The punk icon and beloved son, nephew, cousin and bandmate passed away on January 29, 2022. // A GoFundMe has been launched for his eternal rest at Hollywood Forever Cemetery.
Davey Bales was a powerful frontman, a prolific writer, a dear friend and a cherished family member. He touched and inspired the lives of so many people around the world through his music, poetry, style, sense of humor, and dedication to his craft.
Bales passed away sadly and suddenly on January 29th, 2022. A treasure in the Los Angeles punk scene and beyond, Davey was well-known for founding and fronting the SoCal deathrock band The Wraith. He released his first EP with the group in 2017 followed by their debut full-length Gloom Ballet in 2019. The group’s irresistibly distinctive sound – skeletal bass lines and tribal beats propelling Bales’ poetic, anguished bark – immediately gained a following. Southern Lord’s Greg Anderson comments: “Our deepest condolences go out to Davey Bales family, friends and band members of The Wraith. He was an amazing singer and when I had the pleasure of being in his company his dark creative energy was infectious. REST IN POWER.”
Members of The Wraith comment, “We are all devastated by Davey’s sudden loss and were not prepared for the high cost of creating the memorial he deserves, to honor his memory and properly say our last goodbyes.”
The group has launched a GoFundMe to help cover the cost of a glass-fronted cremation niche at Hollywood Forever Cemetery for Bales. Please consider donating, as any amount will truly help his family during this difficult time. Link to donate is here.
The Wraith continue, “Farewell, Davey. The music and poetry you created from your struggle will live on. Your performances will never be forgotten. Be at peace now, brother.”
Screen Time is a series of instrumental guitar pieces recorded during the summer of 2020 as the world confronted the pandemic shutdown and as the people of good conscious stood up against the oppression of racist police oppression and murder. How much screen time does a parent allow a child? How much screen time does a child need to realise a world which has the means to coexist as a community in shared exchange?
The cover image of Screen Time is of a youngster curled into a book, the pages vibratory with text radiating through the skin, blood and bone – an aspect entirely missing from digital media, though the actuality of transparency in our daily lives through streaming etc we can only hope leads to the awareness of fairness.
Screen Time is in reflection to dream time, a state of meditation, hypnagogia and pillow talk. Mastered by Lasse Marhaug for Southern Lord.
Thurston Moore born 1958, moved to NYC 1976, started Sonic Youth 1980, edited the fanzines KILLER, Sonic Death, and Ecstatic Peace Poetry Journal, started Ecstatic Peace records + tapes label, senior editor of Ecstatic Peace Library, and Flowers & Cream, edited books at Rizzoli and Abrams, on faculty at the Naropa University summer writing program since 2011, published through various imprints, worked collaboratively with Yoko Ono, Merce Cunningham, Cecil Taylor, Rhys Chatham, Lydia Lunch, John Zorn, Takehisa Kosugi and Glenn Branca, composed music for films by Olivier Assayas, Gus Van Sant, and Allison Anders, records and tours both solo, with various ensembles and with his own band, resides everywhere.
In late October 2019, following a successful UK tour ending in a sold-out concert at the mythical Roundhouse in London, SUNN O))) entered studio 4 of the BBC Maida Vale on invitation to record a live session for Mary Anne Hobbs to be broadcast on Samhain via her excellent radio show on BBC6. To enter the legendary John Peel studios was to enter a temple of music and experimentation, liberty in ideas and sound.
The band was nearing the end of a long touring year around the Life Metal and Pyroclasts albums (of which Anna Von Hausswolff and her band had accompanied SUNN O))) on the UK tour, and Anna joined SUNN O))) in the studio on synths and with her tremendous voice). SUNN O))) had developed their compositions extensively, embracing the formative concepts of the Life Metalalbum conceptually and emotionally, but actualized and evolved into vast, open and bright hyper-saturated arrangements. Particularly the pieces the band chose to perform on this recording: Troubled Airand Pyroclasts. The former enriched into a total aspect of the band’s ethos and form in many ways, and Pyroclasts had evolved to become all-inclusive radiation of O))). The radiation embraces collaboration and freedom of interpretation by each player, within a structural format of the massive monuments of sound and distortion which define SUNN O))).
