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With this video it seems like the core solution involves lots of heavy metal head banging. There is no doubt that the second full-length album from Norway's ZYKLON is a platter highly anticipated. Fans and critics alike have followed the album's progress as various news and music gossip pages have meticulously tracked the band's trips and sightings during the making of this all-important recording. And now, with worldwide release set for early September, "Aeon" - as it is titled - will come to represent more than just a stronger and more potent ZYKLON; it will righteously disclose for all a band in possession of steadfast determination, focus and poised to wave their personal banner of musical independence for years to come. Escalating the extremity factor, Aeon gives witness to equal measure death and black metal. But as those who know ZYKLON's sound can attest - so much more can and will be found within. Guitarist Samoth and drummer Trym together with guitarist Destructhor and new vocalist/bassist Secthdamon bestow an incredulously cold and calculated metal, a sound that is light years apart from the duo's later Emperial days. And as monumental as 2001's "World ov Worms" was ("a mighty, snarling beast," said Malcome Dome/Metal-Is), Aeon's musical palette needs but a solitary sitting in which to bare its raging power. Recorded at Akkerhaugen Lydstudioin in Norway and mixed at famed Studio Fredman in Sweden under the watchful eye of Fredrik Nordstr?m, "Aeon" sees B?rd "Faust" Eithun returning to handle lyrical duties while Secthdamon takes his first steps on record behind the mike and on bass. Earning his vocal stripes while touring (the band supporting Morbid Angel and Deicide for their maiden US adventure), the drummer turned bassist/vocalist settles perfectly into the position left vacant in late 2001 by Daemon. Destructhor will continue to impress the guitar aficionados with his lightning-fast solos and technique. Add to it the long-respected play of Samoth and the inspiring skins of Trym, "Aeon" is a record that builds upon an already revered sonic recipe. Founded in 1998, it was evident from the start that ZYKLON was to be more than just a "side project" for the then-Emperor guitarist and drummer. Teaming with Destructhor (also of Myrkskog), the trio's rehearsals ignited a spark that would put them on the fast track. Enter England's Candlelight Records. Already home to Emperor, Candlelight was the best and obvious first choice for the band and their recording future. Enlisting Daemon from Limbonic Art for vocals and featuring a guest appearance from Kristoffer Rygg (Ulver, Arcturus), "World ov Worms" was recorded and released February 2001 in Europe and followed in April for the United States. The band would tour worldwide with Morbid Angel and by year's end the album would find itself upon many magazine and critic "Best of Year" lists. Work began on Aeon in early 2002 with the band's writing and rehearsing seeing out the end of the year. Recording commenced in February 2003 with final work completed in May. The album's cover art was created by long-time friend and accomplished designer Stephen O'Malley. Whereas previous work catered around the studio, ZYKLON is equally dedicated to the live arena. With festival appearances already confirmed and tours looming on a horizon that will see the band living for the stage till the early months of 2004, "Aeon" will ultimately earn its merit where it ought to - in front of the band's dedicated and growing fan base.
In 1994, Mos Def along with his younger brother DCQ and his younger sister Ces, formed the group Urban Thermo Dynamics. UTD first graced the scene with the underground classic track "My Kung Fu". They soon thereafter followed up with the now classic "Manifest Destiny" single, which gave them notoriety among the wider hip-hop masses. Both singles where to lead up to the release of the group's debut album, Manifest Destiny. Though the group was signed to Payday Records, the album never saw an official release. Soon after the group was released from Payday, Mos Def and DCQ formed Medina Green and released the Rawkus Records underground mega-hit Crosstown Beef. Later, Mos Def recorded with Talib Kweli as Black Star, which took his underground notoriety to soaring heights. Mos Def's commercial popularity spawned with his hit gold debut solo album, Black on Both Sides. Now commercially available for the first time is the UTD Manifest Destiny album via Illson Media (imprint founded by DCQ). This hip-hop classic is filled with dark and melodic bass heavy production from Diamond D. and Showbiz. The album features the timeless songs: 'My Kung Fu', 'Manifest Destiny', 'Moon In Cancer', and 'Like That'. This album is a must have for all fans of classic and quality Hip-Hop. In conjunction with the release of the UTD album, Illson Media is re-releasing Medina Green U Know The Flex Mixtape Vol. 1. The CD features the new Medina Green tracks: 'Cats Copy', 'Pump Da Pump', and 'Slow and Tender'. As well, the project features the hard to find Mos Def tracks 'Beef' and 'Excellence'. U Know The Flex features production from Hi-Tek, Minnesota, Supa Dave West, Geology, and new comer Mike B. The Mixtape also features appearances from Illson Media artists Ali Shine, Magnetic, and Young Kash.
