This site no longer supports Internet Explorer 8 or other older browsers. Please use a modern browser.
Down the road, South of Witch Mountain and across the pond, there’s an uproar in the distance, a sonic demolition of sorts, and it is—what else?—GLORIOUS rock ’n’ roll. We’re thrilled to introduce the thunderous, bruise-blue, screeching dissonance of YAK to the Church of Third Man, who have already whipped up totally frenetic and drastic yelp all across the UK.
This November we will be releasing their latest EP (produced by Pulp's Steve Mackey) stateside, featuring the sloppy, sludgy, searing single “No” with MASSIVE guitars, cantankerous drums, and a defiant, vox maelstrom. It’s gonna gnarl through your speakers and bludgeon you with pure nihilism fuzz. Following “No” on the A-side is “Alas Salvation” a song so chewed up and spit out it could pass for The Upholsterers covering DNA. The B-side ditches the bulk of the grit and instead keeps things icy, mellow, and lonely with “Out on a Limb.” It’s a stately and necessary respite till you flip the wax and strap back in for the A-side. PLUS noted artist and photographer Nick Waplington has copiously tackled the cover art. It’s beautiful and violent use of color are a welcome and complimentary addition to this package.
So sit tight and take hold. Yak is poised to make noise and it’s in your best interest to get on board early and maybe JUST MAYBE you could be the coolest kid at school.
“No” will be available in the Third Man Records store and online retailers worldwide on Friday, November 13, 2015, and available for PRE-ORDER NOW.
And, check the kids live here, including CMJ Fest dates:
Oct 1 – Manchester Academy 1 w/Peace
Oct 2 – Nottingham Rock City w/Peace
Oct 3 – Cardiff Great Hall w/Peace
Oct 5 – Cambridge The Junction w/Peace
Oct 6 – Leicester 02 Academy w/Peace
Oct 7 – Portsmouth Pyramids Centre w/Peace
Oct 9 – London Brixton Academy w/Peace
Oct 10 – Wolverhampton Civic Hall w/Peace
Oct 15 – US, CMJ/NME Show, Santos Party House
Oct 16 – US, CMJ/High Road Touring Showcase, Mercury Lounge
Oct 17 – US, Philadelphia – Milkboy w/Maccabees
Nov 13 – France, Les Inrocks Festival – Paris Boule Noire
The Dead Weather have released the third of four technique and instrument-based videos. In this third episode, guitarist Dean Fertita divulges the source of his pummeling dive bomber crunch on new song “Let Me Through,” and takes a phone call from an irate neighbor. The video, directed by Jack White, concludes with a propulsive live performance of the track from the new album Dodge And Burn. Stay tuned in the coming weeks for thelast video of the series from The Dead Weather and Third Man Records.
OCTOBER 15, 2015
at THIRD MAN RECORDS
DOORS at 7pm, FILMS at 8pm
Non Belcourt-Member tickets available for $10
*Come early for a collection of interviews and trailers from the course of Harrington's career!
Before directing his first feature (1961's enigmatic horror/fantasy NIGHT TIDE, with Dennis Hopper) Curtis Harrington was already a uniquely positioned figure in the American avant garde. He was a protégé of Maya Deren, a friend and collaborator with Kenneth Anger, and an author of some of the earliest scholarship on the career of Joseph Von Sternberg. His psycho-sexual, death-obsessed short films - pioneering works of the emerging "New Queer Cinema" - suggested he may have been the American answer to Jean Cocteau. Furthermore, he prominently figures into the nebula of Aleister Crowley-associated occultists, having shot Kenneth Anger's PUCE MOMENT and acted in his INAUGURATION OF THE PLEASURE DOME. Indeed, his 1946 short A FRAGMENT OF SEEKING is often considered to be one half of a pair with Anger's seething, queer expressionist film FIREWORKS. Another of his works, THE WORMWOOD STAR, is a profile of artist/actress Marjorie Cameron, another Anger collaborator and the wife of rocket scientist/Thelemite/would-be Antichrist Jack Parsons.
Though his work in the realm of feature-film would find him at the helm of several atmospheric horror and thriller pictures for Roger Corman, AIP, and Universal Pictures, he eventually slipped into obscurity as a television director, shooting episodes of CHARLIE'S ANGELS, DYNASTY, and so on. Today, thanks to preservation efforts by The Academy Film Archive and a recent Blu Ray edition from Flicker Alley & Drag City, Harrington's mysterious and groundbreaking early works are finally ripe for reappraisal.
THE DEAD WEATHER — DODGE AND BURN
" ★★★★" —Rolling Stone Australia
"★★★★" —American Songwriter
"★★★★" —Toronto Sun
"★★★★" —The Scotsman
"★★★★" — Las Vegas Weekly
"★★★★" — Stereoboard
"4.5/5" — The Sun
"4/5" — Total Guitar
"3.5/5" — Rolling Stone
"4/5" — Q
"The Dead Weather, always a hard-rock dynamo, adds even more muscle on its third album, “Dodge and Burn,” stark, relentless, unison riffs and drums that sock steadily between sudden well-timed salvos. As Alison Mosshart and Jack White take turns on lead vocals, yowling and wailing, each song traces a crescendo of hysteria.” — The New York Times
"...a wonderfully unsettled vibe." — NME
...proof once more that if you want killer, bluesy rock, White is your man." — Kerrang
“Dodge and Burn bristles with clarity of riff, hook and tune" — The Observer
“...the first album from his Alison Mosshart-fronted supergroup is outlaw garage-ruckus business as usual for White; but it’s business attacked with fractious vigour and a livid sense of joy in the job" — The Independent
"12 tracks of heavy guitar riffs, heavier grooves, and vivid tales of ne’er do wells.” — Entertainment Weekly
"...the same kind of punishing, black-hearted rock they’ve always made.” — Stereogum
"Theirs is a blues defined not by chord progressions but physical reactions, embodying the music’s storied tradition of howls and moans and demonic possession into a fierce, physical sound. There’s a restlessness to Dodge and Burn, from Mosshart’s seething vocals and Fertita’s spasmodic guitar solos to Lawrence’s corroded basslines to White’s abrupt breakdowns. Even when songs are built around a shopworn sentiment, they’re given a twist: on the opening 'I Feel Love', Mosshart answers the song’s titular declaration with a withering 'every once in a while.' 7.3/10" — Pitchfork
Third Man recording group The Dead Weather – Jack White, Alison Mosshart, Dean Fertita and Jack Lawrence – has officially released their long awaited new album. DODGE AND BURN is available today in stores and at digital retailers worldwide.