The recordings of this session— Metta, Benevolence. BBC 6Music: Live on the Invitation of Mary Anne Hobbs.— were released on CD and digital formats last November via Southern Lord and today, the long-awaited double LP version is finally available.
Stephen O’Malley (Electric Guitar, Minimoog Model D synthesizer) Greg Anderson (Electric Guitar, Sequential Circuits Prophet-5 synthesizer) Tos Nieuwenhuizen (Moog Rogue synthesizer) Stephen Moore (Trombone, Roland Junior-106 (mod) & Nord Stage (gaffed black) synthesizers) Tim Midyett (Electric Bass Guitar, Roland Juno-106 synthesizer) Anna von Hausswolff (Voice & Nord C2D synthesizer on Pyroclasts F & C#)
Almost 30 years since their inception, the members of Engine Kid got together in 2021 to hang out and record new music. The result of which arrived by way of the Special Olympics EP flexi-disc/digital EP, released last December on Southern Lord.
Today, the band has unveiled a music video for the EP’s second single, “Patty:Tania” alongside a Q&A with Engine Kid’s Greg Anderson — check that out now via NoEcho (or share the video directly from YouTube).
The tracks on the Special OlympicsEP are re-workings of old material which were never recorded. The music represents the sonic direction that Engine Kid were heading before they disbanded. With this EP, the band commemorates the joy of playing music together for the first time in 26 years, and pick up where they left off. As Jade Devitt comments, “The musical commitment and connection that we forged in the 90’s has held like a magnet, finally pulling us together after 26 years! The newly recorded songs were dusted off blueprints from our very last practice tapes from the summer of ’95. Now enhanced with experience & age and new arrangements. The Kid flies again.”
Earlier this year, the 90’s post-hardcore collective featuring Greg Anderson (Southern Lord label owner, also in Sunn O))), Goatsnake & Thorr’s Hammer) released a 6-LP box set of their career-spanning recordings on colour vinyl LP’s for the first time titled Everything Left Inside (find out more about that here) Engine Kid’s Brian Kraft adds, “Greg, Jade and I spent the summer and fall of 2020 gathering old photos, flyers, artwork and audio rehearsals /remixes/remasters for the Everything Left Inside box set. This remote reunion of the Kid made me realize how important Greg, Jade and Engine Kid was and is in my life. The reconnection led to recording some new material. It felt as if we were continuing right where we left off.”
Engine Kid’s first new material since 1995, the Special Olympics EP’s cover art is a symbolic metaphor about living one’s best life, and with extravagant swagger. The songs themselves continue the band’s “take on the world” attitude with restless, wild energy.
Engine Kid’s new EP is out now on flexi-disc and on digital format via Bandcamp.
With the CD/DL formats of Anna von Hausswolff’s latest release, Live at Montreux Jazz Festival approaching imminently on January 14th via Southern Lord, the label is sharing another audio excerpt from the album, and fan-favorite “The Mysterious Vanishing of Electra (Live at Montreux).” This particular piece captures the extraordinary and commanding nature of the live experience.
Across six pieces, Anna von Hausswolff performs sensational renditions from two beloved albums; The Miraculous and Dead Magic, with the backing of a full band including additional vocals from her sister / cinematographer Maria von Hausswolff – full credits can be found below.
The distinctive music, as captured across five full-length albums, comes to life, shifting from hypnotic and mantra-like moods to thunderous drama, dissonance and cacophony. The musicians master playful dynamics and wield immense power.
LP formats of Live at Montreux Jazz Festival will be arriving on May 13th via Southern Lord in North America, and via Pomperipossa Records in Europe.
