VIA PRESS RELEASE | “He’s fearless. He’s funny. He’s a diehard hockey fan. I love this man. Complete original. Can’t wait to have his book on my coffee table to make company nervous.” —Bill Burr

“There have always been bands full of angst, rage, anger, drama, and theatrics. It was Ministry who first came along at the dawn of the industrial movement, who combined these things so seamlessly, that the audience was about to have its first immersive experience. Not only were the shows a visceral experience, but lyrically, Al was preaching the truth on top of the finely crafted sound of this new musical tonality of aggression and machinery. Loud and aggressive, yes, but also painstakingly put together as a symphonic experience. Al is the real deal. Who we see and hear on stage is who he is; it’s his truth that resonates with so many. Truths that make the disenfranchised feel included and truths that make the common man wish to be among the disenfranchised.”
—Dave Navarro, Jane’s Addiction

The fully authorized visual history book, Ministry: Prescripture, by author Aaron Tanner has been announced today via Rolling Stone. Published by Melodic Virtue, the book contains over 200 pages of rare and unseen photos, artwork, and other ephemera that spans Ministry’s entire career. Melodic Virtue raided Uncle Al’s personal collection of behind-the-scenes artifacts and have supplemented those items with contributions from band members past and present along with visual artists, Brian Shanley and Paul Elledge.

Founded in 1981 by Al Jourgensen, Ministry has never stopped evolving. His constant experimentation and stylistic variation morphed the band from it’s synth-pop origins to the industrial juggernaut of today.

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“I remember looking up at my dad as he spun vinyl around in his hands, smiling down at me, then the needle came down, music started playing, and he began to silly dance to me!”

“I remember a huge sense of good feeling in me. I thought ‘whatever this is, it makes my dad REALLY happy.” I must have been only a toddler. He still looks at me with that mischievous face when he’s listening to that good ol’ rock and roll! As I got older we moved house and had a billiard room which we often weren’t allowed into—where the vinyl lived. My parents were out for the night and my brothers started playing Dire Straits’ “IIIII want my MTVVVVV,” and they’d turn off the lights for the intro.

It frightened the shit out of me, and that’s when I realized the power of atmosphere in song. That same night they were messing with me because we were explicitly told to be very, very careful with the vinyl and my brother Edgar was being a brat and putting 2 records on top of each other, slowing it down and generally making the LP sound like a demon or a chipmunk. I was curious and scared of vinyl for a long time, because in the hands of the right person (or wrong person!) it could be pleasurable or horrifying to me.

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VIA PRESS RELEASE | Did you know Herman, Grandpa, Lily, Marilyn and Eddie Munster doubled as a rock and roll band?!

Well, despite the subhead on the album proclaiming them as ‘The Newest Teen-Age Singing Group,’ they didn’t but that didn’t stop the label execs at Decca Records from trying to cash in on the new CBS hit TV show! Veteran producers Joe Hooven and Hal Winn had the good sense to hire the Wrecking Crew (most notably Glen Campbell and Leon Russell) to play this surf-tinged set of songs, and brought in The Go-Go’s (nope, not those Go-Go’s, they were just out of diapers’this was a male vocal trio that cut one LP for RCA back in 1964, the same year this record came out) to sing the lyrics to such gems as ‘You Created a Monster’ and ‘Make It Go Away.’

The whole thing is a hoot, and a highly collectible hoot at that—original copies of this album command ‘monstrous’ sums! Aaron Kannowski remastered our reissue, and for this vinyl reissue, we’ve pressed up a limited edition of 1000 copies in ghoulish gray vinyl. Get ready to do the Munster creep this Halloween and beyond!

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Ecstatic Vision’s 2017’s Raw Rock Fury is a double-headed beast. On one hand it includes a couple of the most devastating blasts of sonic power to come down the pike since the Stooges’ Fun House. On the other, it contains some of the best Krautrock autobahn boogie this side of Hawkwind and Neu!.

Those are some bold claims, I know. But them’s what my ears tell me, and my ears haven’t lied since they proclaimed Black Oak Arkansas the next Beatles (and they weren’t really lying, cuz they shoulda been!). But they’re right on this one; on Raw Rock Fury–which more than lives up to its title–Ecstatic Vision prove they’re the City of Brotherly Love’s best exploding act since Phil “Chicken Man” Testa.

My pal and world-renowned musical expert Bill Barnett recently saw Ecstatic Vision play live, and he reported their set included covers of both “TV Eye” and Hawkwind’s “Master of the Universe,” so the band is hardly attempting to deny its influences. But they’re anything but a tribute act.