Of Montreal: "Disconnect the Dots"
The brainchild of singer/guitarist Kevin Barnes, Of Montreal was among the second wave of bands to emerge from the sprawling Elephant 6 collective. A native of Athens, Georgia, Barnes formed the group following a failed romance with a woman from Montreal. After several moves to various cities and states, Barnes again found himself living in Athens. Once back home, he began collaborating with bassist/vocalist Bryan Poole (Elf Power) and drummer/vocalist Derek Almstead (Circulatory System). Together they recorded the band's debut album, Cherry Peel, released by Bar/None in 1997 (and later re-issued in late 1999, remixed and with additions by the later five-piece version of the band). Whereas the majority of the Elephant 6 collective drew their influences from 60's pop icons, Barnes was taking Of Montreal in an altogether different direction. While paying homage to these groups, he also began incorporating vaudevillian elements not only into the band's music but also into their live performances. With Poole having to leave the band because of his involvement with Elf Power, Almstead switched to bass and new members Jamey Huggins and Dottie Alexander were brought on board for drum and keyboard duties, respectively. Andy Gonzales(Marshmallow Coast) guitar/piano/vocals joined shortly thereafter. The band's second album, The Bedside Drama: A Petite Tragedy found Barnes experimenting with his lyrical content. Chord changes impressed upon nearly every word as a host of characters were orchestrated throughout album's sixteen songs. Although Kevin is credited as playing most of the instruments himself, Bryan Poole and Julian Koster (Neutral Milk Hotel, The Music Tapes) made unaccredited appearances. All members were represented on the band's third full-length, The Gay Parade. Hailed by critics and fans alike (including All Music Guide, who went so far as to refer to the album as indie-pop's equivalent to Sgt. Pepper), The Gay Parade was a musical extravaganza bringing over 40 musicians (many of them vocalists in the album's choir) to the table. A concept album in every sense of the word, The Gay Parade created a carnival of absurdist characters living in a Kafkaesque world. Coquelicot Asleep In The Poppies: A Variety Of Whimsical Verse, the band's fourth album was released April 2001. The 22-track CD included a 16-page full-color booklet of artwork by David Barnes as well as a fold-out poster with lyrics. The album signified an even more ambitious undertaking than The Gay Parade right on down to the concept, arrangements, lyrics, and artwork that went into making the album. The band's fifth album Aldhils Arboretum was released the following year. 2003 proved to be an eventful year for the band. Andy left to spend more time on Marshmallow Coast and to go back to school. Kevin got married. In the fall of 2003, they recorded their next album. Kevin's wife, Nina, joined the group. Derek left the band to spend more time with Circulatory System, and, following the demise of their previous label, Of Montreal signed with Polyvinyl January 2004 Four months later, the band's sixth full-length, Satanic Panic In The Attic, was released. With Satanic, the band again reinvented their sound, this time with the inclusion of electronic and Afro beat influences. The album was an instant critical success, tearing through the radio charts, landing a video on MTV, and gathering favorable reviews left and right. Of Montreal returns this Spring with their new album The Sunlandic Twins April 12, 2005. Peppered with beats from the eighties on top of the traditional Of Montreal sound, The Sunlandic Twins will assuredly become an instant Of Montreal classic. In addition to the new album, Of Montreal is preparing to embark on one of their most ambitious national tours ever. As of February 2005, the proposed routing will keep the band on the road for seven months, spanning over a hundred shows and covering countless cities.
