Get psyched, because Justin Pearson (Retox, The Locust), Nathan Joyner (Hot Nerds), and Jung Sing (Maniqui Lazer) are collaborating again in the form of All Leather after a prolonged absence, and the fruits of their labor have brought a new single that picks up right where they left off, maintaining the warped-apocalyptic-electronic genre they’ve already claimed, but with what is quite possibly an even darker and heavier sound than in previous releases. This 7″ single, titled “An Insufficient Apology”, is the first new material since a hiatus in 2012 following the release of their LP, “When I Grow up, I Wanna Fuck Like a Girl” in 2010.

Side A features the title track, “An Insufficient Apology”, with Pearson’s aggressive howls over a low, steady, mechanical beat interspersed with high-pitched robotic synth dissonance.

The B side includes a cover of Dave Van Ronk’s “Luang Prabang”, covering a tongue-in-cheek American Folk protest song originally written about the Vietnam War from All Leather’s unique perspective: with heavy distortion, snarling grit, and electronic grime.

So, have you missed that feeling of impending disaster, reminding you that the world is going to shit and things probably aren’t going to be okay? Good. All Leather will bring all of that flooding back.

This release will be limited to 500 copies on color vinyl.

Track listing:
1. An Insufficient Apology
2. Luang Prabang

A preview to the upcoming All Leather LP. 

“An Insufficient Apology”
Gimme better bad news and jack off queues. 
Adjust the holed pavement, use a holy excuse.
Beneath the hard layer is a beach with a bruise.
It’s God’s trash vortex, drink more booze.
It’s a vowel movement not the stupid blues.
Fuck you osmosis, I’ve paid my dues.
Styrofoam forever after seconds of use.
Who can find another way to revive abuse?
It’s that heartbreaking insignificance.
Good things for bad people, moral sense.
God’s muscles tense, coincidence?
Write it off as a business expense. 
Wow, take a bow.
Now, long hair lowbrow,
thou, a marriage vow?
Shave the beast and
throw in the towel.
Now, don’t ask how.
“How is divorce allowed?”
Wow, dead puppy chow,
go ahead and eat it 
because we all know how.

ALL LEATHER "An Insufficient Apology"

ADULT. & PLANET B - self-titled split 7”

Justin Pearson (Dead Cross, Deaf Club, The Locust), Luke Henshaw (Sonido de la Frontera), Kevin Avery (Field Day, Retox) and Scott Osment (Deaf Club, Glassing, Volente Beach) formed Planet B with the shared purpose of creating music subversive in sound and sobering in message. Their music lays somewhere just out of reach of genre, with aesthetics rooted in hip hop, hardcore punk, turntablism, and 70s-80s horror movie scores. It is catchy, heavily percussive, and eerie all at once, much like the creative output of dark dance duo ADULT., a pair that seek to harness “the perverse aspects of the late '70s analog dystopian post-modernism.” These artists’ bodies of work mirror one another in form and function, and both “Release Me” and “Glass in The Trash” encapsulates the ethos of both, allowing the duos’ similar mindsets to collide. Nicola Kuperus’s hypnotic vocals add an occult aura, mysteriously alluring and supernatural, pulsating and equally intense alongside Pearson’s aggressive style. Henshaw and Adam Lee Miller’s sampling, sequencing and synthesizing entangle and diverge seamlessly, providing dance-driven soundtracks fit for an apocalypse. Both tracks ebb and flow, pull and push, begs to be released and yet remains throbbing in your head long after it ends.

ADULT. and Planet B "Release Me"

ANGEL HAIR -  Insect Immortality LP (remixed/remastered discography)

Angel Hair began in late 1992 in Boulder, Colorado, and as PunkNews.org described them: “Angel Hair was a five-piece from Colorado whose music would grow to be associated with the chaotic, inventive San Diego scene of the early nineties. Bands such as Heroin, Antioch Arrow, Swing Kids, Clikitat Ikatowi and Mohinder are good reference points, but Angel Hair had a unique intensity that not even their West Coast peers could match.” After many changes the lineup solidified in early 1994, issuing a split 7" EP with Bare Minimum on Titanic Records, and touring the west coast. The lineup included guitarists Andy Arahood (Red Sparowes) and Josh Hughes (The VSS, Pleasure Forever, Rabbits, SSOLD), bassist Todd Corbett (Stiffwhiff), drummer Paul Iannacito (Generalissimo), and vocalist Sonny Kay (The VSS, Year Future, Mind Rider). During that tour, they recorded the 4-song Gravity EP with Matt Anderson in Chula Vista, which was released in time for a six week summer tour around the US in 1994. In that time they also released a split EP with The Fisticuffs Bluff on Unleaded Records. In the fall of '94, they traveled to San Diego again to record the "Insect Mortality" 12" which was released on Gravity in May 1995, four months after Angel Hair had broken up. Drummer Paul Iannacito moved away abruptly following a west coast tour over Christmas, and the band, feeling he was irreplaceable, called it quits after a little more than two years. 

