REVIEW: THE LIMIÑANAS – ‘Istanbul is Sleepy’


Lio and Marie Limiñana are a French duo who’ve been releasing some highly catchy and effective music from their metaphorical psych-pop garage since 2009. They’ve been doling the music out in small doses, like their new EP, Istanbul is Sleepy.

There’s a perpetual rhythmic drive that carries the music on the Istanbul is Sleepy EP. The songs are loaded with varying shades of sonic colors that bleed together and creating distinguished hues that swirl together and flow freely. There’s an easiness in the music’s welcome monotony that elicits a zoning effect with hypnotic results. The title tracks, which opens the EP, is a super successful collaboration with Anton Newcombe (The Brian Jonestown Massacre). Tempo plays a big role in the EP’s presence. Of the four tracks, the first three share a similar strut and swagger. The final cut, “Angels and Demons,” picks up the pace slightly with an upbeat rhythm that saunters steadily from start to finish. Each song lives anchored in a warm, lo-fi psychedelia and scattered traces of hypnotic shoegaze. But hints of soulful, even bluesy, elements help keep each song distinctive. The way the vocals are delivered, in both English and French, is a secret weapon the duo has that adds layers of dimension that can sound as mysterious as they do romantic. An overall filmic quality within the music can evoke cinematic flashes of  tranquil desert scenes of American Southwest landscapes a la Joshua Tree. It’s a key characteristic of the EP’s vibe that helps allow their individual style of psychedelic garage-pop stand comfortably apart from their musical peers and contemporaries.

The Limiñanas’ Bandcamp page will give you access to essentially all of their releases, digitally. Check it out here.


The Heartbreakers’ ‘L.A.M.F.’ Live Release Announced – All-Star Lineup

JVD0124DMVD just recently announced the DVD and CD release of a live performance of the Heartbreakers’ classic rock & roll landmark L.A.M.F. in its full glory. Captured over two nights at NYC’S Bowery Ballroom during November 2016, a curious, albeit impeccable, lineup led by Walter Lure—the only living Heartbreaker. He shared the stage with Tommy Stinson, Clem Burke, and Wayne Kramer—of the Replacements, Blondie, and MC5, respectively.

The DVD, colored vinyl LP, and CD continues the 40th anniversary celebration of L.A.M.F. that began with the release of the remastered edition and an extended Definitive Edition box set 4xCD/3xLP of the albums that included copious mixes and demos. For all interested inquiries you can find these new pieces here.

FREUDCD124The release coincides with Walter Lure taking the L.A.M.F. show on the road again. Joining the tour with him will be the Sex Pistols’ Glen Matlock on bass, Social Distortion’s Mike Ness on guitar & vocals, and again Blondie’s Clem Burke on drums. They play six dates starting at the end of November 2017 covering the east and west coasts of the US. They play in Los Angeles, San Diego and New York at the end of November/early December 2017.

FREUDBX104-CLAMSHELL BOXL.A.M.F. is arguably the best album from the first generation of punk rock. It was the only album released with all of the Heartbreakers included together. After 40 years, every song on the record still holds up. If you don’t know the album, you should check it out. And MVD (Music Video Distributors) is a top-notch resource for video titles from almost any of your favorite bands and artists, a lot of which are hard to find or otherwise obscure. The quality of their products have always been impeccable in every experience I’ve ever had with them. So this L.A.M.F. release is bound to be fucking incredible.

A couple of years ago I spoke with original Heartbreaker Walter Lure before the release of the band’s live release from Max’s Kansas City. I’ll repost that conversation in the coming weeks to accompany this upcoming release, so keep checking in!

New Midnight Song Revealed

Finally, another new track taken from Midnight’s eagerly awaited LP, Sweet Death and Ecstasy. “Crushed By Demons,” the album’s opening song, is a crushing new piece of music that wastes no time showing off a more dimensional sound for the band’s infamous go-for-the-throat attack that Midnight has mastered by now. It’s presence is deliberate and flattening.

Check both new songs out immediately below. The first part of an ongoing interview is posted below, as well. Be sure to look that over if you haven’t already.

Over the months, I’ve spoken with Midnight’s helmsman, Athenar, about the activity involving the band during 2017. Cleveland, OH’s Midnight doesn’t really need much of an introduction. Earlier this year the band was tapped to participate in the 2017 annual Decibel Magazine Tour in North America. Sharing a billing with metal icons Kreator and Obituary introduced Midnight’s trademark sonic sleaze and debauchery to thousands of unsuspecting metal fans across the country, no doubt adding yet even more numbers to their already robust, maniacal hordes around the world.