Of Montreal: "So Begins Our Alabee"
The brainchild of singer/guitarist Kevin Barnes, Of Montreal was among the second wave of bands to emerge from the sprawling Elephant 6 collective. A native of Athens, Georgia, Barnes formed the group following a failed romance with a woman from Montreal. After several moves to various cities and states, Barnes again found himself living in Athens. Once back home, he began collaborating with bassist/vocalist Bryan Poole (Elf Power) and drummer/vocalist Derek Almstead (Circulatory System). Together they recorded the band's debut album, Cherry Peel, released by Bar/None in 1997 (and later re-issued in late 1999, remixed and with additions by the later five-piece version of the band). Whereas the majority of the Elephant 6 collective drew their influences from 60's pop icons, Barnes was taking Of Montreal in an altogether different direction. While paying homage to these groups, he also began incorporating vaudevillian elements not only into the band's music but also into their live performances. With Poole having to leave the band because of his involvement with Elf Power, Almstead switched to bass and new members Jamey Huggins and Dottie Alexander were brought on board for drum and keyboard duties, respectively. Andy Gonzales(Marshmallow Coast) guitar/piano/vocals joined shortly thereafter. The band's second album, The Bedside Drama: A Petite Tragedy found Barnes experimenting with his lyrical content. Chord changes impressed upon nearly every word as a host of characters were orchestrated throughout album's sixteen songs. Although Kevin is credited as playing most of the instruments himself, Bryan Poole and Julian Koster (Neutral Milk Hotel, The Music Tapes) made unaccredited appearances. All members were represented on the band's third full-length, The Gay Parade. Hailed by critics and fans alike (including All Music Guide, who went so far as to refer to the album as indie-pop's equivalent to Sgt. Pepper), The Gay Parade was a musical extravaganza bringing over 40 musicians (many of them vocalists in the album's choir) to the table. A concept album in every sense of the word, The Gay Parade created a carnival of absurdist characters living in a Kafkaesque world. Coquelicot Asleep In The Poppies: A Variety Of Whimsical Verse, the band's fourth album was released April 2001. The 22-track CD included a 16-page full-color booklet of artwork by David Barnes as well as a fold-out poster with lyrics. The album signified an even more ambitious undertaking than The Gay Parade right on down to the concept, arrangements, lyrics, and artwork that went into making the album. The band's fifth album Aldhils Arboretum was released the following year. 2003 proved to be an eventful year for the band. Andy left to spend more time on Marshmallow Coast and to go back to school. Kevin got married. In the fall of 2003, they recorded their next album. Kevin's wife, Nina, joined the group. Derek left the band to spend more time with Circulatory System, and, following the demise of their previous label, Of Montreal signed with Polyvinyl January 2004 Four months later, the band's sixth full-length, Satanic Panic In The Attic, was released. With Satanic, the band again reinvented their sound, this time with the inclusion of electronic and Afro beat influences. The album was an instant critical success, tearing through the radio charts, landing a video on MTV, and gathering favorable reviews left and right. Of Montreal returns this Spring with their new album The Sunlandic Twins April 12, 2005. Peppered with beats from the eighties on top of the traditional Of Montreal sound, The Sunlandic Twins will assuredly become an instant Of Montreal classic. In addition to the new album, Of Montreal is preparing to embark on one of their most ambitious national tours ever. As of February 2005, the proposed routing will keep the band on the road for seven months, spanning over a hundred shows and covering countless cities.
