DAUZAT ST. MARIE enlist Korn drummer Ray Luzier, bass player Eliot Lorango (Corey Taylor/Billy Howerdel/Dorothy), and guitarist Nick Annis (Kesha/Black Light Burns/Dorothy) for their latest effort “Nothing Left To Lose.”
“My great friend Sébastien Paquet (Korn’s videographer) turned me on to this amazing duo a few years ago named Dauzat St. Marie while he was doing one of their music videos. I was completely blown away by how beautiful & emotional their voices sounded & how well-written the song was! I became an instant fan & wanted to hear more tunes. So when Dauzat St. Marie approached me about playing on one of their new songs, I of course said ‘YES’ & ‘WHEN’?!” says Ray Luzier (Korn).
He adds, “It was a pleasure to work with Mat & Heather, they’re a ball of light & positive energy & that shines through clearly their music! I tracked ‘Nothing Left To Lose’ at my studio in Nashville TN. I really wanted to get inside the music & give it all the emotion & soul that I could. We need much more of Dauzat St. Marie’s music out there & I have a good feeling you’ll be hearing them on radios & devices everywhere soon!”
The name Dauzat St. Marie (pronouced “dō-zaht saynt mah-ree”) has been circulating quite far and wide these past several years through heavyweight touring with some heavyweight artists. Known for their lockstep vocal harmonies and catchy, yet thought-provoking songwriting, singer/songwriter troubadours Mat Dauzat and Heather St. Marie have kept the name Dauzat St. Marie popping up all over the U.S. by touring as main support for Grammy® Award winning heartthrob Rick Springfield’s “Stripped Down” solo acoustic show series for the past five years and peppered in dates with The Marshall Tucker Band, Lindsay Ell, Schuyler Fisk / Sissy Spacek, and Rick Derringer. Most recently, Dauzat St. Marie toured the U.S. as support for legendary music icons Pat Benatar & Neil Giraldo.
2020 was shaping up to be a monumental year for Dauzat St. Marie. They kicked it off with a performance at Los Angeles’s iconic Dodger Stadium for the Komen “More Than Pink” Walk. Then the duo began preparing for their biggest tour to date – the support slot on the summer arena tour with Rick Springfield and one of the world’s best-selling groups of all time – CHICAGO. Sadly, the tour was terminated less than two months before it even began due to Covid-19. Though being handed a tough blow, Dauzat St. Marie didn’t skip a beat – the duo used the forced downtime to begin releasing new music and videos as soon as the world went into lockdown. Their first single released during lockdown titled “Common Ground” landed on the world-famous music compilation series “Now That’s What I Call Music” volume 75, gaining Dauzat St. Marie a large new audience worldwide with the compilation series’ cult-like followers.
In less than nine months into the lockdown, Dauzat St. Marie gained over 1.6 million YouTube channel views, with their music video for “Common Ground” logging over a million views alone. Their music video for “In It Together” was used by The American Cancer Society as a vehicle for awareness and fundraising in a national Breast Cancer Awareness Month campaign (Heather is a recent breast cancer survivor), and one of their singles titled “Where Were You?” landed on the 2021 Grammy® Awards ballot in three separate categories – Song Of The Year, Record Of The Year, and Best Pop Duo / Group Performance.
While continuing to roll out singles into 2021, Dauzat St. Marie was invited to record in collaboration with Zac Brown, Jason Mraz, KT Tunstall, Keith Goodwin (Good Old War), and other Taylor Guitars sponsored artists on the song “I Know What Love Is,” with all funds raised going to MusicCares to assist musicians struggling during the pandemic. The song has been streamed over 2.5 million times and raised over $12,000 for MusicCares.