Insect Immortality will be released digitally as well as on limited half solid yellow/half solid hot pink/magenta, and clear vinyl w/ royal blue blob, on Three One G Records on January 12th, 2024. 

The band explains of the release: “‘Insect Immortality’ combines nearly all our previous releases, certainly all the ones worth hearing. Most were recorded by Gravity's Matt Anderson in San Diego in a variety of DIY spaces and setups, none of which would qualify as a studio per se. They were recorded quickly, mixed immediately, and often available on tour less than 2 months later. It was an incredible time in our lives and those recordings really do capture the energy and momentum of what we were creating. But three decades later, after our ears and minds have evolved along with technology, it became evident at some point that all the music we released could be made to sound much better. Thanks to Matt's foresight and diligence, obtaining the original masters wasn't difficult. We handed them over to Pete Lyman, a giant in the mastering world, and our old chum from Boulder, present at the first and last Angel Hair shows and many in between. Pete remixed the tracks from our 12" and most of the EP's from the ground up, and the difference is huge. These songs have never sounded so intense and everyone in the band is very well represented.”

Insect Immortality LP:
Witch Hunt Scene from Star Trek
This Stool is Cool
Origin of Species
Stigmata Martyr
The Wax Museum
Blood Believe
Space Ape
Land ov Enchantment
New Rocket
Crash Course
T-Minus Sixty Years
Second Cousin
Pre-Super Model
You Were Ugly But You Got Cute Again
Kisses
Lazy Eye
Bedroom Scene from Communion

Insect Immortality

Angel Hair "You Were Ugly But You Got Cute Again"

Carrie Feller (who creates gloom-synth earworms under the moniker Hexa), Sal Gallegos and John Rieder (of the instrumental noise-rock duo Secret Fun Club) first began working together in mid-2019. The odd, left-field idea was a cover of “I Was a Teenage Werewolf” by The Cramps, which was eventually featured on the compilation Really Bad Music for Really Bad People (Three One G, 2020). This unlikely-but-in-retrospect-perfectly-sensible collaboration continued on in spring 2021, when Carrie recruited Sal and John as the rhythm section for a new instrumental composition. The result was “Prelude in Terror,” a sonic partnership so thrilling and intuitive that a full project as a trio seemed like the only rational next step. Nonexistent Night formed soon after, and the three musicians began writing the songs that would become the new LP In The Middle of A Boiling Sea over the subsequent 12 months. The band made its live debut in June 2022 and then, with the blessing and support of the label Three One G, began production of their record throughout late 2022 and early 2023. The band recently added Alia Jyawook (Scary Pierre, ex-Hot Nerds) as permanent cellist and guitarist and are already working on new songs for a follow-up record. Influenced by bands like Three Mile Pilot, Rachel’s, Slint, Chelsea Wolfe, King Woman, Kate Bush, June of 44, PJ Harvey, Nick Cave, Om, Low, Converge, and Tristeza, Nonexistent Night is elegiac, dramatic, and tinged with dread: post-rock for a drowning world.

In the Middle of a Boiling Sea

Nonexistent Night "Year One"

Portland’s Help is the frenzied sound of a broken and collapsing society. In a world beset with anti-human reactions to daily struggles, Help responds with ways to dismantle evil machines and systems. It is this pro-human mindset that brought Help band-mates Ryan Neighbors (Guitar/vocals), Morty (bass), and Bim Ditson (drums) together. All three had spent the last decade or so in other, perhaps more restrained, bands: Ditson with grinding indie rockers And And And, Neighbors with alt-pop dynamos Portugal. The Man and with his electronic project Hustle and Drone. With Help, they are retrieving punk roots each member had put down in their teens. They are ripping the seams back open to see what’s really inside. “Everyone is angry,” says Neighbors, “Make some art about it.” Help is the band Portland needs right now. Fuck it, it’s the band the whole world could use a heavy dose of if we want to climb out of the dark ages of greed and into the next century of mutual aid and collaborative self-directed communities of creativity.