Of Montreal: "Wraith Pinned to the Mist and Other Games"
The brainchild of singer/guitarist Kevin Barnes, Of Montreal was among the second wave of bands to emerge from the sprawling Elephant 6 collective. A native of Athens, Georgia, Barnes formed the group following a failed romance with a woman from Montreal. After several moves to various cities and states, Barnes again found himself living in Athens. Once back home, he began collaborating with bassist/vocalist Bryan Poole (Elf Power) and drummer/vocalist Derek Almstead (Circulatory System). Together they recorded the band's debut album, Cherry Peel, released by Bar/None in 1997 (and later re-issued in late 1999, remixed and with additions by the later five-piece version of the band). Whereas the majority of the Elephant 6 collective drew their influences from 60's pop icons, Barnes was taking Of Montreal in an altogether different direction. While paying homage to these groups, he also began incorporating vaudevillian elements not only into the band's music but also into their live performances. With Poole having to leave the band because of his involvement with Elf Power, Almstead switched to bass and new members Jamey Huggins and Dottie Alexander were brought on board for drum and keyboard duties, respectively. Andy Gonzales(Marshmallow Coast) guitar/piano/vocals joined shortly thereafter. The band's second album, The Bedside Drama: A Petite Tragedy found Barnes experimenting with his lyrical content. Chord changes impressed upon nearly every word as a host of characters were orchestrated throughout album's sixteen songs. Although Kevin is credited as playing most of the instruments himself, Bryan Poole and Julian Koster (Neutral Milk Hotel, The Music Tapes) made unaccredited appearances. All members were represented on the band's third full-length, The Gay Parade. Hailed by critics and fans alike (including All Music Guide, who went so far as to refer to the album as indie-pop's equivalent to Sgt. Pepper), The Gay Parade was a musical extravaganza bringing over 40 musicians (many of them vocalists in the album's choir) to the table. A concept album in every sense of the word, The Gay Parade created a carnival of absurdist characters living in a Kafkaesque world. Coquelicot Asleep In The Poppies: A Variety Of Whimsical Verse, the band's fourth album was released April 2001. The 22-track CD included a 16-page full-color booklet of artwork by David Barnes as well as a fold-out poster with lyrics. The album signified an even more ambitious undertaking than The Gay Parade right on down to the concept, arrangements, lyrics, and artwork that went into making the album. The band's fifth album Aldhils Arboretum was released the following year. 2003 proved to be an eventful year for the band. Andy left to spend more time on Marshmallow Coast and to go back to school. Kevin got married. In the fall of 2003, they recorded their next album. Kevin's wife, Nina, joined the group. Derek left the band to spend more time with Circulatory System, and, following the demise of their previous label, Of Montreal signed with Polyvinyl January 2004 Four months later, the band's sixth full-length, Satanic Panic In The Attic, was released. With Satanic, the band again reinvented their sound, this time with the inclusion of electronic and Afro beat influences. The album was an instant critical success, tearing through the radio charts, landing a video on MTV, and gathering favorable reviews left and right. Of Montreal returns this Spring with their new album The Sunlandic Twins April 12, 2005. Peppered with beats from the eighties on top of the traditional Of Montreal sound, The Sunlandic Twins will assuredly become an instant Of Montreal classic. In addition to the new album, Of Montreal is preparing to embark on one of their most ambitious national tours ever. As of February 2005, the proposed routing will keep the band on the road for seven months, spanning over a hundred shows and covering countless cities.
Raging Speedhorn: "How Much Can a Man Take"
Raging Speedhorn first came to be in August of 1998. The forming of the band was a result of the combination of the bands 'Soulcellar' and 'Box'. Guitarist Gareth Smith, drummer Frank Regan and bassist Darren Smith from 'Soulcellar' met up with guitarist Tony Loughlin, vocalist Jon Loughlin and drummer Gordon Morison from 'Box' to form Raging speedhorn. Frank Regan, formerly a drummer then changed to vocals along with Jon Loughlin to make an outstanding team. As the songs began to flow, Speedhorn recorded demos, and got a few good giggs, getting strong reviews in important magazines like Kerrang! and Metal Hammer.Their first big break came when they supported the legindary 'Ministry' at the London Astoria. From then on they never looked back, and have got stronger and stronger. Speedhorn have now recorded about 20 songs in just over a year together, and they play live regularly, with some great acts. Easily their biggest gig so far was at the Ozzfest UK, along with the likes of the mighty SlipKnoT and Amen.They have also been touring regularly, sponsored by Kerrang! and Metal Hammer. Their first demo song [selling over 800 coppies], Thumper, has since been released on Metal Hammer's December 1999 cover mount CD. Ian Camfield has also given Speedhorn plenty of airplay on his Xfm show. All this has built up to the release of their debut album, entitled 'Raging Speedhorn', which was released in the spring of 2001. After the success of their debut album, Raging Speedhorn kept up the tough schedule and started working towards a new album. Touring the country regularly, as well as trying to maintain part-time jobs meant that time to write was limmited. However, two years on from when we were first greeted by the din of Speedhorn, 'We'll Be Dead by Tomorrow' is set for release in the summer this year. 'The Hate Song' is the first single from this album, and was released on June 24, 2002. Appearing on the main stage at the Reading Festival this summer, as well as having more than one headline tour is sure to give them the publicity they deserve. And so, my friends, the story comes to an end... for now, anyway.