Dauzat St. Marie remaining Tour Dates:
September 13, 2022 @South Side Junction, Fayettville, WV September 14, 2022 @The Empty Glass, Charleston, WV September 16, 2022 @The Cooperage, Milwaukee, WI September 17, 2022 @The Livery, Benton Harbor, MI September 18, 2022 @Grand River Brewing in Marshall, Michigan September 20, 2022 @Park Theatre in Holland, Michigan September 22, 2022 @Hillsdale Brewing, Hillsdale, MI September 23, 2022 – Double Clutch, Okemos, Michigan w/ Shallow Side September 24, 2022 – The Foundry, Jackson, Michigan w/ Shallow Side September 25, 2022 @Harvest in the Wood Festival, Ravenswood, WV September 29, 2022 @Locust Alley, Natchez, MS w/ Gabriel Bass & Jeremy LeWayne September 30, 2022 @Huckleberry Brewing, Alexandria, LA October 1, 2022 @Dixie Theater, Ruston, LA October 3, 2022 @Red River Revel ,Shreveport, LA October 6, 2022 @Roasting Room, Bluffton, SC October 7, 2022 @Shovelhead, Lounge, Orlando, FL October 8, 2022 @ Blue Jay Listening Room, Jacksonville, FL October 9, 2022 @Hammock Wine, Palm Coast, FL October 11, 2022 – TBA – Daytona, Florida October 12, 2022 – Casey’s NSB, New Smyrna Beach, Florida October 13, 2022 – TBA – Florida October 14, 2022 – TBA – Florida October 15, 2022 – TBA – Florida October 16, 2022 – TBA – Florida October 19, 2022 @Juke Joint ,Ocean Springs, MS October 20, 2022 @Big Mikes, Thibodaux, LA October 21, 2022 @Market Square, The Woodlands, TX October 22, 2022 @Tom’s Daiquiri Place in Denton, Texas with Black Dog Friday and The Infamists October 23, 2022 @Shreveport House Concert Series, Shreveport, LA November 4, 2022 – Silverlake Lounge, Los Angeles, CA November 5, 2022 @Ojai Underground Exchange, Ojai, CA
Continuing with the success of their new independent label, 361 Degrees Records, Nonpoint released their latest track “Paper Tigers” on September 9th. This time, adding new talent to the project with producer Chris Collier, the mind behind Korn’s #1 album on Top Hard Rock Albums on Billboard, Chris has quickly become a force in the industry… Now he is shaking things up with Nonpoint in the studio like never before.
“In 10 records, 20 years and over 150 published songs, I can confidently say this is the heaviest track Nonpoint has ever released,” says the band’s vocalist, Elias Soriano.
Nonpoint has also premiered a music video for the new song, directed by Alex Zarek.
Following the release of “Paper Tigers,” Nonpoint will be heading out on tour with Sevendust to celebrate their anniversary of Animosity.
In 2021, Nonpoint’s song “Ruthless” reached #16 on Billboard’s Rock Chart, and were featured on the New Metal Tracks and Kickass Metal Playlist on Spotify with over 1.6 million combined subscribers, SiriusXM Octane’s Big Uns Countdown, LA Lloyd top 30, Loudwire Nights and “Ruthless” was the featured track for AEW’s nationally televised event BLOOD AND GUTS on TNT in May. “Ruthless” has reached over 3.5 million streams.
Nonpoint Tour Dates w/ Sevendust, Bastardane, Burden Of The Sky, remaining dates:
Sept 12 Elmira, NY – The L Sept 13 Portland, ME – Aura Sept 15 New York, NY – Palladium Sept 16 Sayreville, NJ – Starland Ballroom Sept 17 Hampton Beach, NH – Hampton Beach Casino Sept 18 Reading, PA – Reverb Sept 20 Des Moines, IA – Val Air Ballroom Sept 22 McHenry, IL – The Vixen Sept 23 Bloomington, IL – Castle Theater Sept 26 Charleston, SC – Music Farm Sept 28 Fort Lauderdale, FL – Culture Room Sept 29 Tampa, FL – Jannus Landing Sept 30 Destin, FL – Club LA Oct 1 New Orleans, LA – Fillmore Jan 22-28 2023 – Shiprocked
Hastings’ “power punk” 4-piece, KID KAPICHI, have revealed brand new single ‘I.N.V.U.’ – check it out, HERE.
Jack Wilson, Kid Kapichi frontman explains, “Like Glitterati on our last album, just a bit of fun, about that social media thing of looking like you have an over-the-top lifestyle. What do you want from me? Do you want me to envy you?”
Meanwhile, Kid Kapichi have announced a full UK headline tour, starting on January 31st 2023 into February.
KID KAPICHI UK HEADLINE TOUR
Tues 31st Jan Thekla, Bristol Thur 2nd Feb Chalk, Brighton Fri 3rd Feb Koko, London Sat 4th Feb The Leadmill, Sheffield Mon 6th Feb Rescue Rooms, Nottingham Tue 7th Feb Brudenell Social Club, Leeds Thur 9th Feb Gorilla, Manchester Fri 10th Feb Newcastle University, Newcastle Sat 11th Feb SWG3, Glasgow
In support of the release of their forthcoming album, Here’s What You Could Have Won, Kid Kapichi will be performing live at a selection of record stores across the UK and offering fans an opportunity to get their copy of the new album signed.