Midnight has cultivated a highly impressive following and reputation with relatively small amounts of traditional ‘promotion’. While talking about touring and it’s employment as a utility of self-promotion, Athenar says ”Yeah, that’s why I haven’t really done a whole lot of it.” He doesn’t have an aversion to live performances, he’s just not real into the concept of the whole self-promotion thing. It has to make sense. Fair enough. Midnight signing on to the 2017 Decibel Magazine Tour—coming at a time immediately following the Shox of Violence EP release and only months before the release of their third LP—,made sense.

The worldwide release of Midnight’s Sweet Death and Ecstasy is set for December 15th. It’s the third studio LP and it’s primed to be their finest collection of carnal depravity yet. Check out the first in a series of conversations with the one and only Athenar.

0f9f6bda-1807-47c9-a89a-2fd3c8ac967dHow did the tour go?

Everything was good. Maybe it was too good! When I came back I was waiting for something to go wrong somewhere because everything was great on the tour. I felt good, the van ran well, the shows were good, so I was wondering, “What’s the catch?”

So you’re waiting for the other shoe to drop.

Yeah, exactly!

I guess everyone on the tour got on with each other without any major drama?

Everyone was great, no drama to be had. Kreator did their own thing, everything was smooth there. The Obituary guys were always just down to earth dudes. Horrendous were cool. They’re young guys. We definitely had a lot of fun, they’re just dorks like us. It was great, everybody had a good time.

The new album, Sweet Death and Ecstasy, has been finished for a long time now. Was there anything left to do once you got back from the tour? Did you get to work preping the finalities for the new album?

Yeah, but that didn’t really take very long. It was maybe an evening or something like that. It was just a matter of getting together with Eric, from Hells Headbangers, and going over the layout and stuff like that. It was like, “That looks good, that looks good, take that out, change this to blah, blah, blah.” I did start recording some new a new album…

Another new Midnight album?

Yeah. I kinda got ahead of the game around the time No Mercy for Mayhem came out. That album took a long time to come out. It should’ve come out a year before it did. I wasn’t happy with the way the mix sounded so I kept mixing it, and mixing it, and mixing it, and mixing it. Then, finally, it just came to a point where I knew it wasn’t going to be much different anymore. I would take a mix and sit with it for a month or so, then I would take forever trying to change things around and sit with that for a month or so. That kinda dragged on for about a year, but in the meantime I was writing new songs, so that put me ahead again.

I remember you telling me about the material back when we first spoke a long time ago. That’s the material you’re releasing now, Sweet Death and Ecstasy.

Then I pretty much did the same thing with this album. It’s been done for a while now. I’d got everything recorded and the record was ready to go, but then some things happened and I didn’t even feel like putting it out after that. Sometime went by and I was like, “Oh yeah, I’ve got that album.” I got sidetracked, I guess.

aba1fb0e-0b6c-4e0b-a197-68c116e020caJust to be clear, you’re saying that you’ve got yet more, newer material for a release to follow Sweet Death and Ecstasy.

The songs are written, the music’s been recorded, maybe some vocals are all that’s left.

Obviously you’re not looking to release another album right away, like back-to-back full-lengths. Do you have some kind of two, three, or four year plan mapped out? What’s going on?

Actually, I thought “I could put out something like Physical Graffiti or Exile on Main Street, do a double album,” but I really don’t think it’d fly. Maybe I could put it out right after Sweet Death and Ecstasy. I could do something like Sweet Death and Ecstasy II: The Positive Side. Not really, but who knows?!

With all of the time you had there and the constant writing, I’d imagine you left a few off of this new release for some reason. Maybe to rework or to save for another release at another time?

No, it’s like 31, 32 minutes long, just like the other albums. There are a couple of tunes on there that are a little longer then usual, they run past 6 minutes. Maybe I got into an early Manowar kind of phase, I don’t know. The two longer songs I probably my favorite ones in the new album.

What is it about those two new songs that you really like?

I think it’s because they have some good hooks in them. Not the hokey hooks like you find in a lot of choruses, I just think they’re really catchy. I like the lyrics in those songs, also.

