I flip It idly in the air

Zealot R.I.P. started years ago when life-long friends, Jason Hamacher (Frodus, Battery, CombatWoundedVeteran) & Mike Schleibaum, decided to collaborate and write music that’s fast and heavy. Between Schleibaum’s relentless touring in Darkest Hour and Hamacher’s extensive documentary work in Syria, it took a few years for them to settle into a sound that’s somewhere between Entombed, Dead Kennedys and Born Against. The band was solidified with the additions of Pig Destroyer’s Blake Harrison and Fairweather’s Peter Tsouras. This metal amalgam, upon forming, went immediately into the studio and recorded a handful of brutally unhinged songs, released as a self-titled EP on Three One G in 2019. As a bizarre and radical opening reception to the world, Zealot R.I.P. played their first show at the Swedish Embassy in Washington D.C., as The Embassy hosted a concert and panel discussion around the history of Swedish metal.
 
With the release of the Zealot R.I.P’s debut LP, “The Extinction of You” has every bit of the energy one would expect from these beloved, brutal and ripping musicians. And yet, by their own admittance, the band is also a deviation for most of its members. Mike Schleibaum explains that from the band’s formation, “I’ve taken a different approach from any other project or band I’ve been in. Zealot is sort of a return to my early days in music. We write songs pretty quick and usually end up keeping the first takes. I’ve always appreciated Jason’s creative raw energy on the drums and this project is a direct reflection of that. Combine the unique perspectives of Peter and Blake, and the result is explosive visual energy personified in song form.” Blake Harrison adds, “Moving to DC, I wanted to start another project that was a little more ‘punk’ and ‘live’ than Pig Destroyer. Lo and behold, I did not start a new project, but fell in with Zealot RIP, whose energy is bombastic.”

ZEALOT R.I.P.  "The Extinction Of You"

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"

Marie Davidson - L'Espoir Est Mon Sentiment Le Plus Noir

Cover of Ministry’s “Just One Fix” 

Available on limited edition cassettes at select record stores, Saturday 4/16, for Record Store Day.

'A New Wave of Violence' out 5/13 on VICE.
Preorder here: http://smarturl.it/hwc-it 

On tour with Savages this May
Dates and tickets here: headwoundcity.com/tour

Follow HWC on the web:
headwoundcity.com
facebook.com/headwoundcity
twitter.com/headwoundcity
instagram.com/headwoundcity

Just One Fix (Ministry Cover)

Live recording // album release show may 14, 2017 @ Badehaus Berlin 
All songs mixed at Black Verb Rec. Berlin by PL.

live split tape w/ Bleib Modern released by Black Verb Rec. Berlin:
--> www.blackverbrecords.bandcamp.com/merch

DYN - Love Of Mine ( Live @ Badehaus Berlin )

San Diego‘s Secret Fun Club has been the longstanding musical outlet for drummer and engineer Sal Gallegos (Some Girls, Three One G) and bassist John Rieder. An ongoing collaboration that formerly included guitarist Nathan Joyner (Hot Nerds, Some Girls, All Leather), the band has been making odd, challenging, and relentlessly heavy music on its own terms since 2000.
A duo of bass and drums since 2007, Sal and John began writing, demoing, and performing brutal new arrangements for two solid years, finally recording what would become the Three One G LP Skull With Antlers during the first half of 2009. With drums that call to mind Bonham (if he had preferred meth to booze) playing sides of beef and bass tones that alternate between motorcycle rumble and insectoid modulation and filtering, the band has mastered doomy, frenetic noise with occasional forays into quiet minimalism and copy-and-paste sound sculpture. W.T. Nelson (Geronimo, Bastard Noise) has collaborated with his brood of Trogotronic outboard gear to contribute painful frequencies across the range of human hearing. The newest album enlists his assistance again, along with equally brutal noisemakers Justin Pearson (Dead Cross, The Locust, Retox, Planet B), Sam Lopez and Esteban Flores.

Secret Fun Club sees itself fundamentally as a live band: 700 tube watts pushing apocalyptic bass wave-forms through sixteen ten-inch speakers—paired with some of the loudest, most punishing drumming imaginable. The band’s sets are indulgences in volume and repetition, abrupt turns and uncomfortable silences.
 
Art design by Noelle Mason.
Sculpture: Extra Curricular Object #1 [2017]
 
Secret Fun Club’s latest release, the wild-eyed brainchild of Sal Gallegos and John Rieder, once again show that these two have mastered the art of auditory experimentation.  Fluctuating between moments of scientific static worthy of alien airwaves on “Billy Joel Osteen,” to seemingly straightforward jazz punctuated by soothing vibraphone and just-slightly-off time signatures that feel like a calm descent into madness on “Ted Nugent Was Goth in High School," Secret Fun Club proves repeatedly that their creativity is vast and unrestricted by any one musical direction. Throbbing wails and air raid siren assaults accompanied by punishing, repetitive rhythms give way to supremely sinister howls and collaborative noise from the likes of W.T. Nelson, Justin Pearson, Sam Lopez, and Esteban Flores on the eleven and a half minute track, Black Metal to English Dictionary.”
Which brings us to the tracklist.
Never taking themselves too seriously, the duo has a penchant for titling their songs with pun-filled monikers like “Pat Minotaur”, “Scott Baiowülf” and “Pariah Carey”-- amusing juxtapositions of classic history/literature and tabloid-prone celebrities that would leave you rolling your eyes were the jokes to come from your dad, but smirking in the context of its use for doomy, sludgy, experimental metal such as this. And in a way, the meeting of highbrow and lowbrow in Secret Fun Club’s tracklisting seems like the perfect metaphor for the band’s music: impressively composed pieces highly calculated in musical structure, and yet simultaneously confrontational, gritty, and unrefined in tone.
 