The band’s album release show, taking place on September 23rd, just down the road from Hastings at the iconic De La Warr Pavilion, is nearly sold-out. Get your tickets now to avoid disappointment, at dlwp.com.
Lastly on the live front, Kid Kapichi will head out on the road with The Hunna this October through November.
KID KAPICHI ON TOUR W/ THE HUNNA
Tues 18th Oct Tramshed, Cardiff Thurs 20th Oct Trinity, Bristol Fri 21st Oct Waterfront, Norwich Sat 22nd Oct Beckett, Leeds Sun 23rd Oct Leadmill, Sheffield Tues 25th Oct The Ritz, Manchester Wed 26th Oct Boiler Shop, Newcastle Thurs 27th Oct SWG3 (TV Studio), Glasgow Sat 29th Oct La Belle, Edinburgh Sun 30th Oct Arts Club, Liverpool Wed 2nd Nov Engine Rooms, Southampton Thurs 3rd Nov Concorde 2, Brighton Fri 4th Nov Electric Ballroom, London Sat 5th Nov The Mill, Birmingham
The new studio album, Here’s What You Could Have Won, will be released on September 23rd 2022; these 11 new songs are an excellent showcase for the band’s bigger, punchier, ‘beat punk’ sound, co-produced with Dom Craik from Nothing But Thieves. Featuring comeback single “New England” – their most explicitly political song yet, with a searing guest verse from Bob Vylan – and Partygate polemic “Party At No. 10” (which was praised by Liam Gallagher on Twitter, leading to Liam asking the band to support him at London’s Royal Albert Hall), the album is a brutal dissection of the xenophobic Little England mentality.
A behemoth of a band on and off stage thanks to the Hastings scene that nurtured them, their best songs explore racism, in-work poverty, mental health, violence, frustration and all-consuming love with honesty and humour. All their songs come studded with barbed wire hooks, bristling with the juddering shock of lived experience, the cathartic thrill of a balled-up fist relaxing into an air punch.
Jack Wilson says, “The title, ‘Here’s What You Could Have Won’ sums up the feeling of missed opportunity. Being dragged right at a junction when you know you should be going left or screaming at the TV whilst someone picks the wrong answer on a game show. It looks inwardly at the UK and the decisions that have been made and how they have affected us all.”
Lead guitarist, Ben Beetham adds, “It’s not a concept album but it does have a running theme. We like to write songs about current affairs and what direction the world seems to be turning. As a result, we write as close to the deadline as possible to keep it relevant.”
Toronto-based alt-rock band BRKN LOVE have released new single, “Under The Knife”, just before their busy US/CAN touring schedule kicks off. Check it out below.
After the success of their Vol.1 EP, which featured singles “Dead Weight” and “Like A Drug”, and the recent release of “Forever’s Enough” off their upcoming Vol.2 EP, “Under The Knife” once again showcases how well songwriter/frontman Justin Benlolo uses all the tools in his arsenal to firmly position BRKN LOVE in the young, modern rock revolution.
Justin says, ““Under The Knife” is our most daring single yet. This song takes everything that people have been familiar with before, injects it with a shot of adrenaline, makes it listen to its older brother’s hardcore records and kicks it into a high-speed chase down the highway at 155mph. Needless to say, it’s an absolute rager.
Lyrically, the song details a toxic relationship in which the people are actually enjoying the pain it brings them. The main character’s perspective is one I’ve never written from before. The character actively admits that the scrutiny and torture is something that is giving his life purpose, and throughout the song it results in him doing anything he can to continue this terrible situation. I felt like although this wasn’t a particularly happy subject, it was something different and relatable in many ways.
I hope you enjoy the song! Make sure you turn it up LOUD!. Thank you.”
“Under The Knife” follows previous singles “Forevers Enough”, “Like A Drug” and “Deadweight” which BBC Radio One’s Indie Show presenter Jack Saunders called “The new age of rock and roll.” You can check out the latest here.
Meanwhile, BRKN LOVE are gearing up to play a number of shows across North America in support of Dead Poet Society and The Blue Stones, while also playing some of their first U.S. headline dates along the way. Starting September 22nd in Phoenix, the fall run consists of 37 shows and the excitement for both legs is palpable.
“We cannot wait to hit the road with our friends, Dead Poet Society and The Blue Stones, this Fall! These shows will truly be ones to remember. It’s been a minute since we’ve gone across Canada and we’re beyond excited to be with friends. On top of that, we are also playing our very first batch of headlining shows plus dates across the USA with more friends! All these shows will truly be ones to remember and the likelihood of them being off the rails is very high.