Both “You Got It or You Don’t” and “Keep It Loose” take the anarchic energy of 1970’s Fun House to whole new levels. Which is something the Stooges themselves couldn’t do; in comparison 1971’s Raw Power–and it would be wrong to place all of the blame on producer David Bowie–sounds positively emaciated. And they infuse their takes on Krautrock/psych-rock with some good old Stooges punch.

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The Independent Minded podcast features conversations with indie artists in the music and entertainment business.

Pop culture legends “Weird Al” Yankovic and Henry Rollins, indie icons CAKE, Gogol Bordello and Mike Doughty, and up-and-coming indie artists The Districts and Vagabon talk about their experiences in the business, their inspirations and passions, and their recent projects.

The podcast is hosted by Ron Scalzo, an indie musician and radio producer with 9 self-released albums and an independent record label of his own, Bald Freak Music.

Baroness, Episode 104 | Episode 104 features John Baizley of Savannah, Georgia heavy metal band Baroness. John talks about cut-off t-shirts, critical acclaim, giving the fans their money’s worth, and why he’s not comfortable with having his signature on your arm. Songs from Baroness featured on the podcast include “Throw Me An Anchor” and “I’d Do Anything.” Find out more about Baroness at yourbaroness.com.

The core of Solid Bronze is Ian Everett and George Miller, both New Jersey residents with a loud-and-clear love of the soulful and funky. This fact is evidenced on The Fruit Basket, their full-length debut, a deliciously off-kilter ’70s-styled groove-fest spiced with strains of jazziness, touches of reggae, and excursions into psychedelia. Recorded and co-produced by Dean Ween with notable guests including Atlanta-based hip-hop artist CLEW, Morphine saxophonist Dana Colley, Ween/ Blood, Sweat & Tears keyboardist Glenn McClelland, and Parliament-Funkadelic guitarist Michael Hampton, this last name is quite appropriate as the influence of P-Funk is strongly felt. It’s out now on LP via Schnitzel Records.

Earlier this year, Solid Bronze released a 45 featuring The Fruit Basket album track “The Invisible Man.” It was and remains an enjoyable little number, but it was backed with a dub mix of the track by Lee “Scratch” Perry, not in itself a bad thing (to the contrary, the version added to the general positive vibrations of Perry’s most recent comeback), it just didn’t necessarily provide further insight into Everett and Miller’s overall thing.

That Michael Hampton contributed guitar to “The Invisible Man” did present a clue into one possible avenue in Solid Bronze’s roadmap, though just as prominent in the track is the Auto-Tuned crooning of Atlanta rapper CLEW, along with a contrasting deep voice offering spoken smoothness of a decidedly ’70s comportment.

But The Fruit Basket’s opener “Papa’s Bug” jumps right into buoyant Clinton-esque funkiness with wiggly tech flourishes and unperturbed vocalizing that also nods back a bit to Sly Stone. It’s an appetizing start that’s followed by the slower groove of “The Invisible Man” as Hampton’s soloing accents the psychedelia in Solid Bronze’s equation. From there, “Hard to Keep the Faith” introduces a danceable mid-tempo spiked with saxophones and capped with sharp jazzy jaunts and an instrumental passage putting keyboards and additional rock guitar action squarely in the foreground.

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2019 marks the 20th anniversary of The Flaming Lips’ masterpiece The Soft Bulletin. Hailed by critics and fans alike, it was a landmark record that saw the band transforming from the weirdest band on the planet to the most respected one. In 2009 during its 10th anniversary, the critics were at it again calling it an “undeniably essential listen that belongs in every record collection.” 20 years on, it still holds up incredibly well as a record, but when performed live it’s on another level—it’s nothing short of magical.

This is the fourth or fifth time I’ve seen The Flaming Lips, but the first time seeing them in London. The legendary Brixton Academy brought the fans out in droves to see the spectacle that creative genius Wayne Coyne would deliver. I’m not really sure how to describe the crowd that included someone wearing a giant crying baby head and numerous rainbow and glitter-infused outfits. I even ran into The Clash’s Mick Jones at the show as it was rumored that he would be guesting that evening in one form or another (unfortunately, it was just that, a rumor). Earlier this year The Flaming Lips tapped Jones to serve as narrator on their surreal new song, “Giant Baby,” from their latest album King’s Mouth.