Help’s new EP “Courage” is centered around heartbreak and pain. Progress as a series of fresh new hells. Hoping that it is better to be in love than to be right, while enduring the apparent absence of both love and coherence in American culture. The short version of the story of this record is that both Ryan and Bim’s lives were exploding and falling apart. Okay, okay, it’s a breakup album. Their vulnerability in these songs became necessary for their survival. Though deeply personal, these songs are meant as an invitation for others to feel and hurt freely. After all, this may be one of the last freedoms we get to enjoy in this crumbled world. Courage. In the face of hopelessness, in the face of everyone pretending anything is fine, in the face of the end of things meant to last and last. Courage. For the band, Courage is a step towards a broader sound and an experiment in honesty over security. The upcoming vinyl release from Three One G Records also includes the band’s debut self-titled EP. Their focus in all they do: Remove fear from decision making. Act in defiant joy. Refuse to dominate others. Do not hoard the gifts of the universe. Remember: the future is uncertain. Ends don’t justify means. Solidarity now. If the goal is growth, success is an ending. War and love are forms of death. This record is an example of the destructive nature of growth: on the planet, on the human spirit, on our ability to hold on.

A note from the band about the EP: “As much as we feel like Courage is a cohesive piece of music and stands alone, we wanted to give fans more bang for their buck and a more complete listening experience. We decided to press our self-titled EP, Help (released in 2019), on side B of the vinyl as well as make these songs bonus tracks on the digital release. The songs we wrote in 2019 still mean just as much to us as these new songs, our lives were just breaking in different ways, and they will be next time around too.”

Courage

HELP "The Consequence"

Episode 45 takes place during San Diego Comic-Con, where Justin and Luke sit down with director and producer Lloyd Kaufman to celebrate 50 years of Troma: his absurd, low budget, highly stylized, iconic film company responsible for cult classics like The Toxic Avenger, Tromeo and Juliet, Class of Nuke 'Em High, and so many more. Lloyd reflects on how he got started, working with talented people like Trey Parker and Matt Stone to help them release Cannibal! The Musical early in their careers, Luke remembers taking psychedelics and watching whatever Troma VHS tapes he could get his hands on, and Justin recalls The Locust heading directly to The Playboy Mansion last minute after a long trip home from Japan, where they would film a scene that never came to be due to Gene Simmons calling the cops on a noise complaint. The three discuss how Troma has evolved in some ways over the years and stayed the same in others, adhering to a DIY ethos to create outsider entertainment that has become truly beloved by so many.

The concept of Cult and Culture began as a short segment created by Justin Pearson, an internationally known musician, record label owner (Three One G Records), author, and actor. He is perhaps best known as bassist for bands such as Dead Cross, The Locust, and Some Girls as well as vocalist for Deaf Club, Swing Kids, and Planet B. Having traveled the world touring in hardcore and punk bands since age 15, Justin has come to know and work with a broad spectrum of captivating personalities and brilliant minds, many of which are key figures in the realm of popular culture and cult followings alike-- from being on the soundtrack to John Waters’ Cecil B. Demented, to acting in an Asia Argento’s Incompresa, to playing in Dead Cross with Mike Patton and Dave Lombardo. Cult and Culture arose as an opportunity to document bits and pieces of the DIY-driven, subversive world of art Pearson identifies with- one that many are not aware of or perhaps have misconceptions about.

Eventually, Pearson joined up with producer and bandmate Luke Henshaw (Sonido De La Frontera, Planet B, Satanic Planet, First Power Crew) to build the idea into a proper podcast, now recorded at his own PengOne Studios in San Diego. Henshaw has collaborated with hip hop legends such as Invisible Skratch Piklz’ D-Styles and Q-Bert, Kool Keith, in addition to being immersed in the world of Cumbia alongside Sonido De La Frontera bandmate Karlos Paez (B Side Players). He also recently scored the music for upcoming documentary Sk8face, which tells the history of skateboard graphics. In this way, both Justin and Luke are influenced by a diverse array of subcultures that all have connected roots. John Waters was one of the first people interviewed for the podcast- an icon of both cult and culture. Since then, guests have included a broad scope of musicians, producers, authors, and anyone passionate about what they do-- anyone from Grammy-winning musician Juan Alderete (Mars Volta, Racer X, creator of Pedals And Effects) to actor Michael Malarkey (Vampire Diaries, Project Bluebook), from San Diego Black Panther Party members to longtime partners Nicola and Adam in electro-punk band ADULT. or The Satanic Temple cofounder Lucien Greaves (who would go on to form Satanic Planet with Luke and Justin as a direct result of their podcast conversation). The focus is not intended to be solely on people in any one realm, and because guests are friends and family, the conversations are frank, informal yet well-informed, and genuine. Pearson and Henshaw seek to achieve a casual openness, blurring lines between traditional guest and host. Cult and Culture is part of Ruinous Media.