DODGE AND BURN – the Dead Weather's third album and first full-length release in five years – is fast drawing critical acclaim from around the globe. “Five years after their last beautifully deranged outburst, Nashville's freakiest supergroup return with another slice of dark absurdity," declared ROLLING STONE AUSTRALIA in a four-starred rave while SPIN awarded the album a rating of 8-out-of-10, noting The Dead Weather are “an outfit whose members are hardly content to rest on their past achievements. DODGE AND BURN is one of their greatest." “The Dead Weather's finest work to date," declared A.V.CLUB of the album's closing track, “Impossible Winner," calling it “exactly the kind of curveball that makes DODGE AND BURN so appealing." The Dead Weather “administer a thorough scrubbing to knackered old garage-rock until it gleams like the chrome fender on a Dodge," noted UNCUT, while CLASH praised DODGE AND BURN as “a sassy ball of madness coming at your ears at 120mph." “DODGE AND BURN is finely crafted insanity," raved CRAVE in its 9-out-of-10 rated review, “a retro-threaded storm of punk-blooded greatness, without apology or allegiance to anyone but their own. You leave the record wanting to be in the gang, an accessory to whatever crimes may come. And that's just what they want."
The Dead Weather is also pleased to offer new merchandise today, including a Permanent Strike Match Keychain, a "Million Mile" Sticker and Tote Bag, a Magnet, and most excitingly, a"6 Digits"" Necklace, available in Gold Brass or Sterling Silver. All merchandise, as well as DODGE AND BURN, is available in the Third Man Records Online Store.
Back in January 2015, we had the pleasure of hosting two of our favorite electronic experimentalists in our Blue Room. One and local, one from the furthest regions of the Pacific Northwest.
The event came to life when local acousticians and purveyors of deliberate ambience, Coupler, took the stage. It was twenty minutes of captivating and unhurried techno that sounded bucolic at first, then violent, then crumbling, but always with a deft momentum. You could feel it in your gut and in your skull and so, naturally, we needed a cherry on top. BOOM. We had the avant-garde hip-hop glitch-poem duo known only as Shabazz Palaces headline the show. Their presence was immediately magical and real, the beats as icy as the pelleting rain of their home. The undeniable backbone of musique concrète, plain as day, redefining what counts as a beat and a lyrical cleverness that toyed with the expectations of the crowd. And, yes, we caught it all on acetate and tape. And, yes, we loved what we heard. (Shabazz is on the way on delicious vinyl folks!)
Coupler's set was a twenty-minutes mega-moment of song, and we've decided the live album needs an accompanying piece. We've invited them back to record Side B on October 13th with a full orchestra of nine friends and musicians, and it promises to be a very special piece exploring the nether-regions where the organic collides with the electronic (kind of like that movie The Demon Seed only as music, or the Beatles "All You Need Is Love" Our World broadcast but for the Shrug Generation). This is Coupler performing a large, multi-instrumental hydra. However, this isn't our typical TMR show. There’s no opener and we’re keeping this a relatively intimate affair. We’ll have 75 tickets available for those interested in seeing a recording process become a performance. Grab one HERE and read all about it Coupler's main man Ryan Norris' own words below.
We asked Ryan Norris to tell us all about this new piece they'll be performing and we'll be recording on the 13th:
"This piece has conceptual roots in the newly released HeCTA album The Diet as well as a circular echo in Lambchop's collaboration with Bill Morrison on his new film The Dockworker's Dream. It is a bridge from a certain perspective. During the writing and recording of HeCTA's debut I began to notice sympathies between the disco, house and techno I was absorbing and the motorik, classical minimalist, jazz and Afrobeat that were already so dear to my heart. In particular I noticed a parallel with the album In a Silent Way by Miles Davis. I'd read that some considered the beginning and ending of Side B of that release to be a kind of proto-ambient music. In the same way it seemed to me that Side A could be thought of as proto-techno: all repetitive, modal, one-chord groove oriented toward the horizon. I thought it would be interesting to see if the two—dance music and early fusion—could be wed in some way. This was certainly not a wholly original thought as Arthur Russell mined similar territory with Dinosaur L in the '70s. But I wondered, what if the side-long tracks of Miles electric period were in some way a precursor to the side-long 12" mixes favored by DJs? If the HeCTA record was an attempt to make concise statements that were songlike while using the language of dance music then this piece would be an attempt to color outside those lines, allowing the music to spill across an entire side of wax while hopefully capturing the paradoxical feeling of motion and stasis so central to the hypnotic work of Neu!, Kraftwerk, et. al. I went about its creation through a process very familiar to me by now, which was at first additive and improvisational followed by an editorial stage that is subtractive and sculptural. The result is difficult to execute in full with Coupler's by now normal three-piece lineup. So when the nice people at Third Man Records offered me the chance to recreate this piece in a live setting with a large band I naturally jumped at the opportunity."