Exclusive Premiere: Husbandry – Biralata

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In Brooklyn you find a band that has its roots down under, but above the ground they reside with post-punk overtones. With their interesting combination of metal, experimental rock, post-hardcore and post-punk they make way for who they’ve become. Since they haven’t been around for that long, let alone put out anything besides their newly released “Make Room For Waves” EP, it’s great to hear something fresh once in a while. With this comes Husbandry, whose singer sounds like somewhere in between Katzenjammer Kabarett‘s original misanthropic tone and the rather mesmerizing moments with the band reliq. Together with the breakdowns of pro-longed post-hardcore junkies caught in a time-machine. The band itself consists of Carina Zachary, Jordan Usatch, Arnau Bosc and Andrew Gottlieb. The fascinating thing about this release is that it was recorded during a weekend back in April this year, which makes it about a month later that they’re releasing it for the world to listen to.

So I got the opportunity together with Husbandry to put out one of the tracks from this release, on Repartiseraren. The track wasn’t really chosen by me to begin with, but I think it’s their best track on this release by far. Because in it they showcase the greatness of structured post-hardcore with post-punk baselines that soar through the landscape, together with erratic drums that keep the tempo to a max.  Just as they come into some kind of weird medley whereas Carina Zachary with her vocals make it an endurable process to listen to, as it moves back into the sound-scape which they created before. Moving back to the intermezzo once again in another part of the track, making it a very predictable but at the same time unpredictable track. I simply adore the melodies that are laden before me when you’ve taken yourself through it, together with cluttering hi-hats and complex rhythms howling in the background as the vocals feel even more dedicated and soulful. The track chosen for exclusive premiere was “Biralata“, a six-minute long song which you can listen to down below. If you’re interested in buying their album you can go to their Bandcamp.

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Premiere: Colornoise – Pieces [FREE DOWNLOAD]

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Does it seem to be noisey in here? No, I’m not talking about Noisey – a part of the VICE network. I’m actually talking about color. It’s all about Colornoise, this time. A duo consisting of Sonya Carmona and Alison Alvarado, two girls from Costa Rica whom produce highly interesting experimental noise rock, with hints of garage rock and post-punk. A vital part of their machinery, which has already been mounting an offensive next to acts such as Björk, the Flaming Lips and Skrillex in Costa Rica – last year. Everything from their eerie vocals, to their more chaos-ridden medleys, are sifting through the outskirts of each genre. Their latest album, which I’m taking a song from, is called “Polychronic“. It’s their second studio album, up to date. This is rock’n’roll from the wastelands, combined with a sweet and sour relationship of the entrenched jungles – to the cosmic journeys of the astronaut. Some of their material on this particular album is different from the other, once a ballad-like entry into their wounded souls – never a ballad. Because once you think it’s all like that, you get interrupted and roughed up by their magnificent sound. Changing from the post-punk droopiness, to putting an angel in that place, til’ the dawn comes and they slowly move forward with an experimentally charged rock-edge. It is also noticeable that their singing is very much inspired by Siouxsie of Siouxsie and the Banshees. Even though it’s really not what I’m here for, their sound is uniquely and as transparent as it should be in any situation. Changeable, thematic, but still as intriguing as if they would’ve put every track out in that manner. For your sake, my readership, you’ll get a taste of Colornoise a little bit closer to your ears. Because you’ll be able to download their song “Pieces“, from their album “Polychronic” – exclusively from Invisible Guy.

Some questions for Glimpse Trio!

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Glimpse Trio is an experimental rock band from San Leandro, California. In other words, it’s another American band. They’ve been around since 2009 and have been at the forefront of the experimental music-scene in Bay Area. Up to now, they’ve released two full-lengths and have just finalized their third full-length, which feature an all-star setting when it comes to people whom have helped out to produce the album. They’re a trio consisting of Mike Sopko (Guitar/Vocals), Hamir  Atwal (Drums) and Chris Lopes (Bass). So, as I normally do with these questions, or this feature – I ask some questions to the band. This time around, Mike Atwal from the band answered my questions, ranging from the bands history to their new album. Feel free, scroll down and enjoy!

Since you’ve been at the forefront of the Bay Area’s experimental music scene for some time, I was wondering – what is Glimpse Trio’s perception of the whole meaning of “experimental”?

– The bay area has a tight knit group of improvisers ranging from free-jazz to noise rock. Mike and I came from this type of “experimental” background and decided to fuse our influences from the past which included rock, free-jazz, with folky songs and lyrics, not to mention an emphasis on improvisation.  We started “experimenting” and jamming in the garage for the last 3 years to come out with all this material.

When it comes to the band at hand, you’ve named yourselves “Glimpse Trio”. As you started out a couple of years ago, what was the catalyst that got you into experimental rock as a whole, as this trio?

– I was a big fan of free-jazz like Ornette Coleman, and Don Cherry. I also started getting into modern day experimental rock bands such as Battles, Don Caballero and the Nels Cline Singers. I felt that Glimpse Trio was a way to fuse improvising and rock all in one. Our friend Chris Lopes (bass) plays bass with us.  Chris has played with Mike Patton’s Mondo Cane and Jeff Parker’s Trio (Tortoise).

You’ve currently finalized your third full-length album. This time around, you’ve got Oz Fritz (Tom Waits/Primus) that mixed your album and Doug Sax (Rolling Stones/Pink Floyd/The Who) whom mastered it. How was it possible to get these people on board with your album and how did it go by until it was finished?

– It was funny, I called up Oz last summer and ask if he was interested in working with us. I was a big fan of his work and was intimidated to call him, but I decided to suck it up and ask. He wanted to take a listen to the music first so we mailed him a sampler CD of material that we have worked on for the last couple of years and he took interest in working with us. Oz has worked with all sorts of musicians ranging from Ornette Coleman, Buckethead to Trey Anatasio and Stewart Copeland. It was an amazing experience working with him and he brought out all sorts of sounds from our recordings that we never knew existed!

Oz recommended his friend Doug Sax to master the album, and that really took the record to another level. Mastering an album can make or break the record, and Doug really put in a lot of work to make it sound great. Mike and I are very fortunate working with Doug and Oz, we felt like they put their two cents into making this album

After you’ve gotten out your album, you plan on going out for a tour in April/May. Which cities are you touring?

– Mike and I play also play as a duo on the road called “Glimpse Duo.” Our next tour will feature this format, and we are excited to be playing in this format as well, this all falls into the Glimpse Trio umbrella. We will be playing all over the northwest.  (California, Oregon, Washington, Idaho, Utah, and Colorado). We have made some good friends along the way on the road, and are excited to get back out there and play for some folks!

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