skitsystem - profithysteri

.:: Tomas Lindberg (guitar and vocals) and Adrian Erlandsson (drums) from mighty AT THE GATES joined forces with Fredrik Wallenberg (guitar and vocals) and Alexander Höglind (bass) in Gothenburg 1994. Tompa (T.Lindberg) and Adrian had discussed the possibility to start a side project to their ever growing metal act AT THE GATES.

Old time friend Fredrik shared the same interest for old, raw HC bands and the band was a fact. Not long after Alex joined, the band soon started to rehearse more seriously, writing heavy, slow d-beat songs with furious vocal lines.

Four guys shared the background playing in different death metal bands, but sharing the sheer interest in raw punk, d-beat, käng, call it what you want! Sometime this year these four souls came to the conclusion that they should see each other for a jam and have a couple of beers to see what they could bring to life… The monster they created was SYSTEM COLLAPSE, later known as SKITSYSTEM...

The band, now named SKITSYSTEM was immediately offered a 7” release by Gothenburgs Distortion records and entered Studio Fredman , borrowing studio time from AT THE GATES and recorded the cult classic PROFITHYSTERI.

The 7” was a blast succes! Suddenly the band name SKITSYSTEM was a band on a lot of peoples tounges, a band that every one knew of but knew nothing about! Not long after, the band made their first 2 shows, in Gothenburg, warming up for such acts as WARCOLLAPSE and EXTINCTION OF MANKIND.

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maudlin of the well - my fruit psychobells… a seed combustible

.:: Avant-garde metal band formed in Boston in 1996 by a large collective of musicians. Their experimental and very spacey style set them apart from the rest of the progressive metal scene, but also doomed them to obscurity. After recording three albums and building a small but devoted cult following, MAUDLIN OF THE WELL disbanded in 2003. Numerous members of the band would go on to form Kayo Dot, who have since carried on the sound that MAUDLIN OF THE WELL was evolving towards.

Maudlin's music, lyrics, and atmosphere dealt predominantly with the subject of astral projection. The band tried to find music rather than compose it. This was done through practicing astral projection and lucid dreams, from which the band were purportedly able to "bring back" pre-existing music from the astral plane (as stated by Toby Driver in the liner notes included with the reissued Bath and Leaving Your Body Map).

In late 2001, the band began working on a fourth studio album. During this time, the band lost several longtime members, changed labels, and ultimately renamed themselves to Kayo Dot. This fourth album was later released in 2003 as Kayo Dot's Choirs of the Eye.

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the dear hunter - act I: the lake south, the river north

.:: The Dear Hunter's debut album Act I: The Lake South, The River North is the story of a boy from his creation until his untimely death, bringing to music his journey with themes relating to lust, deceit, greed, and hunting. With only 8 tracks on the album, there is a sense that this is a young life cut short, not fully reaching the maturation of old age.

Beginning with "Battesimo Del Fuoco," the track resounds with Casey's a cappella-rich vocals undertoned by a haven of gospel hued choruses heralding the birth of the boy - The Dear Hunter, born to a mother who is a harlot and a life plagued with struggles from the start.

.:: The Dear Hunter is the ambitious project by former keyboardist/ sequencer/ singer of The Receiving End Of Sirens, Casey Crescenzo. The album has elements of gospel, soul, hardcore, jazz, and orchestral rock, taking signatures from opposite corners of the music spectrum and finding a melodic middle ground for them.

The Dear Hunter is a bit of a family affair with members of Crescenzo's family brought on board including the vocals of Judy Crescenzo, the drumming of Nick Crescenzo, and the organ sessions of Phil Crescenzo. Also, contributing vocal parts is As Tall As Lions' lead singer Dan Nigro, whose band toured extensively with TREOS (The Receiving End Of Sirens) last year.

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le mépris - le mépris

.:: Reiko Matane, a female Japanese piano player is presenting her first release on the lovely label aerotone. The selftitled mini album "Le Mépris" is featuring eight very calm piano songs straight from the heart. This album is an unique musical experience and reminding us on the little things that count - in every aspect.