Catch up on all episodes of Cult and Culture podcast, via iTunes, or through Three One G’s Soundcloud.

Watch episode

Cult & Culture Podcast Episode 45 feat. Lloyd Kaufman of Troma Entertainment

Twin telepathy is real: “Being twins is definitely an unusual life experience; it seems the only way Venus Twins works is that the only two people in the band have this specific connection to one another.” Venus Twins was founded in Denton, TX in the summer of 2018 by Jake (drums) and Matt Derting (bass and vocals). They began writing/recording their first release, Kickass, immediately after inception, followed by a relocation to Brooklyn. Venus Twins’ first LP, Eat Your Dogs, accompanied this relocation. The next release was RAXIS, paired with nearly non-stop touring for two years averaging a show every 3.4 days, playing with bands such as Whores., Heavenly Blue, and Pons. Of upcoming release Stitches (visualized as /\/\/\/\/), vocalist/bassist Matt explains: “I love sewing and making clothes. Throughout the recording of this EP I was practicing a lot, and it started to feel like a perfect metaphor lyrically.” The band is influenced by bands such as Hella, Gilla Band, Machine Girl, JOHNNASCUS, PageNinetyNine, Melt Banana, The Locust, The Mars Volta, and Anthony Green, as well as non-musical artists like Kurt Vonnegut, Andy Kaufman, Robert Eggers, the feeling of constantly being stressed out, and living in NYC.

Stitching was recorded, produced and mixed by Hayden Ticehurst at Studio G in Brooklyn, as well as his personal studio. Mastered by Dan Millice (Hella, A$ap Rocky). It will be released digitally November 8th by Three One G.

Venus Twins "God Help Me Bury This Fucking Light"

In this episode of Cult & Culture, Justin and Luke speak with Spenser Little, San Diego-based artist who works primarily with wire to create subversive, witty, and thought-provoking sculptures that he often leaves on random streets and stop signs around the world for anyone to stumble upon. Coming from the skate and punk world, Spenser shares the ethics that drive him to create, as well as how he navigates having one foot in the art world in order to eat, and one in the streets, often immersed in activism and protest. They talk about the approach of using humor to make a point, getting hired to make faux-Supreme Popeye sculptures in Beijing, shifting from wood carving to metal, and eventually to wire, in order to be more mindful of the earth's resources. Spenser discusses avoiding anger when creating, the ills of society and technology, the "whoring 20s" with regards to capitalism, trying to make a living without succumbing to a day job, and making art until it's physically no longer possible.

The concept of Cult and Culture began as a short segment created by Justin Pearson, an internationally known musician, record label owner (Three One G Records), author, and actor. He is perhaps best known as bassist for bands such as Dead Cross, The Locust, and Some Girls as well as vocalist for Deaf Club, Swing Kids, and Planet B. Having traveled the world touring in hardcore and punk bands since age 15, Justin has come to know and work with a broad spectrum of captivating personalities and brilliant minds, many of which are key figures in the realm of popular culture and cult followings alike-- from being on the soundtrack to John Waters’ Cecil B. Demented, to acting in an Asia Argento’s Incompresa, to playing in Dead Cross with Mike Patton and Dave Lombardo. Cult and Culture arose as an opportunity to document bits and pieces of the DIY-driven, subversive world of art Pearson identifies with- one that many are not aware of or perhaps have misconceptions about.

