Death Valley High could awaken the dead with their brand of heavy doom pop. The band will drop their second album, Doom, In Full Bloom (Minus HEAD Records) in the spring of 2011 digitally and in stores this summer. Driven by undead anthems like "Multiply" and "She Wants to Kill," Doom, In Full Bloom see Death Valley High evolving immensely from their debut 2007's The Similarities of the Loveless and the Undead. Death Valley High frontman Reyka Osburn is a veteran of Tinfed, Ghostride, and Will Haven, and he co-wrote "Lucky You" for Deftones on their gold-selling 2003 self-titled release. With that pedigree, the Northern California quartet carve out hard rock that's as pummeling as it is danceable. With Doom, In Full Bloom, Death Valley High will soon be on everyone’s mind.
EIGHTFOURSEVEN distort all sonic boundaries on their latest full-length album, LOSSLESS.
Due out this June via Minus Head Records, LOSSLESS fuses electronica with warm organic rock for a sound that's as ponderous as it is pacifying. "Chibana" pulsates with blips of incisive cyber riffing conjured by Anthony Sarti (Bass/Programming/Synth) and frontman Lance Jackman's hypnotic harmonies. Meanwhile, cuts like "Phantom Limb" and the title track segue through uncharted sonic territory rhythmically propelled via Ben Conger's drums and Sean Bivins ethereal guitar tones. LOSSLESS is the ultimate aural journey with no energy, feel or data lost along the way.
Ever since their emergence in 2002 with the Everlasting EP, the Sacramento quartet has been following a local tradition of not only "thinking outside the box," but musically rebuilding the box itself. The NorCal town has fostered a legacy of truly alternative music—most notably Deftones and Far—and EIGHTFOURSEVEN proudly continue that tradition. The band cultivated a diehard local following which led to the self-released full-length The Allegiance in 2004 followed by the acclaimed Silent Raid EP in 2006. However, LOSSLESS is truly a milestone for the band.
In the Throes… conjures a new kind of progressive. Cuts like "Blackout" and "Set in Motion" seesaw from hypnotic hooks and swirling melodies to gnashing riffs and pulsating rhythms. Meanwhile, "The Tides" creates a pensive, poignant sonic trip. Fran Dickinson's bass rumbles with a guttural groove, while Dennis Rodriguez pounds out heavy blues beats and Phil Pristia's riffs crash from chaos into clarity. Over this backdrop, singer Tom McCullough bleeds poetic lyrics through an undeniable delivery.
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Noise meets rock, they shake hands and arm wrestle to a standoff. They’re evenly matched – crisp drum thwack and buzzy synth, marching music and analog freakout in equal parts. That’s what you get with a producer who’s got a knack for melody and a confident touch behind the controls. Telvisio’s new double EP, ‘Til Deaf/Fuck the ‘80s, blends the best parts of the electronic underground with a punchy sense of drive. Telvisio’s Jim Tinsley played the Oakland warehouse scene for years, blasting out pirate radio and releasing tapes before they became hip again. Now in Pittsburgh, he draws a connection between the two cities, the creative freedom available in areas where artists can afford to live and work. That’s evident in his sound. You catch traces of Silver Apples and Chrome’s exploratory structures, and the sonic terrorism of Big Black, but tempered with the playfulness of Wolf Eyes and Fuck Buttons.
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