.:: "This stunning release on the mighty aerotone label will hold on time. Through all rushing, pushing, hurrying in nowadays life, this music acts like a tender stop of any clocks. Release all redundant and needless brain-activities and calm down completely to this intense look into Reiko Matanes (a female Japanese piano player) intimate thoughts and feelings. Attend her through her wonderful, endogenous and sincere music. Best for these rainy or snowy winter evenings in front of a fireside,,, Fantastic!" - wundertunes.com

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omar rodriguez-lopez - omar rodriguez

.:: Omar Rodriguez is the self titled second solo album by The Mars Volta guitarist Omar Rodriguez-Lopez. It was written and recorded in Amsterdam in early June 2005. Most of the overdubs and mixing were done on the road in September 2005. Gold Standard Laboratories began offering a limited edition vinyl picture disc of this release for mail order in December 2006.

The Omar Rodriguez-Lopez Quintet, which formed in unison with the release of this record, toured briefly in the Netherlands in the fall of 2005 in support of this new release. Joining then on stage for one performance was Damo Suzuki, for the song Please Heat This Eventually which would resurface on later releases from the group.

.:: Rodriguez-Lopez's compositional and playing style is characterized by, among other factors, unresolving dissonances (in particular a heavy use of the tritone), chromatic passages, serial composition and lengthy improvisation. He is also known for his vast array of effects pedals; in a feature appearing in Guitar World, Rodriguez-Lopez stated that he "began to see effects as allies in my war against the guitar".

In that interview he also stated that he hated the instrument guitar for a very long time. He only utilized it because it was the instrument his bandmates could "relate to". He said he "wrestled" guitar by adding effects and playing oddly to attempt "making it sound like anything besides this thing I hate--the guitar!". Although on Amputecture he claimed to feel more comfortable with the guitar.wikipedia

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owen - at home with owen

||| RE-POST |||
||| AWESOME !!! |||

.:: On At Home With Owen, Chicago's Mike Kinsella (Cap'n Jazz, Joan of Arc, American Football, Owls), the sole creative output behind Owen, figuratively leaves the at-home bedroom that has characterized so much of Owen's past musical output. Along the way, he finds true love, gains (and then loses) some weight, subscribes to cable television and endures the death of a parent. And then he writes a new record about the process, detailing the many transformations in his life.

From an artist whom has, in the past, recorded entire albums in his childhood bedroom berating lost love and personal missteps, it's a new chapter. The end result is At Home With Owen, a new extension in the lineage of Owen’s music. And being at home with one's self never sounded so freeing.

.:: In the past decade, Chicago's Mike Kinsella has played a variety of instruments in a handful of bands including Cap'n Jazz, Joan of Arc, The One Up Downstairs, American Football, Owls, Maritime, and Aloha. Owen is his solo project.

The impetus for Owen was a direct result of the demise of American Football. Up to that point, having been associated with a number of bands, Mike sought a project where he could have complete creative control over all aspects including songwriting, recording, album artwork, and overall artistic direction.

When it came time to record his solo album, Mike approached Polyvinyl with the idea to take the money that normally would be spent on a recording studio and instead spend it on software so he could record the album on his own. He ended up heading to his mother's house in Chicago and turned his old bedroom into a recording studio. Wishing to avoid the connotations associated with solo singer-songwriters, Mike began recording under the pseudonym, 'Owen.'

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okkervil river - black sheep boy

.:: The band's name comes from an obscure Russian story and the album title comes from a song by fallen '60s folk hero Tim Hardin, but the haunting music here is purely the Austin collective's own. Like tour partners the Decemberists and soul mate Alasdair Roberts, Okkervil River deals primarily in dark string instruments and even darker poetry.

"Some nights I thirst for real blood/ For real knives/ For real cries," singer Will Sheff sings on opening track, "For Real," signaling that his appetite for southern gothic muder ballads remains as strong as ever on the group's fourth album. The sinister "So Come Back, I Am Waiting" and "Black" confirm this suspicion. Less country, more Arcade Fire--whatever that means--Black Sheep Boy paradoxically also finds the band at its most commercially ambitious. Here, the slow death rattle of previous releases slowly gives way to explosive choruses and actual gore. --Aidin Vaziri

.:: On Okkervil River’s first Jagjaguwar release, Don’t Fall in Love with Everyone You See, the band included a song entitled "Listening to Otis Redding at Home During Christmas," a kind of re-imagining of Redding’s "I’ve Got Dreams to Remember." On the band’s newest release, they perform a trickier feat, as songwriter Will Sheff takes a lesser-known text — "Black Sheep Boy" by ‘60s folk-pop master Tim Hardin — and spins that short song’s imagery into a phantasmagorical evocation of the title character, including a brief cover and a couple of sprawling, surreal sequels.

