Official press release:
"Equal Vision Records alumni outfit The Sound of Animals Fighting, which features Anthony Green (Circa Survive), Matt Embree and Chris Tsagakis (Rx Bandits) and Rich Balling (formerly of Rx Bandits), will unite in March 2014 for a series of shows. This will be the band’s first time performing together in over seven years and will see the band performing on the East Coast for the first time ever.
The ever-evolving experimental outfit, who has carved out an incredibly unique niche in the modern musical landscape with their distinct style, shifting pool of guest artists and unique production methods, last performed in 2006 with a run of shows in San Diego, Las Vegas, Hollywood, and Anaheim – their only shows ever, until now. The magical artistic experience of the band’s previous Anaheim show was captured on film and later released as a live DVD called We Must Become The Change We Want To See.
The just announced dates will include performances of songs off of the band’s Equal Vision Records’ releases Tiger & The Duke and Lover, The Lord Has Left Us…, as well as never-before-performed songs off of their 2008 release The Ocean And The Sun [Epitaph Records]. In the signature spirit of The Sound of Animals Fighting’s always unique ventures, fans can again expect a one-of-a-kind experience at the upcoming tour dates, complete with intimate vignette solo performances by the likes of Embree, Green, and C-Gak as they enter the shows.
The Sound of Animals Fighting will be joined by Kansas post-rock practitioners The Appleseed Cast on the West Coast shows and supported by ensemble Unwed Sailor on the East Coast dates.
A special discounted bundle of The Sound of Animals Fighting’s We Must Become The Change We Want To See and Lover, The Lord Has Left Us is available now through equalvision.merchnow.com as the Equal Vision Records’ Deal of the Week.
Tickets for all shows will go on sale Friday, November 15 at 12pm local time, here: http://www.thesoundofanimalsfighting.com."
All upcoming tour dates can be found in the comments below.
City of Ifa have debuted "I Might" from their upcoming self-titled full-length. Highly recommended listen. A nice mixture of This Town Needs Guns-esque math rock and A Lot Like Birds-esque shouty, progressive post-hardcore.
Kathleen Mae, who lent vocals to five tracks on Strawberry Girls' French Ghetto, is readying a solo album of her own. "Fairest Nightmare" is the second song she's released, and you can peep it right beneath these words.
Those Mockingbirds have debuted a video for their single "How to Rob a Bank." Cheggit below.
In case you missed the other day's blurb, Sianvar is a band featuring Will Swan of Dance Gavin Dance, Donovan Melero of Hail the Sun, Joe Arrington and Michael Littlefield of A Lot Like Birds, and Sergio Medina of Stolas. Their debut self-titled EP will be out on January 5, but you can check their lead single "Sick Machine" below. If you couldn't tell by the line-up, expect mad guitar effects, breakneck tempo shifts and vocals that will piss off your granddad.
Donovan Melero - Vocals
Will Swan - Guitar
Sergio Medina - Guitar
Joe Arrington - Drums
Michael Littlefield - Bass
Official press release:
† † † (Crosses) are preparing for the release of their eagerly anticipated eponymous full-length debut, due out February 11 2014 via Sumerian Records. The 15 track CD will consist of songs from the band's previously released EP† and EP†† alongside five unreleased songs, including their new single "†he epilogue".
Spin.com is exclusively streaming another new track, "bi†ches brew".
The yet to be titled album will be available to pre-order digitally and physically on November 26. "†he epilogue" single will be released on iTunes and all streaming services on November 11 in the United States and on November 19th in Canada.
Florida based progressive metal act Cynic have confirmed their plans to release their next album on February 14, 2014. The
effort will be titled Kindly Bent To Free Us. Check out the comments to see artwork.
Closure in Moscow have debuted "The Church of Technochrist" from Pink Lemonade, their long-awaited follow-up to First Temple. It's.... funky, at least?
