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Scottish post-rock act Mogwai gave their fans the first glimpse at their upcoming EP Earth Division this week with the haunting “Get to France”. The eerie piano driven piece is the EP’s lead off track and comes off as the warped bastard cousin of songs like “Friend of the Night”. If this is any indication to the mood of Earth Division then it looks like we’re in for a treat.

Mastodon are back and are warping your childhood. The video for said track (to which Adult Swim have disabled embedding) can be seen here.

Victory Records, I am disappoint…


I think it goes without saying that when it comes to the indie music universe, there was no more celebrated reunion in recent memory than that of seminal Canadian post-rock ennead Godspeed You! Black Emperor. The announcement that they were going to be curating the 2010 All Tomorrow’s Parties Christmas event in Minehead, England created such a wave of excitement that when Godspeed You! Black Emperor expanded their comeback to include a series of tours in Europe and North America tickets sold out almost as soon as they went on sale. On February 22nd, 2011 their reunion tour made its way to Pomona, California, the first of two stops in Southern California (the other being at the Music Box in Hollywood a day later).

Joining Godspeed You! Black Emperor for the night was the stoner-drone band Om. Om took the stage right before nine o’clock. Consisting of bassist and vocalist Al Cisneros (the name should be familiar to anyone who has listened to the pioneering sludge band Sleep), Emil Amos on drums (who also plays in Grails), and multi-instrumentalist Robert Aiki Aubrey Lowe, Om’s spiritual bass grooves entranced the crowd at the Fox Theater for a solid forty minutes. Playing a set consisting mainly of tracks from their God Is Good album, Cisneros’ rolling bass grooves and zen like vocals had the audience hypnotized, but this was the calm before the storm, as when it became time towards the latter half of their set, things became more ferocious,…

I’ve listened to a lot of mashups in my day. Normally they are party tracks that take a popular club beat and superimpose the vocals of a top 40 track of the moment ala Girl Talk or sometimes they tend to dig a little bit deeper to give us something like last year’s Kids and Explosions or the noted Jay Z/Linkin Park collaboration, but every once and a while I’ll stumble upon a mashup that truly leaves me floored. Four Tet’s mash up of Nas’ “It Ain’t Hard to Tell” with Godspeed You! Black Emperor’s “Sleep” is simply mesmerizing. The ebb and flow of Nas’ rhymes and the gentle swell of strings that build and build come together so flawlessly that it was almost as if they were made for each other.

The art district in downtown Pomona, CA, was an odd mishmash of people on November 27th. At the Glasshouse kids were packed outside to see Darkest Hour, Periphery, and Veil of Maya. A few buildings over at the Fox Theater the crowd was a little bit more extreme as they funneled into the rebuilt art-deco theater to see Dimmu Borgir and Enslaved. And smack dab in the middle of all of this, in a parking lot across the street from the Glasshouse, there was a small crafts fair and low-rider show set with their own band playing 70’s funk hits. This is what I had to make my way through on my way to Darkest Hour’s tour bus to interview their drummer Ryan Parrish. Among other things, we discussed Darkest Hour’s upcoming album The Human Romance, their 15th anniversary as a band, and what the future holds for the long running metal act.

Adam Thomas: With The Eternal Return you fulfilled your contract with Victory Records and now you’ve signed to E1 which used to be Koch…

Ryan Parrish: Yes.

AT: How does it feel to have a new home after spending almost a decade on the same label?

RP: Amazing. It’s an incredible change for us. We’ve been looking forward to the end of the Victory contract for a while so getting on a new label is the like best thing we could do. They’re really great to us.

AT: Has it opened up any new opportunities for…

Hello Sputnik community,
As a staff writer I frequently get asked about “the right way to write a review” (as if there is a right way), and for tips and pointers by users that want to step up and provide new content to the site. While the creative process is different from person to person, there is one thing that, regardless of if it’s your first review or your 100th, should be a part of the writing process: proofreading. No matter how clearly you think you have laid out your ideas, little kinks have a nasty habit of popping up and sometimes it takes a fresh set of eyes to catch them before you hit submit. To help out with catching grammatical errors, improving flow, and curbing wordiness you can visit the oft underused proofreading forum (here), where you can get a peer review from some of the more helpful community members and the staff. Even if you don’t want to write a review, you can still help out by offering advice and helping those who do. Please don’t let this beneficial feature go to waste.

Thank you for your time,
Adam Thomas (redskyformiles)

Having already broken out in his native England, Frank Turner is a rising star in the US punk community as of late. As if his signing to Epitaph for all his releases stateside wasn’t enough of a sign that the British singer-songwriter has been gaining his footing in the states, successful tour spots with The Offspring and Social D on top of a number of headlining runs all across the country have exposed Frank to thousands of new fans. Last night at the Troubadour, located in the west-side of Los Angeles, a sold out crowd sang their hearts out to a venerable folk-punk smorgasbord. Even California punk legends such as NOFX’s Fat Mike and Bad Religion guitarist/Epitaph Records head honcho Brett Gurewitz could be seen roaming the grounds among the fans.

