Amigo The Devil has released a new track and a positively morbid video for “Quiet As A Rat”, coming off from his upcoming sophomore album Born Against. The new album is set for an April 16th release via Liars Club/Regime Music Group. The video features Amigo The Devil (aka Danny Kiranos) style gallows humor, which is actually depicted in this clip. The “Quiet as a Rat ” video was directed by Courtney and Ray Gauger and the artist is depicted as the narrator and victim of some tongue and cheek attempts at torture and execution that pose more on an annoyance to him than a threat. With a possible guest appearance by the Grim Reaper, you could say this is the most meta video for Danny’s career. Monday, March 1st will also be “Amigo The Devil Day” in Austin, Texas in tribute to the artist. Watch it now!
Dark Folk and Americana artist Amigo The Devil has announced his brand new album, Born Against. The album is due for on LP, CD and digital formats on 19th February 2021 via Amigo’s own label, Liars Club. Recorded at Modern Electric in Dallas with producer Beau Bedford, the album is the next chapter in the story of Amigo The Devil, aka Danny Kiranos who has built a cult following around the world and performed solo tours, concerts and at major festivals. You can pre-order the new album at hte link below.
In 1995, Alice In Chains had been feeling good on the success of their first #1 album on the charts, 1994’s Jar of FliesEP, the first EP to ever debut at #1. At the same time, they were in peril as a band, with issues stemming from Layne Staley’s addiction to heroin and other band turmoil. The band did not tour to support Jar of Flies as Layne was in rehab and they took part of 1995 off. The lost opportunities from this period, including a massive Metallica/Danzig/Suicidal Tendencies tour and a near-top-of-the bill split at Woodstock 1994 (which I am still mad about) almost killed the band. They broke up briefly too, according to Sean Kinney. Little did we know they were crafting a great album, Alice in Chains (Columbia), to wash all that pain and disappointment away for a brief moment in time.
Ghost Cult scratched one off the interview bucket list recently by chatting with Andy Gibbs of Thou! We talked all about Thou’s new collaborative album with Emma Ruth Rundle – May Our Chambers Be Full (read our review here), due out on October 30th via Sacred Bones. Andy candidly chatted about writing with Emma, long in the works and put into fruition via Walter Hoeijmakers of Roadburn, how the band and Emma complemented each other, the concepts delved into the album, working with photographer Craig Mulcahy, their hoped-for joint tour and festival plans for the album getting ruined by covid-19, the bands’ penchant for covers and slowing down on them in the future, and what the next phase of Thou music might look like. Purchase the album here and listen to our chat.
Roadburn Festival, largely due to the impetus of its main organiser and curator Walter Hoeijmakers, has often acted as a hub for all manner of interesting collaborations between artists who sit in the arty or experimental corners of the heavy music world. May Our Chambers Be Full (Sacred Bones)the new collaboration album from Emma Ruth Rundle & Thou, is the latest creation which owes a debt to the festival, conceived as it was in the wake of the two artists’ joint set at 2019’s Roadburn.Continue reading
Iconic Rocker Laura Jane Grace of Against Me! and The Devouring Mothers has released a surprise digital album today on all streaming platforms. The album Stay Alive (Big Scary Monsters) was created during the pandemic and recorded in July by Steve Albini at Electrical Audio. The physical release will arrive on December 11th. You can pre-order it at the link below, and listen to the album now!
With All Them Witches recently becoming a power trio after five albums as a quartet, it’s easy to imagine that their sixth full-length would reflect a changed dynamic. But for the most part, the Nashvillians’ vision is largely undeterred on Nothing As The Ideal(New West Records). The overall runtime may be the band’s shortest to date at only forty-three minutes long, but their signature mix of Fuzz Blues, Americana, and tripped out ambiance allows for plenty of exploration. Not much has changed on the surface but there are certainly ways to show off the more straightforward approach.
Twenty-five years plus into his career, Marilyn Manson continues to be an enigma, wrapped tight inside a riddle, not wishing to be fully known. By never making the same album twice with his namesake band, he continues to defy expectations, and be equally loved and hated. While his early albums are masterworks that others from the 1990s would kill to rest their reputations on. However, as the rockstar gains on years and gets further away from his early years, he has transformed into a much more interesting character than when he was freaking out pastors and scarring moms and dads.
It is easy to forget that Forever Blue is the debut album from AA Williams, such is the level of status she has already acquired since first taking to the stage only last year. In the meantime, she has garnered a huge amount of critical acclaim, released a self-titled EP, and collaborated with Mono before releasing Forever Blue.
Prisyn is an album that deals in opposites. On one hand, it is an expression of Evan Patterson’s artistic freedom, in the sense that it is quite far removed from Jaye Jayle’s previous works both in terms of sound and creative process. On the other hand, that creative process was linked to circumstances of enforced restriction and confinement. The album’s title itself – Prisyn – alludes to a ‘synthetic prison’ according to Patterson himself. The work was conceived while Patterson was on an extended tour. He began to compose music in these limited conditions using just his iPhone. Instead of fleshing out or reworking the pieces with the usual Jaye Jayle band, Patterson enlisted Ben Chisholm’s (Chelsea Wolfe) help to embellish and produce the songs. The result is an album of primarily electronic music: tense, brooding and claustrophobic. But, in the spirit of opposites, there is a counterpoint to the cold synth textures in the form of Patterson’s deep and rich voice. As he sings in the very first line of opener ‘A Cold Wind’, ‘The darkness meets the lightness / Or rather the lightness meets the darkness’.Continue reading