The infamous Montreux Jazz Festival is one of the largest annual jazz festivals, now operating for over 50 years. About the experience Anna von Hausswolff remarks,
“In the beginning of 2013 I was texting back and forth with my friend Albin. He wanted me to come and play at a jazz festival that he was living nearby, it was Montreux Jazz Festival. At that point I was still quite unknown outside Sweden and regardless of my friend’s many attempts to contact the festival they never returned to him with an offer. I gave up the idea, he did not. Later that same year he unexpectedly died and a few years later, in 2017, an email popped up in my inbox, it was a request to open for Nick Cave and the bad seeds at the Montreux jazz festival. The tragedy that Albin was still not around to share the excitement with me gave me sorrow.
But, through the magic of music comfort came. The show was an emotional turmoil of ecstasy and grief, shared with an incredible audience and atmosphere. And, eventually, I could see his face in the venue, floating above all others, smiling and waving towards me. I’m so happy to have been given this moment and I’m beyond grateful to Montreux Jazz Festival, John Harris and Mathieu Jaton who so beautifully recorded this special concert that I will keep close to my heart forever and ever.”
Live at Montreux Jazz Festival was mixed on the “Queen Neve” desk, previously owned by Queen (thus the name ) and situated at the Mountain Studios in the casino of Montreux, now located at Svenska Grammofonstudion, Gothenburg – further capturing the magic.
Recorded at Montreux Jazz Festival in 2018, in Auditorium Stravinsky.
Live at Montreux Jazz Festival (2018), cover art:
Performed by : Anna von Hausswolff – vocals, organ, acoustic guitar, octatrack Maria von Hausswolff – vocals Filip Leyman – synth, percussion Ulrik Ording – drums Karl Vento – electric guitar Joel Fabiansson – electric guitar David Sabel – bass Justin Grealy – sound engineer
Mixed by Filip Leyman and Anna von Hausswolff Mastered by Hans Olsson Brookes Illustrations by Zezeah / Zeynep Kis Sleeve design by Magnus Andersson and Anna von Hausswolff Special thanks to Montreux Jazz Festival, John Harris and Mathieu Jaton
The Special Olympics EP is out now on Flexi disc and digital EP.
Almost 30 years since their inception, the members of Engine Kid got together a few months ago to hang out and record new music. The result of which arrives by way of the SpecialOlympics EP flexi-disc/digital EP which was released on December 3rd via Southern Lord.
Some fans may recognize the song “Special Olympics” which, like others on this release, are re-workings of old material which were never recorded. The music represents the sonic direction that the band were heading before they disbanded. With this EP, Engine Kid commemorate the joy of playing music together for the first time in 26 years, and pick up where they left off. As Jade Devitt comments, “The musical commitment and connection that we forged in the 90’s has held like a magnet, finally pulling us together after 26 years! The newly recorded songs were dusted off blueprints from our very last practice tapes from the summer of ’95. Now enhanced with experience & age and new arrangements. The Kid flies again.”
Earlier this year, the 90’s post-hardcore collective featuring Greg Anderson (Southern Lord label owner, also in Sunn O))), Goatsnake & Thorr’s Hammer)released a 6-LP box set of their career-spanning recordings on colour vinyl LP’s for the first time titled Everything Left Inside (find out more about that here) Engine Kid’s Brian Kraft adds, “Greg, Jade and I spent the summer and fall of 2020 gathering old photos, flyers, artwork and audio rehearsals /remixes/remasters for the Everything Left Inside box set. This remote reunion of the Kid made me realize how important Greg, Jade and Engine Kid was and is in my life. The reconnection led to recording some new material. It felt as if we were continuing right where we left off.”
Engine Kid’s first new material since 1995, the Special Olympics EP’s cover art is a symbolic metaphor about living one’s best life, and with extravagant swagger. The songs themselves continue the band’s “take on the world” attitude with restless, wild energy.
Engine Kid’s new EP is out now on flexi-disc and on digital format via Bandcamp.
Watch (+ share) the official video for Engine Kid’s new single “Burban on Bladez” on YouTube.