In conjunction with this tour, we will also be releasing our second LP Black Box, which will make this super special and you can expect lots of new material to be played! It’s not every day that you get great, young, upcoming rock bands playing together like this, so you better come out and party with us!”, says Benlolo.
US TOUR DATES W/ DEAD POET SOCIETY (** denotes BRKN LOVE headline show – No DPS):
9/22T The Rebel Lounge – Phoenix, AZ 9/24 HOB Dallas Cambridge Room – Dallas, TX 9/25 Bronze Peacock – Houston, TX 9/27 Pub – Orlando, FL 9/29 Rabbits – Jacksonville, FL 10/3 Shelter – Detroit, MI ** 10/5 The Wonder Bar – Asbury Park, NJ 10/7 Dobbs On South – Philadelphia, PA ** 10/10 Mercury Lounge – New York, NY ** 10/11 The Basement – Columbus, OH 10/14 Rec Room – Buffalo, NY ** 10/16 Hi-Fi – Indianapolis, IN 10/17 Beat Kitchen – Chicago, IL 10/19 High Noon Saloon – Madison, WI 10/20 7th Street Entry – Minneapolis, MN 10/22 The Duck Room – St. Louis, MO 10/23 Bottleneck – Lawrence, KS 10/25 Lost Lake Lounge – Denver, CO 10/26 Kilby Court – Salt Lake City, UT 10/28 Lucky You Lounge – Spokane, WA 10/30 Polaris Hall – Portland, OR 11/1 Goldfield Trading Post – Sacramento, CA 11/2 The Moroccan Lounge – Los Angeles, CA 11/3 Constellation Room – Santa Ana, CA 11/4 House of Blues – San Diego, CA
CANADIAN TOUR DATES W/ THE BLUE STONES
11/9 The Ale House – Kingston, ON 11/10 The Danforth Music Hall – Toronto, ON 11/11 Maxwell’s Music House – Waterloo, ON 11/13 Le Studio TD – Montreal, QC 11/17 Park Theatre – Winnipeg, MB 11/18 Coors Event Center – Saskatoon, SK 11/19 The Starlite Room – Edmonton, AB 11/20 Commonwealth Bar – Calgary, AB 11/22 Bo’s Bar and Grill – Red Deer, AB 11/24 Capitol Theatre – Victoria, BC 11/25 Vogue Theatre – Vancouver, BC
Incendiary Pittsburgh punk rockers ANTI-FLAG will release their 13th album Lies They Tell Our Children on January 6 via Spinefarm. Pre-order it here.
For this record, the band recruited several high profile and like-minded artists to feature on the songs. Ashrita Kumar of Pinkshift appears on “IMPERIALISM.” Listen here.
“Justin Sane’s father Martin Geever grew up in post-colonial Southern Ireland. When he talks about the British occupation of his homeland and its lingering negative consequences, a phrase that often repeats is: ‘Humans are just out of the cave.’
A quick glance at imperialism the world over makes it hard to argue with this assertion, especially when one takes into account the brutality that accompanies imperialism and the ravages it leaves in its wake. Not to mention the frequency with which powerful elites justify subjugating and stealing from other people to grow their power and wealth.
This song documents the false narrative often put forward by those who wish to validate their imperialist ambitions. Special attention is given to the fact that occupiers play by a set of rules that they create, ignoring or moving the goalposts in terms of international law and human rights, including torture and murder. Special effort was also made to point out that occupiers have no interest in the needs or opinions of the occupied.
You can’t smash a city with bombs, kill and terrorize its population and burn it to the ground in order to save it. But those are the tactics and explanations of those with imperial ambitions. Actions speak louder than words, especially when there is a trail of bodies left in the wake of an occupier claiming that the violence they have perpetrated was carried out on the basis of high moral grounds.
Musically, there was something important to us about making sure the future of empathetic and benevolent punk rock was involved. One of our favorite new bands Pinkshift are that future. Ashrita had the perfect voice and energy for this song and its intention and we’re grateful for her talent and friendship. The accompanying video created by INDECLINE stands as a document of the extremely violent, destructive and terror-filled nature of war and occupation, regardless of where it takes place.”
For the lyrics and essay about the track, click here.
Lies They Tell Our Children was recorded, produced, and mixed by Jon Lundin.