Eventually, Pearson joined up with producer and bandmate Luke Henshaw (Sonido De La Frontera, Planet B, Satanic Planet, First Power Crew) to build the idea into a proper podcast, now recorded at his own PengOne Studios in San Diego. Henshaw has collaborated with hip hop legends such as Invisible Skratch Piklz’ D-Styles and Q-Bert, Kool Keith, in addition to being immersed in the world of Cumbia alongside Sonido De La Frontera bandmate Karlos Paez (B Side Players). He also recently scored the music for upcoming documentary Sk8face, which tells the history of skateboard graphics. In this way, both Justin and Luke are influenced by a diverse array of subcultures that all have connected roots. John Waters was one of the first people interviewed for the podcast- an icon of both cult and culture. Since then, guests have included a broad scope of musicians, producers, authors, and anyone passionate about what they do-- anyone from Grammy-winning musician Juan Alderete (Mars Volta, Racer X, creator of Pedals And Effects) to actor Michael Malarkey (Vampire Diaries, Project Bluebook), from San Diego Black Panther Party members to longtime partners Nicola and Adam in electro-punk band ADULT. or The Satanic Temple cofounder Lucien Greaves (who would go on to form Satanic Planet with Luke and Justin as a direct result of their podcast conversation). The focus is not intended to be solely on people in any one realm, and because guests are friends and family, the conversations are frank, informal yet well-informed, and genuine. Pearson and Henshaw seek to achieve a casual openness, blurring lines between traditional guest and host. Cult and Culture is part of Ruinous Media.

Catch up on all episodes of Cult and Culture podcast, via iTunes, or through Three One G’s Soundcloud.

Cult & Culture Podcast Episode 46 feat. Spenser Little

In the latest episode of cult and culture, Luke and Justin speak with Chase and Lida of NY-based  multidisciplinary collective Cumgirl8. They talk about the creation of their AOL instant messenger style name, why the number 8, as well as the censorship that comes with it. They also share how they react to criticism (spoiler: they love it) from people who would like to dictate how they dress or act on stage. Topics jump from politics to AI to manifestos/DIY bibles to the legendary record label their newest album ,"The 8th Cumming" is on, 4AD.

The concept of Cult and Culture began as a short segment created by Justin Pearson, an internationally known musician, record label owner (Three One G Records), author, and actor. He is perhaps best known as bassist for bands such as Dead Cross, The Locust, and Some Girls as well as vocalist for Deaf Club, Swing Kids, and Planet B. Having traveled the world touring in hardcore and punk bands since age 15, Justin has come to know and work with a broad spectrum of captivating personalities and brilliant minds, many of which are key figures in the realm of popular culture and cult followings alike-- from being on the soundtrack to John Waters’ Cecil B. Demented, to acting in an Asia Argento’s Incompresa, to playing in Dead Cross with Mike Patton and Dave Lombardo. Cult and Culture arose as an opportunity to document bits and pieces of the DIY-driven, subversive world of art Pearson identifies with- one that many are not aware of or perhaps have misconceptions about.

Eventually, Pearson joined up with producer and bandmate Luke Henshaw (Sonido De La Frontera, Planet B, Satanic Planet, First Power Crew) to build the idea into a proper podcast, now recorded at his own PengOne Studios in San Diego. Henshaw has collaborated with hip hop legends such as Invisible Skratch Piklz’ D-Styles and Q-Bert, Kool Keith, in addition to being immersed in the world of Cumbia alongside Sonido De La Frontera bandmate Karlos Paez (B Side Players). He also recently scored the music for upcoming documentary Sk8face, which tells the history of skateboard graphics. In this way, both Justin and Luke are influenced by a diverse array of subcultures that all have connected roots. John Waters was one of the first people interviewed for the podcast- an icon of both cult and culture. Since then, guests have included a broad scope of musicians, producers, authors, and anyone passionate about what they do-- anyone from Grammy-winning musician Juan Alderete (Mars Volta, Racer X, creator of Pedals And Effects) to actor Michael Malarkey (Vampire Diaries, Project Bluebook), from San Diego Black Panther Party members to longtime partners Nicola and Adam in electro-punk band ADULT. or The Satanic Temple cofounder Lucien Greaves (who would go on to form Satanic Planet with Luke and Justin as a direct result of their podcast conversation). The focus is not intended to be solely on people in any one realm, and because guests are friends and family, the conversations are frank, informal yet well-informed, and genuine. Pearson and Henshaw seek to achieve a casual openness, blurring lines between traditional guest and host. Cult and Culture is part of Ruinous Media.