The Flaming Lips took to the stage, and an incredibly humble and personable Wayne Coyne chatted the crowd up and welcomed them to the show an detailing the night’s setup. Gazing into a mystical disco ball center stage, Coyne began to orchestrate the opening number with his back to the audience as a perfect build-up to what’s to follow. The show instantly transformed into an insanely colourful explosion of smoke, confetti, giant balloons, with a crowd that is losing their minds. But it’s not like one of those shows where the giant balloons bounce around the audience for one song, this went on for the ENTIRE show.

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VIA PRESS RELEASE | They were the first, and they may just well be the last. As any good punk fan knows, The Damned released the first UK punk single with “New Rose,” the first UK punk album with Damned Damned Damned and toured America when the Sex Pistols were still thinking about being pretty vacant.

And so things came full circle with the release of 2018’s Evil Spirits, giving The Damned their first ever Top 10 UK album, and legendary bassist Paul Gray re-joining Captain Sensible and Dave Vanian after nearly two decades away. The Damned entered 2019 on a high. Smash It Up? More like on smashing form. There couldn’t be a better time to finally compile the ultimate Damned compendium as they finish the year playing New York’s hallowed Madison Square Garden and the London Palladium for their “Night of a Thousand Vampires.”

Gathering The Damned’s original four protagonists together to share their thoughts on this very unique compilation was never going to be easy. Guitarist Brian James, songer and gravedigger Dave Vanian, the inimitable Captain Sensible, and drum demolition king Rat Scabies were plied with the promise of a few ales, and tales were told, blood was spilled, and here we have it—Black Is The Night—the first truly comprehensive Damned anthology, spanning their entire career. These tracks have been specifically chosen by the band themselves and every track and every Damned album tells a different story. They are a band that never repeats themselves, with every record charting new territory and breaking new ground.

PUNK | Original Damned guitarist and Mr. “New Rose” himself, Brian James had the idea for a hard and fast-hitting rock ‘n’ roll band after his group Bastard split in 1975. “Basically, I had ideas for a bunch of songs and when I met Rat, him being the right drummer, it just brought out the rest of the songs in me really. Once we met Captain he joined in. I knew what I wanted Captain to do because he just had to follow the chords and keep it very basic. I didn’t want any jazz runs or anything stupid, just tough and to the point. Then when we found Dave, it was roughly the same kind of thing. I wrote the lyrics and sang in his ear how I heard it—a kind of second-rate Iggy imitation. It was a gradual process.”

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No discussion of the 1960s avant-garde is complete without touching upon the work of singer Patty Waters, as she predated such vocal iconoclasts as Yoko Ono and Linda Sharrock. Additionally, she was a prime influence on Patti Smith and perhaps most pertinently, Diamanda Galas. Live, her latest and first new release on vinyl since 1966, was captured in performance at the First Unitarian Congregational Society in Brooklyn on April 5, 2018 with the pianist from her debut Burton Greene, bassist Mario Pavone, and percussionist Barry Altschul. Dedicated to the great pianist Cecil Taylor on the day of his passing, its run of 1,000 LPs and 750 CDs is out September 20 via Blank Forms.

“People ask me (about) my influences, I would have to say Patty Waters. They say other people and I say, nahh, Patty Waters, listen to Patty Waters. I listened to her twice. That’s all it took for some grain of inextricable influence” —Diamanda Galas

Patty Waters’ two greatest albums, Sings from 1965 and College Tour from the following year, combine to secure her reputation as an avant vocal priestess of the first order. They were cut for the storied label ESP Disk, an enterprise known for its stable of fringe ’60s artifacts ranging from the proto out-rock of The Godz and Cromagnon, assorted strains of folk including The Fugs, Pearls Before Swine, The Holy Modal Rounders, Erica Pomerance, and Ed Askew, and most prominently, a ton of the era’s avant jazz; in fact, it was saxophonist Albert Ayler who introduced Waters to ESP’s owner-operator Bernard Stollman.

Instead of its deceptively plain title, her debut for the label could’ve been called The Vocal Extremities of Patty Waters, for its first side offered seven short tracks of hushed and isolated intensity, with Waters’ accompanying herself on piano, while the second held one side-long dive into the emotional abyss, with Waters working herself into a wailing screaming frenzy as Burton Greene plays piano and piano harp, Steve Tintweiss works the bass, and Tom Price delivers percussion.

Like many ESP Disk titles, the back cover stated, “You never heard such sounds in your life.” This was no exaggeration. Her detonation of “Black is the Color of My True Love’s Hair” still has the power to unnerve a room. While Sings has much in common with the ’60s free jazz movement, to simply label it as an out-jazz record does it and Waters a disservice. It’s undeniably an avant-garde experience, and I rate it as one of the decade’s very best.

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