LIES THEY TELL OUR CHILDREN TRACK LISTING:
“SOLD EVERYTHING” “MODERN META MEDICINE” (Feat. Jesse Leach of Killswitch Engage) “LAUGH. CRY. SMILE. DIE.” (Feat. Shane Told of Silverstein) “THE FIGHT OF OUR LIVES” (Feat. Tim McIlrath of Rise Against + Brian Baker of Bad Religion) “IMPERIALISM” (Feat. Ashrita Kumar of Pinkshift) “VICTORY OR DEATH (WE GAVE ‘EM HELL)” (Feat. Campino of Die Toten Hosen) “THE HAZARDOUS” “SHALLOW GRAVES” (Feat. Tré Burt) “WORK & STRUGGLE” “NVREVR” (Feat. Stacey Dee of Bad Cop/Bad Cop) “ONLY IN MY HEAD”
Anti-Flag are also returning to the road this fall. The band will embark on a headline run of the U.S. before heading to Canada.
Anti-Flag’s tour will kick off on September 16 in Burlington, Vermont and run through November 6 with an appearance at Punk Rock in the Park in Silverado, California. The band will also head to Quebec for a trek with Vulgaires Machins and Mudie in November.
The band has also announced ANTIfest dates in multiple cities in the U.S. and will be appearing at other major festivals through the fall.
9/16—Burlington, VT—Higher Ground (With Brendan Kelly, Mint Green) 9/17—Boston, MA—Brighton Music Hall—ANTIfest (Early Show) With Mint Green and Rebuilder* 9/17—Boston, MA—Brighton Music Hall—ANTIfest (Late Show) With Brendan Kelly* 9/18—Hamden, CT—Space Ballroom (With Brendan Kelly, Mint Green) 9/23—Birmingham, AL—Furnace Fest—Sloss Furnaces* 9/24—Charleston, SC—Music Farm (With Doll Skin, Teens in Trouble) 9/25—Louisville, KY@ Louder Than Life Festival—Highland Festival Grounds— KY Expo Center* 9/30—Washington, DC—Black Cat (With Suicide Machines, Catbite, Celebration Summer) 10/1—Pittsburgh, PA—Roxian Theatre—ANTIfest (With Four Year Strong, Microwave, Catbite, Dissidente)* 10/6—Boise, ID—The Shredder (With Bad Cop / Bad Cop, The Last Gang) 10/7—Seattle, WA—El Corazon (With Bad Cop / Bad Cop, The Last Gang) 10/8—Portland, OR—Crystal Ballroom—ANTIfest (With Good Riddance, Bad Cop/ Bad Cop, The Last Gang,The Macks)* 10/13—Richmond, VA—Canal Club 10/14—Virginia Beach, VA—Elevation 27 10/15—Sayreville, NJ —Starland Ballroom—ANTIfest (With Me First and the Gimme Gimmes, Anti-Flag, Surfboart, The Black Tones, Catbite)* 10/29—Gainesville, FL—FEST 20—Bo Diddly Plaza* 10/30—Gainesville, FL—FEST 20—Bo Diddly Plaza* 11/4—Chicago, IL—The Metro—ANTIfest (With We Are The Union, Suicide Machines, Gully Boys, Blind Adam, and the Federal League)* 11/5—Detroit, MI—The Sanctuary (We Are The Union, Blind Adam and the Federal League) 11/6—Silverado, CA—Punk In The Park—Oak Canyon Park* 12/4—Phoenix, AZ—Crescent Ballroom (Doll Skin and With We Are The Union) 12/9—Buffalo, NY—Rec Room (With Cancer Bats and Plasmid) 12/10—Toronto, ON—Danforth Music Hall—ANTIfest (With Cancer Bats, Dilly Dally, Dead Tired, Indian Giver)* *FESTIVAL DATE
WITH VULGAIRES MACHINS AND MUDIE:
11/12—Sherbrooke, QC—Granada Theater 11/13—Quebec City, QC—Imperial Bell 11/15—Joliette, QC—Salle Rolland-Brunelle 11/16—Ville de Saguenay, QC—Théâtre du Palais Municipal 11/18—Trois-Rivières, QC—Cabaret de l’Amphithéâtre Cogeco 11/19—Montreal, QC—MTELUS
CYNIC guitarist Paul Masvidal is now unveiling a brand new play-through for the song “Aurora,” which is taken from the band’s critically acclaimed 2021 full-length, ‘Ascension Codes.’ The clip can be found at THIS LOCATION.
The play-through is being released in conjunction with the launch of Masvidal’s new signature Strandberg guitar, the Masvidalien NX 6 Cosmo!