Catch up on all episodes of Cult and Culture podcast, via iTunes, or through Three One G’s Soundcloud.

https://soundcloud.com/threeoneg/sets/cult-and-culture-podcast

https://podcasts.apple.com/us/podcast/cult-and-culture/id1232084207

Cult & Culture Podcast Episode 47 feat. Chase Lombardo and Lida Fox of Cumgirl8

Haunted Horses is an industrial-punk trio hailing from Seattle, WA. The band has a reputation for a relentless and chaotic sound that pushes the boundaries of post-punk and noise rock. Formed by Colin Dawson and Myke Pelly, the band’s sonic intensity was further amplified with the addition of bassist Brian McClelland in 2022. Their music is characterized by its dissonant, heavy textures and ominous vocals, drawing comparisons to influential acts like Swans, Bauhaus, and Killing Joke. Their debut album, Watcher, showcased their ability to craft a visceral, noise-driven experience, earning them accolades from critics such as Anthony Fantano of The Needle Drop. Building on this momentum, their follow-up, Dead Meat, and their 2022 release, The Worst Has Finally Happened, continued to explore dark and experimental themes, solidifying their reputation in the industrial rock scene. These albums were noted for their complex soundscapes and thematic depth.

With DWELLER, set to expand their exploration of existential dread and transformation, Haunted Horses is poised to further evolve their sound. The album is a spiritual successor to their previous work, delving into intense, unsettling themes with renewed vigor: the fear and anxiety tied to the obliteration of one's self or identity, and the unknown outcome of this dissolution. The concepts came through a series of meditations, some of which didn’t make sense until the process was complete.  Known for their captivating live performances and extensive touring history, Haunted Horses continues to captivate audiences and challenge the conventions of their genre with this release.

Haunted Horses "Grey Eminence"

Dropped down amongst the knobs and dials of Penguin Studio in San Diego, rogue avatars Justin Pearson and Luke Henshaw have created a new project in the form of Planet B, with the shared purpose of creating music both mischievous in sound and sobering in message.
The first artifact from the preternatural duo comes in the form of this “Wrong Utopia” 7” single. Featuring two tracks, both can be heard almost as otherworldly anthems: catchy, heavily percussive, and eerie all at once. Pearson sneers lyrics that present the viewpoint of an outsider looking on at his surroundings: “Sell a good bad luck charm/ watch them hurt their own arm/ shaking their bloody fist/ in the world of the nihilist,” seemingly uninterested in taking part and instead deciding that “’Tween the moth and the web, I’ll make a new landmark.” This is interspersed with Henshaw’s fantastical sci-fi accompaniments: whistling UFO vibrato, dark and distorted electrical hums, and marching band drum beats. Basically, “Wrong Utopia” has all the makings of your next interdimensional earworm.
Side 2 of the single, “Join a Cult”, has a more foreboding sound, a sort of thunderous and creepy call to arms. This is in large part due to the booming drums, live wire buzzes, and digital echoes that brings to mind an oncoming swarm of mechanical insects headed straight for the song’s settings of burning houses and dry fields, “the one without a view”. This is all punctuated by whimsical bells that are unsettling in the context of the song, much in the same way that hearing a child singing in a horror movie is.

Available from www.threeoneg.com


PLANET B "Wrong Utopia"

Toronto-based Metz has consistently continued to gain praise for their fabled live performances as well as their general uncompromising attitude towards their creative output, regardless of public reception (which is, in fact, quite positive). After two well-received full length albums since the band’s inception in 2012 (self-titled and II) and an incredible amount of touring, the trio has now teamed up with Three One G for the first time to release this Eraser/Pure Auto 7”.

No tempo is sacred and no riff too maniacal on this release, which is about par for the course when dealing with Metz. “Eraser” features vocals full of feedback and distortion, far away as if vocalist Alex Edkins is singing (or shouting, as the song calls for) at us through an old walkie-talkie. More specifically, through a walkie-talkie with a self-detonating landmine filled-field of drummer Hayden Menzies and bassist Chris Slorach’s explosive playing between it and the listener.

“Pure Auto” hits the ground running even faster and harder than Side A. The guitar wails, interspersed with discordant moments and pushed by steady percussion. The music is tight and skillfully played, but the mood of the song emits the white-knuckle tension of being aboard a train that could derail at any moment. Layers upon layers of sound build and bounce off one another and propel themselves into your skull, encouraging many listens to these two newest tracks from a band that wants nothing more than to punch you in the gut with their music.

