We’re just gonna come out and say it: No Sympathy packs a WALLOP! Hot on the heels of Mania, the second release from Boston’s Lurid Purple Flowers THIS YEAR delivers four new tracks that are simultaneously delightful and devastating and a sort of anti-Sap in the way this Indie-Grunge trio bring the loud to our earholes.
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Not even parts of a whole anymore but fans of KMFDM’s beginnings have surely been getting a treat these last few years with that Industrial juggernaut still rolling along after 30+ years and Raymond Watts’ PIG back in full swing since 2016 and, more often than not, utilizing the talents of fellow former KMFDMer’s like En Esch and Steve White (As well as axe-master Gunter Schulz who does not feature on this particular record) as is the case with PIG’s latest outing The Merciless Light.
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We’re biased when it comes to Massachusetts-based artists, okay? And we’ve stated that many, many, many, MANY times in these pages. It helps a lot that our local scene seems to rule on the regular and with that said, we bring you the upcoming full-length from Lowell’s Tysk Tysk Task which not only rules on the regular but delights on the daily! Cheesy statement? No doubt. Totally accurate? Oh, hells yes!
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Fans will inevitably complain that Clutch’s 13th full-length, and first in almost 4 years, also happens to be their shortest to date. But in the case of Sunrise Of Slaughter Beach, the Maryland natives forego what’s expected and lean into a “quality over quantity” approach to bring listeners nine tracks of some of the best, and easily most diverse, Clutch music of their 30+ year career.
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There’s no denying that, almost 40 years into their career, the Industrial juggernaut known as KMFDM is still a force to be reckoned with on the scene. They’ve survived a constantly changing music industry, line up changes, and most recently, a global pandemic to come back with what might be their greatest, and most “KMFDM”, release to date with HYENA which sees the light of day on September 9th through Metropolis Records. Recently we had the privilege of chatting with KMFDM singer/songwriter Lucia Cifarelli via email about the new record, the upcoming fall tour (Hitting Boston’s Paradise Rock Club on October 12th), her recent solo outing I Am Eye (Available via Bandcamp here) among other topics and it goes a little something like this:
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There’s one every year for us, isn’t there? One unexpected/unknown artist with a record that completely knocks our socks off. In recent years, bands like Corlyx, Forming The Void, and SPICE have just come completely out of left field with these albums that absolutely slay from start to finish. And in 2022, we’re blessed with Denver’s Abrams and their magnum opus entitled In The Dark.
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If you’re not having fun while listening to new KMFDM music then you’re doing it wrong. That said, the 22nd (!!!) full-length from the legendary Industrial outfit might be their most fun outing yet. Filled with the kinds of blistering anthems you’d come to expect from Kap’n K and the gang, HYENA still manages to both enthrall and excite, surprise and stimulate this far into KMFDM’s career.
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After covering the brilliant “Colors” single by Lowell’s own Tysk Tysk Task, we somehow managed to drop the ball and completely miss the equally brilliant “Rosegold” released in late July (Check it out here)… but we’ll be damned if we miss out again! Well, a little at least seeing as we missed the release of “Ocean Now” by a week or two. Hey, we’re trying!
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With all the hype surrounding The Callous Daoboys lately there’s many a watchful eye (And ear!) tuned into their upcoming new record Celebrity Therapist. We admit we were pretty skeptical ourselves diving into the eight song effort after being intrigued when “A Brief Article Regarding Time Loops” but are here to tell you that Celebrity Therapist does, in fact, deliver on all fronts and truly lives up to the hype. It could even be said that the latest from The Callous Daoboys is all that. AND a bag of chips.
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The ballad of Pist.On according to RNRF:
Everything old is new again, right? I first stumbled upon Brooklyn’s Pist.On while going to college in Boston. I was ending my first year in the Spring of 1996 which produced some mighty fine albums which, in turn, was cause for an especially busy time (for me) in the vibrant rawk club scene down on Landsdowne St. Having fallen in love with Life Of Agony after hearing “Through And Through” on Headbanger’s Ball, I jumped at the chance to see them at Axis on a headlining run in support of sophomore album, Ugly. Supporting them was Clutch, whom I’d already seen and loved, and some band called “pist.on”. Being a broke, underage college kid not interested in drinking at the time and too poor to linger at the merch booth, I made my way up to the front and was treated to the sonic soliloquies of Brooklyn’s Pist.On who kinda blew me away. As a HUGE Type O Negative fan, I was enthralled by both the heaviness and the harmonies displayed live and later, on record, when I eventually tracked down their debut album Number One (Coincidentally, produced by TON’s own Josh Silver).
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