Sumerian Records seemingly endless roster of talent) have just released one of the tracks off their upcoming album Wolves Within
Ma Jolie, Bear vs. Shark-styled punk rockers out of Philly, are streaming "Kansas Slam" from their new LP Polars, due out next week.
Here's a regrettably short teaser for Sianvar, a band featuring Will Swan of Dance Gavin Dance, Donovan Melero of Hail the Sun, Joe Arrington and Michael Littlefield of A Lot Like Birds, and Sergio Medina of Stolas. For some of you, this is a godsend. For others, its the beginning of the end for good music.
French blackened post-hardcore beasts Celeste return with their first new music in three years with Animale(s). You can stream the whole dang thing right here.
I'll admit, I'm a From First to Last early years fan-boy, "Ride the Wings of Pestilence" and "Note to Self" will forever be engraved in my memories.
Matt Good has recently been generating some buzz on the interwebs with news of "a very cool announcement" he posted via Twitter.
Could Skrillex step back into "the scene" once again to become reclaim the Sonny legacy? Stay Tuned
Check out Dagoba's latest video for "The Greatest Wonder" below.
Why Bother? the solo project of The Wonder Years' Nick Steinborn, will drop its debut This Isn't Very Good on November 12 via Get This Right Records. The EP is named after some glib criticism from Absolutepunk.net's Jason Tate. Naturally, you can stream the first track there.
...unless you enjoy GWAR way more than you should!
More new A Lot Like Birds has arrived. Check their video for "Next to Ungodliness" below.
Head on over to A.V. Club to stream the latest song from State Faults. "Amalgamation" is taken from the band's new album, Resonate/Desperate, which is set for release on November 12th.
Fans of the post-rock tinged style of screamo/post-hardcore like Barrow or Pianos Become the Teeth should also not find fault with the track.
Check out TRC's video for "10,000 Hours" below.
New single "How to Rob a Bank" from Those Mockingbirds is now streaming over at The Vinyl District. For those who remember the band's debut EP Fa Sol La, forget it. "How to Rob a Bank" is a freewheeling, raucous punk-inflected cut, falling somewhere in the sonic continuum between old AFI and The Hives. If you like riffs, gangs, and songs that clock in under 3 minutes, give these new birds a spin.
"This is a big, important post. If you can read the whole thing, it'll make more sense. First, I finally have some official news about the next HAVE A NICE LIFE record, The Unnatural World. The official release date is February 4th. In order to make sure we can meet demand, get orders out on time, and not create an artificial vinyl bubble (as happened with DC), we've decided to co-release the record with The Flenser, a great label out in California.
What this means, logistically:
- It's on vinyl.
- The record will be available through our store, as well as through The Flenser, and through their distributor (Revolver).
- The record will be available in various online channels (Spotify, our Bandcamp, etc) in high-resolution.
- It'll be cheaper than we could have printed it ourselves.
- Pre-orders will all be handled by The Flenser, to ensure they get out to people on time.