One of the most unique iterations of the heralded Boden lineup, the original Boden Masvidalien Cosmo Edition quickly became a favorite amongst not only Cynic and Paul Masvidal fans, but guitar players who sought something different which stood out from the crowd – both aesthetically and sonically. The Masvidalien NX 6 Cosmo retains all of the great features of the Masvidalien Cosmo while adding the new NX features to provide the latest in .strandberg* innovations.
The Masvidalien NX 6 Cosmo features chambered Swamp Ash body with a Maple top for a superbly balanced and punchy sound and an open pore Poplar Burl veneer top for a dramatic and unique finish, quartersawn Maple neck with Richlite fretboard accented with his trademark Masvidalien inlay across the fretboard. The new .strandberg* EGS Rev 7 hardware, new neck-heel and arm bevel carves, and Venture Gig Bag round out the updates which increase the instrument’s functionality, playing comfort, and overall value.
In addition, CYNIC will be digitally releasing a fully instrumental version of ‘Ascension Codes’ via Bandcamp! Cynic is offering an instrumental mix of the track ‘Aurora’ as a free download when pre-ordering the album via the Cynic-alliance Bandcamp page. The album will be streaming on all digital outlets October 7, 2022! Pre-order it now at THIS LOCATION.
Moreover, guitar players can find the full guitar transcriptions for several of CYNIC’s albums via Sheet Happens at THIS LOCATION.
Attainment
Cynic’s continual state of development has met its share of challenges over the years, hurdles that threatened to dismantle the entity’s forward surge. Yet through hurricanes, breakups, and assorted acrimony both personal and existential, it remains inspired to create.
Their name is synonymous with what it means to be truly progressive in music. Cynic’s top-tier performance acumen and cerebral/spiritual/yogic themes finds them inhabiting a corner of the musical spectrum all their own. Their Venn diagram shows intersections with death metal, prog rock, thrash metal, experimental, new age, jazz fusion, and a myriad of other sonic expressions.
Debut album, Focus (1993), is a certified classic. Although that era ended with transformation into the short-lived Portal, and then a further splinter toward Aeon Spoke, Cynic’s reunion-era has found them embraced in a way that proves how ahead of the times they were in the ‘90s. Through monuments such as the Traced in Air (2008) and Kindly Bent to Free Us (2014) albums, the Carbon-Based Anatomy and Re-Traced EPs, and a surprising rebirth with the “Humanoid” single of 2018, the Cynic legacy remains untarnished. Yet early in the creation cycle for their fourth full-length album, they experienced horrible events that tested the entity’s resolve.
Ascension
The year 2020 will go down in history as a tremendously difficult time for the global human population. For the Cynic family, the struggle was not restricted to a pandemic. It was two utterly senseless losses that threw the band’s immediate concerns into the background: the premature deaths of drummer Sean Reinert in January, at age 48, and bassist Sean Malone in December, at age 50, were shocking and unthinkable.
Reinert, a founding Cynic member since formation in 1988, was highly influential to a multitude of young drummers. His work on 1993’s Focus and Death’s watershed 1991 album, Human, found him sculpting extreme technical metal with a jazz fusion-inspired approach. Now taken for granted, that approach to the instrument and the genre was undoubtedly pioneered in large part by Reinert. Though parting with Cynic in 2015, his imprint on Cynic is inescapable.
The death of Sean Malone dealt another horrible layer of tragedy to Cynic’s 2020. In his many years with the band, Malone’s virtuoso playing meshed intuitively with Reinert’s. Together they formed a nucleus of kinetic, highly capable rhythmic dexterity that fueled Cynic’s celestial aims.
One of these deaths would have seemed unimaginable by itself. Both of them, in the same year, nearly broke surviving member Paul Masvidal. But the seeds of a fourth Cynic full- length existed long before the deaths, and the guitarist, through a haze of grief and disbelief, pushed forward. “I wanted to make this record right after Kindly Bent to Free Us,” says Masvidal. “I was raring to go, hyper-creative, in this total flow state. And then it all imploded.”
Parts of songs were in the gestation process as early as 2014. Masvidal says that Reinert and Malone heard elements of what ended up on the fourth album. Slowly, methodically, and with much careful deliberation, Masvidal eventually completed an album titled Ascension Codes, to honor the memory of his fallen band mates. And while the album honors the lives and contributions of Reinert and Malone, it also pushes Cynic forward for its own sake and through its own will to live. The album, paradoxically, acts as both swan song and rebirth. It is, throughout its 49 minutes, a vivid and highly cosmic journey into the very core of every impulse this band has ever explored.