Anybody who has witnessed a live performance of Anna von Hausswolff and band can attest to the extraordinary and commanding nature of the experience. The distinctive music, as captured across five full-length albums, comes to life, shifting from hypnotic and mantra-like moods to thunderous drama, dissonance and cacophony. The musicians master playful dynamics and wield immense power.
Arriving January 14th via Southern Lord on CD/DL formats; LP to be released via Southern Lord in North America on May 13th, 2022 (via Pomperipossa Records in Europe). // Listen to “The Truth, The Glow, The Fall (Live)
Following the release of her solo pipe organ album All Thoughts Fly and an accompanying sell-out European tour (Nov/Dec 2021), this January, Southern Lord are releasing Anna von Hausswolff, Live at Montreux Jazz Festival (2018).
Across six pieces, Anna von Hausswolff performs sensational renditions of fan-favorites from the two beloved albums; The Miraculous and Dead Magic, with the backing of a full band including additional vocals from her sister / cinematographer Maria von Hausswolff (full credits can be found below).
The infamous Montreux Jazz Festival is one of the largest annual jazz festivals, now operating for over 50 years. About the experienceAnna von Hausswolffremarks:
“In the beginning of 2013 I was texting back and forth with my friend Albin Oskarsson. He wanted me to come and play at a jazz festival that he was living nearby, it was Montreux Jazz Festival. At that point I was still quite unknown outside Sweden and regardless of my friend’s many attempts to contact the festival they never returned to him with an offer. I gave up the idea, he did not. Later that same year he unexpectedly died and a few years later, in 2017, an email popped up in my inbox, it was a request to open for Nick Cave and the bad seeds at the Montreux jazz festival. The tragedy that Albin was still not around to share the excitement with me gave me sorrow.
But, through the magic of music comfort came. The show was an emotional turmoil of ecstasy and grief, shared with an incredible audience and atmosphere. And, eventually, I could see his face in the venue, floating above all others, smiling and waving towards me. I’m so happy to have been given this moment and I’m beyond grateful to Montreux Jazz Festival, John Harris and Mathieu Jaton who so beautifully recorded this special concert that I will keep close to my heart forever and ever.”
Live at Montreux Jazz Festivalwas mixed on the “Queen Neve” desk, previously owned by Queen (thus the name ) and situated at the Mountain Studios in the casino of Montreux, now located at Svenska Grammofonstudion, Gothenburg – further capturing the magic.
Recorded at Montreux Jazz Festival in 2018, in Auditorium Stravinsky.
Performed by : Anna von Hausswolff – vocals, organ, acoustic guitar, octatrack Maria von Hausswolff – vocals Filip Leyman – synth, percussion Ulrik Ording – drums Karl Vento – electric guitar Joel Fabiansson – electric guitar David Sabel – bass Justin Grealy – sound engineer
Mixed by Filip Leyman and Anna von Hausswolff Mastered by Hans Olsson Brookes Illustrations by Zezeah / Zeynep Kis Sleeve design by Magnus Andersson and Anna von Hausswolff Special thanks to Montreux Jazz Festival, John Harris and Mathieu Jaton
In late October 2019, following a successful UK tour ending in a sold-out concert at the mythical Roundhouse in London, SUNN O))) entered studio 4 of the BBC Maida Vale on invitation to record a live session for Mary Anne Hobbs to be broadcast on Samhain via her excellent radio show on BBC6. To enter the legendary John Peel studios was to enter a temple of music and experimentation, liberty in ideas and sound.
The brilliant Anna Von Hausswolff and her band had accompanied SUNN O))) on the UK tour, and Anna joined SUNN O))) in the BBC studio on synths and with her tremendous voice on the Pyroclasts pieces. Today, SUNN O))) premieres an excerpt from the remarkable “Pyroclasts F” track ahead of the November 26 CD/Digital release date.