Black Sheep Boy is Okkervil River’s most ambitious and cinematic record yet, a love story and adult fable that evokes the mature songcraft of Leonard Cohen’s New Skin for the Old Ceremony, the sophistication of Scott Walker’s Scott 4, the shambling slow-motion bravado of Neil Young’s On the Beach, and the raw nerves and trick effects of Big Star’s Third/Sister Lovers. It also echoes Lou Reed’s Transformer in that it is the band’s most playful and confident record by far, delighting in linguistic games and reveling equally in sheer pop, lacerating rock’n’roll and straight-up country weepers.

The most fully realized and wildly adventurous Okkervil River album also introduces such previously foreign elements as children’s keyboards, digitally manipulated field recordings, and dirty splatters of distorted guitar. The longing might be keener, but the fun is funner – somebody has spiked the drinks, and there are at least two bullets in the Russian roulette chamber.

"We will float until we learn how to swim. Yes, that’s an In the Aeroplane Over the Sea reference, and yes, Okkervil River has that sort of mythical genius." – Magnet’s Eighth Best Record of 2003

.:: Black Sheep Boy is Okkervil River s most ambitious and cinematic record yet, a love story and adult fable that evokes the mature songcraft of Leonard Cohen s New Skin for the Old Ceremony, the sophistication of Scott Walker s Scott 4, the shambling slow-motion bravado of Neil Young s On the Beach, and the raw nerves and trick effects of Big Star s Third/Sister Lovers.

It also occasionally echoes Lou Reed s Transformer in that it is actually the band s most playful and confident record by far, delighting in linguistic games, scrapping all caution and reserve, reveling equally in sheer pop, lacerating rock and roll, and straight-up country weepers. The most fully-realized and wildly adventurous Okkervil River record yet also introduces into the modern folk bellwether s traditional palette of mandolin, pump organ, steel guitar, Wurlitzer, strings and horns such previously foreign elements as children s keyboards, digitally-manipulated field recordings, and dirty splatters of distorted guitar.

The longing might be keener, but the fun is funner this time around, too; somebody has spiked the drinks, and there are at least two bullets in the Russian roulette chamber. Most of the songs for Black Sheep Boy were written by Sheff after he d moved out of his house to spend all of 2003 on the road, touring for Down the River of Golden Dreams and road-tripping around the country during off weeks.

After rehearsing many of the new songs on the road during tours with Califone, John Vanderslice, Azure Ray, CocoRosie, and Clem Snide, the band retreated to an un-air-conditioned Austin, Texas tin roof shed to solidify the arrangements before going into the home studio of Brian Beattie (an ex-member of Austin legends Glass Eye as well as a producer for Daniel Johnston) who also recorded the band s Jagjaguwar debut Don t Fall in Love with Everyone You See.

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joe lally - there to here

.:: Joe Lally has played bass in Fugazi since their inception in 1987. In 2003 the members of Fugazi decided to take an indefinite hiatus from recording and performing. Since that time Joe has continued to write and perform solo material, accompanied by various musicians and friends.

Joe's first album, "There to Here" was released in October 2006. His second album, "Nothing Is Underrated" is being released on November 19, 2007.

Joe's albums are never really solo efforts, rather they feature collaborations with fellow musicians who use his bass-lines as an anchor. "There To Here", recorded at Dischord House and at Inner Ear Studio by Ian MacKaye and Don Zientara, features contributions from Jason Kourkounis (Hot Snakes), Jerry Busher (French Toast), Danny Frankel (KD  Lang), Eddie Janney (Rites of Spring), Guy Picciotto (Fugazi), Ian Mackaye (The Evens, Fugazi), Amy Farina (The Evens), Scott "Wino" Weinrich (Spirit Caravan, Hidden Hand).