Offering
As of 2021, the future of Cynic is unclear. Does Ascension Codes mark their final phase of growth? Surely the music finds them laying out a most ambitious trail of spiritual sonic travel, but to call any Cynic album “ambitious” is redundant. They are, by their very nature, an ambitious band. Yet Ascension Codes is a remarkably far-reaching work. Its nine main songs are infused with explosions of color and energy, and throughout these compositions are embedded the “codes”: “Mu-54*,” “A’-va432,” “Ha-144” and so on.
Though clearly an album best listened to in its entirety without distraction, for full impact, there are definitive Cynic songs here that stand strong on their own. “Mythical Serpents” is imbued with propellant adventure, exciting peaks and valleys that tug at the heart while its mathematical sequences challenge the head in a dizzying push/pull dynamic. It’s that quintessential Cynic approach of kaleidoscopic intensity and mannered discipline.
“Diamond Light Body” brings the album to a crashing close – heavy and celestial, with some melodic sequences that feel like new territory for Cynic. An incredibly dense song with inhuman patterns from Lynch, the song’s beautiful urgency and final moments push the album outward into the heavens: “I won’t feed the fear / I’ll choose a different timeline / Ascend / All is flux, nothing stands still / Ascend.”
The expanded Cynic collective maintains focus on Masvidal’s vision, each human element adding to the compelling overall result. Truly, if this is to be the final artistic stroke by Cynic, then they have landed in a place of mastery. The stories told by Focus, Traced in Air, and Kindly Bent to Free Us are now completed with Ascension Codes.
Ascension Codes is perhaps the most ethereal sounding Cynic album to date, but also skews heavier than previous album Kindly Bent to Free Us. The expanded lineup is surely responsible for the album’s far-reaching scope.
After Sean Reinert’s exit from Cynic in 2015, Masvidal and Malone recruited drummer Matt Lynch. Found through a tip from Between the Buried and Me’s Dan Briggs, Lynch proved to be a perfect addition to the band. As Masvidal notes, Lynch’s “hybrid modern style is like a fusion of drum and bass electronic music influences combined with modern jazz/prog approaches. Lynch is a true original in that he’s a fully realized drummer constructing his parts as carefully as any other compositional element always is on a Cynic record. Every single accent and note coming from him is birthed from a precise and inspired place.” We hear this throughout Ascension Codes, pushing the music along with finesse, adding shape and texture in ways only the most sensitive drummers can do.
But how to replace Sean Malone on bass? Masvidal’s answer: don’t even try. The lines of bass notes heard throughout Ascension Codes are performed on bass synthesizer by keyboardist Dave Mackay. A British pianist, writer, producer and Moog/vintage synth enthusiast, Mackay has toured with everyone from Art Garfunkel to Plini (the latter providing the initial introduction between Mackay and Masvidal). Based in Los Angeles and London, Mackay’s work is sensitive to Malone’s touch, while also adding a throbbing intensity that offers Cynic new low-end possibilities. “He’s got a vast jazz harmonic vocabulary,” notes Masvidal, “which is what’s needed in the context of Cynic’s music, especially for bass lines. I knew that I could never replace Malone. Anyone I would find would be expected to play like him, and that’s not fair to another musician. And things were too fresh for me with the loss of Malone, so I had to go somewhere new. With Mackay, I heard his groovy left-hand approach, and how musical he was across the board having played with a variety of musicians and styles. I realized he would bring something fresh to the table, and he provided a space for me to start again with a completely different instrument and forgo any traditional ideas I had about what Cynic bass lines should sound like.
Ultimately Mackay delivered above and beyond, with a real awareness of a bass player’s role in a progressive trio context. First, by holding down the harmony and being “in the pocket,” while also creating an independent and dynamic voice within that space. Mackay has a rare combination of skills and the vibe he locked into with Lynch with sounds like a rhythm section from the future. Plus, his Moog synth tone offers a low-end depth that’s never been heard in our recordings.” On December 5, 2019, Dave Mackay shared the stage with Paul Masvidal for a performance of the guitarist’s solo material. On bass that evening was Sean Malone. After the gig, Malone told Masvidal, “We should bring Mackay in for the new record.”
Michael Berberian, president and founder of Season of Mist Records remained close to Masvidal throughout the 2020 losses of his bandmates. Michael states “I have, by now, released close to one thousand albums. None have been more dramatic, none have even been more difficult than this one. I can’t listen to Ascension Codes without goosebumps, a mixed feeling of pride – because it’s a musical milestone, but it also contains a lingering layer of sadness. I hear Paul’s pain on this record. I can feel it, I can touch it. But it’s transcended. ‘Art is to console those who are broken by life,’ said Van Gogh. Here is a demonstration of that.”