Track Listing:
Side 1: Eraser
Side 2: Pure Auto


METZ "Eraser"

The official LEG LIFTERS Three One G mix:

Headwound City - Radical Friends
Swing Kids - Situation On Mars
Fast Forward - Race Relations 
Chinese Stars - Panic In The Population
Get Hustle - Brothers & Others
Rah Bras - Mr. Clarinet
Melt Banana - We Will Rock You
Holy Molar - You've Had More Kids Pulled Outta That Thing Than A Burning Orphanage
Cattle Decapitation - Diarrhea Of The Mouth
Quintron - Miniature Breakdown
Some Girls - I Need Drugs
Unbroken - And
Ground Unicorn Horn - Someone Better Suck This Thing
Antioch Arrow - Too Bad You're Gunna Die
Ex Models - Buy American
The Crimson Curse - Radiation Blue
Arab On Radar - Saint Patricks Gay Parade
Jaks - Damn Bloodsuckers
Blood Brothers - Kiss Of The Octopus
Festival Of Dead Deer - In Fifty Words Or Less
The Locust - Red
Jenny Piccolo - Joined At The Brain
Orthrelm - Satrivoithal
Black Dice - Peace In The Valley
Zs - Hard

LEG LIFTERS are: Nathan Joyner (All Leather, Hot Nerds) and Justin Pearson (The Locust, Retox, All Leather, Some Girls, Holy Molar, Swing Kids)

LEG LIFTERS "Three One G mix"

INUS (aka The Institute for Navigating the Universal Self) is a pre-postapocalyptic, post-honky-tonk-prog-skronk, space Tropicalia, math-lounge powersilence trio from San Diego, California. Poking fun at the failed for-profit universities of yesteryear, the band’s live performance interweaves blistering, calculated bursts of noise with educational slideshows that riff on subversive political commentary, dada-surrealist sci-fi, scathing social critique, fake news, space cults, infomercials, spoofs on the Department of Defense, and shout-outs to corporate sponsors. The result is an unapologetically bold, utterly ridiculous, and serious-as-all-hell multimedia showcase of sophisticated polyrhythms and hog-wild-future-amusement-park timbres with vocals ranging from ring-modded falsetto to rumbling Tuvan throat skronking. INUS was originally formed as a two-piece under the name Innerds in 2011 by guitarist/vocalist Bobby Bray (The Locust, Holy Molar) and drummer Brandon Relf (Sleeping People). The band has shared the bill with left-field luminaries including 2UP, Head Wound City, The Molecules, Corima, Retox, Upsilon Acrux, Bastard Noise, Horse Lords, and Atomic Ape. Joined by bassist Chad Deal (Phantom Twins) in 2016, Innerds was reborn as INUS and finished the recording of Western Spaghettification.
 
The title of the album itself is a play on words referring to the movie genre spaghetti western, which were westerns filmed in Italy, and the actual physics term “spaghettification,” which is what happens if you cross the event horizon of a black hole. The 8-song opus probes the event horizon of Western civilization in a series of pummeling outbursts beginning with “Time is a Person,” a proctologist’s-eye-view through the fourth dimension wherein archetypal heroes, tyrants, and everyday NPCs gurgle into existence periodically to play out their parts. Other topics addressed include government cover-ups/disinformation, gender biased communication, drug abuse, and the idea that atomic bomb detonations may be detectable in parallel dimensions. While listening to “We Are Our Computers’ Genitalia,” we are faced with such questions regarding being the first generations in the digital age, and what happens to our concept of self when physically engaged with the Internet for hours at a time (is it empowerment or distraction?).
 
Western Spaghettification LP:
Time is a Person
Kajillions and Bazillions
Whose Methane Gas Is On Mars?
We Are Our Computers' Genetalia
There Was A Fish In The Percolator 
For Whom The Bell Curve Tolls
This Is Not Proper Notification
Western Speghettification

INUS "Kajilions and Bazillions"

SWING KIDS "El Camino Car Crash" from the album "Discography" available from www.threeoneg.com

SWING KIDS "El Camino Car Crash"

CATTLE DECAPITATION "Diarrhea of the Mouth" from the album "Homovore" available from www.threeoneg.com

CATTLE DECAPITATION "Diarrhea of the Mouth"

CATTLE DECAPITATION "Roadkill Removal Technician" from the album "Human Jerky" available from www.threeoneg.com

CATTLE DECAPITATION "Roadkill Removal Technician"