Joe has been touring almost non-stop (Europe, USA, Brazil, Japan) since 2006, accompanied by members of Capillary Action, Zu, Melvins, DCIC, Antelope and others. … from dischord.com

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fall of efrafa - owsla

||| Interesting combination of hardcore, violence and violins |||

.:: Fall Of Efrafa are an epic emotive d-beat crust band from Brighton, UK.

The concept of the band is based partly on the political overtones of the book Watership Down by Richard Adams. In the book, Efrafa is a fascistic warren, where women are oppressed and lives are subdued by a dictatorship. We felt that the book dealt with human political institutions in a unique metaphorical way and thus decided to base a portion of our lyrics on it; the Efrafa representing the harsh encroachment of humans over the Earth and the Owsla representing the natural world and its battle to defend itself.

Owsla is the first of three records; a trilogy, that will collectively be known as The Warren of Snares. These three records are Owsla, Elil and Inlé (Inlé is yet to be completed). In Watership Down, the Owsla are soldiers, guardians of the warren. To us Owsla is the front line of nature, the last defense against destructive human race.

Owsla is the last stand. Elil means predator and this record will deal with the evils of predatory institutions; ignorant belief systems that sway the minds of a large proportion of humanity on this planet, blinding us as we pollute and rape the Earth. Inlé means death. This record will deal with existence; of life and death free of stagnated ideologies.

As a band we encourage people to talk more openly about animal rights and strive for a society less dependent on non human animals. It is easy to label this as preaching or arrogance, but communication is how we learn, debating such issues only helps us become more aware of our actions, be that for political and social change or an end to religious oppression.

All the members of Fall Of Efrafa are vegan and atheist. Although we are open to discussion, we hope that those who listen to our music appreciate that these values are as important to us as the music itself. Please read the lyrics and explanations. taken from the band's website

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cult of luna - somewhere along the highway

.:: Cult of Luna's fourth album Somewhere Along the Highway was miraculously recorded in merely seven days. Given their amazing back catalog and how their previous effort Salvation was considered their peak, this is certainly interesting. How can you follow up such a masterpiece with an album recorded so quickly? Well, Cult of Luna have once again achieved it. Though too early to form a final opinion, Somewhere Along the Highway may end up being most of their fans' favourite release in more than one way.

While accurate to a certain extent, comparing Cult of Luna to Isis, Pelican, and Neurosis constantly would be unfair. It is true that all of these bands have a lot in common musically, but upon careful listens, beautiful subtleties emerge on each band's work. Of the four bands though, Cult of Luna's music is arguably the most linear one. Never for a moment do they sacrifice song structure in hopes of impressing the listener with their meandering instrumentals or oft-changing chord progressions. That said, complex arrangements and monstrous soundscapes are aplenty on any of their albums, including Somewhere Along the Highway.

However, Cult of Luna songs are always masterfully constructed, mixing heaviness with an atmospheric undertone. Churning rhythms are repeated to generate a feeling of unity before unleashing massive cosmic forces at the most unexpected breaking points. The aggressive hardcore type of scream vocals are less prominent on this disc. Actually Klas Rydberg sings in his calming clean voice on several tracks, which sounds a lot more mature and improved this time around. The drone approach also takes a back seat, giving way to a more open sound through most of the album, where the band successfully creates spacey atmospheres and flashes of uplifting enlightment.

Never heard Cult of Luna before and don't know where to begin? Start with Somewhere Along the Highway. Up until a month ago, I'd have laughed if someone said they are going to top Salvation, but it seems this band has no limits. Very highly recommended. Murat Batmaz

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firefriend - incêndio na paisagem

.:: A nice band from Brazil very influenced by the great Sonic Youth…

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clutch - live at the googolplex

.:: They’re a little punk? Well, yes, but there again…they’ve a hint of metal? True. However, don’t they also have a touch of the stoner about them? Sure. And while we’re at it, let’s not forget the southern rock influence. Come on, you know what that means. Clutch are genuine individuals, icons for musical excellence who confound the modern desire for putting everything into neat boxes. They’re a classic rock band with an ultra modern sweep.

