Tag Archive: “felte”

Odonis Odonis’ latest epic, Post Plague, delivers a powerful blend of industrial, electronic and science fiction. OO’s post-apocalyptic anthems construct stark soundscapes and saturate them with layer upon layer of industrial grime. It was released on felte earlier this summer.

OO have announced a full U.S. fall tour with Tobacco in support of Post Plague – full list of dates below.

Odonis Odonis Live Dates:

08.25 Ottawa, ON @ House of Targ

08.26 Montreal, ON @ Analogue Addictions

09.28 Cleveland, OH @ Grog Shop *

09.29 Detroit, MI @ The Shelter *

09.30 Chicago, IL @ Lincoln Hall *

10.01 Milwaukee, WI @ Mad Planet *

10.03 Minneapolis, MN @ Triple Rock Social Club *

10.07 Seattle, WA @ The Crocodile *

10.08 Portland, OR @ Wonder Ballroom *

10.10 Oakland, CA @ TBA ^

10.11 San Francisco, CA @ The Chapel *

10.13 Los Angeles, CA @ Echoplex *

10.14 Santa Ana, CA @ Constellation Room *

10.15 San Diego, CA @ Casbah *

10.16 Phoenix, AZ @ The Crescent Ballroom *

10.18 Denver, CO @ Larimer Lounge *

10.20 Louisville, KY @ Zanzabar *

10.21 Indianapolis, IN @ The Hi-Fi *

10.22 Columbus, OH @ Rumba Cafe *

11.29 Brooklyn, NY @ Brooklyn Bowl *


^ w/ Chasms

Detroit’s Ritual Howls hit us with their most danceable non-dance track to date. “Scatter The Scars.”

Ritual Howls’ third and forthcoming album Into The Water will see its release on felte August 19.  The trio are set to play a handful of dates.

08.02 Bloomington, IN @ The Bishop

08.12 New York, NY @ Mercury Lounge

Every Monday, Ghettoblaster is looking back to new albums released the previous week. Below you’ll find several albums released on Friday April 15th that we believe are definitely worth a listen.

Kevin Morby – Singing Saw (Dead Oceans)

Singing Saw combines straightforward folk rock with a triumphant horn section and gospel leaning backing vocals, all while being overseen by the cool, Bob Dylan-esque singing and songwriting of 28 year old music veteran Kevin Morby.  Having released several albums as a member of Woods, a couple as a member of Babies, and now his third as a solo artist, Morby knows how to write really engaging music at this point.  Singing Saw covers a lot of ground lyrically, from personal ruminations to responding to police brutality, yet the songs always stay grounded.  All that aside, this is just a great sounding folk rock album, which is a joy to listen to.


Sturgill Simpson – A Sailor’s Guide to Earth (Atlantic Records)

“Hello my son, welcome to Earth / May not be my last, but you’ll always be my first” is the lovely opening lyric of A Sailor’s Guide to Earth, the incredibly personal new album from country artist Sturgill Simpson.  This album is a letter to his newborn son and finds Simpson equally dispensing advice and poetically describing his immense love for the newest addition to his life.  The country sound on the album generally falls into three categories: beautiful orchestral country, straightforward modern country rock and rollicking country complete with an awesome horn section.  Also, he impeccably covers Nirvana’s “In Bloom.”  This is all in just nine songs in under 40 minutes, making it a lean and remarkable listen.

PJ Harvey – The Hope Six Demolition Project (Island Records)

The story of PJ Harvey’s The Hope Six Demolition Project is at least as interesting as the resulting album, if not more.  Harvey traveled to Afghanistan, Kosovo and Washington D.C. to be inspired for her new album.  The Hope Six Demolition Project could therefore be described as journalistic rock music.  A lot of her observations have been met with criticism, especially surrounding the song “The Community of Hope.”  Lyrically this album is quite dour with not much hope being offered for the state of our world, which is a hard pill to swallow if you reside in a neighborhood Harvey is singing so negatively about.  Yet, there is something admirable about presenting an unfiltered, outsider perspective over engaging, messy and rough alternative rock music.  This is all around a difficult album to engage, yet a rewarding one for those who spend time with it.