101 LP:
Digital  Version:
1.     Mastodon Rickles
2.     Scott Baiowulf
3.     Sabre Drama
4.     Black Metal To English Dictionary
5.     Pariah Carey
6.     Pinche Harmonix
7.     Upright Brigade
8.     Orchestral Maneuvers In The Dark Throne
9.     Billy Joel Osteen
10. Ted Nugent Was Goth In High School
11. Pat Minotaur

Vinyl Version:
Side A
1.     Mastodon Rickles
2.     Scott Baiowulf
3.     Black Metal To English Dictionary

Side B
1.     Pariah Carey
2.     Pinche Harmonix
3.     Orchestral Maneuvers In The Dark Throne
4.     Ted Nugent Was Goth In High School
5.     Pat Minotaur

SECRET FUN CLUB "Black Metal to English Dictionary"

Artist: Automelodi
Song: Les Métros disparus
Album: Mirages au futur verre-brisé
Label: Holodeck
Bandcamp: https://automelodi.bandcamp.com/
Soundcloud: https://soundcloud.com/automelodi
Spotify: https://open.spotify.com/artist/3GqUVPQmaNutfxWfakfEvx
Facebook: @automelodimusic
Instagram: @automelodi
Label Website: https://holodeckrecords.com/
Label Bandcamp: https://holodeckrecords.bandcamp.com/
Label Soundcloud: https://soundcloud.com/holodeck-records
Label Facebook: @holodeckrecords
Label Instagram: @holodeckrecords
Label Twitter: @holodeckrecords

Xavier Paradis: vocals, electronics, percussion
Dillon Steele: guitar
Featuring Liz Wendelbo: vocals

LYRICS:
Dans les ruines enchantées
Désenchantiers
Démobilisé dans
Un chaos d’après-guerre
Les mensonges sont si neufs
Qu’ils peuvent nous faire
Danser sur nos galères,
Nos erreurs de transfert

Dans les stations vaincues

Te souviens-tu?

Les métros disparus
Ne repassent plus
Les virages défendus ne 
Négocient plus

Au lendemain passaient
Dans les rues pâmées de vapeur…

Un ballet de fontaines
T’éclaboussait
Jusques aux souterraines
Suite à les voir courir
Les danseurs, de la rame
Ultimes sourires
Puis, rideaux de métal
Le music-hall fugace
S’invite chez le souffleur
Te souviens-tu?

(Aux voyageurs
Des voies sans échangeurs
Les préposés
Aux stations condamnées)

Brilliantly combining the art of sound design with unforgettable songwriting, Montréal-based synth-pop duo Automelodi is back with their third full-length Mirages au futur verre-brisé out May 3, 2019. As an established and respected staple of the international community of underground hardware enthusiasts, Automelodi is led by the inspiring studio engineering and magnetic persona of singer/producer Xavier Paradis. Showcasing his master ability to design infectious rhythms, rich bass lines, and brooding hooks, Automelodi expertly crafts a listlessly romantic aesthetic embodied by Paradis’ dynamic voice and eloquent French lyrics. Automelodi’s focus on color and arrangement converges taste and technique, making Mirages au futur verre-brisé deeply engaging for both party-goers and analog synth connoisseurs alike.

Mirages au futur verre-brisé

Les Métros Disparus

Automelodi - Mirages au futur verre - brisé - 02 Les Métros disparus

Sauna - Waiting

Host Jason Schreurs talks to Justin Pearson, owner of Three One G Records and member of a bunch of amazing punk bands. Retox, The Locust, Dead Cross, Head Wound City, Some Girls, Swing Kids and Struggle immediately come to mind. Justin explains how punk rock has helped him get through tough times in his life. He details his struggles with post traumatic stress disorder, due in large part to the childhood abuse he endured. 

http://threeoneg.com

http://retoxrules.bandcamp.com

http://thelocust.bandcamp.com

http://deadcross.bandcamp.com

Featured songs:
Retox -"The Inevitable End" from  Beneath California (Epitaph Records, 2014)  
Suicidal Tendencies - "Institutionalized" from Suicidal Tendencies (Frontier Records, 1983)

Photo: Becky DiGiglio

About this podcast:
Scream Therapy explores the link between punk rock and mental health. My guests are members of the underground music scene who are living with mental health challenges, like myself.

Intro/background music: 
Submission Hold - "Cranium Ache"
Render Useless - "The Second Flight of Icarus"

Artwork: Luke Ramsey - http://lukeramseystudio.com

Contact host Jason Schreurs - jasonschreurs@telus.net

Episode 10: Justin Pearson of The Locust and Retox on childhood trauma and PTSD

Host Jason Schreurs recaps the first 10 episodes of Scream Therapy. He also announces a very special guest for episode 11. Hint: He has the best hairdo in underground music! 

About this podcast:
Scream Therapy explores the link between punk rock and mental health. My guests are members of the underground music scene who are living with mental health challenges, like myself.

Intro/background music:
Submission Hold - "Cranium Ache"
Render Useless - "The Second Flight of Icarus"

Artwork: Luke Ramsey - http://lukeramseystudio.com

Contact host Jason Schreurs - jasonschreurs@telus.net

Episode 10.5: Host Jason Schreurs recaps the first 10 episodes


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

SECRET FUN CLUB "Black Metal to English Dictionary"

Three One G

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