In the virtual two decades, since they first came to everyone’s attention, the Maryland marvels have constantly evolved and revised their music, never standing still long enough for anyone to put a critical saddle onto their thoroughbred ideals – this bronco ain’t ever been broken in, nor broken down. clutch

.:: By kicking off with "Who Wants To Rock?" and "Pure Rock Fury," it's clear that Clutch's agenda is to rock, sans qualifiers and with a boatload of conviction. Neil Fallon's darkly menacing vocals and the band's psychedelic-influenced power rock is reminiscent of Fu Manchu and Monster Magnet, or, to a lesser degree, Danzig.

While a live album isn't likely to earn Clutch its well-deserved fame, the 15 cuts here provide a fine overview for fans and an ideal intro for the uninitiated. Smooth, funky, gut-punching bass and smart, sly songs set Clutch apart. From the aggro jam in "Careful With That Mic" to the edgy "Pure Rock Fury" to the Henry Rollins-like "Impetus," Live at the Googolplex captures Clutch at its peak. While this potent band's is best experienced in concert, a live recording is the next best thing. --Katherine Turman

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best albums of 2007

.:: 2007 is almost gone and there were many many great albums, bands, artists who made our lives happier or sadder, depending on what we like to listen... As many people do it, i'm trying to list the best albums of 2007. I'd like to know your point of view before December 15th. So please drop me a line and tell me what are the best album of 2007 (artist - album)

.:: El 2007 está por terminar y nos ha dejado mucha música. Mucha de ella, mala, buena, mediocre y excelente. Pero, cuáles son los mejores discos que nos ha dejado este año?. Deja tu comentario incluyendo artista y álbum antes del 15 de Diciembre. Gracias !!!

.:: O ano esta acabando e gostaríamos de saber, qual o melhor álbum que foi lançado este ano? Faremos uma votação que irá começar dia 15 e durar até o dia 31 de Dezembro, cadastre os álbuns que você acha que seriam os melhores concorrentes até o dia 15 de Dezembro! Para cadastrar é só colocar o nome do álbum e da banda nos comentários deste post. Obrigado!

to what end? - history repeats itself 7"

.:: Brutal Swedish hc crust with melodic elements and dual vocals. Members from Wolfbrigade (male vocals), Burning Kitchen (female vocals), Sunday Morning Einsteins & more.

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sleepytime gorilla museum - of natural history

||| Once again, this is one of my favorite bands… EVER !!! |||

.:: Of Natural History is the second album by avant-rock group Sleepytime Gorilla Museum. It was recorded and mixed at Polymorph Recording in Oakland, California during the years 2003 and 2004. Whereas on the first album, Grand Opening and Closing, Dan Rathbun handled the mastering (in addition to producing, recording, and mixing), on Of Natural History the mastering duties are handled by Justin Weis, who mastered the album at Trakworx, San Francisco.

All the tracks on this album were produced by Rathbun & the other members of the band, except for "Phthisis", which was produced by Scott Humphrey, and recorded at the Chop Shop, Hollywood in May 2004; Chris Baseford engineered the recording sessions, while Garry Raposo and Vincent Piette assisted in engineering.

Interestingly, like with the first album, this album again marks the transition from one drummer to another: Frank Grau, who replaced David Shamrock after the first album, left after this album, and Matthias Bossi took the drummer's position and has held it since then (Bossi plays different instruments on the tracks "Phthisis", "FC: The Freedom Club" and "Gunday's Child").

.:: Of Natural History continues on the same diverse and eclectic musical lines as its predecessor, with even more new elements, like dance music ("Bring Back the Apocalypse") and funk and jazz ("Gunday's Child"). Also notable is the incorporation of a plethora of field recordings[2] and samples into the songs and interludes.

Of Natural History has a continuity in the sense that all the songs sequence into each other, thus holding the narrative element(s) of the album better together along the album. The continuity and the coherent feel make Of Natural History very close to a concept album.

While the lyrics themselves differ much from song to song, the underlying imposing mood is concerned with the apocalyptic implications caused by human presence on earth; to offer different viewpoints on this, SGM create their own characters and stories (tracks 1 & 2, both of which are a continuation of a story created already on the first album that was non-musical) and borrow from Filippo Tommaso Marinetti, Unabomber, Muriel Rukeyser and Kenneth Patchen (tracks 3, 5, 6, and 9, respectively) in addition to own lyrics.