Ted Leo & the Pharmacists: "Me and Mia"
Ted Leo is a unique artist for these times. He provides a near perfect combination of politics, art, punk values and humor in his songwriting and the combination is resonating with people all over the world. Having toiled for years in the punk underground with both his former band Chisel and his solo effort Ted Leo/Pharmacists, 2004 is definitely the year Ted Leo is primed to break out into the mainstream. In February 2003, Lookout Records released the critically acclaimed "Hearts Of Oak," a gem of a record that received accolades from Spin, Rolling Stone, Magnet, the New York Times, MTV. Touring and promotion in support of "Hearts" was massive and included 5 US tours, a run in Japan and the UK and an appearance on "Late Night With Conan O'Brien." A brief respite from touring was required mid-way through his second US run, when his vocal chords became enflamed due to the rigorous schedule of radio station visits, in store performances and nightly gigs. Ted began a new regimen of vocal warm ups, fewer shows in a row and a dram less Irish Whisky and found his voice to be stronger than ever. In early 2004, in between some short tours, Ted began to write his fourth solo album. Motivated to keep pushing himself as a songwriter, performer and cultural critic, he shut himself in the basement of his childhood home in New Jersey and began to write. The songs that resulted in "Shake The Sheets" are fresh, smart, and passionate. Producer Chris Shaw proved to be the perfect partner for Ted and his sonic vision for the album. Well known for his work in producing the last 2 Bob Dylan albums, Shaw has also worked on many other diverse projects, from Dashboard Confessional, to Bell Biv De Voe to the classic Public Enemy album, "It Takes a Nation Of Millions to Hold Us Back." A perfect combination for Ted! Ted Leo is an artist who is well poised for a career with no limits. He will continue to write pop rock gems and work hard on the road to connect with his fans who continue to grow with him as he connects with more and more people. Do not be surprised if in 25 years you are dusting off your album jackets and along with Joe Jackson, Nick Lowe, Paul Weller you throw on Ted Leo to change your mood for the day.
One of Australia's most quietly adored bands, Youth Group, stand ready to roar with 'Skeleton Jar'. Youth Group are at the forefront of an exciting new era in Australian alternative music. Singer/guitarist/songwriter Toby Martin formed the group with drummer Danny Allen in Sydney, Australia and despite several line-up changes since, these two remain at the band's core. After quickly gaining a strong live following the band signed to local independent label Ivy League Records (the same people who manage The Vines and Jet) and released their debut album in May 2001. 'Skeleton Jar' is the band's second album and the first to be released in the US. The talents of singer/songwriter/guitarist Toby Martin shine through on this album like a beacon. Eccentric, yet highly emotive lyrics navigate their way across varied landscapes of pop, folk, and indie rock terrain with his uniquely pure voice. From the haunting singles 'Skeleton Jar' and 'Shadowland' to live favorites "See-Saw" and 'Piece Of Wood", Youth Group present an eclectic feast, with a darker and less poppy approach.
One of Australia's most quietly adored bands, Youth Group, stand ready to roar with 'Skeleton Jar'. Youth Group are at the forefront of an exciting new era in Australian alternative music. Singer/guitarist/songwriter Toby Martin formed the group with drummer Danny Allen in Sydney, Australia and despite several line-up changes since, these two remain at the band's core. After quickly gaining a strong live following the band signed to local independent label Ivy League Records (the same people who manage The Vines and Jet) and released their debut album in May 2001. 'Skeleton Jar' is the band's second album and the first to be released in the US. The talents of singer/songwriter/guitarist Toby Martin shine through on this album like a beacon. Eccentric, yet highly emotive lyrics navigate their way across varied landscapes of pop, folk, and indie rock terrain with his uniquely pure voice. From the haunting singles 'Skeleton Jar' and 'Shadowland' to live favorites "See-Saw" and 'Piece Of Wood", Youth Group present an eclectic feast, with a darker and less poppy approach.
