YES!!!!!!!!!!!!! already in love with this album so far.

O JukeBox Canal Electro Rock é a seção do Canal Electro Rock News, onde o editor sugere algumas de suas bandas preferidas...

www.canalelectrorocknews.com

JukeBox Canal Electro Rock - June 04 (2016)

Living Phantoms Remix of Dust Moth's "Casual Friends"

Living Phantoms - Dust Moth "Casual Friends" (Remix)

PREORDER THE EP HERE: pelicansl.bandcamp.com/releases

Chicago's esteemed instrumental quartet Pelican are set to release a new EP on Southern Lord in the new year based around fresh reimaginings of 'The Cliff', a highlight from their most recent album, 2013's Forever Becoming, and one recently completed new song. Due out February 24 on 12” vinyl and digital formats, the four track EP includes remixes from Justin Broadrick (of Godflesh, Jesu), Aaron Harris and Bryant Clifford Meyer of ISIS/Palms, and, for only the second time in their fourteen year career, vocals.
 
Allen Epley (Shiner, The Life and Times) once again returns to the band’s fold to transform, in a complementary manner, the concept and overall outcome of what we have come to know as Pelican. No cheap juxtaposition, Epley’s seasoned voice is as broad and astonishingly capable on “The Cliff” as the members behind the music, a claim those who have listened to Epley’s contribution on “Final Breath” from 2009’s What We All Come To Need will attest to. Elsewhere on the record, Justin Broadrick and AH/BCM turn in fresh takes of the source material, feeling less like remixes than new compositions reworked from the original source. Rounding out the set is the previously unreleased song “The Wait”, a contemplative semi-acoustic simmer that builds to an explosion of cathartic distortion and melody in true Pelican fashion.


The Cliff (Vocal Version)

BIO:
"Robert Plant argued against Led Zeppelin’s supposed role as progenitors of heavy metal, stating that the band had always been more interested in the sultriness of American blues than the brute force of the hard rock hordes they’d inspired. Regardless of their motives, Zeppelin helped define “heavy”. You don’t have a drummer that pounds with that much authority, a guitarist that plays with such panache, and a vocalist that wails with such intensity and merely chalk it up to following musical traditions. Similarly, “heavy” isn’t the sole motivating force behind Seattle quartet Dust Moth. If anything, they’re trying to channel some other permutation of the soulful, animalistic beat that drove Plant and his compatriots. But as history has shown us, you can’t have a burly rhythm section, searing riffs, and forlorn vocals without the hordes taking you in as one of their own.

Dust Moth first stormed out of the gates as a six-piece juggernaut of veterans from Seattle’s music community. Their debut EP Dragon Mouth was a tightly crafted amalgam of rhythmic brawn, mournful melodies, and dreamy atmospherics. It was as if the bass and drum combo of Jawbox was paired with the guitar work of Doves and capped off with the assertively feminine vocals of Chelsea Wolfe. Now pared down to a quartet, Dust Moth offer up their first full-length Scale. Driven by the haunting vocals and ethereal keyboards of Irene Barber (Erik Blood, XVIII Eyes), the alternately soothing and devastating guitars of Ryan Frederiksen (These Arms Are Snakes, Narrows), the syncopated thump of bassist Steve Becker (Giza), and the muscular drumming of Justin Rodda (Giza), the new streamlined incarnation of Dust Moth retains their layered and nuanced sound while tightening the focus on their “heavy-gaze” approach. Songs like “Corrections” and “Lift” carry more distorted urgency and instrumental heft than anything in the band’s previous repertoire. On the opposite end of the spectrum, songs like “Night Wave” and “A Veil in Between” demonstrate the band’s new less-is-more approach towards mournful atmospherics.

Given Dust Moth’s dynamic range, it’s hardly surprising that they’ve been able to share the stage with such diverse bands as Minus the Bear, Pelican, and Tombs. Following a west coast run with cerebral metallurgists Kayo Dot, the band reformulated their line-up and began constructing the nine songs that would comprise Scale. The album was recorded by Matt Bayles (Pearl Jam, ISIS, Mastodon) at Red Room Studio in Seattle and mastered by Ed Brooks at RFI. The Mylene Sheath is proud to release Scale worldwide on July 22nd 2016.” - Brian Cook

LYRICS:
i'm here until i'm gone
i won't force my exit
though i may fall away
i awake in departure
warm in a summer wave
i'll know my own departure

i will hold true 'til the end
i will hold true 'til the stars
i will always chase the sun
with nothing to lose

you'll find me out
drifting off for the outskirts
where the void is my fullness
though i fall away for a bit
i always awake

warm in a summer wave
i know i'll awake


Dust Moth - Shelf Life

Many thanks to https://soundcloud.com/vincent-chansons-bleues for providing the photo as well as many suggestions during the preparation of this track. 

Le cul confortablement posé sur ma chaise
Je dispense mes pensées comme la catéchèse
A la télé, la radio, le net, mes bouquins, vos journaux

Sur un ton virulent, toujours chaud comme la braise
Je déverse mon flot d’idées reçues, de foutaises
Du moment que je fais le buzz, je fais mon boulot

Je vends du prêt-à-penser livré à domicile
Opinions tranchées, théories du complot stériles
J'ai un avis sur tout : l'Islam, la dette, l’arbitrage vidéo...

Généreux en mauvaise foi, en démagogie
Je rameute la meute au cri de « tous pourris »
Epargnant autant que faire se peut mes amis

Je cible un cercle toujours plus grand de followers
Les geeks, les ménagères, les retraités, les chômeurs
Les fachos, les gauchos, homos, hétéros, évadés fiscaux

J’ai toujours un machin pour les amadouer
Leur mettre dans la bouche ce qu’ils doivent penser
Tant qu’ils sont convaincus que ce sont les autres qui sont manipulés

Moi je fais l’opinion pour des clients qu’ont du pèze
Des lobbies politiques ou des marchands de merguez
Peu importe la cause, le pourquoi, le comment, s’ils voient mon talent

Je dis qu’il faut faire blanc si on a de l’honneur
Puis je dis « faites noir pour sauver votre honneur »
Ce qui compte et qui paie, mon pote, c’est d’avoir du culot

Le cul confortablement posé sur ma chaise
Je me demande parfois si je sucre les fraises
A force de parler, de vous voir me voir m’écouter parler

Avec tous ces intellos qui me piquent mes thèses
Mytho patentés, philosophes en bois de mélèze
Je pourrais finir par passer à la postérité!

Le cul confortablement posé sur ma chaise

Yellow

Chromatics - Cherry (Full Album)

Simon Crouch
Nalin Dayawansa
Tom Coish
Ryan DeCoite

Glaciers - Ddouble Vvision

Um espaço para divulgação de artistas... #Rock, #Alternativo, #Indie, #NewWave

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Dust Moth - Shelf Life

The Mylene Sheath

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