Ascension Codes was mixed and co-produced by Warren Riker, who worked with Aeon Spoke, Cynic in the Traced in Air era, and mixed Paul Masvidal’s solo acoustic trilogy. “Riker’s a wizard who gets inside the music and commits. He expands boundaries as a mixer, always finding new ways to push the sonic envelope,” says Masvidal.
Keeping things in the family, Martina Hoffmann’s original painting entitled ‘The Landing’ graces Cynic’s new album Ascension Codes with breathtaking scope and presence. The visionary work inspired by Martina’s time walking the beaches of Brittany, France after the death of her longtime partner, the artist Robert Venosa (whose artwork adorns all Cynic releases between 1993 and 2018) followed by the loss of her mother, the subject of the piece features the arrival of a great mothership made of light and flesh, not machine but an organic entity that has brought hope and infinite possibilities. Masvidal says of Hoffmann, “Martina’s art has always held a special place in my heart, and I’m deeply grateful for her love and support. When I first contacted Venosa as a teenager, it was Martina who encouraged him to lend his work to the band, because she heard something in our music. She is like the divine mother in this Cynic/ Venosa lineage,” Masvidal says. “Her spirit and multidimensional talents are truly a gift to this world. I feel that she is one of the great artistic voices of our age.”
The struggle to attain ascension is as important as ascension itself. And after much searching, Cynic have again achieved oneness with the numinous. At a time of possible exit for the entity, Ascension Codes is Cynic reaching a previously-unknown state of enlightenment.
Credits and Lineup:
With Masvidal, Lynch and Mackay at the core, Cynic utilized a variety of other artists to help achieve their vision for Ascension Codes, some of the key players include:
DARK (Roopam Garg) performs as “code worker” on the album, providing harmonic, harp-like guitar textures. DARK also known for his other works with “The Surrealist” is an experimental, ambient artist, pushing the avant-garde guitar envelope using extended techniques and consciousness inspired soundscapes.
Max Phelps contributes “holographic-reptilian-voices” on multiple tracks. Phelps toured with Cynic in the Carbon-Based Anatomy and Kindly Bent to Free Us eras, and his own progressive metal band, Exist, have released music on Prosthetic Records. Phelps also took part in Death tribute band, Death to All.
Plini guest solos on “The Winged Ones.” Plini is an an Australian guitarist and composer, producing heart-fueled, progressive instrumental rock. He opened shows for Cynic in Japan, which happened to be their final live performances as a trio with Reinert/Malone.
Additional contributors:
Anrita Melchizedek is a renowned priestess, healer, galactic ambassador, among other pursuits, and provides vocals to the opening and closing code interludes (“Mu-54*” and “Ec-ka72”). Amy Correia and Joshua Leon vocalize light language and phrases on various code interludes. Amy appeared on Traced in Air and 2011’s Carbon-Based Anatomy EP,and plays with Masvidal in the Onward with Love (OwL) project. Michael Devin plays crystal bowls on some of the code interludes. Devin is also a bassist and has played with the Jason Bonham Led Zeppelin Evening, George Lynch, and Whitesnake. Ezekiel Kaplan contributed a vocal harmony to the final track “Diamond Light Body.”
Tracklist: 01. Mu-54* 02. The Winged Ones 03. A’-va432 04. Elements and their Inhabitants 05. Ha-144 06. Mythical Serpents 07. Sha48*8. 6th Dimensional Archetype 09. DNA Activation Template 10. Shar-216 11. Architects of Consciousness 12. DA’z-a86.4 13. Aurora 14. DU-*61.714285… 15. In a Multiverse Where Atoms Sing 16. A’jha108 17. Diamond Light Body 18. Ec-ka72
Recording Lineup: Paul Masvidal – Guitars, Vocals, Lyrics Dave Mackay – Bass Synthesizer, Keyboards Matt Lynch – Drumscapes
Guest Musicians: Guitar Codes ^ Artifacts: Dark Voice Code Activations: Anrita Melchizedek Reptilian Collective: Max Phelps TWO Soloscape: Plini Crystal Bowl Attunements: Michael Devin Light Language Teachers: Amy Correia ^ Joshua Leon DLB MetaTerrestrial: Ezekial Kaplan
Mastering Studio & Engineer: Andrew Mendelson of Georgetown Masters (Nashville, TN, USA) Mixing: Warren Riker Production: Paul Masvidal & Warren Riker Cover Art: The Landing ^ Triptych ^ Martina Hoffmann Biography: Jeff Wagner
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