry
i'm so sorry

bruises and satin

━━━━━━━━☆ɢʟᴏʀɪᴏᴜs ᴅɪsᴀsᴛᴇʀ☆━━━━━━━━
by this time next year
you'll be wanting to forget about me
can i make this clear
you know nothing, nothing about me

i always jump the gun
at least i'm having fun
i always jump the gun

you lay your head 
on my chest and
you hear the things
i haven't said yet
you cleaned my scars
and touched my stitches
tear me apart
that's what my wish is

i still regret the way i kissed you
addicted to the thought of rescue
but i was just, a flightless dove
a vision of, my tortured virtue

[i am a glorious disaster
poison, your heart is beating faster]

i wanna hear 
all the things that you're thinking about me
you told me dear
 you don't know what to do now without me

i always jump the gun
at least i'm havin fun
i always jump the gun 

you love me cause you wanna fix me
your labyrinth, your greatest mystery
it's written in my family history
please sign right here to indicate you're missing me

[i am a glorious disaster
poison, your heart is beating faster]

glorious disaster

━━━━━━━━☆ғᴏʀɢᴇᴛ ᴍᴇ ɴᴏᴛ☆━━━━━━━━
if you saw the way 
i tried to save myself so i could swim
if i had a guess its probably best 
if you dont let me in

i'm so tired of the people 
who just tell me to relax
if i had to guess its probably best
for you to check the facts

and if you know it can be hard to forget
it's been three years and i still haven't slept

[forget me
forget me not
you left me 
you left me to rot
forget me 
forget me not yet]

i wish that i could flip a switch
or take a pill to make it better
you say that it can't rain forever
but i'm fucking tired of this weather

one of these days they say
that i will wake up
this is just a phase
if i could guess you're just upset
you can't have everything your way

and if you know it can be hard to forget
it's been three years and i still haven't slept

[forget me
forget me not
you left me 
you left me to rot
forget me 
forget me not yet]

i don't think i'll ever learn my lesson
you ignore the facts 
so i'm still second guessing

forget me not

━━━━━━━━☆ᴅᴀʏ ʙʏ ᴅᴀʏ/ʙᴏx ᴏғ ᴄᴀʀᴅs☆━━━━━━━━
i stole a pocketwatch 
from the last place 
that i saw your face
i stole a box of cards
from that corner store 
where we used to say

i'm tired of this rundown
i feel like everything
just starts to feel the same

[day by day]

i freeze up when you talk
and i don't know what i should say
i tried to impress you 
and that's the price i have to pay

i'm tired of this rundown
i feel like everything
just starts to feel the same

[day by day
it's never gunna change]

day by day/box of cards

Out June 15th 2019 on Maple Death Records and Cut Surface

Info & Pre-Order: http://www.mapledeathrecords.com/releases/mdr031/

Grotto Terrazza - Cyprian Skit

SW029 - Treeboy & Arc - Concept

'Automat' (Release date: July 12, 2019)

Spotify: https://u.subpop.com/2DyWWFK
Apple: https://u.subpop.com/2L5GSla
Order Now - Sub Pop Mega Mart https://megamart.subpop.com/releases/metz/automat


METZ: http://www.metzztem.com/
Twitter: https://twitter.com/METZtheband
Facebook: http://www.facebook.com/metz
Instagram: www.instagram.com/metz_theband
On Tour: http://www.subpop.com/tours/metz

Sub Pop Records: http://www.subpop.com
Twitter: https://twitter.com/subpop
Facebook: https://www.facebook.com/subpoprecords
SoundCloud: http://soundcloud.com/subpop
Mega Mart: https://megamart.subpop.com/

METZ - Pure Auto

From Original Sin LP/CD

Make your purchase: https://othervoicesrecords.bandcamp.com/album/original-sin-an-anthology-of-the-early-years-vox-46-cd

Original Sin

Altar De Fey - You Do Not Scare Me (1985 Demo)

Justin Randel is Reaches, an artist exploring the potentialities and possibilities for twisting the electronic communalism of dance music through his own framework of introspective, soul-searching lyricism and songcraft.  His second record, Wherever the Internet Goes, Sorrow Follows, out _____ continues his investigation of the voice and vision of the project, following up on his record I Am Alive and Well.

Randel’s a born road dog, traveling and performing under both his Reaches project and other various monikers over the past decade, spanning three continents and 19 countries in the last few years.  He’s the kind of performer who comes off tour talking about his next jaunt, and those years traveling have left him with an impressively deep catalog of stories, names and places from which his work emerges. Trained in music composition, Randel was equally informed by years trawling through online music boards, blogs and P2P networks, culling together a taste that spans global pop, electronic composition and sonic experimentation in equal measure, and which finds its natural expression in his releases.  

This expansive sense of the disparate threads and thoughts of the global underground find a cohesive point of exchange in Randel’s work, as if his songs sought to pull together the disparate communities, the faces and zones that he has lived and worked in over the years into a more communal space. Wherever the Internet Goes, Sorrow Follows sits at a precise juncture of psych-tinged song craft and dancefloor-oriented productions that speak to his time in the midwest hotbed of Chicago.  Switching between, lurching, deconcstructed approaches on tracks like “Two Particle Beams Collided” and more anthemic, direct work on pieces like “GCI.”

The record has a slack, slithering production style, mixing dense sonics with a direct, wide-eyed delivery that relies on Randel’s deep crooning vocals.  The work immediately recalls the vocal stylings and lyrical content of classic New Romantics records, but in the artist’s long relationship and close friendships within the Midwestern dance music communities equally see him exploring more mesmerizing, meditative textures and spaces.   

It’s a testament to his ability as a songwriter that these pieces could almost find a home in any of the environments described above, whether a basement rave in Eastern Europe, a loft party in Brooklyn, or anywhere else, a series of tracks sent out like love letters to the worlds he’s passed through and shared.  As a result, the record itself feels full of the tragedies and triumphs of the world around him, friends lost and found, and the shared spirit of creativity, of building a world for themselves, that unifies them.

Take Me To The Beginning Of Time

reaches