Motion City Soundtrack: "Hold Me Down"
The way it works, everyone likes the first record better. You're a music fan, presumably, so you probably understand the idea here that, when placed in historical context, a band's initial statement to the world is often seen as its most lasting. Motion City Soundtrack began in Minneapolis in 1999. Two years ago, they released their first album, I Am The Movie, crawled inside a van for seemingly the end of eternity and shot a video with their friends back home for "The Future Freaks Me Out," a loud and instantly enjoyable anthem that has become such an undeniable apex at the band's live shows that it is no longer sung by singer/guitarist Justin Pierre as much as it is sung back at him. But as ubiquitous as it became, the song perfectly captured Motion City's allure. Irresistible and unhinged, "The Future Freaks Me Out" was a reference point for what was to come with Commit This To Memory, ironic considering they wrote the song in mere hours and it almost didn't even make it onto their debut. "Two weeks before we went in, [guitarist Joshua Cain] played the part and I sang those words and that's what came out," Pierre says now in amazement. "It was completely random. But that's how we work. It's funny when there's talk about how this record could 'make or break us.'" He laughs. "This band has always gone on its gut instinct." Last year, by way of the unrelenting schedule they kept behind I Am The Movie, the band was asked to join Blink-182 on a tour of Europe and, then, Japan. Somewhere backstage and in between, bassist Mark Hoppus modestly mentioned to the group that he was interested in pursuing production work once Blink took a necessary pause later in the year. Though he didn't know it at the time, Hoppus had just found his first client. "We thought of it almost as a joke,'" Cain recalls. "But on our last day of tour I asked him, point blank, 'Do you want to produce our record?' When he said, "Fuck yeah" I was like, 'Okay... can I get your phone number then?'" Stretching out in Los Angeles later that fall and occasionally propped up by some of their other famous friends, Commit This To Memory finds Motion City the sort of definitive record usually reserved for much later or---to really bring this full circle---slightly earlier in a band's career. "Everything Is Alright," the album's first single (with Fall Out Boy's Patrick Stumph and Limbeck's Rob MacLean and Patrick Carrie there in the background), isn't about writing off their past as much as it is putting a fine point to it. With Hoppus' encouragement, Pierre, alongside Cain, bassist Matthew Taylor, moogist Jesse Johnson and drummer Tony Thaxton have begun stepping back from---and outside of---their roles when necessary. "Any time we wanted to take a chance with Mark he would go for it," Cain recalls. "He was so supportive. He would always say, 'Your name is going to be a lot bigger on the front of the record than mine will be on the back.'" The relationship that they developed with Hoppus may have helped hone Motion City's uniquely and cinematic sound of sound but, more importantly, it encouraged them to open the windows and allow themselves room to breathe. The space inevitably allowed Pierre's charismatic personality the room it has long since needed. A former film school student who has always likened himself to a director first, a musician second, and now some fascinating form of the two, is projecting his own life here. Songs like the plaintive, near-ballad "Hold Me Down" and the incredibly candid "Resolution" are among the most personal that he has ever written. "I think I tried to be as honest as possible on this record," he stresses. "I was less inhibited on this one from hiding. In the last two years this was what was going on." While it's true that Commit This To Memory can trace itself incredibly close to Pierre's personal life, with repeated listens it's clearly more the work of five musicians, finding themselves and turning to one another. "We've learned the reality of what we were doing," Cain says humbly. "When we left [I Am The Movie producer] Ed Rose, we left with a record that was better than our band. So we went home and had to become that good." Which is otherwise what they've done. But really, it's also where all these rules about second records and inhuman expectations begin to reverse and turn in on themselves. Motion City should have been trying to outdo themselves this whole time with Commit This To Memory. They found themselves instead. "I really think we've achieved everything we can as human beings playing music," Pierre says with a slight hint of laughter. "Really, we just played in our own city, selling out a show at [First Avenue], which is where we saw all our favorite shows. And that was something that I've wanted to do since I was 14." In a way, Commit This To Memory recalls the lost indie heroes Cain and Pierre spent those formative years in Minneapolis poring over, but there's also a slight irony in the fact that this is the one record that seems destined to lead to their own version of this. "I would love to say that I don't care what people think," Pierre stresses. "But you know, I am like most people. I do hope people like it." Whatever you make of the second Motion City Soundtrack album is now left up to the songs you're currently holding onto. As for us? We couldn't possibly be any prouder.