Nearing the end of a long touring year around the Life Metal and Pyroclasts albums, SUNN O))) had developed the compositions extensively, embracing the formative concepts of the Life Metalalbum conceptually and emotionally. But on Metta, Benevolence…, the songs actualized and evolved into vast, open and bright hyper-saturated arrangements— particularly the pieces the band chose to perform on this recording: Troubled Air and Pyroclasts. The former enriched into a total aspect of the band’s ethos and form in many ways, and Pyroclasts had evolved to become all-inclusive radiation of O))). The radiation embraces collaboration and freedom of interpretation by each player, within a structural format of the massive monuments of sound and distortion which define SUNN O))).
SUNN O))) Metta, Benevolence BBC 6Music : Live on the invitation of Mary Anne Hobbs
Stephen O’Malley (Electric Guitar, Minimoog Model D synthesizer) Greg Anderson (Electric Guitar, Sequential Circuits Prophet-5 synthesizer) Tos Nieuwenhuizen (Moog Rogue synthesizer) Stephen Moore (Trombone, Roland Junior-106 (mod) & Nord Stage (gaffed black) synthesizers) Tim Midyett (Electric Bass Guitar, Roland Juno-106 synthesizer) Anna von Hausswolff (Voice & Nord C2D synthesizer on Pyroclasts F & C#)
BBC 6MUSIC : LIVE ON THE INVITATION OF MARY ANNE HOBBS
CD/DL Arrives November 26th, 2xLP Arriving on January 28th via Southern Lord — Pre-orders Available Now.
Tune into Mary Anne Hobbs on BBC 6 Music to Hear an Excerpt of “Troubled Air” + Check Out a Teaser Below.
In late October 2019, following a successful UK tour ending in a sold-out concert at the mythical Roundhouse in London, SUNN O))) entered studio 4 of the BBC Maida Vale. On invitation to record a live session for Mary Anne Hobbs to be broadcast on Samhain via her excellent radio show on BBC6. To enter the legendary John Peel studios was to enter a temple of music and experimentation, liberty in ideas and sound.
The band was nearing the end of a long touring year around the Life Metal and Pyroclasts albums. SUNN O))) had developed the compositions extensively, embracing the formative concepts of the Life Metal album conceptually and emotionally, but actualised and evolved into vast, open and bright hyper-saturated arrangements. Particularly the pieces the band chose to perform on this recording: Troubled Air and Pyroclasts. The former enriched into a total aspect of the band’s ethos and form in many ways, and Pyroclasts had evolved to become all-inclusive radiation of O))). The radiation embraces collaboration and freedom of interpretation by each player, within a structural format of the massive monuments of sound and distortion which define SUNN O))).
Anna Von Hausswolff and her band had accompanied SUNN O))) on the UK leg, and Anna joined SUNN O))) in the studio on synths and with her tremendous voice on the Pyroclasts pieces.
SUNN O))) Metta, Benevolence BBC 6Music : Live on the invitation of Mary Anne Hobbs
Pyroclasts F
Pyroclasts C#
Troubled Air
Stephen O’Malley (Electric Guitar, Minimoog Model D synthesizer) Greg Anderson (Electric Guitar, Sequential Circuits Prophet-5 synthesizer) Tos Nieuwenhuizen (Moog Rogue synthesizer) Stephen Moore (Trombone, Roland Junior-106 (mod) & Nord Stage (gaffed black) synthesizers) Tim Midyett (Electric Bass Guitar, Roland Juno-106 synthesizer) Anna von Hausswolff (Voice & Nord C2D synthesizer on Pyroclasts F & C#)
Engine Kid, the 90’s post hardcore collective featuring Greg Anderson (Southern Lord label owner, also in Sunn O))), Goatsnake & Thorr’s Hammer) released a 6-LP box set of their career-spanning recordings on Record Store Day this past summer. Now, the group is excited to release the box set with color vinyl LP’s for the first time.
