SARGENT HOUSE NEWS

Mutoid Man add two more Ireland shows, announce Irish & UK support 

Mutoid Man are expanding their Irish domination to include Cork and Galway, and they’re bringing along the crushing No Spill Blood for all four Ireland shows.

7.5 Tonnes Of Beard, which includes half of the band And So I Watch You From Afar, will join the thrashfest for Dublin and Belfast.

The excellent Palm Reader will be joining the Mutoids for all UK dates.

This tour is a guaranteed ripper - see an updated list of all shows below, and get your tickets HERE.

Oct 14 Cork, IE @ Cyprus Avenue *
Oct 15 Galway, IE @ Roisin Dubh *
Oct 16  Dublin, IE @ Grand Social %
Oct 17  Belfast, IE @ Voodoo %
Oct 18  Birmingham, UK @ The Rainbow #
Oct 19  Glasgow, UK @ Broadcast #
Oct 20  Leeds, UK @ Brudenell Social Club #
Oct 21  Manchester, UK @ Deaf Institute #
Oct 22  London, UK @ Underworld #
Oct 23  Amsterdam, NE @ Q Factory
Oct 24  Cologne, DE @ Underground
Oct 25  Hamburg, DE @ Hafenklang
Oct 26  Copenhagen, DK @ BETA
Oct 27  Berlin, DE @ Cassiopeia
Oct 28  Vienna, AT @ Arena
Oct 29  Ljubljana, SI @ Menza pri Koritu
Oct 30  Bologna, IT @ Freakout Club
Oct 31  Milan, IT @ Lo Fi
Nov 01 Montpellier, FR @ Black Sheep
Nov 02 Lille, France @ La Peniche

* w/ No Spill Blood
% w/ No Spill Blood & 7.5 Tonnes Of Beard
# w/ Palm Reader

Mutoid Man Live Show Review & Photos // New Noise 

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words & photos by James Alvarez

Mutoid Man brought their high octane rock’n’roll hysterics to Los Angeles last week, touring in support of their stellar new album, Bleeder. The weeknight tour date did nothing to squash the crowd inside The Echo’s enthusiasm, as the Converge/Cave In supergroup played to a packed and sweaty room. Stephen Brodsky’s trademark croon, Ben Koller’s inhuman time keeping, and Nick Cageao ‘s low end rumbling kept heads bobbing, while the group’s hilarious onstage antics had everyone inside howling. Crowd surfing blow-up dolls and instrument swaps were just some of the lunacy Mutoid Man unleashed at The Echo. I think I saw Ben Koller kicking his hi-hat cymbals at one point. The band ended their set by performing their new album’s epic title track for the first time…ever, with assistance from their tour mate and mighty screamer, He Whose Ox Is Gored’s Lisa Mungo. It’s always a wild mix of riffs and lolz when Mutoid Man roll through town.

See all photos on New Noise and check out a selection of live photos from their US Bleeder tour on the Mutoid Man site

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And So I Watch You From Afar “Wasps”Live Session // CutLooseTV 

CutLooseTV has unveiled the last video from the session in Glasgow with And So I Watch You From Afar. Check out their performance of “Wasps” above, and be sure and watch the other two CutLoose videos if you missed them:

Mylets “Arizona”
And So I Watch You From Afar “Run Home”

And So I Watch You From Afar and Mylets will be touring the US this fall along with labelmates Blis. - see all dates and buy tickets HERE.

Mutoid Man // Artist Direct interview 

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photo by Mitchell Wojcik

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The band’s new album “Bleeder” is one of 2015’s best.

Mutoid Man make music that is loud, noisy, nasty and gnarly on their latest release Bleeder. One thing that’s missing? Oh, just the hipster element than can come with too-cool-for-the-room metal.

Steve Brodsky, formerly of Cave In, spoke to us about the band’s genesis and more. Consider this the definitive scoop on Mutoid Man.

Give our readers the lowdown on how Mutoid Man came to be?

It was sort of just very unassuming and random how we got together and made a band out of it. Ben Koller, the drummer, and I had a relationship, musically, for about 10 years now. His band Converge and my band Cave In did a recorded collaboration together years ago. Most of it never got released, but some got released on Converge's Axe to Fall.

Prior, Ben and I lived with Kurt [Ballou] from Converge. It was a slanty shanty. You could let a tennis ball go and it would roll to the other side. I had this resurgence where I was collecting video games and video game consoles, from the games that I was playing games in my youth. It was a mid-‘20s life crisis. Ben was like a natural gamer. I would get stuck in Zelda and knock on his door. Like, 'How do I get out of the dark world here?’ He’d pull out old issue of Nintendo Power and we were video game nerd buddies. That is how it started. We’ve been musically cross-pollinating over the years. He played drums in Cave In for about a year. We did a bunch of touring and recording.

