Thursday, April 27, 2017


“Brent Asbury has really good taste. Listening to Panicker—the musician/producer/sound engineer's new solo project—is an almost immersive experience, shuttling from the danceable industrial of vintage Wax Trax! Records to the brooding soundtracks of '80s sci-fi to techno.”
–No Echo

Stream the latest single, Heave, via No Echo, here.

This track is a single off of PANICKER’s debut self-titled LP, which will be available digitally and on random variant vinyl via Three One G Records on April 26th. Preorder here.

PANICKER’s debut seeks to give a voice (sans vocalist) to the anxious emotional state occupied by musician/producer/sound engineer Brent Asbury-- as well as, it seems, society as a whole. The feeling is frightening, all-consuming and urgent, and he captures this well. Tracks such as “Habits” tap into the horror vibe heavily, building tension and yet shifting into upbeat slides and bright accents with fluidity. “Airport” strikes like an alarm signalling for emergency evacuation, yet works in a techno-dance beat that seems welcoming of a jam-packed, sweat-stained party. Pieces like “Morning” use synth lines that could be old friends of a Wendy Carlos composition. Still, where genres may be remiss, the title seems to serve well.

Panicker LP:
  1. Commuter
  2. Parties
  3. Heave
  4. Habits
  5. Systems
  6. Airport
  7. Untitled
  8. Ataxia
  9. Perfume
  10. Time

Tuesday, April 25, 2017

ABRAMS + Metal Injection

"Catchy grooves and soaring vocals."
–Metal Injection

Denver, Colorado trio Abrams has revealed the music video for its song "Burned," today via Metal Injection. 

Watch the video, here:

The song, which Metal Injection has named "The Heavy Groove Tune of the Week," appears on Abrams' sophomore album Morning, to be released June 9th on Sailor Records.

Yearning, driving, and bursting with hooks, the ten songs on Morning summon a soulful version of heavy rock akin to Mastodon, Baroness, and Mark Lanegan. Tracks like "Burned" and the recently-premiered "Mourning" (featuring guest vocals by Phil Pendergast of hometown Denver pals Khemmis) are earth-shakers that veer from bittersweetness to defiance to rage. 

Morning was recorded by Andy Patterson (SubRosa, Cult Leader) and Dave Otero (Cobalt, Cattle Decapitation), and was mixed and mastered by Otero.

The cover art and layout are by Samantha Muljat (Earth, Goatsnake).

Look for Abrams on tour all summer.
Photo by Chanelle Leslie

BITERS + Loudwire

"That good-natured feel of some of rock's best decades... Biters are cut from the same cloth as iconic acts like Cheap Trick, with a tad of the glitter rock sound made famous by the New York Dolls and T. Rex."

Atlanta rock n' rollers Biters have teamed with Loudwire to present the exclusive premiere of new single "Let It Roll."

This rockin' call-to-arms is the opening track off the band's sophomore album The Future Ain't What It Used To Be, to be released worldwide via Earache Records on May 19th.

Biters frontman Tuk Smith says of the song, "It's got that 'take on the world' spirit to it and it gets me pumped every time I hear it."

Listen, here:

"Stomping rock n' roll, sprinkled with stardust" is how Biters have recently been described – the Atlanta-based quartet makes swaggering, stadium-ready anthems in the spirit of the glam, power pop, and hard rock gods of the '70s, from T. Rex to Cheap Trick to AC/DC. 
Indeed, new album The Future Ain't What It Used To Be is packed with some of the catchiest songs of the year – but the magic lies in the attitude behind the hooks. Biters' strut and style transports us to a time when bands looked like bands and acted like gangs.

A feature in High Times likened Biters' mix of streetwise snarl and pop perfection to "a rainbow in a thunderstorm." 

The Future Ain't What It Used To Be was recorded by Dan Dixon (Wyldlife, Whores.), mixed by Dixon and Scott Stevens (Halestorm, Shinedown), and mastered by Stephen Marcussen (Johnny Cash, The Rolling Stones, Tom Petty).

Pre-order, here:

CD & vinyl -
iTunes -

Biters have toured with Ace Frehley, Social Distortion, D Generation, Buckcherry, and many more; they completed a European tour this month with labelmates Blackberry Smoke and will set out on a headlining US tour in May.

Biters, on tour:

May 19 - Chicago, IL @ Cobra Lounge
May 20 - Indianapolis, IN @ State Street Pub
May 21 - St Louis, MO @ Fubar
May 23 - Hamtramck, MI @ Smalls
May 25 - Toledo, OH @ Frankie's
May 26 - Rochester, NY @ German House Auditorium
May 27 - Poughkeepsie, NY @ The Chance
May 28 - Cambridge, MA @ Sonia
May 30 - Pittsburgh, PA @ Smiling Moose
May 31 - Brooklyn, NY @ Saint Vitus
Jun 1 - Baltimore, MD @ Metro Gallery
Jun 2 - Harrisburg, PA @ Abbey Bar
Jun 3 - Philadelphia, PA @ Voltage Lounge
Jun 30 - Tulsa, OK @ The Vanguard

Photo by Evan Bartleson

Friday, April 21, 2017


From San Antonio, Texas, Illustrations presents new single "The Killing Field," premiered today via Revolver.

Listen, here:

"The Killing Field" appears on Illustrations' sophomore album Acts of God, to be released by the band on May 26th.