Without going into a cheesy, romantic ‘analysis’ of the musical trajectory, would you say that you might’ve expanded upon Midnight’s sonic presence, where your personal expectations are concerned?

That’s a good way to put it, yeah.

To be continued…..

CVLT Nation Takes on the Misfits’ ‘Walk Among Us’

0003647112_10CVLT Nation brings us the next new installment in their series of underground classic compilations. This, the 15th series entry, focuses on the Misfits’ classic Walk Among Us. They’ve included a vast selection of bands that span the entire spectrum of heavy frequencies. This particular compilation features covers from Hellkeeper, The Wraith, 偏執症者 (Paranoid), True Love, Bleach Birth, Casket Huffer, Hag Graef, Beastmaker, Black Tomb, Dreadlords, and False Light. Like every one before it, this Sessions comp is now available as a free download, no strings attached.

Find the comp’s track list below to see exactly who did which song.

About CVLT Nation’s Sessions Series:
The CVLT Nation Sessions cover iconic albums that’ve influenced genres across the board. Every song from said album is covered, each band on the album does one single song from that album. CVLT Nation has tapped a lot of their favorite heavy underground bands from around the world to record the covers. The object is two-fold; the introduction of some seriously influential material to new ears and minds, while the bands covering the material expand their fan base. And it’s all available for free—free distribution and download. Just go to their website,, to grab your music and hopefully find something new to you. Nashville-based Black Matter Mastering has handled all mastering duties.

The last release CVLT Nation tackled was Bolt Thrower’s In Battle There Is No Law which—along with Joy Division’s Closer, Black Sabbath’s Master of Reality, and The Cure’s Pornography—turned out to be among the best installments. Other seminal albums CVLT Nation has covered include the Dead Kennedys’ Fresh Fruit For Rotting Vegetables, Black Flag’s Slip It In, Joy Division’s Unknown Pleasures, Amebix’s Arise!, and the Misfits’ Earth A.D. There’s also a couple more Sabbath album’s, Sleep’s Holy Mountain, Bathory’s debut LP, and Hear Nothing See Nothing Say Nothing by Discharge, which kicked the whole series off. You’ll find the complete list at CVLT Nation’s website or their Bandcamp page, where you can grab the releases from, as well.

These series entries usually come around every few months so make sure to stay sharp and check back regularly.


Misfits ‘Walk Among Us’: The CVLT Nation Sessions Track List:
1. Hellkeeper – 20 Eyes
2. The Wraith – Turned Into A Martian
3. 偏執症者 (Paranoid) – All Hell Breaks Loose
4. True Love – Vampira
5. Bleach Birth – Nike A Go Go
6. Casket Huffer – Hatebreeders
7. Hag Graef – Mommy, Can I Go Out And Kill Tonight?
8. Bleach Birth – Night Of The Living Dead
9. Beastmaker – Skulls
10. Black Tomb – Violent World
11. Bleach Birth – Devil’s Whorehouse
12. Dreadlords – Astro Zombies
13. False Light – Braineaters

REVIEW: BROWN ACID – ‘The Fifth Trip’

Bear with the brief analogy: when surgeons are tits deep inside of a pocket left from an excision, deep stitches are placed inside to pull everything together so as to foster strong internal structuring. Those absolutely integral components eventually dissolve over time. While at first glance of the surface, the superficial sutures appear to’ve done the job of holding everything together, the work done underneath and out of view provided a sturdy foundation that prevented an empty, hollow encapsulation.

It’s the scores of unknown, unrecognized, essentially unheard nuggets that give our music’s history its structure along with true fullness and richness.


If you happen to be new to the Brown Acid compilation series, it’s a continuing anthology of rare and obscure rock & roll gems that’ve been unearthed and curated by RidingEasy Records and Permanent Records. It’s been remarkably prolific in a surprisingly short amount of time. Every installment of sonic rarities can satisfy both the casual fan and the connoisseur, equally. There’s always a little bit of everything—proto-metal, proto-punk, drone, psychedelic, garage rock & roll, etc.—gathered and sorted from what has to be some of the most gloriously obscure collections around the world. Where does The Fifth Trip fit in? Well, it’s probably one of the best contributions that’ve been made to this continuously expanding anthology so far.