When we found ourselves living in New York, we figured we’d just jam out and see what happens. I moved there since I was in a long-distance relationship. I was living in Boston, dating a woman in New York, and commuting. I bit the bullet and wanted to make it more serious, so I moved to New York. Ben and his girlfriend lived in Brooklyn and we ended up sharing a rehearsal space. I moved a full stack down from Boston and it was stuck in my closet. Ben said, 'It’s a travesty. Let’s get that in my rehearsal space.’ I had nowhere else to put the stack. I had thought, 'If it falls through the floorboards and crushes someone… I’m in trouble.’ So then we started jamming.

Are you still in New York?

I still live in New York but Boston is still my home.

I love that Bleeder is riffy and noisy, but it lacks the hipster element that similar-sounding bands might have. Was that at all purposeful or did it just… happen?

It’s hard to say. We definitely go about crafting the songs as well as we can so that there is a little bit of all elements under the umbrella of rock 'n’ roll in there. One of the covers we love to do is Little Richard song. It’s a drumbeat that Led Zeppelin stole. Anyone who has an interest or an ear for rock music, if they have the patience to sit with Mutoid Man, which doesn’t take that much patience, since Bleeder is still under a half-hour long… as long as you can roll with it, you will hear something that is a nod to punk or hardcore or classic rock or old-timey rock. We succeed at that. We are a well-rounded band. We throw out nods to rock 'n’ roll.

Besides, do hipsters really listen to rock 'n’ roll anymore?

I wonder if they do! That’s a great point. So, pick one song off Bleeder and go deep with us.

One of the more memorable songwriting moments is 'Bridgeburner,’ the opening track. Early in the writing process, when Ben and his family were packing up to move to the West Coast, where they were for a year, I helped him with the move. I helped him drive his car and some belongings and their dog across the country.

We were in the car for four or five days, taking a little road trip. At some point, we had podcasts, mixes, and some video games going on on the stereo. I think the theme from video game Tiger Heli came on and we looked at each other. We were vibing on it. We thought we should tell Nick [Cageao] to write a riff that sounds like this. We found a YouTube link to the music, sent it to Nick and five minutes later, we get a message back with Nick with his bass, playing the main riff to 'Bridgeburner.’ We were like, 'Woah. That is rad.’ We send ideas all the time but I remember that moment. We knew we had to jam on that riff.

All that came from chaos!

We’ve dealt with some degree of chaos.

Do you resent/dislike/not care about the “supergroup” tag, since you’ve got some quality pedigree, with yourself and Converge/All Pigs Must Die drummer Ben Koller in the ranks?

In a sense, it is flattering, that people feel that way about groups we play in. Those groups are noteworthy enough to apply that tag. I look at it as praise. It’s one of those things, where in the beginning, it can be tough. Maybe writers feel this way, or maybe you feel this way. Do you feel this responsibility to do what you can when talking or writing or music to bring it above the surface? That is fine. If people feel that way about Mutoid Man, I will call it 'God’s Jizzing in Your Earhole!’ I don’t care. I don’t care what you call it. That is one of the beautiful things about America. We have the freedom to act or behave as we wish in the world and have fun. Call it a supergroup, that’s fine by me.

You have provided a charming snapshot of nerdy love of video games. Nerdiness is good in 2015. What is the one thing you want people to know about Mutoid Man?

The three of them in this band figured out how to unite under rock 'n’ roll.

—Amy Sciarretto
08.21.15

(via Artist Direct)

Deafheaven talks to Rolling Stone about New Bermuda 

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“It’s been a pretty crazy journey getting to the point that we’re at now,” says Deafheaven vocalist George Clarke. “And now we’re really in the eye of the storm, and it's… interesting.”

Less than three years ago, Clarke and Deafheaven guitarist Kerry McCoy were scratching out an impoverished existence in San Francisco’s Mission District, where they lived on food stamps and shared a tiny apartment with six other roommates. Deafheaven’s debut album, 2011’s Roads to Judah, had garnered some critical acclaim for its boundary-pushing blend of black metal, shoegaze and post-rock; but a rough year on the road supporting the record had left Clarke and McCoy destitute, and caused the other three members of the band to jump ship.