MELT BANANA "We Will Rock You" from the various artist compilation album "Dynamite With a Laserbeam: Queen As Heard Through The Meat Grinder Of Three One G" available from www.threeoneg.com

MELT BANANA "We Will Rock You"

MOVING UNITS "Between Us and Them" from the S/T EP and the album "Dangerous Dreams" available from www.threeoneg.com

MOVING UNITS "Between Us and Them"

"Goat headed, human bodied, and three-horned, the Baphomet is an icon symbolizing the reconciliation of opposites; dueling binaries combined and transcending into something greater than the sum of their parts. The track we have titled Baphomet blends the electronic with the medieval, the drone with the sceam, the raucous with the orchestral. These conflicting elements, we hope, blend to create Easy Listening for the Apocalypse."
- Lucien Greaves
 
SATANIC PLANET is the creation of Lucien Greaves (The Satanic Temple co-founder and spokesperson), Luke Henshaw (Planet B, Sonido de la Frontera), Dave Lombardo (Slayer, The Misfits, Mr. Bungle, Suicidal Tendencies, Dead Cross), and Justin Pearson (The Locust, Dead Cross, Swing Kids, Deaf Club). With the birth of Satanic Planet, hip-hop producer Henshaw and punk provocateur Pearson joined co-founder and spokesperson of The Satanic Temple, Lucien Greaves-- the most prominent and outspoken contemporary Satanist in the world. Greaves has gained international attention as an advocate for religious liberty and the voice of the Satanic Reformation, delivering lectures nationwide and featured in national media outlets including  MSNBC, NPR, Huffington Post Live, CNN, Harper’s Monthly, Newsweek, Fox News, Vice, Salon, Rolling Stone, and many more. As the trio were diligently working, and nearly completed with, the music for their debut album, the worldwide pandemic hit, seemingly bringing things to a halt. However, with the onset of this new way of living, the newly-formed band was in a unique position to enlist the legendary Dave Lombardo, who found himself not touring for the first time in years, and suddenly having more time to work in his home studio on projects that interested him. With the addition of this iconic drummer, Satanic Planet was complete. Along the way, an eclectic range of guest appearances arise, including Cattle Decapitation’s Travis Ryan, Nomi Abadi, Silent’s Jung Sing, Shiva Honey, Eric Livingston (also known as his artist moniker, First Church of the Void), and Hexa’s Carrie Feller. This collaboration embraces the avant garde to create sci-fi sermons that range from doom and industrial to evil exotica.

SATANIC PLANET "Baphomet"


Three One G is in a sense, a family owned business…and basically a family in itself. I started the label in hopes to better the quality and creativity of things  that I was part of, as well as the music culture that I am part of. Three One G quickly developed into a family of artists who were all intertwined, or on the same page as one another. For me, it is the truest definition of family; people who are of the same breed and people who are from the same way of life. In the beginning, I started off by releasing music by Swing Kids and Unbroken, both of which shared a member, and were part of a musical community that I was submerged in. It was something that I was really a part of and more so, something that was obtainable, tangible, and real. Over the years, Three One G has loosely been related to a band that I’m part of, and better known for, The Locust. The relevance that The Locust had to Three One G brought amazing artists into the picture, either through meeting them on tour, musical collaborations, or other various things that The Locust was doing. This really helped to diversify the label and the sounds that it encompasses up to this day. To me, having bands under the Three One G umbrella like Cattle Decapitation, Arab on Radar, Quintron, Zs, Black Dice, Orthrelm, and so on, all makes sense, regardless of how different any artist's approach to music or their sound may be. We could all conceivably tour together, even sometimes collaborate and share members. To me, this is interesting, bringing so many new avenues of creativity, which are things that the music industry in general has since forgotten. 
The family members who currently make the wheels spin for Three One G, aside from the actual bands and artists are; Sal Gallegos (who also played in Some Girls, which were comprised of members of other label mates such as The Plot to Blow Up the Eiffel Tower, and Unbroken), as well as myself. Over the years we have expanded, not only musically, but geographically as well. Even though Three One G is below the radar of the who’s who of labels, the bands manage to grow and reach out beyond the label’s grasp, giving a glimpse into the all too interesting underbelly of an unrefined culture. The bands manage to amaze, challenge, inspire, and essentially blow minds. The labor of love here shows sincerity, as well as integrity. The family here is solid, legitimate, and is here to stay.
 
- Justin Pearson

Three One G

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