The Everything Left Insidebox set includes other unreleased/unheard recordings as well as hard to find/sought after albums including the “Novocaine/Astronaut” 12”, Bear Catching Fish 2xLP, Angel Wings 2xLP and Split w/ Iceburn / Everything Left Inside 12” – all remastered and with an extensive 12-page booklet.
Pre-order the Everything Left Inside box set:
U.S.A, Canada , Mexico, South America, Australia, Japan and New Zealand here.
Almost 30 years since their inception, Engine Kid have reunited to write and record new music— details are forthcoming as the group finds themselves comprehending the enormity of their creation, honoring and celebrating the mountains they formed and the canyons they created. The trio recently sat down with Tony Rettman for an episode of his Where It Went podcast; listen to that episode here for a deep conversation and to learn about all things Engine Kid.
Engine Kid was born in Seattle, WA in 1991. The band’s original lineup consisted of guitarist/vocalist Greg Anderson (Southern Lord, Sunn O))), Thorr’s Hammer, Goatsnake), drummer Chris Vandebrooke & bassist Art Behrman. The three had all been in hardcore/punk bands around town and all had a burning desire to create a sound that was unlike anything they had done in the past. After just a few months of existence they quickly recorded and self-released the Novocaine 7”. Circa 92’ a close friend and bassist Brian Kraft (Krafty) replaced Behrman, and at that moment the entire aesthetic and execution of sound became heavier, darker and extremely dynamic. The power trio was picked up by local label C/Z records and set out upon recording the new music they were quickly creating. In 1993 the band had two releases on C/Z. Their first offering was the Astronaut five song EP recorded by John Goodmanson. The songs were primitive and exemplified the bands worship of Slint and their loud/quiet song dynamic In the summer of 93’ the band drove all the way to Chicago to record with their hero Steve Albini in the basement of his house. They emerged with the eight song album they called: Bear Catching Fish. Albini intuitively captured the band exactly as they were at that moment: RAW, VULNERABLE, & MAMMOTH.
Shortly after the albums’ release Jade Devitt replaced Vandebrooke on drums. This transition was extremely crucial in the “second phase” of the group. Devitt was an absolute beast and his power helped launch the band miles beyond where they had ever been before. The sound of “The Kid” started to transform into a sound much more of their own. The three dudes were hellbent on pushing the bounds of sonic exploration to its absolute fullest. Suddenly there was an abundance of depth within the sounds they were creating. Eclectic influences of punk/hardcore (Black Flag, Die Kreuzen), Metal (Entombed, Carcass) and even jazz (Mahavishnu Orchestra, Miles Davis electric era) were in a full collision course with the already dynamically heavy foundation of the band. The levee had broken and the resulting flood of sound completely saturated everything in its path.
Engine Kid toured relentlessly. They were constantly on the road playing every nook and cranny they possibly could. Any moment not spent on the road was instead spent focused on making their new material as potent as possible. Early in 94′ the band decided to pay homage to their mutual love of jazz/fusion and recorded three instrumental pieces that would become a split album with like minded powerhouse Iceburn. The Engine Kid/Iceburn album showcased each group’s love of jazz loosely framed by the intense enthusiasm of underground music. The album was released by Revelation records in 1994.
During the summer of 94’ the band reconvened with producer John Goodmanson at Bad Animals & AVAST! studios to record the new material that was literally bleeding out of the reinvigorated trio. These recorded songs were much more progressive, heavier, harder and more focused than past works. They even tackledJohn Coltranes’ “OLE” adding saxophone and trumpet from their brothers in Silkworm. In March of 1995 Revelation records released these recordings as the Angel Wings album. Unfortunately “the Kid” flew too close to the sun and broke up very shortly after the album’s release.
Everything Left Inside 6xLP box set includes:
LORD 288.1 Engine Kid-“Novocaine/Astronaut” 12”
LORD 289 Engine Kid-Bear Catching Fish 2xLP
LORD 290 Engine Kid-Angel Wings 2xLP
LORD 288.2 Engine Kid-Split w/ Iceburn /Everything Left Inside 12”
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