Rather than pack it in themselves, Clarke and McCoy found some new accomplices (drummer Dan Tracy, bassist Stephen Lee Clark, and guitarist Shiv Mehra) and poured their hopes and frustrations into Sunbather, an album that changed everything for them. The record not only was “the best-reviewed major album of 2013,” according to Metacritic, due to its many accolades — which included the top spot on Rolling Stone’s 20 Best Metal Albums of the year list — but also unexpectedly resulted in sold-out club dates and choice slots at festivals in the U.S., Europe, Australia and Asia.

The success of Sunbather enabled Clarke and McCoy to move to Los Angeles — “In San Francisco, we kind of realized we were paying more money to have less fun,” McCoy laughs — and enjoy a more somewhat more comfortable standard of living. But it also meant that the band had to get cracking on the next album shortly after wrapping up their final Sunbather dates.

“We’d been touring for a year and a half,” McCoy explains. “I literally only had like one or two new songs sketched out, and we had like four or five months to get this record written and into the studio. We’ve just got done releasing the biggest record of our lives, which took me a year and a half to write; and now I’m writing the follow-up to that in a third of the time, knowing that it’s going to get, like, four times the attention. That’s a lot of pressure,” he laughs.

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Under the gun to craft a follow-up to Sunbather, Deafheaven spent much of this spring holed up in rehearsals, before heading to Palo Alto’s Atomic Garden Recording and 25th Street Recording in Oakland to lay down tracks with producer Jack Shirley, who’d also been behind the boards for their previous two albums. “We did our last two records at Atomic Garden,” says Clarke, “but 25th Street has a really large drum room. We wanted to focus more on drum production for this record, so Jack suggested that we do all the drum tracks there.” “There was a lot of second-guessing because of the time crunch,” adds McCoy. “It was like, ‘Am I actually happy with this part? Or do I just want to be done writing for the day? Does this really work, or are we actually rushing through this?’”

Despite — or perhaps because of — the stress of the looming deadlines, the recording sessions resulted in New Bermuda, a stunning, five-track edifice of thundering sound that takes the expansive sonic attack of Sunbather to a darker, more metallic place, while also working some unexpected classic rock touches into the mix.

“That mixture of influences has kind of always been our thing, much to some peoples’ annoyance,” laughs McCoy. “But a lot of this record is us being like, 'Look, we are a metal band. We do a lot of other stuff, but we can solo; we can have some Slayer riffs in there. There was a lot of, 'Hey, what if we throw some traditional thrash metal stuff in here, but just make it our own?’ And I think it worked really well.”

McCoy, who writes Deafheaven’s music, cites Morbid Angel and Kill 'Em All–era Metallica as some of the main musical influences behind New Bermuda. But there are also moments throughout the album — like the gorgeous piano outro of the opening epic “Brought to the Water” or the Michael Schenker–esque wah-wah solo break on “Baby Blue” — that are clearly rooted in classic and/or alternative rock.

“I was definitely trying to distance myself from the whole shoegaze thing and go more towards alternative rock,” he says, “which is why there’s the Oasis homage at the end of 'Gifts for the Earth,’ and some of the songs have more of a slow-core vibe — like, my take on Low or Red House Painters. There’s even like a Wilco slide guitar-y thing on 'Come Back.’ Not so much reverb and spacey-ness, which in my opinion is being beaten to death currently, but more of an emphasis on hooks, riffs and real melodies.”

Though Clarke says that his lyrics aren’t directly influenced by McCoy’s music, his words mesh perfectly with the sense of tension and urgency imparted by the band on New Bermuda. The bleakness of his current lyrical perspective, he explains, stems from the realization that, after dreaming of success and stability for years, he’d actually created new stresses and anxieties for himself by achieving those things.

“Whereas Sunbather sort of had this hopeful, dreamlike feeling to it, New Bermuda is definitely more steeped in reality,” he says. “It has more to do with the idea of facing yourself, questioning what it was that you wanted in the first place, and dealing with complacency…

”'New Bermuda’ is the destination that you’re getting towards,“ he continues. "It’s basically sort of a play on the [Bermuda] Triangle — it’s like, you’re traveling to this place, and you think this is what you want, and you think this is where everything is going to be good. And before that happens, you’re swallowed up by the realities of life, the day-to-day.”

Still, Clarke insists, he’s far from displeased with Deafheaven’s graduation to bigger stages and larger audiences. “One thing that I don’t want to get misconstrued is the notion of my constant unhappiness,” he says. “I feel incredibly fortunate to be in the position that we’re in. I feel like we have worked incredibly hard, but we’ve also been lucky, and I really appreciate that. It’s just that, sometimes, I feel… It’s hard to explain, but it’s a sort of trapped feeling. And it’s also like, we’re in the middle of our career, and I’m afraid to lose it — and afraid of what comes next.”