The night began with Lansing, Michigan’s Cheap Girls. The only act of the night that didn’t feature acoustic guitars, Cheap Girls took control of the gathering crowd with their upbeat Texas is the Reason by way of The Replacements brand of crunchy, no-frills rock and roll. Given the context of the rest of the night, they were a wonderful appetizer to the main course of Andrew Jackson Jihad and Frank Turner. The only downside was that given the crowd’s unfamiliarity with their material and the incredibly low placement of singer and bassist’s Ian Graham’s vocals in the overall mix killed the potential audience participation factor during their performance.

Despite Frank Turner’s name being on top of…

Enter the Magical Mystery Chambers is a fucking genius idea for a mash-up album. I mean The Beatles and the Wu-Tang Clan, does it get any better than that? Yep. Not only are some of the best raps in hip-hop showcased, but the tracks they are put over aren’t just pulled from the Fab Four’s studio takes, they are culled from a range of Beatles covers that offer up a new and unique experience not only for Beatles fans, but for Wu fans as well. Case in point, “Forget Me Not”. Originally found on Inspectah Deck’s Uncontrolled Substance, the track is completely transformed when put up against Jamaican guitar legend Ernest Ranglin’s jazzed up cover of “You Won’t See Me”, making the original practically obsolete.

Wu-Tang vs. The Beatles – “Forget Me Not”

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There’s no denying it. Ever since Botch called it quits at the rise of the millennium there has been a void in the metalcore scene. The void they left started a power vacuum that paved the way for the funk that it’s in today. Thank god for Narrows. Featuring Botch’s almighty Mr. Dave Verellen on vox and members of such greats as These Arms Are Snakes, Unbroken, and Some Girls, Narrows haven’t quite lived up to expectations, but their recent split with John Pettibone’s Heiress seems to have put everything back on track. For the better half of a decade I’ve been kicking and screaming, praying for a Botch reunion, but if “Recurring” is a sign of things to come, I might just be praying for another Narrows release.

Narrows – “Recurring”

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I’m not as familiar as I probably should be with Japanese Instrumental Hip-Hop. Nomak and the now deceased Nujabes always seemed like the two brightest stars to emerge from the Japanese archipelago, both combining smooth beats over an even smoother mix of jazz and traditional Japanese instrumentation and melodies. With his 4th album, Dynamic Meditation Instrumental Limited, Nomak still sticks with this sound, molding his country’s past with Hip-Hop’s future. On an album full of relaxed, chilled out cuts, “The Universe” just happens to be a little bit more cool, a little bit more relaxing than the rest. It is pure Nomak.

Nomak – “The Universe”

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Party Mathematics

Out of all of my new musical finds this year, none have captivated me as much as Noumenon. The Chicago area math rockers just released their Big Scary Monsters debut Party Mathematics earlier this month and really there is no more fitting a name for the zany, technical bliss that is Noumenon. The flippantly titled “Algoresrhythm” is an off-kilter bundle of ever shifting melodies that’s tied together by what may be one of the catchiest god damn vocal hooks of 2010. By the way, did I mention that their EP can be downloaded here?

Noumenon – Algoresrhythm

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There’s something so entrancing about the grimy heart of downtown Los Angeles. The old, art deco theaters converted into pawn shops and jewelry exchanges, the frames of the high-rises blocking out any of the remaining evening sunlight, and if you’re anywhere more than a two blocks away from the Staples Center and LA Live how even the fast food restaurants shut down early due to the city’s overall shadiness. In this run down and burnt out shell of a bustling metropolis lies the Mayan Theater. Despite lying in the heart of what is essentially a slum, the Mayan is Los Angeles’ most architecturally stunning venue, featuring hand carved walls and supports that make visitors feel like they’ve stepped into the Temple of Doom, not to mention it also houses the biggest god damn disco ball I have ever seen over its stage. Last night Minus the Bear owned it. Having sold out the 1500 seat venue, they were joined by indie-pop upstarts Young the Giant and bluesy alt-rockers Everest.

Young the Giant started things off. With the crowd still filling in, they played a rather entertaining set full of jangly tunes that came off sounding like a slightly less adventurous version of The Dodos. Once the crowd, an awkward and segregated mix of NPR types and teenage scenesters, warmed up to them they fed off of the audience’s applause, making the final half of their set more lively than the first. Everest on the other hand, while good…

I’ve always had a soft spot for The Killer’s Hot Fuss. That’s why I was excited to hear “Easy Answers”. Tapping into the same electro-pop vein as the Las Vegas quartet’s debut, Paul Bethers’ new single rides a towering wave of pulsating synths and anthemic vocals to create an infectious sing-a-long vibe. With summer right around the corner, “Easy Answers” is bound to get a good work out in your car stereo.

Paul Bethers – Easy Answers

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The closing seven minutes of Mouth of the Architect’s new EP The Violence Beneath should sound freakishly familiar to anyone that remembers the best of 80’s rock music or has a parent that does. It takes a few minutes to realize that the post-metallers are covering Peter Gabriel’s 1986 pop-hit “In Your Eyes” because the massive hooks and gentle crooning have been replaced by sluggish volume swells and ghostly howls, but once you get it, it’s hard not to crack a smile.

Mouth of the Architect – In Your Eyes

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