The song showcases the band's brutal side – a brand of hardcore saturated in death metal and black metal influence – but Acts of God sees Illustrations balance this punishing sound with a bold palette of other colors. Synths, field recordings, saxophones (performed by Bruce Lamont of Yakuza and Corrections House), crooned vocals, whispers, and soaring guitars bring a whole new dimension to the music, evoking the vast landscapes of the band's Texas home. Frontman Matt King names influences that span from At the Gates to Cocteau Twins, and this range is well represented on Acts of God. 

Tastemaker site Clrvynt recently reported, "Texas-based Illustrations have been quietly molding themselves into one of the most exciting bands in extreme music."

record release show for Acts of God is set for May 27th at Mohawk in Austin, Texas, with The Dillinger Escape Plan:

Thursday, April 20, 2017


Having already brought its Slayer-core to stages across the country in 2017, Homewrecker announces an early summer headlining tour of the West. The two-week run includes slots on Modified Ghost Fest in Vancouver (playing on a bill with Cro-Mags and Comeback Kid), 71 Grind Fest in Colorado Springs (with Phobia, Gatecreeper, and more), and the pre-show for Sound and Fury Fest in Los Angeles.

May 23 - Pomona, CA @ PBW

May 24 - Santa Cruz, CA @ Subrosa
May 26 - Portland, OR @ Post 134
May 28 - Vancouver, BC @ Rickshaw Theater - Modified Ghost Fest
May 29 - Tacoma, WA @ Real Art
May 30 - Spokane, WA @ The Pin
May 31 - Boise, ID @ Wastelander Studios
Jun 1 - Salt Lake City, UT @ Beehive Social Club
Jun 3 - Colorado Springs, CO @ Black Sheep - 71 Grind Fest
Jun 4 - Albuquerque, NM @ Legion 49
Jun 5 - Phoenix, AZ @ 51 West
Jun 6 - Yuma, AZ @ Prison Hill
Jun 7 - Tijuana, MX @ Mods Bar
Jun 8 - Los Angeles, CA @ Union - Sound and Fury Fest Pre-Show
Jun 10 - Cleveland, OH @ The Foundry

Homewrecker's latest EP Extinction by Design was released last fall on Good Fight Music. The Ohio band dishes out ultra-thick death grooves and whiplash thrash attacks, delivered with all the snarling rawness of hardcore punk. The next full-length is currently in the works and will be released on Good Fight this year.

"Homewrecker brings the slow groove to fast death metal... Killing it with their old school-inspired jams."
–Metal Injection

"Homewrecker have cast off their shackles of servitude to their influences, and have begun to napalm a path all their own... So concussive and so jam-packed with madness..."

Watch Homewrecker's "Prophet Liar" video, here:

Buy Extinction by Design, here:

Photo by E. Aaron Ross

Flyer by Jesse Feinman

Friday, April 14, 2017

PANICKER + Culture Creature

Culture Creature is now streaming the newest Panicker track, Perfume. Listen, here:

"...a nice dose of industrial-tinged dance music."
–Brooklyn Vegan

Panicker seeks to give a voice (sans vocalist) to the anxious emotional state occupied by musician/producer/sound engineer Brent Asbury-- as well as, it seems, society as a whole. The feeling is frightening, all-consuming and urgent, and he captures this well. Asbury describes Panicker as “blending aspects of EBM, industrial, techno and hip hop with the intensity and heart of punk, metal, and horror films.”

This track is a single off of Panicker's debut self-titled LP, which will be available digitally and on random variant vinyl via Three One G Records on April 26th. Preorder here.

PANICKER LP track listing:
1. Commuter
2. Parties
3. Heave
4. Habits
5. Systems
6. Airport
7. Untitled
8. Ataxia
9. Perfume
10. Time


Brooklyn Vegan is now streaming the new Invisibl Skratch Piklz/Planet B split.

Listen, here:

Order the free 7" here:

Sample-spewing masterminds Invisibl Skratch Piklz and Planet B work together to forge a gritty, wayward path in these troubling times with this newest 7”. Each entrenched in the ethics of DIY (and with extensive musical histories to show for it), these artists’ music meld hip hop and punk through scratches, synths, and screams. Side A includes two versions of Invisibl Skratch Piklz’ “Polka Fist Pump”, a brutal turntable assault that shows the speed and precision with which ISP can scratch. The second mix on the 7” features Justin Pearson’s scathing vocals and smart-aleck aping of the track’s samples, leaving the listener with “beautiful debris at the birth of terror.” Side B re-imagines a piece originally written by two-thirds of Planet B, Gabe Serbian and Justin Pearson: both locusts who have “learned how to fly with one wing.” The track, “Old Age Lasts Too Long,” was first created for the soundtrack of Asia Argento’s film, Incompresa. Luke Henshaw brings new life to old age with his horror-sci-fi-synth samples, adding nuance and eccentricity to a previously more bare-bones, rhythm-based composition. Be it through turntablism, Dadaism, situationism or sarcasm, both tracks resonate as prescriptions for dissent, even, at times, in the absence of words.

Speaking about his decision to collaborate with Invisibl Skratch Piklz, Justin Pearson said, “It makes sense to us to mix aspects of punk and hardcore with hip hop and turntablism. It’s all aesthetically punk anyhow.” Planet B’s Luke Henshaw adds, “When collaborating with such great artists, its best to not draw a line, and to leave the doors open for endless opportunities for disaster.”