We are really happy about this. It's the perfect balance between keeping everything in-house, but making sure we don't take on more than we can chew and fucking over the people who support us. Now. A few words about the future of enemies list. It's been about 10 years now - more, maybe, because I'm horrible with time - since Tim and I started ENEMIES LIST. In that time we’ve released 19 records. The new HAVE A NICE LIFE album will be number 20. In that time we've had tens of thousands if people buy, steal, download, and listen to our music. I've gotten thousands of emails saying thanks, saying where's my record, saying fuck you, saying our music saved a life. It's all been incredible, and complicated, and insanely difficult, and probably the best period of my life (when it wasn't the worst). I've done more, and learned more, than I thought possible. And not all of our music sucked (for reference: listen to one of the first songs I ever recorded on my computer) When I started working in the label, I was 23. I'm now 33, and my life looks nothing like it did. I live with my wife. I run my own business. I wake up early, I feed the dogs, I sit down at my desk and work. I try to balance everything. I try to make it all work to the level I want it to work. And it's incredibly hard.Over the last 2 or 3 years, a few things have become obvious to me: - The label is officially too big to operate as it has. Of course, big is relative; we're still smaller than 99% of labels out there! including the small ones. But Everything we are is predicated on being small - small runs, small budget, small (meaning 1) staff. All that's fine, and great, and beautiful - except when orders can't get out on time, or we lose track of someone's payment, or I don't restock shirts for 6 months because I'm too busy with all that wife/house/business stuff. A tiny, tiny percentage - maybe 3%? - get fucked up. But that's enough to stress me out, and enough to be shitty for the people who are just trying to support the label I run. It sucks, and it's frustrating. And it's on me. - I do not have the time, or the willpower, to operate the label appropriately under current circumstances. When I became full time self-employed, I expected to have more time and energy to put towards the label. Instead (and most self employed people will see this coming), it was the polar opposite. I have less time, and less will power. That energy gets spent waking up every day and thinking “how the fuck do I not go entirely broke today?” It's spent worrying about cash and finding new clients and trying to keep my current clients happy, responding to emails at 4 in the morning and trying not to consume shitty food and be a good person and leave the house every once in a while. That isn't complaining. I love working for myself, and I'm happier than I've ever been. But it sure as fuck isn't easy, and more and more I've noticed the label slipping in terms of its relative importance in my life, and the commensurate amount of attention it receives. That's bullshit, and it isn't how I want to run the label, or my life for that matter. Every now and then I return to the idea of a Philosophy of Life - essentially, my answer to the question of “what, exactly, do I want to do with my life?” Not what my goals are, or how much money I want to make, but what kind of life do I want? If I were going to die tomorrow, what would I do with the remaining time?Every time I ask myself this question, music - and the label - come up. I am never more excited, more in love, more alive, than when I'm writing music. The label is the vehicle for that - my way of trying to spread something I love beyond myself. It's important to me - the first serious thing I built (though never alone, of course).But it isn't the only thing, and so some choices need to be made. If I want to give the Label the attention it deserves, make it operate more efficiently, and motivate myself to work on it, then I need to get paid by it. On the other hand, I don't want to be paid by it. The label isn't a business to me (if it was I'd be a shitty businessman) (which is probably true). If I bring money into the equation, then the mathematics if what we do - the kinds of projects I pursue, the kinds of records we out out our distribution methods, our payments to artists - changes completely. I don't want to be in the record business. That's the impasse. There are a few other issues in there - our shipping system, where someone comes in to ship once a week is inefficient and leads to all sorts of mix ups and problems. The label space is far away from my office (a whole 15 minutes, light-years in work from-home time), and I'm often so distracted by work that I don't realize problems exist until it's too late.But the crux of it is that I've taken it for granted, and I don't have enough skin in the game. So here's what I'm going to do. I'm going to create a core group of supporters of the label, and make things for that group.
- one new song from me a month
- free high resolution digital copies of everything we release (and have released)
- first-shot at any and all preorders
- early news, previews, etc
- the warm fuzzy feeling of supporting the label
- entry into a lottery to win a bunch of cool stuff - and a live show wherever you want (within the u.s.) The cost is 1$ a month. If you pay 50$ for the year, you get all the above, 50 contest entries, and a limited shirt. If I can get 400 people to do that, then I will move the label - and my office - into a new space down the hall from our current label space. And I will go back to being the one packing orders, and running the label - and treating it like a job. If we don't get to 400, I'll refund your money.
That's it. The whole thing. The entire plan. It's a gamble on fundamentally changing the way I relate to the label, and how the label operates. If it works, awesome. If it doesn't, I'll find something else to do. It just won't be the same, and it won't
be as good. If you're interested, there's a link below Click it, share it, etc."
A music video for East of The Wall‘s new song “Arbiters Meet” is now available for viewing online with the clip posted below. The song appears on the bands new album “Redaction Artifacts“, which Translation Loss will release on October 29th. Watch the video here.