From the jump, with “No Reason” by Captain Foam, The Fifth Trip turns out a load of great space rock which also includes strong cuts like Finch’s “Nothing in the Sun” and Cybernaut’s “Clockwork.” Fargo’s “Abaddon” is a choice slice of Iron Butterfly-esque acid rock and Flasher’s “Icky Bicky” throws in a touch of soul, though both tracks have a golden California vibe that helps them stick out. “Fireball,” from Lance, is a great slice of raw rock & roll leaning in the direction of punk. A bona fide highlight track is a bluesy, psychedelic take on “Helter Skelter” by Flasher, which, I’ve gotta admit, I was fully ready to blow off before resolving to give it the benefit of the doubt with a verse and a chorus. The amalgam of it’s driving rhythm, insistent vocal delivery, and its scorching organ presence—most likely a Hammond—almost recreates the song, period.

RidingEasy Records and Permanent Records have assembled this installment of Brown Acid with some of the most eclectic selections so far. At first listen is it seems like the material on The Fifth Trip could’ve been culled from the farthest reaches of the sonic stratosphere, yet. But that’s one of the coolest things about this whole Brown Acid ‘trip’; each time has to require even more searching and digging for material that’s worthy of the anthology’s standards. So, let’s keep this thing going!

REVIEW: HEATERS – ‘Matterhorn’

1500476338Making their full-length debut with Holy Water Pool in 2015, and 2016’s Baptistina, Heaters seem to be quite prolific thus far with their third and newest LP, Matterhorn. Their musical development is quite remarkable, even in only two years’ time. One factor is the notable lineup change  within the band’s ranks. Regardless, there’s no doubt that they’ve got a distinct knack for creating enveloping soundscapes comprised of swirling psychedelics that billow like clouds that’re equally lush and rich.

A segue from “Thanksgiving 1” into “Thanksgiving 2” opens the album with a gauzy haze of sonic waves of cool tones and frequencies that float like soft pastel ribbons inside of the soft gusts of oceanic trade winds. The billowing effects that are generated by the wet effects essentially remain a constant force throughout the entire album. “Black Bolt” offers some shades vintage pop. Though there’s a bit of a heavy atmosphere all through the album, “Bronze Behavior” sticks out as an especially sedated moment that gives the whole of the record surprisingly unique dimension. Closing the ride out with “Séance” is an interesting choice because it seems like it could be indicative of Heaters’ musical trajectory yet to be realized.

As the music is playing through, it sometimes catches itself in an occasional reverb hole, but it doesn’t detract from the album’s complete effect. Rather, it often results in a euphoric disorientation. Those moments of soft confusion allow the songs to play like ephemeral trips that make the album easy to revisit when the mood strikes. Playing through the way Matterhorn does, the band’s ultimate potential seems to be limitless. The only standard Heaters will have to live up to is the one they set themselves with Matterhorn.

Purchase Matterhorn by clicking here

Gridfailure Issues First Volume of a New Series – Free Download

New York-based experimental psyche degradation unit Gridfailure kicks off a brand new EP series. The first installment of When The Lights Go Out has been released for free, just in time for Halloween. It can be streamed and downloaded at the bottom.

a1116784282_10The When The Lights Go Out series has been formed in order to broadcast the more ethereal, ambient, and abstract soundscapes of GRIDFAILURE’s sound, attempting to hone-in on the otherworldly horror from which the outfit metastasized in early 2016. The passages within the series will bear sparse percussion or distinct lyrical and vocal elements, rather focusing on atmospheric horror soundscapes and supernatural auras, invoking one’s childhood fears while aiming at creating new ones within the listener.

When The Lights Go Out Vol. I delivers a half hour of harrowing wailing, howling, and undiscernible creep-out aura through seven odd movements, primed specifically for the Halloween season. GRIDFAILURE’s David Brenner provides waves of vocals, guitars, bass, keyboards, synth, theremin, percussion, and more, with vocal contributions from Liz Ciavarella-Brenner and Faith Ciavarella, and percussion and guitar elements from Robert Levitt.

Gridfailure will be releasing a slew of brand new albums, EPs, collaborative releases, singles, and more over the coming weeks and months. Be sure to check in regularly for new information.

When The Lights Go Out Vol. I Track Listing:
1. Banshee Accumulation
2. It Came From In There
3. Spectrevision
4. Attempt To Seal It Out
5. The Path
6. Your Arms Are Up There
7. Howling Breed


Genres Don't Matter, Good Musik is Good Musik. Find Something New and Try It.