Other Noteworthy Releases

The Coathangers – Nosebleed Weekend (Suicide Squeeze)

Mr. Lif – Don’t Look Down (Mello Music Group)

Ashley Shadow – Ashley Shadow (felte)



Ashley Shadow will release her self-titled debut album on April 15 via felte. The album is available to pre-order now in the felte Online Store. She has premiered “In Shadows” from the forthcoming release and described it by saying “it’s the kind of haunting loner folk that’ll likely hit fans of Leonard Cohen, Sibylle Baier or Angel Olsen, but Ashley’s got a bigger voice than these kinds of artists usually do. She actually sounds quite a bit like her sister (not a bad thing at all). Her album isn’t only this kind of stuff though. Previous single ‘Tonight’ whips out a fuzzy psychedelic rock guitar solo, and ‘Tired’ is upbeat indie rock.”

With the release of her eponymous debut album, Ashley Shadow has at long last taken center stage after a decade of valuable contributions to highly regarded, diverse musical acts. Though bestowed with a strong voice both lulling and bracing in its quality, Ashley spent the first five years of her musical career playing bass guitar for rock-noir outfit The Organ before recording, and sometimes performing with acts like Pink Mountaintops, The Cave Singers, Lightning Dust and Bonnie Prince Billy.

Her self-titled debut endeavors to find certainty amidst incessant change and ensures that her talent — a secret long known around her home of Vancouver, British Columbia — will be shared with the rest of the world’s melody lovers. Enlisting the help of producer and multi-instrumentalist Josh Wells (Black Mountain), guitarists Ryan Beattie (Himalayan Bear), Peter Le Grand and Darcy Hancock, Ashley Shadow has asserted an independent stake in the musical community she has enriched for so long.

Prior to focusing on her own songwriting, Ashley has given much of her heart and energy to working with the marginalized, at risk population in Vancouver. When she stepped back to reflect on these experiences, songs were inspired by both relationships during that time and the unique emotional work and struggles she involved herself in.

04.30 Vancouver, BC – China Cloud (Album Release Show)
05.15 Winnipeg, MB – Pyramid Cabaret *
05.17 Saskatoon, SK – Amigo’s*
05.18 Edmonton, AB – Starlite Room *
05.19 Calgary, AB – Marquee Beer Market + Stage *
05.21 Vancouver, BC – The Commodore Ballroom *

* with Black Mountain

Gold Class will release their debut album It’s You digitally on September 4 on felte (EU/US) and Spunk Records (AUS) with the CD and LP to be released later this year. It’s You is available for pre-order now in felte’s website.

There are few voices of meaningful dissent left in rock music. Even fewer play with the savagery, subtlety and melody of Melbourne-based newcomers Gold Class. Armed with only a handful of songs, Gold Class quickly drew heads to their live shows when they appeared mid-2014, just a couple of months after getting together. Characterised by attacking rhythms, bristling garage guitar lines and the deep vibrato of singer Adam Curley, the band were soon mixing art-space and basement gigs for their debut seven-inch, “Michael” which will be included on It’s You.

Sydney’s Au.Ra, a duo composed of Tim Jenkins and Tom Crandles, released their debut album Jane’s Lament on Los Angeles label, felte. Jane’s Lament, a work which carefully envelops the listener in dreamy hues of sound, is streaming in full at Consequence Of Sound and is available now on CD, LP and digitally in felte’s webstoreThe 405 premiered the band’s video for “Sun” from Jane’s Lament. The 405 says, “‘Sun’ [inspired by sunshine and Cocteau Twins] gains a rather trippy visual dimension and is a brilliant companion to a song.”

Made over the course of two years, the LP was birthed from improvised jams the pair play over droning guitars and looped drum beats. Tracks like “Sun,” and “Pyramid” emerge slowly out of interplays between simple melodies and layered, reverbed instrumentation. Au.Ra’s “emotive soundscapes” perfectly encase their non-traditional pop songwriting, like on highlight “Morning,” where shimmering guitar riffs transport you to a serene, meditative realm. Their repetitive lyrics belie this easy transcendence, sometimes even verging on incantation. These songs evoke a languid drive along a bending highway in autumn, the scenery and light shifting.