According to the band's official website, Of Natural History is in part a "debate between two contradictory pillars of 20th C. Anti-Humanism: The Futurists versus the Unabomber." wikipedia.org

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nofx - the decline

||| A punk rock master piece |||

.:: The most liberating thing about being punk as hell must be the fact that all common sense and accountability can be tossed out the window, or so NOFX seems to claim on The Decline.

Tracked out as one number, with songs running together, proves just how far NOFX will go to make its records difficult to its fans listen to as well as just how much all its songs sound the same. Running through 18 minutes’ worth of music, it’s really tough to figure out where one song starts and the next begins. Filled to overflowing with substanceless punk-lite, The Decline offers little outside of the cliché snotty, obnoxious hijinks aped from the legends surrounding Sid Vicious.

The bulk of the songs on this record recreate the two songs NOFX continually rehashes with each release: its fast, driving punk, akin to Lagwagon on cheap speed, and its bouncy pop-punk with indigestion sound, neither of which veer off of the path NOFX already beat for itself on previous albums. While in short doses these songs prove to show a bit of punk flash, after about three in a row, the band’s limited scope proves to be ultimately suffocating, even over a brief period. Between the incessantly unchanging beats, plunky bass lines and rabid guitars, listeners nearly get pushed out of the NOFX equation.

That isn’t to say the band totally confines itself to its knee-jerk East Bay punk on this EP, however. Just as the band messed around with ska on earlier efforts, it picks up the current punk flavor of the month, emo, at brief times. With slower and more dynamically oriented arrangements, NOFX lends emo some much-needed guts. Keeping solid with the punk attitude, the band’s slower jaunts prove to be the highlight on this record, possibly because of their rarity serves as a breath of fresh air, or because NOFX finds a take on emocore striking a balance between its ethos and the band’s snotty demeanor.

The bright spots on this record are few and far between, however, as the band sticks to its tried and true mixture of near-illiterate propagandizing and whiny vocals. Taking on such targets as corruption in the government, the NRA and religion, NOFX’s targets are as blatantly obvious as its approach to its music. While the band could have redeemed itself thematically, its lyrics don’t aim for anything higher than mere complaining; without novel insights or answers to the questions its raises, The Decline’s politics don’t offer much that couldn’t be found outside a barber shop filled with retired men on a Sunday afternnon.

For NOFX it has never been about pushing the envelope as much as the band would like to believe, but rather a simple matter of filling every nook and cranny of it. While not moving on in any respect, The Decline serves as a perfect epilogue to So Long and Thanks for All the Shoes (1998, Epitaph) continuing the same direction the band found with that record. www.aversion.com

.:: Nightmare! Recording this fuck was a total nightmare. Writing it was a total nightmare. I'm glad we did it but I wouldn't do it again. We went back to the studio 3 different times and added stuff and remixed and remastered 4 times. It ain't no rock opera like song remains the same or nothing. We got the idea from subhumans, not rush. Why an 18 minute song? Just to do something different. We've done enough short songs, time for a long one. Anyway, my advice, never try this song at home. NOFX

download: nofx - the decline

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six finger satellite - severe exposure

.:: Severe Exposure integrates the designs of the all-synth outing with the previous brash scissor rock, flashing a guitar band confident enough to delve heavily into disco beats and dramatic vocals. With the mood so established, plenty of panicky songs about animals, gaming and translocation are gathered in the album's full-bodied silvery mercurial radiance. "Rabies (Baby's Got The)" and "Simian Fever" are animal aggressive and messy, while sharing the synthetic digitone lusts of new wave.

.:: Like peanut butter combined with chocolate, the Rhode Island quartet Six Finger Satellite bring hard-to-laugh-at, ironic humor to the violence of their musical mission. The recipe for their new record, Paranormalized, combines equal dollops of nihilism, hate of all that is comfortable in music, and a multitude of synthetic bleeps and burps. With these tools, the band forges a sound and image that revel in the ironic rock star-isms and self-defeatism of indie rock at the same time as it waves around the flayed corpse of a scene built on sarcastic good will.

Whereas most indie rockers ironically wink at the fact that they'll probably forever have to keep their day jobs or deal with living with their parents, Six Finger Satellite put forth a joking posture of rock excess that somehow laughs at you instead of with you.

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