(via Rolling Stone)

TTNG Tour 2015 

TTNG are headed to North America this Fall. Touring with The World Is A Beautiful Place & I Am No Longer Afraid To Die  and Foxing alongside Brightside.

Dates below: Go here for ticket links. On sale Aug 26th at 12pm local time. 

Please note: TTNG will not be on the first and last two shows of the tour as they will be recording a new album!

11/2 - Tallahassee, FL - Club Down Under
11/4 - Newport, KY - The Southgate House Revival
11/5 - Columbus, OH - The Basement
11/6 - Grand Rapids, MI - The Pyramid Scheme
11/7 - Chicago, IL - Subterranean
11/8 - Minneapolis, MN - 7th Street Entry
11/10 - Denver, CO - Bluebird Theater
11/11 - Salt Lake City, UT - Kilby Court
11/12 - Reno, NV - The Holland Project
11/13 - Portland, OR - Analog Theater
11/14 - Vancouver, BC - Biltmore Cabaret
11/15 - Seattle, WA - The Vera Project
11/17 - San Francisco, CA - Rickshaw Shop
11/18 - Los Angeles, CA - Roxy Theatre
11/20 - Phoenix, AZ - The Rebel Lounge
11/21 - El Paso, TX - Mesa Music Hall
11/23 - Dallas, TX - Gas Monkey Bar N Grill
11/24 - Austin, TX - Sidewinder
11/25 - Houston, TX - Walters
11/27 - Atlanta, GA - The Masquerade
11/28 - Nashville, TN - The End
11/30 - Richmond, VA - The Camel
12/1 - Morgantown, WV - 123 Pleasant St
12/2 - Baltimore, MD - Ottobar
12/3 - Brooklyn, NY - Music Hall of Williamsburg
12/4 - Philadelphia, PA - Union Transfer
12/5 - Ithaca, NY - The Haunt *
12/6 - Boston, MA - The Sinclair *

* no TTNG

Chelsea Wolfe on cover of CMJ, Abyss is #1 Most Added 

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Issue 1406 of CMJ features none other than Chelsea Wolfe on the cover, as Abyss is the most added album in college radio!

You can order your copy on her online store HERE, and see her on her US and EU tours this fall - multiple shows have already sold out, so don’t wait! Click HERE for a full list of dates and ticket links.

Click HERE to see a list of reviews about the album.

New All Tvvins track “Darkest Ocean” 

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In the latest edition of T.L.M.T’s song of the week feature The Mixed-Tape we turn our attention All Tvvins and their new single ‘Darkest Ocean’.

A big bold new single from All Tvvins, ‘Darkest Ocean’ is as multilayered and broad in its production as we’ve come to expect from the group.

With every inch of the song occupied by ever-evolving synth lines the powerful rhythmical core of ‘Darkest Ocean’ really gives the track a sense of impact, as All Tvvins bounce from electro-pop hook to electro-pop hook.

It seems that with each new release from All Tvvins, the band widen the spectrum of their music. Even when you think there’s just no room for expansion they find a way, while never sounding weighed down by the heft of the production. With All Tvvins the question continues to be just how far are they willing to take it.

(via The Last Mixed Tape)

Marriages & Creepoid @ Los Globos // Live Photos + Review 

As part of a special Part Time Punks, LA dark-rockers Marriages and Philly’s grunge-gazers Creepoid destroyed the Los Globos downstairs with a pair of blistering sets.

When we caught Marriages back in July, it was in broad daylight. We told ourselves that the next time would have to be in the dark of a club because their sound is meant for it. This time around at Los Globos, the trio eschewed the stage for the floor setting up their gear facing each other at three points in a triangular fashion, appearing almost ritualistic. With the stage lights removed, all that lit up the main space were two work lamps laying on the floor between equipment. Wasting no time, Emma Ruth Rundle’s gloomy guitar quickly bursted throughout the room. Amidst sharp, searing riffs cutting through her haunting vocals was bassist Greg Burns’ fuzzed reverb frenzy and drummer Andrew Clinco’s heavy beat. Seeing them play songs from their new album Salome (Sargent House)—a dark, post-rock gem released this spring—it was as if a new dark expanse had opened up and swallowed us whole.

photos by James Juarez

Read more + see all photos HERE.

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